have been the pupil of Dürer and the inventor of engraving in this manner; in his day he was more celebrated as an architect and painter than as an engraver, but his fame now rests on his works on copper and in wood. The best known of his sixty-five woodcuts is the series of forty designs, scarcely three inches by two in size, entitled the Fall and Redemption of Man, in depicting which he had the Smaller Passion of Dürer to guide him. In these he attempted to obtain effects by the use of fine and close lines, such as were employed in copperplate-engraving; but, although his success was certainly remarkable, considering the rude mechanical processes of the time, yet his method clearly produced results of inferior artistic value in comparison with the works in the bold, broad manner of Dürer. All of his woodcuts, excepting four, are representations of religious subjects; they are marked, like his other works, by an attention to landscape, that truly modern object of art, of which he probably learned the value from Dürer, who was the first to treat landscape with real appreciation. In Hans Sebald Behaim (1500–1550?) the spirit of the age is revealed with great clearness and variety (Fig. 49); both his life and his art were inspired by it. In his early manhood he was banished from Nuremberg for denying the doctrines of transubstantiation and the efficacy of baptism, and for entertaining some vague socialistic and communistic opinions; but it is not clear to what extent he held them, if he held them at all. He seems to have been one of the most advanced of the religious Reformers, and he employed his art in their service, as, for example, in a book entitled The Papacy, which he illustrated with a series of seventy-four figures of the different orders of monks in their peculiar costumes, be-
