Such were the suggestions on which the mediæval sculptors and illuminators worked with so much effect, as we have seen repeatedly in the course of our preceding chapters. After the revival of art in western Europe in the fifteenth century, this class of legends became great favourites with painters and engravers, and soon gave rise to the peculiar school of _diablerie_ mentioned above. At that time the story of the Temptation of St. Anthony attracted particular attention, and it is the subject of many remarkable prints belonging to the earlier ages of the art of engraving. It employed the pencils of such artists as Martin Schongauer, Israel van Mechen, and Lucas Cranach. Of the latter we have two different engravings on the same subject--St. Anthony carried into the air by the demons, who are represented in a great variety of grotesque and monstrous forms. The most remarkable of the two bears the date of 1506, and was, therefore, one of Cranach's earlier works. But the great representative of this earlier school of _diablerie_ was Peter Breughel, a Flemish painter who flourished in the middle of the sixteenth century. He was born at Breughel, near Breda, and lived some time at Antwerp, but afterwards established himself at Brussels. So celebrated was he for the love of the grotesque displayed in his pictures, that he was known by the name of Peter the Droll. Breughel's "Temptation of St. Anthony," like one or two others of his subjects of the same class, was engraved in a reduced form by J. T. de Bry. Breughel's demons are figures of the most fantastic description--creations of a wildly grotesque imagination; they present incongruous and laughable mixtures of parts of living things which have no relation whatever to one another. Our cut No. 155 represents a group of these grotesque demons, from a plate by Breughel, engraved in 1565, and entitled _Divus Jacobus diabolicis præstigiis ante magnum sistitur_ (St. James is arrested before the magician by diabolical delusions). The engraving is full of similarly grotesque figures. On the right is a spacious chimney, and up it witches, riding on brooms, are making their escape, while in the air are seen other witches riding away upon dragons and a goat. A kettle is boiling over the fire, around which a group of monkeys are seen sitting and warming themselves. Behind these a cat and a toad are holding a very intimate conversation. In the background stands and boils the great witches' caldron. On the right of the picture the _magus_, or magician, is seated, reading his _grimoire_; with a frame before him supporting the pot containing his magical ingredients. The saint occupies the middle of the picture, surrounded by the demons represented in our cut and by many others; and as he approaches the magician, he is seen raising his right hand in the attitude of pronouncing a benediction, the apparent consequence of which is a frightful explosion of the magician's pot,