Hans Sebald Beham is best known as a book-illustrator from his work for Christian Egenolph at Frankfurt am Main, which began in 1533. But he belonged to the Nuremberg school, had worked for ten or twelve years for Merckel, Peypus, Petreius and other Nuremberg firms, and has had the honour of having some of his single cuts attributed to Durer. His most important books for Egenolph were the _Biblische Historien_, a series of small illustrations to the Bible, first printed in 1533, which went through many editions in German and Latin, and another series illustrating the Apocalypse, of which the first edition appeared in 1539, the texts of the Latin _Historiae_ and also to the Apocalypse cuts being supplied by Georgius Aemilius. A set of medallion portraits of Roman emperors by him also appeared in several German and Latin chronicles published by Egenolph. Between the Nuremberg book-illustrators and those of Augsburg, to whom we must now turn, a connecting link may be found in the person of Hans Leonhard Schaufelein, born about 1480, soon after his father, a Nordlingen wool merchant, had settled at Nuremberg. He worked under Durer, and his earliest book-illustrations were made for Dr. Ulrich Pinder, the owner of a private press at Nuremberg. Several unsigned cuts in _Der beschlossen gart des rosenkrantz Marie_ (Pinder, 1505), and thirty out of thirty-four large cuts in a _Speculum Passionis_ (Pinder, 1507), are ascribed to Schaufelein, his associate in each book being Hans Baldung. About 1510 Schaufelein removed to Augsburg, and, despite his return to his paternal home at Nordlingen where he took up his citizenship in 1515, he worked for the chief Augsburg publishers for the rest of his life, though between 1523 and 1531 nothing is known as to what he was doing. Among the earlier Augsburg books with illustrations attributed to Schaufelein are Tengler's _Der neu Layenspiegel_ (1511), Henricus Suso's _Der Seusse (1512), Heiligenleben_ (1513), Geiler's _Schiff der Penitentz_ (1514), and the _Hystori und wunderbarlich legend Katharine von Senis_ (1515), all published by J. Otmar. In 1514 he had illustrated for Adam Petri of Basel a _Plenarium_ or _Evangelienbuch_, which went through several editions. Another _Evangelienbuch_, printed by Thomas Anshelm at Hagenau in 1516, contains several cuts with Schaufelein's signature, but in a different style, probably partly due to a different wood-cutter; these were used again in other books.