Jorg Breu, who was born and died (1537) some half-dozen years later than Burgkmair, like him illustrated Missals for Ratdolt and contributed Passion-cuts to Mann's _Leiden Christi_. His most important piece of bookwork was the redrawing of the cuts in Anton Sorg's edition of Reichenthal's _Conciliumbuch_ for a reprint by Steiner in 1536. Illustrations by him also occur in a _Melusina_ (1538), and German versions of Boccaccio's _De claris mulieribus_ and _De Casibus Illustrium virorum_ issued after his death by the same firm. Leonhard Beck contributed largely to the illustration of Maximilian's literary ventures, especially the _Theuerdank_, _Weisskunig_, and Saints of the House of Austria (published at some date between 1522 and 1551). [Illustration: XXIV. AUGSBURG, J. MILLER, 1515 JORNANDES. DE REBUS GOTHORUM. (TITLE). ATTRIBUTED TO BURGKMAIR] We come now to Hans Weiditz, the immense extension of whose work by the attributions of recent years can only be compared to Mr. Proctor's raising of Bartolommeo de' Libri from one of the smallest to one of the most prolific of Florentine printers. Only two or three Augsburg woodcuts bearing his initials are known, while scores and even hundreds are now assigned to him, most of which had previously been credited to Burgkmair. Weiditz began bookwork in or before 1518, in which year he contributed a title-cut to the _Nemo_ of Ulrich von Hutten, while in 1519 he made twelve illustrations to the same author's account of Maximilian's quarrel with the Venetians. In 1518 he had begun working for the firm of Grimm and Wirsung, and this, with a few commissions from other Augsburg publishers, kept him busy till about 1523, when he himself moved to Strassburg, whence his family had come, while in the same year Grimm and Wirsung gave up business and sold their blocks to Steiner. These included not only many title-borders by Weiditz, twenty illustrations to two comedies of Plautus and a set of cuts to the _Deuotissime meditationes de vita et passione Christi_, and another to a German _Celestina_, all published in 1520, but a series of some 260 masterly illustrations to a German version of Petrarch's _De remediis utriusque fortunae_. Steiner used some of these cuts in a Cicero _De Officiis_ of 1531, which has in addition sixty-seven important cuts by Weiditz, presumably of the same period, and also in a _Justinus_ of the same year, but the work for which they were specially designed did not appear until a year later. Needless to say, selections from both the Petrarch and the Cicero sets appear in later work.