Albrecht Dürer and Holbein, indeed, seem to express and to sum up all the vigour and power of design of that very vigorous and fruitful time of the German Renaissance. They had able contemporaries, of course, among whom are distinguished, Lucas Cranach (the elder) born 1470, and Hans Burgmair, already named, who was associated with Dürer in the work of the celebrated series of woodcuts, "The Triumphs of Maximilian;" one of the fine series of "Der Weiss König," a noble title page, and a vigorous drawing of peasants at work in a field, here represent him. Other notable designers were Hans Sebald Beham, Hans Baldung Grün, Hans Wächtlin, Jost Amman, and others, who carried on the German style or tradition in design to the end of the sixteenth century. This tradition of convention was technically really the mode of expression best fitted to the conditions of the woodcut and the press, under which were evolved the vigorous pen line characteristic of the German masters. It was a living condition in which each could work freely, bringing in his own fresh observation and individual feeling, while remaining in collective harmony. [Illustration: GERMAN SCHOOL. XVITH CENTURY. HANS HOLBEIN. BIBLE.] [Illustration: GERMAN SCHOOL. XVITH CENTURY. AMBROSE HOLBEIN. "DAS GANTZE NEUE TESTAMENT," ETC. (BASEL, 1523.)] [Illustration: GERMAN SCHOOL. XVITH CENTURY. HANS BURGMAIR. "DER WEISS KÖNIG" (1512-14).] [Illustration: GERMAN SCHOOL. XVITH CENTURY. HANS BURGMAIR. (AUGSBURG, 1516.)] [Illustration: GERMAN SCHOOL. XVITH CENTURY. HANS BURGMAIR. "HISTORIA MUNDI NATURALIS," PLINY. (FRANKFORT, 1582.)] [Illustration: GERMAN SCHOOL. XVITH CENTURY. HANS BURGMAIR. "DIE MEERFAHRT ZU VILN ONERKANNTEN INSELN UND KUNIGREICHEN." (AUGSBURG, 1509.)] [Sidenote: PRINTERS' MARKS] [Sidenote: EMBLEM BOOKS.]