Besides Dürer and the group who were largely influenced by him, one man, Hans Holbein, deserves special mention because he illustrates especially the connection of the new art with book-making. Holbein commenced to practise wood-engraving as soon as he settled in Basel at about the age of twenty. He began by designing the title page, initial letters and woodcuts for the publishers of that period. He illustrated the books of the humanists, especially the "Utopia" of Sir Thomas More, then a new and popular work, and afterwards designed the woodcuts for the Biblical translation of Luther, and he did some excellent caricature work. He is a realist and has illustrated particularly humble life, incidents of the daily doings of peasants and children, and these scenes are sometimes introduced as the background of initial letters, some twenty alphabets of which are ascribed to him. Geoffrey Tory in France introduced a classical spirit into wood-engraving, and the sculptors, Jean Cousin and Bernard Salomon and especially Jean Goujon, who made some excellent cuts for Vitruvius (1547), and a group of other illustrators in France, serve to show how the art spread and was used all over the world. Another interesting development both in prints and in book-illustration came in the gradual evolution of metal-engraving, which, like wood-engraving, reached some of its highest perfection in Germany. Martin Schongauer, who died in 1488, is the first important name, though he was preceded by an unknown German engraver usually spoken of as "The Master of 1466." Schongauer used curved shading and greatly developed the technique. After him came Dürer, who lifted metal-engraving, especially copperplate-engraving, into the realm of art. Probably nothing illustrates so well his power of minute observation as some of his copperplates. His animals are reproduced with fidelity and charm, and in the early days of landscape painting he studied every leaf and branch and tree trunk and knew how to picture just what he saw. The climax of artistic quality was reached by Marcantonio in Italy, who worked under the direction of Raphael. After the work of these masters there was very little left to be added by subsequent engravers. {163} [Illustration: DÜRER, MARRIAGE OF THE BLESSED VIRGIN (WOODCUT, 1511)] {164} How much the illustration of books was helped by this new development of art can be very readily appreciated by those who know some of the old books. Even technical books, such as text-books of anatomy, were beautifully illustrated from copperplates that are not merely conventional pictures, but often real works of art. The plates for Vesalius' anatomy were probably prepared under the direction of Titian by one of his best students, Kalkar, and Eustachius' anatomical plates probably also had the counsel of a great artist. [Footnote 17]