Unlike Dürer, Heinrich Aldegrever was not one of those artists who left their mark on their time and on subsequent art for decades. Rather, he further developed and transformed the art of his master and also gave Dürer a long-lasting influence in his works. Although the model of the great Nuremberg master shines through clearly enough in his works, he nevertheless displays a strong style and creative power of his own.
In “The Warning to Death” there is an immediately obvious relationship to Dürer's “Nemesis”. While Dürer does not want to idealize anything in his depiction of women, but rather seeks only the truth, reality, Aldegrever depicts women in the sense of a new ideal of female beauty. He draws the face and figure in a more youthful way and avoids the unattractive appearance of a protruding body. He makes the figure slimmer and replaces the wings with magnificent, flowing hair.

The project of the Theuerdank is first mentioned in the years 1505 and 1508. It describes episodes from the life of Emperor Maximilian, mainly his adventures and the quest for his bride, Mary of Burgundy. The pro-ject was designed as an epic in verses and the text for the narrative was finished by 1514. Melchior Pfintzing, provost of the cathedral chapter in Nuremberg transformed the text into rhymes and verses, and Konrad Peutinger supervised the illustrations, while the printing was done in Augsburg by Hans Schönsperger the Elder. Tilman Falk suggests that the 118 woodcut illustrations for the Theuer-dank were executed between 1511 and 1515. A collection album con-taining 101 proof impressions, which was composed in 1516, is kept at the Vienna State library (Cod. 2833). Among these proofs is the only other impression of this print. One of two known proof impressions of this first state. In the present early state Theuerdank is standing between his faithful companions Ehr-enhold and Neydelhardt who represent Good and Evil. On request of the Emperor, the two companions where replaced by bushes in the second state.

Adriaen van de Velde took regular excursions into the countryside to study and draw animals. These extensive animal and landscape studies served him as a source of inspiration, not only for his paintings, but also for the etched animal scenes he created in his Amsterdam studio.
Two Cows under a Tree dates from 1670, and is among the last six etchings produced by this artist, all masterpieces of animal observation.

Around 1520, the small format became for decades fashionable in the north. On the one hand, the small format was certainly based on the Italian niello prints, which were very popular in the early 16th century. On the other hand, the small formats were in line with the custom of the time of gluing collectable prints into books. Small, very detailed engravings with unusual motifs but familiar formulas were very popular.
From the late 1530s Sebald's Style of engraving became more focused on the creation of clear designs on very small scale. At the same time, he developped a more sensuous approach to his subject-matter. This is exemplified in Patience produce in 1539. Sebald was never ashamed to use other artist's ideas.
During 1539 Beham made several independent engravings of allegorical figures. They are always set in the near forground with a few attributes surrounding them.

In the same year, Durer created the counterparts of “The Large Horse” and “The Small Horse” in profile. Where the Small Horse is depicted as a temperamental and ideal horse with an oriental touch, the Large Horse is depicted as a calm, northern alpine workhorse and warhorse. The animal corresponds to the typical warhorse of the time which could easily carry a man in full armor.
The horse is held by the bridle by a warrior who appears to be moving forward. Horses are the focus of many engravings by Durer.
The assessment and interpretation of the horses in these two engravings still causes difficulties, especially since the chronological sequence of the sheets is still unclear. The unusual pose of the horse in combination with the deliberately restrictive format means that, the size of the horse is increased extremely effectively.

Inscriptions: Titled in cartouche below window. "FATVO RIDEMVR IN VNO". (Let's laugh at each other). Lettered in lower margin with four columns with two lines each, with French and Dutch verses: "Rions de touts fantastiques ... / ... al s'Werelts wijsen."