Prints, drawings, and museum records · c. 1470–1600
Dated images of Landsknechte and related military and civilian subjects, organized by artist or workshop.
Entries link directly to museum objects, digitized catalogue pages, or institutional collection records. Swiss Reisläufer, later copies, battle scenes, and civilian dress are labeled so they are not mistaken for direct Landsknecht evidence.
Albrecht Dürer archive
Explore identified Landsknecht figures and related military scenes, with evidence and attribution notes. Entries retain dates, series, catalogue numbers, attribution cautions, Wikimedia Commons records, original scans, and rights information.
Research names and catalogue terms
These are the principal named makers for Landsknecht, mercenary, Tross, and closely related military imagery represented in the Sourcebook. Each entry opens an institutional object, collection biography, or digitized catalogue page.
In sixteenth-century woodcuts, the artist who designed the image and the Formschneider who cut the block could be different people. Many cutters remain unrecorded, so “woodcut by” should not automatically be read as “block cut by.” “Kampfrau” is retained as a modern search term; individual records use the source’s more specific identification, such as wife, woman, sutler, or camp follower.
Painter, draughtsman, print designer, engraver
Dürer’s engravings, drawings, and woodcut designs established some of the best-known early images of Landsknechte, including soldiers paired with mounted women and with Death. Woodcuts bearing his designs were often cut by specialist Formschneider rather than by Dürer himself.
The Met: Knight on Horseback and LandsknechtPainter and designer of woodcuts
A leading Augsburg artist for Emperor Maximilian I. Burgkmair designed large imperial print projects and military scenes whose infantry, camps, banners, armour, and clothing provide unusually broad visual context for the Landsknecht period.
National Gallery of Art: The Battle of PaduaGoldsmith, draughtsman, printmaker, mercenary
Graf’s first-hand experience as a Swiss mercenary informs vigorous images of soldiers, women, violence, camp society, and moral disorder. His Swiss subjects are comparative Reisläufer evidence unless a record explicitly identifies a German Landsknecht.
National Gallery of Art: Two Mercenaries and a WomanPainter and designer of woodcuts
Schäufelein produced numerous standing Landsknechte, standard-bearers, and military figures. His strong silhouettes and carefully described dress make his prints central visual sources; surviving records sometimes identify the block cutter separately.
British Museum: Landsknecht standard-bearerArmour etcher and printmaker
Hopfer pioneered printed etching in Augsburg after working as an armour decorator. His etched soldier groups—technically not woodcuts—record weapons, postures, dress, and social performance with exceptional breadth.
Art Institute of Chicago: Five German SoldiersDraughtsman, etcher, and designer of woodcuts
Working later in the sixteenth century, Amman supplied prolific book and broadside designs. His soldiers, officers, occupations, and illustrations for military books are especially useful for later Landsknecht, camp, and institutional context.
British Museum: Fronsperger’s Kriegsbuch illustrationsPainter and designer of woodcuts
A major Nuremberg print designer whose single figures and marching series include named soldiers, officers, gunners, and Landsknecht formations. Older catalogues sometimes confused his designs with those of Peter Flötner.
Museums of Nuremberg: A Lansquenet LeaderPainter and designer of woodcuts
Stör’s long processions and figure sheets record musicians, standards, firearms, two-handed swords, halberds, officers, common troops, and women associated with soldiers. They are particularly valuable for studying the visual organization of the marching community.
Heidelberg: Ein Soldatenzug in GeisbergPainter and designer of woodcuts
Breu’s Augsburg workshop contributed to imperial books, religious prints, and a large series of standing Landsknechte. Museum records show that some of these designs were cut by Jost de Negker.
British Museum: Landsknecht cleaning his firearmPainter and print designer
The younger Breu continued the Augsburg family workshop and designed standing soldier prints. Modern catalogues distinguish several of his Landsknechte from works formerly assigned to his father.
British Museum: Landsknecht seen from behindPainter, engraver, and print designer
One of the Nuremberg ‘Little Masters,’ Beham made compact engravings and woodcut designs of soldiers, peasant festivities, and social disorder. His standing Landsknechte and military musicians are valuable for dress and weapons.
British Museum: Landsknecht holding a spearPainter and engraver
Barthel Beham’s finely engraved standing soldiers belong to the same Nuremberg print culture as Landsknecht figure series. They offer close evidence for weapons, stance, and fashionable military dress even when the museum title uses the broader term foot soldier.
National Gallery of Art: Foot Soldier in Front of a TreeDraughtsman, engraver, and designer of woodcuts
Solis produced extensive series of military figures, including Landsknechte and a female sutler with a boy. His work is among the clearest later-sixteenth-century visual evidence for people provisioning and accompanying troops.
Rijksmuseum: Female Sutler and Boy with a Dead RoosterPainter and printmaker
Cranach’s Saxon workshop ranged across portraits, court culture, paintings, and prints. His paired Landsknecht and fashionable woman connects soldier imagery with courtship, dress, and gendered social presentation.
British Museum: Lansquenet and Lady Holding DaisiesPainter and designer of woodcuts
Beck designed much of Maximilian I’s Theuerdank and contributed to the imperial Triumphal Procession. His battle scenes provide detailed context for infantry formations, baggage, artillery, fortified landscapes, and campaign storytelling.
Cleveland Museum of Art: Battle Against the Blue CompanyPainter and engraver
A Westphalian Little Master known for precise engravings. His armed foot soldiers and genre scenes are useful comparative evidence; older print catalogues sometimes call figures Landsknechte where modern museums use broader titles.
The Met: Foot-Soldier with Fire-Pan and BucketPainter, draughtsman, and designer of woodcuts
A leading Danube School artist whose landscapes and figure designs include marching Landsknechte. His work joins close soldier observation to the terrain through which troops moved.
Heidelberg: Three Landsknechte on the MarchPainter, draughtsman, and print designer
The Bernese artist continued a family tradition shaped by Swiss military service and civic art. Woodcuts after his designs include explicitly catalogued Landsknecht figures, useful with the usual caution that Swiss and German mercenary identities are not interchangeable.
Rijksmuseum: Landsknecht after Manuel DeutschSculptor, designer, and printmaker
Flötner worked across sculpture, ornament, prints, and book design in Nuremberg. His name is important in Landsknecht cataloguing because several soldier designs once attributed to him are now assigned to Erhard Schön or Sebald Beham; attribution history must remain visible.
British Museum: Peter Flötner collection biographyPainter and designer of woodcuts
The ‘Petrarch Master’ was one of the period’s most inventive book illustrators. His crowded social scenes, occupations, urban life, and Maximilian-era commissions broaden the comparative record around soldiers and camp society, even where no figure is explicitly catalogued as a Landsknecht.
British Museum: Hans Weiditz collection biographyPainter, printmaker, publisher, and designer
Vogtherr worked in Augsburg, Strasbourg, Zürich, and Vienna, producing woodcuts, pattern books, maps, and soldier designs. His career links court art, publishing, armour, and the wider visual vocabulary used to represent sixteenth-century troops.
British Museum: Heinrich Vogtherr I collection biographyFormschneider (specialist block cutter) and printer
De Negker translated designs by Schäufelein, Burgkmair, the Breus, and others into printable woodblocks. Signed and catalogued Landsknecht sheets demonstrate why the cutter’s skilled execution should be credited separately from the designer.
British Museum: Schäufelein standard-bearer cut by de NegkerFormschneider (specialist block cutter)
Lützelburger was one of the finest cutters of the German Renaissance. The British Museum explicitly credits him with cutting Urs Graf’s Two Mercenaries and a Woman, making his role directly relevant to mercenary and camp-life imagery.
British Museum: Urs Graf woodcut cut by LützelburgerFormschneider, printer, and publisher
Andreae supervised and cut blocks for monumental Dürer and Maximilian projects. These imperial programs supply essential military, heraldic, and ceremonial context, while museum cataloguing separates his cutting from the artists’ designs.
The Met: Arch of Honor, block cutter creditedArtist / workshop
16th century · Print
Whole-length Landsknecht holding a staff, cataloged as after Sebald Beham.
1750–1800; after a 16th-century original · Colour woodcut from two blocks
A later colour reprint copied from a sixteenth-century original; useful for reception and print-history study.
Artist / workshop
1525–1580 · Woodcut, letterpress
An enlarged copy after Schön's Hollstein 118, showing a soldier carrying a musket. Formerly attributed to Peter Flötner. The copy relationship is retained rather than presenting this as an autograph Schön impression. Museum Description and Producer name; Hollstein 118 Copy a, as cited by the Museum.
Copy catalogued c. 1750–1800; tone block added for 1810s reprint · Woodcut, colour
Reduced copy after Schön's halberdier (Hollstein 117). The Museum records a dull-green tone block added for the Derschau reprint in the 1810s. This is a later reception object, not an original sixteenth-century colour scheme. Museum Description and Curator's comments; Hollstein 117 Copy a I and Savage 2021, no. 80, as cited by the Museum.
Artist / workshop
c. 1525–1580 · Woodcut, letterpress
Copy after Schön's Hollstein 116, printed by Hans Guldenmundt. The soldier carries a sword over his shoulder and wears a cap with a peacock feather. The Museum records altered hand and leg details; the printer's name has been trimmed away. Museum Description and Curator's comments; Hollstein 116 Copy a, as cited by the Museum.
Artist / workshop
1535 · Woodcut
A copy after Schön printed by Hans Hofer. Female personifications and accompanying women occupy contemporary interiors and townscapes, offering a qualified civilian-dress comparison. The fragment was printed from two blocks. Museum Description and Curator's comments; Hollstein 74 Copy, as cited by the Museum.
Artist / workshop
1485–1528 · Pen and brown ink with wash
A mounted knight accompanied by a Landsknecht; the museum identifies both figures in the title.
1510 · Woodcut
Death presents an hourglass to a richly dressed soldier carrying a polearm.
c. 1497 · Engraving
A mounted noblewoman and an infantryman in a private farewell scene.
Artist / workshop
1500–1600 · Engraving
Standing soldier holding a staff and drinking flask.
Artist / workshop
1520–1560; later manuscript copy · Illustrated costume book
A long visual sequence of one Augsburg man’s clothing; civilian evidence that should not be treated automatically as soldier clothing.
Artist / workshop
Mid-16th century · Bronze candle-holder figures
Two German Landsknecht figures originally made to hold candles in their raised hands.
Artist / workshop
1524–1612 · Engraving and etching
Anonymous copy after a military figure by Virgilius Solis.
Artist / workshop
ca. 1515/1516 · Hand-colored single-sheet woodcut
A monumental Venetian print made soon after Marignano. It is direct campaign evidence, but the catalog does not identify every soldier by contingent, so the figures are not automatically labeled Landsknechte.
Artist / workshop
1535 · Woodcut in an illustrated book
The British Museum assigns fol. 143r to its group of 53 woodcuts attributed to Jörg Breu the Elder in Der Teütsch Cicero and the appended Memorial der Tugend.
Artist / workshop
c. 1520s · Woodcut
Tentatively attributed to Schön. The armoured scholar and knight rests a hand on a sword hilt; this is not an identification as a Landsknecht. Museum Description and Producer name; Hollstein 168, as cited by the Museum.
1532–1542 · Woodcut
Attributed to Schön. A mounted captain leads lansquenets, with a standard-bearer and further riders. A complete frieze has nine sheets from eight blocks; the Museum's impression lacks sheet eight, which repeats sheet four. Museum Description and Curator's comments; Hollstein 141, excluding sheet eight, as cited by the Museum.
Artist / workshop
Design c. 1525–1530; published c. 1580–1585 · Woodcut
Attributed to Schön, formerly to Jörg Breu I. The Museum credits Jost de Negker with cutting the block and David de Negker with the later Vienna publication. The damaged sheet has been repaired. Museum Description, Producer name and Production date; Dodgson II.187.2, as cited by the Museum.
Design c. 1525–1530; published c. 1580–1585 · Woodcut
Attributed to Schön, formerly to Jörg Breu I. Jost de Negker cut the block; David de Negker published the later Vienna impression. Kept distinct from the right-facing halberdier, 1845,0809.1708. Museum Description, Producer name and Production date; Dodgson II.188.4, as cited by the Museum.
Artist / workshop
1520 · Engraving
A standing armed foot soldier in contemporary German dress.
Artist / workshop
1505–1536 · Etching
Five armed German soldiers in varied poses and equipment.
Artist / workshop
1505–1536 · Etching
Daniel Hopfer's etching reverses Schön's design (Hollstein 132). A small dog walks between the soldier's legs. Museum Description; Hopfer, Hollstein 71.I and Bartsch VIII.488.63, as cited by the Museum.
1505–1536 · Etching
Hopfer's reverse copy after Schön (Hollstein 133) pairs a lansquenet carrying a lance with his wife and her cooking implements. This is an etching, not Schön's original woodcut. Museum Description; Hopfer, Hollstein 70.I, as cited by the Museum.
1520–1536 · Etching
Hopfer's etching includes reverse copies of Schön's musket-bearer and lance-bearer (Hollstein 118 and 115). The Museum's title identifies the group as Swiss. Museum Description; Hopfer, Hollstein 72.I and Bartsch VIII.488.64, as cited by the Museum.
Artist / workshop
1520–1536 · Etching
Daniel Hopfer combines reverse copies of Schön's sword-bearer and halberdier (Hollstein 116–117) with a central figure after Sebald Beham (Hollstein 282). The three figures do not all derive from Schön. Museum Description; Hopfer, Hollstein 73.I, as cited by the Museum.
Artist / workshop
1535 · Pen and black ink
The dated pen-and-ink drawing shows a soldier with sword and billowing standard. The Museum relates it to the standard-bearer in the long procession woodcut. Its number is 1986,0301.2; the Museum flags 1986,0301.3 in Rowlands as an error. Museum Description and Curator's comments; Rowlands 1993, no. 462, as cited by the Museum.
c. 1530–1540 · Pen and black ink
Pen-and-ink drawing, probably a design for a heraldic glass roundel according to the Museum. The shield has two stars and a dog's-head crest; the arms remain unidentified. Museum Description and Curator's comments; Rowlands 1993, no. 459, as cited by the Museum.
c. 1532 · Woodcut
A mounted husband departs while his friend raises a hat; the wife and her lover form part of an Aesopic satire. Retained as a civilian figure comparison, not documentary evidence of marriage customs. Museum Description and Curator's comments; Hollstein 107, as cited by the Museum.
c. 1530–1535 · Woodcut
The recto includes a lansquenet and an officer among clergy, craftsmen and a peasant. The current object description identifies a table-player; the older image caption calls that figure a drummer. The anonymous arabesque on the verso is a different design. Museum Description; Hollstein 82, as cited by the Museum.
1532 · Woodcut, letterpress
Three-block illustration for a Hans Sachs poem of 30 November 1532. Ottoman troops, captives, burning settlements and impaled heads form a hostile wartime representation, not an unqualified eyewitness account. No impression with the poem survives, according to the Museum. Museum Description and Curator's comments; Hollstein 18, as cited by the Museum.
1525–1542 · Woodcut, letterpress
A named Swiss soldier holding a lance, with six lines of letterpress. Formerly attributed to Peter Flötner. The Museum corrects the Hollstein variant to 115a. Museum Description, Inscriptions and Bibliographic references; Dodgson I.531.6, as cited by the Museum.
c. 1535 · Woodcut
The Museum identifies a lansquenet holding a mule's reins alongside a knight, commoner and woman with a distaff. The precise satirical subject and some initials remain unexplained. The English title glosses Seltenfrid, following the Museum. Museum Description and Curator's comments; Hollstein 89, as cited by the Museum.
Design c. 1535–1536; late impression, date unspecified · Woodcut
The two-block illustration depicts seven camps, marching soldiers and cannon fire around Münster. The Museum explicitly calls this a late impression but supplies no separate impression date. Museum Description; Hollstein 19c and Geisberg 1256–1257, as cited by the Museum.
c. 1532 · Woodcut
The holding record identifies the design and execution as Erhard Schön and the subject as a Landsknecht leader.
Early 16th century · Single-leaf woodcut reproduced by Geisberg
Five halberdiers and five common soldiers from a marching Landsknecht army series.
Artist / workshop
c. 1525–1580 · Woodcut, letterpress
The Museum questions both Schön's printmaking credit and Hans Guldenmundt's printing credit. Its curator notes that Dodgson called this a Guldenmundt copy with simplified white lines on belt and shoes. Keep that uncertainty when comparing costume details. Museum Producer name and Curator's comments; Hollstein 132, as cited by the Museum.
Artist / workshop
c. 1530–1535 · Woodcut
Women carry a basket, goose, mantle, rake and sickle. Although the maker field says Schön, the curator describes surviving copies after a lost original; this impression is Hollstein 83 Copy a. The verso's fountain decoration is by Monogrammist HS. Museum Description and Curator's comments.
Artist / workshop
Design 1528–1529; printed c. 1550 · Woodcut, letterpress, hand-coloured
Schön's profile portrait after Matthes Gebel's medal, printed by Hans Glaser with Hans Sachs's commemorative poem. Retained as a civilian portrait comparison. The Museum dates this impression around 1550 and notes that the poem gives an incorrect date for Dürer's death. Museum Description and Curator's comments; Hollstein 156.I, text a, as cited by the Museum.
Artist / workshop
1534 · Woodcut, letterpress
An allegorical garden contains jousting, dancing, wrestling and hunting. Retained for civilian and courtly activity comparisons, not as a literal record of a particular event. This impression includes Hans Sachs's verse and Christoph Zell's imprint. Museum Description; Hollstein 7a, as cited by the Museum.
Design dated 1540 in description; 1542 edition · Woodcut
Rider in profile from Schön's proportion manual, printed by Christoph Zell in Nuremberg. The Museum records pounced outlines for transfer. A useful figure-study example; the rider is not identified as a soldier. Museum Description and Production date; Hollstein I.42.33, as cited by the Museum.
1534 · Woodcut, letterpress
An early impression containing the woodcut and title only, without the accompanying Sachs poem present on E,9.122. Jousting and civilian pastimes occur within an allegorical garden. Museum Description and Curator's comments; Hollstein 7b, as cited by the Museum.
Artist / workshop
c. 1532 · Woodcut
Four-block frieze printed by Hans Guldenmundt: soldiers, women, baggage wagons, prisoners and animals travel with figures of Death. The Museum tentatively connects it to a lost Hans Sachs poem. Museum Description and Curator's comments; Hollstein 16a, as cited by the Museum.
Artist / workshop
1524 · Woodcut
Title-page illustration to Diepold Peringer's Eyn Sermon, printed by Hieronymus Höltzel in Nuremberg. The figure is identified as a peasant, not a Landsknecht. The Museum discusses a possible heraldic comparison with Bundschuh imagery while leaving the letters unexplained. Museum Description and Curator's comments; Hollstein II.58.1, as cited by the Museum.
Artist / workshop
Design c. 1532; printed c. 1630–1640 · Woodcut, letterpress
Peter Steinbach's seventeenth-century impression of Schön's four-block army train. Kept distinct from E,8.140–143: the impression date matters when using the sheet as historical evidence. Museum Description, Production date and Curator's comments; Hollstein 16b, as cited by the Museum.
Artist / workshop
1529 · Woodcut, letterpress
Title-page woodcut in a song pamphlet published by Friedrich Peypus in Nuremberg. It depicts Ottoman forces outside Vienna; it is evidence of printed representation of the siege. Museum Description and Curator's comments; Paisey 296 and Röttinger 55, as cited by the Museum.
Artist / workshop
1559 · Engraving
A bearded gunner beside a cannon, cannonballs, and a wooden chest.
Artist / workshop
Early 16th century · Drawing
A military encampment, troops, fortifications, and Padua.
Artist / workshop
Early 16th century · Pen and iron-gall ink
A public-domain drawing cataloged by the museum as a Landsknecht.
Early 16th century · Single-leaf woodcut reproduced by Geisberg
Two Landsknechte with spear and halberd; page-level link to Max Geisberg’s illustrated catalogue.
c. 1515 · Single-leaf woodcut reproduced by Geisberg
A standard-bearer between two Landsknechte; cataloged from the Erlangen University Library impression.
Artist / workshop
1529 · Engraving
The museum titles the figure a foot-soldier; historical print catalogues call the subject a Landsknecht with fire-pan.
1530 · Engraving
An armed soldier looks through a doorway at a monk and nun. This corrects a false link to British Museum 1848,0911.95, which is a Rembrandt etching rather than an Aldegrever impression.
Artist / workshop
16th century · Engravings; historical catalogue record
The 1925 Boerner catalogue records Landsknecht with Halberd and Death, Death and the Landsknecht, and Death Striking a Landsknecht. The preview is the Rijksmuseum's public-domain impression of Bartsch 50; Bartsch 51–52 remain discovery leads.
Artist / workshop
c. 1525–1530 · Woodcut
Whole-length figure from a series of fifty Landsknecht woodcuts.
c. 1525–1530 · Woodcut
A working pose showing the soldier cleaning the barrel of his firearm.
c. 1525–1530; published c. 1580–1585 · Woodcut
Whole-length Landsknecht holding a hat and pole; cut by Jost de Negker.
Artist / workshop
1525–1547 · Woodcut
Rear-view figure holding a sword; formerly attributed to Jörg Breu I.
Artist / workshop
1580 · Woodcut
Anonymous printmaker after Amman’s design; also used in Kunstbüchlein, Frankfurt, 1580.
1573 · Woodcut title page
Military-book imagery printed by Martin Lechler and published by Sigmund Feierabend.
Artist / workshop
1512–1518 · Woodcut
A Weisskunig battle scene with infantry formations, pikes, banners, archers, and a fortified landscape.
Artist / workshop
1520 · Engraving
A dated German portrait providing clerical dress and portrait context from the classic Landsknecht period.
c. 1534–1537 · Oil on beech
A court portrait documenting elite male dress in Saxony.
c. 1504–1506 · Woodcut from two blocks on two sheets
Canonical museum record for Cranach’s paired Landsknecht and feathered lady; the soldier corresponds to Geisberg IX,27.
Artist / workshop
1533 · Oil on beech with letterpress labels
A posthumous Saxon electoral portrait with period court clothing and insignia.
Artist / workshop
1537 · Woodcut
A dated German male portrait woodcut useful for comparative clothing and headwear.
Artist / workshop
1547 · Woodcut
A public-domain woodcut explicitly cataloged as a Landsknecht.
Artist / workshop
c. 1520–1562 · Multi-sheet woodcut procession reproduced by Geisberg
A long soldier procession with musicians, a standard-bearer, gunners, common troops, a Feldwebel, two-handed swordsmen, and halberdiers.
Artist / workshop
c. 1525–1530; published c. 1580–1585 · Woodcut
Whole-length figure with spear, short sword, and wide feathered hat from the fifty-print series.
1520 · Etching
An armed German foot soldier in elaborate early-sixteenth-century dress.
Artist / workshop
Designs catalogued c. 1525–1580; later Derschau or Becker impressions · Woodcut
Three blocks on one sheet: Schön's Doppelsöldner (Hollstein 116), Schön's soldier and wife (132), and Beham's soldier and dog (1253). Peter Flötner is a former attribution. The Museum identifies these as Derschau or Becker impressions, not a contemporary three-figure group. Museum Description and Producer name; Hollstein 116b, as cited by the Museum.
Artist / workshop
1524 · Woodcut
Two armed mercenaries and a woman in a compact woodcut composition.
1521 · Woodcut
A Swiss standard-bearer; useful comparative Reisläufer evidence rather than an Imperial Landsknecht identification.
1521 · Woodcut
Swiss Confederation standard-bearers; comparative visual evidence for contemporary mercenary dress and insignia.
1513 or 1515 · Pen and black ink
The Morgan’s exhibition page connects Graf’s soldier imagery with his experience on military campaigns.
1524 · Woodcut
British Museum impression of Bartsch 16; the fallback image is the same design in the National Gallery of Art collection.
Artist / workshop
1524–1562 · Engraving and etching
One of eleven prints of military figures standing in landscapes.
1524–1562 · Engraving and etching
Part of a seven-print Landsknechte series.
1524–1562 · Engraving and etching
A second public-domain print from Solis’s seven-print Landsknechte series.
1524–1562 · Print
A market woman and boy from the military-figure series; evidence for the Tross and provisioning.
Artist / workshop
1515 · Single-leaf woodcut reproduced by Geisberg
Three Landsknechte on the march; Geisberg records the Basel public collection impression.
Reference catalogues
Max Geisberg was an art historian and cataloguer, not the original maker of the sixteenth-century woodcuts. His illustrated volumes remain standard references for artists, impressions, and holding collections.
Digitized illustrated catalogue of German single-leaf woodcuts; includes Hans Schäufelein’s Two Landsknechte.
Includes Schäufelein’s standard-bearer between two Landsknechte.
Begins Erhard Schön’s Landsknecht army-march series, including gunners and Doppelsöldner.
Includes Erhard Schön’s Landsknecht army-march series.
Part of the complete German single-leaf woodcut corpus.
Begins Niklas Stör’s extended soldier procession.
Continues Stör’s procession with gunners, a Feldwebel, Zweihänder, and halberdiers.
Includes Wolfgang Huber’s Three Landsknechte on the March.
Includes Albrecht Dürer’s Death and the Landsknecht.
Metropolitan Museum record for the 1930 Munich picture catalogue.
A broad museum subject node leading to additional Landsknecht and mercenary objects.
Collection search for individual British Museum object records; open each item’s image tab.
