the printed sheets and the pamphlets depicted with engraving on wood reached a wide audience at the time of the German Reform, joining the popular feeling behind Luther’s positions through the combination of text and image. A major printing centre aligned with the Reform in 1525, Nuremberg is the location for this study. It examines illustrations by Erhard Schoen and others accompanying the texts of the Hans Sachs ‘poet’, published between 1524 and 1527. Formulated in his poem Le Rossignol de Wittenberg (1523), Sachs’ polemic method was pursued in an anonymous engraving which clarifies the animal light where, motivated by their cupidity and their attachment to the world’s property, Luther’s opponents exploit the poor. In this article we analyse four Sachs’ prose dialogues, accompanied by engravings and published in 1524 in the form of pamphlets, of which Sebald Beham’s graphic complement for the dispute between a singer and a director is representative. This illustration shows an ecclesiastical who is unable to interpret the Bible and a lutherian cellar showing it the superiority of its judgement. However, Erhard Schoen became Sachs’ main illustrator during this period and in wooden lettering for printed sheets dating from 1524, Schoen makes the antithetic structure of Sachs’ texts more pronounced. Another strategy and also another phase of the representation was the imbred personification of subversive social allusions, exemplified in an illoric leaf of 1525, where an engraving of Peter Flettner shows us the Cajoler Raison of an âne to release him from Usure and Tyrannia as well as clerical hypocrisy. At such a crucial time in European history, Luther’s doctrines popularised Luther’s doctrines, which advocated the use of writing and justification by faith, thus consolidating support for the reform.