Callot believed in giving his customers good value for their money. He seemed able to crowd more people per square inch into his plates than any other artist before or since.
Typical of his handling of crowds is his etching guerra d'armor executed for Cosimo de Medici II in 1615. The plate measures approximately 9"x12", yet in this confine he included over a thousand clearly individualized figures. His series, The Miseries of War, could well be considered the first anti-war statement in art. These edtchings depict church burnings and lootings, peasants striking back at soldiers, and in the final plate, mutilated survivors begging from the profiteers who even in those days survived unscathed. War is presented as progressive madness, beginning with a great show of legality, rationality, and sanity then slowly disolving into chaos as men devolve into monsters and the earth itself becomes a living hell.
While The Miseries of War etching were on quite small plates, in his Siege of Breda, he worked on a vast scale for his time, his technique anticipating the modern billboard. When proofs were pasted together, the result was a single picture about four feet by five feet depicting the arrival of the Spanish Infanta to take possession of the conquored town. Callot also had an abiding interest in the humorous and grotesque. In his series Beggars and Gobbi, his comic dwarfs and hunchback achieved their ultimate statement in his etching The temptation of St. Anthoney. In it he depicts hell as a fun place where St. Anthony is surrounded by a cloud full of demons and devils all having the time of their lives. It was completed in 1634. This work was one of his last. He died a year later at the age of 43.