124 THE FINE ARTS. 
and of whom Wimpfeling says that it was not possible to paint anything 
more lovely, charming, and delightful than the pictures of this master. He 
painted about the middle of the 15th century in Ulm and Neuenburg in 
Wirtemberg, and afterwards in Colmar, where he died in 1488. His pic- 
tures exhibit a high order of beauty in the cast of the human countenance ; 
and he was careful both in the charm of expression and in the representa- 
tion of the softest and gentlest feelings of devotion, resignation, and peace 
of mind, to portray the ideal furnished him by the piety of his native 
region. He was also very successful as an engraver. Besides these South 
German masters there was in Westphalia the Master of Liesborn, whose 
labors were directed in his own peculiar way to the same end with those of 
Schongauer. His greatest work is the altar-piece, painted in 1465, in the 
convent of Liesborn near Minster. In his pictures there is reflected the 
most intelligent sweetness brightened into a loveliness that is absolutely 
charming, and combined with very delicate coloring and noble forms. A 
contrast to this painter is furnished by Jarenus of Soest (1450-1500), in 
whom there was something fancifully passionate, which discloses itself in 
his long lank forms and overcrowded composition. His masterpiece is the 
Christ taken Captive, in which are seen also Christ bearing the Cross, 
together with his crucifixion, burial, and descent into Hell. Another 
painter of analogous skill and taste was Master Raphon of Eimbeck, who 
lived in the 15th and 16th centuriés, and who painted the Crucifiaion in 
the cathedral at Halberstadt. The works of this and of the preceding 
master remind us forcibly of the Netherlandish element, which however 
the masters of Southern Germany in the latter half of the 15th century 
knew better how to make use of in the way of perfecting their own style. 
Another painter who manifests a similar tendency to that of Schongauer 
in his works is Bartholomew Zeitbloom (1468). His pictures are pervaded 
by great dignity and good sense, and the expression is homely and honest ; 
but the ideal beauty of Schongauer is wanting. His compositions are 
simple, his countenances fine and engaging, and his flesh tint delicate, 
clear, and ruddy. Next to him should be mentioned Hans Schihlein of 
Ulm, whose compositions are richer, and whose forms are cast in a more 
powerful mould. The altar-piece in Tiefenbronn is by him. Hans Holbein 
the father (of Augsburg) also approximates to the Schongauer school, 
although a certain fantastic exaggeration is observable in his characters. 
He worked very unequally, often almost mechanically ; yet everywhere the 
great energy of this master is exhibited in his expression of the passions, 
and in the strength and richness of his coloring. We have still to mention 
Frederick Herlin, who studied in the Netherlands and spread the manner 
of Van Eyck in France; he was likewise a carver. His motivos show 
plainly the influence of Hans Hemling: the folds of his draperies, the use 
of costly stuffs, the richness of the colors, and even the architecture and 
buildings, all remind us forcibly of that master; while the deviations from 
him are mostly for the worse. 
Among the various German schools which originated in the 15th century 
the Frankish school of painting, the centre of which was Nurnberg, was by 
508 
