126 THE FINE ARTS. 
a master whose name is of historical importance as relates to art. He 
came betimes with his father to Basel; but being very industrious, and 
not finding sufficient employment for him there, he set out upon his travels. 
He went with recommendations from Erasmus and Sir Thomas More to 
England, where he ever after continued to reside. He attained to very 
great eminence, especially in portrait-painting ; and, although his treatment 
is entirely different, he can be placed on a level with Vandyck, while he 
has often been compared to Leonardo da Vinci with respect to style. 
With all this he is thoroughly German. His best pupils were Christoph 
Amberger of Nirnberg and Hans Asper of Zurich, whose portrait of Zwingla 
is universally celebrated. ‘Two very distinguished church painters of the 
16th century were Martin Schaffner of Ulm and Hans Baldung of 
Gemiind. The first mentioned drew his forms so fine and full as to 
remind us of the best Italian masters, and his conceptions are rich in 
original and spirited motivos. His flesh-tint ig clear and inclining to 
yellow, and indeed his entire coloring appears rather cold. There are 
pictures by him in Munich and in Nirnberg. Hans Baldung (also called 
Grien or Griin) painted beautiful, characteristic heads ; but his bodies were 
often stiff and inelegant. The altar-piece in the minster at Freiburg in the 
Breisgau is from his hand (1516), and represents the Crowning of the 
Virgin. There is something awkward in the disposition of the picture. 
The Virgin is the best executed figure: modesty and humility are her cha- 
racteristics. God the Father looks like a patriarch, nor is the Christ very 
noble in appearance; his attitude and form too are inelegant. Some of the 
angels are beautiful and full of expression. ‘The coloring is powerful. The 
remaining works of this master manifest a strong tendency to the Nurnberg 
manner; he was a friend of Direr’s. 
In Cologne the art at this period exhibited still a character bordering on 
that of the Netherland school: yet there were then living some distinguished 
masters, e.g. Hildegard of Cologne, Hans of Melem, and Bartholomé de 
Bruyn, who painted (in 1586) the pictures on the high altar in Xanten. In 
Westphalia, Ludger zum Ring and his son Hermann zum Ring show 
evidences of study and imitation of the Italian masters. 
The Augsburg school had for one of its principal masters, in the beginning 
of the 16th century, Hans Burgkmaier, who, although a friend of Diirer’s, 
retained his own peculiar character. His drawing is not as good as that 
of Direr, but in harmony of coloring and aerial perspective he is the latter’s 
superior ; still a certain coldness pervades his works. Burgkmaier was like- 
wise a wood-engraver, and most of the cuts for the “ Weisskunig” (Cologne, 
1514) are by him. He is one of the most productive masters of the German 
school, and his pictures are found in several galleries, though the best are in 
Nirnberg. Matthaus Grunewald of Aschaffenburg, who was a rival of Albert 
Direr, formed himself independently of these schools. He wrought a great 
deal in Mayence, although there are also paintings by him in the cathedral 
at Aschaffenburg. His conceptions are grand, his drawing correct, his heads 
characteristic, and his flesh-tint clear. One of his pupils was Hans Grim- 
mer, who was living in 1650, but whose works have mostly perished. 
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