eral impression.
Duerer was a travelled man, visited Italy and the Netherlands, and,
though he always remained a German in art, yet he picked up some
Italian methods from Bellini and Mantegna that are faintly apparent in
some of his works. In subject he was almost exclusively religious,
painting the altar-piece with infinite care upon wooden panel, canvas,
or parchment. He never worked in fresco, preferring oil and tempera.
In drawing he was often harsh and faulty, in draperies cramped at
times, and then, again, as in the Apostle panels at Munich, very
broad, and effective. Many of his pictures show a hard, dry brush, and
a few, again, are so free and mellow that they look as though done by
another hand. He was usually minute in detail, especially in such
features as hair, cloth, flesh. His portraits were uneven and not his
best productions. He was too close a scrutinizer of the part and not
enough of an observer of the whole for good portraiture. Indeed, that
is the criticism to be made upon all his work. He was an exquisite
realist of certain features, but not always of the _ensemble_.
Nevertheless he holds first rank in the German art of the Renaissance,
not only on account of his technical ability, but also because of his
imagination, sincerity, and striking originality.

[Illustration: FIG. 90.--HOLBEIN THE YOUNGER. PORTRAIT. HAGUE MUS.]

Duerer's influence was wide-spread throughout Germany, especially in
engraving, of which he was a master. In painting Schaeufelin
(1490?-1540?) was probably his apprentice, and in his work followed
the master so closely that many of his works have been attributed to
Duerer. This is true in measure of Hans Baldung (1476?-1552?). Hans von
Kulmbach (?-1522) was a painter of more than ordinary importance,
brilliant in coloring, a follower of Duerer, who was inclined toward
Italian methods, an inclination that afterward developed all through
German art. Following Duerer's formulas came a large number of
so-called "Little Masters" (from the size of their engraved plates),
who were more engravers than painters. Among the more important of
those who were painters as well as engravers were Altdorfer
(1480?-1538), a rival rather than an imitator of Duerer; Barthel Beham
(1502-1540), Sebald Beham (1500-1550), Pencz (1500?-1550), Aldegrever
(1502-1558), and Bink (1490?-1569?).

SWABIAN SCHOOL: This school includes a number of painters who were
located at different places, like Colmar and U