lm, and later on it
included the Holbeins at Augsburg, who were really the consummation of
the school. In the fifteenth century one of the early leaders was
Martin Schoengauer (1446?-1488), at Colmar. He is supposed to have been
a pupil of Roger Van der Weyden, of the Flemish school, and is better
known by his engravings than his paintings, none of the latter being
positively authenticated. He was thoroughly German in his type and
treatment, though, perhaps, indebted to the Flemings for his coloring.
There was some angularity in his figures and draperies, and a tendency
to get nearer nature and further away from the ecclesiastical and
ascetic conception in all that he did.

At Ulm a local school came into existence with Zeitblom (fl.
1484-1517), who was probably a pupil of Schuechlin. He had neither
Schoengauer's force nor his fancy, but was a simple, straightforward
painter of one rather strong type. His drawing was not good, except in
the draperies, but he was quite remarkable for the solidity and
substance of his painting, considering the age he lived in was given
to hard, thin brush-work. Schaffner (fl. 1500-1535) was another Ulm
painter, a junior to Zeitblom, of whom little is known, save from a
few pictures graceful and free in composition. A recently discovered
man, Bernard Strigel (1461?-1528?) seems to have been excellent in
portraiture.

[Illustration: FIG. 91.--PILOTY. WISE AND FOOLISH VIRGINS.]

At Augsburg there was still another school, which came into prominence
in the sixteenth century with Burkmair and the Holbeins. It was only a
part of the Swabian school, a concentration of artistic force about
Augsburg, which, toward the close of the fifteenth century, had come
into competition with Nuremberg, and rather outranked it in splendor.
It was at Augsburg that the Renaissance art in Germany showed in more
restful composition, less angularity, better modelling and painting,
and more sense of the _ensemble_ of a picture. Hans Burkmair
(1473-1531) was the founder of the school, a pupil of Schoengauer,
later influenced by Duerer, and finally showing the influence of
Italian art. He was not, like Duerer, a religious painter, though doing
religious subjects. He was more concerned with worldly appearance, of
which he had a large knowledge, as may be seen from his illustrations
for engraving. As a painter he was a rather fine colorist, indulging
in the fantastic of architecture but with good taste, crude in
dra