wing but forceful, and at times giving excellent effects of motion.
He was rounder, fuller, calmer in composition than Duerer, but never so
strong an artist.

Next to Burkmair comes the celebrated Holbein family. There were four
of them all told, but only two of them, Hans the Elder and Hans the
Younger, need be mentioned. Holbein the Elder (1460?-1524), after
Burkmair, was the best painter of his time and school without being in
himself a great artist. Schoengauer was at first his guide, though he
soon submitted to some Flemish and Cologne influence, and later on
followed Italian form and method in composition to some extent. He was
a good draughtsman, and very clever at catching realistic points of
physiognomy--a gift he left his son Hans. In addition he had some
feeling for architecture and ornament, and in handling was a bit hard,
and oftentimes careless. The best half of his life fell in the latter
part of the fifteenth century, and he never achieved the free
painter's quality of his son.

Hans Holbein the Younger (1497-1543) holds, with Duerer, the high place
in German art. He was a more mature painter than Duerer, coming as he
did a quarter of a century later. He was the Renaissance artist of
Germany, whereas Duerer always had a little of the Gothic clinging to
him. The two men were widely different in their points of view and in
their work. Duerer was an idealist seeking after a type, a religious
painter, a painter of panels with the spirit of an engraver. Holbein
was emphatically a realist finding material in the actual life about
him, a designer of cartoons and large wall paintings in something of
the Italian spirit, a man who painted religious themes but with little
spiritual significance.

It is probable that he got his first instruction from his father and
from Burkmair. He was an infant prodigy, developed early, saw much
foreign art, and showed a number of tendencies in his work. In
composition and drawing he appeared at times to be following Mantegna
and the northern Italians; in brush-work he resembled the Flemings,
especially Massys; yet he was never an imitator of either Italian or
Flemish painting. Decidedly a self-sufficient and an observing man, he
travelled in Italy and the Netherlands, and spent much of his life in
England, where he met with great success at court as a portrait-painter.
From seeing much he assimilated much, yet always remained German,
changing his style but little as he grew ol