der. His wall paintings have
perished, but the drawings from them are preserved and show him as an
artist of much invention. He is now known chiefly by his portraits, of
which there are many of great excellence. His facility in grasping
physiognomy and realizing character, the quiet dignity of his
composition, his firm modelling, clear outline, harmonious coloring,
excellent detail, and easy solid painting, all place him in the front
rank of great painters. That he was not always bound down to literal
facts may be seen in his many designs for wood-engravings. His portrait
of Hubert Morett, in the Dresden Gallery, shows his art to advantage,
and there are many portraits by him of great spirit in England, in the
Louvre, and elsewhere.

SAXON SCHOOL: Lucas Cranach (1472-1553) was a Franconian master, who
settled in Saxony and was successively court-painter to three Electors
and the leader of a small local school there. He, perhaps, studied
under Gruenewald, but was so positive a character that he showed no
strong school influence. His work was fantastic, odd in conception and
execution, sometimes ludicrous, and always archaic-looking. His type
was rather strained in proportions, not always well drawn, but
graceful even when not truthful. This type was carried into all his
works, and finally became a mannerism with him. In subject he was
religious, mythological, romantic, pastoral, with a preference for
the nude figure. In coloring he was at first golden, then brown, and
finally cold and sombre. The lack of aerial perspective and shadow
masses gave his work a queer look, and he was never much of a
brushman. His pictures were typical of the time and country, and for
that and for their strong individuality they are ranked among the most
interesting paintings of the German school. Perhaps his most
satisfactory works are his portraits. Lucas Cranach the Younger
(1515-1586) was the best of the elder Cranach's pupils. Many of his
pictures are attributed to his father. He followed the elder closely,
but was a weaker man, with a smoother brush and a more rosy color.
Though there were many pupils the school did not go beyond the Cranach
family. It began with the father and died with the son.

[Illustration: FIG. 92.--LEIBL. IN CHURCH.]

SEVENTEENTH AND EIGHTEENTH CENTURIES: These were unrelieved centuries
of decline in German painting. After Duerer, Holbein, and Cranach had
passed there came about a senseless imitation of Italy,