History of mediæval art . Valentin at Augs-burg (Fig. 418), he is rigid and lifeless. From its centre at Ulm, Suabian art extended to different direc-tions. One branch is found in Eastern Suabia, especially in Mem-mingen, where we meet with Bernhard Strigel, a master of greatability and productiveness, though occasionally somewhat mechan-ical. A number of his works have lately been identified by W. Bodeand R. Vischer. Towards the east the school of Ulm was extendedto Augsburg. The paintings executed in this town before the endof the fifteenth century had been of but little merit: instance thec
History of mediæval art . Valentin at Augs-burg (Fig. 418), he is rigid and lifeless. From its centre at Ulm, Suabian art extended to different direc-tions. One branch is found in Eastern Suabia, especially in Mem-mingen, where we meet with Bernhard Strigel, a master of greatability and productiveness, though occasionally somewhat mechan-ical. A number of his works have lately been identified by W. Bodeand R. Vischer. Towards the east the school of Ulm was extendedto Augsburg. The paintings executed in this town before the endof the fifteenth century had been of but little merit: instance theceiling of the Guildhall of the Weavers, referable to Peter Kaltenhof,now in the National Museum of Munich, and the representation ofChrist between the two Thieves, dating from 1477, now in the Gal- 692 PAINTING OF THE GOTHIC EPOCH. lery of Augsburg. There was no master of great ability beforeHans Holbein the elder, whose earliest known work is the Weingar-ten Altar, painted after 1493, fragments of which are preserved in. Fig. 418.—St. Valentin before the Emperor. Panel Painting by B. Zeitblom in the Gallery of Augsburg. the Cathedral of Augsburg. From this, from the altar of Kaisheim,dated 1502, in the Pinakothek of Munich, from the basilica pictures GERMANY. 693 of 1499 and 1504 in Augsburg, and from various others in that townand in Nuremberg and Schleissheim, we become acquainted with amaster as representative of the school of Augsburg as was thesomewhat older Wolgemut of that of Franconia. Holbein, thoughpossessing a higher sense of beauty and grace of form, and givingto his heads a character of great individuality, amounting at timeseven to a humorous caricature, did not so readily obtain recogni-tion and pecuniary success as Wolgemut, and struggled, with un-favorable circumstances, until his death, in 1524, notwithstandingthe frequent assistance rendered him by his brother Sigmund andby his son. In one respect, however, Holbein and Wolgemut werealike, each having the
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