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 Ulm, 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.