The activity of Augsburg was not confined to historical studies. The rising art of Germany had found here a worthy representative in Hans Holbein, who, though not strictly a Humanist himself, took the deepest interest in the movement. His attitude is clearly visible from his portraiture of Erasmus, More, and other leaders of the Renaissance, and from his illustrations to the _Praise of Folly_ and the _Dance of Death_. But Holbein, though the greatest of the Augsburg School, was too much of a wanderer to be {91} thrown into close contact with Maximilian. The latter none the less found capable artists to give expression to his own literary projects. Hans Burgkmair, the most distinguished of their number, produced over one hundred illustrations of _Weisskunig_, seventy-seven for the _Genealogy_, which consists of portraits of Maximilian's ancestors, and close upon seventy for the _Triumphal Procession_, the main idea of which belongs to Dürer. Leonhard Beck illustrated a book of _Austrian Saints_, and the greater part of the famous _Teuerdank_; whilst Freydal represented in his _Mummereien_ the various tournays and festivities of which Maximilian was the central figure. All these woodcuts and engravings were executed under the supervision of Peutinger, who also directed the casting of figures for Maximilian's tomb at Innsbruck, and the making of armour and warlike equipments for the Emperor's own person. Indeed, Maximilian put his Humanist friend to very strange uses; for among the manifold commissions of Peutinger we find the selection of tapestries from the Netherlands, inquiries after the inventor of a special kind of siege-ladder, the building of hatching-houses for the Imperial falcons, and the establishment of an important cannon foundry. The climax is reached when Maximilian employs Peutinger's historical knowledge to obtain the names of a hundred women famous in history, after whom he may christen the latest additions to his artillery! [Illustration: WILIBALD PIRKHEIMER]