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Zypro Gorgy Dectorum 16
Page 09
At Augsburg there was still another school, which came into prominence in the sixteenth century with Burkmair and the Holbeins. It was only a part of the Swabian school, a concentration of artistic force about Augsburg, which, toward the close of the fifteenth century, had come into competition with Nuremberg, and rather outranked it in splendor. It was at Augsburg that the Renaissance art in Germany showed in more restful composition, less angularity, better modelling and painting, and more sense of the _ensemble_ of a picture. Hans Burkmair (1473-1531) was the founder of the school, a pupil of Schoengauer, later influenced by Duerer, and finally showing the influence of Italian art. He was not, like Duerer, a religious painter, though doing religious subjects. He was more concerned with worldly appearance, of which he had a large knowledge, as may be seen from his illustrations for engraving. As a painter he was a rather fine colorist, indulging in the fantastic of architecture but with good taste, crude in drawing 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.
The immediate effects of this brilliant success were immense. Many of the Spanish tribes deserted the Carthaginian cause; and when Scipio took the field in the following year (B.C. 209) Mandonius and Indibilis, two of the most powerful and hitherto the most faithful supporters of Carthage, quitted the camp of Hasdrubal Barca, and awaited the arrival of the Roman commander. Hasdrubal was encamped in a strong position near the town of Baecula, in the upper valley of the Baetis (Guadalquiver), where he was attacked and defeated by Scipio. He succeeded, however, in making good his retreat, and retired into northern Spain. He subsequently crossed the Pyrenees, and marched into Italy to the assistance of his brother Hannibal, as already narrated.
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