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Fantasimus Directory 05
Page 10
We will add this in general, touching the affection of envy; that of all other affections, it is the most importune and continual. For of other affections, there is occasion given, but now and then; and therefore it was well said, Invidia festos dies non agit: for it is ever working upon some or other. And it is also noted, that love and envy do make a man pine, which other affections do not, because they are not so continual. It is also the vilest affection, and the most depraved; for which cause it is the proper attribute of the devil, who is called, the envious man, that soweth tares amongst the wheat by night; as it always cometh to pass, that envy worketh subtilly, and in the dark, and to the prejudice of good things, such as is the wheat.
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.
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