1.
Lukas Furtenagel
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Lukas Furtenagel was a German painter. Lukas Furtenagel had the impression of art on him at an early age. He was born and grew up in Augsburg, where he was a protege of Hans Burgkmair, Furtenagel began a painting apprenticeship at age 10. He worked after he left Augsburg in the workshop of Lucas Cranach the Elder and he won a competition award in 1546 right after his return to Augsburg. In the same year he recorded Martin Luthers deathbed and he is known to have done a double portrait of his older colleague and Master Hans Burgkmair and his wife in 1527. One of Furtenagels most enduring and popular work was the portrait of Martin Luther he painted after the death on 18 February 1546 in Eisleben. Furtenagel painted Luthers body twice, first on the 18th and then again the following day, only one of those paintings, however, survives
2.
Augsburg
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Augsburg is a city in Swabia, Bavaria, Germany. It was a Free Imperial City for over 500 years and it is a university town and home of the Regierungsbezirk Schwaben and the Bezirk Schwaben. Augsburg is a district and home to the institutions of the Landkreis Augsburg. It is the third-largest city in Bavaria with a population of 286,000 citizens, after Neuss and Trier, Augsburg is Germanys third oldest city, being founded by the Romans as Augusta Vindelicorum, named after the Roman emperor Augustus. Augsburg is the only German city with its own legal holiday and this gives Augsburg more legal holidays than any other region or city in Germany. Augsburg was the home of two families that rose to great prominence internationally, replacing the Medicis as Europes leading bankers, the Fugger. Augsburg lies at the convergence of the Alpine rivers Lech and Wertach, in the south extends the Lechfeld, an Outwash plain of the post ice age between the rivers Lech and Wertach, where rare primeval landscapes were preserved. The Augsburg city forest and the Lech valley heaths today rank among the most species-rich middle European habitats, on Augsburg borders the nature park Augsburg Western Woods - a large forestland. The city itself is also heavily greened, as a result, in 1997 Augsburg was the first German city to win the Europe-wide contest Entente Florale for Europes greenest and most livable city. Augsburg is surrounded by the counties Landkreis Augsburg in the west, the neighboring towns and cities are Friedberg, Königsbrunn, Stadtbergen, Neusäß, Gersthofen, Rehling, Affing, Kissing, Mering, Merching, Bobingen, Gessertshausen und Diedorf. Augsburg has a continental climate. The city was founded in 15 BC by Drusus and Tiberius as Augusta Vindelicorum, the name means Augusta of the Vindelici. This garrison camp soon became the capital of the Roman province of Raetia, thus, Augsburg was the intersection of many important European east-west and north-south connections, which later evolved as major trade routes of the Middle Ages. Around 120 AD Augsburg became the capital of the Roman province Raetia, Augsburg was sacked by the Huns in the 5th century AD, by Charlemagne in the 8th century, and by Welf of Bavaria in the 11th century, but arose each time to greater prosperity. Augsburg was granted the status of a Free Imperial City on March 9,1276 and from then until 1803, it was independent of its former overlord, the Prince-Bishop of Augsburg. Frictions between the city-state and the prince-bishops were to remain frequent however, particularly after Augsburg became Protestant and curtailed the rights, with a strategic location as intersection of trade routes to Italy, the Free Imperial City became a major trading center. Augsburg produced large quantities of goods, cloth and textiles. Augsburg became the base of two banking families that rose to prominence, the Fuggers and the Welsers
3.
Germany
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Germany, officially the Federal Republic of Germany, is a federal parliamentary republic in central-western Europe. It includes 16 constituent states, covers an area of 357,021 square kilometres, with about 82 million inhabitants, Germany is the most populous member state of the European Union. After the United States, it is the second most popular destination in the world. Germanys capital and largest metropolis is Berlin, while its largest conurbation is the Ruhr, other major cities include Hamburg, Munich, Cologne, Frankfurt, Stuttgart, Düsseldorf and Leipzig. Various Germanic tribes have inhabited the northern parts of modern Germany since classical antiquity, a region named Germania was documented before 100 AD. During the Migration Period the Germanic tribes expanded southward, beginning in the 10th century, German territories formed a central part of the Holy Roman Empire. During the 16th century, northern German regions became the centre of the Protestant Reformation, in 1871, Germany became a nation state when most of the German states unified into the Prussian-dominated German Empire. After World War I and the German Revolution of 1918–1919, the Empire was replaced by the parliamentary Weimar Republic, the establishment of the national socialist dictatorship in 1933 led to World War II and the Holocaust. After a period of Allied occupation, two German states were founded, the Federal Republic of Germany and the German Democratic Republic, in 1990, the country was reunified. In the 21st century, Germany is a power and has the worlds fourth-largest economy by nominal GDP. As a global leader in industrial and technological sectors, it is both the worlds third-largest exporter and importer of goods. Germany is a country with a very high standard of living sustained by a skilled. It upholds a social security and universal health system, environmental protection. Germany was a member of the European Economic Community in 1957. It is part of the Schengen Area, and became a co-founder of the Eurozone in 1999, Germany is a member of the United Nations, NATO, the G8, the G20, and the OECD. The national military expenditure is the 9th highest in the world, the English word Germany derives from the Latin Germania, which came into use after Julius Caesar adopted it for the peoples east of the Rhine. This in turn descends from Proto-Germanic *þiudiskaz popular, derived from *þeudō, descended from Proto-Indo-European *tewtéh₂- people, the discovery of the Mauer 1 mandible shows that ancient humans were present in Germany at least 600,000 years ago. The oldest complete hunting weapons found anywhere in the world were discovered in a mine in Schöningen where three 380, 000-year-old wooden javelins were unearthed
4.
Painting
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Painting is the practice of applying paint, pigment, color or other medium to a solid surface. The medium is commonly applied to the base with a brush, but other implements, such as knives, sponges, Painting is a mode of creative expression, and the forms are numerous. Drawing, gesture, composition, narration, or abstraction, among other aesthetic modes, may serve to manifest the expressive, Paintings can be naturalistic and representational, photographic, abstract, narrative, symbolistic, emotive, or political in nature. A portion of the history of painting in both Eastern and Western art is dominated by motifs and ideas. In art, the term painting describes both the act and the result of the action, the term painting is also used outside of art as a common trade among craftsmen and builders. What enables painting is the perception and representation of intensity, every point in space has different intensity, which can be represented in painting by black and white and all the gray shades between. In practice, painters can articulate shapes by juxtaposing surfaces of different intensity, thus, the basic means of painting are distinct from ideological means, such as geometrical figures, various points of view and organization, and symbols. In technical drawing, thickness of line is ideal, demarcating ideal outlines of an object within a perceptual frame different from the one used by painters. Color and tone are the essence of painting as pitch and rhythm are the essence of music, color is highly subjective, but has observable psychological effects, although these can differ from one culture to the next. Black is associated with mourning in the West, but in the East, some painters, theoreticians, writers and scientists, including Goethe, Kandinsky, and Newton, have written their own color theory. Moreover, the use of language is only an abstraction for a color equivalent, the word red, for example, can cover a wide range of variations from the pure red of the visible spectrum of light. There is not a register of different colors in the way that there is agreement on different notes in music. For a painter, color is not simply divided into basic, painters deal practically with pigments, so blue for a painter can be any of the blues, phthalocyanine blue, Prussian blue, indigo, cobalt, ultramarine, and so on. Psychological and symbolical meanings of color are not, strictly speaking, colors only add to the potential, derived context of meanings, and because of this, the perception of a painting is highly subjective. The analogy with music is quite clear—sound in music is analogous to light in painting, shades to dynamics and these elements do not necessarily form a melody of themselves, rather, they can add different contexts to it. Modern artists have extended the practice of painting considerably to include, as one example, collage, some modern painters incorporate different materials such as sand, cement, straw or wood for their texture. Examples of this are the works of Jean Dubuffet and Anselm Kiefer, there is a growing community of artists who use computers to paint color onto a digital canvas using programs such as Adobe Photoshop, Corel Painter, and many others. These images can be printed onto traditional canvas if required, rhythm is important in painting as it is in music
5.
Printmaking
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Printmaking is the process of making artworks by printing, normally on paper. Printmaking normally covers only the process of creating prints that have an element of originality, except in the case of monotyping, the process is capable of producing multiples of the same piece, which is called a print. Each print produced is not considered a copy but rather is considered an original, a print may be known as an impression. Printmaking is not chosen only for its ability to multiple impressions. Prints are created by transferring ink from a matrix or through a screen to a sheet of paper or other material. Screens made of silk or synthetic fabrics are used for the screenprinting process, other types of matrix substrates and related processes are discussed below. Multiple impressions printed from the matrix form an edition. Prints may also be printed in book form, such as illustrated books or artists books, Printmaking techniques are generally divided into the following basic categories, Relief, where ink is applied to the original surface of the matrix. Relief techniques include woodcut or woodblock as the Asian forms are known, wood engraving. Intaglio, where ink is applied beneath the surface of the matrix. Intaglio techniques include engraving, etching, mezzotint, aquatint, planographic, where the matrix retains its original surface, but is specially prepared and/or inked to allow for the transfer of the image. Planographic techniques include lithography, monotyping, and digital techniques, stencil, where ink or paint is pressed through a prepared screen, including screenprinting and pochoir. Other types of printmaking techniques outside these groups include collagraphy and viscosity printing, collagraphy is a printmaking technique in which textured material is adhered to the printing matrix. This texture is transferred to the paper during the printing process, Contemporary printmaking may include digital printing, photographic mediums, or a combination of digital, photographic, and traditional processes. Many of these techniques can also be combined, especially within the same family, for example, Rembrandts prints are usually referred to as etchings for convenience, but very often include work in engraving and drypoint as well, and sometimes have no etching at all. Woodcut, a type of print, is the earliest printmaking technique. It was probably first developed as a means of printing patterns on cloth, woodcuts of images on paper developed around 1400 in Japan, and slightly later in Europe. These are the two areas where woodcut has been most extensively used purely as a process for making images without text, the artist draws a design on a plank of wood, or on paper which is transferred to the wood
6.
Woodcut
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Woodcut is a relief printing technique in printmaking. An artist carves an image into the surface of a block of wood—typically with gouges—leaving the printing parts level with the surface while removing the non-printing parts. Areas that the artist cuts away carry no ink, while characters or images at surface level carry the ink to produce the print, the block is cut along the wood grain. The surface is covered with ink by rolling over the surface with a roller, leaving ink upon the flat surface. Multiple colors can be printed by keying the paper to a frame around the woodblocks, single-leaf woodcut is a term for a woodcut presented as a single image or print, as opposed to a book illustration. Among these the best known are the 16th century Hieronymus Andreae, Hans Lützelburger and Jost de Negker, all of whom ran workshops, the formschneider in turn handed the block on to specialist printers. There were further specialists who made the blank blocks and this is why woodcuts are sometimes described by museums or books as designed by rather than by an artist, but most authorities do not use this distinction. The division of labour had the advantage that a trained artist could adapt to the medium relatively easily, there were various methods of transferring the artists drawn design onto the block for the cutter to follow. Either the drawing would be made directly onto the block, or a drawing on paper was glued to the block, either way, the artists drawing was destroyed during the cutting process. Other methods were used, including tracing, in both Europe and the Far East in the early 20th century, some artists began to do the whole process themselves. In Japan, this movement was called sōsaku-hanga, as opposed to shin-hanga, in the West, many artists used the easier technique of linocut instead. Compared to intaglio techniques like etching and engraving, only low pressure is required to print, as a relief method, it is only necessary to ink the block and bring it into firm and even contact with the paper or cloth to achieve an acceptable print. In Europe a variety of woods including boxwood and several nut and fruit woods like pear or cherry were commonly used, in Japan, there are three methods of printing to consider, Stamping, Used for many fabrics and most early European woodcuts. Used for European woodcuts and block-books later in the fifteenth century, also used for many Western woodcuts from about 1910 to the present. The block goes face up on a table, with the paper or fabric on top, the back is rubbed with a hard pad, a flat piece of wood, a burnisher, or a leather frotton. A traditional Japanese tool used for this is called a baren, later in Japan, complex wooden mechanisms were used to help hold the woodblock perfectly still and to apply proper pressure in the printing process. This was especially helpful once multiple colors were introduced and had to be applied with precision atop previous ink layers, printing in a press, presses only seem to have been used in Asia in relatively recent times. Printing-presses were used from about 1480 for European prints and block-books, simple weighted presses may have been used in Europe before the print-press, but firm evidence is lacking
7.
Martin Schongauer
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Martin Schongauer, also known as Martin Schön or Hübsch Martin by his contemporaries, was an Alsatian engraver and painter. He was the most important printmaker north of the Alps before Albrecht Dürer, Schongauer was born in about 1440 in Colmar, Alsace, probably the third of the four sons of Caspar Schongauer, a goldsmith from Augsburg who taught his son the art of engraving. Colmar is now in France but was part of the Holy Roman Empire. He may well have trained by Master E. S. The art historian A. Hyatt Mayor saw both their styles in different parts of a single engraving, and all the works with Schongauers M†S monogram show a fully developed style. Schongauer established at Colmar a very important school of engraving, out of which grew the Little Masters of the generation. Only a few of his paintings survive, the most notable of them being the Madonna in the Rose Garden, painted for St Martins Church, Colmar. The Musée d´Unterlinden in Colmar possesses eleven panels by him or his workshop, the miniature painting of the Death of the Virgin in the National Gallery, London is probably the work of a pupil. The main work of Schongauers life was the production of a number of beautiful engravings, which were largely sold, not only in Germany. Vasari says that Michelangelo copied one of his engravings, in the Trial of Saint Anthony and his style shows no trace of Italian influence, but a very clear and organised Gothic. His subjects are mainly religious, but include comic scenes of life such as the Peasant family going to market or the Two apprentices fighting. One hundred and sixteen engravings are generally recognised as by his hand, many of his pupils plates as well as his own are signed, M†S, as are many copies probably by artists with no connection to him. Among the most renowned of Schongauers engravings are the series of the Passion and the Death and Coronation of the Virgin, all are remarkable for their miniature-like treatment, their brilliant touch, and their chromatic force. Some, such as the Death of the Virgin and the Adoration of the Magi are richly-filled compositions of many figures and he also developed a burin technique producing deeper lines on the plate, which meant that more impressions could be taken before the plate became worn. The British Museum and other major print rooms possess fine collections of Schongauers prints, influencia de Martin Schongauer en los primitivos aragoneses, Boletin del Museo e Instituto Camon Aznar’, vol. xvii, pp. 15–39. Attribution This article incorporates text from a now in the public domain, Chisholm, Hugh, ed. Schongauer
8.
Colmar
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Colmar is the third-largest commune of the Alsace region in north-eastern France. It is the seat of the prefecture of the Haut-Rhin department, the town is situated on the Alsatian Wine Route and considers itself to be the capital of Alsatian wine. The city is renowned for its old town, its numerous architectural landmarks and its museums. Colmar was founded in the 9th century, and is mentioned as Columbarium Fiscum by the monk Notker Balbulus in a text dated 823 and this was the location where the Carolingian Emperor Charles the Fat held a diet in 884. Colmar was granted the status of an imperial city by Emperor Frederick II in 1226. In 1354 it joined the Décapole city league, during the Thirty Years War, it was taken by the Swedish army in 1632, who held it for two years. In 1635 the citys harvest was spoiled by Imperialist forces while the shot at them from the walls. The city was conquered by France under King Louis XIV in 1673, with the rest of Alsace, Colmar was annexed by the newly formed German Empire in 1871 as a result of the Franco-Prussian War and incorporated into the Alsace-Lorraine province. The Colmar Treasure, a hoard of precious objects hidden by Jews during the Black Death, was discovered here in 1863, Colmar is 64 kilometres south-southwest of Strasbourg, at 48. 08°N,7. 36°E, on the Lauch River, a tributary of the Ill. It is located directly to the east of the Vosges Mountains, in 2013, the city had a population of 67,956 and the metropolitan area of Colmar had a population of 126,957 in 2009. Colmar is the center of the arrondissement of Colmar-Ribeauvillé, which had 199,182 inhabitants in 2013, Colmar has a sunny microclimate and is one of the driest cities in France, with an annual precipitation of just 607 mm, making it ideal for Alsace wine. It is considered the capital of the Alsatian wine region, mostly spared from the destructions of the French Revolution and the wars of 1870–1871, 1914–1918 and 1939–1945, the cityscape of old-town Colmar is homogenous and renowned among tourists. An area that is crossed by canals of the river Lauch is now called little Venice, Maison Adolph – 14th century Koifhus, also known as Ancienne Douane –1480 Maison Pfister –1537. Cour dAssises –1840 Théâtre municipal –1849 Marché couvert –1865, the citys covered market, built in stone, bricks and cast iron, still serves today. Préfecture –1866 Water tower –1886, oldest still preserved water tower in Alsace. Gare SNCF –1905 Cour dappel –1906 Église Saint-Martin – 1234–1365, the largest church of Colmar and one of the largest in Haut-Rhin. Displays some early stained glass windows, several Gothic and Renaissance sculptures and altars, the choir is surrounded by an ambulatory opening on a series of Gothic chapels, a unique feature in Alsatian churches. Now disaffected as a church, displays Martin Schongauers masterwork La Vierge au buisson de roses as well as 14th century stained glass windows, the adjacent convent buildings house a section of the municipal library
9.
Maximilian I, Holy Roman Emperor
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Maximilian I was King of the Romans from 1486 and Holy Roman Emperor from 1493 until his death, though he was never crowned by the Pope, as the journey to Rome was always too risky. He was the son of Frederick III, Holy Roman Emperor and he ruled jointly with his father for the last ten years of his fathers reign, from c.1483 to 1493. Charles father Philip died in 1506, so Charles succeeded Maximilian as Holy Roman Emperor in 1519, Maximilian was born at Wiener Neustadt on 22 March 1459. His father, Frederick III, Holy Roman Emperor, named him for an obscure saint whom Frederick believed had once warned him of imminent peril in a dream, in his infancy, he and his parents were besieged in Vienna by Albert of Austria. One source relates that, during the sieges bleakest days, the prince would wander about the castle garrison, begging the servants. The young prince was an excellent hunter, his hobby was the hunting for birds as a horse archer. The reigning duke of Burgundy, Charles the Bold, was the political opponent of Maximilians father Frederick III. After the Siege of Neuss, he was successful, the wedding between Maximilian and Mary took place on the evening of 16 August 1477. Maximilians wife had inherited the large Burgundian domains in France and the Low Countries upon her fathers death in the Battle of Nancy on 5 January 1477. Already before his coronation as the King of the Romans in 1486, Maximilian decided to secure this distant and extensive Burgundian inheritance to his family, the House of Habsburg, at all costs. Maximilian undertook the defence of his wifes dominions from an attack by Louis XI and defeated the French forces at Guinegate, the wedding contract between Maximilian and Mary stipulated that only the children of bride and groom had a right to inherit from each, not the surviving parent. Mary tried to bypass this rule with a promise to transfer territories as a gift in case of her death, but her plans were confounded. After Marys death in an accident on 27 March 1482 near the Wijnendale Castle, Maximilians aim was now to secure the inheritance to one of his and Marys children. Some of the Netherlander provinces were hostile to Maximilian, and they signed a treaty with Louis XI in 1482 that forced Maximilian to give up Franche-Comté and they openly rebelled twice in the period 1482–1492, attempting to regain the autonomy they had enjoined under Mary. Flemish rebels managed to capture Philip and even Maximilian himself, Maximilian continued to govern Marys remaining inheritance in the name of Philip the Handsome. After the regency ended, Maximilian and Charles VIII of France exchanged these two territories for Burgundy and Picardy in the Treaty of Senlis, thus a large part of the Netherlands stayed in the Habsburg patrimony. Maximilian was elected King of the Romans on 16 February 1486 in Frankfurt-am-Main at his fathers initiative and he became emperor of the Holy Roman Empire upon the death of his father in 1493. Much of Austria was under Hungarian rule when he took power, in 1490, Maximilian reconquered the territory and entered Vienna
10.
Jost de Negker
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Jost de Negker was a cutter of woodcuts and also a printer and publisher of prints during the early 16th century, mostly in Augsburg, Germany. He was a leading formschneider or blockcutter of his day, and he is closely tied to the evolution of the fine woodcut in Northern Europe. Born in Antwerp c.1485, he worked as a cutter in the Netherlands to 1508, when a print he cut by Lucas van Leyden was published. He probably moved in that year to Augsburg and worked for Maximilian I, Holy Roman Emperor on his print projects, as well as cutting blocks from designs by Hans Burgkmair the Elder and others. He was probably not used by Burgkmair in 1508 on his first chiaroscuro woodcut, for precise cutting was essential to align the multiple blocks. Negker still seems to have been the co-ordinator of the side of the projects, though Albrecht Dürer brought in his own man. Giulia Bartrum says that the Imperial commissions enabled the block-cutter and printer Jost de Negker to raise the status of his profession to a high level. Negkers edition of this was published in 1544, and is his last known work, the cutters of most single-leaf woodcuts produced at the period are unknown, as they were usually only credited on the printed piece if they also acted as publisher, or at least printer. If the original block has survived these may be marked or signed, as they normally were in the case of Maximilians projects, with books there is more evidence, from title-pages. He is attributed with the cutting of the German chiaroscuro woodcut with the largest number of different colour blocks, a seven-block coat of arms by Hans Weiditz used as a book frontispiece. Jost de Negkers business was continued until at least the mid 1560s by his son David de Negker, another son, Samson, also cut blocks. Gert von der Osten & Horst Vey Painting and Sculpture in Germany, woods, Kim, Making Renaissance Art, Renaissance Art Reconsidered, Yale University Press,2007, ISBN 0-300-12189-X, ISBN 978-0-300-12189-6
11.
Coat of arms
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A coat of arms is an heraldic visual design on an escutcheon, surcoat, or tabard. The coat of arms on an escutcheon forms the central element of the heraldic achievement which in its whole consists of shield, supporters, crest. A coat of arms is traditionally unique to a person, family, state. The ancient Romans used similar insignia on their shields, but these identified military units rather than individuals, the first evidence of medieval coats of arms has been attributed to the 11th century Bayeux Tapestry in which some of the combatants carry shields painted with crosses. However, that heraldic interpretation remains controversial, coats of arms came into general use by feudal lords and knights in battle in the 12th century. By the 13th century, arms had spread beyond their initial battlefield use to become a flag or emblem for families in the social classes of Europe. Exactly who had a right to use arms, by law or social convention, in the German-speaking regions both the aristocracy and burghers used arms, while in most of the rest of Europe they were limited to the aristocracy. The use of spread to the clergy, to towns as civic identifiers. Flags developed from coats of arms, and the arts of vexillology, the coats of arms granted to commercial companies are a major source of the modern logo. Despite no widespread regulation, heraldry has remained consistent across Europe, some nations, like England and Scotland, still maintain the same heraldic authorities which have traditionally granted and regulated arms for centuries and continue to do so in the present day. In England, for example, the granting of arms is and has controlled by the College of Arms. Unlike seals and other emblems, heraldic achievements have a formal description called a blazon. Many societies exist that also aid in the design and registration of personal arms, in the heraldic traditions of England and Scotland, an individual, rather than a family, had a coat of arms. In those traditions coats of arms are legal property transmitted from father to son, wives, undifferenced arms are used only by one person at any given time. Other descendants of the bearer could bear the ancestral arms only with some difference. One such charge is the label, which in British usage is now always the mark of an apparent or an heir presumptive. Because of their importance in identification, particularly in seals on legal documents and this has been carried out by heralds and the study of coats of arms is therefore called heraldry. In time, the use of arms spread from military entities to educational institutes, the author Helen Stuart argues that some coats of arms were a form of corporate logo
12.
Swabian League
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The League held regular meetings, supported tribunals and maintained a unified force of 12,000 infantrymen and 1200 cavalry. On 14 February 1488 a new Swabian League was formed, at the Reichstag of Esslingen, not only of 22 Imperial cities but also of the Swabian knights League of St. Georges Shield, bishops, and princes. The league was governed by a council of three colleges of princes, cities, and knights calling upon an army of 13,000 men. It aided in the rescue of the future emperor Maximilian I, son of Emperor Frederick III, held prisoner in the Low Countries, and later was his main support in southern Germany. In 1519, the League conquered Württemberg and sold it to Charles V after its duke Ulrich seized the Free Imperial City of Reutlingen during the interregnum that followed the death of Maximilian I. The religious revolution of the Protestant Reformation divided its members, and it helped to suppress the Peasants Revolt in 1524–26 and defeat an alliance of robber barons in the Franconian War. The Reformation caused the league to be disbanded in 1534, attribution This article incorporates text from a publication now in the public domain, Alfred Bradley Gough
13.
Saint George's Cross
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Saint Georges Cross, also called Cross of Saint George, is a red cross on a white background. Sometimes associated with Saint George, the saint, often depicted as a crusader from the late Middle Ages, the cross has appeared on many flags, emblems, standards. Its first documented use was as the ensign of the Republic of Genoa, the cross is also found, for various reasons, on the provincial flags of Huesca, Zaragoza, and Teruel and Barcelona. In Northern Ireland the cross appears on the flag of the loyalist paramilitary group the Ulster Volunteer Force, Saint George became widely venerated as a warrior saint during the Third Crusade. There was a legend that he had miraculously assisted Godfrey of Bouillon, however, there was no association of the red cross with St George before the end of the crusades. The red-on-white combination was chosen by Genoa and Aragon, among others, Saint George was depicted as a crusader knight during this time, but the red cross had no particular association with him. A crusader-era fresco in the crypt of Trani cathedral shows Saint George wearing a cross on a red surcoat. It continued to be used as the Reichssturmfahne of the Holy Roman Empire, eventually giving rise to the flag of Savoy and the present-day flags of Switzerland and Denmark). The association with the Saint of the red-on-white cross probably arises in Genoa, a vexillum beati Georgii is mentioned in the Genovese annals for the year 1198, referring to a red flag with a depiction of St George and the dragon. An illumination of this flag is shown in the annals for the year 1227, the Genoese flag with the red cross was used alongside this Georges flag, from at least 1218, and was known as the insignia cruxata comunis Janue. The flag showing the saint himself was the principal war flag. The cross ceased to be a symbol associated with the taking of the cross. With the development of heraldry, there was great demand for variations of the cross symbol. Juliana Berners reports that there were Crossis innumerabull born dayli, the term St Georges cross was at first associated with any plain Greek cross touching the edges of the field. Thomas Fuller in 1647 spoke of the plain or St Georges cross as the mother of all the others. Edward III of England chose Saint George as the saint of his Order of the Garter in 1348. There was a tradition claiming that Richard the Lionheart himself adopted both the flag and the patron saint from Genoa at some point during his crusade. This idea can be traced to the Victorian era, Perrin refers to it as a common belief, the English Monarch paid an annual tribute to the Doge of Genoa for this privilege
14.
Putto
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A putto is a figure in a work of art depicted as a chubby male child, usually naked and sometimes winged. However, in the Baroque period of art, the putto came to represent the omnipresence of God, a putto representing a cupid is also called an amorino. The more commonly found form putti is the plural of the Italian word putto, the Italian word comes from the Latin word putus, meaning boy or child. Today, in Italian, putto means either toddler winged angel or, rarely, toddler boy. It may have derived from the same Indo-European root as the Sanskrit word putra, Avestan puθra-, Old Persian puça-, Pahlavi pus and pusar, all meaning son. Putti, in the ancient classical world of art, were winged infants that were believed to influence human lives. Putti are a motif found primarily on child sarcophagi of the 2nd century. Since then, Donatello has been called the originator of the putto because of the contribution to art he made in restoring the form of putto. He gave putto a distinct character by infusing the form with Christian meanings, putti also began to feature in works showing figures from classical mythology, which became popular in the same period. Most Renaissance putti are essentially decorative and they ornament both religious and secular works, without taking any actual part in the events depicted in narrative paintings. There are two forms of the putto as the main subject of a work of art in 16th-century Italian Renaissance art, the sleeping putto. So many artists have depicted them that a list would be pointless, but among the best-known are the sculptor Donatello, the two relaxed and curious putti who appear at the foot of Raphaels Sistine Madonna are often reproduced. They also experienced a revival in the 19th century, where they gamboled through paintings by French academic painters. The iconography of putti is deliberately unfixed, so that it is difficult to tell the difference between putti, cupids, and various forms of angels and they have no unique, immediately identifiable attributes, so that putti may have many meanings and roles in the context of art. In popular culture, putto is also used as a decorative art found on buildings, gardens, a putto smoking a cigarette served as the cover art for Van Halens album 1984. A putto is the protagonist of the 2000 third person shooter Messiah, in the British TV series Doctor Who, infants of the species Weeping Angels appear as putti. In the 1st-person shooter Team Fortress 2, the Meet the Pyro video has the BLU Team appear as putti in Pyroland, in the 2003 video game Drakengard, a group of malevolent god-like figures known as the Watchers appear as putti. The historiography of this matter is very short
15.
Baldung
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Hans Baldung Grien or Grün was a German artist in painting and printmaking who was considered the most gifted student of Albrecht Dürer. Throughout his lifetime, Baldung developed a style, full of color. His talents were varied, and he produced a great and extensive variety of work including portraits, woodcuts, altarpieces, drawings, tapestries, allegories, Hans Baldung was born in Swabia, Germany around the year 1484 to a family of intellectuals, academics and professionals. His father was a lawyer and his uncle was a doctor, in fact, Baldung was the first male in his family not to attend university but was one of the first German artists to come from an academic family. His earliest training as an artist began around 1500 in the Upper Rhineland by an artist from Strasbourg, beginning in 1503, Baldung was an apprentice for the most well renowned German artist of the day, Albrecht Dürer. Here, he may have given his nickname “Grien. ”This name is thought to have come foremost from a preference to the color green. He probably also got this nickname to distinguish him from at least two other Hans’ in Dürers shop, Hans Schäufelein and Hans Suess von Kulmbach. He later included the name Grien in his monogram, and it has also suggested that the name came from, or consciously echoed, grienhals. Hans quickly picked up Dürers influence and style, and they became good friends, in his later trip to the Netherlands in 1521 Dürers diary shows that he took with him and sold prints by Baldung. On Dürers death Baldung was sent a lock of his hair, near the end of his apprenticeship, Grien oversaw the production of stained glass, woodcuts and engravings, and therefore developed an affinity for them. In 1509, when Baldung’s apprenticeship was complete, he moved back to Strasbourg and he became a celebrity of the town, and received many important commissions. The following year he married Margarethe Herlin, joined the guild zur Steltz, opened a workshop and his style also became much more deliberately individual—a tendency some art historians have termed mannerist. In addition to religious subjects, Baldung was concerned during these years with the profane theme of the imminence of death and with scenes of sorcery. He helped introduce supernatural and erotic themes into German art, although these were already present in his masters work. Most famously, he depicted witches, also a local interest, Strasbourgs humanists studied witchcraft and his most characteristic paintings are small in scale, a series of puzzling, often erotic allegories and mythological works. The number of Hans Baldungs religious works diminished with the Protestant Reformation, but earlier, around the same time that he produced Adam and Eve, the artist became interested in themes related to death, the supernatural, witchcraft, sorcery, and the relation between the sexes. Baldung’s fascination with witchcraft lasted to the end of his career, Hans Baldung Griens work depicting witches was produced in the first half of the 16th century, before witch hunting became a widespread cultural phenomenon in Europe. Thus Baldungs work did not represent cultural beliefs at the time of creation, Baldung was the first artist to heavily incorporate witches and witchcraft into his artwork
16.
Lucas Cranach the Elder
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Lucas Cranach the Elder was a German Renaissance painter and printmaker in woodcut and engraving. He also painted religious subjects, first in the Catholic tradition and he continued throughout his career to paint nude subjects drawn from mythology and religion. He had a workshop and many works exist in different versions, his son Lucas Cranach the Younger. Lucas Cranach the Elder has been considered the most successful German artist of his time and he was born at Kronach in upper Franconia, probably in 1472. His exact date of birth is unknown and he learned the art of drawing from his father Hans Maler. His mother, with surname Hübner, died in 1491, later, the name of his birthplace was used for his surname, another custom of the times. How Cranach was trained is not known, but it was probably with local south German masters, as with his contemporary Matthias Grünewald, there are also suggestions that Cranach spent some time in Vienna around 1500. According to Gunderam Cranach demonstrated his talents as a painter before the close of the 15th century and his work then drew the attention of Duke Friedrich III, Elector of Saxony, known as Frederick the Wise, who attached Cranach to his court in 1504. Cranach was to remain in the service of the Elector and his successors for the rest of his life, Cranach married Barbara Brengbier, the daughter of a burgher of Gotha and also born there, she died at Wittenberg on 26 December 1540. Cranach later owned a house at Gotha, but most likely he got to know Barbara near Wittenberg, where her family owned a house. The first evidence of Cranachs skill as an artist comes in a picture dated 1504, in 1509 Cranach went to the Netherlands, and painted the Emperor Maximilian and the boy who afterwards became Emperor Charles V. Until 1508 Cranach signed his works with his initials, in that year the elector gave him the winged snake as an emblem, or Kleinod, which superseded the initials on his pictures after that date. Cranach was the painter to the electors of Saxony in Wittenberg. His patrons were powerful supporters of Martin Luther, and Cranach used his art as a symbol of the new faith, Cranach made numerous portraits of Luther, and provided woodcut illustrations for Luthers German translation of the Bible. Somewhat later the duke conferred on him the monopoly of the sale of medicines at Wittenberg, Cranachs presses were used by Martin Luther. His apothecary shop was open for centuries, and was only lost by fire in 1871, Cranach, like his patron, was friendly with the Protestant Reformers at a very early stage, yet it is difficult to fix the time of his first meeting with Martin Luther. The oldest reference to Cranach in Luthers correspondence dates from 1520, in a letter written from Worms in 1521, Luther calls him his gossip, warmly alluding to his Gevatterin, the artists wife. He was also godfather to their first child, Johannes Hans Luther, in 1530 Luther lived at the citadel of Veste Coburg under the protection of the Duke of Saxe-Coburg and his room is preserved there along with a painting of him
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Engraving
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Engraving is the practice of incising a design onto a hard, usually flat surface by cutting grooves into it. Wood engraving is a form of printing and is not covered in this article. Engraving was an important method of producing images on paper in artistic printmaking, in mapmaking. Other terms often used for printed engravings are copper engraving, copper-plate engraving or line engraving, hand engraving is a term sometimes used for engraving objects other than printing plates, to inscribe or decorate jewellery, firearms, trophies, knives and other fine metal goods. Traditional engravings in printmaking are also engraved, using just the same techniques to make the lines in the plate. Each graver is different and has its own use, engravers use a hardened steel tool called a burin, or graver, to cut the design into the surface, most traditionally a copper plate. Modern professional engravers can engrave with a resolution of up to 40 lines per mm in high grade work creating game scenes, dies used in mass production of molded parts are sometimes hand engraved to add special touches or certain information such as part numbers. In addition to engraving, there are engraving machines that require less human finesse and are not directly controlled by hand. They are usually used for lettering, using a pantographic system, there are versions for the insides of rings and also the outsides of larger pieces. Such machines are used for inscriptions on rings, lockets. Gravers come in a variety of shapes and sizes that yield different line types, the burin produces a unique and recognizable quality of line that is characterized by its steady, deliberate appearance and clean edges. The angle tint tool has a curved tip that is commonly used in printmaking. Florentine liners are flat-bottomed tools with multiple lines incised into them, ring gravers are made with particular shapes that are used by jewelry engravers in order to cut inscriptions inside rings. Flat gravers are used for work on letters, as well as wriggle cuts on most musical instrument engraving work, remove background. Knife gravers are for line engraving and very deep cuts, round gravers, and flat gravers with a radius, are commonly used on silver to create bright cuts, as well as other hard-to-cut metals such as nickel and steel. Square or V-point gravers are typically square or elongated diamond-shaped and used for cutting straight lines, V-point can be anywhere from 60 to 130 degrees, depending on purpose and effect. These gravers have very small cutting points, other tools such as mezzotint rockers, roulets and burnishers are used for texturing effects. Burnishing tools can also be used for stone setting techniques
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Munich
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Munich is the capital and largest city of the German state of Bavaria, on the banks of River Isar north of the Bavarian Alps. Munich is the third largest city in Germany, after Berlin and Hamburg, the Munich Metropolitan Region is home to 5.8 million people. According to the Globalization and World Rankings Research Institute Munich is considered an alpha-world city, the name of the city is derived from the Old/Middle High German term Munichen, meaning by the monks. It derives from the monks of the Benedictine order who ran a monastery at the place that was later to become the Old Town of Munich, Munich was first mentioned in 1158. From 1255 the city was seat of the Bavarian Dukes, black and gold—the colours of the Holy Roman Empire—have been the citys official colours since the time of Ludwig the Bavarian, when it was an imperial residence. Following a final reunification of the Wittelsbachian Duchy of Bavaria, previously divided and sub-divided for more than 200 years, like wide parts of the Holy Roman Empire, the area recovered slowly economically. In 1918, during the German Revolution, the house of Wittelsbach, which governed Bavaria since 1180, was forced to abdicate in Munich. In the 1920s, Munich became home to political factions, among them the NSDAP. During World War II, Munich was heavily bombed and more than 50% of the entire city, the postwar period was characterised by American occupation until 1949 and a strong increase of population and economic power during the years of the Wirtschaftswunder after 1949. The city is home to corporations like BMW, Siemens, MAN, Linde, Allianz and MunichRE as well as many small. Munich is home to national and international authorities, major universities, major museums. Its numerous architectural attractions, international events, exhibitions and conferences. Munich is one of the most prosperous and fastest growing cities in Germany and it is a top-ranked destination for migration and expatriate location, despite being the municipality with the highest density of population in Germany. Munich nowadays hosts more than 530,000 people of foreign background, the year 1158 is assumed to be the foundation date, which is the earliest date the city is mentioned in a document. The document was signed in Augsburg, by that time the Guelph Henry the Lion, Duke of Saxony and Bavaria, had built a bridge over the river Isar next to a settlement of Benedictine monks—this was on the Old Salt Route and a toll bridge. In 1175, Munich was officially granted city status and received fortification, in 1180, with the trial of Henry the Lion, Otto I Wittelsbach became Duke of Bavaria and Munich was handed over to the Bishop of Freising. In 1240, Munich was transferred to Otto II Wittelsbach and in 1255, Duke Louis IV, a native of Munich, was elected German king in 1314 and crowned as Holy Roman Emperor in 1328. He strengthened the position by granting it the salt monopoly
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Vienna
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Vienna is the capital and largest city of Austria and one of the nine states of Austria. Vienna is Austrias primary city, with a population of about 1.8 million, and its cultural, economic and it is the 7th-largest city by population within city limits in the European Union. Today, it has the second largest number of German speakers after Berlin, Vienna is host to many major international organizations, including the United Nations and OPEC. The city is located in the part of Austria and is close to the borders of the Czech Republic, Slovakia. These regions work together in a European Centrope border region, along with nearby Bratislava, Vienna forms a metropolitan region with 3 million inhabitants. In 2001, the city centre was designated a UNESCO World Heritage Site, apart from being regarded as the City of Music because of its musical legacy, Vienna is also said to be The City of Dreams because it was home to the worlds first psycho-analyst – Sigmund Freud. The citys roots lie in early Celtic and Roman settlements that transformed into a Medieval and Baroque city and it is well known for having played an essential role as a leading European music centre, from the great age of Viennese Classicism through the early part of the 20th century. The historic centre of Vienna is rich in architectural ensembles, including Baroque castles and gardens, Vienna is known for its high quality of life. In a 2005 study of 127 world cities, the Economist Intelligence Unit ranked the city first for the worlds most liveable cities, between 2011 and 2015, Vienna was ranked second, behind Melbourne, Australia. Monocles 2015 Quality of Life Survey ranked Vienna second on a list of the top 25 cities in the world to make a base within, the UN-Habitat has classified Vienna as being the most prosperous city in the world in 2012/2013. Vienna regularly hosts urban planning conferences and is used as a case study by urban planners. Between 2005 and 2010, Vienna was the worlds number-one destination for international congresses and it attracts over 3.7 million tourists a year. The English name Vienna is borrowed from the homonymous Italian version of the name or the French Vienne. The etymology of the name is still subject to scholarly dispute. Some claim that the name comes from Vedunia, meaning forest stream, which produced the Old High German Uuenia. A variant of this Celtic name could be preserved in the Czech and Slovak names of the city, the name of the city in Hungarian, Serbo-Croatian and Ottoman Turkish has a different, probably Slavonic origin, and originally referred to an Avar fort in the area. Slovene-speakers call the city Dunaj, which in other Central European Slavic languages means the Danube River, evidence has been found of continuous habitation since 500 BC, when the site of Vienna on the Danube River was settled by the Celts. In 15 BC, the Romans fortified the city they called Vindobona to guard the empire against Germanic tribes to the north
20.
Frederick III, Holy Roman Emperor
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Frederick III, called the Peaceful or the Fat, was Holy Roman Emperor from 1452 until his death, the first emperor of the House of Habsburg. He was the emperor to be crowned by the Pope. Prior to his coronation, he was duke of the Inner Austrian lands of Styria, Carinthia and Carniola from 1424. He was elected and crowned King of Germany in 1440 and he was the longest-reigning German monarch when in 1493, after ruling his domains for more than 53 years, he was succeeded by his son Maximilian I. During his reign, Frederick concentrated on re-uniting the Habsburg hereditary lands of Austria, nevertheless, by his dynastic entitlement to Hungary as well as by the Burgundian inheritance, he laid the foundations for the later Habsburg Empire. Mocked as Arch-Sleepyhead of the Holy Roman Empire during his lifetime, according to the 1379 Treaty of Neuberg, the Leopoldinian branch ruled over the duchies of Styria, Carinthia and Carniola, or what was referred to as Inner Austria. Only three of Fredericks eight siblings survived childhood, his younger brother Albert, and his sisters Margaret and Catherine. In 1424, nine-year-old Fredericks father died, making Frederick the duke of Inner Austria, as Frederick V, with his uncle, Duke Frederick IV of Tyrol, from 1431, Frederick tried to obtain majority but for several years was denied by his relatives. Finally, in 1435, Albert V, duke of Austria, almost from the beginning, Fredericks younger brother Albert asserted his rights as a co-ruler, as the beginning of a long rivalry. Already in these years, Frederick had begun to use the symbolic A. E. I. O. U, signature as a kind of motto with various meanings. In 1436 he made a pilgrimage to the Holy Land, accompanied by numerous nobles knighted by the Order of the Holy Sepulchre, upon the death of his uncle Duke Frederick IV in 1439, Frederick took over the regency of Tyrol and Further Austria for the dukes heir Sigismund. Again he had to ward off the claims raised by his brother Albert VI, likewise he acted as regent for his nephew Ladislaus the Posthumous, son of late King Albert II and his consort Elizabeth of Luxembourg, in the duchy of Austria. Frederick was now the head of the Habsburg dynasty, though his regency in the lands of the Albertinian Line was still viewed with suspicion. In 1442, Frederick allied himself with Rudolf Stüssi, burgomaster of Zurich, against the Old Swiss Confederacy in the Old Zurich War but lost. In 1448, he entered into the Concordat of Vienna with the Holy See, as a cousin of late King Albert II, Frederick became a candidate for the imperial election. In 1452, at the age of 37, Frederick III travelled to Italy to receive his bride and his fiancée, the 18-year-old infanta Eleanor, daughter of King Edward of Portugal, landed at Livorno after a 104-day trip. Her dowry would help Frederick alleviate his debts and cement his power, the couple met at Siena on 24 February and proceeded together to Rome. As per tradition, they spent a night outside the walls of Rome before entering the city on 9 March, where Frederick and Pope Nicholas V exchanged friendly greetings
21.
Eleanor of Portugal, Holy Roman Empress
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Eleanor of Portugal was Empress of the Holy Roman Empire. She was the third eldest daughter, but her two sisters died when they were young, leaving Eleanor as the eldest surviving daughter. When her father died five days before her birthday, Eleanors brother Afonso V succeeded him as king with her mother as regent. The following March, her mother gave birth to daughter, Joan. In 1440, Eleanors mother was forced to go into exile in Castile after losing litigation against her brother-in-law Peter, Duke of Coimbra and she left Eleanor behind, because she was ill at the time. Eleanors marriage partner was likely suggested by her aunt Isabella of Portugal, arrangements were made by Eleanors maternal uncle Alfonso V, King of Aragon and Naples, who, in 1448, sent artists from his court to paint Eleanor. The practical negotiations were made in Naples and completed in 1451, during the sea travel, the fleet escorting Eleanor to Italy was tormented by pirates and storms, and there were rumours that she had been lost at sea. The marriage took place in Rome, upon her coronation, she was also given the name Helena, but she never used this name. The festivities was hosted by her uncle, the king of Naples, Eleanor and Frederick were dissimilar and never happy. She was an ambitious and willful woman who participated in intrigues, whereas the emperor was a sober. Her interest for dance, gambling and hunting was not shared by Frederick, during a period of siege in Vienna, when people were forced to eat rats, cats and dogs, she was known for trying to cheer people up. Her dowry was used by her husband to alleviate his financial problems, Frederick III was the last Holy Roman Emperor to be crowned in Rome. Sigrid-Maria Größing, AEIOU - Glück und Unglück im österreichischen Kaiserhaus, Verlag Amalthea, ISBN 978-3-85002-633-8
22.
Alte Pinakothek
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The Alte Pinakothek is an art museum located in the Kunstareal area in Munich, Germany. It is one of the oldest galleries in the world and houses one of the most famous collections of Old Master paintings, the name Alte Pinakothek refers to the time period covered by the collection—from the fourteenth to the eighteenth century. The Neue Pinakothek covers nineteenth-century art, and the recently opened Pinakothek der Moderne exhibits modern art, all three galleries are part of the Bavarian State Picture Collection, an organization of the Free state of Bavaria. King Ludwig I of Bavaria ordered Leo von Klenze to erect a new building for the gallery for the Wittelsbach collection in 1826, even the neo-renaissance exterior of the Pinakothek clearly stands out from the castle-like museum type usual in the early 19th Century. It is closely associated with the function and structure of the building as a museum, the museum galleries were designed to display Rubenss Last Judgment, one of the largest canvasses ever painted. The museum building was damaged by bombing in World War II but was reconstructed and reopened to the public in the late 1950s. The ornate, pre-war interior including the large loggia facing the south façade in the floor were not restored. A new wall covering was created in 2008 for the rooms on the floor of the Alte Pinakothek with a woven. The new color scheme of green and red draws on the design of the rooms, Elector Maximilian I commissioned in 1616 four hunt paintings from Peter Paul Rubens and acquired many other paintings, especially the work of Albrecht Dürer. He even obtained The Four Apostles in the year 1627 due to pressure on the Nuremberg city fathers, a few years later however 21 paintings were confiscated and moved to Sweden during the occupation of Munich in the Thirty Years war. Maximilians grandson Maximilian II Emanuel purchased a number of Dutch. Under Max Emanuels successors, the purchases were discontinued due to the tight budget. Also Max Emanuels cousin Johann Wilhelm, Elector Palatine collected Netherlandish paintings and he ordered from Peter Paul Rubens the The Big Last Judgment and received Raphaels Canigiani Holy Family as a dowry of his wife. Charles Theodore, Elector of Bavaria had a preference for Netherlandish paintings as well. By the late 18th century a number of the paintings were already displayed in Schleissheim Palace. Even though 72 paintings including The Battle of Alexander at Issus were taken to Paris in 1800 by the armies of Napoleon I. The Louvre held it until 1804, when Napoleon declared himself Emperor of France, when the Prussians captured the Château de Saint-Cloud in 1814 as part of the War of the Sixth Coalition, they supposedly found the painting hanging in Napoleons bathroom. Most of the paintings have not been returned, with the secularisation many paintings from churches and former monasteries entered into state hands
23.
German Renaissance
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Many areas of the arts and sciences were influenced, notably by the spread of Renaissance humanism to the various German states and principalities. There were many advances made in the fields of architecture, the arts, Germany produced two developments that were to dominate the 16th century all over Europe, printing and the Protestant Reformation. One of the most important German humanists was Konrad Celtis, Celtis studied at Cologne and Heidelberg, and later travelled throughout Italy collecting Latin and Greek manuscripts. Heavily influenced by Tacitus, he used the Germania to introduce German history, eventually he devoted his time to poetry, in which he praised Germany in Latin. Another important figure was Johann Reuchlin who studied in various places in Italy and he studied the Hebrew language, aiming to purify Christianity, but encountering resistance from the church. The most significant German Renaissance artist is Albrecht Dürer especially known for his printmaking in woodcut and engraving, which spread all over Europe, drawings, important architecture of this period includes the Landshut Residence, Heidelberg Castle and the Town Hall in Augsburg. The Renaissance was largely driven by the renewed interest in classical learning, at the beginning of the 16th century, Germany was one of the most prosperous countries in Europe despite a relatively low level of urbanization compared to Italy or the Netherlands. It benefited from the wealth of certain sectors such as metallurgy, mining, banking, more importantly, book-printing developed in Germany, and German printers dominated the new book-trade in most other countries until well into the 16th century. Dürer worked on the most extravagantly illustrated book of the period, after completing his apprenticeship in 1490, Dürer travelled in Germany for four years, and Italy for a few months, before establishing his own workshop in Nuremberg. He rapidly became famous all over Europe for his energetic and balanced woodcuts and engravings, Dürer supported Martin Luther but continued to create Madonnas and other Catholic imagery, and paint portraits of leaders on both sides of the emerging split of the Protestant Reformation. Dürer died in 1528, before it was clear that the split of the Reformation had become permanent, most leading German artists became Protestants, but this deprived them of painting most religious works, previously the mainstay of artists revenue. Cranach, apart from portraits, developed a format of thin vertical portraits of provocative nudes, the Danube School is the name of a circle of artists of the first third of the 16th century in Bavaria and Austria, including Albrecht Altdorfer, Wolf Huber and Augustin Hirschvogel. With Altdorfer in the lead, the school produced the first examples of independent landscape art in the West and their religious paintings had an expressionist style somewhat similar to Grünewalds. Dürers pupils Hans Burgkmair and Hans Baldung Grien worked largely in prints, Hans Holbein the Elder and his brother Sigismund Holbein painted religious works in the late Gothic style. Hans the Elder was a pioneer and leader in the transformation of German art from the Gothic to the Renaissance style and his son, Hans Holbein the Younger was an important painter of portraits and a few religious works, working mainly in England and Switzerland. The next significant German artists worked in the artificial style of Northern Mannerism. In Catholic parts of South Germany the Gothic tradition of wood carving continued to flourish until the end of the 18th century, Renaissance Architecture in Germany was inspired first by German philosophers and artists such as Albrecht Dürer and Johannes Reuchlin who visited Italy. A particular form of Renaissance architecture in Germany is the Weser Renaissance, with prominent examples such as the City Hall of Bremen, in July 1567 the city council of Cologne approved a design in the Renaissance style by Wilhelm Vernukken for a two storied loggia for Cologne City Hall
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International Standard Book Number
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The International Standard Book Number is a unique numeric commercial book identifier. An ISBN is assigned to each edition and variation of a book, for example, an e-book, a paperback and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, the method of assigning an ISBN is nation-based and varies from country to country, often depending on how large the publishing industry is within a country. The initial ISBN configuration of recognition was generated in 1967 based upon the 9-digit Standard Book Numbering created in 1966, the 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108. Occasionally, a book may appear without a printed ISBN if it is printed privately or the author does not follow the usual ISBN procedure, however, this can be rectified later. Another identifier, the International Standard Serial Number, identifies periodical publications such as magazines, the ISBN configuration of recognition was generated in 1967 in the United Kingdom by David Whitaker and in 1968 in the US by Emery Koltay. The 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108, the United Kingdom continued to use the 9-digit SBN code until 1974. The ISO on-line facility only refers back to 1978, an SBN may be converted to an ISBN by prefixing the digit 0. For example, the edition of Mr. J. G. Reeder Returns, published by Hodder in 1965, has SBN340013818 -340 indicating the publisher,01381 their serial number. This can be converted to ISBN 0-340-01381-8, the check digit does not need to be re-calculated, since 1 January 2007, ISBNs have contained 13 digits, a format that is compatible with Bookland European Article Number EAN-13s. An ISBN is assigned to each edition and variation of a book, for example, an ebook, a paperback, and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, a 13-digit ISBN can be separated into its parts, and when this is done it is customary to separate the parts with hyphens or spaces. Separating the parts of a 10-digit ISBN is also done with either hyphens or spaces, figuring out how to correctly separate a given ISBN number is complicated, because most of the parts do not use a fixed number of digits. ISBN issuance is country-specific, in that ISBNs are issued by the ISBN registration agency that is responsible for country or territory regardless of the publication language. Some ISBN registration agencies are based in national libraries or within ministries of culture, in other cases, the ISBN registration service is provided by organisations such as bibliographic data providers that are not government funded. In Canada, ISBNs are issued at no cost with the purpose of encouraging Canadian culture. In the United Kingdom, United States, and some countries, where the service is provided by non-government-funded organisations. Australia, ISBNs are issued by the library services agency Thorpe-Bowker
This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). "Burgkmair, Hans". Encyclopædia Britannica. 4 (11th ed.). Cambridge University Press.
This article incorporates text from a publication now in the 
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