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442 Painting in Augsburg. of Members of the Barber-Surgeons Guild, in the Barber- Surgeons' Hall, London ; a portrait of Lady Vaux at Hampton Court ; that of a Young Man wearing a black dress and cap, at Windsor Castle ; and last, but not least, the portrait of the Duchess of Milan, painted by command of Henry VIII., and now the property of the Duke of Norfolk. It is at present (1881) on loan in the National Gallery. The master's style may also be studied in the fine collection of drawings and engravings in the British Museum and the magnificent collection of portrait studies in red chalk at Windsor Castle. Holbein's symbolic scenes are especially remarkable for their keen irony, and their bitter satire on the follies of his age ; they express a sad and mournful realization of the power of evil, with a steadfast faith in the final triumph of good which redeems them from coarseness, and stamps them with the religious significance wanting to the works of the inferior men who copied his manner without catching his spirit. We must here name as artists of the Swabian school in the sixteenth century, Sigismund Holbein (ab. 1465 — 1540), uncle of the master noticed above, to whom is ascribed a Portrait of a Lady, in our National Gallery ; Christoph Amberger (ab. 1490 — 1563); Nicolaus Manuel, called Deutsch (ab. 1484 — 1530); Martin Schaffner (fl. ab. 1499 — 1535); and, above all, Hans Burckmair (1473 — 1531), a master of considerable genius and varied power, whose best works are in the Augsburg Gallery, but whose peculiar characteristics may be studied in an Adoration of the Shepherds in the Royal collection, Windsor.