counted as the last major luminary in the 16th-century
Nuremberg school of sculptors.
Schäufelein, Hans Leonhart (c. 1480–c. 1538) German
painter and illustrator
A pupil of DÜRERin his native Nuremberg, Schäufelein
clearly shows his master’s influence, especially in his early
work. He also worked for Hans HOLBEIN THE ELDERin
Augsburg for a while (c. 1509). In 1515 he became a citi-
zen of Nördlingen, his home until his death. His own
style, particularly suited to characterization and portrait
painting, was imaginative, sensitive, and tasteful. His
paintings include a number of altarpieces and paintings
for churches, such as the Dead Christ for Nuremberg
cathedral, and a fresco of the siege of Bethulia for Nördlin-
gen town hall. A gifted book illustrator, and one of the
most prolific of his time, he drew the designs for numer-
ous woodcuts and engravings, although he did not exe-
cute them himself. He provided many of the illustrations
for the allegorical poem Theuerdank (1517), an account of
Emperor Maximilian I’s journey to marry Mary of Bur-
gundy.
Scheiner, Christoph (1573–1650) German astronomer
A prominent Jesuit, Scheiner was appointed professor of
mathematics and Hebrew at Ingolstadt university in 1610.
He served later at the court of Maximilian I, Elector of
Bavaria, and in Rome from 1624 to 1633. In 1612, under
the pseudonym Apelles, he published the first account of
sunspots. The work led to a long and bitter controversy
with GALILEO. The issue was revived once more by
Scheiner in his privately printed Rosa ursina (1626–30)
and ended only with Galileo’s summons to Rome in 1632.
Scheiner himself, it was widely believed, was not uncon-
nected with the decision to prosecute his rival. One of the
engravings in Rosa ursina shows Scheiner’s invention of
the first equatorially mounted telescope, the heliotrope;
other illustrations include his important moon map and
his sunspot observations. Scheiner was also one of the first
scholars, in his Oculus hoc est: Fundamentum opticum
(1619), to identify the retina as the seat of vision.
schiacciato (stiacciato) A technique of marble carving in
a very low relief, evolved by DONATELLOand also practiced
in the Quattrocento by DESIDERIO DA SETTIGNANOand
AGOSTINO DI DUCCIO. Despite the shallowness of the carv-
ing, the sculptors’ understanding of perspective enabled
them to achieve effects of depth comparable to those pro-
duced by contemporary painters.
Schiavone, Andrea Meldolla (c. 1515–1563) Italian
painter
Born in Sebénico, Dalmatia, Schiavone was known as “the
Slavonian” on account of his origin. He settled in Venice,
where he produced a number of religious and mythologi-
cal scenes and may have been a pupil of PARMIGIANINO,
whose influence is apparent upon his engravings and
etchings. He combined this mannerist element with the
rich colors of TITIANin a style that was much admired
by TINTORETTOand imitated by him in his early works.
Schiavone also painted several secular subjects and por-
traits, including pictures of philosophers in the great hall
of the Bibliotheca MARCIANA, Venice.Schidone, Bartolommeo (c. 1570–1615) Italian painter
He was born at Modena, but little else is known about
Schidone’s life. He may have received his training under
the CARRACCIbrothers but his work bears little resem-
blance to theirs and indicates more the influences of COR-
REGGIOand CARAVAGGIO. He spent most of his life in
Parma, apart from the period 1602–06, when he worked
for the duke of Modena. His most important work in Mod-
ena was his series of emblematical figures in the Palazzo
Pubblico depicting the history of Coriolanus. Many of his
other paintings are in the museums of Parma and Naples.
His later works reveal the influence of baroque trends in
Rome. He is said to have been a gambler and to have died
in Parma after amassing in one night a huge debt that he
could not pay off.Schmalkaldic Articles (1537) A statement drawn up by
LUTHERat the request of John Frederick, elector of Saxony,
for submission to a council of the Church to be held at
Mantua. The first part, which was not controversial, dealt
with the Creeds; the second, concerning the office of
Christ, attacked the doctrine of the Mass and other Roman
teachings; the third was about differences between Prot-
estants in Eucharistic doctrine. An appendix by MEL-
ANCHTHON conceded the supremacy of the pope by
human right. The articles were approved by a convention
of theologians at Schmalkald, in Germany and, though
never formally adopted by the evangelical churches, they
were widely accepted.Schmalkaldic League An alliance of Protestants formed
in 1531 at Schmalkald, in Germany, against Emperor
CHARLES V. It united Lutherans and Zwinglians, north
German princes and southern cities, including Strasbourg.
It was ruined by the defection of Maurice of Saxony and
defeated by Charles at the battle of MÜHLBERGin 1547.
See also: PHILIP OF HESSEScholarius, George See GENNADIUSSchongauer, Martin (c. 1440–1491) German engraver
and painter
He was the son of Kaspar Schongauer, a goldsmith from
Augsburg who had settled in Colmar, where Martin was
born and spent most of his life. The only painting defi-
nitely attributed to him is the altarpiece for the church of44332 2 SScchhaaïï uuffeelleeiinn,, HHaannss LLeeoonnhhaarrtt