Original sentence: "The Martyrdom of St Sebastian and the Epiphany" (Berlin Museum), fruits of his labour in 1507, were painted for the market-church of Halle in Saxony.At a later period he had sittings from Margrave Christopher of Baden, Ottilia his wife, and all their children, and the picture containing these portraits is still in the grand-ducal gallery at Karlsruhe.He drew the likeness of Charles V, as well as that of Maximilian; and his bust of Margrave Philip in the Munich Gallery tells us that he was connected with the reigning family of Baden, as early as 1514.He was present at the diet of Augsburg in 1518, and one of his woodcuts represents Luther in quasi-saintly guise, under the protection of (or being inspired d by) the Holy Spirit, which hovers over him in the shape of a dove.Like Dürer and Cranach, Baldung supported the Reformation.Unconventional as a draughtsman, his treatment of human form is often exaggerated and eccentric (hence his linkage, in the art historical literature, with European "Mannerism"), whilst his ornamental style--profuse, eclectic, and akin to the self-consciously "German" strain of contemporary limewood sculptors--is equally distinctive
Edited sentence: "The Martyrdom of St Sebastian and the Epiphany" (now Berlin, 1507), were painted for the market-church of Halle in Saxony.At a later period he had sittings with Margrave Christopher of Baden, Ottilia his wife, and all their children, and the picture containing these portraits is still in the gallery at Karlsruhe.He drew Charles V, as well as Maximilian; and his bust of Margrave Philip in the Munich Gallery tells us that he was connected with the reigning family of Baden as early as 1514.He was present at the diet of Augsburg in 1518, and one of his woodcuts represents Luther in quasi-saintly guise, under the protection of (or being inspired by) the Holy Spirit, which hovers over him in the shape of a dove.Like Dürer and Cranach, Baldung supported the Protestant Reformation.Unconventional as a draughtsman, his treatment of human form is often exaggerated and eccentric (hence his linkage, in the art historical literature, with European Mannerism), whilst his ornamental style - profuse, eclectic, and akin to the self-consciously "German" strain of contemporary limewood sculptors - is equally distinctive