Background: Migration Period art denotes the artwork of the Germanic peoples during the Migration period (ca. 300-900). It includes the Migration art of the Germanic tribes on the continent, as well the start of the Insular art or Hiberno-Saxon art of the Anglo-Saxon and Celtic fusion in the British Isles. It covers many different styles of art including the polychrome style and the animal style.
Context: In the 3rd century the Roman Empire almost collapsed and its army was becoming increasingly Germanic in make-up, so that in the 4th century when Huns pushed German tribes westward, they spilled across the Empire's borders and began to settle there. The Visigoths settled in Italy and then Spain, in the north the Franks settled into Gaul and western Germany, and in the 5th century Scandinavians such as the Angles, Saxons and Jutes invaded Britain. By the close of the 6th century the Western Roman Empire was almost completely replaced with smaller less politically organized, but vigorous, Germanic kingdoms. Although these kingdoms were never homogeneous, they shared certain common cultural features. They settled in their new lands and become farmers and fishermen. Archaeological evidence shows no tradition of monumental artwork, such as architecture or large sculpture in permanent materials, but a preference instead for "mobile" art for personal display, usually also with a practical function, such as weapons, horse harness, tools, and jewelry which fastened clothes. The surviving art of the Germanic peoples is almost entirely personal adornment, portable, and before conversion to Christianity was buried with its owner. Much art in organic materials has no doubt not survived. Three styles dominate Germanic art. The polychrome style originated with the Goths who had settled in the Black Sea area. The animal style was found in Scandinavia, north Germany and England. Finally there was Insular art or the Hiberno-Saxon style, a brief but prosperous period after Christianization that saw the fusion of animal style, Celtic, Mediterranean and other motifs and techniques.
Question: When did this become a diffrence
Answer: before conversion to Christianity was buried with its owner. Much art in organic materials has no doubt not survived.

Background: Hans Holbein the Younger (German: Hans Holbein der Jungere) (c. 1497 - between 7 October and 29 November 1543) was a German artist and printmaker who worked in a Northern Renaissance style. He is best known as one of the greatest portraitists of the 16th century. He also produced religious art, satire and Reformation propaganda, and made a significant contribution to the history of book design.
Context: Throughout his life, Holbein designed for both large-scale decorative works such as murals and smaller objects, including plate and jewellery. In many cases, his designs, or copies of them, are the sole evidence for such works. For example, his murals for the Hertenstein House in Lucerne and for the House of the Dance in Basel are known only through his designs. As his career progressed, he added Italian Renaissance motifs to his Gothic vocabulary. Many of the intricate designs etched into suits of Greenwich armour, including King Henry's own personal tournament harnesses, were based on designs by Holbein. His style continued to influence the unique form of English armour for nearly half a century after his death. Holbein's cartoon for part of the dynastic Tudor wall painting at Whitehall reveals how he prepared for a large mural. It was made of 25 pieces of paper, each figure cut out and pasted onto the background. Many of Holbein's designs for glass painting, metalwork, jewellery, and weapons also survive. All demonstrate the precision and fluidity of his draughtsmanship. In the view of art historian Susan Foister, "These qualities so animate his decorative designs, whether individual motifs, such as his favoured serpentine mermen and women, or the larger shapes of cups, frames, and fountains, that they scintillate on paper even before their transformation into precious metal and stone". Holbein's way of designing objects was to sketch preliminary ideas and then draw successive versions with increasing precision. His final draft was a presentation version. He often used traditional patterns for ornamental details such as foliage and branches. When designing precious objects, Holbein worked closely with craftsmen such as goldsmiths. His design work, suggests art historian John North, "gave him an unparalleled feel for the textures of materials of all kinds, and it also gave him the habit of relating physical accessories to face and personality in his portraiture". Although little is known of Holbein's workshop, scholars assume that his drawings were partly intended as sources for his assistants.
Question: Was there something distinctive about his designs?
Answer: Holbein's way of designing objects was to sketch preliminary ideas and then draw successive versions with increasing precision.

Background: The Algonquins are indigenous inhabitants of North America who speak the Algonquin language, a divergent dialect of the Ojibwe language, which is part of the Algonquian language family. Culturally and linguistically, they are closely related to the Odawa and Ojibwe, with whom they form the larger Anicinape (Anishinaabe) grouping. The Algonquin people call themselves Omamiwinini (plural: Omamiwininiwak) or the more generalised name of Anicinape. Though known by several names in the past, the most common term "Algonquin" has been suggested to derive from the Maliseet word elakomkwik (IPA: [elae'gomogwik]): "they are our relatives/allies".
Context: The Algonquin first met Europeans when Samuel de Champlain came upon a party led by the Kitcisipirini Chief Tessouat at Tadoussac, in eastern present-day Quebec, in the summer of 1603. They were celebrating a recent victory over the Iroquois, with the allied Montagnais and Etechemins (Malecite). Champlain did not understand that the Algonquins were socially united by a strong totem/clan system rather than the European-styled political concept of nationhood. The several Algonquin bands each had its own chief. Within each band, the chief depended on political approval from each of the band's clan leaders. Champlain needed to cultivate relationships with numerous chiefs and clan leaders. From 1603, some of the Algonquin allied with the French under Champlain. This alliance proved useful to the Algonquin, who previously had little to no access to European firearms. Champlain made his first exploration of the Ottawa River during May 1613 and reached the fortified Kitcisipirini village at Morrison Island. Unlike the other Algonquin communities, the Kitcisipiriniwak did not change location with the seasons. They had chosen a strategic point astride the trade route between the Great Lakes and the St. Lawrence River. They prospered through the collection of beaver pelts from native traders passing through their territory. They also were proud of their corn fields. At first, the French used the term "Algonquin" only for a second group, the Wawackeciriniwak. However, by 1615, they applied the name to all of the Algonquin bands living along the Ottawa River. Because of keen interest by tribes to gain control of the lower Ottawa River, the Kitcisipiriniwak and the Wawackeciriniwak came under fierce opposition. These two large groups allied together, under the leadership of Sachem Charles Parcharini, to maintain the Omamiwinini identity and territory.
Question: What else should I know about this period?
Answer:
Champlain made his first exploration of the Ottawa River during May 1613 and reached the fortified Kitcisipirini village at Morrison Island.