PAINTING. 119 
_ France has also its school of higher genre and historical painting; in 
which, besides the great historical painter Delaroche, Horace Vernet, 
Robert, Schnetz, Decamps, and Lessore have obtained a distinction emi- 
nently surpassing that of any earlier master. 
4. Germany. The first beginnings of German painting have perished 
with the buildings that contained them. We have specimens of them, 
however, in the meniature paintings or tlluminations of the old manu- 
scripts; for while the splendid edifices of Charlemagne have long ago 
fallen into undistinguishable ruins, the books which were written for 
him and adorned with paintings, are still preserved almost uninjured in 
Treves, Bamberg, and Munich. One of the oldest genuine German illumi- 
nated manuscripts is a missal in the Bamberg library, which dates from the 
10th century and contains twenty pictures representing sacred subjects 
distributed through the 223 leaves of text. These pictures exhibit coarse and 
uncertain outlines; while their bright and broken colors show that they 
are the offspring of ancient art. So too an evangelistary of the same period 
and in the same library exhibits some very interesting and peculiarly dis- 
posed symbolical paintings. The pictures, which present a very rude 
appearance, have violet and brick colored flesh, and are very feeble in 
design ; but the ornaments still manifest an adherence to ancient tradition. 
Another manuscript in the Bamberg library, once the property of empress 
Kunigunde, contains sixty-one illustrations of the Revelation of St. John, 
which are very weak in invention. This MS. is of the 10th century, and 
exhibits as yet but little Byzantine influence; the execution is artless, and is 
little more than a mere laying on of colors without light and shade. The 
flesh parts are pale and brownish: the other colors bright but broken. 
The illuminations of the Tristan manuscript in the library at Munich, which 
dates from the first half of the 13th century, have still more the character 
of mere outlines ; they lack that attempt at pictorial effect which is observed 
in the Belgian and French works of the same period. The miniatures of 
the 14th and 15th century begin to exhibit the influence of the Cologne 
school of painting; and in the 16th century Sebald Beham and Hans 
Glockendon distinguished themselves as miniature painters. 
Next to miniature-painting in importance as illustrating the history of 
art in the middle ages, is the art of painting on glass. It is a purely Ger- 
man invention; and its first traces appeared in the 10th century, when a 
‘certain Count Arnold presented the Bavarian convent of Tegernsee with 
painted windows, and when Theophilus Presbyter made known rules for 
painting on glass. Probably then the origin of the art was in Bavaria: 
an abbot Wernher of Tegernsee, who lived at the close of the 10th or at 
the beginning of the 11th century, is mentioned as the first glass-painter, 
-and to German masters the rest of Europe is indebted for this art. 
At first glass-painting was, properly speaking, a kind of mosaic: for the 
‘stained glass was colored in the mass and the only color laid on was black, 
-with which the outlines of the features, the folds of the garments, &c., were 
delineated. Afterwards the glass used was white with a colored coating 
and the colors laid on were blue, green, and occasionally yellow. Glass- 
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