PAINTING. 123 
has been brought from the chapel of the city hall into the cathedral. This 
precious picture is said to have been completed in 1410. The central piece, 
83 feet high and 9 feet broad, represents the child Jesus sitting on the lap 
of the holy virgin, while before him the three wise men of the East are 
offering gold, frankincense, andmyrrh. On the two wing pieces are depicted 
the patron saints of the city, St. Ursula and St. Gereon with their attendants. 
The expression of the Virgin’s countenance, as she looks down upon the 
child, is serious and modest, soft and winning. She is designated by a 
crown and a halo of glory as queen of heaven. The child, which has an 
exceedingly intelligent expression of countenance, raises its hand in the 
attitude of benediction towards the old king who reverently regards it. 
The second king, who is represented in the prime of life, presents his gifts 
kneeling with an expression full of reverence and devotion; and the third, 
who is designated by his swarthier complexion and frizzled hair as a Moorish 
king, humbly lays his left hand on his breast, and presents his offerings 
with his right. The men composing the numerous train present a most 
charming group of faces. On the outer sides of the wings of the painting 
is depicted the Annunciation. Masters Wilhelm and Stephan left many 
pupils, and there still exists a considerable number of pictures by them. It 
is true that these pupils exhibit among their number no very distinguished 
painters, yet there were always very respectable artists among them who 
remained true to the national style and sentiment. A pious and fervent 
conception mostly of biblical subjects, a rich and juicy coloring, and an 
attractive unartificial mode of treatment characterize the painters of this 
school, especially in their smaller pictures. 
After Master Stephan there arose a later school of Cologne and also that 
of Calcar, on which however the influence of the Netherland school is per- 
ceptible. Two masters distinguished in this direction are the so-called 
Master of Calcar, by whom is the panel containing the Death of Mary 
preserved in the parish church of that place, and the Master of the Passion, 
a picture consisting of eight panels formerly in the possession of Mr. Lyvers- 
berg in Cologne. There are several other pictures by this latter master, 
whom Boisserée calls Israel of Meckenem, in Lintz, Sintzig, and other places. 
Besides these we must mention a third master of Cologne, whose pictures 
are often ascribed to Luke of Leyden. He is the painter of the St. Bartholo- 
mew on a panel in Munich, of a Descent from the Cross in Paris, and 
several other things. His mode of treatment is softer than that of Luke, 
his heads are mostly ideal, and the coloring and draperies of his pictures 
are admirable; but his figures, especially his hands, are faulty. 
The productions of the Cologne school, which often bear the closest 
resemblance to those of the Netherlands, are greatly surpassed in interest 
by the pictures of the Suabian and Westphalian schools, which truly and 
worthily represent the old German style of art, whose grand aim is the 
embodiment of ideal loveliness. Here belong Lucas Moser of Wil (1430), 
who painted the altar-panels in Tiefbronn near Pfortzheim; and likewise 
Martin Schongauer of Kalembach (Martin Schon or der Schéne Martin), 
whose works manifest an artistic tendency similar to that of Pietro Perugino, 
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