History of mediæval art . rebuild- * E. Forster, Denkmale der deutschen Malerei. Leipzig, 1855-1869.— Merlo, DieMeister der altkolnischen Malerschule. Koln, 1852.—L. A. Schreiber, Die hervorragend-sten anonymen Meister und Werke der Kolner Malerschule von 1460 bis 1500. Bonn,1880.—E. ausm Weerth, Wandmalereien des Mittelalters in den Rheinlanden. Leipzig,no date.—C. Schnaase, Geschichte der bildenden Kunste im Mittelalter. Second edition,Vols. IV. and VI.—A. Woltmann und A. Woermann, Geschichte der Malerei. Leipzig,1879, 1880. GERMANY. 677 ing, or by whitewashing the walls, or through wilf
History of mediæval art . rebuild- * E. Forster, Denkmale der deutschen Malerei. Leipzig, 1855-1869.— Merlo, DieMeister der altkolnischen Malerschule. Koln, 1852.—L. A. Schreiber, Die hervorragend-sten anonymen Meister und Werke der Kolner Malerschule von 1460 bis 1500. Bonn,1880.—E. ausm Weerth, Wandmalereien des Mittelalters in den Rheinlanden. Leipzig,no date.—C. Schnaase, Geschichte der bildenden Kunste im Mittelalter. Second edition,Vols. IV. and VI.—A. Woltmann und A. Woermann, Geschichte der Malerei. Leipzig,1879, 1880. GERMANY. 677 ing, or by whitewashing the walls, or through wilful destruction andthe effects of time. The series of kings in the choir of the Churchof Brauweiler on the Rhine, and the paintings of Rebdorf in Bava-ria, now transferred in thirteen panels to the National Museum ofMunich, suffice, nevertheless, to show the continuance of Romanicmethods. In the fourteenth century two widely different conceptions pre-vailed. In the Rhenish countries there was a style unmistakably. Fig. 410.—Wall Painting of the Church of the German Knights at Ramersdorf. derived from French miniature and glass paintings. This is evidentin the decoration of the walls and ceiling of the Church of theGerman Knights at Ramersdorf {Fig. 410), which, by the removalof the church to the cemetery of Bonn, have unfortunately beendestroyed, and are only known through the excellent publicationof E. ausm Weerth. It appears also in churches on the UpperRhine and Western Switzerland, at Gebweiler, Rosenweiler, andWeissenburg in Alsace, in the crypt of the Minster of Basle, graceful attitudes, the long and flowing draperies, the senti- 678 PAINTING OF THE GOTHIC EPOCH. mental inclination of the heads, and the somewhat affected expres-sion, clearly betray the influence of France. This style of paintingwas most successfully practised in Cologne, where legendary repre-sentations from the lives of St. Peter and Pope Sylvester have beenpreserved on the choir scr
Size: 1849px × 1351px
Photo credit: © The Reading Room / Alamy / Afripics
License: Licensed
Model Released: No
Keywords: ., bookcentury1800, bookdecade1890, bookpublishernewyorkharperbros
