History of mediæval art . rable to the year 1371, seems to be ofVenetian workmanship. Tommaso da Mutina was doubtless alsointrusted with monumental tasks, although the only authenticatedworks by his hand are panel paintings {Fig. 409). His influence isrecognizable in the Giottesque mural decorations of the Chapel of 68o PAINTING OF THE GOTHIC EPOCH. St. Catherine at Karlstein, and in those of the Cloister of IV., however, seems himself to have ascertained that hischoice was not altogether satisfactory, as he turned his attentionfrom Italy to Strasburg, in which town there flouris
History of mediæval art . rable to the year 1371, seems to be ofVenetian workmanship. Tommaso da Mutina was doubtless alsointrusted with monumental tasks, although the only authenticatedworks by his hand are panel paintings {Fig. 409). His influence isrecognizable in the Giottesque mural decorations of the Chapel of 68o PAINTING OF THE GOTHIC EPOCH. St. Catherine at Karlstein, and in those of the Cloister of IV., however, seems himself to have ascertained that hischoice was not altogether satisfactory, as he turned his attentionfrom Italy to Strasburg, in which town there flourished, until lateinto the fifteenth century, an eminently successful school of muralpainting. Thus Nicolaus, called Wurmser, of Strasburg, to whomthe paintings in the Church of the Virgin at Prague are, withoutdoubt, referable, entirely supplanted the influence of the GiottesqueItalian art in Bohemia. After the end of the fourteenth century mural paintings becamemore and more rare. The small number of the works of this kind. Fig. 412.—The Dance of Death. Scene from the Mural Paintings inthe Church of the Virgin, Berlin. which have been preserved, and the entire lack of contemporarydescription, render it impossible to judge of their artistic appears that in extent and style they corresponded to the panelpaintings of the period, from which they can have differed only ingreater rudeness and hastiness of execution. In those districtswhere brick architecture was universal the stuccoed surfaces of thewalls gave opportunity for more extensive representations in color,and even for cyclical scenes with many figures, such as the Danceof Death in the Church of the Virgin at Berlin {Fig. 412). As the demand for mural decoration decreased, that for stained GERMANY. 681 glass increased. Until the close of the thirteenth century Romanicfeatures were retained in this branch of art, especially in the orna-mental portions. The combination of those elements with othersderived from the w
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