History of mediæval art . nd. less degree of dilettantism in treatment and subject being combinedwith Arabian, or rather Sicilian, methods and forms. It is doubtfulwhether the works of Germany in this branch ever equalled thoseproduced in the Netherlands after the Burgundian supremacy. Thedorsels were at times merely painted in tempera colors upon can-vas, while the hangings of the lower walls were imitated in muralpaintings. GERMANY. 683 The panel painting of Germany did not attain to a more exten-sive employment, and to a higher artistic importance, until a com-paratively late period. Even a
History of mediæval art . nd. less degree of dilettantism in treatment and subject being combinedwith Arabian, or rather Sicilian, methods and forms. It is doubtfulwhether the works of Germany in this branch ever equalled thoseproduced in the Netherlands after the Burgundian supremacy. Thedorsels were at times merely painted in tempera colors upon can-vas, while the hangings of the lower walls were imitated in muralpaintings. GERMANY. 683 The panel painting of Germany did not attain to a more exten-sive employment, and to a higher artistic importance, until a com-paratively late period. Even after the superfrontalia had becomeof greater prominence than the chalice shrines and the bases ofreliquaries, the ornaments of the altar were commonly sculptured,painted altar-pieces being rare in the Romanic epoch. The fewGerman panel paintings dating from the first half of the fourteenthcentury are extremely archaic, the figures being lean and ascetic:instance the earliest pictures of the school of Cologne, preserved in. Fig. 414.—Early Cologne Triptych. Museum of Cologne. the Richartz-Wallraf Museum of that city {Fig. 414). Although inthe positions and draperies some concessions were made to theideals of the Gothic style, they followed in the main Byzantine andRomanic types. Cyclical representations do not appear before themiddle of the fourteenth century, at which time the Emperor CharlesIV. established a school of panel painting in Prague. The employ-ment of Italian, French, and German artists side by side in the Bo-hemian capital naturally exercised great influence upon this branch ;still, it cannot be asserted that the combination of elements so dis- 684 PAINTING OF THE GOTHIC EPOCH. similar was altogether advantageous to the art of Prague. CharlesIV. did not succeed, like the Burgundian dukes, in attracting to hiscourt the best masters of the time; and, moreover, Tommaso daMutina and Nicolas of Strasburg seem to have devoted but littleattention to panel painting. The
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