History of mediæval art . have been paintedbefore the middle of the thirteenth century. It may be assumed that mural paintings were prevalent, espe-cially in the choir, not only during the period when the walls werewithout architectural memberment, but also in later buildings ofsimpler plan. Traces of painting have been found not alone inthe larger churches, as in the Upper Minster at Ratisbon, and at GERMANY. 405 Lambach in Austria, but even in the smallest village churchesof Germany. They are particularly frequent in the buildings ofWestphalia, as at Methler, Ohle, Werdohl, Plettenberg, Hues
History of mediæval art . have been paintedbefore the middle of the thirteenth century. It may be assumed that mural paintings were prevalent, espe-cially in the choir, not only during the period when the walls werewithout architectural memberment, but also in later buildings ofsimpler plan. Traces of painting have been found not alone inthe larger churches, as in the Upper Minster at Ratisbon, and at GERMANY. 405 Lambach in Austria, but even in the smallest village churchesof Germany. They are particularly frequent in the buildings ofWestphalia, as at Methler, Ohle, Werdohl, Plettenberg, Huesten,Heggen, Froendenberg, Opherdicke, Castrop, Ahlen, and Senden-burg, but they occur also in other places, as, for instance, at Per-schen and Keferloh in Bavaria. Even fewer of the paintings upon the panels of the horizontalwooden ceilings in the basilicas have been preserved. As the ma-terial of these ceilings was less durable than that of the walls it wasnecessary to renew them more frequently, and in later times they. Fig. 249.—Adam and Eve. Painting upon the Ceiling of St. Michael in Hildesheim. were generally replaced by vaulted constructions. The most impor-tant and best preserved work of the kind, the ceiling of St. Michaelin Hildesheim, is of comparatively recent date, having been paintedin 1186. The pictures upon it represent the genealogy of Christ,and are so disposed that the central panels are filled by the principalgroups: Adam and Eve under the Tree of Knowledge {Fig. 249),Jesse sleeping and the four kings of his line, and Christ with theVirgin. In the smaller spaces upon each side are representationsof the Evangelists, of the Rivers of Paradise, etc., while the wholeis surrounded by medallions containing breast-pieces of the Holy 406 PAINTING OF THE ROMANIC EPOCH. companionship. It cannot be denied that these paintings, in com-position and drawing, are decidedly superior to the conventionalworks of Byzantine art, and at times display a truth to nature, andeve
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