History of mediæval art . s presented by those of Co-logne, referable to the second halfof the fourteenth century. The ad-vance in mural decoration, made inthe Rhenish provinces in the timeof Master William, was followed bya corresponding progress in panelpainting. Even early and immatureworks of this period {Fig. 415) differessentially from those of Dietrichof Prague, which are characterized by rawboned and heavy the close of the fourteenth century, however, the figuresbecame even more delicate, small, slender, and boneless, with narrowhips. Strong and masculine features were pr
History of mediæval art . s presented by those of Co-logne, referable to the second halfof the fourteenth century. The ad-vance in mural decoration, made inthe Rhenish provinces in the timeof Master William, was followed bya corresponding progress in panelpainting. Even early and immatureworks of this period {Fig. 415) differessentially from those of Dietrichof Prague, which are characterized by rawboned and heavy the close of the fourteenth century, however, the figuresbecame even more delicate, small, slender, and boneless, with narrowhips. Strong and masculine features were prevalent in the style ofBohemia; feminine and nun-like in that of Cologne. It was doubt-less the type of the patrician maiden, in the town of St. Ursula andher ten thousand virgins, which inspired the artists to paint headswith fair hair and large foreheads, with modest, half-closed eyes, deli-cate noses, and pretty lips; while the young men of refined societyserved as models for the almost puerile figures of such knightly. Fig. 415.—The Presentation in the Tem-ple. Panel Painting of Cologne, dat-ing from the middle of the FourteenthCentury. Museum of Cologne. GERMANY. 685 saints as Gereon and Maurice. With all its lack of strength, itsexaggeration, and even mannerism, this type of Cologne is scarcelyless attractive than is that which similarly appears in the art of master of delicate sentiment to whom the altar of St. Clara inthe Cathedral of Cologne is to be ascribed may be compared toDuccio; and there is an unmistakable resemblance between Simonedi Martino and the artist of St. Veronica, in the Pinakothek of Mu-nich, of the Madonna with the bean-blossom, in the Germanic Mu-seum of Nuremberg, and that of the Wallraf Museum of Cologne{Fig. 398), who has been identified, upon insufficient grounds, withthe Master William of the Chronicle of Limburg. This likenessdoes not extend to the coloring. The paintings of Cologne are innowise connected with mural decoration, bu
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