numerous little Angels, whose wings have been shorn by the restorers, flutter about the gold ground. This picture, also, may be mentioned as an instance of the practice then so common, of combining painting with the more material art of sculpture. The figures of the saints each stand beneath a gilt Gothic niche, in high relief. The Flemish painters of the early period had this practice; but they subsequently went further, and depicted sculptured arches, pediments, and columns, with a patience and a finish which were truly wonderful.

A picture of the "Passion," now in the cathedral, may be cited amongst the feeblest efforts of the painters of this early period; but it has a claim to some attention, from the state to which it is reduced by time, exposing the mode in which these men prepared their panels and worked upon them.

Albert Dürer, in his diary, tells us :-"Item. I paid two silver pennies to have the picture opened, which master Stephen painted at Cologne." Stephen of Cologne is only known by this slight entry in the diary of Dürer. Wilhelm's talents were a familiar theme. The "Limburg Chronicle" describes him as the greatest painter of his time; and some authorities inform us that Wilhelm came from Herle, where he was born, and settled at Cologne in 1370. But of Stephen we know nothing, except that he painted that great altar-piece of the "Adoration of the Magi," now in the Dom of Cologne, and once the ornament of the chapel of the Rathhaus.

The subject of this picture is a proof that its author was employed by the municipality of the city. The altar1 Alb. Dürer, Reliquien, 12o. Nuremberg, 1828, p. 102.

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piece, when closed, exhibits only the "Annunciation.” When opened, it exposes an "Adoration of the Magi" in ' the centre, and the patron saints of the city on the wings. That on the right hand contains St. Gereon and his attendants; the left, St. Ursula and eleven virgins.

No styles were more divergent than those of Wilhelm and Stephen; and we cannot tell whether the latter followed the discipline of the former. But, whilst in Wilhelm we discover length and meagreness as special characters, a small, stout class of personages figures in the panels of Stephen. As the lofty pointed style of architecture, exhibited in the cathedral, contrasts with the low and Saxon build of St. Gereon's, so the pictures of the two great painters of Cologne contrast with one another. The parallel maintains itself in every detail. Whilst Wilhelm's heads were long and grave, those of Stephen were round and happy. Where the eyes of the first appear exaggerated in their obliqueness, those of the second seem to be immensely round. In every point the later painter showed a less noble though happier tone of mind. He painted the lips pouting and rosy-the eyebrows arched and thick-the figures obese and bandy; pointing their feet downwards, as if they trod on tiptoe. The fingers of the hands were also thick and dumpy. In one great feature we see the same result in the two painters. They both excelled in female portraiture. They both gave elegance to the female head; and Stephen was successful in twisting round the hair, and setting off the female heads with its assistance. The draperies of Stephen also were more studied and finished, and were not ungracefully modelled. As to colour, Stephen painted softly,

with much body, and with considerable smoothness and rounding of tints; but he was clear, like Wilhelm, and not more vigorous in the use of chiaro-'scuro. The finest group in the altar-piece is that of the "Kneeling King," and the "Virgin and Child." Indeed, the naked form of the latter is especially deserving of attention and admiration. The Virgin of the "Annunciation" is remarkable for natural movement and graceful action; but, like all the rest, the delineation wants vigour of outline and chiaro-'scuro. Certain marks which are found upon this altar-piece have been supposed by some to represent the date of 1410; by others a later time. The style of the picture is of the first half of the fifteenth century.

There were numerous imitators of the manner of Stephen, as there were of that of Wilhelm ; but all inferior to him. The only production of the master, besides the altar-piece of the Dom, is a small Madonna and Child, surrounded by numerous angels, in the Museum of Cologne, of which the draperies are peculiarly soft and pleasing. Of his imitators, a fair example is to be found in the "Last Judgment" of the same Collection.

Hitherto, we have observed the art on the Rhine original and peculiar to itself. The influence of Flemish art was not distinguishable till later. When Petrus Cristus came to Cologne, he found the school on the decline; he gave its painters some Flemish characteristics, whilst he himself assumed a few that were German. But Van der Weyden was the man whose style most tended to disturb the old traditions of the Rhenish School. We find no trace, indeed, of a direct substantial contact between the two; but a close observer will not fail to