DOI Page / Citation link:
https://doi.org/10.11588/diglit.62134#0102
94
AN ART-STUDENT IN MUNICH.
of paintings sold at auctions as make-weights, with “ lots”
of old iron and other rubbish ; and of paintings burnt for
fuel. But upon nearer inspection these proved to be
generally pictures of but little value, and of a much more
modern date. The real old pictures were mostly still hang-
ing in the dusky cloisters, or were concealed in garrets and
vaults. A legend of their great intrinsic value lived yet in
the popular mind, keeping them sacred, although the very
existence of such works was forgotten by the virtuosi of the
last century.
Several pictures of value also had been purchased by two
art-lovers at Cologne, the Canon Walraff and the Merchant
Lieversberg. But the glory of preserving and rescuing
the greater number and the most valuable of the treasures
was reserved for the Boisserees. We are told that one day
meeting a hand-barrow hi the streets of Cologne among a
heap of lumber, the brothers discovered one of the gems
they were in search of; this they purchased, and it be-
came the nucleus of the gallery now bearing the brothers’
name.
'Wolfram of Eschenbacb, one of the latest of the Minne-
sanger, sang, in the 13th century, in his romance of “Par-
cival,” of the glory of certain wonderful painters of Cologne.
Old chroniclers told of certain wonderful painters, Master
Stephen and Master Wilhelm of Cologne: what now re-
mained of their works—who knew more of them except a
legendary renown? Yet even the works of these old
masters were brought to light through faith, and love, and
zeal. Strange old pictures they are with their gold grounds,
revealing the fact that German as well as Italian art springs
from Byzantine origin, and that Germany has had her
Cimabues and Giottos.
Picture after picture thus came forth from its dusky nook
—Madonnas, saints, martyrs, burning in rainbow tints upon
AN ART-STUDENT IN MUNICH.
of paintings sold at auctions as make-weights, with “ lots”
of old iron and other rubbish ; and of paintings burnt for
fuel. But upon nearer inspection these proved to be
generally pictures of but little value, and of a much more
modern date. The real old pictures were mostly still hang-
ing in the dusky cloisters, or were concealed in garrets and
vaults. A legend of their great intrinsic value lived yet in
the popular mind, keeping them sacred, although the very
existence of such works was forgotten by the virtuosi of the
last century.
Several pictures of value also had been purchased by two
art-lovers at Cologne, the Canon Walraff and the Merchant
Lieversberg. But the glory of preserving and rescuing
the greater number and the most valuable of the treasures
was reserved for the Boisserees. We are told that one day
meeting a hand-barrow hi the streets of Cologne among a
heap of lumber, the brothers discovered one of the gems
they were in search of; this they purchased, and it be-
came the nucleus of the gallery now bearing the brothers’
name.
'Wolfram of Eschenbacb, one of the latest of the Minne-
sanger, sang, in the 13th century, in his romance of “Par-
cival,” of the glory of certain wonderful painters of Cologne.
Old chroniclers told of certain wonderful painters, Master
Stephen and Master Wilhelm of Cologne: what now re-
mained of their works—who knew more of them except a
legendary renown? Yet even the works of these old
masters were brought to light through faith, and love, and
zeal. Strange old pictures they are with their gold grounds,
revealing the fact that German as well as Italian art springs
from Byzantine origin, and that Germany has had her
Cimabues and Giottos.
Picture after picture thus came forth from its dusky nook
—Madonnas, saints, martyrs, burning in rainbow tints upon