Hulin de Loo, Georges: Early Flemish paintings in the Renders Collection at Bruges: exhibited at the Belgian Exhibition, Burlington House, January 1927 (London, 1927)

Rhine so altogether modeled and fashioned by its abbeys and
This appellation however is purely arbitrary. *——-r--r-
Well does the Limburg Chronicle of the year 1380 mention
a celebrated Meister Wilhelm who is said to have been a
famous painter working in Cologne; on the other hand the
accounts for the years between 1358 and 1372 record a
Meister Wilhelm von Herle, said to have received in 1370,
a remunerative salary for paintings executed in the new « Livre
des Metiers »; these works no longer exist, and it was only
after the death of Meister Wilhelm, which occurred about
1372 or 1373, that we see the flourishing of that characteristic
style so wholly impregnated with deep religious feeling, which
marked the beginnings of the Cologne School. On that account
therefore the author has been thought, latterly, to be a pupil
of Wilhelm von Herle, called Hermann Wynrich von Wesel,
who seems to have dominated the art of Cologne about 1390
and whose activity has been made known to us by documents
dating from 1378 to about 1413 or 1414.:--t-:-■:-
At present, however, in the absence of conclusive proofs,
it seems preferable to group under the vague name of the
Master of the « Saint Veronica », the whole of those paintings
among which the most characteristic are : a certain number
of wings representing scenes from the Childhood of Christ and
forming one of the parts of the altar of the Poor Clares (now
in the Cathedral at Cologne); the Madonna with the sweet pea-
flower of Nuremberg with Saint Catharine and Saint Barbara;
the wings of a similar Madonna in the Museum at Cologne;