DOI Page / Citation link:
https://doi.org/10.11588/diglit.22424#0238
224
THE PEIJSTCE CONSORT'S COLLECTION. Letter IV.
guislied painter, to fill the office of Councillor among his brethren
of the same guild. The Cathedral picture, therefore, being the
same as was formerly in the chapel of the Town House, there is
no doubt that the Master Stephen mentioned by Albert Durer is
the painter of the same, and identical with Stephen Lothener. We
thus also arrive at the knowledge that this picture was painted
towards 1450, and not, as has been generally supposed, in 1410.*
23. The Master of the Lieversberg Passion (flourished in
Cologne, 1466-70).—The Presentation in the Temple. Full-length
figures. On wood. 3 ft. 7 in. by 2 ft. 9| in. The companion to
this picture, representing the Marriage of the Virgin, exists in the
Royal Gallery at Munich. Researches in Meek en en, a small town
in Westphalia, have proved that no painter of the name of Israel
van Meckenen, originally given to this picture, ever existed, but
that the well-known goldsmith and engraver Israel van Meckeln is
alone traceable there. The name, therefore, of Israel van Meck-
enen as the painter of this picture and of many others, as given by
the Roissere'es, is perfectly untenable. Most of the pictures by
this master having been discovered in Cologne, or in the adjacent
country, for instance in the church of Linz on the Rhine, he is
generally assumed to have been a Cologne painter, who introduced
there the realistic feeling of the Van Eyck school, and flourished
about 1460-70, which is evident from inscribed pictures. As his
principal work, the Passion, in eight compartments, was formerly
in the possession of the late M. Lieversberg of Cologne, he is
usually designated as above. The picture here belongs to his best
works.
24. Portrait of a lady of the name of Hoferin. (The name
being inscribed at the top of the picture.) On wood. 1 ft. 9 in.
by 1 ft. 3^ in. Animatedly conceived, and very carefully exe-
cuted. Portraits by German painters of the 15th century are
rare.
Lower Rhenish School.
26. Virgin and Child. Half-length figures. On fine linen.
1 ft. 2J in. by 10^- in. The very round forms indicate the Lower
Rhenish school, while the whole conception and the style of the
gold ground show the marked influence of the old Dutch school.
* See notice of M. Merlo's work, by Sotzmann, in the Kunstblatt of 1853, p. 31.
THE PEIJSTCE CONSORT'S COLLECTION. Letter IV.
guislied painter, to fill the office of Councillor among his brethren
of the same guild. The Cathedral picture, therefore, being the
same as was formerly in the chapel of the Town House, there is
no doubt that the Master Stephen mentioned by Albert Durer is
the painter of the same, and identical with Stephen Lothener. We
thus also arrive at the knowledge that this picture was painted
towards 1450, and not, as has been generally supposed, in 1410.*
23. The Master of the Lieversberg Passion (flourished in
Cologne, 1466-70).—The Presentation in the Temple. Full-length
figures. On wood. 3 ft. 7 in. by 2 ft. 9| in. The companion to
this picture, representing the Marriage of the Virgin, exists in the
Royal Gallery at Munich. Researches in Meek en en, a small town
in Westphalia, have proved that no painter of the name of Israel
van Meckenen, originally given to this picture, ever existed, but
that the well-known goldsmith and engraver Israel van Meckeln is
alone traceable there. The name, therefore, of Israel van Meck-
enen as the painter of this picture and of many others, as given by
the Roissere'es, is perfectly untenable. Most of the pictures by
this master having been discovered in Cologne, or in the adjacent
country, for instance in the church of Linz on the Rhine, he is
generally assumed to have been a Cologne painter, who introduced
there the realistic feeling of the Van Eyck school, and flourished
about 1460-70, which is evident from inscribed pictures. As his
principal work, the Passion, in eight compartments, was formerly
in the possession of the late M. Lieversberg of Cologne, he is
usually designated as above. The picture here belongs to his best
works.
24. Portrait of a lady of the name of Hoferin. (The name
being inscribed at the top of the picture.) On wood. 1 ft. 9 in.
by 1 ft. 3^ in. Animatedly conceived, and very carefully exe-
cuted. Portraits by German painters of the 15th century are
rare.
Lower Rhenish School.
26. Virgin and Child. Half-length figures. On fine linen.
1 ft. 2J in. by 10^- in. The very round forms indicate the Lower
Rhenish school, while the whole conception and the style of the
gold ground show the marked influence of the old Dutch school.
* See notice of M. Merlo's work, by Sotzmann, in the Kunstblatt of 1853, p. 31.