uliarities of type and temperament.
In Germany, even in the early days, though Christianity was the theme
of early illuminations, miniatures, and the like, and though there was
a traditional form reaching back to Italy and Byzantium, yet under it
was the Teutonic type--the material, awkward, rather coarse Germanic
point of view. The wish to realize native surroundings was apparent
from the beginning.

It is probable that the earliest painting in Germany took the form of
illuminations. At what date it first appeared is unknown. In
wall-painting a poor quality of work was executed in the churches as
early as the ninth century, and probably earlier. The oldest now
extant are those at Oberzell, dating back to the last part of the
tenth century. Better examples are seen in the Lower Church of
Schwarzrheindorf, of the twelfth century, and still better in the
choir and transept of the Brunswick cathedral, ascribed to the early
thirteenth century.

[Illustration: FIG. 87.--LOCHNER. STS. JOHN, CATHERINE, AND MATTHEW.
NAT. GAL. LONDON.]

All of these works have an archaic appearance about them, but they
are better in composition and drawing than the productions of Italy
and Byzantium at that time. It is likely that all the German churches
at this time were decorated, but most of the paintings have been
destroyed. The usual method was to cover the walls and wooden ceilings
with blue grounds, and upon these to place figures surrounded by
architectural ornaments. Stained glass was also used extensively.
Panel painting seems to have come into existence before the thirteenth
century (whether developed from miniature or wall-painting is
unknown), and was used for altar decorations. The panels were done in
tempera with figures in light colors upon gold grounds. The
spirituality of the age with a mingling of northern sentiment appeared
in the figure. This figure was at times graceful, and again awkward
and archaic, according to the place of production and the influence of
either France or Italy. The oldest panels extant are from the
Wiesenkirche at Soest, now in the Berlin Museum. They do not date
before the thirteenth century.

FOURTEENTH AND FIFTEENTH CENTURIES: In the fourteenth century the
influence of France began to show strongly in willowy figures, long
flowing draperies, and sentimental poses. The artists along the Rhine
showed this more than those in the provinces to the east, where a
ruder if freer art appeared. The best