SCULPTURE AND PAINTING 199 and subject-matter, but rather the school of Cologne, which had already made a good start under Greek influence (possibly as early as the time of the Othos), and developed to a high degree of excellence after the fourteenth century. It was by ' Meister ' Wilhelm and ' Meister' Stephan Lochner, of Constance, that this school was brought up to its pinnacle of fame in 1451. Loch- ner's method of art was in vogue at Cologne up to the sixteenth centurv, and had a considerable number of distinguished followers. Among the many foreign artists who nocked to Cologne we may mention two particularly — Hans Mem- ling, about the year 1495, called ' the Dutch Hans,' whom some authors have falsely represented as of Flemish origin, but who was born in Franconia, and the Suabian, Martin Schongauer. In the oldest of Mem- ling's paintings the faces have a decidedly Rhenish character. The buildings have all the characteristics of Rhenish architecture, and the colouring is decidedly of the Cologne school — certainly not of that of Tan Eyck. Memling remained faithful to the Cologne method even long after he had migrated to Bruges, and had worked under Roger van der Weyden the elder (1464), the most gifted pupil of the two Van Eycks. The same was the case with Martin Schon- gauer. If we compare that loveliest creation of Stephen Lochner in the Cologne City Museum, ' The Madonna of the Rose Garden,' and his great picture, the so-called ' Cathedral Picture,' with Mending's renowned works in St. John's Hospital in Bruges and ' The Seven Joys of Mary' in the Munich Pinakothek, or with Schongauer's ' Madonna ' in the Church of St. Martin in Colmar, we
