The Story of Nuremberg

by Cecil Headlam

Picture Gallery,

which, if not of great size or of first-rate importance, is eminently interesting to those who care to study the development of Nuremberg art. The pictures are unfortunately numbered and arranged in a somewhat eccentric fashion.

In the small room on the right, as we enter Room 71, are some early pictures which would seem to be the forerunners of the system of epitaphs which obtained so largely in the later Middle Ages. Besides these there are two Byzantine pictures.

The first two sections of Room 71 are taken up with some examples of the Rhenish and old Netherland School up to the end of the sixteenth century.

To Meister Wilhelm of Cologne is attributed the charming Madonna with the pea-blossom (No. 7). Of the same school are Nos. 9, 10, and 17.

Stephan Lockner, Nos. 11, 12, 13, 14, 15.

Rogier van der Weyden (copy), No. 20.

Hugo van der Goes. Cardinal Bourbon. No. 19.

The “Master of the Life of Mary.” Nos. 24, 25, 26.

Jan Scorel. Two portraits. Nos. 50, 51.