Fig. 42 gives a fine example of a miniature by an illuminator who must have been an actual pupil of the Van Eycks. It is taken from a fragment of a manuscript of the _Croniques de Jherusalem_, now in the Imperial library of Vienna (no. 2533). It represents Duke Baudouin (or Baldwin), who was crowned King of Jerusalem, in the guise of a fifteenth century German knight, under a graceful Gothic canopy of characteristically German style. The date of this sumptuous manuscript is about 1450. _Influence on painting generally._ As is remarked below with regard to Italian art, it is interesting to observe the strong influence that miniature painting in manuscripts had upon the larger pictures of Teutonic artists. In many cases the German and Flemish painters of altar-pieces were also illuminators of manuscripts, like Liberale of Verona and Girolamo dai libri, who are mentioned below, see page 197[169]. And even without this reason for similarity, it was not uncommon for the painter of a retable to borrow his composition and general decorative scheme from an illuminated manuscript by some skilful artist. Fig. 43 shows a good example of this, the central panel of a retable dated 1473, in the church of St Martin at Colmar, which is almost certainly the work of Martin Schoen or Schöngauer. _The Cologne School._ In the art of the Cologne School more especially, the relationship between the panel paintings and the miniature illuminations of manuscripts is very close, both in the general decorative schemes and also in the extreme minuteness and delicacy of the larger paintings. [Illustration: Fig. 43. Retable painted by Martin Schöngauer, in the style of a manuscript illumination.] [Illustration: Fig. 44. All altar-piece of the Cologne school, showing the influence of manuscript illumination on the painters of panel-pictures, especially retables.] _Retable at Cologne._ Fig. 44 shows a beautiful example of this, a small panel, now in the Archiepiscopal Museum at Cologne, representing the Virgin and Child seated on a flowery sward with a trellis covered with roses as a background, and lovely child-angels playing on musical instruments all round. The whole panel is a perfect gem of brilliantly decorative art of the purest and most perfect kind, quite free from the too pictorial realism which at this time, about 1460, was growing rapidly among the miniaturists of France and the Netherlands. Half a century later, in the early part of the sixteenth century, the same tendency to paint pictures like a magnified manuscript illumination is frequently to be observed. _Triptych by the elder Holbein._