Excerpt from Handbook of Painting, Vol. 1 of 2: German, Flemish, and Dutch Schools
Thirteen years have elapsed Dr. Waagen wrote the new edition of 'Kugler,' of which the present is a revised and corrected impression. Dr. Waagen at that time explained his reasons for rejecting a great part of Kugler's work, stating that he had enlarged the text in respect of the later Dutch and Flemish schools, and extended his critical notices to artists who were at once painters and engravers. A minute account of the sources open to the historical inquirer in relation to art in Germany and the Low Countries concluded this portion of the learned Doctor's preface.
Art criticism has done a great deal since 1860 to increase our knowledge of the lives of painters, and much that was then acceptable as historical and true is now looked upon as fabulous or doubtful. I may venture to affirm that no one at the present day would attempt to class Dierick Bouts, or Cristus, or Justus amongst the pupils of Hubert van Eyck; nor would it occur to any person to admit the existence of Roger vander Weyden the younger, or to acknowledge as productions of the last Holbein such works as are found to date before 1515. This classification and these statements we find in Dr. Waagen's text; and in citing them as proofs of the necessity for revising that text, I do not by any means exhaust the subject.
An attentive reader will observe that I discard Dr. Waagen's theory of a Teutonic School, whilst I endeavour to throw new light on the origin of painting in the Netherlands. The influence of sculpture-tinting is prominently brought forward; and examples are given of early art on walls and portable shrines.
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