of the art in that region. There are no further records of him or his family in the town except for a mention of Lochners (a fairly uncommon name) in the village of Hagnau, two kilometers from Meersburg. However records indicate that Lochner's talent was recognised from an early age. He may have been of Netherlandish origin or worked there for a master, possibly Robert Campin. Lochner's work seems influenced by Jan van Eyck and Rogier van der Weyden; elements of their styles can be detected in the structure and colourisation of Lochner's mature works, especially in his Last Judgement, although neither is thought to be the master with whom he studied. Move to Cologne and success By the 1440s, Cologne was the largest and wealthiest city in the Holy Roman Empire. It controlled and taxed the passage of trade from Flanders to Saxony, and became a financial, religious and artistic center. The city had a long tradition of producing high-quality visual art, and in the 14th century, its output was considered to be equal to that of Vienna and Prague. Cologne's artists concentrated on more personal and intimate subject matters, and the area became known for its production of small panels of "great lyrical charm and loveliness, which reflected the deep devotion of the writings of the German mystics". During the 1430s, painting in Cologne had become conventional and somewhat old-fashioned, and still under the influence of the courtly style of the Master of Saint Veronica, active until 1420. After his arrival Lochner, who was earlier exposed to the Netherlandish painters and already working in oils, eclipsed other artists in the city. According to the art historian Emmy Wellesz, after Lochner's arrival "painting in Cologne became infused with a new life", perhaps enriched by the earlier exposure to the Netherlandish artists. He became widely celebrated as the most capable and modern painter in the city, where he was known as "Maister Steffan zu Cöln". Lochner first appears in extant records in 1442, nine years before he died. He moved to Cologne where he received a commission from the city council for the provision of decorations for the visit of Emperor Frederick III. Lochner was seemingly well established and although other artists were involved in preparing for the event, he was responsible for the most important arrangements. The centrepiece seems to have been the Dombild Altarpiece, described by modern art