miniatures share thematic similarities to attributed panels. He writes that the illustrations "are not a peripheral phenomenon. On the contrary, they address several of the concerns articulated in Lochner's paintings and formulate them anew. There is little doubt that these exquisite images stem from the same mind." The text of the Darmstadt book is written in Cologne vernacular, the Berlin book in Latin. Other formats There are extant liturgical vestments containing embroidered figures, including that of St. Barbara, in Lochner's style and with similar facial types. This has led to some speculation whether Lochner provided the models. In addition, a number of contemporary stained glass panels are similar in style, and there has been debate whether he might have been responsible for church murals; the over-life-size figures of the Dombild and Virgin with the Violet indicate his ability to work on a monumental scale. Two drawings on paper in the British Museum and the École nationale supérieure des Beaux-Arts were at times thought to be studies for the Munich Nativity. The lines of the folds in the garments closely match those of the painting, although the technical ability does not. The Paris drawing has blotches of paint indicating that it was a study piece for workshop members. The London piece is superior, but its lines are more rigid, lacking Lochner's fluidity, and so its attribution has been relegated to a draughtsman closely associated with Lochner. Influences Lochner's art seems indebted to two broad sources; Netherlandish artists van Eyck and Robert Campin, and the earlier German masters Conrad von Soest and the Master of Saint Veronica. From the former Lochner drew his realism in depicting naturalistic backgrounds, objects, and clothes. From the latter, he adopted the somewhat antiquated manner of depicting figures, especially females, with doll-like, eloquent and sensitive features, to present "iconic, almost timeless" atmospheres, enhanced by the then old-fashioned gold backgrounds. Lochner's figures have idealised facial features typical of medieval portraiture. His subjects, females in particular, usually have the high foreheads, long noses, small rounded chins, tucked blond curls and prominent ears typical of the late Gothic, giving them the characteristic monumentality of 13th-century art, placing them on seemingly similar shallow backgrounds. Lochner probably saw van Eyck's c. 1432 Ghent Altarpiece during his visit to the Netherlands and seems to have borrowed a number of its compositional elements. The similarities include the manner in which the figures engage with