and given his harmonious colour schemes, Lochner is usually described as one of the last exponents of the International Gothic. This is not to say his paintings lack contemporary northern sophistication; his arrangements are often innovative. The worlds he paints are hushed, according to Snyder, achieved with the symmetry of subdued use of colour and the often repeated stylistic element of circles. Angels form circles around the heavenly figures; the heavenly figures' heads are highly circular and they wear round haloes. According to Snyder, the viewer is slowly "drawn into empathy with the revolving forms". Because of the paucity of surviving attributed works, it is difficult to detect any evolution in Lochner's style. Art historians are unsure if his style became progressively more or less influenced by Netherlandish art. Recent dendrochronological examination of attributed works indicate that his development was not linear, suggesting that the more advanced Presentation in the Temple is of 1445, predating the more Gothic Saints panels now divided between London and Cologne. Work Panel paintings Lochner's major works include three large polyptychs: the Dombild Altarpiece; the Last Judgement, which is broken apart and in several collections; and Nuremberg's Crucifixion. Only two attributed paintings are dated; the 1445 Nativity now in the Alte Pinakothek, Munich, and the Presentation in the Temple from 1447, now in Darmstadt. There is a smaller, earlier version of the presentation scene at the Calouste Gulbenkian Foundation, Lisbon, dated 1445. As secular works grew in demand and religious works became unfashionable in later centuries, 15th-century polyptychs were often broken up and sold as individual works, especially if a panel or section contained an image that could pass as a secular portrait. Wing panels and other fragments of Lochner's larger works are today spread across various museums and collections. Two surviving double-sided wing panels from an altarpiece with images of saints are in the London's National Gallery and the Wallraf-Richartz Museum, Cologne (this now sawn through so both sides can be displayed on a wall). The wings of the Last Judgement originally had six parts, painted on both sides, but have been sawn into twelve individual pictures, now divided between the Wallraf-Richartz Museum, the Alte Pinakothek in Munich and the Städel Museum in Frankfurt. It is probably from early in his career, but in subject matter and background differs from other extant and attributed works. While the elements are arranged in typical harmony, the