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 ART FROM THE RENASCENCE found them on a portrait of the German master, painted before 1500 (now unknown). It is possible that such a portrait was in the possession of the Haller family at Cracow, who were related to Dürer. The Franconian painter Michael Lencz, or Lantz, of Kitzingen, became a citizen of Cracow in 1507, and died there in 1540. A picture of his, the Conversion of Paul, 1522, to be seen in St. Mary's Church, is marked by all the characteristics of the Nuremberg School.

In the royal court, the influence of Renascence ideas produced an atmosphere of individualism, of adoration for great minds,, firing the soul of the nation and lifting it up to their own height. Such a disposition was naturally favourable to portrait painting. Accordingly, we possess, from this time, a great many likenesses, to be found on the Wawel, in the cloisters of the Franciscan Church, and in the Museums. Miniature painting was a favourite pursuit both with monks and laity. Thus, a Vicar at the cathedral, Peter Postawa of Proszowice, illuminated the vellum codices of the Cathedral Library. A Cistercian named Stanislas did the same for the Convent Annals of Mogila, which he adorned with a series of portraits of the Abbots. Victorinus, a Dominican, and others illustrated the records of their several convents by similar works of art. In 1514, Hans Suess of Culmbach, a friend of Dürer, came to Cracow and displayed, within a short time, a brilliant activity which had a powerful influence on Cracow painting. The warm colours he used, and the new types he introduced, remained for a long time models for imitation. Suess, whom Boner had called to Cracow, produced and left here some of his finest works, which are also among the most characteristic productions of Dürer's school. In St. Mary's Church we possess a cycle of eight pictures from his hand representing the martyrdom of St. Catherine of Alexandria, and one from a cycle devoted to St. John the Evangelist; five others are in St. Florian's Church. The Pauline Convent, the Czartoryski Museum, and the collections of Count Potocki possess one picture each from Suess's hand. Two most significant innovations were introduced by him as new elements into-