English Translation

18 especially in the XVII and XVIII century are strongly neglected. Thus, especially the masters remarkable for imperial art at that time such as the Munich Cosmos Damian Asam and the Viennese Rottmeier, then also masters like Wenzel Lorenz Reiner and Anton Kern hardly come to the fore in the overall structure of the book. The depiction of Baroque sculpture is not in relation to its size and quality in the Bohemian-Mauritian space either. A somewhat more detailed representation of Germanic art, which is represented here in extremely rich finds, would be very desirable. In the book, in addition to many errors of flight, a strong phrasing can also be observed in places, e.g. on page l3, where the "Boehmerwalddeutsche" Johannes von Saaz is spoken of, since the home of the Ackermann poet is to be found near Tepl and not in the Bohemian Forest. On page l8 the term "Graf Wallenstein" also has an unhistoric effect. Albrecht von Waldstein is never listed in history as Count Wallenstein, since he was a descendant of Friedland and Reichsfürst. The name "Wallen- stein" opposite the hist. "Waldstein" has only naturalized itself in a popular way since Schiller's drama. In the not completely organically built-in chapter "The Land in the Mirror of German Romanticism" I miss strongly the Moravian Landschaftsgebiet. In the cityscapes e in particular in Prague the excellent Dutch masters Roeland Savary and Lukas van Valckenborch, both of which also belong to the Germanic Netherlands, had to be pointed out. In the gothic arts and crafts, I miss a picture of the Egerer Antependium with the swastika representations from the time around l30. This extraordinarily valuable work is dismissed only in a few words. Mischaracteristics like those of the church in Haindorf near Friedland to Lukas Hildebrand or. the non-knowledge of the authorship of Dienzenhofer at the former Klara church - now Hdengedankt-halle - in Eger should have been avoided in any case.