As Cynthia Lawrence has observed (Gerrit Adriaensz. Berckheyde (1638-1698), Urban Cityscape Painter, Doornspijk, 1991, pp.77-8), 'the majority of Berckheyde's German subjects are the romanesque parish churches of Cologne' and 'while some of these scenes are topographically accurate, others are better described as composite views that bring together, in fictive juxtaposition, monuments which in fact are significantly distant from each other or which include freely reinvented architectural details. This suggests that ... Berckheyde originally made separate drawings of these churches and ... intentionally rearranged the architectural subjects of his German scenes.' Although paintings of Cologne first appear in Berckheyde's oeuvre in the early 1670s, the drawings on which they must have been based were probably executed during an extended stay in the city on a journey up the Rhine probably made in the 1650s (ibid., pp. 22-4). The Church of St. Pantaleon is also shown, and from a similar angle but in conjunction with the Church of St. Gereon, in a panel of 1672 in the Niedersächsisches Landesmuseum, Hanover (ibid., p. 81 and pl. 90). It was also painted by Berckheyde's contemporary Jan van der Heyden (H. Wagner, Jan van der Heyden 1637-1712, Amsterdam and Haarlem, 1971, pp. 79-81, nos. 57 and 61-5, illustrated pp. 140-1)