History of mediæval art . in the treatment of the architectural details of tab-ernacles for the Host, such as that at Ulm; in the pulpits of Tue-bingen, Stuttgart, Strasburg, and in the baptismal fonts at Ulm,Urach, and Reutlingen. On the other hand, there is scarcely atrace of the methods of wood-carving in the magnificent monumentof Emperor Louis the Bavarian in the Church of Our Lady at Mu-nich {Fig. 390), executed at about the same time by Master Hansder Steinmeissel, the draperies being rather in the style of the Neth-erlands. The same may be said of several stone sculptures of thisperiod
History of mediæval art . in the treatment of the architectural details of tab-ernacles for the Host, such as that at Ulm; in the pulpits of Tue-bingen, Stuttgart, Strasburg, and in the baptismal fonts at Ulm,Urach, and Reutlingen. On the other hand, there is scarcely atrace of the methods of wood-carving in the magnificent monumentof Emperor Louis the Bavarian in the Church of Our Lady at Mu-nich {Fig. 390), executed at about the same time by Master Hansder Steinmeissel, the draperies being rather in the style of the Neth-erlands. The same may be said of several stone sculptures of thisperiod at Ratisbon. The influence of wood-carving upon stone sculpture is unmistak- 628 GOTHIC SCULPTURE. able in Franconia, especially in Nuremberg, the school of which, inthis latter branch, surpassed all others of Germany. The name ofAdam Kraft, a contemporary of Veit Stoss, and but a few yearsyounger, first appears, in 1490, upon the Schreyer Monument of theChurch of St. Sebaldus. Krafts style clearly betrays the influence. Fig. 390.—Part of the Monument of Emperor Louis the Bavarian in the Church of Our Lady, Munich. of Stoss, and indeed that of wood-carving in general. In his mag-nificent tabernacles — the so-called sacrament houses — he so thor-oughly transferred to stone the forms of the Gothic carved altarsthat, from a drawing, it would not be thought possible they couldbe of any other material than wood. Even in the figures, those inthe full round as well as those in relief, the style of wood-carving GERMANY. 629 is combined with the realism of painting. As the conceptions ofStoss have something of a lyric character, so those of Kraft have adramatic element, which has caused him, not inaptly, to be calledthe Rogier van der Weyden of sculpture. Of this period there exist nearly as many Franconian sculpturesin stone as in wood, but to the majority of these, including manyof great excellence, no names of artists are attached. Among thesculptors of the school of Nurember
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