Nuremberg and its art to the end of the 18th century. . llustrating the Seven Joys of the Virgin. God the Father looks down fromthe top, while below writhes the Serpent with the apple of Paradise. Withall its freedom and life, this group shows much more restfulness and restraintthan we have been accustomed to find in Veit Stosss work. A certain joyfulconviction that a victory has been won speaks to us in this piece, themaster feels that he has come nearer to the achievement of his aims. We seethe same thing in his carved altarpiece, — rich in figures and showing Durersinfluence, — in the upper
Nuremberg and its art to the end of the 18th century. . llustrating the Seven Joys of the Virgin. God the Father looks down fromthe top, while below writhes the Serpent with the apple of Paradise. Withall its freedom and life, this group shows much more restfulness and restraintthan we have been accustomed to find in Veit Stosss work. A certain joyfulconviction that a victory has been won speaks to us in this piece, themaster feels that he has come nearer to the achievement of his aims. We seethe same thing in his carved altarpiece, — rich in figures and showing Durersinfluence, — in the upper part of the Parish Church of Bamberg. This altar-piece, of 1523, has unfortunately been moved, quite recently, to a place thatis altogether unworthy of it, behind the high altar. The expressive Pieta in ij i^ si -yr is ?^^- ->>rj,i5^^;>o. 7. y-^ri in -s -?^, u Nuremberg. 82 VEIT STOSS. St. James Church, Nuremberg, also reminds us of Diirer. The same churchhas other noteworthy works of his to show, and it also possesses other carvings. Fig. 50. The Englische Gruss, wood-carving by Veit Stoss, in the choir of St. Lawrences, of the time. Prominent among them is a pleasing Pieta, the unknown sculptorof which has, both in the youthful and beautiful Madonna and in the well- Ill-: .\LKi;.:K(j maduwa. 83 formed figure of Christ, aimed ratlierat an outward formal beauty than atstriking expression or keen character-isation. The similarity of this groupto the so-called Nuremberg Madonna(), to which reference has alreadybeen made, is unmistakable. That workowes its great popularity to its purityof outline, reminiscent of Italian work,and to the Virgins charming fervent upward gaze, she standswith folded hands, a slender, dignifiedfigure. These works have nothing incommon with the art of Veit Stoss,they are completely in opposition tohis style. Attention has recently beenrightly directed to the great similaritybetween the Madonna and the worksof the Vische
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