Nuremberg and its art to the end of the 18th century. . has recently beenrightly directed to the great similaritybetween the Madonna and the worksof the Vischers. It resembles them somuch in spirit that it might be a workby the hand of Peter Vischer theyounger that stands here, while thecharacter of the work makes it pos-sible to believe that we have, in it,a model intended for casting. It isnot known who was the sculptor, in-spired by Stoss, of the group, full ofcharacter, of the incorruptible judge,now in the Germanic Museum, butformerly over the door of the CouncilRoom. Judging from its sty
Nuremberg and its art to the end of the 18th century. . has recently beenrightly directed to the great similaritybetween the Madonna and the worksof the Vischers. It resembles them somuch in spirit that it might be a workby the hand of Peter Vischer theyounger that stands here, while thecharacter of the work makes it pos-sible to believe that we have, in it,a model intended for casting. It isnot known who was the sculptor, in-spired by Stoss, of the group, full ofcharacter, of the incorruptible judge,now in the Germanic Museum, butformerly over the door of the CouncilRoom. Judging from its style, it be-longs to the end of the second decadeof the 16^ century. Bronze casting began at Nurem-berg, in the casting of guns, in the14* century. In the middle of theIS^ century, artists became interested in the process and used it again forimportant works, as it had been used in the Romanesque period. The font(fig. 52) in the Lofifelholz Chapel of St. Sebalds, with well drawn figuresof the Apostles, passes as being the oldest Nuremberg bronze. The 6*. Fig. 51. The Nuremberg Madonna,wood-carving in the Germanic Museum. 84 HERMANN VISCHER THE ELDER. similarity of the figures to those on the font in the Town Church of Witten-berg, cast by Hermann Vischer the elder in 1457, makes it probable that we
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