Nuremberg and its art to the end of the 18th century. . lf to the front in the works of a master, whosename indeed is unknown to us, but whom we recognise, from the Tvicher(Weavers) Altarpiece, painted for the Carthusians church and now in theFrauenkirche, to have been both strong in will and conscious of his shattered the fetters of tradition and, with impassioned ardour, gave ex-pression to his naturalistic convictions. An absolute clamouring for truth pervadeshis pictures. With their depth of conviction they absolutely burn into oursouls and leave a deep and lasting impression be
Nuremberg and its art to the end of the 18th century. . lf to the front in the works of a master, whosename indeed is unknown to us, but whom we recognise, from the Tvicher(Weavers) Altarpiece, painted for the Carthusians church and now in theFrauenkirche, to have been both strong in will and conscious of his shattered the fetters of tradition and, with impassioned ardour, gave ex-pression to his naturalistic convictions. An absolute clamouring for truth pervadeshis pictures. With their depth of conviction they absolutely burn into oursouls and leave a deep and lasting impression behind. The witchery in hisbright colours, laid on in full, warm tones, contributes equally to produce this THE MASTKR OF JUK TUCHKR ALTAKPIECI-; 97 efifect. The Crucifixion is the subject of the centre panel; the Annunciationand the Resurrection, the Assumption of the Virgin and a number of wonder-fully lifelike figures of Saints fill the wings. All the figures stand out mosteffectively from a rich, boldly diapered gold ground. The Haller Altarpiece in. Fig. 61. Hans Pleydenwurf: The Crucifixion, in the Germanic Museum. Photograph by Hofle. the Church of St. Sebald, with a picture of the Crucifixion, surrounded by Saints,may pass as being a work of his early period, while to a late one seems tobelong a little altarpiece in St. Johns Church, in which powerful characterisationis pushed so far as to become caricature. Nuremberg painting could not develop further b} its own strength. TheNuremberg. 7 98 HANS PLEYDENWURF. powerful movement started by the master of the Tucheraltar needed directionand guidance, and these came from the Netherlands. As everywhere else inGermany, after the middle of the 15 * century, the wholesome influence of theNetherlandish School made itself noticeable in Nuremberg painting and led theswift stream of naturalism into the pleasant channel of a purified artistic stylewith many technical excellences. With the craft of painting in oils, — to learnwhich th
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