History of mediæval art . nctlyexhibits the characteristics ofthe carved altars of Nurem-berg, in the same way as dothe stone tabernacles of Kraft,to which, however, as well asto those of Stoss, the Witten-berg font is greatly same may be said of thenumerous bronze tombs ofBamberg, the oldest of whichdates from 1414. For thegreater part these seem tohave been executed in thefoundery of Nuremberg. Nei-ther the plates executed insgraffito, nor those in low-re-lief, such as the tombs of the bishops George I. (d. 1475) andHenry III. (d. 1489), are of noteworthy artistic excellence. Th
History of mediæval art . nctlyexhibits the characteristics ofthe carved altars of Nurem-berg, in the same way as dothe stone tabernacles of Kraft,to which, however, as well asto those of Stoss, the Witten-berg font is greatly same may be said of thenumerous bronze tombs ofBamberg, the oldest of whichdates from 1414. For thegreater part these seem tohave been executed in thefoundery of Nuremberg. Nei-ther the plates executed insgraffito, nor those in low-re-lief, such as the tombs of the bishops George I. (d. 1475) andHenry III. (d. 1489), are of noteworthy artistic excellence. Thebronze founder appears to have been not unfrequently furnishedwith a design, sometimes even with a model. The renowned Peter Vischer, son of Hermann Vischer, wascalled, as early as 1494, to the service of the electoral court atHeidelberg. The style of his works at the time, though far supe-rior to that of his father, was still decidedly Gothic, as is seen inthe funeral monument of Bishop John in the Cathedral of Breslau,. Fig. 391.—Baptismal Font in the City Churchof Wittenberg, by Hermann Vischer. GERMANY. 63I and in that of Archbishop Ernst in the Cathedral of Magdeburg{Fig. 392). His fine feeling for conventional treatment preservedhim from the undue influence of stone sculpture or of wood-carv-ing, even in these earlier works, which in technical respects and in-dependence of design are masterpieces. The heads especially havegreat character and individuality, and are in no wise inferior to thebest works of his contemporaries. Notwithstanding the fact thatthese productions were far more elegant than the works of Kraftand Wolgemut, and fully equal in artistic significance to those ofStoss, they were still distinctly Gothic, not only in architecturaldetails but in ideal conception and modes of expression.
Size: 1444px × 1730px
Photo credit: © The Reading Room / Alamy / Afripics
License: Licensed
Model Released: No
Keywords: ., bookcentury1800, bookdecade1890, bookpublishernewyorkharperbros
