Arts and crafts in the Middle Ages : $b a description of mediaeval workmanship in several of the departments of applied art, together with some account of special artisans in the early RenaissanceAddison, Julia de Wolf
History
Arts and crafts in the Middle Ages : $b a description of mediaeval workmanship in several of the departments of applied art, together with some account of special artisans in the early Renaissance
Addison, Julia de Wolf
Arts and crafts movement; Decoration and ornament, Medieval; Decorative arts -- History; Illumination of books and manuscripts
Veit Stoss was a very versatile craftsman. Besides his wonderful
wood carvings, for which he is chiefly noted, he was a bridge-builder,
a stone-mason, a bronze caster, painter of altars, and engraver on
copper! Like all such variously talented persons, he suffered somewhat
from restlessness and preferred work to peace,--but his compensation
lay in the varied joys of creative works. His naturalism was marked
in all that he did: a naive old chronicler remarks that he made
some life-sized coloured figures of Adam and Eve, "so fashioned
that one was _afraid_ that they were alive!" Veit Stoss was an
interesting individual. He was not especially moral in all his ways,
narrowly escaping being executed for forgery; but his brilliancy as
a technician was unsurpassed. He lived until 1533, when he died
in Nueremberg as a very old man. One of his most delightful
achievements is the great medallion with an open background, which
hangs in the centre of the Church of St. Lorenz. It shows two large
and graceful figures,--Mary and the Angel Gabriel, the subject
being the Annunciation. A wreath of angels and flowers surrounds
the whole, with small medallions representing the seven joys of the
Virgin. It is a masterly work, and was presented by Anton Tucher
in 1518. Veit Stoss was the leading figure among wood carvers of
the Renaissance, although Albrecht Duerer combined this with his
many accomplishments, as well.
Some of the carvings in wood in the chapel of Henry VII. at Westminster,
are adapted from drawings by Albrecht Duerer, and are probably the
work of Germans. Two of these, Derrick van Grove and Giles van
Castel, were working at St. George's, Windsor, about the same time.
The very finest example of Nueremberg carving, however, is the famous
wooden Madonna, which has been ascribed to Peter Vischer the Younger,
both by Herr von Bezold and by Cecil Headlam. It seems very reasonable
after a study of the other works of this remarkable son of Peter
Vischer, for there is no other carver of the period, in all Nueremberg,
who could have executed such a flawlessly lovely figure.
Public-domain text, read in full here on John Shaqi.
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