Vischer family; Vischer, Peter, 1487-1528; Vischer, Peter, approximately 1455-1529
The figure and head of Joseph of Arimathea are nobly beautiful, and,
like the drapery, remind us of the St. Peter on the Sebaldusgrab. His
outstretched hands are eloquent of sorrow and, in common with those of
the women who kneel behind their Master, they speak to a study of
Italian art and of the drawings of Leonardo da Vinci.
[Illustration: STEIN PHOTO.] [ST. ÆGIDIUS CHURCH, NÜRNBERG
17. BEWEINUNG CHRISTI (Eissen Memorial)]
The Christ in this monument resembles in the treatment of the eyes, and
the hair and in the moulding of the head that of the Tucher memorial of
the previous year. The body is foreshortened, and the foreshortening
cannot be termed altogether successful. But successful to an
extraordinary degree is the spiritual, sympathetic expression of the
countenance, and indicative of a poet’s sympathy with sorrow, and his
power of showing it, is that down-hanging arm, masterly executed in
strong relief.
The young Peter Vischer had known much sorrow, and was acquainted with
grief beyond his years. The bereavements of his father, the loss of his
brother’s wife, and afterwards of his brother Hermann himself, must have
touched his poet’s heart and deepened his powers of sympathetic
imagination. The strong stirring of religious emotion which was at this
time abroad in the land would tend still further to chasten the
exuberant joyousness of his youthful spirit, and to bring him into touch
with the more serious aspects of life. Neudörffer has recorded for us
his love of the poetical side of life; his own Aquarelle on the
_Reformation_ proves the seriousness of his interest in the great
religious question of the day, and the evidence of the development of
his powers in his own undoubted works of art is potent to demonstrate
his enthusiasm for learning. Remembering these facts let us compare for
a moment with the sisters of Lazarus in the Tucher memorial, that superb
work of art in the Germanic Museum at Nuremberg, which is known as the
“Praying Madonna.” (Ill. 18.)
[Illustration: [MUSEUM, NÜRNBERG
18. THE NUREMBERG MADONNA]
Public-domain text, read in full here on John Shaqi.
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