DOI Page / Citation link:
https://doi.org/10.11588/diglit.56076#0040
34
PLATE VI.
Mary accompanying C hrist to Calvary.
To what friend of German Art are the stations of Adam Kraft unknown, and who has
not already contemplated them with delight, on his way from Albert Durcr’s house and the Thier-
gärtner Gate to the cemetery of St. John; and admired the speaking, lifelikc compositions of that
great master? They were erected as is known in the year 1490, by Order of Martin Ketzel, and
the present subject is taken from the sixth fablet of the third Station. As this single figure shows,
Kraft has in these stations discarded the sharpness and superabundance of folds in the drapery
which were the common faults of his age; and has on that account , especially in the principal
figures, raised himself to a degree of worth and greatness, which are seldom found even in his
works. This statue is the first to which we can appropriate an accredited master, after having
gone over some of the finest examples of Nuremberg sculpture. So dark is the earlier history of
Nuremberg works of art. And how little light can we hope to throw upon it, since accounts of
charges, plans, foundation deeds, and the like which alone could do so, are for the most part lost.
PLATE VII.
Mary witli the Child linder a crown supp orte d by
Angels.
From the stone relievo in the Frauenkirche executed in the year 1499 by Order of the Per-
gersdorfer family. Under the cloak of Mary which is held up by angels, on one side kneel the
founders of the statue, on the other supplicants of all classes. Kraft has manifested his utmost
diligence in the careful execution of this piece, the figures of which are of the size of life, and
encompassed by rieh Gothic architecture , yet in the drapery he has approached almost to over-
doing in the too great abundance of the folds. On the other hand he has expressed his innate
feeling in the head of Mary turned with so lovely an expression towards the Child, as also espe-
cially in the happy grouping of the two.
PLATE VI.
Mary accompanying C hrist to Calvary.
To what friend of German Art are the stations of Adam Kraft unknown, and who has
not already contemplated them with delight, on his way from Albert Durcr’s house and the Thier-
gärtner Gate to the cemetery of St. John; and admired the speaking, lifelikc compositions of that
great master? They were erected as is known in the year 1490, by Order of Martin Ketzel, and
the present subject is taken from the sixth fablet of the third Station. As this single figure shows,
Kraft has in these stations discarded the sharpness and superabundance of folds in the drapery
which were the common faults of his age; and has on that account , especially in the principal
figures, raised himself to a degree of worth and greatness, which are seldom found even in his
works. This statue is the first to which we can appropriate an accredited master, after having
gone over some of the finest examples of Nuremberg sculpture. So dark is the earlier history of
Nuremberg works of art. And how little light can we hope to throw upon it, since accounts of
charges, plans, foundation deeds, and the like which alone could do so, are for the most part lost.
PLATE VII.
Mary witli the Child linder a crown supp orte d by
Angels.
From the stone relievo in the Frauenkirche executed in the year 1499 by Order of the Per-
gersdorfer family. Under the cloak of Mary which is held up by angels, on one side kneel the
founders of the statue, on the other supplicants of all classes. Kraft has manifested his utmost
diligence in the careful execution of this piece, the figures of which are of the size of life, and
encompassed by rieh Gothic architecture , yet in the drapery he has approached almost to over-
doing in the too great abundance of the folds. On the other hand he has expressed his innate
feeling in the head of Mary turned with so lovely an expression towards the Child, as also espe-
cially in the happy grouping of the two.