DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.56078#0023
21
tures, these childlike virgin figures express in the happiest männer the different sensations os-joy
and sorrow, and if they remind us of Schonhofer, still from their finely ssowing drapery, they
approach more nearly to the Roman School, while on the other hand, the more animated expres-
sion of the roundly sormed countenances may seem to indicate a transition to a later epoch of the
German style under Kraft and Stoss.
PLATE VI.
The Apostle Thaddens by Vischer.
The apostle figures on St. Sebald’s tomb cast 1507 —19 have already by means of copies
become the property of the art-loving public, still we thought it our duty to Sire at least one
representation from the most beantiful work which Nuremberg’s plastic artists have produced. But
it were superssuons to add more; it is universally agreed that the Twelve Apostles from Vischer’s
Studio shine forth amongst the brightest gems of German Art.
PLATE VII.
One of the Fathers of the Churcli, by Vischer.
Twelve of the most celebrated Fathers standing two and two, about half the size of the
Apostles, adorn the upper portion of St. Sebald’s tomb. In their free and bold modelling there pre-
vails more of the painter’s than of the plastic principle, and has Vischer in his Apostles pursued
rather an ideal of dignity and repose, so on the contray amongst his Fathers a greater degree of
naturalness and lifelike elasticity predominates. In the group given in our Plate, the Father ap-
pears in the act of zealously instructing a youthful disciple.
PLATE Vffl.
The Bowmann, by Vischer.
Though this superb figure, 2’/, feet high, is marked with the date 1533, and Vischer died
so early as 1528, it is nevertheless incontestibly proved from authentic records, to be his work,
tures, these childlike virgin figures express in the happiest männer the different sensations os-joy
and sorrow, and if they remind us of Schonhofer, still from their finely ssowing drapery, they
approach more nearly to the Roman School, while on the other hand, the more animated expres-
sion of the roundly sormed countenances may seem to indicate a transition to a later epoch of the
German style under Kraft and Stoss.
PLATE VI.
The Apostle Thaddens by Vischer.
The apostle figures on St. Sebald’s tomb cast 1507 —19 have already by means of copies
become the property of the art-loving public, still we thought it our duty to Sire at least one
representation from the most beantiful work which Nuremberg’s plastic artists have produced. But
it were superssuons to add more; it is universally agreed that the Twelve Apostles from Vischer’s
Studio shine forth amongst the brightest gems of German Art.
PLATE VII.
One of the Fathers of the Churcli, by Vischer.
Twelve of the most celebrated Fathers standing two and two, about half the size of the
Apostles, adorn the upper portion of St. Sebald’s tomb. In their free and bold modelling there pre-
vails more of the painter’s than of the plastic principle, and has Vischer in his Apostles pursued
rather an ideal of dignity and repose, so on the contray amongst his Fathers a greater degree of
naturalness and lifelike elasticity predominates. In the group given in our Plate, the Father ap-
pears in the act of zealously instructing a youthful disciple.
PLATE Vffl.
The Bowmann, by Vischer.
Though this superb figure, 2’/, feet high, is marked with the date 1533, and Vischer died
so early as 1528, it is nevertheless incontestibly proved from authentic records, to be his work,