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Peter Vischer

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Bibliographic data

fullscreen: Peter Vischer

Monograph

Persistent identifier:
06856545
URN:
urn:nbn:de:bvb:75-20221128101137
Title:
Peter Vischer
Shelfmark:
Amb. 8. 1526
Author:
Headlam, Cecil
Place of publication:
London
Publisher:
Bell
Document type:
Monograph
Collection:
Norica
Publication year:
1901
Scope:
XI, 143 S.
Copyright:
Stadtbibliothek im Bildungscampus Nürnberg
Language:
English

Chapter

Title:
CHAPTER IV. THE SHRINE OF ST. SEBALD
Document type:
Monograph
Structure type:
Chapter
Collection:
Norica

Contents

Table of contents

  • Peter Vischer
  • Front cover
  • Figure: 1. PORTRAIT OF PETER VISCHER
  • Title page
  • Imprint
  • PREFACE
  • CONTENTS
  • LIST OF ILLUSTRATIONS
  • BIBLIOGRAPHY
  • CHAPTER I. HERMANN VISCHER AND THE EARLY GERMAN BRONCE WORK
  • CHAPTER II. PETER VISCHER: HIS LIFE
  • Figure: 2. PETER VISCHER THE CRAFTSMAN; ST SEBALD'S CHURCH, NÜRNBERG
  • CHAPTER III. THE EARLY WORKS OF PETER VISCHER
  • Figure: 3. TOMP OF ARCHIBISHOP ERNST; CATHEDRAL MAGDEBURG
  • Figure: 4. TOMP OF ARCHBISHOP ERNST; CATHEDRAL MAGDEBURG
  • Figure: 5. ST: MAURICE; KRAFFT HOUSE, NÜRNBERG
  • Figure: 6. MONUMENT OF COUNT HERMANN VIII; CHURCH RÖMHILD
  • CHAPTER IV. THE SHRINE OF ST. SEBALD
  • Figure: 7. TOMP OF ST. SEBALD; ST. SEBALD, NÜRNBERG
  • Figure: 8. ST. PETER; ST. SEBALD NÜRNBERG
  • Figure: 9. ST. SEBALD; ST. SEBALD, NÜRNBERG
  • Figure: 10. ST. SEBALD PUNISHES THE BLIND MAN; ST. SEBALD, NÜRNBERG
  • Figure: 11. ST. SEBALD HEALING THE BLIND MAN; ST. SEBALD, NÜRNBERG
  • Figure: 12. ST. PAUL; ST. SEBALD, NÜRNBERG
  • Figure: 13. ST. BARTHOLOMEW. ST. SEBALD'S CHURCH, NÜRNBERG
  • CHAPTER V. THE TOMP OF MAXIMILIAN
  • Figure: 14. THEODORIC, KING OF THE GOTHS; TOMB OF MAXIMILIAN, INNSBRUCK
  • Figure: 15. KING ARTHUR; TOMB OF MAXIMILIAN, INNSBRUCK
  • CHAPTER VI. THE TUCHER MONUMENT AND THE NUREMBERG MADONNA
  • Figure: 16. MEETING OF CHRIST WITH THE SISTERS OF LAZARUS (Tucher Monument); CATHEDRAL RATISBON
  • Figure: 17. BEWEINUNG CHRISTI (EISSEN MEMORIAL); ST AEGIDIUS CHURCH, NÜRNBERG
  • Figure: 18. THE NUREMBERG MADONNA; MUSEUM NÜRNBERG
  • CHAPTER VII. THE MINOR WORKS OF PETER VISCHER THE YOUNGER
  • Figure: 19. PRPHEUS AND EURYDICE; COLLECTION OF M. DREYFUS, PARIS
  • Figure: 20. ORPHEUS AND EURYDICE; MUSEUM, BERLIN
  • Figure: 21. "EARTHLY LIFE" (INKSTAND); ASHMOLEAN MUSEUM, OXFORD
  • Figure: 22. "HEAVENLY LIFE" (INKSTAND); ASHMOLEAN MUSEUM, OXFORD"HEAVENLY LIFE" (INKSTAND); ASHMOLEAN MUSEUM, OXFORD
  • CHAPTER VIII. THE TOMB OF ELECTOR FREDERICK THE WISE, AND THE RATHAUS RAILING
  • Figure: 23. ELECTOR FREDERICK THE WISE; SCHLOSSKIRCHE; WITTENBERG
  • Figure: 24. THE RATHAUS RAILING; FORMERLY AT NÜRNBERG
  • Figure: 25. THE RATHAUS RAILING; FORMERLY AT NÜRNBERG
  • CHAPTER IX. THE FALL OF THE HOUSE OF VISCHER
  • Figure: 26. BOY WITH BAGPIPES; MUSEUM NÜRNBERG
  • Figure: 27. TOMB-PLATE OF DUCHESS HELENA VON MECKLENBURG; CHATHEDRAL SCHWERIN
  • Figure: 28. THE APOLLO FOUNTAIN; RATHAUS COURT, NÜRNBERG
  • CHAPTER X. THE IMPORTANCE OF THE WORKS OF THE VISCHERS
  • CATALOGUE OF THE CHIEF WORKS BY OR ATTRIBUTED TO HERMANN VISCHER, HIS SON PETER VISCHER AND PETER VISCHER'S SONS, HERMANN, PETER, AND JOHANN KNOWN AS HANS DER GIESSER
  • INDEX
  • Back cover
  • Colour checker

Full text

CHAPTER IV 
THE SHRINE OF ST. SEBALD 
¢« In the Church of Sainted Sebald sleeps enshrined his holy 
dust, 
And in bronze the Twelve Apostles guard from age to age their 
trust.”’—LONGFELLOW. 
HE Magdeburg monument, whilst it bears 
1 obvious traces of the influence of his father 
Hermann, of the school of Wolgemut, and of Adam 
Krafft upon the art of Peter Vischer, is an eloquent 
testimony also to the rapid development which was 
taking place in the mind and ideas of this eager 
craftsman. We have now reached the period 
when the ideals and the lessons of the Renaissance 
begin to master his imagination and to permeate 
his art to such a degree and with such success 
that the work which was next commissioned from 
him proves to be the first and greatest of Renais- 
sance works in Germany. The shrine of St. Sebald 
reflects the history of the artist's mind. Upon a 
Gothic base and foundation the spirit of Renais- 
sance detail has overwhelmingly impressed itself. 
Before we consider this work more closely it will 
be as well to state the sources whence our Nurem- 
26
	        

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Headlam, Cecil. Peter Vischer. Bell, 1901.
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