Page:History of the German people at the close of the Middle Ages vol1.djvu/208

 19G HISTORY OF THE GERMAN PEOPLE monument repose the figures of the two saints, and they are characterised by great beauty of proportion and finish. On the four sides are illustrations in high relief of traditionary legends. Eiemenschneider also carved the very beautiful altar in the Church of St. Kilian at Heilbronn. Amongst the most versatile artists of that period we must mention Veit Stoss, born in 1447, who worked alternately in Cracow and at Nuremberg. He was wood-carver, sculptor, engraver, painter, mechanic, and architect all in one. In the year 1489 he com- pleted the high altar of the Church of our Lady in Cracow, in 1492 the monument of King Casimir in the cathedral, and, in 1495, 147 stalls in the choir of the Church of Our Lady. Stoss's influence in the art circles of Poland and Hungary was of decided importance. The German style is unmistakable in all the specimens of sculpture still extant in the Zipser Comitiit. In Nuremberg also Stoss was indefatigable in his industry, and his patrons and customers extended from Transyl- vania to Portugal. Neudorfer writes of him : ' He executed in coloured wood carving for the kino- of Portugal life-size statues of Adam and Eve of such per- fection that they seemed to be of living flesh and blood. Moreover, he showed me a map which he had drawn of all the mountains, valleys, cities, rivers, and forests.' l His principal work at Nuremberg is ' The Eosary ' which, by order of Anthony Tucher, he completed for 1 Veit Stoss is the only one among the great artists of the Middle Ages whose character could be assailed. In a lawsuit he forged a signature (see Chronihen der deutschen Sta'dtc, x. 6G7), for which he was burned with hot irons in the cheeks. He claimed that he was unfairly judged, and in 1506 Maximilian restored him to citizenship (Baador, i. 14-25).