Category: Biographies
IT was in the middle of the fifteenth century, a little before the year 1450, to be precise, that there wandered into the streets of Nuremberg a working man, a common coppersmith, one Hermann Vischer by name. He came no one knows whence. He came one can easily imagine why. Lik...
THE Magdeburg monument, whilst it bears 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...
8. CHAPTER VIIIBUT the work of Peter Vischer the younger was not yet done. It remained, indeed, for him to perform some of his greatest achievements. Certain documents quoted by Baader[9] show...
10. CHAPTER XTHE position of the Vischers in the hierarchy of the artists not very difficult to appreciate, and it has perhaps been sufficiently indicated in the course of our enumeration of...
3. CHAPTER IIIPETER VISCHER was admitted as a Master of his Guild in 1489, shortly after his father’s death. If, as is generally admitted, the monument of Count Otto IV. von Henneberg at Römh...
7. CHAPTER VIISOME time during the year which followed the completion of the Eissen Monument, Cardinal Albrecht von Brandenburg, Archbishop of Magdeburg and Mainz, it is recorded, sent to the...
6. CHAPTER VITHE absorbing interest and labour of the Sebaldusgrab did not by any means exhaust the energies and enterprise of Vischer and his house. That want of money, which has been the s...
2. CHAPTER IIPETER VISCHER, the great bronze-founder, whose work and that of his house embodies the complete transition from the Gothic to the Renaissance style in Germany, was born and brou...
9. CHAPTER IXTHE Rathaus Railing was the last and greatest of the works produced by the combined efforts of the Vischer family. It is vain to attempt to apportion the share of father and son...
1. CHAPTER IIT was in the middle of the fifteenth century, a little before the year 1450, to be precise, that there wandered into the streets of Nuremberg a working man, a common coppersmit...
5. CHAPTER VART has been always, more or less, dependent upon the patronage of the rich and great. And the warm interest evinced in the Arts and Crafts by the Emperor Maximilian, the “last...