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Peter Vischer

Peter Vischer
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Title: Peter Vischer
Release Date: 2018-06-30
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The Project Gutenberg eBook, Peter Vischer, by Cecil Headlam

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Title: Peter Vischer

Author: Cecil Headlam

Release Date: June 30, 2018 [eBook #57428]

Language: English

Character set encoding: UTF-8

***START OF THE PROJECT GUTENBERG EBOOK PETER VISCHER***

 

E-text prepared by deaurider, Barry Abrahamsen,
and the Online Distributed Proofreading Team
(http://www.pgdp.net)
from page images generously made available by
Internet Archive
(https://archive.org)

 

Note: Images of the original pages are available through Internet Archive. See https://archive.org/details/petervischer00head

 

  • Transcriber’s Note:
    • The reader will encounter "[TN1]" once. [TN1] identifies an error in the original book: “ETSAXA” should have been “ET SAXA”.
    • The reader will encounter [TN2] three times. [TN2] identifies a place where a character could not be reproduced and was replaced by an apostrophe (example: "PETR’[TN2]).

 


 

 

 

The cover image was created by the transcriber and is placed in the public domain.


IHANDBOOKS OF THE GREAT
CRAFTSMEN. EDITED BY
G. C. WILLIAMSON, Litt.D.

PETER VISCHER


II 

Handbooks of the Great Craftsmen.

Illustrated Monographs, Biographical and Critical, on the Great
Craftsmen and Workers of Ancient and Modern Times.
Edited by G. C. Williamson, Litt.D.
Imperial 16mo, with numerous Illustrations, 5s. net each.
First Volumes of the Series

THE PAVEMENT MASTERS OF SIENA. Workers inGraffito. By R. H. Hobart Cust, M.A.

PETER VISCHER. Bronze Founder. By Cecil Headlam, B.A.

THE IVORY WORKERS OF THE MIDDLE AGES. By A. M. Cust.

Others to follow.

LONDON: GEORGE BELL AND SONS
NEW YORK: THE MACMILLAN CO.
IV

STEIN PHOTO.] [FROM A DRAWING IN POSSESSION OF T. A. STEIN, NÜRNBERG
1. PORTRAIT OF PETER VISCHER


V

PETER VISCHER

BY
CECIL HEADLAM, B.A.
FORMERLY DEMY OF MAGDALEN COLLEGE, OXFORD; AUTHOR OF
“THE STORY OF NUREMBERG,” ETC.
LONDON
GEORGE BELL AND SONS
1901

VICHISWICK PRESS: CHARLES WHITTINGHAM AND CO.
TOOKS COURT, CHANCERY LANE, LONDON.

v

PREFACE

THE Germans have by nature the gift ofworking in metal, and, among them, in therealms of bronze, Peter Vischer stands easily first.His position as a craftsman may, in fact, be comparedwith that held by his contemporary andfellow citizen, Albert Dürer, as an artist. Thehistory of his works and of those of his house,have a peculiar interest to the student of art, inasmuchas they illustrate the gradual but easilytraceable passage of the German craftsmen fromthe style of late Gothic to that of complete neo-paganism,and, from the school of the Northernpainters and sculptors to that of the great Italianmasters successively.

I speak of the works of Peter Vischer “and hishouse,” because, in tracing this development, wehave to take into consideration not only his worksbut also those of his father Hermann and of hissons, Hermann and Peter and Hans. The pendulumof criticism has indeed swung more thanonce since the Emperor Maximilian used to visitPeter Vischer’s foundry in Nuremberg, and thequestions as to what are actually the works of theMaster and what position is to be assigned tohim in the world of art, have been answered inmore ways than one. For many years, owingpartly to the ignorance of most people, and partlyvino doubt to the greed of the few, the tendencywas to attribute to this one famous craftsman theworks of many. At one time almost any work ofart in bronze to be found throughout the lengthand breadth of Germany was attributed to PeterVischer, just as a Talleyrand or a Sydney Smithhas had witticisms of every date and every qualityfathered upon him.

From unreasoning praise, again, men passed toequally undiscriminating disparagement. Heideloffarose and wished the world to see in Peter Vischernothing but the mere craftsman who put intobronze the designs and models of Adam Krafftor another. The admirable labours of Retberg,however, and of Dr. Lübke have shown how littlefoundation there is for this view, and, more recently,by the application of the principles of moreexact art-criticism, Dr. Seeger, in his minute andloving study of Peter Vischer the younger, hasvindicated the claim of the great craftsman’s sonto rank with, or even above, his father as the firstand greatest exponent of Renaissance plastic-workin Germany.

To the two latter authors I have been continuallyand especially indebted whilst writing thepresent monograph. For the use of very many ofthe illustrations forming the volume to which Dr.Lübke contributed the text, my best thanks andacknowledgements are due to the publisher, HerrStein, of Nuremberg.

C. H.

vii

CONTENTS

CHAPTER   PAGE
  List of Illustrations ix
  Bibliography xi
I. Hermann Vischer and the Early German Bronze-Work 1
II. Peter Vischer: His Life 9
III. The Early Works of Peter Vischer 20
IV. The Shrine of St. Sebald 36
V. The Tomb of Maximilian 64
VI. The Tucher Monument and the Nuremberg Madonna 72
viiiVII. The Minor Works of Peter Vischer the Younger 86
VIII. The Tomb of Elector Frederick the Wise, and the Rathaus Railing 101
IX. The Fall of the House of Vischer 119
X. The Importance of the Works of the Vischers 130
  Catalogue of the Works of the Vischers 133
  Index 142

ix

LIST OF ILLUSTRATIONS

PLATE   PAGE
1. Portrait of Peter Vischer Frontispiece
2. Peter Vischer, the Craftsman St. Sebald, Nürnberg 13
3. Tomb of Archbishop Ernst Cathedral, Magdeburg 23
4. Tomb of Archbishop Ernst Cathedral, Magdeburg 27
5. St. Maurice Krafft House, Nürnberg 29
6. Monument of Count Hermann VIII. Church, Römhild 31
7. Tomb of St. Sebald St. Sebald, Nürnberg 43
8. St. Peter St. Sebald, Nürnberg 46
9. St. Sebald St. Sebald, Nürnberg 47
10. St. Sebald Punishes an Unbeliever St. Sebald, Nürnberg 55
11. St. Sebald Healing the Blind Man St. Sebald, Nürnberg 57
12. St. Paul St. Sebald, Nürnberg 59
13. St. Bartholomew St. Sebald, Nürnberg 61
14. Theodoric, King of the Goths Tomb of Maximilian, Innsbruck 68
15.
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