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| Title | The story of Nuremberg |
| Creator (LCNAF) |
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| Contributor (Local) |
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| Publisher | J. M. Dent & Co. |
| Date | 1899 |
| Subject.Topical (LCSH) |
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| Subject.Geographic (TGN) |
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| Genre (AAT) |
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| Language | English |
| Type (DCMI) |
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| Original Item Extent | 303 pages; 18 cm |
| Original Item Location | DD901.N93 H4 1899 |
| Original Item URL | http://library.uh.edu/record=b1684865~S11 |
| Digital Collection | Exotic Impressions: Views of Foreign Lands |
| Digital Collection URL | http://digital.lib.uh.edu/collection/exotic |
| Repository | Kenneth Franzheim II Rare Books Room, William R. Jenkins Architecture and Art Library, University of Houston Libraries |
| Repository URL | http://info.lib.uh.edu/about/campus-libraries-collections/william-r-jenkins-architecture-art-library |
| Use and Reproduction | No Copyright - United States |
| Identifier | exotic_201304_001 |
| Title | Page 281 |
| Format (IMT) |
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| File Name | exotic_201304_001_280.jpg |
| Transcript | German Mus Nuremberg carving, but also one of the works of art of all time. And yet the name of the master is unknown, and the very date of the work is a matter of dispute. Clearly the beautiful female figure of this sorrowing Mary, this praying Madonna, as she is called (trauende, betende Maria), once formed one of a group, and stood facing St. John at the foot of the Cross, gazing upwards in that bitter grief which is beyond the expression and abandonment of tears. Wrho can that artist have been who could select that pose of the head, that poise of the limbs, who could carve those robes, which in purity and flow have never been surpassed in German art. and who could express in the suppliant hands such poignant emotion I Mm •/ And whose touch was so delicate, that with his chisel he could stamp on the upturned face those mingled feeling* of sorrow so supreme, yearning so inten 10, aman, hope so divine? For all thi* \ read there still, even through the grey-green coat of paint which certainly had no place in the original intentions of the Man rveiss nicht! But this much one may hazard— that it was some German artist, touched by the spirit of the Italian Renaissance till he rose to heights of artistic per- i-tained by him. and scarcti approached by his fellows. tc end of the choir is the High Altar-piece from bruck. with figures of Mary and the four Fathers of the Church, from the workshop of Wolgemut. who painted the once attached to it. This is a good example of Nuremberg work of the kind, with its good and bad points, towards the end of the fifteenth century. On the reverse of this altar- ided church banner, richly painted. Figures .J Sebald. in a rich Renaissance border, attributed to Albert Durer. Room 33 Kapelle is the old Sacristy on the north side of the church. There are carvings here, chief of which is the Rosary ie. and crowning ot attribi gst other important works attributed to. or actually hy him. i* of Durer's Allerheiligen picture (see p. 193). There is also here the original wood model of Laben familiar " Gooseman " fountain, and a picture of a meeting of the Mc n (with H* "Hng steps lead Dp • • V luu» • C ••;' I i«i |