The Story of Nuremberg

by Cecil Headlam

The altar-piece in memory of Kunigunde Wilhelm Löffelholz (1453) is by an unknown painter. Scenes from the life of St. Catherine are depicted on a plain gold background. It is the earliest Nuremberg work to show any trace of the Netherland influence: but, unfortunately, it has been painted over at least once. There are three other pictures in this chapel, of an earlier date, by unknown artists.

The two-winged Haller Altar-piece (N. near the Anschreibethüre) may very likely be an early work of the Master of the High Altar-piece in the Frauenkirche. The background is of gold: the subject is Christ on the Cross between Mary and John; on the wings, the Mount of Olives and SS. Catherine and Barbara.

In this picture the cramping of the figures and the crude drawing of the hands and feet are noticeable, but in the modelling of the heads there is much that is very noble and very beautiful.

On the pillar next to (S.) the Haller Altar is a relief, “Carrying the Cross,” by Adam Krafft, 1496.

Later and more vigorous works by the same master are the Last Supper, Mount of Olives and Betrayal (1501), reliefs 5 feet high by 5 feet broad on the E. wall of the Choir. The Betrayal is distinctly the best composed and most telling of the three. The Last Supper, the arrangement of which is somewhat crowded and confused, has the interest of exhibiting in the Apostles portraits of some members of the Council. The Apostle with the goblet is said to be Paul Volkamer (the founder) and he with the small cap Adam Krafft himself, or, it may be, Veit Stoss, to whom the sculptures, on the strength of the monogram V.S. on them, are now usually attributed.

We need not stay long over the Tucher Altar with its ever-burning lamp, founded by the first baron Tucher, 1326, and its seventeenth-century altar-piece, or the painting by Joh. Franz Ermel (1663) of the Resurrection, over the Muffels Altar next the Schauthüre, or the new pulpit (1859) by Heideloff and Rotermundt. The choir-stalls and the Pix (N.), with its old sculptures, dating from the second half of the fourteenth century, are worth examining, as also are the numerous reliefs on the pillars of the choir. The Crowning of Mary on the first choir pillar on the north side is attributed to V. Stoss. On a column to the right of the pulpit hangs a copy of Durer’s Interment of Christ, with the armorial bearings of the Holzschuhers, and opposite, beneath a copy of Rubens’ Day of Judgment, is another painting by Durer, little worthy of him, in which figure the Imhoff family, Willibald Pirkheimer and the artist himself (on the right).

The Carrying of the Cross (Tucherische Kreuztragung), on the column next to the Sebaldusgrab, can only doubtfully be attributed to Wolgemut (1485).

The Madonna and Child on the next column was cast by Peter Vischer’s son.

The great Crucifix, with SS. Mary and John, of the High Altar was executed by Veit Stoss in 1526, when he was now in his eightieth year. The head of the Christ is a masterpiece of expression. The lower part of the High Altar is modern, and was carved by Rotermundt after the designs of C. Heideloff (1821).

In the choir also (N. wall), we find a good example of the work of Hans von Kulmbach, who passed from the school of Jacopo dei Barbari (Jakob Walch) to that of Durer. The Tucherische Tafel (1513) shows the influence of the latter in a very marked manner: Durer may, in fact, have supplied the designs for it. In the centre of the triptych is Mary enthroned, crowned by two angels. The holy Child on her knee is trying to seize an apple from the Mother’s left hand: but both Mother and Child are looking out of the picture. The five Bellinesque angels, who, clad in brightly coloured garments, and playing various musical instruments, stand at Mary’s feet, are altogether charming. On either side of the throne are SS. Catherine and Barbara, whilst on the right wing are SS. Peter and Lawrence, presenting the founder, Provost Lorenz Tucher, to Mary, and on the left are St. John Baptist and St. Jerome. A mountain scene forms the background of the picture, which for all that it owes much to Durer owes much also to the individuality of Kulmbach.