99:(between 1508 and 1519): A tall canopied bronze structure, crowded with reliefs and statuettes in the most lavish way. The general form of the shrine is Gothic, but the details are those of the 16th-century Italian Renaissance. (This great work is really a canopied pedestal to support and enclose the shrine, not the shrine itself, which is a work of the 14th century, having the gabled form commonly used in the Middle Ages for metal reliquaries.) Some of the statuettes of saints attached to the slender columns of the canopy are modeled with much grace and even dignity of form. A small portrait figure of Peter himself, introduced at one end of the base, is a marvel of clever realism: he has represented himself as a stout, bearded man, wearing a large leathern apron and holding some of the tools of his craft. The shrine is a remarkable example of the uncommercial spirit which animated the artists of that time, and of the evident delight which they took in their work. Dragons, grotesques and little figures of boys, mixed with graceful scroll foliage, crowd every possible part of the canopy and its shafts, designed in the most free and unconventional way and executed with an utter disregard of the time and labor which were lavished on them.
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167:, begun in 1521, are perhaps the most meritorious German work of this class in the 16th century, and show considerable Italian influence. Arthur, and perhaps Theoderic too, was designed by
92:(1495) His chief early work. It is surrounded with statuettes of the Apostles under semi-Gothic canopies. It is purer in style than the Shrine of Saint Sebald (see next item).
171:. Headlam believes that Peter Vischer the Younger is responsible for the Arthur and that Peter Vischer the Elder is responsible for Theoderic.
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57:. He soon returned, however, to Nuremberg, where he worked with the help of his five sons, Hermann, Peter, Hans, Jakob and Paul.
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37: – January 7, 1529) was a German sculptor, the son of Hermann Vischer, and the most notable member of the
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Peter was born in
Nuremberg, where he also died. He became "master" in 1489, and in 1494 was summoned by
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Hall of Fame and Honor, which currently honors 191 German-speaking individuals of the last 1,800 years.
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Besides these works there are a number of others ascribed to Peter the Elder with less certainty.
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Relief of the "Crowning of the
Blessed Virgin" in the Erfurt cathedral (a second example in the
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273:. Vol. 28 (11th ed.). Cambridge University Press. pp. 127–128.
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Tombstone for the Eisen family in the Ägidienkirche at
Nuremberg (1522)
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116:Tombstone for Margareta Tucherin in the
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190:King Arthur by Peter Vischer the Elder
95:Shrine of Saint Sebald located in the
81:Tomb of Bishop Johannes IV., in the
280:Peter Vischer und das alte Nürnberg
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137:Epitaph of the duchess Helene of
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97:St. Sebaldus Church at Nuremberg
88:Tomb of Archbishop Ernest, in
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344:16th-century German sculptors
334:15th-century German sculptors
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202:Theodoric, King of the Goths
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106:brothers in Augsburg (lost)
74:Sebalduskirche at Nuremberg
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275:This work in turn cites:
126:Epitaph for the cardinal
70:Monument of St. Sebaldus
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51:Philip, Elector Palatine
308:Peter Vischer the Elder
270:Encyclopædia Britannica
128:Albrecht of Brandenburg
28:Peter Vischer the Elder
23:Peter Vischer the Elder
349:Artists from Nuremberg
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339:German male sculptors
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310:at Wikimedia Commons
165:Hofkirche, Innsbruck
141:in the cathedral at
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161:Theodoric the Great
90:Magdeburg Cathedral
155:by Peter Vischer (
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