as-relief of the Crowning of the Virgin, which is
preserved in the Burgkapelle; the great Madonna statue, which was placed
in the Frauenkirche in 1504; and the colossal Angel's Salutation, which
is suspended in the choir of the Church of St. Laurence. This last is an
unusual and important work. The angel appears as if flying, and the
drapery is much inflated; the Virgin is queenly and majestic, yet
graceful; all around are medallions in which are represented the Seven
Sorrows of the Virgin. The style of these reliefs is charming if we
except the drapery; that has the faults of the time, and is bad in
style; but the female heads are all that we could ask; the whole design
is distinct, and few reliefs could surpass these in simple beauty and
genuine artistic feeling.

Another remarkable work of his is a panel of roses, now in the
Burgkapelle. The panel is seven feet high by five wide; more than half
of this is covered by a wreath of roses; there are besides four rows of
small half-length figures arranged round a cross of St. Anthony, a
representation of the Last Judgment, scenes in the history of man from
the creation to the death of the Virgin, and many other saints and like
subjects in bits of reliefs, which fill up all spare spaces. The style
is very distinct, and the draperies better in this work than in others
from his hand.

There are other works in Nuremberg and elsewhere which are attributed
to Veit Stoss, but these that are known to be his are quite enough to
establish his fame as a gifted artist and a remarkable sculptor for his
time.

Though Stoss is among the early masters of Nuremberg, it is yet true
that others had been at work while he was in Cracow, and the way had
been prepared for him and his work when he returned to his native city
in 1496. Among the most active artists in Nuremberg was MICHAEL
WOHLGEMUTH (1434-1519), who is generally considered as a painter only;
but we know that he made contracts for entire works in which sculpture
and painting are combined, and must have had the oversight of the whole;
and in this view it is proper to mention this master's name. The altars
at Haller Cross Chapel, Nuremberg, one at Zwickau, another at Schwabach,
and that of the Heilsbronn Monastery, near Nuremberg, are all ascribed
to Wohlgemuth.

ALBRECHT DUeRER (1471-1528), who was one of the great masters of the
world, was an architect, painter, and sculptor. He was a pupil of
Michael Wohlgemuth, and sculpture