THE EARLY WORKS OF PETER VISCHER
PETER VISCHER was admitted as a Master of his Guild in 1489, shortly
after his father’s death. If, as is generally admitted, the monument of
Count Otto IV. von Henneberg at Römhild is from his hand, we have in
that rather limp, life-size picture of a knight in armour, holding an
heraldic banner in his right hand and a sword in his left, the earliest
example of Peter Vischer’s work. And this figure, it is noticeable, is
supported by a _stone_ plate to which the arms and the inscription, in
letters separately cast, are affixed. It is, then, a relic of those days
when, just as painting was a parasite of carving and sculpture, bronze
also was a handmaid of stone. It may be added that the demand for the
products of Vischer’s foundry was fated to be destroyed in the years to
come by the new fashion for tombs in stone.
But the monument of Count Otto assuredly did not qualify Peter Vischer
as a Meister in his craft. What his “masterpiece” was we cannot say with
certainty, but it was very likely the model which he completed in 1488
for the shrine of St. Sebald. This is the design which he was destined
to take up twenty years later, and to execute in the fulness of his new
knowledge and developed technique. It is now in Vienna, and betrays at
every point the influence of Adam Krafft, to the style of whose
Sacramentshaüslein it bears an obvious resemblance. Heideloff, the
architect, in whose possession the model once was, attributed it indeed
to Veit Stoss. But it is signed by Peter Vischer with his mark
[Illustration: Peter Vischer’s Mark.]
Heideloff, it is true, claimed this as the token of Veit Stoss, but his
opinion is of little value, for his enthusiasm for the Polish carver led
him to claim for him amongst other works the design of the tomb of
Archbishop Ernst, the Römhild memorials of Count Hermann VIII. and of
Otto IV., and even the Imperial tomb of Maximilian at Innsbruck.
Of the original design for the Sebaldusgrab, Lübke says, “It is a
masterpiece of Gothic construction but freely endowed with all the
exaggeration and extravagance of the late period.” And there can be no
doubt that the world lost nothing by the delay which intervened before
Peter Vischer, in the words of the chronicler, “with the help of his
five sons, who were all married and lived for the most part with him in
the house with their wives and children, as I myself have seen,”
remodelled it and completed it at last on July 19, 1519.
After commencing Meister he continued to work for a while in the Gothic
manner of his father and those about him. He received at this time two
commissions worth sixty florins apiece, which he executed after the
designs of others. The tomb of Bishop Heinrich III., Gross von Trockau,
in Bamberg Cathedral (1492) is one of these. It is skilfully wrought in
low relief. The bishop, in his episcopal garments, is conceived as
standing on a lion, and a Gothic canopy is set over his head. In style
it recalls the second commission referred to—the monument in the same
cathedral of Bishop Georg II., Marshal von Ebenet, which was wrought by
Vischer from a design by Wolf. Katzheimer.
[Illustration: STEIN PHOTO.] [CATHEDRAL, MAGDEBURG
3. TOMB OF ARCHBISHOP ERNST]
By the year 1494 the Meister had already laid the foundations of the
great reputation which was to be his. For, in company with Simon
Lamberger, the wood-carver, he was summoned to Heidelberg by Philip,
Elector of the Palatinate, who desired them to “serve him with their
counsel and their handiwork.” At the special request of the Nuremberg
Council, so we are told,[2] they went; and they stayed there for a
considerable space of time to work for the Elector. But of the work they
performed at Heidelberg we know absolutely nothing. Peter Vischer was
certainly back again in Nuremberg in 1496. For in that year he gave a
full release (“aller Dinge quitt, ledig und los”) to his friend Peter
Harsdorffer the younger, in whose hands he had left the management of
all his affairs during his absence. He returned, perhaps, to execute the
important commissions he had received from the North. In the following
year he completed the first great work of his life, in which his own
individuality is for the first time apparent. For the tomb of Archbishop
Ernst in the Cathedral at Magdeburg, is the first of Peter Vischer’s
masterpieces, and it affords the most important illustration of the
early influences under which he worked. The statue of the Archbishop,
who was a brother of John the Stable and Frederick the Wise, lies in
high relief beneath a Gothic Canopy, which strongly recalls the famous
Pyx then just completed by the artist’s friend, Adam Krafft. The figure,
which is represented in cope and mitre, rests on a stone Gothic base, as
upon a bed of state, and holds in its hands a crosier and a Pontifical
Cross. A pleasing Latin inscription round the monument informs us that
“with whatever art the hands of the craftsman have wrought me, yet am I
but dust, and contain the dust and all the earthly remains” of the great
Archbishop, and it concludes with the prayer that his soul may rest in
the consolation of light and peace. (Ills. 3 and 4.)
Footnote 2:
Baader.
_Ipse me vivus posuit_, it is added. And indeed this Child of Light was
wise in his generation, and knowing that artists are rare, and that
through their pen or brush alone can most men achieve an earthly
immortality, the archbishop had ordered his tomb from Peter Vischer in
1494, though he himself did not die till 1513. He was not so foolish as
to leave the matter to the care of ungrateful heirs like Browning’s
Bishop who ordered his tomb in St. Praxed’s Church. The date on the
tombstone, which is the date of the setting up thereof, is variously
interpreted 1495 and 1497. But all Peter Vischer’s 5’s are quite unlike
the final figure in this inscription, although many perceive in it a 5
after the manner of the Arabic lettering of those days. Moreover Vischer
was in Heidelberg in 1494, and only returned to Nuremberg to stay in
1496. Only at Nuremberg can he have had the appliances necessary for so
elaborate a work, and, even if he paid a flying visit there before ’96,
he had not sufficient time to complete his task by 1495. There is yet
another reason for putting the date of the Magdeburg monument as late as
possible, and that is its amazing superiority to the Breslau tomb of
Bishop John IV., the setting up of which Peter Vischer himself
personally superintended in 1496. The latter monument is so inferior in
style and treatment that it is incredible that the artist, after having
made such an advance as is exhibited in the Magdeburg memorial, should
have gone back in the following year to so hard, forced and yet feeble a
handling of form. If this Breslau tomb is indeed later than the other it
must be the work of an apprentice, who has endeavoured to imitate the
idea of the Magdeburg masterpiece, and very lamentably failed in his
endeavour. The decorative work, however, is very much more successful
than the treatment of the figures, of which the drapery still completely
hides the anatomy and still falls in stiff and angular folds.
[Illustration: STEIN PHOTO.] [CATHEDRAL, MAGDEBURG
4. TOMB OF ARCHBISHOP ERNST]
But to return to the tomb of Archbishop Ernst. The artist has adopted
that late Gothic style which was apt to lead to so much that was weak,
trivial and ineffective. But there is here nothing that is excessive or
disproportionate. Even in the case of the canopy above the head of the
reclining Bishop, if we concede the permissibility of its presence at
all, we must also confess that there is an artistic reason for its
existence in the fact that it furnishes the top which one feels to be
required for the monument. As to the recumbent form itself, it is, in
the strength of its treatment and the individuality of its portraiture,
conceived after the realistic manner of the day. But Vischer has not
been betrayed into any excess in this direction. Only it is evident that
the influence of that striving after the impressions of life as the
artist sees it, which has been called Realism, and which yet leaves room
for so much that is ideal, has been working strongly within him. The
broad, heavy folds of drapery falling straight or almost straight down
the bodies of the Bishop and the Apostles speak also to the same
conclusion. For statuettes of the Twelve Apostles, ranged on either side
of the tomb, stand on pedestals, enriched with deep foliage, and beneath
beautiful canopies, intricately wrought in the Gothic style. They are
the forerunners of those superb figures on the Sebaldusgrab, but their
pose is very monotonous, and in their undersize they recall the works of
Adam Krafft, which reflect the short and dumpy type of the contemporary
Nuremberger. A tendency to exaggerate the size of the head may be
noticed. Possibly it is the result of the artist’s endeavour to express
the individuality of the Apostles he represented. But this defect is
reproduced in the Angel set at the head of the Archbishop.
A noticeable figure on this tomb is the St. Maurice at the head of it
corresponding to the St. Stephen at the foot. This is a veritable
Nuremberg type, and reminds us of the statuette of the same Saint now
preserved in the Court of Krafft’s House (No. 7 Theresienstrasse) at
Nuremberg. It is a fountain-figure, and was originally gilded. Doubt has
been cast on the authorship of this piece, but cannot be seriously
entertained after a comparison with the St. Maurice at Magdeburg. (Ill.
5.)
[Illustration: STEIN PHOTO.] [KRAFFT HOUSE, NÜRNBERG
5. ST. MAURICE]
The tomb throughout is wrought richly and with the minutest care. On the
base Peter Vischer seizes the opportunity of indulging his humour and
luxuriant imagination. He has added fantastic dogs and beasts of various
kinds, in the same spirit, perhaps, as that in which Dürer used to adorn
and complete his engravings and even to crowd the vacant spaces of his
compositions with the _Traumwerk_ with which his mind and memory were
stored. And in this respect also the Magdeburg tomb foreshadows the
Sebaldusgrab.
At the four corners are four lions bearing arms; above are four others
poised in the manner of gargoyles on some Gothic building; whilst on the
top, at each corner, standing on groups of Gothic pilasters are, or
rather were, the symbols of the four Evangelists; for the eagle has been
broken off and has disappeared now from its base.
During the next few years (1497-1508) many works were turned out of the
Vischer Foundry; several of which were based on the designs of other
artists, most probably at the request of the patron. Some of those which
we can identify as coming from Vischer’s workshop in this fashion, such
as the monument of Bishop Georg II. of Bamberg, which was executed after
the design by Wolfgang Katzheimer, the Bamberg painter, or the monuments
of Bishop Veit and Heinrich III. are of absolutely no interest to the
student of Peter Vischer’s art.
[Illustration: STEIN PHOTO.][CHURCH, RÖMHILD
6. MONUMENT OF COUNT HERMANN VIII]
But two monuments, this time of temporal princes, which belong to the
same period, have a greater interest and a higher merit. They are the
memorials of Count Eitel Friedrich II. von Hohenzollern in the parish
church of Hechingen (1500), and of Count Hermann VIII., at Römhild.
(Ill. 6.) No one who has familiarized himself with the master’s manner
will fail to perceive that, if these monuments have been executed by him
in bronze, they have no less certainly been based upon the design of
another hand. And no one who has studied the drawings of Albert Dürer,
and who now compares these knightly figures, for instance, with some of
those mail-clad forms of his, whether it be Lucas Baumgärtner or
another, will be astonished to learn that Bergau has discovered and
published that design, and that it proves to be indeed by Dürer. For
that pen-and-ink drawing now at Florence, that sketch of the tall, thin
knight, who is standing on a lion in a position that is, it must be
confessed, both straddling and constrained, and who is apparently
speaking to his wife, whose feet are set, according to the convention,
upon a dog, the symbol of fidelity, is undeniably the first sketch for
the tomb of Count Eitel and his wife Magdalena, Countess of Brandenburg,
which is now to be found in the parish church of Hechingen. Certain very
obvious variations have, however, been introduced, whether by the
designer in a second sketch, or, as is most probable, by the
bronze-worker on his own initiative. The figures, which in the original
are excessively separate, have been brought closer together, and
thereby, whilst the lion and dog on which they stand have suffered, an
opportunity for the development of the background has been provided. A
trace of this process is observable also in the position of the Count’s
right elbow, which protrudes to the extreme outside edge of the frame.
The left hand, holding a rosary, is another innovation, but it is not
one for which in its execution any gain in grace can be claimed. Other
minor alterations, also, may be remarked, as in the drapery and in the
pose of the Countess, which is beautiful and Vischer-like. The
substitution of the three coats-of-arms for the late Gothic work in
Dürer’s sketch is noteworthy.
Unfortunately, as Lübke points out, this monument has not come down to
us complete. Originally it was a _Freigrab_ resting on lions, and the
sides of it were richly decorated. Angels are said to have stood at the
four corners, some of them supporting candlesticks and others
coats-of-arms. But in this instance, as in a later and still more
regrettable one, the craftsman was destined to suffer from the greed
inspired by the value of the material in which he wrought. For, in 1782,
portions of this tomb were melted down, and twenty-two new candlesticks
for the church were cast out of the nearly one thousand pounds of metal
resulting. The date of the tomb is fixed approximately by the death of
the Countess, which occurred in 1496. The Count himself died in 1512,
and he probably ordered the monument soon after his wife’s death. It
bears the date MCCCCC.
Elizabeth, sister of the Countess Magdalena, daughter of Prince Albert
Achilles, of Brandenburg, had married Count Hermann VIII. of Henneberg,
and it is doubtless due to this relationship that the double tomb of
husband and wife at Römhild was made from the same sketch and by the
same craftsman as the memorial at Hechingen. It was indeed probably the
earlier of the two. So at least Bergau argues, from the fact that it is
nearer to the original sketch by Dürer. The Count, in this version of
the design, holds a banner, the floating folds of which form an
efficient background. The drapery of the Countess instead of being
gathered up into her hands is caught up to her sides in graceful flowing
folds.
Peter Vischer knew how to make a thrifty use of accomplished models.
Here, as originally at Hechingen, he repeated the symbols of the four
Evangelists which he had used for his Magdeburg masterpiece. The tomb
stands upon six vigorous and life-like lions, and, says Lübke, among the
various saints who are ranged round the sarcophagus is a Madonna
pressing to her breast the Holy Child, who is turning with a quick and
very natural movement towards the eldest of the three kings who bring
gifts. These are all figures quite in the best manner of Peter Vischer’s
early style. And several of the other saints are almost equally good. As
usual the details are worked with admirable skill.
The following letters are engraved on this tomb: M. F. W. S. 15 C.
Döbner was inspired to interpret them thus: “Meister Fischer und Fünf
Söhne”; and again with a second effort: “Meister Fischer Waage Sebaldi
15 Centner.” These interpretations, I suppose, carry with them their own
refutation. They do not encourage one to make a third attempt.
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