ess of its celebrity, a
general disappointment to those who see it for the first time. It rivals
in celebrity the work of Vischer himself, and was executed by his
scholar, Pancratius Labenwolf (born 1492, died 1563); the fountain in
the quadrangle of the "Rathhaus" is also by him. The Goose-seller owes
its popularity to its perfect truth and simplicity.

Another artist of this era, inferior to none in taste and delicacy of
sentiment, was Veit Stoss. He was a native of Poland, born at Cracow in
1447; making Nuernberg the city of his adoption, and dying there in
1542.[240-*] The same exquisite grace and purity which characterises the
works of Vischer is seen in those of Stoss. He devoted himself to
sculpture in wood, and in this way is said to have furnished models to
those who worked in stone, as well as to goldsmiths, and other artisans
who required designs. "The Crowning of the Virgin," still preserved in
the old castle at Nuernberg, had all the delicacy and grace of the missal
paintings of Julio Clovio.

[Illustration: Fig. 251.--"The Nativity," by Veit Stoss.]

There is an exquisite repose about his works, only to be gained by great
mastership in art. At times a tenderness of sentiment singularly
beautiful is apparent in these too-much-forgotten works. We engrave, as
an illustration of this, one of the compartments of the
"Rosenkranztafel," preserved in the same locality, and representing the
"Nativity." The Virgin in the stable at Bethlehem, piously rejoices in
the birth of the Lord, and is about to wrap the sacred infant in the
folds of her own garments, having no other clothing. She has reverently
laid the babe in a corner of her mantle, when, penetrated with a sense
of the divinity, she clasps her hands in prayer before the Infant
Saviour; while her husband Joseph, who holds the lantern beside her,
feeling the same emotion, drops on one knee, and reverently lifts his
hat in acknowledgment of the Immortal One.

[Illustration: Fig. 252.--"The Entombment," by Adam Krafft.]

It is this fervent devotion, this pure, high, yet simple-mindedness,
which gives vitality to ancient works of art, and is to be felt by all
who are not insensible to its agency in the time present. Another
touching incident is seen in the sculpture by Adam Krafft over the grave
of Schreyer, representing "The Entombment."[243-*] The dead body of our
Saviour is being reverently lifted into the tomb; the sorrowing mother,
loving as only mothers