The graphic and historical illustrator; an original miscellany of literary, antiquarian, and topographical information, embellished with one hundred and fifty woodcuts (1834) (14595709108)

Identifier: graphichistorica00brayuoft (find matches)
Title: The graphic and historical illustrator; an original miscellany of literary, antiquarian, and topographical information, embellished with one hundred and fifty woodcuts
Year: 1834 (1830s)
Authors: Brayley, E. W. (Edward Wedlake), 1773-1854
Subjects: England -- Antiquities England -- Architecture England -- Description and travel
Publisher: London, Chidley
Contributing Library: Robarts - University of Toronto
Digitizing Sponsor: MSN



Text Appearing Before Image:
and Florence were to Italy,—the seat of commerce and the abode of art. Evenwere it less picturesque as a town, less opulent instudies of gothic architecture, in specimens of earlypainting and sculpture, it would still be interesting tothe traveller as a place consecrated to history by namesof such men as Albert Durer, Visscher, and Kraft.With the exception of Durer, however, their namesare little known in this country, although no one whohas beheld the Tomb of St. Sebaldus, or the celebrated Sacramentshauslein can refuse to place the othertwo among those who have been worthy devotees ofart. As regards the last-mentioned of this illustrioustrio, this, we think, will be in some degree apparentfrom his own portrait-figure, and we consider ourselvesfortunate in being enabled to give a copy of it for the 16 THE GRAPHIC ILLUSTRATOR. embellishment of this work. This effigy, with twoothers, all of the size of life, and in kneeling attitudes,support the lower part of the Sacramentshauslein,
Text Appearing After Image:
or Tabernacle, in the church of St. Laurence, at Nu-remberg. The Tabernacle itself is about sixty-fourfeet high, and tapers upwards like a spire of richcarved-work till it reaches the roof of the building. Itwas commenced in the year 1496, and completed in1500. The execution of the figures, especially thatof Krafft himself, is truly admirable, combining themost careful attention to finish, with breadth of styleand decision of touch. For anatomical correctness,felicity of expression, propriety of character, in shortfor energy of nature, and truth, they may shame manyof the master-pieces of those whose reputation mightseem lowered by the mere allusion to any comparisonbetween them and a German of the 15th century. This figure, which is the one facing the west, is theonly one of the three that is represented in the costumeof a mason or sculptor, and is further distinguishedfrom the rest by displaying more freedom in its atti-tude, whereas the others seem to be employed moreexpressly for