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Updated: May 4, 2025
The legend concerning him, however, is of world-wide celebrity, for the tale associated with the founding of the famous edifice is replete with that grisly element which has always delighted the Germans, and figures largely in their medieval literature, and more especially in the works of their early painters for example, Dürer, Lucas Cranach, and Albrecht Altdörfer.
From the unhappy location of his life Duerer was debarred from any such obvious and overwhelming effect on after generations. The influences which helped to shape him were no doubt at work on all the more eminent artists, his fellow-countrymen; on Albrecht Altdorfer, Hans Burgkmair, Lucas Cranach, or Baldung Grien, to mention only the elect.
In other parts of Germany, particularly in Nuremberg, Ulm, Augsburg, and Basle, various names of painters of the latter half of the fourteenth century have survived, but their works are of little interest except to the connoisseur as showing the influence under which the two great artists of the sixteenth century, Albert Dürer and Hans Holbein, and one or two lesser lights like Lucas Cranach, Albert Altdorfer, and Adam Elsheimer, were formed.
Cranach published a series of sketches or caricatures, controversial and satirical, against the Popedom, some of which are cynically coarse, one of them representing to his countrymen the murder of Conradin, the Pope himself beheading him, and another a German Emperor with the Pope standing on his neck. Luther added short verses to these pictures.
The Venus of Titian is not a whit more exposed than the slim, bony, young woman who has just awakened in time to receive a bouquet at the hands of her negress, while a black cat looks on this matutinal proceeding as a matter of course. The silhouette has the firmness of Holbein; the meagre girl recalls a Cranach.
Yes, there they were in a glass case, his shoes, large as life, shoes without heels; great, clumping, thick, and black! What an idea! However, there was a genuine picture by Lucas Cranach, and another of Catharine, by Holbein, which gave more consolatory ideas of her person than that which I saw before at Basle.
She was a little creature with a fresh face, white, pink, and round-cheeked; she had a plump little nose, a plump little mouth, a plump little chin, firm eyebrows, bright eyes, and a mass of fair hair plaited and wound round her head in a crown to show her rounded neck and her smooth white forehead a Cranach face. Jean-Christophe was turned to stone by this apparition.
Rietschel, himself formerly a Wittenberger: "The form of baptism at Wittenberg is manifest from the picture by L. Cranach on the altar of the Wittenberg Pfarrkirche, in which Melanchthon is administering baptism. At Melanchthon's left hand lies the completely naked child over the foot. With his right hand he is pouring water upon the child's head, from which the water is copiously flowing."
One copy which Maximilian intended for his own use was sent to Duerer that he might decorate the margins with pen-drawings in various coloured inks. Of this work there exist forty-three pages by Duerer himself and eight by Cranach at Munich, and at Besancon thirty-five pages by Burgkmair, Altdorfer, Baldung Grien, and Hans Duerer.
The walls of the chapels are inlaid with the precious stones of Bohemia jasper and achates, chalcedon, amethyst and carneol and are adorned with frescoes illustrating incidents in the life of the saint, most of them dating from the reign of Charles; the scene of his martyrdom is from the brush of Lucas Cranach. The candelabra and statue of St. Wenceslaus are attributed to Peter Fischer.
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