Editing Veit Stoss (section)

==Nuremberg==
[[File:Nürnberg St Lorenz Veit Stoß Engelsgruß.jpg|thumb|left|upright=1.0|''[[Angelic Salutation (Stoss)|Angelic Salutation]]'' (1517–1518) in the [[St. Lorenz (Nürnberg)|St. Lorenz Kirche]], Nuremberg]]

In 1496, Stoss returned to Nuremberg with his wife and eight children. He reacquired his citizenship for three [[Rhenish guilder|gulden]] and resumed his work there as a sculptor. Between 1500 and 1503 he carved an altar, now lost, for the parish church of [[Schwaz]], [[Tyrol (state)|Tyrol]] of the "[[Assumption of Mary]]".  In 1503, he was arrested for forging the seal and signature of a fraudulent contractor and was sentenced to be branded on both of his cheeks and prohibited from leaving Nuremberg without the explicit permission of the city council. He was pardoned in 1506 by [[Maximilian I, Holy Roman Emperor|Emperor Maximilian]] and his civil rights reinstated.<ref>Durant, Will (1957). ''The Reformation''. Simon and Schuster: New York. p. 307.</ref>

[[File:GNM-Veit-Stoss-Raphael-Tobias.jpg|thumb|upright=1.0|The Angel Raphael and the young Tobias. Limewood. {{convert|97|cm|abbr=on}}, (Germanisches Nationalmuseum, Nuremberg)]]

Despite the prohibition he went to [[Münnerstadt]] in 1504, to paint and gild the altarpiece that [[Tilman Riemenschneider]] had left in plain wood ten years earlier, presumably according to his contract (unlike Stoss, his workshop did not include painters and gilders).  Leaving wood sculpture unpainted was a new taste at the time, and "perhaps the tastes of the city council were somewhat provincial."<ref>Snyder, 305</ref> He also created the altar for [[Bamberg Cathedral]] and various other sculptures in Nuremberg, including the ''Annunciation'' and ''[[Tobias and the Angel (sculpture)|Tobias and the Angel]]''. In 1506 he was arrested a second time. In 1507, [[Maximilian I, Holy Roman Emperor|Emperor Maximilian]] wrote a letter of pardon. The sole argument was made on the account of his genius. The council of the [[Imperial free city]] Nuremberg refused to give him a public notice. But Maximilian's intervention saved him from the dungeons and having his hands chopped off.<ref>{{cite book |last1=Grössing |first1=Sigrid-Maria |title=Maximilian I.: Kaiser, Künstler, Kämpfer |date=2002 |publisher=Amalthea |isbn=978-3-85002-485-3 |page=233 |url=https://books.google.com/books?id=AjVoAAAAMAAJ |access-date=25 February 2022 |language=de}}</ref><ref>{{cite book |last1=Weilandt |first1=Gerhard |title=Stoß, Veit - Deutsche Biographie |url=https://www.deutsche-biographie.de/sfz81621.html |access-date=25 February 2022 |language=de}}</ref> He was able to resettle in Nuremberg from 1506, but was shunned by the council and received few large commissions from that time onwards.<ref name="Snyder" /> In 1512, the Emperor asked Stoss to help with the planning of his tomb monument, which was eventually placed in the [[Hofkirche, Innsbruck|Hofkirche]], [[Innsbruck]]; it seems Stoss's attempts to cast in [[brass]] were unsuccessful.

During the period 1515–1520, Veit Stoss received a commission for sculptures by [[Raffaele Torrigiani]], a rich [[Florence|Florentine]] merchant.  In 1516 he made ''[[Tobias and the Angel (Veit Stoss)|Tobias and the Angel]]'' (now in Germanisches Nationalmuseum, Nuremberg), and a statue of Saint [[Roch]] for the [[Basilica della Santissima Annunziata, Florence|Basilica of Santissima Annunziata]] in Florence. This wooden statue represents the saint in a traditional way: in the garb of a pilgrim, lifting his tunic to demonstrate the [[Plague (disease)|plague]] sore in his thigh. Even [[Giorgio Vasari]], who did not think much of artists north of the Alps, praised it in his ''[[Lives of the Most Excellent Painters, Sculptors, and Architects|Le Vite]]'' and called it "a miracle in wood", though misattributing it.<ref>Baxandall</ref>

Veit Stoss was buried at St. Johannis cemetery in Nuremberg.<ref>{{cite web|title=St. Johannisfriedhof > Prominente|url=http://www.st-johannisfriedhof-nuernberg.de/st-johannisfriedhof_prominente.html|website=Evangelisch-Lutherische Friedhofsverwaltung, St.Johannis und St. Rochus|access-date=18 January 2018}}</ref> His artistic legacy was continued by his son Stanisław.<ref>{{cite book|editor1-last=Piltz|editor1-first=Erasmus|title=Poland, her people, history, industries, finance, science, literature, art, and social development|date=1909|publisher=H. Jenkins Limited|location=London|page=360|url=https://catalog.hathitrust.org/Record/006800233|access-date=18 January 2018|language=en|quote=Among the pupils of this great master who became famous were Stanislaw Stwosz the younger...}}</ref>