influences prevail at Cracow; from that time the art of Nuremberg is dominant. From that famous art centre numerous sculptors, carvers, painters, goldsmiths, and other craftsmen came to Cracow to settle down, marry, and establish their workshops in the city: they formed the stock of what are called the Germani polonicati. To this period belongs the sarcophagus of King Ladislaus Jagello's sepulchral monument, in the nave of the dome. This was erected after 1421, of red marble—probably from Salzburg—and is doubtlessly the work of a German artist. The canopy, of later date (1524), was added by an Italian, supposed to be Giovanni Cini. The features of the king's face, rendered very faithfully, seem to point to careful previous study of the living original. About 1463, that great and many-sided genius, Vitus Stoss, came for the first time to Cracow, where he settled down and married. His appearance marks an epoch in the development of Cracow art; his personality left the most signal and permanent impression on the character of the town and its peculiar style. The crucifix in the chancel-arch of St. Mary's Church, of 1473, already shows all the characteristic features of this artist's workmanship. In 1477 the citizens of Cracow summoned the "admirably adroit, diligent, and well-minded master, whose understanding and fame shine over all Christendom"—thus the town clerk describes him—from Nuremberg where he then lived, and ordered him to produce what became the magnum opus of his life: the high altar of St. Mary's Church (cf. frontispiece, and ill. 35). This magnificent work he finished in 1481. The Golden Legend of the Genoese monk, Jacobus a Voragine, was his literary guide in the conception of the carvings. The large middle panel of the altar shows, in figures of natural size, the decease of the Virgin Mary, who is represented collapsing amid the faithful circle of apostles. Above this group, Christ appears receiving into heaven the soul of the Holy Virgin, attended by angels singing and making jubilee. Above this, in the gable, rich with Gothic ornamentation, Mary is seen being crowned Queen of Heaven, between two angels and holy bishops. On the side wings of the altar-piece, scenes from the life of Christ and of the Virgin are represented
