Another proof of Stoss's activity at Cracow is to be found in the convent church of the Bernardines; it is a wood-carving representing St. Ann in company with the Virgin and Child. This has only been preserved in a very bad state; but in the Diocesan Museum at Tarnow there is a well-preserved copy of it, rather free in its imitation; it is unsigned and probably issued from the master's workshop. Finally, some wooden statues have been preserved in the Calvary of St. Barbara's Church, which also would seem to proceed from Stoss's workshop. Recently, the design of the excellent monumental brass on the grave of Callimachus
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(In the high altar at St. Mary's.)
(Vitus Stoss.)
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(In the high altar at St. Mary's.)
(Vitus Stoss.)
Buonacorsi (d. 1497) in the Dominican Church has also been assigned, not without some probability, to Stoss's sphere of activity. When the aged master left Cracow in 1496, his eldest son Stanislas succeeded to the management of the famous workshop, which he conducted for thirty years. First as goldsmith, afterwards as carver, he worked at Cracow, then at Nuremberg, where he died in 1527. None of his works is signed, and it is on the internal evidence of certain characteristics pointing to a former goldsmith's work that two carvings are ascribed to him, viz., the altar of St. Stanislas in St. Mary's Church (illustration 44),
