Veit Stoss, despite his facial branding and…

Veit Stoss, despite his facial branding and the prohibition on his leaving Nuremberg, goes in 1504 to Münnerstadt 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 guilders).

Leaving wood sculpture unpainted is a new taste at this time.