[1] Ševčíková introduced the designation[2] after the sculpture of Assumpta with the Baby Jesus from Kamenná Street, which she considers to be the central work for the classification of Cheb carving production at the turn of the 15th century.
[4] The master of the Madonna of Kamenná Street benefits indirectly from the Upper Rhine carving, influenced by the local more conservative tradition (e.g. the motif of the upright and clothed Jesus).
The softly sculpted faces, fashionable female headdresses, the type of cloaks and the rendering of drapery or iconographic scheme link the St. Nicholas sculptures with Michael Wolgemut's Altarpiece of Zwickau (1479).
[1] According to Ševčíková, some of the works of the Master of the Madonna of Kamenná Street are characterised by a more naive and decorative manner of processing and a rather formal solution to artistic problems.
The diminution of large form and the pursuit of precise rendering leads, in works of lower quality, to the expression becoming an empty and smiling mask.