His style emphasized pathos and emotion, helped by his virtuoso carving of billowing drapery; it has been called "late Gothic Baroque".

According to the contracts and other official documents written in the fifteenth and sixteenth centuries, Stoss was born in a place pronounced as Horb or Horbn.

[5] During World War II, on the order of Hans Frank – the Governor-General of that region of occupied Poland – the dismantled Altar was shipped to Nazi Germany around 1941.

[6] The High Altar underwent major restoration work in Poland and was put back in its place at the Basilica ten years later.

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.

[7] 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).

In 1516 he made Tobias and the Angel (now in Germanisches Nationalmuseum, Nuremberg), and a statue of Saint Roch for the 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 sore in his thigh.

There is a Polish book (1913) and film (1961) Historia żółtej ciżemki (The story of a yellow crakow)[14] about Veit Stoss in Cracow.