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). Leaving wood sculpture unpainted was a new taste at the time, and "perhaps the tastes of the city council were somewhat provincial." He also created the altar for Bamberg Cathedral and various other sculptures in Nuremberg, including the "Annunciation" and "Tobias and the Angel". In 1506 he was arrested a second time. Emperor Maximilian wrote a letter of pardon, but it was rejected by the council of the Imperial free city Nuremberg as meddling in its internal affairs. He was able to resettle in Nuremberg from 1506, but was shunned by the council and received few large commissions from that time onwards. In 1512, the Emperor asked Stoss to help with the planning of his tomb monument, which was eventually placed in the Hofkirche, Innsbruck; it seems Stoss's attempts to cast in brass were unsuccessful.