in the twelfth century. The bronze font in
Hildesheim is among the most interesting late Romanesque examples in
Germany. It is a large deep basin entirely covered with enrichment
of Scriptural scenes, and is supported by four kneeling figures,
typical of the four Rivers of Paradise. The conical cover is also
covered with Scriptural scenes, and surmounted by a foliate knob.
Among the figures with which the font is covered are the Cardinal
Virtues, flanked by their patron saints. Didron considers this a most
important piece of bronze from an iconographic point of view
theologically and poetically. The archaic qualities of the figures
are fascinating and sometimes diverting. In the scene of the Baptism
of Christ the water is positively trained to flow upwards in pyramidal
form, in order to reach nearly to the waist, while at either side it
recedes to the ground level again,--it has an ingenuous and almost
startling suddenness in the rising of its flood! An interesting
comment upon the prevalence of early national forms may be deduced,
when one observes that on the table, at the Last Supper, there
lies a perfectly shaped pretzel!

The great bronze column constructed by St. Bernward at Hildesheim
has the Life of Christ represented in consecutive scenes in a spiral
form, like those ornamenting the column of Trajan. Down by Bernward's
grave there is a spring which is said to cure cripples and rheumatics.
Peasants visit Hildesheim on saints' days in order to drink of
it, and frequently, after one of these visitations, crutches are
found abandoned near by.

Saxony was famous for its bronze founders, and work was sent forth,
from this country, in the twelfth century, all over Europe.

[Illustration: FONT AT HILDESHEIM, 12TH CENTURY]

Orcagna's tabernacle at Or San Michele is, as Symonds
has expressed it, "a monumental jewel," and "an epitome of the
minor arts of mediaeval Italy." On it one sees bas-relief carving,
intaglios, statuettes, mosaic, the lapidary's art in agate; enamels,
and gilded glass, and yet all in good taste and harmony. The sculpture
is properly subordinated to the architectonic principle, and one
can understand how it is not only the work of a goldsmith, but
of a painter.

Of all bronze workers, perhaps Peter Vischer is the best known
and is certainly one of the best deserving of his wide fame. Peter
Vischer was born about the same time as Quentin Matsys, between
1460 and 1470. He was the most important