metal worker in Germany.
He and Adam Kraft, of whom mention will be made when we come to
deal with sculptural carving, were brought up together as boys,
and "when older boys, went with one another on all holidays, acting
still as though they were apprentices together." Vischer's normal
expression was in Gothic form. His first design for the wonderful
shrine of St. Sebald in Nuremberg was made by him in 1488, and
is still preserved in Vienna. It is a pure late-Gothic canopy,
and I cannot help regretting that the execution was delayed until
popular taste demanded more concession towards the Renaissance,
and it was resolved in 1507, "to have the Shrine of St. Sebald
made of brass."

Therefore, although the general lines continue to hold a Gothic
semblance, the shrine has many Renaissance features. Regret, however,
is almost morbid, in relation to such a perfect work of art. Italian
feeling is evident throughout, and the wealth of detail in figures
and foliate forms is magnificent. The centre of interest is the
little portrait statuette of Peter Vischer himself, according to his
biographer, "as he looked, and as he daily went about and worked in
the foundry." Though Peter had not been to Italy himself, his son
Hermann had visited the historic land, and had brought home "artistic
things that he sketched and drew, which delighted his old father, and
were of great use to his brothers." Peter Vischer had three sons, who
all followed him in the craft. His workshop must have been an ideal
institution in its line.

Some remnants of Gothic grotesque fancy are to be seen on the shrine,
although treated outwardly with Renaissance feeling. A realistic
life-sized mouse may be seen in one place, just as if it had run
out to inspect the work; and the numbers of little tipsy "putti"
who disport themselves in all attitudes, in perilous positions
on narrow ledges, are full of merry humour.

The metal of St. Sebald's shrine is left as it came from the casting,
and owes much of its charm to the lack of filing, polishing, and
pointing usual in such monuments. The molten living expression is
retained. Only the details and spirit of the figures are Renaissance;
the Gothic plan is hardly disturbed, and the whole monument is
pleasing in proportion. The figures are exquisite, especially that
of St. Peter.

[Illustration: PORTRAIT STATUETTE OF PETER VISCHER]

A great Renaissance work in Germany was the grille
of the Rathaus made for Nurembe