PETER VISCHER 
his day, Peter Vischer the younger, as we gather 
from Neudérffer’s mention of him, did not confine 
himself to bronze work, but dabbled in various 
kindred arts. We have a noticeable instance of 
this in the «* Allegory on the Reformation” (1524), 
an aquarelle now preserved at Weimar, which once 
roused the enthusiasm of Goethe, and which re- 
veals to us his political and religious creed. In 
common .with Hans Sachs, Albert Diirer, and 
Willibald Pirkheimer, and the great majority of 
Nurembergers, Peter Vischer had thrown in his 
lot with the Protestant Reformers, and boldly 
espoused the cause of Luther. Luther he here 
represents as some hero of old story who has de- 
stroyed the palace and upset the throne of the 
usurper, and scattered the base crowd of his 
courtiers. The Pope and the mighty princes of 
the Church have been put down from their seat 
and the horde of their hateful minions—Pride, 
Luxury, and Avarice—flee away. In their stead 
Faith, Hope, and Charity are about to enthrone 
Justice, whilst Luther; the humble and unworldly, 
shows the straight path to Christ, who descends 
from the clouds to save publicans and sinners. 
Rome's might, it is implied, is broken; the Ger- 
man people can at last, through Luther’s act, hold 
direct communion with their Redeemer once more. 
Only a German Emperor, so it must have seemed 
to the German enthusiasts of that time, was want- 
ing—no Spaniard like Charles V., with his brood 
of alien courtiers—to continue the work of Luther 
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