THE TUCHER MONUMENT 
style of the creator of the St. Peter and St. John 
of the Sebaldusgrab, and of the author of the Or- 
pheus of the Plaquettes. Equally true is this of 
the modelling, pose and drapery of the female 
figures, to which particular attention should be 
given. 
The background, too, 1s the work of a Master, 
and the gradual deepening of the relief is worked 
out with a skill and confidence which argues that 
it is the work of a Master who has made a con- 
siderable study of perspective. The treatment of 
perspective and the very low relief are indeed 
entirely in the manner of the early Florentine 
Renaissance. The same influence is discernible 
in the style of the architecture in the background. 
[t is interesting to note the favourite device of a 
Perugino or a Raphael reproduced in the cupola- 
crowned building which serves as a finish to the 
picture. It was not for nothing that Hermann 
Vischer had made his journey south some years 
before, and returned laden with those sketches 
which “delighted his old father and provided 
practice for his brothers.” The deviser of this 
temple and of those framing pillars with their 
Corinthian capitals has learnt many a lesson 
recently from his brother's work. 
[n the monument of the Eissen family which is 
placed in the Church of St. Agidius at Nurem- 
berg, and belongs to the year 1522, we have a 
work which must be by the same hand as that 
which designed the Tucher memorial. The simi- 
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