PETER VISCHER 
spirit, perhaps, as that in which Diirer used to 
adorn and complete his engravings and even to 
crowd the vacant spaces of his compositions with 
the Zraumwerk with which his mind and memory 
were stored. And in this respect also the Magde- 
burg tomb foreshadows the Sebaldusgrab. 
A't the four corners are four lions bearing arms; 
above are four others poised in the manner of 
gargoyles on some Gothic building ; whilst on the 
top, at each corner, standing on groups of Gothic 
pilasters are, or rather were, the symbols of the 
four Evangelists ; for the eagle has been broken 
off and has disappeared now from its base. 
During the next few years (1497-1508) many 
works were turned out of the Vischer Foundry; 
several of which were based on the designs of 
other artists, most probably at the request of the 
patron. Some of those which we can identify as 
coming from Vischer’s workshop in this fashion, 
such as the monument of Bishop Georg II. of 
Bamberg, which was executed after the design by 
Wolfgang Katzheimer, the Bamberg painter, or 
the monuments of Bishop Veit and Heinrich I11. 
are of absolutely no interest to the student of 
Peter Vischer’s art. 
But two monuments, this time of temporal 
princes, which belong to the same period, have a 
oreater interest and a higher merit. They are 
the memorials of Count Eitel Friedrich II. von 
Hohenzollern in the parish church of Hechingen 
(1500), and of Count Hermann VIII, at Rombhild. 
20