PETER VISCHER 
had married Count Hermann VIII. of Henneberg, 
and it is doubtless due to this relationship that the 
double tomb of husband and wife at Romhild was 
made from the same sketch and by the same crafts- 
man as the memorial at Hechingen. It was in- 
deed probably the earlier of the two. So at least 
Bergau argues, from the fact that it is nearer to 
the original sketch by Diirer. The Count, in this 
version of the design, holds a banner, the floating 
folds of which form an efficient background. The 
drapery of the Countess instead of being gathered 
up into her hands is caught up to her sides in 
graceful flowing folds. 
Peter Vischer knew how to make a thrifty use 
of accomplished models. Here, as originally at 
Hechingen, he repeated the symbols of the four 
Evangelists which he had used for his Magdeburg 
masterpiece. The tomb stands upon six vigorous 
and life-like lions, and, says Liibke, among the 
various saints who are ranged round the sarco- 
phagus is a Madonna pressing to her breast the 
Holy Child, who is turning with a quick and very 
natural movement towards the eldest of the three 
kings who bring gifts. These areall figures quite 
in the best manner of Peter Vischer’s early style. 
And several of the other saints are almost equally 
good. As usual the details are worked with 
admirable skill. 
The following letters are engraved on this tomb : 
M. F. W.S. 15 C. Débner was inspired to in- 
terpret them thus: “Meister Fischer und Fiini 
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