PETER VISCHER 
of Archbishop Ernst, are not standing gazing 
straight in front of them in holy, unconscious calm, 
but a certain relation has been established between 
some of the pairs. That relation has not been 
established indeed with mathematical precision, 
but with an art that succeeds in producing the 
effect of nature. Take, for instance, the figures of 
Paul and Philip, which are represented in the act 
of earnest conversation, or those of Thomas and 
James the Less, which suggest’ men who are busy 
with their own thoughts, but are composed so as 
to be in complete harmony with those of the neigh- 
bouring apostles. The figures are skilfully ar- 
ranged also so as to produce a harmonious contrast 
with the twelve patriarchs above them. 
We noticed in the apostles of the Magdeburg 
monument a distinct lack of variety in pose, es- 
pecially of arms and hands. The figures there 
were stiff and lacking in grace, but these are full 
of fire and movement. The figures there were 
over short. They were the types of Adam Krafft 
and the Nuremberg school. But these, in greater 
or less degree, are Renaissance types of com- 
parative litheness, and inspired with life and in- 
telligence. 
In breaking away from the traditions of Veit 
Stoss and Adam Krafft the artist has advanced to 
a notable extent beyond them, and -even beyond 
Diirer in most cases, in the quality of spirituality 
which he has learnt to impress upon his work. 
A’ similar development is noticeable in the drap- 
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