TOMB OF MAXIMILIAN
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express it, with punctuality,cheapness and despatch.
In artistic excellence, as well as in these other im-
portant qualities, they far surpassed the labours of
the Miihlau Founder, who had secured the com.
mission for all, or almost all, the other statues for
the tomb of Maximilian. The Emperor himself,
it is recorded, recognized this fact; for he remarked
(April 16, 1513), “Fiir die 3,000 fl. auf welche das
bis dahin gegossene einzige Bild Sesselschreiber zu
stehen komme, in Niirnberg sechs Bilder hitte
giessen lassen konnen.” (For the 3,000 florins to
which the one statue hitherto cast by Sessel-
schreiber amounts, six statues might have been cast
at Nuremberg.) oo
Both the statues that hail from Nuremberg are
extremely beautiful, but they are noticeably differ-
ent in style. They differ so much in that un-
conscious revelation of the artist's hand, which
distinguishes every piece of human work, that I
am strongly inclined to accept Dr. Seeger’s view,
that whilst Peter Vischer the father wrought
Theodoric, King of the Goths, it is to his son and
namesake, Peter Vischer the younger, that we owe
the statue of King Arthur. Theodoric leans on
his sword and shield in a pose that is beautiful and
Imaginative, it is true, but in the execution slightly
torced. This figure is"weaker and more conven-
tional, less full of life and vigour than that of the
King Arthur. Seeger fancies that we can trace
in it something of the uneasiness felt by the old
craftsman when essaying a new style, and that
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