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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