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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