HANS THE FOUNDER 
ample the second of the above-named monuments. 
This tablet forms a pendant to the memorial of 
Cardinal Albrecht von Brandenburg. The Christ- 
Child holds an apple in one hand and stretches 
out the other with a life-like gesture, looking the 
while at the Mother who carries him on her left 
arm. ‘The Madonna's head is oval in shape, not 
of the square German type, and her eyes are 
admirably full of expression. The drapery is 
both simple and boldly handled. But every 
beauty in this beautiful work, from the central 
figure down to the small angels who are play- 
ing musical instruments in the corners, and who 
take their part in the crowning of Mary, is the 
direct outcome of imitation—imitation of Peter 
Vischer and the Italian masters he had copied and 
loved. 
Another piece which was certainly cast by Hans 
Vischer but for which he was not, in all probability, 
altogether responsible, is the tomb-plate of Bishop 
Lorenz of Bibra, in the Cathedral at Wiirzburg, 
for the Bishop died as early as the year 1510. 
The hand of Vischer’s father, therefore, may 
well be assumed to be traceable in this design. 
Ten years after the Bishop's death we find Hans, 
through the medium of the Nuremberg Council, 
presenting a petition to the Bishop of Bamberg, 
in which the executor of my Lord of Bibra is 
humbly requested to pay the twenty-two gulden 
still owing to the craftsman. 
The tomb of the Elector Johann Cicero of 
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