EARLY WORKS 
model which he completed in 1488 for the shrine 
of St. Sebald. This is the design which he was 
destined to take up twenty years later, and to 
execute in the fulness of his new knowledge and 
developed technique. It is now in Vienna, and 
betrays at every point the influence of Adam 
Krafft, to the style of whose Sacramentshaiislein 
it bears an obvious resemblance. Heideloff, the 
architect, in whose possession the model once 
was, attributed it indeed to Veit Stoss. But it is 
signed by Peter Vischer with his mark 
[488 
Heideloff, it is true, claimed this as the token of 
Veit Stoss, but his opinion is of little value, for 
his enthusiasm for the Polish carver led him to 
claim for him amongst other works the design of 
the tomb of Archbishop Ernst, the Rémhild me- 
morials of Count Hermann VIII. and of Otto IV, 
and even the Imperial tomb of Maximilian at 
Innsbruck. 
Of the original design for the Sebaldusgrab, 
Liibke says, “It is a masterpiece of Gothic con- 
struction but freely endowed with all the exagger- 
ation and extravagance of the late period.” And 
there can be no doubt that the world lost nothing 
by the delay which intervened before Peter Vis. 
cher, in the words of the chronicler, “with the 
help of his five sons, who were all married and 
lived for the most part with him in the house with 
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