PETER VISCHER 
leaps to the eye. Yet this memorial also was 
made in 1521. (Ill. 16.) It can hardly have been 
designed by the same hand, although this, like the 
monument of the Eissen family in the Church of 
St. /Egidius at Nuremberg, to which it is near 
akin, certainly came from the Vischer foundry, for 
it bears the mark and signature 
PERV 
Normberge . 1521. But the trade-mark between 
these two initials is substantially the same as that 
found on the inkstand of 1525. We have no choice, 
then, but to follow Bergau and Seeger and to 
attribute these two former works, in great part at 
any rate, to Peter Vischer the younger. And, 
indeed, they exhibit to a high degree all those 
qualities which are most characteristic of his work. 
There is a rhythmic balance in the composition 
which at once recalls the reliefs on the Sebaldus- 
grab attributed to him. Here again the artist 
has seized a fine moment in the dramatic incident 
he wishes to portray. He has harmonized and 
subordinated all the characters of that pathetic 
scene when Christ met the sisters of the dead 
Lazarus. The noble figure of the Christ who has 
stepped forward to listen to and to grant the 
prayer of the bereaved sister forms the centre of 
a picture whereof the disputing Apostles and the 
sorrowing women are the necessary complement. 
With regard to the Apostles themselves it only 
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