PETER VISCHER 
all the wealth of his luxuriant imagination. And 
he made use of the patterns of the full Renais- 
sance, such as were to be met with in Italy about 
he beginning of the sixteenth century, in the 
works of Andrea Sansovino. 
The columns, with their varied capitals in the 
Corinthian manner, exhibited a beautiful diversity 
of invention. Every surface, too, was most richly 
decorated ; every member daintily wrought; the 
pilasters, shafts of the columns, pedestals, borders 
and doorways, were embellished with exquisitely 
drawn foliage-work mingled with masks and fan- 
tastic beasts in ever fresh variations. Especial 
mention must be made of the magnificent frieze 
of acanthus with figures of savage men interlaced 
in different moments of combat. Other friezes 
showed garlands, wreaths, and festoons of fruit 
hanging from the horns of oxen, and, between 
them, winged angels’ heads and cornucopias over- 
lowing with fruit and flowers. | 
The great bays or compartments arranged be- 
tween the entrances were filled with open metal- 
work, the bars whereof at the points of intersection 
were embellished with ornaments of manifold de- 
vices. A marvellous wealth of figures in relief 
was to be found in every quarter—over the arch 
of the doorway ; on the spandrels of the side gates 
as well as on both the crowning segmental pedi- 
ments and the rectangular centre-piece. Even 
the angles of the cornice were adorned with fan- 
tastic beings in whose manifold forms the humour 
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