PETER VISCHER 
note of the Renaissance. He had learnt the value 
of the study of the nude, and he had seen, as every 
artist must see, the superiority of the Italian over 
the Bavarian model. Hereafter the tendency to 
discard the short and sturdy types of the school 
of Krafft, and to substitute more slender and 
more beautiful figures for the Apostles is marked. 
The results of this Italian journey of his are 
clearly discernible not only in the Sebaldusgrab, 
but also in his own particular works, in the two 
medallions of his brother Hermann, executed in 
1507 and 1511; and in that of himself in 1509; in 
the beautiful plaquettes, “Orpheus and Eurydice”; 
in the two inkstands and the ornamentation of the 
tomb of Frederick the Wise in Wittenberg, with 
which we shall presently deal. 
Remembering that picture of the father spending 
his holidays in drawing with his friends Lindenast 
and Krafft, it is easy to imagine that the old man, 
ever young, enthusiastic, humble and eager to 
learn, readily appreciated and welcomed the reve- 
lations contained in the son’s sketch books. He 
was already at work upon a Gothic shrine for St. 
Sebald'’s remains, but he soon modified his original 
plan, improving and enriching it by the light of 
this new learning. 
Ere the fires of that inspiration had yet begun 
to grow cold, and before the Sebaldusgrab was 
more than half finished, another member of the 
family took yet another journey. Hermann, the 
eldest son, had married Ursula Mag in November 
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