HANS THE FOUNDER 
the House of Vischer: but it reflects them in a 
feeble and uncertain manner. The mantle of the 
Renaissance appears to sit uneasily on shoulders 
cast in the Gothic mould, and to betray the work- 
man who has never got rid of the hardness and 
stiffness of his early days. But he obeys none 
the less the influence of the artists in the house, 
and after his father’s death signs the monument 
Johann Vischer. 
A much more successful instance of Hans 
Vischer’s work in the Renaissance style would be 
the canopy over the tomb of St. Margaret in the 
Parish Church of Aschaffenburg. The authorship 
of this canopy must not, indeed, be attributed to 
that craftsman without reserve : but, if it did come 
from the Nuremberg foundry at all, to Hans 
should be given the credit of it. For it belongs 
to the year 1536. 
Aless doubtful example of his painstaking crafts- 
manship is to be found in the Apollo, of which 
an illustration is given here. (Ill. 28.) It stands 
now in the Court of the Rathaus at Nuremberg, 
and serves as a fountain-piece. Hans has based 
the construction of his bronze upon an engraving 
by Jacopo de’ Barbari. But he has not hesitated to 
introduce several alterations from the original de- 
signs. Vischer's Apollo has the right hand, which 
is about to let the arrow fly from the string, more 
energetically drawn back, and the elbow-joint is 
set further back. In Barbari’s drawing Apollo is 
represented as stretching the bow and looking 
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