PETER VISCHER 
requires a moment's comparison to demonstrate 
that their figures are mere modifications of those 
on the Sebaldusgrab, and they may have been 
wrought by any member of the family, therefore, 
or even by an assistant. For the craftsmen of 
those days were obliged to take a frankly business 
view of their handiwork. Michel Wolgemut left 
much in each of his pictures to be done by his 
pupils and assistants, and Diirer, too, following 
his master’s custom was, in too many cases, forced 
to adopt the same practice. For a man must live, 
and Diirer found that his careful and elaborate 
style of painting was simply beggaring him. The 
commissions received by the Vischer family were 
necessarily executed after something of the same 
spirit. The design would be sketched out by the 
old man or one of his sons, or, again, by him and 
his sons in part and in consultation. Then whilst 
the more skilful of them wrought the more im- 
portant figures and details of the piece, the sub- 
sidiary details and characters would be left to the 
prentice hands. In the case of the Tucher monu- 
ment the task of supplying the Apostle figures 
must have fallen to one of these, and he would 
naturally base them upon the famous master- 
pieces of the House in that line. But in the 
noble figure of the Christ, in the poise and the 
moulding of the head, and in that spiritual search- 
ing gaze with which the Saviour seems to be 
looking into the very heart of Lazarus’ sister and 
gauging her faith, we cannot fail to recognize the 
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