The metal of St. Sebald's shrine is left as it came from the casting, and owes much of its charm to the lack of filing, polishing, and pointing usual in such monuments. The molten living expression is retained. Only the details and spirit of the figures are Renaissance; the Gothic plan is hardly disturbed, and the whole monument is pleasing in proportion. The figures are exquisite, especially that of St. Peter. [Illustration: PORTRAIT STATUETTE OF PETER VISCHER] A great Renaissance work in Germany was the grille of the Rathaus made for Nuremberg by Peter Vischer the Younger. It was of bronze, the symmetrical diapered form of the open work part being supported by chaste and dignified columns of the Corinthian order. It was first designed by Peter Vischer the Elder, and revised and changed by the whole family after Hermann's return from Rome with his Renaissance notions. It was sold in 1806 to a merchant for old metal; later it was traced to the south of France, where it disappeared. Another famous bronze of Nuremberg is the well-known "Goose Man" fountain, by Labenwolf. Every traveller has seen the quaint half-foolish little man, as he stands there holding his two geese who politely turn away their heads in order to produce the streams of water! With the best bronzes, and with steel used for decorative purposes, the original casting has frequently been only for general form, the whole of the surface finishing being done with a shaping tool, by hand, giving the appearance of a carving in bronze or steel. In Japanese bronzes this is particularly felt. The classical bronzes were evidently perfect mosaics of different colours, in metal. Pliny tells of a bronze figure of a dying woman, who was represented as having changed colour at the extremities, the fusion of the different shades of bronze being disguised by anklets, bracelets, and a necklace! A curious and very disagreeable work of art, we should say. One sometimes sees in antique fragments ivory or silver eyeballs, and hair and eyelashes made separately in thin strips and coils of metal; while occasionally the depression of the edge of the lips is sufficient to give rise to the opinion that a thin veneer of copper was applied to give colour. The bronze effigies of Henry III. and Eleanor, at Westminster, were the work of a goldsmith, Master William Torel, and are therefore finer in quality and are in some respects superior to the average casting in bronze. Torel worked at the palace, and the statues were cast in "cire perdue" process, being executed in the churchyard itself. They are considered among the finest bronzes of the period extant. Gilding and enamel were often used in bronze effigies.