At the four corners are four lions bearing arms; above are four others poised in the manner of gargoyles on some Gothic building; whilst on the top, at each corner, standing on groups of Gothic pilasters are, or rather were, the symbols of the four Evangelists; for the eagle has been broken off and has disappeared now from its base. During the next few years (1497-1508) many works were turned out of the Vischer Foundry; several of which were based on the designs of other artists, most probably at the request of the patron. Some of those which we can identify as coming from Vischer’s workshop in this fashion, such as the monument of Bishop Georg II. of Bamberg, which was executed after the design by Wolfgang Katzheimer, the Bamberg painter, or the monuments of Bishop Veit and Heinrich III. are of absolutely no interest to the student of Peter Vischer’s art. [Illustration: STEIN PHOTO.][CHURCH, RÖMHILD 6. MONUMENT OF COUNT HERMANN VIII] But two monuments, this time of temporal princes, which belong to the same period, have a greater interest and a higher merit. They are the memorials of Count Eitel Friedrich II. von Hohenzollern in the parish church of Hechingen (1500), and of Count Hermann VIII., at Römhild. (Ill. 6.) No one who has familiarized himself with the master’s manner will fail to perceive that, if these monuments have been executed by him in bronze, they have no less certainly been based upon the design of another hand. And no one who has studied the drawings of Albert Dürer, and who now compares these knightly figures, for instance, with some of those mail-clad forms of his, whether it be Lucas Baumgärtner or another, will be astonished to learn that Bergau has discovered and published that design, and that it proves to be indeed by Dürer. For that pen-and-ink drawing now at Florence, that sketch of the tall, thin knight, who is standing on a lion in a position that is, it must be confessed, both straddling and constrained, and who is apparently speaking to his wife, whose feet are set, according to the convention, upon a dog, the symbol of fidelity, is undeniably the first sketch for the tomb of Count Eitel and his wife Magdalena, Countess of Brandenburg, which is now to be found in the parish church of Hechingen. Certain very obvious variations have, however, been introduced, whether by the designer in a second sketch, or, as is most probable, by the bronze-worker on his own initiative. The figures, which in the original are excessively separate, have been brought closer together, and thereby, whilst the lion and dog on which they stand have suffered, an opportunity for the development of the background has been provided. A trace of this process is observable also in the position of the Count’s right elbow, which protrudes to the extreme outside edge of the frame. The left hand, holding a rosary, is another innovation, but it is not one for which in its execution any gain in grace can be claimed. Other