minor alterations, also, may be remarked, as in the drapery and in the pose of the Countess, which is beautiful and Vischer-like. The substitution of the three coats-of-arms for the late Gothic work in Dürer’s sketch is noteworthy. Unfortunately, as Lübke points out, this monument has not come down to us complete. Originally it was a _Freigrab_ resting on lions, and the sides of it were richly decorated. Angels are said to have stood at the four corners, some of them supporting candlesticks and others coats-of-arms. But in this instance, as in a later and still more regrettable one, the craftsman was destined to suffer from the greed inspired by the value of the material in which he wrought. For, in 1782, portions of this tomb were melted down, and twenty-two new candlesticks for the church were cast out of the nearly one thousand pounds of metal resulting. The date of the tomb is fixed approximately by the death of the Countess, which occurred in 1496. The Count himself died in 1512, and he probably ordered the monument soon after his wife’s death. It bears the date MCCCCC. Elizabeth, sister of the Countess Magdalena, daughter of Prince Albert Achilles, of Brandenburg, had married Count Hermann VIII. of Henneberg, and it is doubtless due to this relationship that the double tomb of husband and wife at Römhild was made from the same sketch and by the same craftsman as the memorial at Hechingen. It was indeed probably the earlier of the two. So at least Bergau argues, from the fact that it is nearer to the original sketch by Dürer. The Count, in this version of the design, holds a banner, the floating folds of which form an efficient background. The drapery of the Countess instead of being gathered up into her hands is caught up to her sides in graceful flowing folds. Peter Vischer knew how to make a thrifty use of accomplished models. Here, as originally at Hechingen, he repeated the symbols of the four Evangelists which he had used for his Magdeburg masterpiece. The tomb stands upon six vigorous and life-like lions, and, says Lübke, among the various saints who are ranged round the sarcophagus is a Madonna pressing to her breast the Holy Child, who is turning with a quick and very natural movement towards the eldest of the three kings who bring gifts. These are all figures quite in the best manner of Peter Vischer’s early style. And several of the other saints are almost equally good. As usual the details are worked with admirable skill. The following letters are engraved on this tomb: M. F. W. S. 15 C. Döbner was inspired to interpret them thus: “Meister Fischer und Fünf Söhne”; and again with a second effort: “Meister Fischer Waage Sebaldi 15 Centner.” These interpretations, I suppose, carry with them their own refutation. They do not encourage one to make a third attempt. ------------------------------------------------------------------------ CHAPTER IV