nude, and he had seen, as every artist must see, the superiority of the Italian over the Bavarian model. Hereafter the tendency to discard the short and sturdy types of the school of Krafft, and to substitute more slender and more beautiful figures for the Apostles is marked. The results of this Italian journey of his are clearly discernible not only in the Sebaldusgrab, but also in his own particular works, in the two medallions of his brother Hermann, executed in 1507 and 1511; and in that of himself in 1509; in the beautiful plaquettes, “Orpheus and Eurydice”; in the two inkstands and the ornamentation of the tomb of Frederick the Wise in Wittenberg, with which we shall presently deal. Footnote 4: Kunz Rösner. MS. 933 b. Library, Nuremberg. Footnote 5: Neudörffer. Remembering that picture of the father spending his holidays in drawing with his friends Lindenast and Krafft, it is easy to imagine that the old man, ever young, enthusiastic, humble and eager to learn, readily appreciated and welcomed the revelations contained in the son’s sketch books. He was already at work upon a Gothic shrine for St. Sebald’s remains, but he soon modified his original plan, improving and enriching it by the light of this new learning. Ere the fires of that inspiration had yet begun to grow cold, and before the Sebaldusgrab was more than half finished, another member of the family took yet another journey. Hermann, the eldest son, had married Ursula Mag in November of the year 1513. “When his wife left him in death,” Neudörffer tells us, “he went for art’s sake and at his own cost to Rome, and brought back with him much artistic material which he had sketched there, and which greatly pleased his father and served as good practice for his brothers.” Hermann himself died shortly after his return, in the year 1516. He was run over by a sleigh in St. Gilgen-strasse one night as he was returning to his home in the Kornmarkt from the house of his friend Wolfgang Traut, the painter, and thus “perished in his prime, in sad and piteous wise.” But that journey of his had not been taken in vain. His drawings revealed to the old burgher at home the further developments of art and some of the wonders of the full Florentine-Roman Renaissance. The result can be traced in some of the figures on the Sebaldusgrab, and, later, in that complete acceptance of the revival of the antique which is expressed in the Rathaus Railing.