To Peter Vischer the younger we may attribute the representation of his patron saint. This, as Dr. Seeger has pointed out, is based on a recollection or a drawing of the figure of that Apostle on the façade of the Certosa di Pavia, modified by the individuality of the present artist and adapted to the exigencies of this shrine. It is an absolutely different type from that on the Magdeburg tomb, which had more in common with the St. Peter of old Hermann on the Font at Wittenberg. There the head, to take one point, is larger and adorned with a heavy mass of luxuriant curling hair and beard. But the head of this Apostle is small and fine; the eyes deep set, the neck sinewy. The loose and admirable fall of the drapery is in the new manner. And with that nervous grasp of the key, that searching gaze, those wrinkled and contracted brows, the youthful craftsman has nobly represented his patron Saint, Peter the bald, intellectual Keeper of the Gates of Heaven. Completely different again in type and treatment is the figure of the Apostle Bartholomew. (Ill. 13.) It smacks of Rome, and Roman too is Simon. These, we should naturally hazard, were the work of Hermann the eldest son, after his return from his _Rom-reise_ in 1516. And in this theory we are confirmed by a passage in a manuscript in the Nuremberg Town Library, which tells us that “Hermann Vischer alone made the Apostle Bartholomew and several tabernacles,” as, for instance, without doubt that Roman triumphal arch above the statue of St. Paul. ------------------------------------------------------------------------ CHAPTER V THE TOMB OF MAXIMILIAN