of supplying the Apostle figures must have fallen to one of these, and he would naturally base them upon the famous masterpieces of the House in that line. But in the noble figure of the Christ, in the poise and the moulding of the head, and in that spiritual searching gaze with which the Saviour seems to be looking into the very heart of Lazarus’ sister and gauging her faith, we cannot fail to recognize the style of the creator of the St. Peter and St. John of the Sebaldusgrab, and of the author of the Orpheus of the Plaquettes. Equally true is this of the modelling, pose and drapery of the female figures, to which particular attention should be given. [Illustration: STEIN PHOTO.] [CATHEDRAL, RATISBON 16. MEETING OF CHRIST WITH THE SISTERS OF LAZARUS (Tucher Monument)] The background, too, is the work of a Master, and the gradual deepening of the relief is worked out with a skill and confidence which argues that it is the work of a Master who has made a considerable study of perspective. The treatment of perspective and the very low relief are indeed entirely in the manner of the early Florentine Renaissance. The same influence is discernible in the style of the architecture in the background. It is interesting to note the favourite device of a Perugino or a Raphael reproduced in the cupola-crowned building which serves as a finish to the picture. It was not for nothing that Hermann Vischer had made his journey south some years before, and returned laden with those sketches which “delighted his old father and provided practice for his brothers.” The deviser of this temple and of those framing pillars with their Corinthian capitals has learnt many a lesson recently from his brother’s work. In the monument of the Eissen family which is placed in the Church of St. Ægidius at Nuremberg, and belongs to the year 1522, we have a work which must be by the same hand as that which designed the Tucher memorial. The similarity of the signature and of the style is convincing testimony. The subject is the favourite Pietà, the lamentation over Christ’s body after the descent from the Cross. Here we have the figures of the faithful women, and of John the beloved disciple, and Joseph of Arimathea mourning, whilst Nicodemus is reverently wrapping the corpse in the cerements of the grave. Once more in composing his subject the artist has seized the dramatic moment. The eyes of all these faithful followers are fixed upon the dead body of their Lord. Their gestures and their expressions betoken the intense grief of each, and each has his place and share in the divine tragedy. The unity thus attained is heightened by the dramatic contrast of the one person, the servant, who stares at the body, unaffected save by vulgar curiosity, all unaware that she is in the presence of the world’s most grievous and most wonderful mystery. (Ill. 17.)