The tombs of Mary of Burgundy and of Charles the Bold in the Church of Notre Dame, Bruges, still further emphasize the sculptural capacity of these generations, though, from the rarity of large masterpieces, there were apparently but few opportunities to display it on a monumental scale. These monuments, especially the older one, are supremely great works of art. A comparison of them is very illuminating for the history of sculpture in our period. Though constructed scarcely half a century apart, they are executed under the influence of the two typical but very different art impulses of this century. The tomb of Mary, made by Peter Beckere of Brussels in 1502, is mediaeval and Gothic in spirit. That of Charles, made by order of Philip II just before 1560, is a distinctly Renaissance work. The later is much more modern and obvious in the meaning of all its symbolism, but one need not be an artist to see how much more genuinely artistic is the earlier tomb. At first glance one seems almost a replica of the other, except, of course, for the figure of the deceased and the subjects of the decorations of the sarcophaguses, but it takes but little study to discover what a descent there is in the art quality of the Renaissance work. Nowhere can one see the {99} value of the old and the new nor compare Gothic and Renaissance so easily as here. [Illustration: PULPIT, LEYDEN] Sculpture developed very wonderfully in Germany during the first half of Columbus' Century. The commercial prosperity of the time, the development of industries and the increase of trade caused an inflow of wealth into many of the cities of Southern Germany particularly, and not a little of this wealth found its way through the generosity of donors into the decoration of their churches. The people's faith was deep and full. Reform had not yet come to disturb it. Germany devoted itself especially to sculptured decoration in wood. An immense number of carved altars, pulpits, choir screens, stalls, tabernacles and other church fittings of very great elaborateness and usually fine artistic quality were produced. One of the first of the great German wood-carvers was Jörg Syrlin, who executed the famous choir stalls of Ulm cathedral, so richly decorated and ornamented with statuettes and canopies. His son of the same name did the great pulpit in the same cathedral and was given the commission for the elaborate stalls in Blaubeuren church. These were finished within a year of the discovery of America. At Nuremberg wood-carving also reached a high degree of excellence, and Veit Stoss of Nuremberg, though notorious for his escapades, was looked upon as the most skilful of artists for church woodwork. He was invited to Cracow to do the high altar, the tabernacle and the stalls of the Frauenkirchen. His masterpiece is the great wooden panel nearly six feet square, carved toward the end of the fifteenth century, with an immense number of scenes from Bible