history, which is now among the treasures of the Nuremberg town hall. Albrecht Dürer himself with Renaissance versatility took up sculpture and did not despise even the humble medium of wood. He was a clever wood-carver and executed a tabernacle with an exquisitely carved relief of Christ on the Cross between His mother and St. John, which still may be seen in the chapel of the monastery at Landau. The British Museum possesses a number of miniature reliefs in boxwood which were also made by Dürer, though he early abandoned wood-carving for art work in materials that might be expected {100} to be more enduring. The influence of the wood-carving of this period can be noted in the work of the sculptors of the time, even after they abandoned it for stone and bronze. {101} Adam Kraft's great Schreyer monument in St. Sebald's Church at Nuremberg, for instance, shows very clearly the influence of wood-carving. There is no doubt, however, about his high place among the sculptors, even of this glorious period, in the art. [Illustration: DÜRER, ST. JOHN BAPTIST PREACHING (BAS-RELIEF IN CARVED WOOD)] The Vischer family for three generations executed a series of very great monuments in bronze, especially during the second half of Columbus' Century. The genius of the family was Peter Vischer of the second generation, who was admitted as a master sculptor into the sculptors' guild of Nuremberg in 1489. Perhaps the most interesting thing about his work is his absolute mastery of the technique of his art. Few men have ever succeeded in casting in bronze to such good effect. After having finished the magnificent tomb of Archbishop Ernest in Magdeburg Cathedral, in which some traces of Gothic influence still linger, Vischer obtained the opportunity for his masterpiece in the beautiful canopy for the shrine of St. Sebald at Nuremberg, a veritable triumph of plastic art. Modern, critical appreciation of it has very well corroborated contemporary admiration. Its details are a never-ending source of interest and study. Some of the statuettes of saints attached to the slender columns of the canopy are among the most charming examples of their kind that we have. They have grace and dignity, as well as great expressiveness. Near the base there is a small, evidently portrait, figure of a rather stout, bearded man wearing a large leathern apron and holding some of the sculptor's tools with which he usually worked that is considered to be a figure of Peter himself. It is a marvel of clever realism.