The monuments of the time are mainly very superior. Among them may be mentioned that of Emperor Henry II. and his consort by Riemenschneider, the marble monument of Bishop Rudolph von Schrenburg in the Würtzburg cathedral, and the marble memorial to the Emperor Frederic III. in Vienna. The celebrated school of metal works of Nuremberg flourished during this period. The best known representatives belonged to the family of Vischer, and in Peter Vischer the most complete artistic development was reached. The earliest work, by Hermann Vischer in 1457, was the bronze baptismal font in Wittenberg. Peter, his son, began his work on the tomb of Archbishop Ernst in Magdeburg cathedral, but his _chef d’œuvre_ was the tomb of St. Sebald in the church of that saint at Nuremberg. Vischer and his five sons were engaged on this for eleven years. The sarcophagus rests on a base elaborately wrought in relief, and the whole is enclosed; the cover is composed of three arched canopies supported on eight slender columns. The base, pillars and canopies are wrought exquisitely; although the ornaments are profuse, yet a perfect simplicity and purity of style is preserved. There are very many other productions attributed to Vischer—a fine relief in the cathedral at Regensborg, several tombs, and, as examples of his treatment of antique designs, an Apollo at Nuremberg, and a relievo of Orpheus and Eurydice in the Berlin Museum. One of the most magnificent tombs of this period was that of the Emperor Maximilian at Innsbrück; several of its figures were from Peter Vischer’s hands. Twenty-eight colossal bronze statues of the ancestors of the imperial house and of heroes surrounded the monument. Besides these there were a large number of gracefully poised female figures, and twenty-three figures of the patron saint of the House of Austria. The whole was surmounted by a marble cenotaph on which a figure of the Emperor knelt. Several artists were engaged on this monument. The sculptures of this period in other countries are not very prominent. In France there was considerable attention given to plastic art. Many fine choir-screens have been preserved, and some exceedingly rich tombs. Among the latter are the monuments of Louis XII. and his wife (1530), of Francis I. (1552), and of Henry II. (1583), all in the church of St. Denis in Paris. A set of artists who were engaged on the decorations of the palace of Fontainebleau was known as “the Fontainebleau school.” The leader of this group was Jean Goujon. The sculpture of Spain during this period followed largely the Italian schools. The most lavish treatment is visible in the decorations of the churches, particularly in the altars. The high altar of the cathedral at Toledo is one of the most costly and ornate of its time (about 1500).