On the pillars of the Ciborium itself (beneath which are small angels and escutcheons), are the statues of Moses, John, Mary, and James the Less. Above the receptacle rises a spire like a bishop's crosier, representing perhaps the crook of the Good Shepherd. It is ornamented with statuettes of saints, and as the Holy Sacrament was instituted to commemorate the death of the Redeemer the artist has added reliefs representing episodes of the Passion, which with the Resurrection complete for all believers the fruits of the Holy Supper. 1. Christ comforting the Women. 2. The Holy Supper. 3. The Mount of Olives. Above these again are four patriarchs and eight angels holding signs of the passion, which interpreted as instruments of torture may have given rise to the story of the origin of the Pix. Then-- 4. Christ before Pilate. 5. The Crown of Thorns. 6. The Crucifixion. SS. Mary and John and a kneeling figure (the Church?). On the pillars above stand the four Evangelists(?) and above all the figure of the risen Saviour, the right hand stretched out in benediction, the left holding the banner of victory. But apart from the details of the carving, it is the grace of the fretted Gothic pinnacle of finest filigree stonework that seizes our attention. Tapering, or rather mounting airily on high it carries the eye up to the spandril of the vaulting of the choir, soaring like the notes of a flute-like voice, and embodying, as it were, the utterance of some deeply spiritual aspiration. The delicate elaboration of this wonderful stonework seems to have overcome all terrestial heaviness. Higher still and higher, it springs from the earth like Shelley's skylark, but it fades not from view. For when, some sixty feet from the ground, the bend of the vaulting checks its further growth, it bows its beautiful head and like a lily on its stalk or snowdrop on its stem terminates in a pendant flower. It is indeed a miracle of rare device. So slender and graceful is it and withal so clear-cut that the triumph of the artist over his material seems almost unearthly, whilst the spring and proportion of the whole and the sharpness of the carving redeem him from the imputation of making an inappropriate use of stone. In this, as in the Schreyertomb, it is usual to trace the influence of Durer on the sculptor. To me it seems more probable that Adam Krafft's style with its excessive minuteness influenced Albert Durer and was in turn influenced by Martin Schongauer. * * * * *