But it is when we come to the scenes from the legend of St. Vitus that we seem to trace only the faintest signs of Wolgemut's style. The composition here bears only a distant resemblance to his, and in the execution the assistant employed must surely have been he who painted the scene of St. Vitus denouncing the idols in the Lorenzkirche (see p. 254), and whose initials are R. F. The pictures by Albrecht Durer in the Museum we have already mentioned (pp. 188, 193-9). (1) Hercules and the Stymphalian Birds, 205 Room 72 (2) Kaiser Maximilian, 209 " " (3) Pietà--Mourning over Christ's Body, 206 " 73 (4) Charlemagne, 207 " " (5) Kaiser Sigismund, 208 " " Besides these originals there are several copies of the master's works, including the excellent copies of the Four Apostles (283, 284) by Johann Georg Fischer. The original inscriptions are retained. The Allerheiligen or Trinity picture, No. 210, is a bad copy in a worse frame. Among other works by contemporaries or followers of Durer are:-- Bartholomew Zeitblom of Ulm, {145 Room 73 {178 " 73 Bernhard Strigel, {179, 181 " 71 {185, 186 " 72 Martin Schwarz of Rothenburg, 130, 133 " 71 Hans Holbein the Elder, {164, 167 " 71 {162, 163 " 72 Hans Friess of Freiburg, Room 71, 71 Hans Leonhard Schäuffelein, { 221, 223, 225 } " 73 { 226, etc. } Hans von Kulmbach, { 212 " 71 { 213, 214, 216 " 73 Albrecht Altdorfer, 245, 248 " 71, 72 Mathias Grünewald, 253 " 71 Hans Baldung Grien, 194-196 " 72 Lucas Cranach, { 259 " 72 { 262 Martin Schaffner, 191, 192 " 72 Hans Burgkmair, {171 " 72 {168-170 " 73 Georg Pencz, 272, 273 " 74 In the following rooms the decline of German art is historically well represented. But in room 78, which is devoted mainly to painters of the Dutch School of the seventeenth century, mention should be made of the interior by Peter de Hooch (330) and an early portrait of Rembrandt by himself (325) and his powerful St. Paul (326). Johann Kupetzky is also well represented (371-378). ROOMS 81, 82. Models of cannons and weapons. ROOM 83.