case of painting, it is quite prepared to associate with religious representations. The goose-seller, for example, in the Nürnberg marketplace, which is highly prized by Goethe and Meyer, is an ordinary rustic of very realistic appearance in bronze (it would be impossible in marble), who carries a goose under either arm to market. There are, too, the many sculptured figures, which we find upon the St. Sebaldus Church and on many other churches and buildings, especially dating from the period previous to Peter Vischer, and which in their representation of religious subjects such as the Passion, make clear to us with great vividness this particular type of individualized form, expression, mien and attitude, more particularly in their reflection of every degree of sorrow. As a rule, then, romantic sculpture, which has deviated only too frequently into every kind of confusion, remains most loyal to the genuine principle of plastic art in those cases where it approaches most nearly the Greek, and either is concerned to treat in the mode of sculpture ancient subject-matter, much as the ancients would have done, or to model the standing figures of heroes and kings, and portraits, with an intention to imitate the antique. This is exceptionally the case nowadays. Much of the most excellent work, however, has been accomplished by sculpture, even in the religious field. It is only necessary here to mention the name of Michelangelo. We can hardly admire sufficiently his dead Christ[212], of which we have a plaster cast in our Royal Museum. The authenticity of the sculptured figure of the Madonna in the Frauenkirche at Bruges, a consummate work, is disputed by certain critics. Speaking for myself, nothing has ever more impressed me than the tomb of the Count of Nassau at Breda[213]. The Count reposes with his lady, life-size figures both in alabaster, on a slab of black marble. At the angles of this are placed Regulus, Hannibal, Caesar, and a Roman warrior in a bowing posture, and they support above their heads a black slab similar to the one beneath. Could anything be more interesting than to see a character such as that of Caesar placed before our eyes by Michelangelo. Even when dealing with religious subjects the genius, the power of imagination, the force, thoroughness, boldness, in short all the extraordinary resources of this master tended, in the characteristic production of his art, to combine the plastic principle of the ancients with the type of intimate soul-life which we find in romantic art. But as we have seen, the direction as a rule of the Christian emotion, where the religious point of view and idea are paramount, is not towards the classical form of ideality, which primarily and with highest results is the determinant factor of its sculpture.