ig. 246.--Peter Vischer's House.]

The memory of Peter Vischer is deservedly honoured by his townsmen. The
street in which his house is situated, like that in which Duerer's
stands, has lost its original name, and is now only known as "Peter
Vischer's Strasse;" but these two artists are the only ones thus
distinguished.[234-*] Vischer was born in 1460, and died in 1529. He
was employed by the warden of St. Sebald's, and magistrate of Nuernberg,
Sebald Schreyer, to construct this work in honour of his patron saint;
he began it in 1506, and finished it in 1519. Thirteen years of labour
were thus devoted to its completion, for which he received seven
hundred and seventy florins. "According to tradition, Vischer was
miserably paid for this great work of labour and art; and he has
himself recorded in an inscription upon the monument, that 'he
completed it for the praise of God Almighty alone, and the honour of
St. Sebald, Prince of Heaven, by the aid of pious persons, paid by
their voluntary contributions.'"[235-*] The elaboration of the entire
work is marvellous; it abounds with fanciful figures, seventy-two in
number, disposed among the ornaments, or acting as supporters to the
general composition. Syrens hold candelabra at the angles; and the
centre has an air of singular lightness and grace. It is supported at
the base by huge snails. At the western end there is a small bronze
statue of Vischer, which we copy (Fig. 247): he holds his chisels in
his hand, and in his workman's dress, with capacious, leather apron,
stands unaffectedly forth as a true, honest labourer, appealing only to
such sympathies as are justly due to one who laboured so lovingly and
so well.

[Illustration: Fig. 247.--Peter Vischer.]

[Illustration: Fig. 248.--Adam Krafft's Sacramentshauslein.]

Sharing the palm with Vischer for perfect mastery in sculpture (the
one as a worker in metal, the other in stone) stands Adam Krafft,
whose works are still the principal ornaments of the city. To him were
his fellow-townsmen indebted for the grand gate of the Frauenkirche,
the series of sculptures on the "Via Dolorosa," numerous others in
the churches and public buildings, but principally for the
"Sacramentshauslein," in the Church of St. Laurence (Fig. 248). This
marvellous work is placed against a pillar beside the high altar, and
is intended as a receptacle for the consecrated bread and wine in its
service; a small gallery runs round the lower portion, i