eight pillars supporting a
baldachin, or canopy, in the richly ornamented Romanesque style, and the
combinations of the Gothic and the decorative architecture are so
skilfully made as not to offend our taste. But it is generally
acknowledged that the chief beauty of this work is the series of the
figures of the apostles, which are upon the pillars. They are slender in
proportion, gracefully draped, and bear their distinctive symbols. They
are perfectly free from the realism of the earlier works of Vischer, and
have more of the purity and nobleness of the works of Ghiberti than are
seen in the statues of any other German artist of this age (Figs. 97,
98).

[Illustration: FIG. 96.--ST. SEBALD AND THE BURNING ICICLES. _Vischer._]

Above the apostles are figures of prophets and other Biblical
personages; Perseus and Hercules are also represented, and other statues
typify Strength, Justice, Prudence, and Moderation. The figure of the
Infant Christ is upon the centre of the highest, or middle dome. Between
the pillars at their bases stand graceful candelabra, and the base
itself rests upon snails. Besides all these principal figures there are
almost numberless others and many ornamental designs. There are
harpies, sirens, satyrs, fawns, and all sorts of fantastic creatures.
The whole work is full of the deep feeling of the north and the beauty
and richness of the south, and is a most remarkable production.

We are told that Vischer was but poorly paid for this labor, with all
its thought and skill. He inscribed upon it these words: "... He
completed it for the praise of God Almighty alone, and for the honor of
St. Sebald, Prince of Heaven, by the aid of pious persons, paid by their
voluntary contributions." There is a satisfaction in remembering that
Vischer lived ten years after this tomb was completed, and must have
heard many praises of his work.

The later works of Vischer were a few reliefs and two important
monuments at Aschaffenburg and Wittenberg. His sons Hans and Hermann
executed a few monuments, which are done in the manner of their father,
but do not equal him in design or finish. There are numerous works which
must be regarded as productions of Vischer's studio and foundry of which
we cannot give clear accounts, not knowing whether they were the earlier
works of the father, or were executed by the sons or other pupils, of
which he had many.

[Illustration: FIG. 97.--PETER. _By Peter Vischer._]

[Illustrati