Fonts were sometimes made in bronze. There is such a one at Liege cast by Lambert Patras, which stands upon twelve oxen. It is decorated with reliefs from the Gospels. This artist, Patras, was a native of Dinant, and lived in the twelfth century. The bronze font in Hildesheim is among the most interesting late Romanesque examples in Germany. It is a large deep basin entirely covered with enrichment of Scriptural scenes, and is supported by four kneeling figures, typical of the four Rivers of Paradise. The conical cover is also covered with Scriptural scenes, and surmounted by a foliate knob. Among the figures with which the font is covered are the Cardinal Virtues, flanked by their patron saints. Didron considers this a most important piece of bronze from an iconographic point of view theologically and poetically. The archaic qualities of the figures are fascinating and sometimes diverting. In the scene of the Baptism of Christ the water is positively trained to flow upwards in pyramidal form, in order to reach nearly to the waist, while at either side it recedes to the ground level again,—it has an ingenuous and almost startling suddenness in the rising of its flood! An interesting comment upon the prevalence of early national forms may be deduced, when one observes that on the table, at the Last Supper, there lies a perfectly shaped pretzel!

The great bronze column constructed by St. Bernward at Hildesheim has the Life of Christ represented in consecutive scenes in a spiral form, like those ornamenting the column of Trajan. Down by Bernward's grave there is a spring which is said to cure cripples and rheumatics. Peasants visit Hildesheim on saints' days in order to drink of it, and frequently, after one of these visitations, crutches are found abandoned near by.

Saxony was famous for its bronze founders, and work was sent forth, from this country, in the twelfth century, all over Europe.

FONT AT HILDESHEIM, 12TH CENTURY

Orcagna's tabernacle at Or San Michele is, as Symonds has expressed it, "a monumental jewel," and "an epitome of the minor arts of mediæval Italy." On it one sees bas-relief carving, intaglios, statuettes, mosaic, the lapidary's art in agate; enamels, and gilded glass, and yet all in good taste and harmony. The sculpture is properly subordinated to the architectonic principle, and one can understand how it is not only the work of a goldsmith, but of a painter.

Of all bronze workers, perhaps Peter Vischer is the best known and is certainly one of the best deserving of his wide fame. Peter Vischer was born about the same time as Quentin Matsys, between 1460 and 1470. He was the most important metal worker in Germany. He and Adam Kraft, of whom mention will be made when we come to deal with sculptural carving, were brought up together as boys, and "when older boys, went with one another on all holidays, acting still as though they were apprentices together." Vischer's normal expression was in Gothic form. His first design for the wonderful shrine of St. Sebald in Nuremberg was made by him in 1488, and is still preserved in Vienna. It is a pure late-Gothic canopy, and I cannot help regretting that the execution was delayed until popular taste demanded more concession towards the Renaissance, and it was resolved in 1507, "to have the Shrine of St. Sebald made of brass."

Therefore, although the general lines continue to hold a Gothic semblance, the shrine has many Renaissance features. Regret, however, is almost morbid, in relation to such a perfect work of art. Italian feeling is evident throughout, and the wealth of detail in figures and foliate forms is magnificent. The centre of interest is the little portrait statuette of Peter Vischer himself, according to his biographer, "as he looked, and as he daily went about and worked in the foundry." Though Peter had not been to Italy himself, his son Hermann had visited the historic land, and had brought home "artistic things that he sketched and drew, which delighted his old father, and were of great use to his brothers." Peter Vischer had three sons, who all followed him in the craft. His workshop must have been an ideal institution in its line.

Some remnants of Gothic grotesque fancy are to be seen on the shrine, although treated outwardly with Renaissance feeling. A realistic life-sized mouse may be seen in one place, just as if it had run out to inspect the work; and the numbers of little tipsy "putti" who disport themselves in all attitudes, in perilous positions on narrow ledges, are full of merry humour.

The metal of St. Sebald's shrine is left as it came from the casting, and owes much of its charm to the lack of filing, polishing, and pointing usual in such monuments. The molten living expression is retained. Only the details and spirit of the figures are Renaissance; the Gothic plan is hardly disturbed, and the whole monument is pleasing in proportion. The figures are exquisite, especially that of St. Peter.

PORTRAIT STATUETTE OF PETER VISCHER