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In Germany. 263 Christendom, are graceful, dignified, and lifelike ; the lower ones are finished with the greatest care, and display thorough knowledge of anatomy. The stone fountain in the market-place at Ulm, which was enriched with colour, is the only work by this great master in any other material than wood. Jorg Syrlin the younger, trained in his father's school, appears to have been a worthy successor. It would require a volume merely to enumerate the fine carvings in the various churches and cathedrals of Germany belonging to the fifteenth and sixteenth centuries. We must only pause to notice a few works of the kind by the great Albrecht Diirer (1471 — 1528), such as the carved altar-shrine (1511) in the Landauer Monastery, which is in the Renaissance style, and represents Christ as the Judge of the world, with Mary and St. John in earnest supplication at His feet. The Gotha collection of art- objects contains several statuettes in wood by Albrecht Diirer ; in the museum at Carlsruhe there is an exquisite little group in ivory, in high relief, of three nude female figures from the same great hand ; and in the print-room of the British Museum there is a remarkable carving, in hone-stone, of the Naming of St. John the Baptist. The greatest German sculptor in stone of the Renaissance period was Adam Krafft of Nuremberg (about 1430 — 1507). His works, although somewhat overloaded, are remarkable for thrilling power of expression. The Seven Stations, on the the road to the cemetery of St. John at Nuremberg, are among his most famous compositions. The tradition of our Saviour having fallen several times on his way to death will be remembered. In the first station we see Him sinking beneath the cross, as He is met by his mother ; in the second, He is dragged up by the rude