Of the pupils and assistants of Durer who carried on his tradition we may mention Hans Schäuflein, Albert Altdorfer, Hans Baldung, Georg Pencz, the two Behaims and the two Sebalds, and Hans von Kulmbach. We meet with many examples of their work in the churches and in the German Museum. * * * * * As we turn our steps from Durer's house and wander through the Durer-platz to St. Sebald's we come upon the oldest restaurant in Nuremberg, where the devout tourist should not fail to drink _ein Glas Bier_ to the memory of Hans Sachs, Pirkheimer, and Durer, who sat here, drank and talked in days gone by. The _Bratwurstglöcklein_ is a little beerhouse clinging to the north wall of St. Moritz Chapel, and owes its name, I suppose, to the custom of ringing a small bell when the sausage was ready. As to the curious position of this little restaurant we may remark that the practice of bargaining in the sacred precincts was very prevalent at one time, and little booths were frequently built on to the churches. It is only quite recently that the booths attached to the Frauenkirche were broken up. * * * * * North of the Rathaus runs the Theresien Strasse. No. 7 is the house of Adam Krafft, the greatest of Nuremberg sculptors (1430-1507). The house belonged originally to the Pfinzing family, and is of interest in itself for its architectural features. The figure of St. Moritz on the fountain in the courtyard is by Peter Vischer. Here Adam Krafft, the pious and modest stone-mason, worked at his art to the glory of God. We know next to nothing of the man beyond what we can learn from his handiwork. There is fortunately little reason for believing the legend that he died in great poverty. A friend we know he was of Lindenast and Vischer, with whom, so great was his industry and eagerness to improve in art, he used to practise drawing on holidays, even in his old age; and it is recorded that he made his wife call herself Eva because he was Adam. That quaint humour of his is revealed in the pleasing relief over the gateway of the "Waage" or old weighing-house in the Winklerstrasse. If we would see the counterfeit presentment of the man himself, we must pay a visit to St. Lorenzkirche, and there, on the pedestal of his masterpiece the figure of the master appears with the tools and in the costume of his craft, kneeling in company with his assistants and supporting their beautiful creation.