A simple man, of calm, unruffled temper and fervent faith he must have been, thoroughly representative of the best German spirit of his day. No German artist has portrayed the scenes of Christ's passion with greater depth of genuine feeling. Happily many of his principal works are at Nuremberg. Probably the earliest examples of Nuremberg sculpture are the figures of Adam and Eve and the prophets round the portal of St. Lorenzkirche. They date from the fourteenth century. In point of style and execution it is a far cry from these stern and angular figures to the almost supernatural grace and lightness of Krafft's Pix within the cathedral. Well did legend pay him the pretty compliment of saying that he knew the art of _founding_ stone like bronze. Tender and graceful as the artist here shows himself, the strength and vigour of his reliefs are equally remarkable. His treatment of the folds of garments seems to reflect the influence of the Netherland school, and to point to a dangerous striving after the effects of painting. For his subjects Krafft rarely went outside the New Testament, which he interpreted in the terms of Nuremberg life and dress. His figures, like those in the works of his contemporaries at Nuremberg, are in most cases short, not to say dumpy, and reflect, no doubt, the ordinary type of human form around him. But always the homely Nuremberg costumes in which they are clad seem to bring the scenes portrayed nearer to our hearts; and thereby when a Mary draws to her breast the head of her crucified Son, or a Magdalene at the feet of Jesus waters His feet with her tears, we are impressed the more vividly with sympathy for their sorrow.