Above the door called the Schautthüre (show-door) on the S.E. side of the church, near the guard-house, is a Last Judgment (1485), probably by Adam Krafft (see p. 200). It is a fine and interesting work. At the top, beneath four hovering angels and between twelve Apostles, Christ sits on a rainbow to judge the world. The earth is his footstool. Mary and John Baptist (the figures remind us of those in the Rosenkranztafel in the Museum) intercede for the poor souls who are rising from their graves. On one side they are conducted (with crowns of glory on their heads) by an Angel to the gates of Paradise, over which waves the triumphant banner of Christ. On the other side the Devil, who is also similar to the Devil in the Rosenkranz, with the head of a cock, drags his prey into the jaws of hell. The figures are all strong and full of animation. In the midst of the group of those rising from the dead, between the kneeling figure of the founder, Hartmann Schedel, and his arms, is a Latin inscription which gives us to understand that Hartmann Schedel, to whose memory this relief was erected, died Dec. 4, 1485. For admittance to the church we must knock at the Anschreibethüre, the portal on the N.W. side.[56] This Anschreibethüre--so called because it was customary to enter the names of the dead on a register kept here for that purpose--was renewed in 1345. It is adorned on either side with the figures of Gabriel and Mary (Annunciation), and above with a relief of the Death, Burial (the unbelieving Jews falling prostrate before the coffin) and Crowning of Mary. Note the figures of female saints on the capitals. On entering, our first impression is one of disappointment. A vile whitewash disfigures the walls, whilst the fact that the church has not been designed by one hand as a complete whole deprives us of that satisfied sense of perfect proportion for which we are forever hoping but so often in vain. But as we grow more familiar with the details of this church the feeling of disappointment vanishes and we are left grateful if not completely satisfied. On our right is the St. Peter's or Löffelholz Chapel, and we notice that this, which forms the western end of the church, has been altered from a Romanesque into a polygonal apse. The pointed cells of the vaulting make up five-eighths of an octopartite compartment. Thus the old double-apse arrangement of Romanesque buildings is retained at St. Sebald's; but the west end is in the transitional, the east in the pure German Gothic style. By introducing this pointed vaulting into the older Romanesque shell of the St. Peter's Chapel, the Engelschor above it, or Angels' Choir as it is called, has been concealed from view. But we can easily see where it springs from the apex of the great arch which forms the entrance to the Chapel.