The lofty central nave is, as we have already said, a good example of the transition to Gothic architecture in German churches, when the horizontal lines of the Romanesque style were giving place to the upright and upward tendency of the Gothic. The sexpartite vaulting, the broad but pointed arches, the substitution of rolls for the flat and square-edged vaulting ribs, the clustering of the shafts and the flanking by shafts of pointed windows are all eloquent of this tendency. The pillars, too, begin to be prolonged in extent and diminished in thickness, and the line is no longer interrupted by the rectangular effect of square capitals. The varied patterns (flowers, pearl strings, etc.) of the capitals here should be noted. The walls beneath the clerestory are relieved by a triforium, which had no place in the conceptions of the original Romanesque architects. There is here no gallery set apart for the young men, as there frequently is in the triforium of an early German church. This triforium consists only of a row of low, pointed openings supported by short pillars, variously ornamented. The east choir (1361-1377) is a building of the same period as the Frauenkirche. Compared with the rest of the church its dimensions are a good deal exaggerated. Nor is it placed symmetrically as regards the axis of the older part; for it inclines considerably to the north. Regarded in itself, however, it must be admitted to be a splendid building, the lofty and airy effect of which is greatly enhanced by the single row of tall windows. The light streams in through beautiful stained glass. The windows, however, are really too tall in proportion to their breadth (50 feet by 8). The mullions, too, nearly 40 feet in height, are more interesting as triumphs of masonic skill than admirable as features of architectural design. Contenting ourselves with these general observations as to the building itself, we will here add a list of the principal objects of art which will catch the attention of the visitor to the church. In the Löffelholz Chapel stands conspicuous the highly decorated bronze font wherein the Emperor Wenzel was baptized (1361, see p. 42). At the base are statuettes of the four Evangelists. It is said to be the oldest existing product of the Nuremberg foundries. The altar-piece in memory of Kunigunde Wilhelm Löffelholz (1453) is by an unknown painter. Scenes from the life of St. Catherine are depicted on a plain gold background. It is the earliest Nuremberg work to show any trace of the Netherland influence: but, unfortunately, it has been painted over at least once. There are three other pictures in this chapel, of an earlier date, by unknown artists.