In the choir also (N. wall), we find a good example of the work of Hans von Kulmbach, who passed from the school of Jacopo dei Barbari (Jakob Walch) to that of Durer. The Tucherische Tafel (1513) shows the influence of the latter in a very marked manner: Durer may, in fact, have supplied the designs for it. In the centre of the triptych is Mary enthroned, crowned by two angels. The holy Child on her knee is trying to seize an apple from the Mother's left hand: but both Mother and Child are looking out of the picture. The five Bellinesque angels, who, clad in brightly coloured garments, and playing various musical instruments, stand at Mary's feet, are altogether charming. On either side of the throne are SS. Catherine and Barbara, whilst on the right wing are SS. Peter and Lawrence, presenting the founder, Provost Lorenz Tucher, to Mary, and on the left are St. John Baptist and St. Jerome. A mountain scene forms the background of the picture, which for all that it owes much to Durer owes much also to the individuality of Kulmbach. Near this is a commemorative escutcheon of the Tucher family, by Holbein, and below it a small wood carving, said to be by Albert Durer. The Adam and Eve in Paradise over the Schauthüre is by Joh. Creuzfelder (1603), and was placed there by members of the Behaim family. One of the chief features of interest in the Sebalduskirche is the stained glass. The Tucher and Schürstab windows, according to Rettberg, contain some late fourteenth-century glass, but would seem to have been much restored. The Fürer window was first set up in 1325 (Christ before Pilate). In the Bishop of Bamberg window (Wolf Katzheimer, 1493?) are the portraits of Kaiser Heinrich, Kunigunde, Otto, Peter, Paul and Georg, and in the corners four Bishops, and over all four Gothic canopies. The Maximilian window is by Veit Hirschvogel (1514). The Emperors Maximilian and Charles V. stand on a ground of white tracery, with their consorts, patron saints, and arms. The Margrave's Window is by the same artist, after the designs of Hans von Kulmbach. It was only completed after Hirschvogel's death (1527), and has quite recently been restored. The single figures of the Margrave Friedrich von Ansbach and Baireuth, and of his wife and eight sons, are on a white ground. SS. Mary and John the Evangelist above, and the Margrave's arms on the sides. In the foreground, an inscription and an architectural substructure in the shape of a temple, according to the fashion of stained glass at this period. * * * * * Finer, better designed and considerably larger than St. Sebald's is the _Church of St. Lawrence_. It is one of the best examples of pure German Gothic. Outside and inside, in form and in detail, it exhibits both the beauties and the defects of the German style when pointed architecture was developed according to the taste and feelings of the Germans, uninfluenced by French inspiration.