Of the chief treasures of the St. Lorenzkirche we have already dealt sufficiently with two--the Pix or Ciborium, the Weihbrodgehäuse or Sacramentshaüslein or whatever name we choose to give to Adam Krafft's masterpiece[58]-- "A piece of sculpture rare, Like a foamy sheet of fountains rising thro' the painted air," and the Angels' Greeting, and the still finer wood-gilt crucifix of the High Altar, by Veit Stoss.[59] The six angels in bronze bearing the candles are by Burgschmiet (b. 1796). Anton Tucher dedicated the Angels' Greeting and also the great bronze chandelier, which may contain the handiwork of both Veit Stoss and Peter Vischer. The handsome modern pulpit is by Rotermundt and Heideloff (1839). There is also in the choir some beautiful tapestry (1375?) with figures of the twelve apostles who stand in a scroll-work of wise sayings for our instruction, such as Pis. maister. deiner. zung. dez. ist. dir. not. oder. si. werdint. dir. den. ewigen. dot., and so forth. The Church of St. Lawrence is rich in examples of the memorial tablets or epitaphs on which the skill of the early painters was chiefly exercised. The altar-pieces and epitaphs founded in memory of some member or another of the great burgher families form a complete gallery of early Nuremberg art and provide moreover a perfect feast for the enthusiastic herald. We have already spoken of the general tendencies of the Nuremberg artists in the seventh chapter of this little book. Perhaps, therefore, the most interesting way to treat of the pictures in St. Lawrence's will be to mention them in chronological order. 1. Epitaph of Paul Stromer, 1406--next the Rochus Altar, on west wall of the Sacristy. The Redeemer throned on the clouds, surrounded by angels bearing the instruments of the Passion. SS. Mary and John kneel in intercession before Him, and underneath is the family of the founder. The drawing throughout is strong but severe, and there is considerable harshness in the contours. 2. Epitaph of Frau Kunigunde Kunz Rymensnyderin, 1409. Body of Christ supported by SS. Mary and John. Figures of the founders on either side of the napkin. 3. Wolfgang's Altar (1416?). Resurrection of Christ. SS. Conrad and Wolfgang on the inside of the wings (No. 17, north wall). 4. _The celebrated Imhoff Altar-piece_ in the Imhoff Gallery (north transept). This picture, dedicated by Kunz Imhoff, was painted 1418-22, and is counted the finest achievement of mediæval painting in Nuremberg. In the centre Christ is crowning Mary; on the wings two apostles, at whose feet kneel the founder and his three first wives. The burial of Christ, with SS. Mary and John, which formed originally the reverse of this altar-piece, is now in the German Museum (No. 87).