[Illustration: ST. LORENZKIRCHE (INTERIOR)] colouring lacks the strength and brilliancy of the Frauenkirche picture. 7 and 8. A saint in armour, and a suffering Christ with gold background and the Saints Henry, Kunigunde, and Lawrence (with the gridiron), are also probably of the same date. 9. Margaret and Anton Imhoff memorial (1446) (numbered 16, on the north wall of the church). Madonna and Child and four angels, and the founder's family--the father with eight sons, and the mother with four daughters. The further development of the Nuremberg school of painting, as I have sketched it above (pp. 181-4), may be observed in the following memorial pictures in this church:-- H. Gärtner epitaph, 1462, Madonna and Child, SS. Bartholomew and Barbara (south, near doorway). Erhard Schon epitaph, 1464, St. Wolfgang and other saints. Friedrich Schon epitaph, 1464, Birth of Christ, Aaron, Moses, etc. Hans Lechner epitaph, 1466, Death of Mary (south). Hans Meyer epitaph, 1473, St. Gregory (No. 13, north side). Berthold Kraft epitaph, 1475, St. Dionisius (opposite Rochus Altar, south). Hans Schmidmayer epitaph, 1476, Adoration of the Magi (over stairs leading to Schmidmayer oratory, south). Leonhard Spengler epitaph, 1488, Christ between SS. Philip and James (No. 15, north side). Stör Family epitaph, 1479, Christ treading Blood, and Four Evangelists, etc. (north-west). The Rochus Altar, triptych with scenes from the life of St. Rochus, dedicated by six Imhoff brothers, 1499 (No. 7, west of Sacristy), and the Krellsche Altar, 1483, which may perhaps be by Wolgemut. It is beneath the Frederick window in the choir, and contains a Madonna and Child and various saints, apostles, etc. The background of this picture represents the town of Nuremberg as it was before the last extension of the walls. (Chap. V.) By Wolgemut and his school there are several characteristic pictures, of which I may mention here the Burial of Christ (No. 2), the Ascension (No. 3), and the Praying Priests (No. 4). The right wing of the St. Catherine altar-piece (No. 8) is by Wolgemut, and the two pictures of St. Vitus, with his parents and denouncing the idol, are signed by R. F., a painter whose touch is visible in part of the Peringsdörffer masterpiece (see p. 287). The Adoration of the Magi (No. 20) is a fine picture: the Angels bringing the child Jesus to the Virgin (No. 1) bears Durer's monogram. Lastly, the wings of the Nikolaus (No. 6) and of the Annen--or Marien--Altar are by Hans von Kulmbach, 1520(?) (next to the Passion window in the choir). FRAUENKIRCHE _(Marienkirche, Marienhall)_ The Frauenkirche, which occupies the east end of the Haupt Markt, was built, as we have seen (p. 37), under somewhat discreditable circumstances on the site of the old Jewish Synagogue (1355-1361).