The brothers Georg and Friedrich Ruprecht are mentioned as the architects, and the sculptor, Sebald Schonhofer, is responsible for the rich ornamentation of the vestibule. This vestibule (restored with the rest of the church some twenty years ago) is unique of its kind. It is conjectured that this part of the church was intended to serve as a kind of treasure-house for the Imperial Crown jewels and relics, which in the year 1361 were certainly shown, as an object of veneration, from the gallery above the main entrance of the church. [Illustration: WEST DOOR, FRAUENKIRCHE] The plan of the west gate is borrowed in the main from the St. Lorenz portal. There the life and work of Christ, here the life and work of Mary are set forth. Many of the figures strongly recall those of the St. Lorenz statues. At the corners of the vestibule are statues of Karl IV. and his consort, and SS. Lorenz and Sebald. Above the rich and massive portal with its fine iron railings is the Chapel of St. Michael, whereon is to be seen an extraordinary old clock known to young and old in Nuremberg by the name of "Männleinlaufen." The chronicles relate that Karl IV., in memory of the "Golden Bull" (p. 39), which was drawn up in Nuremberg in 1356, and recorded what honours and reverences the electors of the Empire were to pay to the Emperor, caused an ingenious clockwork to be mounted over the portal of the church. The mechanism was so contrived that the seven electors passed at noon before the Emperor, who sat upon a throne and received their reverent homage as they passed. The clock was renewed in 1509 by Georg Heuss (even since then it has twice been restored), and the figures were cast by the coppersmith, Sebastian Lindenast. Still, at the stroke of noon, much as in the old mediæval days, the heralds blow their trumpets, the Emperor raises his sceptre, and out from their gloomy chamber the electors file forth and bow low in reverence to the dead representative of an empire which has ceased to exist. And they revive in our hearts something of the child-like pleasure which the Middle Ages took in these elaborate toys.[61] But a sturdy English Protestant who lived in Nuremberg some forty years ago, took another view of the matter. "It is generally said to represent the Pope," he writes, "who, seated in a comfortable sort of arm-chair, was formerly accustomed at a certain hour to raise his sceptre and summon the representative figures of the twelve apostles, who accordingly used to make their appearance and do obeisance. That time, however, seems to be gone by. The latter after a while became tired of the ceremony, refused their mechanical homage, and St. Peter himself, it is said, setting the irreverent example, they began to reject the uniformity required in their evolutions." The clock was at that time out of repair.