Nuremberg carving, but also one of the works of art of all time. And yet the name of the master is unknown, and the very date of the work is a matter of dispute. Clearly the beautiful female figure of this sorrowing Mary, this praying Madonna, as she is called (trauende, betende Maria), once formed one of a group, and stood facing St. John at the foot of the Cross, gazing upwards in that bitter grief which is beyond the expression and abandonment of tears. Who can that artist have been who could select that pose of the head, that poise of the limbs, who could carve those robes, which in purity and flow have never been surpassed in German art, and who could express in the suppliant hands such poignant emotion? _Man weiss nicht!_ And whose touch was so delicate, that with his chisel he could stamp on the upturned face those mingled feelings of sorrow so supreme, yearning so intense, love so human, hope so divine? For all this we can read there still, even through the grey-green coat of paint which certainly had no place in the original intentions of the artist. _Man weiss nicht!_ But this much one may hazard--that it was some German artist, touched by the spirit of the Italian Renaissance till he rose to heights of artistic performance elsewhere never attained by him, and scarcely ever approached by his fellows.[67] At the end of the choir is the High Altar-piece from Hersbruck, with figures of Mary and the four Fathers of the Church, from the workshop of Wolgemut, who painted the wings once attached to it. This is a good example of Nuremberg work of the kind, with its good and bad points, towards the end of the fifteenth century. On the reverse of this altar-piece is a sadly-faded church banner, richly painted. Figures of Christ, SS. Peter, and Sebald, in a rich Renaissance border, attributed to Albert Durer. ROOM 33 (Kapelle) is the old Sacristy on the north side of the church. There are several interesting carvings here, chief of which is the ROSARY (Rosenkranztafel), Judgment-scene, and crowning of Mary, attributed to Veit Stoss. Amongst other important works attributed to, or actually by him, is the frame of Durer's great Allerheiligen picture (see p. 193). There is also here the original wood model of Labenwolf's familiar "Gooseman" fountain, and a picture of a meeting of the Meistersingers (with Hans Sachs). Winding steps lead up from this chapel to the Volkamer Chapel above. ROOM 34 is the chapel on the south side of the church. Church utensils, etc., and in the choir arch an iron painted chandelier, dedicated by the son of Martin Behaim, the navigator, in memory of his father. ROOM 35.