tucco, very different in character from the later work, which
Browning has designated as "stucco twiddlings everywhere."

Much good German sculpture may be seen in Nueremberg. The Schoener
Brunnen, the beautiful fountain, is a delight, in spite of the
fact that one is not looking at the original, which was relegated
to the museum for safe keeping long ago. The carving, too, on the
Frauenkirche, and St. Sebald's, and on St. Lorenz, is as fine as
anything one will find in Germany. Another exception stands out
in the memory. Nothing is more exquisite than the Bride's Door,
at St. Sebald's, in Nueremberg; the figures of the Wise and Foolish
Virgins who guard the entrance could hardly be surpassed in the
realm of realistic sculpture, retaining at the same time a just
proportion of monumental feeling. They are bewitching and dainty,
full of grace not often seen in German work of that period.

The figures on the outside of Bamberg Cathedral are also as fine
as anything in France, and there are some striking examples at
Naumburg, but often the figures in German work lack lightness and
length, which are such charming elements in the French Gothic
sculptures.

At Strasburg the Cathedral is generally conceded to be the most
interesting and ornate of the thirteenth century work in Germany,
although, as has been indicated, French influence is largely
responsible. A very small deposit of this influence escaped into
the Netherlands, and St. Gudule in Brussels shows some good carving
in Gothic style.

A gruesome statue on St. Sebald's in Nueremberg represents the
puritanical idea of "the world," by exhibiting a good-looking young
woman, whose back is that of a corpse; the shroud is open, and the
half decomposed body is displayed, with snakes and toads depredating
upon it.

Among the early Renaissance artists in Nueremberg, was Hans Decker,
who was named in the Burgher Lists of 1449. He may have had influence
upon the youth of Adam Kraft, whose great pyx in St. Lorenz's is
known to everyone who has visited Germany.

Adam Kraft was born in Nueremberg in the early fifteenth century and
his work is a curious link between Gothic and Renaissance styles.
His chief characteristic is expressed by P. J. Ree, who says: "The
essence of his art is best described as a naive realism sustained
by tender and warm religious zeal." Adam Kraft carved the Stations
of the Cross, to occupy, on the road to St. John's Cemetery in
Nueremberg, the same