Nuremberg and its art to the end of the 18th century. . Fig. 34. St. Lawrences Church: exterior of by F. Schmidt. pilgrimage with Frederick II., Margrave of Brandenburg. More important thanthe chapel just named is the Chapel of the Ebracher Hof, built by HansBeer in 1483. Its artistically fashioned fan vault was only surpassed by thestately vault of the same kind, supported by four round pillars, in the churchof the Augustinians, built by the same master during the years 1479—1485- FIFTEENTH CENTURY CHAPELS. 59 This cliurch was unfortunately taken down early in the 19**^ centu
Nuremberg and its art to the end of the 18th century. . Fig. 34. St. Lawrences Church: exterior of by F. Schmidt. pilgrimage with Frederick II., Margrave of Brandenburg. More important thanthe chapel just named is the Chapel of the Ebracher Hof, built by HansBeer in 1483. Its artistically fashioned fan vault was only surpassed by thestately vault of the same kind, supported by four round pillars, in the churchof the Augustinians, built by the same master during the years 1479—1485- FIFTEENTH CENTURY CHAPELS. 59 This cliurch was unfortunately taken down early in the 19**^ century, in circular funeral chapel of the Holzschuhers in St. Johns Cemetery, note-worthy for a group of the Entombment by Adam Kraft, is also a Late Gothicwork, and so is the two-aisled chapel of the Zwolfbriiderhaus (House of the. Pg- 35- The staircase to the Sacristy, in the choir of St. by F. Schmidt. twelve Brothers), founded by the art-amateur Matthew Landauer and namedafter him. It was built about 1506 and is perhaps by Hans Beheim. Itsvault, with ribs drooping m pendentives, is supported by two spirally twistedpillars. The last Gothic ecclesiastical building in the town is the Chapel builtin St. Rochs Cemetery, to the order of Conrad Imhoff, during the years 1519— 15 order to build it was given to Hans Beheim, the greatest architect of the ^O PUBLIC WORKS OF THE FIFTEENTH CENTURY. town, but it was carried out by his son Paul. The chapel is remarkably-simple in form, the masters chief care having been to secure a fine effect ofspaciousness. As in the Chapels named before it, there is no tracery at allin the partly round-arched and partly pointed windows. We see that Gothicart was coming to an end, and that the new spirit, which had already changedpainting and sculpture from th
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