4. Hier hat Christus sein heiligs Angesicht der heiligen Fraw Veronica auf iren Slayr gedruckt vor irem Haws. 500 Sryt von Pilatus Haws.
5. Hier tregt Christus das Creuz und wird von den Juden ser hart geslagen. 780 Srytt von Pilatus Haws.
6. Hier felt Cristus vor grosser unmacht auf die Erden bei 1000 Srytt von Pilatus haws.
Then on a small eminence by the gate of the Cemetery we behold the last sad scenes of Calvary reproduced. It is a noble group which moves us alike by the pathos and dignity of its treatment and by the beauty of the inscription.
7. Hir legt Cristus tot vor seiner gebenedeyten wirdigen Muter die in mit grosem Herzenleyt und bitterlichen smertz claget und beweynt.
In the Holzschuher Chapel near at hand is Krafft’s last work (1507) the Burial of Christ. In this piece, which lacks the fervent feeling of his earlier representations of Christ’s passion and was probably chiefly executed by his assistants, the figure of Joseph of Arimathea is a portrait of Adam Krafft. Krafft in his prime (1492) had dealt with the same subject in the Sebald-Schreyer-tomb on the outer wall of the Choir of St. Sebaldskirche, facing the Rathaus. The “Burial” in St. John’s Church seems cold and hard compared with the pathos and beauty of this masterpiece, so finely composed and exquisitely wrought.
Other works of Adam Krafft’s which well repay study are:—
| 1496. | Bearing the Cross, St. Sebaldskirche. |
| 1501. | The Last Supper, Mount of Olives and Betrayal, behind the High Altar, St. Sebaldskirche. |
| 1504. | The Annunciation, on the house at the corner of Winklerstrasse and Schulgässchen. |
| 1499. | The Crowning of Mary (Pergenstorfer Relief) in the Frauenkirche. |
| 1499. | Madonna with Child, on the corner-house, Wunderburggässlein. |
| 1501. | Crowning of Mary, in the Tetzellchapel of the Ægidien Church. |
But most important of all stands in the St. Lorenzkirche the wonderful Pix, Ciborium, Weibrodgehäuse, or Sakramentshäuslein, wherein were deposited the elements of the Eucharist, previous to consecration. This “miracle of German art” (1496-1500) was made on commission for Hans Imhoff, a member of the great family of merchant princes, who died in 1499, a year before it was finished, though long after it was due to be delivered. His heirs, however, recognised the merit of the master who, inspired by friendly rivalry with Vischer’s Sebaldusgrab, completed at last so great a work of art. They gave to Krafft 70 gulden more than the 700 gulden he asked, and to his wife a mantle worth 6 gulden.