Hans Lechner epitaph, 1466, Death of Mary (south).
Hans Meyer epitaph, 1473, St. Gregory (No. 13, north side).
Berthold Kraft epitaph, 1475, St. Dionisius (opposite Rochus Altar, south).
Hans Schmidmayer epitaph, 1476, Adoration of the Magi (over stairs leading to Schmidmayer oratory, south).
Leonhard Spengler epitaph, 1488, Christ between SS. Philip and James (No. 15, north side).
Stör Family epitaph, 1479, Christ treading Blood, and Four Evangelists, etc. (north-west).
The Rochus Altar, triptych with scenes from the life of St. Rochus, dedicated by six Imhoff brothers, 1499 (No. 7, west of Sacristy),
and the Krellsche Altar, 1483, which may perhaps be by Wolgemut. It is beneath the Frederick window in the choir, and contains a Madonna and Child and various saints, apostles, etc. The background of this picture represents the town of Nuremberg as it was before the last extension of the walls. (Chap. V.)
By Wolgemut and his school there are several characteristic pictures, of which I may mention here the Burial of Christ (No. 2), the Ascension (No. 3), and the Praying Priests (No. 4). The right wing of the St. Catherine altar-piece (No. 8) is by Wolgemut, and the two pictures of St. Vitus, with his parents and denouncing the idol, are signed by R. F., a painter whose touch is visible in part of the Peringsdörffer masterpiece (see p. [287]). The Adoration of the Magi (No. 20) is a fine picture: the Angels bringing the child Jesus to the Virgin (No. 1) bears Durer’s monogram.