teenth century, and now desecrated as a cavalry storehouse, is worthy of the study of any lover of Architecture, particularly the cloisters.

The Frauenkirche, the church now occupied by the Roman Catholics, deserves a fuller notice: it was built after the designs of the brothers Rupprecht, between 1355 and 1368, and intended by Charles IV. for the imperial chapel. It is to the façade only (Plate III.) that I mean to call your attention, as an unusually enriched specimen of a description of ornamentation so characteristic of Nuremberg, that it meets the eye at almost every turn of every street. The chapel, with the clock which surmounts the porch, is an after addition, designed by Adam Kraft, so that in its original state we have the lower part of the façade studiously plain and unadorned, all the richly carved sculptures and decorations being reserved for the gable and the porch. The gable is divided into stages by horizontal strings, below which a wall-plate of pointed arches with cusps descends at every second arch in a pilaster, and the pilasters extend upwards in an unbroken vertical line and terminate in pinnacles above the gable, the sides of which ascend in steps, pierced with quatrefoils. The pilasters themselves have also niched recesses, whose pointed heads are on a line with the arches of the wall-plate. A somewhat similar style of decoration characterizes the octagonal tower attached to the face of the gable which originally terminated in a spire.

Over the porch is a parapet of light open work, decorated with armorial bearings, and the doorway has been enriched by Schonhofer with sculptures suggested probably by those of St. Lorenzo. The Virgin being patron of the church, her intercession is the principal subject. She sits enthroned as queen of heaven between the two doors, and

an angel with a lily on either side. Adam and Eve occupy the same places as in the Lorenzokirche, and stretching upward along the recesses of the arch are the prophets and patriarchs, whose regard is however here fixed on the Virgin.

Passing from the subject of Ecclesiastical to Civil Architecture, the elaborate spire of the fountain, known throughout Germany by pre-eminence as the "Schöne Brunnen," first claims our notice as one of the finest existing applications of Gothic Architecture to secular purposes. This justly famed Brunnen, standing at the corner of the market place, opposite the Frauenkirche, is the subject of Plate IV. It rises from a wide octagonal basin, and consists, besides the basement, of three diminishing octagonal stories of open work, supported by flying buttresses, and terminated in a slender spire. The sides of the second storey are set across the angles of the first, and its buttresses, placed not at its angles, but facing each side, give support to the angles by branching off into two ogee arches. Under canopies between the buttresses, are statues by Schonhofer, formerly gilded, which unite breadth of handling with the utmost tenderness of expression and poetic feeling. This breadth is particularly remarkable in the treatment of the hair and drapery. The statues on the lower storey, sixteen in number, are arranged in pairs, and represent the seven electors and nine heroes, viz. - Charlemagne, Godfrey of Bouillon, Clovis, Joshua, David, Judas Maccabæus, Julius Cæsar, Alexander, and Hector; an odd assemblage of Christians, Jews and heathens. Of these, Charlemagne and Judas Maccabæus are the best, and several of the others are only restorations. Moses and seven prophets occupy the second storey. The whole luxuriates in the most exuberant ornamentation; yet so united and harmonized,