terminated by an arch at the top, and surmounted by a curious triangular projection from the main building, has rather an odd, than a beautiful effect.  Above, terminating in an apex—­surmounted by a small turret, are five rows of gothic niches, of which the extremities, at each end, narrow—­in the fashion of steps, gradually—­from the topmost of which range or rows of niches, the turret rises perpendicularly.  It is a small edifice, and has been recently doomed to make a very distinguished figure in the imposing lithographic print of Quaglio.[167] The interior of this church is not less singular, as may be seen in the print published about sixty years ago, and yet faithful to its present appearance.

I know not how it was, but I omitted to notice the ci-devant church of Ste. Claire, where there is said to be the most ancient stained glass window which exists—­that is, of the middle of the thirteenth century; nor did I obtain a sight of the seven pillars of Adam Kraft, designating the seven points or stations of the Passion of our Saviour.  But in the Rath-hauz Platz, in the way to the public library, I used to look with delight—­almost every morning of the four days which I spent at Nuremberg—­at the fragments of gothic architecture, to the right and left, that presented themselves; and among these, none caught my eye and pleased my taste, so fully, as the little hexagonal gothic window, which has sculptured subjects beneath the mullions, and which was attached to the Pfarrhof, or clergyman’s residence, of St. Sebald.  If ever Mr. Blore’s pencil should be exercised in this magical city for gothic art, I am quite persuaded that this window will be one of the subjects upon which its powers will be most successfully employed.

A little beyond, in a very handsome square, called St. Giles’s Place, lived the famous ANTHONY KOBERGER; the first who introduced the art of printing into Nuremberg—­and from whose press, more Bibles, Councils, Decretals, Chronicles, and scholastic works, have proceeded than probably from any other press in Europe.  Koberger was a magnificent printer, using always a bold, rich, gothic letter—­and his first book, Comestorium Vitiorum, bears the date of 1470.[168] They shew the house, in this square, which he is said to have occupied; but which I rather suspect was built by his nephew JOHN KOBERGER, who was the son of Sebaldus Koberger, and who carried on a yet more successful business than his uncle.  Not fewer than seventeen presses were kept in constant employ by him, and he is said to have been engaged in a correspondence with almost every printer and bookseller in Europe.  It was my good fortune to purchase an original bronze head of him, of Messrs. Frauenholz and Co., one of the most respectable and substantial houses, in the print trade, upon the Continent.  This head is struck upon a circular bronze of about seven inches in diameter, bearing the following incription: