St. Lawrence Church
Building begun about 1250. Originally built as a three-aisled basilica in the high Gothic style; later extended with an imposing late Gothic hall choir (1439-1477). Magnificent west facade with splendid portal richly decorated with statuary and rose window (mid-14th c.). Two towers 80 and 81 meters high. Important works of art: the Annunciation by Veit Stoß (1518), tabernacle by Adam Kraft (1496), medieval altars, memorial plaques, stained glass.
St. Sebaldus Church
Nuremberg’s oldest city parish church was built around 1215 as a three-aisled Late Romanesque pillared basilica with two choirs. As early as 1309 the original side aisles were widened and altered in the Gothic style. Destroyed during World War II like the rest of the city, St. Sebald was reconstructed in 1957 and reconsecrated. The reliquary shrine (ca. 1397) in the tomb cast in bronze by Peter Vischer and his sons (1508-1519) is prominently located in the interior of the church. The bones of Nuremberg patron saint Sebaldus are presumed to rest in the silver embossed “casket”.
Hospital of the Holy Spirit
The Hospital of the Holy Spirit was established in 1332–39 by Konrad Gross, a wealthy patrician, for the care for the elderly and needy. It was the largest private endowment in the Holy Roman Empire up to 1500. After 1500 the building complex was extended over the Pegnitz according to plans by Hans Beheim the Elder. Two structures along the southern arm of the river and the north wall of the former hospital church with its polygonal ridge-turret (Hans Sachs Platz) survive.
From 1424 to 1796, the imperial regalia were kept in the hospital church (not reconstructed after the war). In the ”Hanselhof“, Nürnberg’s earliest large-scale cast bronze sculpture (ca 1380; original in the Germanisches Nationalmuseum). In the arcaded ”Kreuzigungshof“, the central figures of Adam Kraft’s Crucifixion group (ca 1506/08) and the tomb monuments of Konrad Gross (d. 1356) and Herdegen Valzner (d. 1423).
The Frauenkirche (Church of our lady)
1361 the imperial regalia were displayed to the public for the first time for the christening of his son Wenzel, heir to the throne. The “Männleinlaufen” (mechanical clock and glockenspiel, every day at noon) recalls the proclamation of the Golden Bull of 1356: seven Electors pay homage to Emperor Karl IV sitting on his throne. Richly decorated interior. The Tucher altar (ca. 1445) is considered the most important work of panel painting in the pre-Dürer period.
Rathaus – Wolffscher Bau of the old city hall
In 1520, Albrecht Dürer and W. Pirckheimer established the iconography for the painting of the walls. The end of the Thirty Year’s War was celebrated here with a Peace Banquet in 1649. Beneath the great hall are dungeons which testify to the nature of medieval justice and can be visited. In the years 1616 – 22, the town hall was extended by Jakob Wolff. His plan for a palazzo-like building reflects the influence of the Italian Renaissance. In the facade, the regularity of the window zones contrasts with the three Baroque portals, the central one of which bears the imperial eagle and the city’s two coats of arms.
Since its founding in 1852 the Germanisches Nationalmuseum has advanced to one of the largest museums of culturalhistory in the German-speaking world. A visit to this treasure chest is almost obligatory for any trip to Nuremberg. It offers ever new discoveries, even for those who come more often to stroll through cultural history, starting with the Pre- and Protohistory section and ranging all the way to the present.