Every element in the largest and most majestic church in Nürnberg seems to soar heavenward, which, of course, is exactly what the architects of this Gothic edifice, begun in 1270, intended. Rows of pillars disappear into the vaulting above the nave, and “The Angelic Salutation” (1519) is suspended high above the mere mortals below; Bavarian master sculptor Veit Stoss (1450–1533) carved this colorful rendition of the Annunciation in linden wood, depicting the emotion-filled moment when the Angel Gabriel tells the Virgin Mary that she will be the mother of Christ. Similarly uplifting is a tabernacle by stone sculptor Adam Kraft, whose lacey tracery in the form of a Gothic tower rises 19m (62 ft.) into the vaulting. Kraft’s eerily lifelike self-portrait in crouching position is one of the monument’s supports.