A brief note mentions Nuremberg Cathedral and the large rosary carved by Wit Stwosz there. The text is followed by a physical description of the sculpture (Source: Tygodnik Illustrowany, Warsaw 1884, Series 4, T:4, pp. 341-342, after: University of Łódź Digital Library).

A modernised reading of the text

THE CHURCH OF ST. LAWRENCE IN NUREMBERG
with a sculpture by Wit Stwosz.

In the beautiful Gothic church of St Lawrence in Nuremberg, amidst the slender pillars supporting the pointed vaults, there are two masterpieces by two great masters that have bequeathed their immortal fame to posterity forever. These are the Kraft tabernacle, known among Germans as the Saramentshauschen, and the great and elaborate rosary, carved by Stwosz and depicting the Angelic Salutation and the Annunciation.
Our engraving shows both these masterpieces, housed side by side so closely that they could be reproduced together in a small space. Master Adam Kraft, a contemporary of Stwosz's, though previously deceased, forged (from sandstone) this tall, slender pyramid, placed on the floor of the church, and shooting 19 metres into the uplands. The right eye cannot reach the top of this intricate turret, which is a veritable masterpiece in terms of lightness, grace, harmony and richness of ornamentation. You would say it is the most subtle filigree, a true lace, though made not of silver or metal, not of fibres, but of hard punch. Here, the chisel reigns over the reluctant material like a master brush over a rich world of colours, bringing everything out with truly magical dexterity. The lower floors house this proper tabernacle, into which the monstrance was concealed. The upper floors, which climb one over the other, rise like ornamentation above the top of the sacrament house. Pillars and pillars, reaching higher and higher, get lost and end at the top, quite coherently joined and flowing into one by a blade ravine. The boldness of these stone lines makes an immensely pleasing, elevated impression. You are struck everywhere by the audacity of the master, who created for himself a multitude of difficulties in the grouping of the numerous convex sculpture, only to prevail victoriously. The richness of the ornamentation, which consists of numerous episodes from the history of Christ, adds considerable life, body and plasticity to the lines. About this masterpiece, which universally evokes admiration, there is only one unanimous opinion of all connoisseurs, assuring Kraft the first place in the row of sculptors of the Renaissance age in Germany.
This sculptural work by Veit Stoss, placed in front of the great altar in the same church, is also a masterpiece without any doubt. The circle itself contains two figures, life-size, surrounded by a wreath of golden roses, between and above which are seven medallions, depicting the seven consolations of the Virgin Mary. The characteristic feature of this masterly work is its strange, noble simplicity, alongside great solemnity. In particular, the drapery of the dress, the arrangement of the hands, the posture and the angelic facial expressions exude such a perfect panache of fantasy. The sculptures in the medallions also display the same noble solemnity. The roses in the wreath testify to the very fine workmanship which is so characteristic of our Cracovian-Nuremberg master.