Krell Altarpiece
Krell Altarpiece
ca. 1472
Open altarpiece with separately hung outer side panels
Altar with the oldest known view of the city of Nuremberg. The altar was commissioned by Jodokus Krell, a priest at St. Lorenz Church. _____________________________________________
The city of Nuremberg as a subject worthy of depiction first appears in the reredos of the St. Bartholomew Altarpiece in St. Lorenz Church, commissioned by Jodocus Krell. Its central panel depicts the city nestled in a hilly and partly wooded landscape. While the pictorial representation of cities had not yet established itself as an independent subject, a tradition originating in the Netherlands already existed of using views both within and outside the city as backgrounds. Consequently, in 15th-century workshop drawings of cityscapes and landscapes, the foreground is left unpainted.
In the Krell Altarpiece as well, the enthroned Madonna and Child, St. Bartholomew and St. Barbara, and the kneeling patron, Jodocus Krell, depicted in the foreground on a smaller scale, are the main focus (1). Above the figures is a cross-ribbed vault supported by two columns, featuring three arched openings that offer a view of the city of Nuremberg and its surroundings. A brocade tapestry of honor between the figures and the columns sets them off from the background.
Although Jodocus Krell endowed the priest's benefice on the altar, of which he was the first user, as early as 1446, the corresponding altarpiece may not have been commissioned until 1472, in connection with the consecration of the altars in the newly constructed hall choir of St. Lorenz Church (2). (...)
(1) On Jodocus Krell, see Machilek, Krell 1972.
(2) On the dating of the altarpiece, see Machilek, Krell 1972, p. 85.
Ursula Timann
(quoted from the catalog: The Wide View / Nuremberg Panoramas from Seven Centuries / Museums of the City of Nuremberg / 2020)
Location: Nuremberg, St. Lorenz, Hall Choir, East Wall
photo 2020, Theo Noll
Krell Altarpiece
ca. 1472
Central panel with the enthroned Virgin Mary with Child, St. Bartholomew and St. Barbara, and the donor figure by Jodocus Krell in the foreground. A cityscape of Nuremberg is in the background
Altar with the oldest known view of the city of Nuremberg. The altar was commissioned by Jodokus Krell, a priest at St. Lorenz Church. _____________________________________________
The city of Nuremberg as a subject worthy of depiction first appears in the reredos of the St. Bartholomew Altarpiece in St. Lorenz Church, commissioned by Jodocus Krell. Its central panel depicts the city nestled in a hilly and partly wooded landscape. While the pictorial representation of cities had not yet established itself as an independent subject, a tradition originating in the Netherlands already existed of using views both within and outside the city as backgrounds. Consequently, in 15th-century workshop drawings of cityscapes and landscapes, the foreground is left unpainted.
In the Krell Altarpiece as well, the enthroned Madonna and Child, St. Bartholomew and St. Barbara, and the kneeling patron, Jodocus Krell, depicted in the foreground on a smaller scale, are the main focus (1). Above the figures is a cross-ribbed vault supported by two columns, featuring three arched openings that offer a view of the city of Nuremberg and its surroundings. A brocade tapestry of honor between the figures and the columns sets them off from the background.
Although Jodocus Krell endowed the priest's benefice on the altar, of which he was the first user, as early as 1446, the corresponding altarpiece may not have been commissioned until 1472, in connection with the consecration of the altars in the newly constructed hall choir of St. Lorenz Church (2). (...)
(1) On Jodocus Krell, see Machilek, Krell 1972.
(2) On the dating of the altarpiece, see Machilek, Krell 1972, p. 85.
Ursula Timann
(quoted from the catalog: The Wide View / Nuremberg Panoramas from Seven Centuries / Museums of the City of Nuremberg / 2020)
Location: Nuremberg, St. Lorenz, Hall Choir, East Wall
photo 2020, Theo Noll
Krell Altarpiece
ca. 1472
upper section of the central panel with a view of Nuremberg
Altar with the oldest known view of the city of Nuremberg. The altar was commissioned by Jodokus Krell, a priest at St. Lorenz Church. _____________________________________________
The city of Nuremberg as a subject worthy of depiction first appears in the reredos of the St. Bartholomew Altarpiece in St. Lorenz Church, commissioned by Jodocus Krell. Its central panel depicts the city nestled in a hilly and partly wooded landscape. While the pictorial representation of cities had not yet established itself as an independent subject, a tradition originating in the Netherlands already existed of using views both within and outside the city as backgrounds. Consequently, in 15th-century workshop drawings of cityscapes and landscapes, the foreground is left unpainted.
In the Krell Altarpiece as well, the enthroned Madonna and Child, St. Bartholomew and St. Barbara, and the kneeling patron, Jodocus Krell, depicted in the foreground on a smaller scale, are the main focus (1). Above the figures is a cross-ribbed vault supported by two columns, featuring three arched openings that offer a view of the city of Nuremberg and its surroundings. A brocade tapestry of honor between the figures and the columns sets them off from the background.
Although Jodocus Krell endowed the priest's benefice on the altar, of which he was the first user, as early as 1446, the corresponding altarpiece may not have been commissioned until 1472, in connection with the consecration of the altars in the newly constructed hall choir of St. Lorenz Church (2). (...)
(1) On Jodocus Krell, see Machilek, Krell 1972.
(2) On the dating of the altarpiece, see Machilek, Krell 1972, p. 85.
Ursula Timann
(quoted from the catalog: The Wide View / Nuremberg Panoramas from Seven Centuries / Museums of the City of Nuremberg / 2020)
Location: Nuremberg, St. Lorenz, Hall Choir, East Wall
photo 2018, Theo Noll
Krell Altarpiece
ca. 1472
Upper section of the central panel, detail with Mary and Barbara
Altar with the oldest known view of the city of Nuremberg. The altar was commissioned by Jodokus Krell, a priest at St. Lorenz Church. _____________________________________________
The city of Nuremberg as a subject worthy of depiction first appears in the reredos of the St. Bartholomew Altarpiece in St. Lorenz Church, commissioned by Jodocus Krell. Its central panel depicts the city nestled in a hilly and partly wooded landscape. While the pictorial representation of cities had not yet established itself as an independent subject, a tradition originating in the Netherlands already existed of using views both within and outside the city as backgrounds. Consequently, in 15th-century workshop drawings of cityscapes and landscapes, the foreground is left unpainted.
In the Krell Altarpiece as well, the enthroned Madonna and Child, St. Bartholomew and St. Barbara, and the kneeling patron, Jodocus Krell, depicted in the foreground on a smaller scale, are the main focus (1). Above the figures is a cross-ribbed vault supported by two columns, featuring three arched openings that offer a view of the city of Nuremberg and its surroundings. A brocade tapestry of honor between the figures and the columns sets them off from the background.
Although Jodocus Krell endowed the priest's benefice on the altar, of which he was the first user, as early as 1446, the corresponding altarpiece may not have been commissioned until 1472, in connection with the consecration of the altars in the newly constructed hall choir of St. Lorenz Church (2). (...)
(1) On Jodocus Krell, see Machilek, Krell 1972.
(2) On the dating of the altarpiece, see Machilek, Krell 1972, p. 85.
Ursula Timann
(quoted from the catalog: The Wide View / Nuremberg Panoramas from Seven Centuries / Museums of the City of Nuremberg / 2020)
Location: Nuremberg, St. Lorenz, Hall Choir, East Wall
photo 2018, Theo Noll
Krell Altarpiece
ca. 1472
Upper section of the central panel, detail with Mary and a view of Nuremberg in the background
Altar with the oldest known view of the city of Nuremberg. The altar was commissioned by Jodokus Krell, a priest at St. Lorenz Church. _____________________________________________
The city of Nuremberg as a subject worthy of depiction first appears in the reredos of the St. Bartholomew Altarpiece in St. Lorenz Church, commissioned by Jodocus Krell. Its central panel depicts the city nestled in a hilly and partly wooded landscape. While the pictorial representation of cities had not yet established itself as an independent subject, a tradition originating in the Netherlands already existed of using views both within and outside the city as backgrounds. Consequently, in 15th-century workshop drawings of cityscapes and landscapes, the foreground is left unpainted.
In the Krell Altarpiece as well, the enthroned Madonna and Child, St. Bartholomew and St. Barbara, and the kneeling patron, Jodocus Krell, depicted in the foreground on a smaller scale, are the main focus (1). Above the figures is a cross-ribbed vault supported by two columns, featuring three arched openings that offer a view of the city of Nuremberg and its surroundings. A brocade tapestry of honor between the figures and the columns sets them off from the background.
Although Jodocus Krell endowed the priest's benefice on the altar, of which he was the first user, as early as 1446, the corresponding altarpiece may not have been commissioned until 1472, in connection with the consecration of the altars in the newly constructed hall choir of St. Lorenz Church (2). (...)
(1) On Jodocus Krell, see Machilek, Krell 1972.
(2) On the dating of the altarpiece, see Machilek, Krell 1972, p. 85.
Ursula Timann
(quoted from the catalog: The Wide View / Nuremberg Panoramas from Seven Centuries / Museums of the City of Nuremberg / 2020)
Location: Nuremberg, St. Lorenz, Hall Choir, East Wall
photo 2018, Theo Noll
Krell Altarpiece
ca. 1472
Upper section of the central panel, detail with Mary and Barbara, and upper section of the central panel, detail with Mary and a view of Nuremberg in the background
Altar with the oldest known view of the city of Nuremberg. The altar was commissioned by Jodokus Krell, a priest at St. Lorenz Church. _____________________________________________
The city of Nuremberg as a subject worthy of depiction first appears in the reredos of the St. Bartholomew Altarpiece in St. Lorenz Church, commissioned by Jodocus Krell. Its central panel depicts the city nestled in a hilly and partly wooded landscape. While the pictorial representation of cities had not yet established itself as an independent subject, a tradition originating in the Netherlands already existed of using views both within and outside the city as backgrounds. Consequently, in 15th-century workshop drawings of cityscapes and landscapes, the foreground is left unpainted.
In the Krell Altarpiece as well, the enthroned Madonna and Child, St. Bartholomew and St. Barbara, and the kneeling patron, Jodocus Krell, depicted in the foreground on a smaller scale, are the main focus (1). Above the figures is a cross-ribbed vault supported by two columns, featuring three arched openings that offer a view of the city of Nuremberg and its surroundings. A brocade tapestry of honor between the figures and the columns sets them off from the background.
Although Jodocus Krell endowed the priest's benefice on the altar, of which he was the first user, as early as 1446, the corresponding altarpiece may not have been commissioned until 1472, in connection with the consecration of the altars in the newly constructed hall choir of St. Lorenz Church (2). (...)
(1) On Jodocus Krell, see Machilek, Krell 1972.
(2) On the dating of the altarpiece, see Machilek, Krell 1972, p. 85.
Ursula Timann
(quoted from the catalog: The Wide View / Nuremberg Panoramas from Seven Centuries / Museums of the City of Nuremberg / 2020)
Location: Nuremberg, St. Lorenz Church, choir, east wall
photo 2018, Theo Noll
Krell Altarpiece
ca. 1472
Central panel, detail with donor Jodocus Krell
Altar with the oldest known view of the city of Nuremberg. The altar was commissioned by Jodokus Krell, a priest at St. Lorenz Church. _____________________________________________
The city of Nuremberg as a subject worthy of depiction first appears in the reredos of the St. Bartholomew Altarpiece in St. Lorenz Church, commissioned by Jodocus Krell. Its central panel depicts the city nestled in a hilly and partly wooded landscape. While the pictorial representation of cities had not yet established itself as an independent subject, a tradition originating in the Netherlands already existed of using views both within and outside the city as backgrounds. Consequently, in 15th-century workshop drawings of cityscapes and landscapes, the foreground is left unpainted.
In the Krell Altarpiece as well, the enthroned Madonna and Child, St. Bartholomew and St. Barbara, and the kneeling patron, Jodocus Krell, depicted in the foreground on a smaller scale, are the main focus (1). Above the figures is a cross-ribbed vault supported by two columns, featuring three arched openings that offer a view of the city of Nuremberg and its surroundings. A brocade tapestry of honor between the figures and the columns sets them off from the background.
Although Jodocus Krell endowed the priest's benefice on the altar, of which he was the first user, as early as 1446, the corresponding altarpiece may not have been commissioned until 1472, in connection with the consecration of the altars in the newly constructed hall choir of St. Lorenz Church (2). (...)
(1) On Jodocus Krell, see Machilek, Krell 1972.
(2) On the dating of the altarpiece, see Machilek, Krell 1972, p. 85.
Ursula Timann
(quoted from the catalog: The Wide View / Nuremberg Panoramas from Seven Centuries / Museums of the City of Nuremberg / 2020)
Location: Nuremberg, St. Lorenz, Hall Choir, East Wall
photo 2020, Theo Noll
Krell Altarpiece
ca. 1472
linke innere Seitentafel mit St. Jodocus
Altar with the oldest known view of the city of Nuremberg. The altar was commissioned by Jodokus Krell, a priest at St. Lorenz Church. _____________________________________________
The city of Nuremberg as a subject worthy of depiction first appears in the reredos of the St. Bartholomew Altarpiece in St. Lorenz Church, commissioned by Jodocus Krell. Its central panel depicts the city nestled in a hilly and partly wooded landscape. While the pictorial representation of cities had not yet established itself as an independent subject, a tradition originating in the Netherlands already existed of using views both within and outside the city as backgrounds. Consequently, in 15th-century workshop drawings of cityscapes and landscapes, the foreground is left unpainted.
In the Krell Altarpiece as well, the enthroned Madonna and Child, St. Bartholomew and St. Barbara, and the kneeling patron, Jodocus Krell, depicted in the foreground on a smaller scale, are the main focus (1). Above the figures is a cross-ribbed vault supported by two columns, featuring three arched openings that offer a view of the city of Nuremberg and its surroundings. A brocade tapestry of honor between the figures and the columns sets them off from the background.
Although Jodocus Krell endowed the priest's benefice on the altar, of which he was the first user, as early as 1446, the corresponding altarpiece may not have been commissioned until 1472, in connection with the consecration of the altars in the newly constructed hall choir of St. Lorenz Church (2). (...)
(1) On Jodocus Krell, see Machilek, Krell 1972.
(2) On the dating of the altarpiece, see Machilek, Krell 1972, p. 85.
Ursula Timann
(quoted from the catalog: The Wide View / Nuremberg Panoramas from Seven Centuries / Museums of the City of Nuremberg / 2020)
Location: Nuremberg, St. Lorenz, Hall Choir, East Wall
photo 2020, Theo Noll
Krell Altarpiece
ca. 1472
left inner side panel with St. Jodocus, detail
Altar with the oldest known view of the city of Nuremberg. The altar was commissioned by Jodokus Krell, a priest at St. Lorenz Church. _____________________________________________
The city of Nuremberg as a subject worthy of depiction first appears in the reredos of the St. Bartholomew Altarpiece in St. Lorenz Church, commissioned by Jodocus Krell. Its central panel depicts the city nestled in a hilly and partly wooded landscape. While the pictorial representation of cities had not yet established itself as an independent subject, a tradition originating in the Netherlands already existed of using views both within and outside the city as backgrounds. Consequently, in 15th-century workshop drawings of cityscapes and landscapes, the foreground is left unpainted.
In the Krell Altarpiece as well, the enthroned Madonna and Child, St. Bartholomew and St. Barbara, and the kneeling patron, Jodocus Krell, depicted in the foreground on a smaller scale, are the main focus (1). Above the figures is a cross-ribbed vault supported by two columns, featuring three arched openings that offer a view of the city of Nuremberg and its surroundings. A brocade tapestry of honor between the figures and the columns sets them off from the background.
Although Jodocus Krell endowed the priest's benefice on the altar, of which he was the first user, as early as 1446, the corresponding altarpiece may not have been commissioned until 1472, in connection with the consecration of the altars in the newly constructed hall choir of St. Lorenz Church (2). (...)
(1) On Jodocus Krell, see Machilek, Krell 1972.
(2) On the dating of the altarpiece, see Machilek, Krell 1972, p. 85.
Ursula Timann
(quoted from the catalog: The Wide View / Nuremberg Panoramas from Seven Centuries / Museums of the City of Nuremberg / 2020)
Location: Nuremberg, St. Lorenz, Hall Choir, East Wall
photo 2020, Theo Noll
Krell Altarpiece
ca. 1472
right inner side panel with St. Jodocus, detail
Altar with the oldest known view of the city of Nuremberg. The altar was commissioned by Jodokus Krell, a priest at St. Lorenz Church. _____________________________________________
The city of Nuremberg as a subject worthy of depiction first appears in the reredos of the St. Bartholomew Altarpiece in St. Lorenz Church, commissioned by Jodocus Krell. Its central panel depicts the city nestled in a hilly and partly wooded landscape. While the pictorial representation of cities had not yet established itself as an independent subject, a tradition originating in the Netherlands already existed of using views both within and outside the city as backgrounds. Consequently, in 15th-century workshop drawings of cityscapes and landscapes, the foreground is left unpainted.
In the Krell Altarpiece as well, the enthroned Madonna and Child, St. Bartholomew and St. Barbara, and the kneeling patron, Jodocus Krell, depicted in the foreground on a smaller scale, are the main focus (1). Above the figures is a cross-ribbed vault supported by two columns, featuring three arched openings that offer a view of the city of Nuremberg and its surroundings. A brocade tapestry of honor between the figures and the columns sets them off from the background.
Although Jodocus Krell endowed the priest's benefice on the altar, of which he was the first user, as early as 1446, the corresponding altarpiece may not have been commissioned until 1472, in connection with the consecration of the altars in the newly constructed hall choir of St. Lorenz Church (2). (...)
(1) On Jodocus Krell, see Machilek, Krell 1972.
(2) On the dating of the altarpiece, see Machilek, Krell 1972, p. 85.
Ursula Timann
(quoted from the catalog: The Wide View / Nuremberg Panoramas from Seven Centuries / Museums of the City of Nuremberg / 2020)
Location: Nuremberg, St. Lorenz, Hall Choir, East Wall
photo 2020, Theo Noll
Krell Altarpiece
ca. 1472
right inner side panel with St. Helena, detail of the upper half
Altar with the oldest known view of the city of Nuremberg. The altar was commissioned by Jodokus Krell, a priest at St. Lorenz Church. _____________________________________________
The city of Nuremberg as a subject worthy of depiction first appears in the reredos of the St. Bartholomew Altarpiece in St. Lorenz Church, commissioned by Jodocus Krell. Its central panel depicts the city nestled in a hilly and partly wooded landscape. While the pictorial representation of cities had not yet established itself as an independent subject, a tradition originating in the Netherlands already existed of using views both within and outside the city as backgrounds. Consequently, in 15th-century workshop drawings of cityscapes and landscapes, the foreground is left unpainted.
In the Krell Altarpiece as well, the enthroned Madonna and Child, St. Bartholomew and St. Barbara, and the kneeling patron, Jodocus Krell, depicted in the foreground on a smaller scale, are the main focus (1). Above the figures is a cross-ribbed vault supported by two columns, featuring three arched openings that offer a view of the city of Nuremberg and its surroundings. A brocade tapestry of honor between the figures and the columns sets them off from the background.
Although Jodocus Krell endowed the priest's benefice on the altar, of which he was the first user, as early as 1446, the corresponding altarpiece may not have been commissioned until 1472, in connection with the consecration of the altars in the newly constructed hall choir of St. Lorenz Church (2). (...)
(1) On Jodocus Krell, see Machilek, Krell 1972.
(2) On the dating of the altarpiece, see Machilek, Krell 1972, p. 85.
Ursula Timann
(quoted from the catalog: The Wide View / Nuremberg Panoramas from Seven Centuries / Museums of the City of Nuremberg / 2020)
Location: Nuremberg, St. Lorenz, Hall Choir, East Wall
photo 2020, Theo Noll
Krell Altarpiece
ca. 1472
right inner panel with St. Helena, detail of the lower half, depiction of her drapery
Altar with the oldest known view of the city of Nuremberg. The altar was commissioned by Jodokus Krell, a priest at St. Lorenz Church. _____________________________________________
The city of Nuremberg as a subject worthy of depiction first appears in the reredos of the St. Bartholomew Altarpiece in St. Lorenz Church, commissioned by Jodocus Krell. Its central panel depicts the city nestled in a hilly and partly wooded landscape. While the pictorial representation of cities had not yet established itself as an independent subject, a tradition originating in the Netherlands already existed of using views both within and outside the city as backgrounds. Consequently, in 15th-century workshop drawings of cityscapes and landscapes, the foreground is left unpainted.
In the Krell Altarpiece as well, the enthroned Madonna and Child, St. Bartholomew and St. Barbara, and the kneeling patron, Jodocus Krell, depicted in the foreground on a smaller scale, are the main focus (1). Above the figures is a cross-ribbed vault supported by two columns, featuring three arched openings that offer a view of the city of Nuremberg and its surroundings. A brocade tapestry of honor between the figures and the columns sets them off from the background.
Although Jodocus Krell endowed the priest's benefice on the altar, of which he was the first user, as early as 1446, the corresponding altarpiece may not have been commissioned until 1472, in connection with the consecration of the altars in the newly constructed hall choir of St. Lorenz Church (2). (...)
(1) On Jodocus Krell, see Machilek, Krell 1972.
(2) On the dating of the altarpiece, see Machilek, Krell 1972, p. 85.
Ursula Timann
(quoted from the catalog: The Wide View / Nuremberg Panoramas from Seven Centuries / Museums of the City of Nuremberg / 2020)
Location: Nuremberg, St. Lorenz, Hall Choir, East Wall
photo 2020, Theo Noll
Krell Altarpiece
ca. 1472
Left outer side panel with St. Jodocus
Altar with the oldest known view of the city of Nuremberg. The altar was commissioned by Jodokus Krell, a priest at St. Lorenz Church. _____________________________________________
The city of Nuremberg as a subject worthy of depiction first appears in the reredos of the St. Bartholomew Altarpiece in St. Lorenz Church, commissioned by Jodocus Krell. Its central panel depicts the city nestled in a hilly and partly wooded landscape. While the pictorial representation of cities had not yet established itself as an independent subject, a tradition originating in the Netherlands already existed of using views both within and outside the city as backgrounds. Consequently, in 15th-century workshop drawings of cityscapes and landscapes, the foreground is left unpainted.
In the Krell Altarpiece as well, the enthroned Madonna and Child, St. Bartholomew and St. Barbara, and the kneeling patron, Jodocus Krell, depicted in the foreground on a smaller scale, are the main focus (1). Above the figures is a cross-ribbed vault supported by two columns, featuring three arched openings that offer a view of the city of Nuremberg and its surroundings. A brocade tapestry of honor between the figures and the columns sets them off from the background.
Although Jodocus Krell endowed the priest's benefice on the altar, of which he was the first user, as early as 1446, the corresponding altarpiece may not have been commissioned until 1472, in connection with the consecration of the altars in the newly constructed hall choir of St. Lorenz Church (2). (...)
(1) On Jodocus Krell, see Machilek, Krell 1972.
(2) On the dating of the altarpiece, see Machilek, Krell 1972, p. 85.
Ursula Timann
(quoted from the catalog: The Wide View / Nuremberg Panoramas from Seven Centuries / Museums of the City of Nuremberg / 2020)
Location: Nuremberg, St. Lorenz, Hall Choir, East Wall
photo 2020, Theo Noll
Krell Altarpiece
ca. 1472
Left outer side panel with St. Jodocus, Detail
Altar with the oldest known view of the city of Nuremberg. The altar was commissioned by Jodokus Krell, a priest at St. Lorenz Church. _____________________________________________
The city of Nuremberg as a subject worthy of depiction first appears in the reredos of the St. Bartholomew Altarpiece in St. Lorenz Church, commissioned by Jodocus Krell. Its central panel depicts the city nestled in a hilly and partly wooded landscape. While the pictorial representation of cities had not yet established itself as an independent subject, a tradition originating in the Netherlands already existed of using views both within and outside the city as backgrounds. Consequently, in 15th-century workshop drawings of cityscapes and landscapes, the foreground is left unpainted.
In the Krell Altarpiece as well, the enthroned Madonna and Child, St. Bartholomew and St. Barbara, and the kneeling patron, Jodocus Krell, depicted in the foreground on a smaller scale, are the main focus (1). Above the figures is a cross-ribbed vault supported by two columns, featuring three arched openings that offer a view of the city of Nuremberg and its surroundings. A brocade tapestry of honor between the figures and the columns sets them off from the background.
Although Jodocus Krell endowed the priest's benefice on the altar, of which he was the first user, as early as 1446, the corresponding altarpiece may not have been commissioned until 1472, in connection with the consecration of the altars in the newly constructed hall choir of St. Lorenz Church (2). (...)
(1) On Jodocus Krell, see Machilek, Krell 1972.
(2) On the dating of the altarpiece, see Machilek, Krell 1972, p. 85.
Ursula Timann
(quoted from the catalog: The Wide View / Nuremberg Panoramas from Seven Centuries / Museums of the City of Nuremberg / 2020)
Location: Nuremberg, St. Lorenz, Hall Choir, East Wall
photo 2020, Theo Noll
Krell Altarpiece
ca. 1472
Right outer side panel with St. Helena
Altar with the oldest known view of the city of Nuremberg. The altar was commissioned by Jodokus Krell, a priest at St. Lorenz Church. _____________________________________________
The city of Nuremberg as a subject worthy of depiction first appears in the reredos of the St. Bartholomew Altarpiece in St. Lorenz Church, commissioned by Jodocus Krell. Its central panel depicts the city nestled in a hilly and partly wooded landscape. While the pictorial representation of cities had not yet established itself as an independent subject, a tradition originating in the Netherlands already existed of using views both within and outside the city as backgrounds. Consequently, in 15th-century workshop drawings of cityscapes and landscapes, the foreground is left unpainted.
In the Krell Altarpiece as well, the enthroned Madonna and Child, St. Bartholomew and St. Barbara, and the kneeling patron, Jodocus Krell, depicted in the foreground on a smaller scale, are the main focus (1). Above the figures is a cross-ribbed vault supported by two columns, featuring three arched openings that offer a view of the city of Nuremberg and its surroundings. A brocade tapestry of honor between the figures and the columns sets them off from the background.
Although Jodocus Krell endowed the priest's benefice on the altar, of which he was the first user, as early as 1446, the corresponding altarpiece may not have been commissioned until 1472, in connection with the consecration of the altars in the newly constructed hall choir of St. Lorenz Church (2). (...)
(1) On Jodocus Krell, see Machilek, Krell 1972.
(2) On the dating of the altarpiece, see Machilek, Krell 1972, p. 85.
Ursula Timann
(quoted from the catalog: The Wide View / Nuremberg Panoramas from Seven Centuries / Museums of the City of Nuremberg / 2020)
Location: Nuremberg, St. Lorenz, Hall Choir, East Wall
photo 2020, Theo Noll
Krell Altarpiece
ca. 1472
Right outer side panel with St. Helena, upper third of the image showing a view into an interior and landscape
Altar with the oldest known view of the city of Nuremberg. The altar was commissioned by Jodokus Krell, a priest at St. Lorenz Church. _____________________________________________
The city of Nuremberg as a subject worthy of depiction first appears in the reredos of the St. Bartholomew Altarpiece in St. Lorenz Church, commissioned by Jodocus Krell. Its central panel depicts the city nestled in a hilly and partly wooded landscape. While the pictorial representation of cities had not yet established itself as an independent subject, a tradition originating in the Netherlands already existed of using views both within and outside the city as backgrounds. Consequently, in 15th-century workshop drawings of cityscapes and landscapes, the foreground is left unpainted.
In the Krell Altarpiece as well, the enthroned Madonna and Child, St. Bartholomew and St. Barbara, and the kneeling patron, Jodocus Krell, depicted in the foreground on a smaller scale, are the main focus (1). Above the figures is a cross-ribbed vault supported by two columns, featuring three arched openings that offer a view of the city of Nuremberg and its surroundings. A brocade tapestry of honor between the figures and the columns sets them off from the background.
Although Jodocus Krell endowed the priest's benefice on the altar, of which he was the first user, as early as 1446, the corresponding altarpiece may not have been commissioned until 1472, in connection with the consecration of the altars in the newly constructed hall choir of St. Lorenz Church (2). (...)
(1) On Jodocus Krell, see Machilek, Krell 1972.
(2) On the dating of the altarpiece, see Machilek, Krell 1972, p. 85.
Ursula Timann
(quoted from the catalog: The Wide View / Nuremberg Panoramas from Seven Centuries / Museums of the City of Nuremberg / 2020)
Location: Nuremberg, St. Lorenz, Hall Choir, East Wall
photo 2020, Theo Noll
Krell Altarpiece
ca. 1472
right outer side panel with St. Helena, upper body with magnificent robe
Altar with the oldest known view of the city of Nuremberg. The altar was commissioned by Jodokus Krell, a priest at St. Lorenz Church. _____________________________________________
The city of Nuremberg as a subject worthy of depiction first appears in the reredos of the St. Bartholomew Altarpiece in St. Lorenz Church, commissioned by Jodocus Krell. Its central panel depicts the city nestled in a hilly and partly wooded landscape. While the pictorial representation of cities had not yet established itself as an independent subject, a tradition originating in the Netherlands already existed of using views both within and outside the city as backgrounds. Consequently, in 15th-century workshop drawings of cityscapes and landscapes, the foreground is left unpainted.
In the Krell Altarpiece as well, the enthroned Madonna and Child, St. Bartholomew and St. Barbara, and the kneeling patron, Jodocus Krell, depicted in the foreground on a smaller scale, are the main focus (1). Above the figures is a cross-ribbed vault supported by two columns, featuring three arched openings that offer a view of the city of Nuremberg and its surroundings. A brocade tapestry of honor between the figures and the columns sets them off from the background.
Although Jodocus Krell endowed the priest's benefice on the altar, of which he was the first user, as early as 1446, the corresponding altarpiece may not have been commissioned until 1472, in connection with the consecration of the altars in the newly constructed hall choir of St. Lorenz Church (2). (...)
(1) On Jodocus Krell, see Machilek, Krell 1972.
(2) On the dating of the altarpiece, see Machilek, Krell 1972, p. 85.
Ursula Timann
(quoted from the catalog: The Wide View / Nuremberg Panoramas from Seven Centuries / Museums of the City of Nuremberg / 2020)
Location: Nuremberg, St. Lorenz, Hall Choir, East Wall
photo 2020, Theo Noll
Krell Altarpiece
ca. 1472
right outer side panel with St. Helena, lower part of the image; note the varied depiction of the material textures
Altar with the oldest known view of the city of Nuremberg. The altar was commissioned by Jodokus Krell, a priest at St. Lorenz Church. _____________________________________________
The city of Nuremberg as a subject worthy of depiction first appears in the reredos of the St. Bartholomew Altarpiece in St. Lorenz Church, commissioned by Jodocus Krell. Its central panel depicts the city nestled in a hilly and partly wooded landscape. While the pictorial representation of cities had not yet established itself as an independent subject, a tradition originating in the Netherlands already existed of using views both within and outside the city as backgrounds. Consequently, in 15th-century workshop drawings of cityscapes and landscapes, the foreground is left unpainted.
In the Krell Altarpiece as well, the enthroned Madonna and Child, St. Bartholomew and St. Barbara, and the kneeling patron, Jodocus Krell, depicted in the foreground on a smaller scale, are the main focus (1). Above the figures is a cross-ribbed vault supported by two columns, featuring three arched openings that offer a view of the city of Nuremberg and its surroundings. A brocade tapestry of honor between the figures and the columns sets them off from the background.
Although Jodocus Krell endowed the priest's benefice on the altar, of which he was the first user, as early as 1446, the corresponding altarpiece may not have been commissioned until 1472, in connection with the consecration of the altars in the newly constructed hall choir of St. Lorenz Church (2). (...)
(1) On Jodocus Krell, see Machilek, Krell 1972.
(2) On the dating of the altarpiece, see Machilek, Krell 1972, p. 85.
Ursula Timann
(quoted from the catalog: The Wide View / Nuremberg Panoramas from Seven Centuries / Museums of the City of Nuremberg / 2020)
Location: Nuremberg, St. Lorenz, Hall Choir, East Wall
photo 2020, Theo Noll
Krell Altarpiece
ca. 1472
Left predella end with foliate painting and Lawrence
Altar with the oldest known view of the city of Nuremberg. The altar was commissioned by Jodokus Krell, a priest at St. Lorenz Church. _____________________________________________
The city of Nuremberg as a subject worthy of depiction first appears in the reredos of the St. Bartholomew Altarpiece in St. Lorenz Church, commissioned by Jodocus Krell. Its central panel depicts the city nestled in a hilly and partly wooded landscape. While the pictorial representation of cities had not yet established itself as an independent subject, a tradition originating in the Netherlands already existed of using views both within and outside the city as backgrounds. Consequently, in 15th-century workshop drawings of cityscapes and landscapes, the foreground is left unpainted.
In the Krell Altarpiece as well, the enthroned Madonna and Child, St. Bartholomew and St. Barbara, and the kneeling patron, Jodocus Krell, depicted in the foreground on a smaller scale, are the main focus (1). Above the figures is a cross-ribbed vault supported by two columns, featuring three arched openings that offer a view of the city of Nuremberg and its surroundings. A brocade tapestry of honor between the figures and the columns sets them off from the background.
Although Jodocus Krell endowed the priest's benefice on the altar, of which he was the first user, as early as 1446, the corresponding altarpiece may not have been commissioned until 1472, in connection with the consecration of the altars in the newly constructed hall choir of St. Lorenz Church (2). (...)
(1) On Jodocus Krell, see Machilek, Krell 1972.
(2) On the dating of the altarpiece, see Machilek, Krell 1972, p. 85.
Ursula Timann
(quoted from the catalog: The Wide View / Nuremberg Panoramas from Seven Centuries / Museums of the City of Nuremberg / 2020)
Location: Nuremberg, St. Lorenz, Hall Choir, East Wall
photo 2020, Theo Noll
Krell Altarpiece
ca. 1472
Left half of the predella with Saints: Lawrence, Stephen, Vincent, and Sebastia
photo 2020, Theo Noll
Altar with the oldest known view of the city of Nuremberg. The altar was commissioned by Jodokus Krell, a priest at St. Lorenz Church. _____________________________________________
The city of Nuremberg as a subject worthy of depiction first appears in the reredos of the St. Bartholomew Altarpiece in St. Lorenz Church, commissioned by Jodocus Krell. Its central panel depicts the city nestled in a hilly and partly wooded landscape. While the pictorial representation of cities had not yet established itself as an independent subject, a tradition originating in the Netherlands already existed of using views both within and outside the city as backgrounds. Consequently, in 15th-century workshop drawings of cityscapes and landscapes, the foreground is left unpainted.
In the Krell Altarpiece as well, the enthroned Madonna and Child, St. Bartholomew and St. Barbara, and the kneeling patron, Jodocus Krell, depicted in the foreground on a smaller scale, are the main focus (1). Above the figures is a cross-ribbed vault supported by two columns, featuring three arched openings that offer a view of the city of Nuremberg and its surroundings. A brocade tapestry of honor between the figures and the columns sets them off from the background.
Although Jodocus Krell endowed the priest's benefice on the altar, of which he was the first user, as early as 1446, the corresponding altarpiece may not have been commissioned until 1472, in connection with the consecration of the altars in the newly constructed hall choir of St. Lorenz Church (2). (...)
(1) On Jodocus Krell, see Machilek, Krell 1972.
(2) On the dating of the altarpiece, see Machilek, Krell 1972, p. 85.
Ursula Timann
(quoted from the catalog: The Wide View / Nuremberg Panoramas from Seven Centuries / Museums of the City of Nuremberg / 2020)
Location: Nuremberg, St. Lorenz, Hall Choir, East Wall
Krell Altarpiece
ca. 1472
Left half of the predella with Saints Laurentius, Stephanus, detail view
Altar with the oldest known view of the city of Nuremberg. The altar was commissioned by Jodokus Krell, a priest at St. Lorenz Church. _____________________________________________
The city of Nuremberg as a subject worthy of depiction first appears in the reredos of the St. Bartholomew Altarpiece in St. Lorenz Church, commissioned by Jodocus Krell. Its central panel depicts the city nestled in a hilly and partly wooded landscape. While the pictorial representation of cities had not yet established itself as an independent subject, a tradition originating in the Netherlands already existed of using views both within and outside the city as backgrounds. Consequently, in 15th-century workshop drawings of cityscapes and landscapes, the foreground is left unpainted.
In the Krell Altarpiece as well, the enthroned Madonna and Child, St. Bartholomew and St. Barbara, and the kneeling patron, Jodocus Krell, depicted in the foreground on a smaller scale, are the main focus (1). Above the figures is a cross-ribbed vault supported by two columns, featuring three arched openings that offer a view of the city of Nuremberg and its surroundings. A brocade tapestry of honor between the figures and the columns sets them off from the background.
Although Jodocus Krell endowed the priest's benefice on the altar, of which he was the first user, as early as 1446, the corresponding altarpiece may not have been commissioned until 1472, in connection with the consecration of the altars in the newly constructed hall choir of St. Lorenz Church (2). (...)
(1) On Jodocus Krell, see Machilek, Krell 1972.
(2) On the dating of the altarpiece, see Machilek, Krell 1972, p. 85.
Ursula Timann
(quoted from the catalog: The Wide View / Nuremberg Panoramas from Seven Centuries / Museums of the City of Nuremberg / 2020)
Location: Nuremberg, St. Lorenz, Hall Choir, East Wall
photo 2020, Theo Noll
Krell Altarpiece
ca. 1472
Left half of the predella with Saints Stephen and Vincent, detail view
Altar with the oldest known view of the city of Nuremberg. The altar was commissioned by Jodokus Krell, a priest at St. Lorenz Church. _____________________________________________
The city of Nuremberg as a subject worthy of depiction first appears in the reredos of the St. Bartholomew Altarpiece in St. Lorenz Church, commissioned by Jodocus Krell. Its central panel depicts the city nestled in a hilly and partly wooded landscape. While the pictorial representation of cities had not yet established itself as an independent subject, a tradition originating in the Netherlands already existed of using views both within and outside the city as backgrounds. Consequently, in 15th-century workshop drawings of cityscapes and landscapes, the foreground is left unpainted.
In the Krell Altarpiece as well, the enthroned Madonna and Child, St. Bartholomew and St. Barbara, and the kneeling patron, Jodocus Krell, depicted in the foreground on a smaller scale, are the main focus (1). Above the figures is a cross-ribbed vault supported by two columns, featuring three arched openings that offer a view of the city of Nuremberg and its surroundings. A brocade tapestry of honor between the figures and the columns sets them off from the background.
Although Jodocus Krell endowed the priest's benefice on the altar, of which he was the first user, as early as 1446, the corresponding altarpiece may not have been commissioned until 1472, in connection with the consecration of the altars in the newly constructed hall choir of St. Lorenz Church (2). (...)
(1) On Jodocus Krell, see Machilek, Krell 1972.
(2) On the dating of the altarpiece, see Machilek, Krell 1972, p. 85.
Ursula Timann
(quoted from the catalog: The Wide View / Nuremberg Panoramas from Seven Centuries / Museums of the City of Nuremberg / 2020)
Location: Nuremberg, St. Lorenz, Hall Choir, East Wall
photo 2020, Theo Noll
Krell Altarpiece
ca. 1472
Left half of the predella, detail with Saint Vincent
Altar with the oldest known view of the city of Nuremberg. The altar was commissioned by Jodokus Krell, a priest at St. Lorenz Church. _____________________________________________
The city of Nuremberg as a subject worthy of depiction first appears in the reredos of the St. Bartholomew Altarpiece in St. Lorenz Church, commissioned by Jodocus Krell. Its central panel depicts the city nestled in a hilly and partly wooded landscape. While the pictorial representation of cities had not yet established itself as an independent subject, a tradition originating in the Netherlands already existed of using views both within and outside the city as backgrounds. Consequently, in 15th-century workshop drawings of cityscapes and landscapes, the foreground is left unpainted.
In the Krell Altarpiece as well, the enthroned Madonna and Child, St. Bartholomew and St. Barbara, and the kneeling patron, Jodocus Krell, depicted in the foreground on a smaller scale, are the main focus (1). Above the figures is a cross-ribbed vault supported by two columns, featuring three arched openings that offer a view of the city of Nuremberg and its surroundings. A brocade tapestry of honor between the figures and the columns sets them off from the background.
Although Jodocus Krell endowed the priest's benefice on the altar, of which he was the first user, as early as 1446, the corresponding altarpiece may not have been commissioned until 1472, in connection with the consecration of the altars in the newly constructed hall choir of St. Lorenz Church (2). (...)
(1) On Jodocus Krell, see Machilek, Krell 1972.
(2) On the dating of the altarpiece, see Machilek, Krell 1972, p. 85.
Ursula Timann
(quoted from the catalog: The Wide View / Nuremberg Panoramas from Seven Centuries / Museums of the City of Nuremberg / 2020)
Location: Nuremberg, St. Lorenz, Hall Choir, East Wall
photo 2020, Theo Noll
Krell Altarpiece
ca. 1472
Left half of the predella with Saints Vincent and Sebastian, detail view
Altar with the oldest known view of the city of Nuremberg. The altar was commissioned by Jodokus Krell, a priest at St. Lorenz Church. _____________________________________________
The city of Nuremberg as a subject worthy of depiction first appears in the reredos of the St. Bartholomew Altarpiece in St. Lorenz Church, commissioned by Jodocus Krell. Its central panel depicts the city nestled in a hilly and partly wooded landscape. While the pictorial representation of cities had not yet established itself as an independent subject, a tradition originating in the Netherlands already existed of using views both within and outside the city as backgrounds. Consequently, in 15th-century workshop drawings of cityscapes and landscapes, the foreground is left unpainted.
In the Krell Altarpiece as well, the enthroned Madonna and Child, St. Bartholomew and St. Barbara, and the kneeling patron, Jodocus Krell, depicted in the foreground on a smaller scale, are the main focus (1). Above the figures is a cross-ribbed vault supported by two columns, featuring three arched openings that offer a view of the city of Nuremberg and its surroundings. A brocade tapestry of honor between the figures and the columns sets them off from the background.
Although Jodocus Krell endowed the priest's benefice on the altar, of which he was the first user, as early as 1446, the corresponding altarpiece may not have been commissioned until 1472, in connection with the consecration of the altars in the newly constructed hall choir of St. Lorenz Church (2). (...)
(1) On Jodocus Krell, see Machilek, Krell 1972.
(2) On the dating of the altarpiece, see Machilek, Krell 1972, p. 85.
Ursula Timann
(quoted from the catalog: The Wide View / Nuremberg Panoramas from Seven Centuries / Museums of the City of Nuremberg / 2020)
Location: Nuremberg, St. Lorenz, Hall Choir, East Wall
photo 2020, Theo Noll
Krell Altarpiece
ca. 1472
Right half of the predella with the saints: Agnes, Dorothea, Lucy, and Ottilia (Odilia)
photo 2020, Theo Noll
Altar with the oldest known view of the city of Nuremberg. The altar was commissioned by Jodokus Krell, a priest at St. Lorenz Church. _____________________________________________
The city of Nuremberg as a subject worthy of depiction first appears in the reredos of the St. Bartholomew Altarpiece in St. Lorenz Church, commissioned by Jodocus Krell. Its central panel depicts the city nestled in a hilly and partly wooded landscape. While the pictorial representation of cities had not yet established itself as an independent subject, a tradition originating in the Netherlands already existed of using views both within and outside the city as backgrounds. Consequently, in 15th-century workshop drawings of cityscapes and landscapes, the foreground is left unpainted.
In the Krell Altarpiece as well, the enthroned Madonna and Child, St. Bartholomew and St. Barbara, and the kneeling patron, Jodocus Krell, depicted in the foreground on a smaller scale, are the main focus (1). Above the figures is a cross-ribbed vault supported by two columns, featuring three arched openings that offer a view of the city of Nuremberg and its surroundings. A brocade tapestry of honor between the figures and the columns sets them off from the background.
Although Jodocus Krell endowed the priest's benefice on the altar, of which he was the first user, as early as 1446, the corresponding altarpiece may not have been commissioned until 1472, in connection with the consecration of the altars in the newly constructed hall choir of St. Lorenz Church (2). (...)
(1) On Jodocus Krell, see Machilek, Krell 1972.
(2) On the dating of the altarpiece, see Machilek, Krell 1972, p. 85.
Ursula Timann
(quoted from the catalog: The Wide View / Nuremberg Panoramas from Seven Centuries / Museums of the City of Nuremberg / 2020)
Location: Nuremberg, St. Lorenz, Hall Choir, East Wall
Krell Altarpiece
ca. 1472
Right half of the predella with Saints Agnes and Dorothea, detail view
Altar with the oldest known view of the city of Nuremberg. The altar was commissioned by Jodokus Krell, a priest at St. Lorenz Church. _____________________________________________
The city of Nuremberg as a subject worthy of depiction first appears in the reredos of the St. Bartholomew Altarpiece in St. Lorenz Church, commissioned by Jodocus Krell. Its central panel depicts the city nestled in a hilly and partly wooded landscape. While the pictorial representation of cities had not yet established itself as an independent subject, a tradition originating in the Netherlands already existed of using views both within and outside the city as backgrounds. Consequently, in 15th-century workshop drawings of cityscapes and landscapes, the foreground is left unpainted.
In the Krell Altarpiece as well, the enthroned Madonna and Child, St. Bartholomew and St. Barbara, and the kneeling patron, Jodocus Krell, depicted in the foreground on a smaller scale, are the main focus (1). Above the figures is a cross-ribbed vault supported by two columns, featuring three arched openings that offer a view of the city of Nuremberg and its surroundings. A brocade tapestry of honor between the figures and the columns sets them off from the background.
Although Jodocus Krell endowed the priest's benefice on the altar, of which he was the first user, as early as 1446, the corresponding altarpiece may not have been commissioned until 1472, in connection with the consecration of the altars in the newly constructed hall choir of St. Lorenz Church (2). (...)
(1) On Jodocus Krell, see Machilek, Krell 1972.
(2) On the dating of the altarpiece, see Machilek, Krell 1972, p. 85.
Ursula Timann
(quoted from the catalog: The Wide View / Nuremberg Panoramas from Seven Centuries / Museums of the City of Nuremberg / 2020)
Location: Nuremberg, St. Lorenz, Hall Choir, East Wall
photo 2020, Theo Noll
Krell Altarpiece
ca. 1472
right half of the predella with Saint Lucy, detail view
Altar with the oldest known view of the city of Nuremberg. The altar was commissioned by Jodokus Krell, a priest at St. Lorenz Church. _____________________________________________
The city of Nuremberg as a subject worthy of depiction first appears in the reredos of the St. Bartholomew Altarpiece in St. Lorenz Church, commissioned by Jodocus Krell. Its central panel depicts the city nestled in a hilly and partly wooded landscape. While the pictorial representation of cities had not yet established itself as an independent subject, a tradition originating in the Netherlands already existed of using views both within and outside the city as backgrounds. Consequently, in 15th-century workshop drawings of cityscapes and landscapes, the foreground is left unpainted.
In the Krell Altarpiece as well, the enthroned Madonna and Child, St. Bartholomew and St. Barbara, and the kneeling patron, Jodocus Krell, depicted in the foreground on a smaller scale, are the main focus (1). Above the figures is a cross-ribbed vault supported by two columns, featuring three arched openings that offer a view of the city of Nuremberg and its surroundings. A brocade tapestry of honor between the figures and the columns sets them off from the background.
Although Jodocus Krell endowed the priest's benefice on the altar, of which he was the first user, as early as 1446, the corresponding altarpiece may not have been commissioned until 1472, in connection with the consecration of the altars in the newly constructed hall choir of St. Lorenz Church (2). (...)
(1) On Jodocus Krell, see Machilek, Krell 1972.
(2) On the dating of the altarpiece, see Machilek, Krell 1972, p. 85.
Ursula Timann
(quoted from the catalog: The Wide View / Nuremberg Panoramas from Seven Centuries / Museums of the City of Nuremberg / 2020)
Location: Nuremberg, St. Lorenz, Hall Choir, East Wall
photo 2020, Theo Noll
Krell Altarpiece
ca. 1472
right half of the predella with Saint Ottilia (Odilia) and foliate painting
Altar with the oldest known view of the city of Nuremberg. The altar was commissioned by Jodokus Krell, a priest at St. Lorenz Church. _____________________________________________
The city of Nuremberg as a subject worthy of depiction first appears in the reredos of the St. Bartholomew Altarpiece in St. Lorenz Church, commissioned by Jodocus Krell. Its central panel depicts the city nestled in a hilly and partly wooded landscape. While the pictorial representation of cities had not yet established itself as an independent subject, a tradition originating in the Netherlands already existed of using views both within and outside the city as backgrounds. Consequently, in 15th-century workshop drawings of cityscapes and landscapes, the foreground is left unpainted.
In the Krell Altarpiece as well, the enthroned Madonna and Child, St. Bartholomew and St. Barbara, and the kneeling patron, Jodocus Krell, depicted in the foreground on a smaller scale, are the main focus (1). Above the figures is a cross-ribbed vault supported by two columns, featuring three arched openings that offer a view of the city of Nuremberg and its surroundings. A brocade tapestry of honor between the figures and the columns sets them off from the background.
Although Jodocus Krell endowed the priest's benefice on the altar, of which he was the first user, as early as 1446, the corresponding altarpiece may not have been commissioned until 1472, in connection with the consecration of the altars in the newly constructed hall choir of St. Lorenz Church (2). (...)
(1) On Jodocus Krell, see Machilek, Krell 1972.
(2) On the dating of the altarpiece, see Machilek, Krell 1972, p. 85.
Ursula Timann
(quoted from the catalog: The Wide View / Nuremberg Panoramas from Seven Centuries / Museums of the City of Nuremberg / 2020)
Location: Nuremberg, St. Lorenz, Hall Choir, East Wall
photo 2020, Theo Noll