The Seducer (The Prince of the World)
The Seducer (The Prince of the World)
around 1330
Front view
The figure embodies the trope of a youth who appears harmless and peaceful from the front, while his back reveals the horrific rot of snakes and toads. In Strasbourg, the depiction was less graphic, but considerably more artistic. (1280–1290)
Location: Nuremberg, St. Sebald's Church, in the north choir, west of the bridal portal
photo 2021, Theo Noll
The Seducer (The Prince of the World)
around 1330
omparison image / Nuremberg and Strasbourg (southern west portal, 1280–1290)
The figure embodies the trope of a youth who appears harmless and peaceful from the front, while his back reveals the horrific rot of snakes and toads. In Strasbourg, the depiction was less graphic, but considerably more artistic. (1280–1290)
Location: Nuremberg, St. Sebald's Church, in the north choir, west of the bridal portal
photo 2021, Pablo de la Riestra, Theo Noll
The Seducer (The Prince of the World)
around 1330
Oblique view
The figure embodies the trope of a youth who appears harmless and peaceful from the front, while his back reveals the horrific rot of snakes and toads. In Strasbourg, the depiction was less graphic, but considerably more artistic. (1280–1290)
Location: Nuremberg, St. Sebald's Church, in the north choir, west of the bridal portal
photo 2021, Theo Noll
The Seducer (The Prince of the World)
around 1330
Torso
The figure embodies the trope of a youth who appears harmless and peaceful from the front, while his back reveals the horrific rot of snakes and toads. In Strasbourg, the depiction was less graphic, but considerably more artistic. (1280–1290)
Location: Nuremberg, St. Sebald's Church, in the north choir, west of the bridal portal
photo 2021, Theo Noll
The Seducer (The Prince of the World)
around 1330
Side view
The figure embodies the trope of a youth who appears harmless and peaceful from the front, while his back reveals the horrific rot of snakes and toads. In Strasbourg, the depiction was less graphic, but considerably more artistic. (1280–1290)
Location: Nuremberg, St. Sebald's Church, in the north choir, west of the bridal portal
photo 2021, Theo Noll
The Seducer (The Prince of the World)
around 1330
View from the back, oblique view
The figure embodies the trope of a youth who appears harmless and peaceful from the front, while his back reveals the horrific rot of snakes and toads. In Strasbourg, the depiction was less graphic, but considerably more artistic. (1280–1290)
Location: Nuremberg, St. Sebald's Church, in the north choir, west of the bridal portal
photo 2021, Theo Noll
The Seducer (The Prince of the World)
around 1330
View from the back
The figure embodies the trope of a youth who appears harmless and peaceful from the front, while his back reveals the horrific rot of snakes and toads. In Strasbourg, the depiction was less graphic, but considerably more artistic. (1280–1290)
Location: Nuremberg, St. Sebald's Church, in the north choir, west of the bridal portal
photo 2021, Theo Noll
The Seducer (The Prince of the World)
around 1330
Rear view with artificial lighting
The figure embodies the trope of a youth who appears harmless and peaceful from the front, while his back reveals the horrific rot of snakes and toads. In Strasbourg, the depiction was less graphic, but considerably more artistic. (1280–1290)
Location: Nuremberg, St. Sebald's Church, in the north choir, west of the bridal portal
photo 2017, Theo Noll
The Seducer (The Prince of the World)
around 1330
Comparison image / Nuremberg and Strasbourg (southern west portal, 1280–1290
The figure embodies the trope of a youth who appears harmless and peaceful from the front, while his back reveals the horrific rot of snakes and toads. In Strasbourg, the depiction was less graphic, but considerably more artistic. (1280–1290)
Location: Nuremberg, St. Sebald's Church, in the north choir, west of the bridal portal
photo 2017, Pablo de la Riestra, Theo Noll