In Albrecht Dürer's colored drawing of St. John's Church and the predecessor of the Holzschuher Chapel, which belonged to the old plague cemetery, a crucifix can be seen beyond the street running in front of the city wall. The figures of Mary and John are positioned in front of it, facing the crucified Christ. After the Nuremberg Council finally decided in July 1520 that all future burials should take place outside the city walls, the St. John's cemetery was expanded several times over the years due to the increased need for space. As a result, the Crucifixion Group was later located not in front of, but within, the cemetery, 16 paces from the present-day East Gate. The cross was adorned with a bronze plaque dated 1490, which is still preserved today. According to its inscription, the figure of the crucified Christ represented his true height, the cross was depicted at its actual height, and the Stations of the Cross from Pilate's house to Golgotha ​​were the same distance as the distance from the New Gate to this stone cross. Johann Martin Trechsel's "Renewed Memory" describes a stone coat of arms with a trefoil on a stem, around which a black belt (the word "belt" was inadvertently omitted) with a yellow buckle and a fitting of the same color at the end was wound twice. The coat of arms leaned against one of the four stone posts supporting the cross; the letters "P. h." were carved at the top of the post. Andreas Würffel claimed in his "Diptychorum ecclesiarum Norimbergensium succinta enucleatio," 1766, p. 252, that the belt maker Niclaus Widmann, who died in January/February 1520 and was buried in the Augustinian church, commissioned the cross. However, the donor can actually be identified as another belt maker: Peter Hurrer (master craftsman since 1462, died January 1511), to whom the initials "P. h." refer. In 1514, Hurrer's widow, Margareta, stipulated in her will that two guilders in rent from two fields should be used for the upkeep of the crucifixion group. However, the donor can actually be identified as another belt maker: Peter Hurrer (master craftsman since 1462, died January 1511), to whom the aforementioned initials "P. h." refer. In 1530, descendants petitioned for permission, due to their need, to use the interest from the crucifix that Peter Hurrer had erected outside the cemetery near St. John's Church, along with the figures of Mary and John (i.e., as seen in the Dürer drawing, facing the cross). The Nuremberg council rejected the petition, and the proceeds were added to the general alms fund. Due to weathering damage, the figure of Christ, which had been carved from a single piece of wood with the cross, was removed in 1795; the cross itself remained until 1860. The information regarding the donor, Peter Hurrer, is thanks to Karl Kohn (1940-2021). Later depictions show the cross alone. The figures of Mary and John, now lost, which were mounted on the inside of the eastern entrance portal and faced the cross, are said by Nagel to have originated from Adam Kraft's Calvary (Friedrich August Nagel: Der Johanniskirchhof in Nürnberg, in: Monatsblätter der Evang.-luth. Gemeinde St. Johannis, Nov. 1928, p. 2) and therefore could not have been the former attendant figures of the Hurrer Cross. Adam Kraft could be considered a possible sculptor for the crucifixion group, but there are no sources to support this. The crucifixion group from 1490 has no connection to the Stations of the Cross created by Adam Kraft, which began at the Tiergärtner Gate and led to the Holzschuher Chapel (altar consecrated in 1507, building completed in 1508).Feedback geben

In Albrecht Dürer's colored drawing of St. John's Church and the predecessor of the Holzschuher Chapel, which belonged to the old plague cemetery, a crucifix can be seen beyond the street running in front of the city wall. The figures of Mary and John are positioned in front of it, facing the crucified Christ. After the Nuremberg Council finally decided in July 1520 that all future burials should take place outside the city walls, the St. John's cemetery was expanded several times over the years due to the increased need for space. As a result, the Crucifixion Group was later located not in front of, but within, the cemetery, 16 paces from the present-day East Gate. The cross was adorned with a bronze plaque dated 1490, which is still preserved today. According to its inscription, the figure of the crucified Christ represented his true height, the cross was depicted at its actual height, and the Stations of the Cross from Pilate's house to Golgotha ​​were the same distance as the distance from the New Gate to this stone cross. Johann Martin Trechsel's "Renewed Memory" describes a stone coat of arms with a trefoil on a stem, around which a black belt (the word "belt" was inadvertently omitted) with a yellow buckle and a fitting of the same color at the end was wound twice. The coat of arms leaned against one of the four stone posts supporting the cross; the letters "P. h." were carved at the top of the post. Andreas Würffel claimed in his "Diptychorum ecclesiarum Norimbergensium succinta enucleatio," 1766, p. 252, that the belt maker Niclaus Widmann, who died in January/February 1520 and was buried in the Augustinian church, commissioned the cross. However, the donor can actually be identified as another belt maker: Peter Hurrer (master craftsman since 1462, died January 1511), to whom the initials "P. h." refer. In 1514, Hurrer's widow, Margareta, stipulated in her will that two guilders in rent from two fields should be used for the upkeep of the crucifixion group. However, the donor can actually be identified as another belt maker: Peter Hurrer (master craftsman since 1462, died January 1511), to whom the aforementioned initials "P. h." refer. In 1530, descendants petitioned for permission, due to their need, to use the interest from the crucifix that Peter Hurrer had erected outside the cemetery near St. John's Church, along with the figures of Mary and John (i.e., as seen in the Dürer drawing, facing the cross). The Nuremberg council rejected the petition, and the proceeds were added to the general alms fund. Due to weathering damage, the figure of Christ, which had been carved from a single piece of wood with the cross, was removed in 1795; the cross itself remained until 1860. The information regarding the donor, Peter Hurrer, is thanks to Karl Kohn (1940-2021). Later depictions show the cross alone. The figures of Mary and John, now lost, which were mounted on the inside of the eastern entrance portal and faced the cross, are said by Nagel to have originated from Adam Kraft's Calvary (Friedrich August Nagel: Der Johanniskirchhof in Nürnberg, in: Monatsblätter der Evang.-luth. Gemeinde St. Johannis, Nov. 1928, p. 2) and therefore could not have been the former attendant figures of the Hurrer Cross. Adam Kraft could be considered a possible sculptor for the crucifixion group, but there are no sources to support this. The crucifixion group from 1490 has no connection to the Stations of the Cross created by Adam Kraft, which began at the Tiergärtner Gate and led to the Holzschuher Chapel (altar consecrated in 1507, building completed in 1508).Feedback geben

In Albrecht Dürer's colored drawing of St. John's Church and the predecessor of the Holzschuher Chapel, which belonged to the old plague cemetery, a crucifix can be seen beyond the street running in front of the city wall. The figures of Mary and John are positioned in front of it, facing the crucified Christ. After the Nuremberg Council finally decided in July 1520 that all future burials should take place outside the city walls, the St. John's cemetery was expanded several times over the years due to the increased need for space. As a result, the Crucifixion Group was later located not in front of, but within, the cemetery, 16 paces from the present-day East Gate. The cross was adorned with a bronze plaque dated 1490, which is still preserved today. According to its inscription, the figure of the crucified Christ represented his true height, the cross was depicted at its actual height, and the Stations of the Cross from Pilate's house to Golgotha ​​were the same distance as the distance from the New Gate to this stone cross. Johann Martin Trechsel's "Renewed Memory" describes a stone coat of arms with a trefoil on a stem, around which a black belt (the word "belt" was inadvertently omitted) with a yellow buckle and a fitting of the same color at the end was wound twice. The coat of arms leaned against one of the four stone posts supporting the cross; the letters "P. h." were carved at the top of the post. Andreas Würffel claimed in his "Diptychorum ecclesiarum Norimbergensium succinta enucleatio," 1766, p. 252, that the belt maker Niclaus Widmann, who died in January/February 1520 and was buried in the Augustinian church, commissioned the cross. However, the donor can actually be identified as another belt maker: Peter Hurrer (master craftsman since 1462, died January 1511), to whom the initials "P. h." refer. In 1514, Hurrer's widow, Margareta, stipulated in her will that two guilders in rent from two fields should be used for the upkeep of the crucifixion group. However, the donor can actually be identified as another belt maker: Peter Hurrer (master craftsman since 1462, died January 1511), to whom the aforementioned initials "P. h." refer. In 1530, descendants petitioned for permission, due to their need, to use the interest from the crucifix that Peter Hurrer had erected outside the cemetery near St. John's Church, along with the figures of Mary and John (i.e., as seen in the Dürer drawing, facing the cross). The Nuremberg council rejected the petition, and the proceeds were added to the general alms fund. Due to weathering damage, the figure of Christ, which had been carved from a single piece of wood with the cross, was removed in 1795; the cross itself remained until 1860. The information regarding the donor, Peter Hurrer, is thanks to Karl Kohn (1940-2021). Later depictions show the cross alone. The figures of Mary and John, now lost, which were mounted on the inside of the eastern entrance portal and faced the cross, are said by Nagel to have originated from Adam Kraft's Calvary (Friedrich August Nagel: Der Johanniskirchhof in Nürnberg, in: Monatsblätter der Evang.-luth. Gemeinde St. Johannis, Nov. 1928, p. 2) and therefore could not have been the former attendant figures of the Hurrer Cross. Adam Kraft could be considered a possible sculptor for the crucifixion group, but there are no sources to support this. The crucifixion group from 1490 has no connection to the Stations of the Cross created by Adam Kraft, which began at the Tiergärtner Gate and led to the Holzschuher Chapel (altar consecrated in 1507, building completed in 1508).Feedback geben

In Albrecht Dürer's colored drawing of St. John's Church and the predecessor of the Holzschuher Chapel, which belonged to the old plague cemetery, a crucifix can be seen beyond the street running in front of the city wall. The figures of Mary and John are positioned in front of it, facing the crucified Christ. After the Nuremberg Council finally decided in July 1520 that all future burials should take place outside the city walls, the St. John's cemetery was expanded several times over the years due to the increased need for space. As a result, the Crucifixion Group was later located not in front of, but within, the cemetery, 16 paces from the present-day East Gate. The cross was adorned with a bronze plaque dated 1490, which is still preserved today. According to its inscription, the figure of the crucified Christ represented his true height, the cross was depicted at its actual height, and the Stations of the Cross from Pilate's house to Golgotha ​​were the same distance as the distance from the New Gate to this stone cross. Johann Martin Trechsel's "Renewed Memory" describes a stone coat of arms with a trefoil on a stem, around which a black belt (the word "belt" was inadvertently omitted) with a yellow buckle and a fitting of the same color at the end was wound twice. The coat of arms leaned against one of the four stone posts supporting the cross; the letters "P. h." were carved at the top of the post. Andreas Würffel claimed in his "Diptychorum ecclesiarum Norimbergensium succinta enucleatio," 1766, p. 252, that the belt maker Niclaus Widmann, who died in January/February 1520 and was buried in the Augustinian church, commissioned the cross. However, the donor can actually be identified as another belt maker: Peter Hurrer (master craftsman since 1462, died January 1511), to whom the initials "P. h." refer. In 1514, Hurrer's widow, Margareta, stipulated in her will that two guilders in rent from two fields should be used for the upkeep of the crucifixion group. However, the donor can actually be identified as another belt maker: Peter Hurrer (master craftsman since 1462, died January 1511), to whom the aforementioned initials "P. h." refer. In 1530, descendants petitioned for permission, due to their need, to use the interest from the crucifix that Peter Hurrer had erected outside the cemetery near St. John's Church, along with the figures of Mary and John (i.e., as seen in the Dürer drawing, facing the cross). The Nuremberg council rejected the petition, and the proceeds were added to the general alms fund. Due to weathering damage, the figure of Christ, which had been carved from a single piece of wood with the cross, was removed in 1795; the cross itself remained until 1860. The information regarding the donor, Peter Hurrer, is thanks to Karl Kohn (1940-2021). Later depictions show the cross alone. The figures of Mary and John, now lost, which were mounted on the inside of the eastern entrance portal and faced the cross, are said by Nagel to have originated from Adam Kraft's Calvary (Friedrich August Nagel: Der Johanniskirchhof in Nürnberg, in: Monatsblätter der Evang.-luth. Gemeinde St. Johannis, Nov. 1928, p. 2) and therefore could not have been the former attendant figures of the Hurrer Cross. Adam Kraft could be considered a possible sculptor for the crucifixion group, but there are no sources to support this. The crucifixion group from 1490 has no connection to the Stations of the Cross created by Adam Kraft, which began at the Tiergärtner Gate and led to the Holzschuher Chapel (altar consecrated in 1507, building completed in 1508).Feedback geben

In Albrecht Dürer's colored drawing of St. John's Church and the predecessor of the Holzschuher Chapel, which belonged to the old plague cemetery, a crucifix can be seen beyond the street running in front of the city wall. The figures of Mary and John are positioned in front of it, facing the crucified Christ. After the Nuremberg Council finally decided in July 1520 that all future burials should take place outside the city walls, the St. John's cemetery was expanded several times over the years due to the increased need for space. As a result, the Crucifixion Group was later located not in front of, but within, the cemetery, 16 paces from the present-day East Gate. The cross was adorned with a bronze plaque dated 1490, which is still preserved today. According to its inscription, the figure of the crucified Christ represented his true height, the cross was depicted at its actual height, and the Stations of the Cross from Pilate's house to Golgotha ​​were the same distance as the distance from the New Gate to this stone cross. Johann Martin Trechsel's "Renewed Memory" describes a stone coat of arms with a trefoil on a stem, around which a black belt (the word "belt" was inadvertently omitted) with a yellow buckle and a fitting of the same color at the end was wound twice. The coat of arms leaned against one of the four stone posts supporting the cross; the letters "P. h." were carved at the top of the post. Andreas Würffel claimed in his "Diptychorum ecclesiarum Norimbergensium succinta enucleatio," 1766, p. 252, that the belt maker Niclaus Widmann, who died in January/February 1520 and was buried in the Augustinian church, commissioned the cross. However, the donor can actually be identified as another belt maker: Peter Hurrer (master craftsman since 1462, died January 1511), to whom the initials "P. h." refer. In 1514, Hurrer's widow, Margareta, stipulated in her will that two guilders in rent from two fields should be used for the upkeep of the crucifixion group. However, the donor can actually be identified as another belt maker: Peter Hurrer (master craftsman since 1462, died January 1511), to whom the aforementioned initials "P. h." refer. In 1530, descendants petitioned for permission, due to their need, to use the interest from the crucifix that Peter Hurrer had erected outside the cemetery near St. John's Church, along with the figures of Mary and John (i.e., as seen in the Dürer drawing, facing the cross). The Nuremberg council rejected the petition, and the proceeds were added to the general alms fund. Due to weathering damage, the figure of Christ, which had been carved from a single piece of wood with the cross, was removed in 1795; the cross itself remained until 1860. The information regarding the donor, Peter Hurrer, is thanks to Karl Kohn (1940-2021). Later depictions show the cross alone. The figures of Mary and John, now lost, which were mounted on the inside of the eastern entrance portal and faced the cross, are said by Nagel to have originated from Adam Kraft's Calvary (Friedrich August Nagel: Der Johanniskirchhof in Nürnberg, in: Monatsblätter der Evang.-luth. Gemeinde St. Johannis, Nov. 1928, p. 2) and therefore could not have been the former attendant figures of the Hurrer Cross. Adam Kraft could be considered a possible sculptor for the crucifixion group, but there are no sources to support this. The crucifixion group from 1490 has no connection to the Stations of the Cross created by Adam Kraft, which began at the Tiergärtner Gate and led to the Holzschuher Chapel (altar consecrated in 1507, building completed in 1508).Feedback geben

In Albrecht Dürer's colored drawing of St. John's Church and the predecessor of the Holzschuher Chapel, which belonged to the old plague cemetery, a crucifix can be seen beyond the street running in front of the city wall. The figures of Mary and John are positioned in front of it, facing the crucified Christ. After the Nuremberg Council finally decided in July 1520 that all future burials should take place outside the city walls, the St. John's cemetery was expanded several times over the years due to the increased need for space. As a result, the Crucifixion Group was later located not in front of, but within, the cemetery, 16 paces from the present-day East Gate. The cross was adorned with a bronze plaque dated 1490, which is still preserved today. According to its inscription, the figure of the crucified Christ represented his true height, the cross was depicted at its actual height, and the Stations of the Cross from Pilate's house to Golgotha ​​were the same distance as the distance from the New Gate to this stone cross. Johann Martin Trechsel's "Renewed Memory" describes a stone coat of arms with a trefoil on a stem, around which a black belt (the word "belt" was inadvertently omitted) with a yellow buckle and a fitting of the same color at the end was wound twice. The coat of arms leaned against one of the four stone posts supporting the cross; the letters "P. h." were carved at the top of the post. Andreas Würffel claimed in his "Diptychorum ecclesiarum Norimbergensium succinta enucleatio," 1766, p. 252, that the belt maker Niclaus Widmann, who died in January/February 1520 and was buried in the Augustinian church, commissioned the cross. However, the donor can actually be identified as another belt maker: Peter Hurrer (master craftsman since 1462, died January 1511), to whom the initials "P. h." refer. In 1514, Hurrer's widow, Margareta, stipulated in her will that two guilders in rent from two fields should be used for the upkeep of the crucifixion group. However, the donor can actually be identified as another belt maker: Peter Hurrer (master craftsman since 1462, died January 1511), to whom the aforementioned initials "P. h." refer. In 1530, descendants petitioned for permission, due to their need, to use the interest from the crucifix that Peter Hurrer had erected outside the cemetery near St. John's Church, along with the figures of Mary and John (i.e., as seen in the Dürer drawing, facing the cross). The Nuremberg council rejected the petition, and the proceeds were added to the general alms fund. Due to weathering damage, the figure of Christ, which had been carved from a single piece of wood with the cross, was removed in 1795; the cross itself remained until 1860. The information regarding the donor, Peter Hurrer, is thanks to Karl Kohn (1940-2021). Later depictions show the cross alone. The figures of Mary and John, now lost, which were mounted on the inside of the eastern entrance portal and faced the cross, are said by Nagel to have originated from Adam Kraft's Calvary (Friedrich August Nagel: Der Johanniskirchhof in Nürnberg, in: Monatsblätter der Evang.-luth. Gemeinde St. Johannis, Nov. 1928, p. 2) and therefore could not have been the former attendant figures of the Hurrer Cross. Adam Kraft could be considered a possible sculptor for the crucifixion group, but there are no sources to support this. The crucifixion group from 1490 has no connection to the Stations of the Cross created by Adam Kraft, which began at the Tiergärtner Gate and led to the Holzschuher Chapel (altar consecrated in 1507, building completed in 1508).Feedback geben

In Albrecht Dürer's colored drawing of St. John's Church and the predecessor of the Holzschuher Chapel, which belonged to the old plague cemetery, a crucifix can be seen beyond the street running in front of the city wall. The figures of Mary and John are positioned in front of it, facing the crucified Christ. After the Nuremberg Council finally decided in July 1520 that all future burials should take place outside the city walls, the St. John's cemetery was expanded several times over the years due to the increased need for space. As a result, the Crucifixion Group was later located not in front of, but within, the cemetery, 16 paces from the present-day East Gate. The cross was adorned with a bronze plaque dated 1490, which is still preserved today. According to its inscription, the figure of the crucified Christ represented his true height, the cross was depicted at its actual height, and the Stations of the Cross from Pilate's house to Golgotha ​​were the same distance as the distance from the New Gate to this stone cross. Johann Martin Trechsel's "Renewed Memory" describes a stone coat of arms with a trefoil on a stem, around which a black belt (the word "belt" was inadvertently omitted) with a yellow buckle and a fitting of the same color at the end was wound twice. The coat of arms leaned against one of the four stone posts supporting the cross; the letters "P. h." were carved at the top of the post. Andreas Würffel claimed in his "Diptychorum ecclesiarum Norimbergensium succinta enucleatio," 1766, p. 252, that the belt maker Niclaus Widmann, who died in January/February 1520 and was buried in the Augustinian church, commissioned the cross. However, the donor can actually be identified as another belt maker: Peter Hurrer (master craftsman since 1462, died January 1511), to whom the initials "P. h." refer. In 1514, Hurrer's widow, Margareta, stipulated in her will that two guilders in rent from two fields should be used for the upkeep of the crucifixion group. However, the donor can actually be identified as another belt maker: Peter Hurrer (master craftsman since 1462, died January 1511), to whom the aforementioned initials "P. h." refer. In 1530, descendants petitioned for permission, due to their need, to use the interest from the crucifix that Peter Hurrer had erected outside the cemetery near St. John's Church, along with the figures of Mary and John (i.e., as seen in the Dürer drawing, facing the cross). The Nuremberg council rejected the petition, and the proceeds were added to the general alms fund. Due to weathering damage, the figure of Christ, which had been carved from a single piece of wood with the cross, was removed in 1795; the cross itself remained until 1860. The information regarding the donor, Peter Hurrer, is thanks to Karl Kohn (1940-2021). Later depictions show the cross alone. The figures of Mary and John, now lost, which were mounted on the inside of the eastern entrance portal and faced the cross, are said by Nagel to have originated from Adam Kraft's Calvary (Friedrich August Nagel: Der Johanniskirchhof in Nürnberg, in: Monatsblätter der Evang.-luth. Gemeinde St. Johannis, Nov. 1928, p. 2) and therefore could not have been the former attendant figures of the Hurrer Cross. Adam Kraft could be considered a possible sculptor for the crucifixion group, but there are no sources to support this. The crucifixion group from 1490 has no connection to the Stations of the Cross created by Adam Kraft, which began at the Tiergärtner Gate and led to the Holzschuher Chapel (altar consecrated in 1507, building completed in 1508).Feedback geben

In Albrecht Dürer's colored drawing of St. John's Church and the predecessor of the Holzschuher Chapel, which belonged to the old plague cemetery, a crucifix can be seen beyond the street running in front of the city wall. The figures of Mary and John are positioned in front of it, facing the crucified Christ. After the Nuremberg Council finally decided in July 1520 that all future burials should take place outside the city walls, the St. John's cemetery was expanded several times over the years due to the increased need for space. As a result, the Crucifixion Group was later located not in front of, but within, the cemetery, 16 paces from the present-day East Gate. The cross was adorned with a bronze plaque dated 1490, which is still preserved today. According to its inscription, the figure of the crucified Christ represented his true height, the cross was depicted at its actual height, and the Stations of the Cross from Pilate's house to Golgotha ​​were the same distance as the distance from the New Gate to this stone cross. Johann Martin Trechsel's "Renewed Memory" describes a stone coat of arms with a trefoil on a stem, around which a black belt (the word "belt" was inadvertently omitted) with a yellow buckle and a fitting of the same color at the end was wound twice. The coat of arms leaned against one of the four stone posts supporting the cross; the letters "P. h." were carved at the top of the post. Andreas Würffel claimed in his "Diptychorum ecclesiarum Norimbergensium succinta enucleatio," 1766, p. 252, that the belt maker Niclaus Widmann, who died in January/February 1520 and was buried in the Augustinian church, commissioned the cross. However, the donor can actually be identified as another belt maker: Peter Hurrer (master craftsman since 1462, died January 1511), to whom the initials "P. h." refer. In 1514, Hurrer's widow, Margareta, stipulated in her will that two guilders in rent from two fields should be used for the upkeep of the crucifixion group. However, the donor can actually be identified as another belt maker: Peter Hurrer (master craftsman since 1462, died January 1511), to whom the aforementioned initials "P. h." refer. In 1530, descendants petitioned for permission, due to their need, to use the interest from the crucifix that Peter Hurrer had erected outside the cemetery near St. John's Church, along with the figures of Mary and John (i.e., as seen in the Dürer drawing, facing the cross). The Nuremberg council rejected the petition, and the proceeds were added to the general alms fund. Due to weathering damage, the figure of Christ, which had been carved from a single piece of wood with the cross, was removed in 1795; the cross itself remained until 1860. The information regarding the donor, Peter Hurrer, is thanks to Karl Kohn (1940-2021). Later depictions show the cross alone. The figures of Mary and John, now lost, which were mounted on the inside of the eastern entrance portal and faced the cross, are said by Nagel to have originated from Adam Kraft's Calvary (Friedrich August Nagel: Der Johanniskirchhof in Nürnberg, in: Monatsblätter der Evang.-luth. Gemeinde St. Johannis, Nov. 1928, p. 2) and therefore could not have been the former attendant figures of the Hurrer Cross. Adam Kraft could be considered a possible sculptor for the crucifixion group, but there are no sources to support this. The crucifixion group from 1490 has no connection to the Stations of the Cross created by Adam Kraft, which began at the Tiergärtner Gate and led to the Holzschuher Chapel (altar consecrated in 1507, building completed in 1508).Feedback geben

In Albrecht Dürer's colored drawing of St. John's Church and the predecessor of the Holzschuher Chapel, which belonged to the old plague cemetery, a crucifix can be seen beyond the street running in front of the city wall. The figures of Mary and John are positioned in front of it, facing the crucified Christ. After the Nuremberg Council finally decided in July 1520 that all future burials should take place outside the city walls, the St. John's cemetery was expanded several times over the years due to the increased need for space. As a result, the Crucifixion Group was later located not in front of, but within, the cemetery, 16 paces from the present-day East Gate. The cross was adorned with a bronze plaque dated 1490, which is still preserved today. According to its inscription, the figure of the crucified Christ represented his true height, the cross was depicted at its actual height, and the Stations of the Cross from Pilate's house to Golgotha ​​were the same distance as the distance from the New Gate to this stone cross. Johann Martin Trechsel's "Renewed Memory" describes a stone coat of arms with a trefoil on a stem, around which a black belt (the word "belt" was inadvertently omitted) with a yellow buckle and a fitting of the same color at the end was wound twice. The coat of arms leaned against one of the four stone posts supporting the cross; the letters "P. h." were carved at the top of the post. Andreas Würffel claimed in his "Diptychorum ecclesiarum Norimbergensium succinta enucleatio," 1766, p. 252, that the belt maker Niclaus Widmann, who died in January/February 1520 and was buried in the Augustinian church, commissioned the cross. However, the donor can actually be identified as another belt maker: Peter Hurrer (master craftsman since 1462, died January 1511), to whom the initials "P. h." refer. In 1514, Hurrer's widow, Margareta, stipulated in her will that two guilders in rent from two fields should be used for the upkeep of the crucifixion group. However, the donor can actually be identified as another belt maker: Peter Hurrer (master craftsman since 1462, died January 1511), to whom the aforementioned initials "P. h." refer. In 1530, descendants petitioned for permission, due to their need, to use the interest from the crucifix that Peter Hurrer had erected outside the cemetery near St. John's Church, along with the figures of Mary and John (i.e., as seen in the Dürer drawing, facing the cross). The Nuremberg council rejected the petition, and the proceeds were added to the general alms fund. Due to weathering damage, the figure of Christ, which had been carved from a single piece of wood with the cross, was removed in 1795; the cross itself remained until 1860. The information regarding the donor, Peter Hurrer, is thanks to Karl Kohn (1940-2021). Later depictions show the cross alone. The figures of Mary and John, now lost, which were mounted on the inside of the eastern entrance portal and faced the cross, are said by Nagel to have originated from Adam Kraft's Calvary (Friedrich August Nagel: Der Johanniskirchhof in Nürnberg, in: Monatsblätter der Evang.-luth. Gemeinde St. Johannis, Nov. 1928, p. 2) and therefore could not have been the former attendant figures of the Hurrer Cross. Adam Kraft could be considered a possible sculptor for the crucifixion group, but there are no sources to support this. The crucifixion group from 1490 has no connection to the Stations of the Cross created by Adam Kraft, which began at the Tiergärtner Gate and led to the Holzschuher Chapel (altar consecrated in 1507, building completed in 1508).Feedback geben