Wall painting of the Entombment
Wall painting of the Entombment
1508
Interior of the Holzschuher Chapel (1506-1507), view from north to south
The painting, dated 1508 and by an unknown artist, in the niche behind the Entombment group in the Holzschuher Chapel, depicts Jerusalem with scenes from the Passion of Christ. It begins with Christ's entry into Jerusalem and ends with the Ascension. The Assumption of Mary is also depicted. For some of the prominent buildings, the artist drew on the Nuremberg Chronicle of 1493, whereby the artists who designed the chronicle, Michael Wolgemut and Wilhelm Pleydenwurff, in turn, used architectural elements from the epitaph of Adelheid Tucher with the Lamentation (circa 1483, now in the Tucher Castle Museum in Nuremberg, attributed to the Bamberg painter Wolfgang Katzheimer and workshop) as their model. Of particular note is the depiction of covered bazaar vaults with air vents, which first appears in a drawing accompanying Sebald Rieter's travelogue from 1479-80 (Bavarian State Library) and subsequently in the epitaph of Adelheid Tucher, in the Schedel World Chronicle, and in the wall paintings of the Holzschuher Chapel. Rieter had traveled to the Holy Land together with Hans Tucher, Adelheid's brother-in-law.
A famous depiction of Jerusalem with scenes from the Passion of Christ distributed within and around it, arranged similarly to the one in the Holzschuher Chapel, was created around 1470 by Hans Memling (Galleria Sabauda, Turin).
A similar depiction of the Ascension of Christ, as seen in the Holzschuher Chapel, is found on the Ketzel family panel in Gotha, at Friedenstein Castle. This panel, depicting the Holy Land, features Elector Frederick the Wise on the front and eight members of the Ketzel family who traveled to the Holy Land between 1389 and 1503 on the way back. According to a manuscript in the Germanisches Nationalmuseum (GNM, Ms. 7178, Vol. 6, p. 624) from the late 17th century, the Ketzel family commissioned two further panels listing the aforementioned eight members.
These panels were located in St. Sebald's Church and in the chapel of the House of the Golden Shield (formerly Schildgasse 23). The latter, also depicting the Holy Land, was seen by Christoph Wilder in the house when he drew a view of the chapel in 1854.
It could be identical to a panel painting acquired in Nuremberg (before 1862) by Frederick, 4th Marquis of Londonderry, and subsequently passed to his stepson, Mervyn Edward Wingfield, 7th Viscount of Powerscourt; this painting was destroyed in a fire at Powerscourt Castle in 1974. In the upper left of the main panel, the mural in the Holzschuher Chapel depicts the Assumption of Mary; the Ketzel Panel in Gotha shows an Assumption of Mary with many angels in the corresponding position. A striking similarity to the Assumption of Mary and the Ascension of Christ in the Holzschuher Chapel can be seen in the Jerusalem Tapestry of Count Palatine Ottheinrich from 1541, which is now in the Bavarian National Museum in Munich.
In the court records concerning the dispute between the Imhoff and Holzschuher families over the rights to the Holzschuher Chapel at the end of the 16th century, an elderly woman named Lochner testified that Peter Imhoff (who was married to Magdalena Holzschuher) had commissioned the painting in the wall niche behind the Entombment. His younger half-brother, Franz Imhoff, administrator of St. John's Church from 1510 to 1517, acquired an indulgence for the Holzschuher Chapel in Rome in 1515. Veit Holzschuher, however, claimed in 1572 that his ancestor Georg Holzschuher (brother of Magdalena Holzschuher and brother-in-law of Peter Imhoff) had commissioned the mural.Georg Holzschuher, who was buried in the Holzschuher Chapel in 1526 along with his wife Walburga, had himself traveled to Jerusalem in 1470.
Literature: Viscount Powerscourt: A Description and History of Powerscourt, 1903, pp. 63–64; Reiner Zittlau: Heiliggrabkapelle und Kreuzweg, Nuremberg 1992, p. 112, note 44; Fritz Traugott Schulz: Nürnbergs Bürgerhäuser und ihre Ausstattung, n.d., p. 513; Bart Holtermann: Pilgrimages in Images, New York 2013, pp. 46–56; Mordechay Lewy: Die Wahrnehmung von Jerusalem im Spätmittelalter, 2019 (online)
See also: Burial of Adam Kraft
Location: Nuremberg, St. John's Cemetery
photo 2022, Pablo de la Riestra
Wall painting of the Entombment
1508
Wall niche with the Entombment (1507–1508) by Adam Kraft
The painting, dated 1508 and by an unknown artist, in the niche behind the Entombment group in the Holzschuher Chapel, depicts Jerusalem with scenes from the Passion of Christ. It begins with Christ's entry into Jerusalem and ends with the Ascension. The Assumption of Mary is also depicted. For some of the prominent buildings, the artist drew on the Nuremberg Chronicle of 1493, whereby the artists who designed the chronicle, Michael Wolgemut and Wilhelm Pleydenwurff, in turn, used architectural elements from the epitaph of Adelheid Tucher with the Lamentation (circa 1483, now in the Tucher Castle Museum in Nuremberg, attributed to the Bamberg painter Wolfgang Katzheimer and workshop) as their model. Of particular note is the depiction of covered bazaar vaults with air vents, which first appears in a drawing accompanying Sebald Rieter's travelogue from 1479-80 (Bavarian State Library) and subsequently in the epitaph of Adelheid Tucher, in the Schedel World Chronicle, and in the wall paintings of the Holzschuher Chapel. Rieter had traveled to the Holy Land together with Hans Tucher, Adelheid's brother-in-law.
A famous depiction of Jerusalem with scenes from the Passion of Christ distributed within and around it, arranged similarly to the one in the Holzschuher Chapel, was created around 1470 by Hans Memling (Galleria Sabauda, Turin).
A similar depiction of the Ascension of Christ, as seen in the Holzschuher Chapel, is found on the Ketzel family panel in Gotha, at Friedenstein Castle. This panel, depicting the Holy Land, features Elector Frederick the Wise on the front and eight members of the Ketzel family who traveled to the Holy Land between 1389 and 1503 on the way back. According to a manuscript in the Germanisches Nationalmuseum (GNM, Ms. 7178, Vol. 6, p. 624) from the late 17th century, the Ketzel family commissioned two further panels listing the aforementioned eight members.
These panels were located in St. Sebald's Church and in the chapel of the House of the Golden Shield (formerly Schildgasse 23). The latter, also depicting the Holy Land, was seen by Christoph Wilder in the house when he drew a view of the chapel in 1854.
It could be identical to a panel painting acquired in Nuremberg (before 1862) by Frederick, 4th Marquis of Londonderry, and subsequently passed to his stepson, Mervyn Edward Wingfield, 7th Viscount of Powerscourt; this painting was destroyed in a fire at Powerscourt Castle in 1974. In the upper left of the main panel, the mural in the Holzschuher Chapel depicts the Assumption of Mary; the Ketzel Panel in Gotha shows an Assumption of Mary with many angels in the corresponding position. A striking similarity to the Assumption of Mary and the Ascension of Christ in the Holzschuher Chapel can be seen in the Jerusalem Tapestry of Count Palatine Ottheinrich from 1541, which is now in the Bavarian National Museum in Munich.
In the court records concerning the dispute between the Imhoff and Holzschuher families over the rights to the Holzschuher Chapel at the end of the 16th century, an elderly woman named Lochner testified that Peter Imhoff (who was married to Magdalena Holzschuher) had commissioned the painting in the wall niche behind the Entombment. His younger half-brother, Franz Imhoff, administrator of St. John's Church from 1510 to 1517, acquired an indulgence for the Holzschuher Chapel in Rome in 1515. Veit Holzschuher, however, claimed in 1572 that his ancestor Georg Holzschuher (brother of Magdalena Holzschuher and brother-in-law of Peter Imhoff) had commissioned the mural.Georg Holzschuher, who was buried in the Holzschuher Chapel in 1526 along with his wife Walburga, had himself traveled to Jerusalem in 1470.
Literature: Viscount Powerscourt: A Description and History of Powerscourt, 1903, pp. 63–64; Reiner Zittlau: Heiliggrabkapelle und Kreuzweg, Nuremberg 1992, p. 112, note 44; Fritz Traugott Schulz: Nürnbergs Bürgerhäuser und ihre Ausstattung, n.d., p. 513; Bart Holtermann: Pilgrimages in Images, New York 2013, pp. 46–56; Mordechay Lewy: Die Wahrnehmung von Jerusalem im Spätmittelalter, 2019 (online)
See also: Burial of Adam Kraft
Location: Nuremberg, St. John's Cemetery
photo 2022, Theo Noll
Wall painting of the Entombment
1508
Left wall section with the Kiss of Judas, Peter cutting off Malchus's right ear
The painting, dated 1508 and by an unknown artist, in the niche behind the Entombment group in the Holzschuher Chapel, depicts Jerusalem with scenes from the Passion of Christ. It begins with Christ's entry into Jerusalem and ends with the Ascension. The Assumption of Mary is also depicted. For some of the prominent buildings, the artist drew on the Nuremberg Chronicle of 1493, whereby the artists who designed the chronicle, Michael Wolgemut and Wilhelm Pleydenwurff, in turn, used architectural elements from the epitaph of Adelheid Tucher with the Lamentation (circa 1483, now in the Tucher Castle Museum in Nuremberg, attributed to the Bamberg painter Wolfgang Katzheimer and workshop) as their model. Of particular note is the depiction of covered bazaar vaults with air vents, which first appears in a drawing accompanying Sebald Rieter's travelogue from 1479-80 (Bavarian State Library) and subsequently in the epitaph of Adelheid Tucher, in the Schedel World Chronicle, and in the wall paintings of the Holzschuher Chapel. Rieter had traveled to the Holy Land together with Hans Tucher, Adelheid's brother-in-law.
A famous depiction of Jerusalem with scenes from the Passion of Christ distributed within and around it, arranged similarly to the one in the Holzschuher Chapel, was created around 1470 by Hans Memling (Galleria Sabauda, Turin).
A similar depiction of the Ascension of Christ, as seen in the Holzschuher Chapel, is found on the Ketzel family panel in Gotha, at Friedenstein Castle. This panel, depicting the Holy Land, features Elector Frederick the Wise on the front and eight members of the Ketzel family who traveled to the Holy Land between 1389 and 1503 on the way back. According to a manuscript in the Germanisches Nationalmuseum (GNM, Ms. 7178, Vol. 6, p. 624) from the late 17th century, the Ketzel family commissioned two further panels listing the aforementioned eight members.
These panels were located in St. Sebald's Church and in the chapel of the House of the Golden Shield (formerly Schildgasse 23). The latter, also depicting the Holy Land, was seen by Christoph Wilder in the house when he drew a view of the chapel in 1854.
It could be identical to a panel painting acquired in Nuremberg (before 1862) by Frederick, 4th Marquis of Londonderry, and subsequently passed to his stepson, Mervyn Edward Wingfield, 7th Viscount of Powerscourt; this painting was destroyed in a fire at Powerscourt Castle in 1974. In the upper left of the main panel, the mural in the Holzschuher Chapel depicts the Assumption of Mary; the Ketzel Panel in Gotha shows an Assumption of Mary with many angels in the corresponding position. A striking similarity to the Assumption of Mary and the Ascension of Christ in the Holzschuher Chapel can be seen in the Jerusalem Tapestry of Count Palatine Ottheinrich from 1541, which is now in the Bavarian National Museum in Munich.
In the court records concerning the dispute between the Imhoff and Holzschuher families over the rights to the Holzschuher Chapel at the end of the 16th century, an elderly woman named Lochner testified that Peter Imhoff (who was married to Magdalena Holzschuher) had commissioned the painting in the wall niche behind the Entombment. His younger half-brother, Franz Imhoff, administrator of St. John's Church from 1510 to 1517, acquired an indulgence for the Holzschuher Chapel in Rome in 1515. Veit Holzschuher, however, claimed in 1572 that his ancestor Georg Holzschuher (brother of Magdalena Holzschuher and brother-in-law of Peter Imhoff) had commissioned the mural.Georg Holzschuher, who was buried in the Holzschuher Chapel in 1526 along with his wife Walburga, had himself traveled to Jerusalem in 1470.
Literature: Viscount Powerscourt: A Description and History of Powerscourt, 1903, pp. 63–64; Reiner Zittlau: Heiliggrabkapelle und Kreuzweg, Nuremberg 1992, p. 112, note 44; Fritz Traugott Schulz: Nürnbergs Bürgerhäuser und ihre Ausstattung, n.d., p. 513; Bart Holtermann: Pilgrimages in Images, New York 2013, pp. 46–56; Mordechay Lewy: Die Wahrnehmung von Jerusalem im Spätmittelalter, 2019 (online)
See also: Burial of Adam Kraft
Location: Nuremberg, St. John's Cemetery
photo 2021, Pablo de la Riestra
Wall painting of the Entombment
1508
Left wall section with Christ on the Mount of Olives and with the sleeping disciples, the Kiss of Judas, below which is the Last Supper
The painting, dated 1508 and by an unknown artist, in the niche behind the Entombment group in the Holzschuher Chapel, depicts Jerusalem with scenes from the Passion of Christ. It begins with Christ's entry into Jerusalem and ends with the Ascension. The Assumption of Mary is also depicted. For some of the prominent buildings, the artist drew on the Nuremberg Chronicle of 1493, whereby the artists who designed the chronicle, Michael Wolgemut and Wilhelm Pleydenwurff, in turn, used architectural elements from the epitaph of Adelheid Tucher with the Lamentation (circa 1483, now in the Tucher Castle Museum in Nuremberg, attributed to the Bamberg painter Wolfgang Katzheimer and workshop) as their model. Of particular note is the depiction of covered bazaar vaults with air vents, which first appears in a drawing accompanying Sebald Rieter's travelogue from 1479-80 (Bavarian State Library) and subsequently in the epitaph of Adelheid Tucher, in the Schedel World Chronicle, and in the wall paintings of the Holzschuher Chapel. Rieter had traveled to the Holy Land together with Hans Tucher, Adelheid's brother-in-law.
A famous depiction of Jerusalem with scenes from the Passion of Christ distributed within and around it, arranged similarly to the one in the Holzschuher Chapel, was created around 1470 by Hans Memling (Galleria Sabauda, Turin).
A similar depiction of the Ascension of Christ, as seen in the Holzschuher Chapel, is found on the Ketzel family panel in Gotha, at Friedenstein Castle. This panel, depicting the Holy Land, features Elector Frederick the Wise on the front and eight members of the Ketzel family who traveled to the Holy Land between 1389 and 1503 on the way back. According to a manuscript in the Germanisches Nationalmuseum (GNM, Ms. 7178, Vol. 6, p. 624) from the late 17th century, the Ketzel family commissioned two further panels listing the aforementioned eight members.
These panels were located in St. Sebald's Church and in the chapel of the House of the Golden Shield (formerly Schildgasse 23). The latter, also depicting the Holy Land, was seen by Christoph Wilder in the house when he drew a view of the chapel in 1854.
It could be identical to a panel painting acquired in Nuremberg (before 1862) by Frederick, 4th Marquis of Londonderry, and subsequently passed to his stepson, Mervyn Edward Wingfield, 7th Viscount of Powerscourt; this painting was destroyed in a fire at Powerscourt Castle in 1974. In the upper left of the main panel, the mural in the Holzschuher Chapel depicts the Assumption of Mary; the Ketzel Panel in Gotha shows an Assumption of Mary with many angels in the corresponding position. A striking similarity to the Assumption of Mary and the Ascension of Christ in the Holzschuher Chapel can be seen in the Jerusalem Tapestry of Count Palatine Ottheinrich from 1541, which is now in the Bavarian National Museum in Munich.
In the court records concerning the dispute between the Imhoff and Holzschuher families over the rights to the Holzschuher Chapel at the end of the 16th century, an elderly woman named Lochner testified that Peter Imhoff (who was married to Magdalena Holzschuher) had commissioned the painting in the wall niche behind the Entombment. His younger half-brother, Franz Imhoff, administrator of St. John's Church from 1510 to 1517, acquired an indulgence for the Holzschuher Chapel in Rome in 1515. Veit Holzschuher, however, claimed in 1572 that his ancestor Georg Holzschuher (brother of Magdalena Holzschuher and brother-in-law of Peter Imhoff) had commissioned the mural.Georg Holzschuher, who was buried in the Holzschuher Chapel in 1526 along with his wife Walburga, had himself traveled to Jerusalem in 1470.
Literature: Viscount Powerscourt: A Description and History of Powerscourt, 1903, pp. 63–64; Reiner Zittlau: Heiliggrabkapelle und Kreuzweg, Nuremberg 1992, p. 112, note 44; Fritz Traugott Schulz: Nürnbergs Bürgerhäuser und ihre Ausstattung, n.d., p. 513; Bart Holtermann: Pilgrimages in Images, New York 2013, pp. 46–56; Mordechay Lewy: Die Wahrnehmung von Jerusalem im Spätmittelalter, 2019 (online)
See also: Burial of Adam Kraft
Location: Nuremberg, St. John's Cemetery
photo 2021, Pablo de la Riestra
Wall painting of the Entombment
1508
Left wall section with a scene from the Last Supper
The painting, dated 1508 and by an unknown artist, in the niche behind the Entombment group in the Holzschuher Chapel, depicts Jerusalem with scenes from the Passion of Christ. It begins with Christ's entry into Jerusalem and ends with the Ascension. The Assumption of Mary is also depicted. For some of the prominent buildings, the artist drew on the Nuremberg Chronicle of 1493, whereby the artists who designed the chronicle, Michael Wolgemut and Wilhelm Pleydenwurff, in turn, used architectural elements from the epitaph of Adelheid Tucher with the Lamentation (circa 1483, now in the Tucher Castle Museum in Nuremberg, attributed to the Bamberg painter Wolfgang Katzheimer and workshop) as their model. Of particular note is the depiction of covered bazaar vaults with air vents, which first appears in a drawing accompanying Sebald Rieter's travelogue from 1479-80 (Bavarian State Library) and subsequently in the epitaph of Adelheid Tucher, in the Schedel World Chronicle, and in the wall paintings of the Holzschuher Chapel. Rieter had traveled to the Holy Land together with Hans Tucher, Adelheid's brother-in-law.
A famous depiction of Jerusalem with scenes from the Passion of Christ distributed within and around it, arranged similarly to the one in the Holzschuher Chapel, was created around 1470 by Hans Memling (Galleria Sabauda, Turin).
A similar depiction of the Ascension of Christ, as seen in the Holzschuher Chapel, is found on the Ketzel family panel in Gotha, at Friedenstein Castle. This panel, depicting the Holy Land, features Elector Frederick the Wise on the front and eight members of the Ketzel family who traveled to the Holy Land between 1389 and 1503 on the way back. According to a manuscript in the Germanisches Nationalmuseum (GNM, Ms. 7178, Vol. 6, p. 624) from the late 17th century, the Ketzel family commissioned two further panels listing the aforementioned eight members.
These panels were located in St. Sebald's Church and in the chapel of the House of the Golden Shield (formerly Schildgasse 23). The latter, also depicting the Holy Land, was seen by Christoph Wilder in the house when he drew a view of the chapel in 1854.
It could be identical to a panel painting acquired in Nuremberg (before 1862) by Frederick, 4th Marquis of Londonderry, and subsequently passed to his stepson, Mervyn Edward Wingfield, 7th Viscount of Powerscourt; this painting was destroyed in a fire at Powerscourt Castle in 1974. In the upper left of the main panel, the mural in the Holzschuher Chapel depicts the Assumption of Mary; the Ketzel Panel in Gotha shows an Assumption of Mary with many angels in the corresponding position. A striking similarity to the Assumption of Mary and the Ascension of Christ in the Holzschuher Chapel can be seen in the Jerusalem Tapestry of Count Palatine Ottheinrich from 1541, which is now in the Bavarian National Museum in Munich.
In the court records concerning the dispute between the Imhoff and Holzschuher families over the rights to the Holzschuher Chapel at the end of the 16th century, an elderly woman named Lochner testified that Peter Imhoff (who was married to Magdalena Holzschuher) had commissioned the painting in the wall niche behind the Entombment. His younger half-brother, Franz Imhoff, administrator of St. John's Church from 1510 to 1517, acquired an indulgence for the Holzschuher Chapel in Rome in 1515. Veit Holzschuher, however, claimed in 1572 that his ancestor Georg Holzschuher (brother of Magdalena Holzschuher and brother-in-law of Peter Imhoff) had commissioned the mural.Georg Holzschuher, who was buried in the Holzschuher Chapel in 1526 along with his wife Walburga, had himself traveled to Jerusalem in 1470.
Literature: Viscount Powerscourt: A Description and History of Powerscourt, 1903, pp. 63–64; Reiner Zittlau: Heiliggrabkapelle und Kreuzweg, Nuremberg 1992, p. 112, note 44; Fritz Traugott Schulz: Nürnbergs Bürgerhäuser und ihre Ausstattung, n.d., p. 513; Bart Holtermann: Pilgrimages in Images, New York 2013, pp. 46–56; Mordechay Lewy: Die Wahrnehmung von Jerusalem im Spätmittelalter, 2019 (online)
See also: Burial of Adam Kraft
Location: Nuremberg, St. John's Cemetery
photo 2021, Pablo de la Riestra
Wall painting of the Entombment
1508
Niche during the restoration of the sculpture group by Adam Kraft (see: Adam Kraft, Entombment)
The painting, dated 1508 and by an unknown artist, in the niche behind the Entombment group in the Holzschuher Chapel, depicts Jerusalem with scenes from the Passion of Christ. It begins with Christ's entry into Jerusalem and ends with the Ascension. The Assumption of Mary is also depicted. For some of the prominent buildings, the artist drew on the Nuremberg Chronicle of 1493, whereby the artists who designed the chronicle, Michael Wolgemut and Wilhelm Pleydenwurff, in turn, used architectural elements from the epitaph of Adelheid Tucher with the Lamentation (circa 1483, now in the Tucher Castle Museum in Nuremberg, attributed to the Bamberg painter Wolfgang Katzheimer and workshop) as their model. Of particular note is the depiction of covered bazaar vaults with air vents, which first appears in a drawing accompanying Sebald Rieter's travelogue from 1479-80 (Bavarian State Library) and subsequently in the epitaph of Adelheid Tucher, in the Schedel World Chronicle, and in the wall paintings of the Holzschuher Chapel. Rieter had traveled to the Holy Land together with Hans Tucher, Adelheid's brother-in-law.
A famous depiction of Jerusalem with scenes from the Passion of Christ distributed within and around it, arranged similarly to the one in the Holzschuher Chapel, was created around 1470 by Hans Memling (Galleria Sabauda, Turin).
A similar depiction of the Ascension of Christ, as seen in the Holzschuher Chapel, is found on the Ketzel family panel in Gotha, at Friedenstein Castle. This panel, depicting the Holy Land, features Elector Frederick the Wise on the front and eight members of the Ketzel family who traveled to the Holy Land between 1389 and 1503 on the way back. According to a manuscript in the Germanisches Nationalmuseum (GNM, Ms. 7178, Vol. 6, p. 624) from the late 17th century, the Ketzel family commissioned two further panels listing the aforementioned eight members.
These panels were located in St. Sebald's Church and in the chapel of the House of the Golden Shield (formerly Schildgasse 23). The latter, also depicting the Holy Land, was seen by Christoph Wilder in the house when he drew a view of the chapel in 1854.
It could be identical to a panel painting acquired in Nuremberg (before 1862) by Frederick, 4th Marquis of Londonderry, and subsequently passed to his stepson, Mervyn Edward Wingfield, 7th Viscount of Powerscourt; this painting was destroyed in a fire at Powerscourt Castle in 1974. In the upper left of the main panel, the mural in the Holzschuher Chapel depicts the Assumption of Mary; the Ketzel Panel in Gotha shows an Assumption of Mary with many angels in the corresponding position. A striking similarity to the Assumption of Mary and the Ascension of Christ in the Holzschuher Chapel can be seen in the Jerusalem Tapestry of Count Palatine Ottheinrich from 1541, which is now in the Bavarian National Museum in Munich.
In the court records concerning the dispute between the Imhoff and Holzschuher families over the rights to the Holzschuher Chapel at the end of the 16th century, an elderly woman named Lochner testified that Peter Imhoff (who was married to Magdalena Holzschuher) had commissioned the painting in the wall niche behind the Entombment. His younger half-brother, Franz Imhoff, administrator of St. John's Church from 1510 to 1517, acquired an indulgence for the Holzschuher Chapel in Rome in 1515. Veit Holzschuher, however, claimed in 1572 that his ancestor Georg Holzschuher (brother of Magdalena Holzschuher and brother-in-law of Peter Imhoff) had commissioned the mural.Georg Holzschuher, who was buried in the Holzschuher Chapel in 1526 along with his wife Walburga, had himself traveled to Jerusalem in 1470.
Literature: Viscount Powerscourt: A Description and History of Powerscourt, 1903, pp. 63–64; Reiner Zittlau: Heiliggrabkapelle und Kreuzweg, Nuremberg 1992, p. 112, note 44; Fritz Traugott Schulz: Nürnbergs Bürgerhäuser und ihre Ausstattung, n.d., p. 513; Bart Holtermann: Pilgrimages in Images, New York 2013, pp. 46–56; Mordechay Lewy: Die Wahrnehmung von Jerusalem im Spätmittelalter, 2019 (online)
See also: Burial of Adam Kraft
Location: Nuremberg, St. John's Cemetery
photo 2021, Theo Noll
Wall painting of the Entombment
1508
Niche during the restoration of the sculpture group by Adam Kraft (see: Adam Kraft, Entombment)
The painting, dated 1508 and by an unknown artist, in the niche behind the Entombment group in the Holzschuher Chapel, depicts Jerusalem with scenes from the Passion of Christ. It begins with Christ's entry into Jerusalem and ends with the Ascension. The Assumption of Mary is also depicted. For some of the prominent buildings, the artist drew on the Nuremberg Chronicle of 1493, whereby the artists who designed the chronicle, Michael Wolgemut and Wilhelm Pleydenwurff, in turn, used architectural elements from the epitaph of Adelheid Tucher with the Lamentation (circa 1483, now in the Tucher Castle Museum in Nuremberg, attributed to the Bamberg painter Wolfgang Katzheimer and workshop) as their model. Of particular note is the depiction of covered bazaar vaults with air vents, which first appears in a drawing accompanying Sebald Rieter's travelogue from 1479-80 (Bavarian State Library) and subsequently in the epitaph of Adelheid Tucher, in the Schedel World Chronicle, and in the wall paintings of the Holzschuher Chapel. Rieter had traveled to the Holy Land together with Hans Tucher, Adelheid's brother-in-law.
A famous depiction of Jerusalem with scenes from the Passion of Christ distributed within and around it, arranged similarly to the one in the Holzschuher Chapel, was created around 1470 by Hans Memling (Galleria Sabauda, Turin).
A similar depiction of the Ascension of Christ, as seen in the Holzschuher Chapel, is found on the Ketzel family panel in Gotha, at Friedenstein Castle. This panel, depicting the Holy Land, features Elector Frederick the Wise on the front and eight members of the Ketzel family who traveled to the Holy Land between 1389 and 1503 on the way back. According to a manuscript in the Germanisches Nationalmuseum (GNM, Ms. 7178, Vol. 6, p. 624) from the late 17th century, the Ketzel family commissioned two further panels listing the aforementioned eight members.
These panels were located in St. Sebald's Church and in the chapel of the House of the Golden Shield (formerly Schildgasse 23). The latter, also depicting the Holy Land, was seen by Christoph Wilder in the house when he drew a view of the chapel in 1854.
It could be identical to a panel painting acquired in Nuremberg (before 1862) by Frederick, 4th Marquis of Londonderry, and subsequently passed to his stepson, Mervyn Edward Wingfield, 7th Viscount of Powerscourt; this painting was destroyed in a fire at Powerscourt Castle in 1974. In the upper left of the main panel, the mural in the Holzschuher Chapel depicts the Assumption of Mary; the Ketzel Panel in Gotha shows an Assumption of Mary with many angels in the corresponding position. A striking similarity to the Assumption of Mary and the Ascension of Christ in the Holzschuher Chapel can be seen in the Jerusalem Tapestry of Count Palatine Ottheinrich from 1541, which is now in the Bavarian National Museum in Munich.
In the court records concerning the dispute between the Imhoff and Holzschuher families over the rights to the Holzschuher Chapel at the end of the 16th century, an elderly woman named Lochner testified that Peter Imhoff (who was married to Magdalena Holzschuher) had commissioned the painting in the wall niche behind the Entombment. His younger half-brother, Franz Imhoff, administrator of St. John's Church from 1510 to 1517, acquired an indulgence for the Holzschuher Chapel in Rome in 1515. Veit Holzschuher, however, claimed in 1572 that his ancestor Georg Holzschuher (brother of Magdalena Holzschuher and brother-in-law of Peter Imhoff) had commissioned the mural.Georg Holzschuher, who was buried in the Holzschuher Chapel in 1526 along with his wife Walburga, had himself traveled to Jerusalem in 1470.
Literature: Viscount Powerscourt: A Description and History of Powerscourt, 1903, pp. 63–64; Reiner Zittlau: Heiliggrabkapelle und Kreuzweg, Nuremberg 1992, p. 112, note 44; Fritz Traugott Schulz: Nürnbergs Bürgerhäuser und ihre Ausstattung, n.d., p. 513; Bart Holtermann: Pilgrimages in Images, New York 2013, pp. 46–56; Mordechay Lewy: Die Wahrnehmung von Jerusalem im Spätmittelalter, 2019 (online)
See also: Burial of Adam Kraft
Location: Nuremberg, St. John's Cemetery
photo 2021, Pablo de la Riestra
Wall painting of the Entombment
1508
Upper section of the main panel with the year 1508
The painting, dated 1508 and by an unknown artist, in the niche behind the Entombment group in the Holzschuher Chapel, depicts Jerusalem with scenes from the Passion of Christ. It begins with Christ's entry into Jerusalem and ends with the Ascension. The Assumption of Mary is also depicted. For some of the prominent buildings, the artist drew on the Nuremberg Chronicle of 1493, whereby the artists who designed the chronicle, Michael Wolgemut and Wilhelm Pleydenwurff, in turn, used architectural elements from the epitaph of Adelheid Tucher with the Lamentation (circa 1483, now in the Tucher Castle Museum in Nuremberg, attributed to the Bamberg painter Wolfgang Katzheimer and workshop) as their model. Of particular note is the depiction of covered bazaar vaults with air vents, which first appears in a drawing accompanying Sebald Rieter's travelogue from 1479-80 (Bavarian State Library) and subsequently in the epitaph of Adelheid Tucher, in the Schedel World Chronicle, and in the wall paintings of the Holzschuher Chapel. Rieter had traveled to the Holy Land together with Hans Tucher, Adelheid's brother-in-law.
A famous depiction of Jerusalem with scenes from the Passion of Christ distributed within and around it, arranged similarly to the one in the Holzschuher Chapel, was created around 1470 by Hans Memling (Galleria Sabauda, Turin).
A similar depiction of the Ascension of Christ, as seen in the Holzschuher Chapel, is found on the Ketzel family panel in Gotha, at Friedenstein Castle. This panel, depicting the Holy Land, features Elector Frederick the Wise on the front and eight members of the Ketzel family who traveled to the Holy Land between 1389 and 1503 on the way back. According to a manuscript in the Germanisches Nationalmuseum (GNM, Ms. 7178, Vol. 6, p. 624) from the late 17th century, the Ketzel family commissioned two further panels listing the aforementioned eight members.
These panels were located in St. Sebald's Church and in the chapel of the House of the Golden Shield (formerly Schildgasse 23). The latter, also depicting the Holy Land, was seen by Christoph Wilder in the house when he drew a view of the chapel in 1854.
It could be identical to a panel painting acquired in Nuremberg (before 1862) by Frederick, 4th Marquis of Londonderry, and subsequently passed to his stepson, Mervyn Edward Wingfield, 7th Viscount of Powerscourt; this painting was destroyed in a fire at Powerscourt Castle in 1974. In the upper left of the main panel, the mural in the Holzschuher Chapel depicts the Assumption of Mary; the Ketzel Panel in Gotha shows an Assumption of Mary with many angels in the corresponding position. A striking similarity to the Assumption of Mary and the Ascension of Christ in the Holzschuher Chapel can be seen in the Jerusalem Tapestry of Count Palatine Ottheinrich from 1541, which is now in the Bavarian National Museum in Munich.
In the court records concerning the dispute between the Imhoff and Holzschuher families over the rights to the Holzschuher Chapel at the end of the 16th century, an elderly woman named Lochner testified that Peter Imhoff (who was married to Magdalena Holzschuher) had commissioned the painting in the wall niche behind the Entombment. His younger half-brother, Franz Imhoff, administrator of St. John's Church from 1510 to 1517, acquired an indulgence for the Holzschuher Chapel in Rome in 1515. Veit Holzschuher, however, claimed in 1572 that his ancestor Georg Holzschuher (brother of Magdalena Holzschuher and brother-in-law of Peter Imhoff) had commissioned the mural.Georg Holzschuher, who was buried in the Holzschuher Chapel in 1526 along with his wife Walburga, had himself traveled to Jerusalem in 1470.
Literature: Viscount Powerscourt: A Description and History of Powerscourt, 1903, pp. 63–64; Reiner Zittlau: Heiliggrabkapelle und Kreuzweg, Nuremberg 1992, p. 112, note 44; Fritz Traugott Schulz: Nürnbergs Bürgerhäuser und ihre Ausstattung, n.d., p. 513; Bart Holtermann: Pilgrimages in Images, New York 2013, pp. 46–56; Mordechay Lewy: Die Wahrnehmung von Jerusalem im Spätmittelalter, 2019 (online)
See also: Burial of Adam Kraft
Location: Nuremberg, St. John's Cemetery
photo 2021, Pablo de la Riestra
Wall painting of the Entombment
1508
Image comparison: left, from the Nuremberg Chronicle (1493), Destruction of Jerusalem
The painting, dated 1508 and by an unknown artist, in the niche behind the Entombment group in the Holzschuher Chapel, depicts Jerusalem with scenes from the Passion of Christ. It begins with Christ's entry into Jerusalem and ends with the Ascension. The Assumption of Mary is also depicted. For some of the prominent buildings, the artist drew on the Nuremberg Chronicle of 1493, whereby the artists who designed the chronicle, Michael Wolgemut and Wilhelm Pleydenwurff, in turn, used architectural elements from the epitaph of Adelheid Tucher with the Lamentation (circa 1483, now in the Tucher Castle Museum in Nuremberg, attributed to the Bamberg painter Wolfgang Katzheimer and workshop) as their model. Of particular note is the depiction of covered bazaar vaults with air vents, which first appears in a drawing accompanying Sebald Rieter's travelogue from 1479-80 (Bavarian State Library) and subsequently in the epitaph of Adelheid Tucher, in the Schedel World Chronicle, and in the wall paintings of the Holzschuher Chapel. Rieter had traveled to the Holy Land together with Hans Tucher, Adelheid's brother-in-law.
A famous depiction of Jerusalem with scenes from the Passion of Christ distributed within and around it, arranged similarly to the one in the Holzschuher Chapel, was created around 1470 by Hans Memling (Galleria Sabauda, Turin).
A similar depiction of the Ascension of Christ, as seen in the Holzschuher Chapel, is found on the Ketzel family panel in Gotha, at Friedenstein Castle. This panel, depicting the Holy Land, features Elector Frederick the Wise on the front and eight members of the Ketzel family who traveled to the Holy Land between 1389 and 1503 on the way back. According to a manuscript in the Germanisches Nationalmuseum (GNM, Ms. 7178, Vol. 6, p. 624) from the late 17th century, the Ketzel family commissioned two further panels listing the aforementioned eight members.
These panels were located in St. Sebald's Church and in the chapel of the House of the Golden Shield (formerly Schildgasse 23). The latter, also depicting the Holy Land, was seen by Christoph Wilder in the house when he drew a view of the chapel in 1854.
It could be identical to a panel painting acquired in Nuremberg (before 1862) by Frederick, 4th Marquis of Londonderry, and subsequently passed to his stepson, Mervyn Edward Wingfield, 7th Viscount of Powerscourt; this painting was destroyed in a fire at Powerscourt Castle in 1974. In the upper left of the main panel, the mural in the Holzschuher Chapel depicts the Assumption of Mary; the Ketzel Panel in Gotha shows an Assumption of Mary with many angels in the corresponding position. A striking similarity to the Assumption of Mary and the Ascension of Christ in the Holzschuher Chapel can be seen in the Jerusalem Tapestry of Count Palatine Ottheinrich from 1541, which is now in the Bavarian National Museum in Munich.
In the court records concerning the dispute between the Imhoff and Holzschuher families over the rights to the Holzschuher Chapel at the end of the 16th century, an elderly woman named Lochner testified that Peter Imhoff (who was married to Magdalena Holzschuher) had commissioned the painting in the wall niche behind the Entombment. His younger half-brother, Franz Imhoff, administrator of St. John's Church from 1510 to 1517, acquired an indulgence for the Holzschuher Chapel in Rome in 1515. Veit Holzschuher, however, claimed in 1572 that his ancestor Georg Holzschuher (brother of Magdalena Holzschuher and brother-in-law of Peter Imhoff) had commissioned the mural.Georg Holzschuher, who was buried in the Holzschuher Chapel in 1526 along with his wife Walburga, had himself traveled to Jerusalem in 1470.
Literature: Viscount Powerscourt: A Description and History of Powerscourt, 1903, pp. 63–64; Reiner Zittlau: Heiliggrabkapelle und Kreuzweg, Nuremberg 1992, p. 112, note 44; Fritz Traugott Schulz: Nürnbergs Bürgerhäuser und ihre Ausstattung, n.d., p. 513; Bart Holtermann: Pilgrimages in Images, New York 2013, pp. 46–56; Mordechay Lewy: Die Wahrnehmung von Jerusalem im Spätmittelalter, 2019 (online)
See also: Burial of Adam Kraft
Location: Nuremberg, St. John's Cemetery
photo 2021, Theo Noll
Wall painting of the Entombment
1508
Upper right corner of the main panel of the niche, Crucifixion group with lance thrust, in front of it the slumped Mary, supported by John. Top left: Ascension Day
The painting, dated 1508 and by an unknown artist, in the niche behind the Entombment group in the Holzschuher Chapel, depicts Jerusalem with scenes from the Passion of Christ. It begins with Christ's entry into Jerusalem and ends with the Ascension. The Assumption of Mary is also depicted. For some of the prominent buildings, the artist drew on the Nuremberg Chronicle of 1493, whereby the artists who designed the chronicle, Michael Wolgemut and Wilhelm Pleydenwurff, in turn, used architectural elements from the epitaph of Adelheid Tucher with the Lamentation (circa 1483, now in the Tucher Castle Museum in Nuremberg, attributed to the Bamberg painter Wolfgang Katzheimer and workshop) as their model. Of particular note is the depiction of covered bazaar vaults with air vents, which first appears in a drawing accompanying Sebald Rieter's travelogue from 1479-80 (Bavarian State Library) and subsequently in the epitaph of Adelheid Tucher, in the Schedel World Chronicle, and in the wall paintings of the Holzschuher Chapel. Rieter had traveled to the Holy Land together with Hans Tucher, Adelheid's brother-in-law.
A famous depiction of Jerusalem with scenes from the Passion of Christ distributed within and around it, arranged similarly to the one in the Holzschuher Chapel, was created around 1470 by Hans Memling (Galleria Sabauda, Turin).
A similar depiction of the Ascension of Christ, as seen in the Holzschuher Chapel, is found on the Ketzel family panel in Gotha, at Friedenstein Castle. This panel, depicting the Holy Land, features Elector Frederick the Wise on the front and eight members of the Ketzel family who traveled to the Holy Land between 1389 and 1503 on the way back. According to a manuscript in the Germanisches Nationalmuseum (GNM, Ms. 7178, Vol. 6, p. 624) from the late 17th century, the Ketzel family commissioned two further panels listing the aforementioned eight members.
These panels were located in St. Sebald's Church and in the chapel of the House of the Golden Shield (formerly Schildgasse 23). The latter, also depicting the Holy Land, was seen by Christoph Wilder in the house when he drew a view of the chapel in 1854.
It could be identical to a panel painting acquired in Nuremberg (before 1862) by Frederick, 4th Marquis of Londonderry, and subsequently passed to his stepson, Mervyn Edward Wingfield, 7th Viscount of Powerscourt; this painting was destroyed in a fire at Powerscourt Castle in 1974. In the upper left of the main panel, the mural in the Holzschuher Chapel depicts the Assumption of Mary; the Ketzel Panel in Gotha shows an Assumption of Mary with many angels in the corresponding position. A striking similarity to the Assumption of Mary and the Ascension of Christ in the Holzschuher Chapel can be seen in the Jerusalem Tapestry of Count Palatine Ottheinrich from 1541, which is now in the Bavarian National Museum in Munich.
In the court records concerning the dispute between the Imhoff and Holzschuher families over the rights to the Holzschuher Chapel at the end of the 16th century, an elderly woman named Lochner testified that Peter Imhoff (who was married to Magdalena Holzschuher) had commissioned the painting in the wall niche behind the Entombment. His younger half-brother, Franz Imhoff, administrator of St. John's Church from 1510 to 1517, acquired an indulgence for the Holzschuher Chapel in Rome in 1515. Veit Holzschuher, however, claimed in 1572 that his ancestor Georg Holzschuher (brother of Magdalena Holzschuher and brother-in-law of Peter Imhoff) had commissioned the mural.Georg Holzschuher, who was buried in the Holzschuher Chapel in 1526 along with his wife Walburga, had himself traveled to Jerusalem in 1470.
Literature: Viscount Powerscourt: A Description and History of Powerscourt, 1903, pp. 63–64; Reiner Zittlau: Heiliggrabkapelle und Kreuzweg, Nuremberg 1992, p. 112, note 44; Fritz Traugott Schulz: Nürnbergs Bürgerhäuser und ihre Ausstattung, n.d., p. 513; Bart Holtermann: Pilgrimages in Images, New York 2013, pp. 46–56; Mordechay Lewy: Die Wahrnehmung von Jerusalem im Spätmittelalter, 2019 (online)
See also: Burial of Adam Kraft
Location: Nuremberg, St. John's Cemetery
photo 2021, Pablo de la Riestra
Wall painting of the Entombment
1508
Main panel of the niche with scenes from the Passion: including the Entry into Jerusalem, Peter's Denial, Christ before Pilate, Flagellation, Mocking, Ecce Homo, Crucifixion. At the very top: Assumption and Assumption of Mary into Heaven
The painting, dated 1508 and by an unknown artist, in the niche behind the Entombment group in the Holzschuher Chapel, depicts Jerusalem with scenes from the Passion of Christ. It begins with Christ's entry into Jerusalem and ends with the Ascension. The Assumption of Mary is also depicted. For some of the prominent buildings, the artist drew on the Nuremberg Chronicle of 1493, whereby the artists who designed the chronicle, Michael Wolgemut and Wilhelm Pleydenwurff, in turn, used architectural elements from the epitaph of Adelheid Tucher with the Lamentation (circa 1483, now in the Tucher Castle Museum in Nuremberg, attributed to the Bamberg painter Wolfgang Katzheimer and workshop) as their model. Of particular note is the depiction of covered bazaar vaults with air vents, which first appears in a drawing accompanying Sebald Rieter's travelogue from 1479-80 (Bavarian State Library) and subsequently in the epitaph of Adelheid Tucher, in the Schedel World Chronicle, and in the wall paintings of the Holzschuher Chapel. Rieter had traveled to the Holy Land together with Hans Tucher, Adelheid's brother-in-law.
A famous depiction of Jerusalem with scenes from the Passion of Christ distributed within and around it, arranged similarly to the one in the Holzschuher Chapel, was created around 1470 by Hans Memling (Galleria Sabauda, Turin).
A similar depiction of the Ascension of Christ, as seen in the Holzschuher Chapel, is found on the Ketzel family panel in Gotha, at Friedenstein Castle. This panel, depicting the Holy Land, features Elector Frederick the Wise on the front and eight members of the Ketzel family who traveled to the Holy Land between 1389 and 1503 on the way back. According to a manuscript in the Germanisches Nationalmuseum (GNM, Ms. 7178, Vol. 6, p. 624) from the late 17th century, the Ketzel family commissioned two further panels listing the aforementioned eight members.
These panels were located in St. Sebald's Church and in the chapel of the House of the Golden Shield (formerly Schildgasse 23). The latter, also depicting the Holy Land, was seen by Christoph Wilder in the house when he drew a view of the chapel in 1854.
It could be identical to a panel painting acquired in Nuremberg (before 1862) by Frederick, 4th Marquis of Londonderry, and subsequently passed to his stepson, Mervyn Edward Wingfield, 7th Viscount of Powerscourt; this painting was destroyed in a fire at Powerscourt Castle in 1974. In the upper left of the main panel, the mural in the Holzschuher Chapel depicts the Assumption of Mary; the Ketzel Panel in Gotha shows an Assumption of Mary with many angels in the corresponding position. A striking similarity to the Assumption of Mary and the Ascension of Christ in the Holzschuher Chapel can be seen in the Jerusalem Tapestry of Count Palatine Ottheinrich from 1541, which is now in the Bavarian National Museum in Munich.
In the court records concerning the dispute between the Imhoff and Holzschuher families over the rights to the Holzschuher Chapel at the end of the 16th century, an elderly woman named Lochner testified that Peter Imhoff (who was married to Magdalena Holzschuher) had commissioned the painting in the wall niche behind the Entombment. His younger half-brother, Franz Imhoff, administrator of St. John's Church from 1510 to 1517, acquired an indulgence for the Holzschuher Chapel in Rome in 1515. Veit Holzschuher, however, claimed in 1572 that his ancestor Georg Holzschuher (brother of Magdalena Holzschuher and brother-in-law of Peter Imhoff) had commissioned the mural.Georg Holzschuher, who was buried in the Holzschuher Chapel in 1526 along with his wife Walburga, had himself traveled to Jerusalem in 1470.
Literature: Viscount Powerscourt: A Description and History of Powerscourt, 1903, pp. 63–64; Reiner Zittlau: Heiliggrabkapelle und Kreuzweg, Nuremberg 1992, p. 112, note 44; Fritz Traugott Schulz: Nürnbergs Bürgerhäuser und ihre Ausstattung, n.d., p. 513; Bart Holtermann: Pilgrimages in Images, New York 2013, pp. 46–56; Mordechay Lewy: Die Wahrnehmung von Jerusalem im Spätmittelalter, 2019 (online)
See also: Burial of Adam Kraft
Location: Nuremberg, St. John's Cemetery
photo 2021, Pablo de la Riestra
Wall painting of the Entombment
1508
Image comparison: above, from the Nuremberg Chronicle (1493), Jerusalem
The painting, dated 1508 and by an unknown artist, in the niche behind the Entombment group in the Holzschuher Chapel, depicts Jerusalem with scenes from the Passion of Christ. It begins with Christ's entry into Jerusalem and ends with the Ascension. The Assumption of Mary is also depicted. For some of the prominent buildings, the artist drew on the Nuremberg Chronicle of 1493, whereby the artists who designed the chronicle, Michael Wolgemut and Wilhelm Pleydenwurff, in turn, used architectural elements from the epitaph of Adelheid Tucher with the Lamentation (circa 1483, now in the Tucher Castle Museum in Nuremberg, attributed to the Bamberg painter Wolfgang Katzheimer and workshop) as their model. Of particular note is the depiction of covered bazaar vaults with air vents, which first appears in a drawing accompanying Sebald Rieter's travelogue from 1479-80 (Bavarian State Library) and subsequently in the epitaph of Adelheid Tucher, in the Schedel World Chronicle, and in the wall paintings of the Holzschuher Chapel. Rieter had traveled to the Holy Land together with Hans Tucher, Adelheid's brother-in-law.
A famous depiction of Jerusalem with scenes from the Passion of Christ distributed within and around it, arranged similarly to the one in the Holzschuher Chapel, was created around 1470 by Hans Memling (Galleria Sabauda, Turin).
A similar depiction of the Ascension of Christ, as seen in the Holzschuher Chapel, is found on the Ketzel family panel in Gotha, at Friedenstein Castle. This panel, depicting the Holy Land, features Elector Frederick the Wise on the front and eight members of the Ketzel family who traveled to the Holy Land between 1389 and 1503 on the way back. According to a manuscript in the Germanisches Nationalmuseum (GNM, Ms. 7178, Vol. 6, p. 624) from the late 17th century, the Ketzel family commissioned two further panels listing the aforementioned eight members.
These panels were located in St. Sebald's Church and in the chapel of the House of the Golden Shield (formerly Schildgasse 23). The latter, also depicting the Holy Land, was seen by Christoph Wilder in the house when he drew a view of the chapel in 1854.
It could be identical to a panel painting acquired in Nuremberg (before 1862) by Frederick, 4th Marquis of Londonderry, and subsequently passed to his stepson, Mervyn Edward Wingfield, 7th Viscount of Powerscourt; this painting was destroyed in a fire at Powerscourt Castle in 1974. In the upper left of the main panel, the mural in the Holzschuher Chapel depicts the Assumption of Mary; the Ketzel Panel in Gotha shows an Assumption of Mary with many angels in the corresponding position. A striking similarity to the Assumption of Mary and the Ascension of Christ in the Holzschuher Chapel can be seen in the Jerusalem Tapestry of Count Palatine Ottheinrich from 1541, which is now in the Bavarian National Museum in Munich.
In the court records concerning the dispute between the Imhoff and Holzschuher families over the rights to the Holzschuher Chapel at the end of the 16th century, an elderly woman named Lochner testified that Peter Imhoff (who was married to Magdalena Holzschuher) had commissioned the painting in the wall niche behind the Entombment. His younger half-brother, Franz Imhoff, administrator of St. John's Church from 1510 to 1517, acquired an indulgence for the Holzschuher Chapel in Rome in 1515. Veit Holzschuher, however, claimed in 1572 that his ancestor Georg Holzschuher (brother of Magdalena Holzschuher and brother-in-law of Peter Imhoff) had commissioned the mural.Georg Holzschuher, who was buried in the Holzschuher Chapel in 1526 along with his wife Walburga, had himself traveled to Jerusalem in 1470.
Literature: Viscount Powerscourt: A Description and History of Powerscourt, 1903, pp. 63–64; Reiner Zittlau: Heiliggrabkapelle und Kreuzweg, Nuremberg 1992, p. 112, note 44; Fritz Traugott Schulz: Nürnbergs Bürgerhäuser und ihre Ausstattung, n.d., p. 513; Bart Holtermann: Pilgrimages in Images, New York 2013, pp. 46–56; Mordechay Lewy: Die Wahrnehmung von Jerusalem im Spätmittelalter, 2019 (online)
See also: Burial of Adam Kraft
Location: Nuremberg, St. John's Cemetery
photo 2021, Pablo de la Riestra
Wall painting of the Entombment
1508
Wall niche above the group of figures by Adam Kraft (see: Entombment by Adam Kraft)
The painting, dated 1508 and by an unknown artist, in the niche behind the Entombment group in the Holzschuher Chapel, depicts Jerusalem with scenes from the Passion of Christ. It begins with Christ's entry into Jerusalem and ends with the Ascension. The Assumption of Mary is also depicted. For some of the prominent buildings, the artist drew on the Nuremberg Chronicle of 1493, whereby the artists who designed the chronicle, Michael Wolgemut and Wilhelm Pleydenwurff, in turn, used architectural elements from the epitaph of Adelheid Tucher with the Lamentation (circa 1483, now in the Tucher Castle Museum in Nuremberg, attributed to the Bamberg painter Wolfgang Katzheimer and workshop) as their model. Of particular note is the depiction of covered bazaar vaults with air vents, which first appears in a drawing accompanying Sebald Rieter's travelogue from 1479-80 (Bavarian State Library) and subsequently in the epitaph of Adelheid Tucher, in the Schedel World Chronicle, and in the wall paintings of the Holzschuher Chapel. Rieter had traveled to the Holy Land together with Hans Tucher, Adelheid's brother-in-law.
A famous depiction of Jerusalem with scenes from the Passion of Christ distributed within and around it, arranged similarly to the one in the Holzschuher Chapel, was created around 1470 by Hans Memling (Galleria Sabauda, Turin).
A similar depiction of the Ascension of Christ, as seen in the Holzschuher Chapel, is found on the Ketzel family panel in Gotha, at Friedenstein Castle. This panel, depicting the Holy Land, features Elector Frederick the Wise on the front and eight members of the Ketzel family who traveled to the Holy Land between 1389 and 1503 on the way back. According to a manuscript in the Germanisches Nationalmuseum (GNM, Ms. 7178, Vol. 6, p. 624) from the late 17th century, the Ketzel family commissioned two further panels listing the aforementioned eight members.
These panels were located in St. Sebald's Church and in the chapel of the House of the Golden Shield (formerly Schildgasse 23). The latter, also depicting the Holy Land, was seen by Christoph Wilder in the house when he drew a view of the chapel in 1854.
It could be identical to a panel painting acquired in Nuremberg (before 1862) by Frederick, 4th Marquis of Londonderry, and subsequently passed to his stepson, Mervyn Edward Wingfield, 7th Viscount of Powerscourt; this painting was destroyed in a fire at Powerscourt Castle in 1974. In the upper left of the main panel, the mural in the Holzschuher Chapel depicts the Assumption of Mary; the Ketzel Panel in Gotha shows an Assumption of Mary with many angels in the corresponding position. A striking similarity to the Assumption of Mary and the Ascension of Christ in the Holzschuher Chapel can be seen in the Jerusalem Tapestry of Count Palatine Ottheinrich from 1541, which is now in the Bavarian National Museum in Munich.
In the court records concerning the dispute between the Imhoff and Holzschuher families over the rights to the Holzschuher Chapel at the end of the 16th century, an elderly woman named Lochner testified that Peter Imhoff (who was married to Magdalena Holzschuher) had commissioned the painting in the wall niche behind the Entombment. His younger half-brother, Franz Imhoff, administrator of St. John's Church from 1510 to 1517, acquired an indulgence for the Holzschuher Chapel in Rome in 1515. Veit Holzschuher, however, claimed in 1572 that his ancestor Georg Holzschuher (brother of Magdalena Holzschuher and brother-in-law of Peter Imhoff) had commissioned the mural.Georg Holzschuher, who was buried in the Holzschuher Chapel in 1526 along with his wife Walburga, had himself traveled to Jerusalem in 1470.
Literature: Viscount Powerscourt: A Description and History of Powerscourt, 1903, pp. 63–64; Reiner Zittlau: Heiliggrabkapelle und Kreuzweg, Nuremberg 1992, p. 112, note 44; Fritz Traugott Schulz: Nürnbergs Bürgerhäuser und ihre Ausstattung, n.d., p. 513; Bart Holtermann: Pilgrimages in Images, New York 2013, pp. 46–56; Mordechay Lewy: Die Wahrnehmung von Jerusalem im Spätmittelalter, 2019 (online)
See also: Burial of Adam Kraft
Location: Nuremberg, St. John's Cemetery
photo 2021, Pablo de la Riestra
Wall painting of the Entombment
1508
Image comparison: left, from the Nuremberg Chronicle (1493), the Destruction of Jerusalem, and Solomon's Temple
The painting, dated 1508 and by an unknown artist, in the niche behind the Entombment group in the Holzschuher Chapel, depicts Jerusalem with scenes from the Passion of Christ. It begins with Christ's entry into Jerusalem and ends with the Ascension. The Assumption of Mary is also depicted. For some of the prominent buildings, the artist drew on the Nuremberg Chronicle of 1493, whereby the artists who designed the chronicle, Michael Wolgemut and Wilhelm Pleydenwurff, in turn, used architectural elements from the epitaph of Adelheid Tucher with the Lamentation (circa 1483, now in the Tucher Castle Museum in Nuremberg, attributed to the Bamberg painter Wolfgang Katzheimer and workshop) as their model. Of particular note is the depiction of covered bazaar vaults with air vents, which first appears in a drawing accompanying Sebald Rieter's travelogue from 1479-80 (Bavarian State Library) and subsequently in the epitaph of Adelheid Tucher, in the Schedel World Chronicle, and in the wall paintings of the Holzschuher Chapel. Rieter had traveled to the Holy Land together with Hans Tucher, Adelheid's brother-in-law.
A famous depiction of Jerusalem with scenes from the Passion of Christ distributed within and around it, arranged similarly to the one in the Holzschuher Chapel, was created around 1470 by Hans Memling (Galleria Sabauda, Turin).
A similar depiction of the Ascension of Christ, as seen in the Holzschuher Chapel, is found on the Ketzel family panel in Gotha, at Friedenstein Castle. This panel, depicting the Holy Land, features Elector Frederick the Wise on the front and eight members of the Ketzel family who traveled to the Holy Land between 1389 and 1503 on the way back. According to a manuscript in the Germanisches Nationalmuseum (GNM, Ms. 7178, Vol. 6, p. 624) from the late 17th century, the Ketzel family commissioned two further panels listing the aforementioned eight members.
These panels were located in St. Sebald's Church and in the chapel of the House of the Golden Shield (formerly Schildgasse 23). The latter, also depicting the Holy Land, was seen by Christoph Wilder in the house when he drew a view of the chapel in 1854.
It could be identical to a panel painting acquired in Nuremberg (before 1862) by Frederick, 4th Marquis of Londonderry, and subsequently passed to his stepson, Mervyn Edward Wingfield, 7th Viscount of Powerscourt; this painting was destroyed in a fire at Powerscourt Castle in 1974. In the upper left of the main panel, the mural in the Holzschuher Chapel depicts the Assumption of Mary; the Ketzel Panel in Gotha shows an Assumption of Mary with many angels in the corresponding position. A striking similarity to the Assumption of Mary and the Ascension of Christ in the Holzschuher Chapel can be seen in the Jerusalem Tapestry of Count Palatine Ottheinrich from 1541, which is now in the Bavarian National Museum in Munich.
In the court records concerning the dispute between the Imhoff and Holzschuher families over the rights to the Holzschuher Chapel at the end of the 16th century, an elderly woman named Lochner testified that Peter Imhoff (who was married to Magdalena Holzschuher) had commissioned the painting in the wall niche behind the Entombment. His younger half-brother, Franz Imhoff, administrator of St. John's Church from 1510 to 1517, acquired an indulgence for the Holzschuher Chapel in Rome in 1515. Veit Holzschuher, however, claimed in 1572 that his ancestor Georg Holzschuher (brother of Magdalena Holzschuher and brother-in-law of Peter Imhoff) had commissioned the mural.Georg Holzschuher, who was buried in the Holzschuher Chapel in 1526 along with his wife Walburga, had himself traveled to Jerusalem in 1470.
Literature: Viscount Powerscourt: A Description and History of Powerscourt, 1903, pp. 63–64; Reiner Zittlau: Heiliggrabkapelle und Kreuzweg, Nuremberg 1992, p. 112, note 44; Fritz Traugott Schulz: Nürnbergs Bürgerhäuser und ihre Ausstattung, n.d., p. 513; Bart Holtermann: Pilgrimages in Images, New York 2013, pp. 46–56; Mordechay Lewy: Die Wahrnehmung von Jerusalem im Spätmittelalter, 2019 (online)
See also: Burial of Adam Kraft
Location: Nuremberg, St. John's Cemetery
photo 2021, Theo Noll
Wall painting of the Entombment
1508
Main panel of the wall niche depicting Solomon's Temple based on models from the Nuremberg Chronicle of 1493
The painting, dated 1508 and by an unknown artist, in the niche behind the Entombment group in the Holzschuher Chapel, depicts Jerusalem with scenes from the Passion of Christ. It begins with Christ's entry into Jerusalem and ends with the Ascension. The Assumption of Mary is also depicted. For some of the prominent buildings, the artist drew on the Nuremberg Chronicle of 1493, whereby the artists who designed the chronicle, Michael Wolgemut and Wilhelm Pleydenwurff, in turn, used architectural elements from the epitaph of Adelheid Tucher with the Lamentation (circa 1483, now in the Tucher Castle Museum in Nuremberg, attributed to the Bamberg painter Wolfgang Katzheimer and workshop) as their model. Of particular note is the depiction of covered bazaar vaults with air vents, which first appears in a drawing accompanying Sebald Rieter's travelogue from 1479-80 (Bavarian State Library) and subsequently in the epitaph of Adelheid Tucher, in the Schedel World Chronicle, and in the wall paintings of the Holzschuher Chapel. Rieter had traveled to the Holy Land together with Hans Tucher, Adelheid's brother-in-law.
A famous depiction of Jerusalem with scenes from the Passion of Christ distributed within and around it, arranged similarly to the one in the Holzschuher Chapel, was created around 1470 by Hans Memling (Galleria Sabauda, Turin).
A similar depiction of the Ascension of Christ, as seen in the Holzschuher Chapel, is found on the Ketzel family panel in Gotha, at Friedenstein Castle. This panel, depicting the Holy Land, features Elector Frederick the Wise on the front and eight members of the Ketzel family who traveled to the Holy Land between 1389 and 1503 on the way back. According to a manuscript in the Germanisches Nationalmuseum (GNM, Ms. 7178, Vol. 6, p. 624) from the late 17th century, the Ketzel family commissioned two further panels listing the aforementioned eight members.
These panels were located in St. Sebald's Church and in the chapel of the House of the Golden Shield (formerly Schildgasse 23). The latter, also depicting the Holy Land, was seen by Christoph Wilder in the house when he drew a view of the chapel in 1854.
It could be identical to a panel painting acquired in Nuremberg (before 1862) by Frederick, 4th Marquis of Londonderry, and subsequently passed to his stepson, Mervyn Edward Wingfield, 7th Viscount of Powerscourt; this painting was destroyed in a fire at Powerscourt Castle in 1974. In the upper left of the main panel, the mural in the Holzschuher Chapel depicts the Assumption of Mary; the Ketzel Panel in Gotha shows an Assumption of Mary with many angels in the corresponding position. A striking similarity to the Assumption of Mary and the Ascension of Christ in the Holzschuher Chapel can be seen in the Jerusalem Tapestry of Count Palatine Ottheinrich from 1541, which is now in the Bavarian National Museum in Munich.
In the court records concerning the dispute between the Imhoff and Holzschuher families over the rights to the Holzschuher Chapel at the end of the 16th century, an elderly woman named Lochner testified that Peter Imhoff (who was married to Magdalena Holzschuher) had commissioned the painting in the wall niche behind the Entombment. His younger half-brother, Franz Imhoff, administrator of St. John's Church from 1510 to 1517, acquired an indulgence for the Holzschuher Chapel in Rome in 1515. Veit Holzschuher, however, claimed in 1572 that his ancestor Georg Holzschuher (brother of Magdalena Holzschuher and brother-in-law of Peter Imhoff) had commissioned the mural.Georg Holzschuher, who was buried in the Holzschuher Chapel in 1526 along with his wife Walburga, had himself traveled to Jerusalem in 1470.
Literature: Viscount Powerscourt: A Description and History of Powerscourt, 1903, pp. 63–64; Reiner Zittlau: Heiliggrabkapelle und Kreuzweg, Nuremberg 1992, p. 112, note 44; Fritz Traugott Schulz: Nürnbergs Bürgerhäuser und ihre Ausstattung, n.d., p. 513; Bart Holtermann: Pilgrimages in Images, New York 2013, pp. 46–56; Mordechay Lewy: Die Wahrnehmung von Jerusalem im Spätmittelalter, 2019 (online)
See also: Burial of Adam Kraft
Location: Nuremberg, St. John's Cemetery
photo 2021, Pablo de la Riestra
Wall painting of the Entombment
1508
Main panel of the wall niche depicting the Temple of Solomon based on models from the Nuremberg Chronicle of 1493
The painting, dated 1508 and by an unknown artist, in the niche behind the Entombment group in the Holzschuher Chapel, depicts Jerusalem with scenes from the Passion of Christ. It begins with Christ's entry into Jerusalem and ends with the Ascension. The Assumption of Mary is also depicted. For some of the prominent buildings, the artist drew on the Nuremberg Chronicle of 1493, whereby the artists who designed the chronicle, Michael Wolgemut and Wilhelm Pleydenwurff, in turn, used architectural elements from the epitaph of Adelheid Tucher with the Lamentation (circa 1483, now in the Tucher Castle Museum in Nuremberg, attributed to the Bamberg painter Wolfgang Katzheimer and workshop) as their model. Of particular note is the depiction of covered bazaar vaults with air vents, which first appears in a drawing accompanying Sebald Rieter's travelogue from 1479-80 (Bavarian State Library) and subsequently in the epitaph of Adelheid Tucher, in the Schedel World Chronicle, and in the wall paintings of the Holzschuher Chapel. Rieter had traveled to the Holy Land together with Hans Tucher, Adelheid's brother-in-law.
A famous depiction of Jerusalem with scenes from the Passion of Christ distributed within and around it, arranged similarly to the one in the Holzschuher Chapel, was created around 1470 by Hans Memling (Galleria Sabauda, Turin).
A similar depiction of the Ascension of Christ, as seen in the Holzschuher Chapel, is found on the Ketzel family panel in Gotha, at Friedenstein Castle. This panel, depicting the Holy Land, features Elector Frederick the Wise on the front and eight members of the Ketzel family who traveled to the Holy Land between 1389 and 1503 on the way back. According to a manuscript in the Germanisches Nationalmuseum (GNM, Ms. 7178, Vol. 6, p. 624) from the late 17th century, the Ketzel family commissioned two further panels listing the aforementioned eight members.
These panels were located in St. Sebald's Church and in the chapel of the House of the Golden Shield (formerly Schildgasse 23). The latter, also depicting the Holy Land, was seen by Christoph Wilder in the house when he drew a view of the chapel in 1854.
It could be identical to a panel painting acquired in Nuremberg (before 1862) by Frederick, 4th Marquis of Londonderry, and subsequently passed to his stepson, Mervyn Edward Wingfield, 7th Viscount of Powerscourt; this painting was destroyed in a fire at Powerscourt Castle in 1974. In the upper left of the main panel, the mural in the Holzschuher Chapel depicts the Assumption of Mary; the Ketzel Panel in Gotha shows an Assumption of Mary with many angels in the corresponding position. A striking similarity to the Assumption of Mary and the Ascension of Christ in the Holzschuher Chapel can be seen in the Jerusalem Tapestry of Count Palatine Ottheinrich from 1541, which is now in the Bavarian National Museum in Munich.
In the court records concerning the dispute between the Imhoff and Holzschuher families over the rights to the Holzschuher Chapel at the end of the 16th century, an elderly woman named Lochner testified that Peter Imhoff (who was married to Magdalena Holzschuher) had commissioned the painting in the wall niche behind the Entombment. His younger half-brother, Franz Imhoff, administrator of St. John's Church from 1510 to 1517, acquired an indulgence for the Holzschuher Chapel in Rome in 1515. Veit Holzschuher, however, claimed in 1572 that his ancestor Georg Holzschuher (brother of Magdalena Holzschuher and brother-in-law of Peter Imhoff) had commissioned the mural.Georg Holzschuher, who was buried in the Holzschuher Chapel in 1526 along with his wife Walburga, had himself traveled to Jerusalem in 1470.
Literature: Viscount Powerscourt: A Description and History of Powerscourt, 1903, pp. 63–64; Reiner Zittlau: Heiliggrabkapelle und Kreuzweg, Nuremberg 1992, p. 112, note 44; Fritz Traugott Schulz: Nürnbergs Bürgerhäuser und ihre Ausstattung, n.d., p. 513; Bart Holtermann: Pilgrimages in Images, New York 2013, pp. 46–56; Mordechay Lewy: Die Wahrnehmung von Jerusalem im Spätmittelalter, 2019 (online)
See also: Burial of Adam Kraft
Location: Nuremberg, St. John's Cemetery
photo 2021, Pablo de la Riestra
Wall painting of the Entombment
1508
Right wall section of the niche with scenes from the Passion of Christ: Christ before Pilate, Flagellation, Mocking, and Ecce Homo
The painting, dated 1508 and by an unknown artist, in the niche behind the Entombment group in the Holzschuher Chapel, depicts Jerusalem with scenes from the Passion of Christ. It begins with Christ's entry into Jerusalem and ends with the Ascension. The Assumption of Mary is also depicted. For some of the prominent buildings, the artist drew on the Nuremberg Chronicle of 1493, whereby the artists who designed the chronicle, Michael Wolgemut and Wilhelm Pleydenwurff, in turn, used architectural elements from the epitaph of Adelheid Tucher with the Lamentation (circa 1483, now in the Tucher Castle Museum in Nuremberg, attributed to the Bamberg painter Wolfgang Katzheimer and workshop) as their model. Of particular note is the depiction of covered bazaar vaults with air vents, which first appears in a drawing accompanying Sebald Rieter's travelogue from 1479-80 (Bavarian State Library) and subsequently in the epitaph of Adelheid Tucher, in the Schedel World Chronicle, and in the wall paintings of the Holzschuher Chapel. Rieter had traveled to the Holy Land together with Hans Tucher, Adelheid's brother-in-law.
A famous depiction of Jerusalem with scenes from the Passion of Christ distributed within and around it, arranged similarly to the one in the Holzschuher Chapel, was created around 1470 by Hans Memling (Galleria Sabauda, Turin).
A similar depiction of the Ascension of Christ, as seen in the Holzschuher Chapel, is found on the Ketzel family panel in Gotha, at Friedenstein Castle. This panel, depicting the Holy Land, features Elector Frederick the Wise on the front and eight members of the Ketzel family who traveled to the Holy Land between 1389 and 1503 on the way back. According to a manuscript in the Germanisches Nationalmuseum (GNM, Ms. 7178, Vol. 6, p. 624) from the late 17th century, the Ketzel family commissioned two further panels listing the aforementioned eight members.
These panels were located in St. Sebald's Church and in the chapel of the House of the Golden Shield (formerly Schildgasse 23). The latter, also depicting the Holy Land, was seen by Christoph Wilder in the house when he drew a view of the chapel in 1854.
It could be identical to a panel painting acquired in Nuremberg (before 1862) by Frederick, 4th Marquis of Londonderry, and subsequently passed to his stepson, Mervyn Edward Wingfield, 7th Viscount of Powerscourt; this painting was destroyed in a fire at Powerscourt Castle in 1974. In the upper left of the main panel, the mural in the Holzschuher Chapel depicts the Assumption of Mary; the Ketzel Panel in Gotha shows an Assumption of Mary with many angels in the corresponding position. A striking similarity to the Assumption of Mary and the Ascension of Christ in the Holzschuher Chapel can be seen in the Jerusalem Tapestry of Count Palatine Ottheinrich from 1541, which is now in the Bavarian National Museum in Munich.
In the court records concerning the dispute between the Imhoff and Holzschuher families over the rights to the Holzschuher Chapel at the end of the 16th century, an elderly woman named Lochner testified that Peter Imhoff (who was married to Magdalena Holzschuher) had commissioned the painting in the wall niche behind the Entombment. His younger half-brother, Franz Imhoff, administrator of St. John's Church from 1510 to 1517, acquired an indulgence for the Holzschuher Chapel in Rome in 1515. Veit Holzschuher, however, claimed in 1572 that his ancestor Georg Holzschuher (brother of Magdalena Holzschuher and brother-in-law of Peter Imhoff) had commissioned the mural.Georg Holzschuher, who was buried in the Holzschuher Chapel in 1526 along with his wife Walburga, had himself traveled to Jerusalem in 1470.
Literature: Viscount Powerscourt: A Description and History of Powerscourt, 1903, pp. 63–64; Reiner Zittlau: Heiliggrabkapelle und Kreuzweg, Nuremberg 1992, p. 112, note 44; Fritz Traugott Schulz: Nürnbergs Bürgerhäuser und ihre Ausstattung, n.d., p. 513; Bart Holtermann: Pilgrimages in Images, New York 2013, pp. 46–56; Mordechay Lewy: Die Wahrnehmung von Jerusalem im Spätmittelalter, 2019 (online)
See also: Burial of Adam Kraft
Location: Nuremberg, St. John's Cemetery
photo 2021, Theo Noll
Wall painting of the Entombment
1508
Right wall section of the niche
The painting, dated 1508 and by an unknown artist, in the niche behind the Entombment group in the Holzschuher Chapel, depicts Jerusalem with scenes from the Passion of Christ. It begins with Christ's entry into Jerusalem and ends with the Ascension. The Assumption of Mary is also depicted. For some of the prominent buildings, the artist drew on the Nuremberg Chronicle of 1493, whereby the artists who designed the chronicle, Michael Wolgemut and Wilhelm Pleydenwurff, in turn, used architectural elements from the epitaph of Adelheid Tucher with the Lamentation (circa 1483, now in the Tucher Castle Museum in Nuremberg, attributed to the Bamberg painter Wolfgang Katzheimer and workshop) as their model. Of particular note is the depiction of covered bazaar vaults with air vents, which first appears in a drawing accompanying Sebald Rieter's travelogue from 1479-80 (Bavarian State Library) and subsequently in the epitaph of Adelheid Tucher, in the Schedel World Chronicle, and in the wall paintings of the Holzschuher Chapel. Rieter had traveled to the Holy Land together with Hans Tucher, Adelheid's brother-in-law.
A famous depiction of Jerusalem with scenes from the Passion of Christ distributed within and around it, arranged similarly to the one in the Holzschuher Chapel, was created around 1470 by Hans Memling (Galleria Sabauda, Turin).
A similar depiction of the Ascension of Christ, as seen in the Holzschuher Chapel, is found on the Ketzel family panel in Gotha, at Friedenstein Castle. This panel, depicting the Holy Land, features Elector Frederick the Wise on the front and eight members of the Ketzel family who traveled to the Holy Land between 1389 and 1503 on the way back. According to a manuscript in the Germanisches Nationalmuseum (GNM, Ms. 7178, Vol. 6, p. 624) from the late 17th century, the Ketzel family commissioned two further panels listing the aforementioned eight members.
These panels were located in St. Sebald's Church and in the chapel of the House of the Golden Shield (formerly Schildgasse 23). The latter, also depicting the Holy Land, was seen by Christoph Wilder in the house when he drew a view of the chapel in 1854.
It could be identical to a panel painting acquired in Nuremberg (before 1862) by Frederick, 4th Marquis of Londonderry, and subsequently passed to his stepson, Mervyn Edward Wingfield, 7th Viscount of Powerscourt; this painting was destroyed in a fire at Powerscourt Castle in 1974. In the upper left of the main panel, the mural in the Holzschuher Chapel depicts the Assumption of Mary; the Ketzel Panel in Gotha shows an Assumption of Mary with many angels in the corresponding position. A striking similarity to the Assumption of Mary and the Ascension of Christ in the Holzschuher Chapel can be seen in the Jerusalem Tapestry of Count Palatine Ottheinrich from 1541, which is now in the Bavarian National Museum in Munich.
In the court records concerning the dispute between the Imhoff and Holzschuher families over the rights to the Holzschuher Chapel at the end of the 16th century, an elderly woman named Lochner testified that Peter Imhoff (who was married to Magdalena Holzschuher) had commissioned the painting in the wall niche behind the Entombment. His younger half-brother, Franz Imhoff, administrator of St. John's Church from 1510 to 1517, acquired an indulgence for the Holzschuher Chapel in Rome in 1515. Veit Holzschuher, however, claimed in 1572 that his ancestor Georg Holzschuher (brother of Magdalena Holzschuher and brother-in-law of Peter Imhoff) had commissioned the mural.Georg Holzschuher, who was buried in the Holzschuher Chapel in 1526 along with his wife Walburga, had himself traveled to Jerusalem in 1470.
Literature: Viscount Powerscourt: A Description and History of Powerscourt, 1903, pp. 63–64; Reiner Zittlau: Heiliggrabkapelle und Kreuzweg, Nuremberg 1992, p. 112, note 44; Fritz Traugott Schulz: Nürnbergs Bürgerhäuser und ihre Ausstattung, n.d., p. 513; Bart Holtermann: Pilgrimages in Images, New York 2013, pp. 46–56; Mordechay Lewy: Die Wahrnehmung von Jerusalem im Spätmittelalter, 2019 (online)
See also: Burial of Adam Kraft
Location: Nuremberg, St. John's Cemetery
photo 2021, Theo Noll
Wall painting of the Entombment
1508
Image comparison: left, from the Nuremberg Chronicle (1493), Jerusalem (note the round lighting openings in the house ceilings).
The painting, dated 1508 and by an unknown artist, in the niche behind the Entombment group in the Holzschuher Chapel, depicts Jerusalem with scenes from the Passion of Christ. It begins with Christ's entry into Jerusalem and ends with the Ascension. The Assumption of Mary is also depicted. For some of the prominent buildings, the artist drew on the Nuremberg Chronicle of 1493, whereby the artists who designed the chronicle, Michael Wolgemut and Wilhelm Pleydenwurff, in turn, used architectural elements from the epitaph of Adelheid Tucher with the Lamentation (circa 1483, now in the Tucher Castle Museum in Nuremberg, attributed to the Bamberg painter Wolfgang Katzheimer and workshop) as their model. Of particular note is the depiction of covered bazaar vaults with air vents, which first appears in a drawing accompanying Sebald Rieter's travelogue from 1479-80 (Bavarian State Library) and subsequently in the epitaph of Adelheid Tucher, in the Schedel World Chronicle, and in the wall paintings of the Holzschuher Chapel. Rieter had traveled to the Holy Land together with Hans Tucher, Adelheid's brother-in-law.
A famous depiction of Jerusalem with scenes from the Passion of Christ distributed within and around it, arranged similarly to the one in the Holzschuher Chapel, was created around 1470 by Hans Memling (Galleria Sabauda, Turin).
A similar depiction of the Ascension of Christ, as seen in the Holzschuher Chapel, is found on the Ketzel family panel in Gotha, at Friedenstein Castle. This panel, depicting the Holy Land, features Elector Frederick the Wise on the front and eight members of the Ketzel family who traveled to the Holy Land between 1389 and 1503 on the way back. According to a manuscript in the Germanisches Nationalmuseum (GNM, Ms. 7178, Vol. 6, p. 624) from the late 17th century, the Ketzel family commissioned two further panels listing the aforementioned eight members.
These panels were located in St. Sebald's Church and in the chapel of the House of the Golden Shield (formerly Schildgasse 23). The latter, also depicting the Holy Land, was seen by Christoph Wilder in the house when he drew a view of the chapel in 1854.
It could be identical to a panel painting acquired in Nuremberg (before 1862) by Frederick, 4th Marquis of Londonderry, and subsequently passed to his stepson, Mervyn Edward Wingfield, 7th Viscount of Powerscourt; this painting was destroyed in a fire at Powerscourt Castle in 1974. In the upper left of the main panel, the mural in the Holzschuher Chapel depicts the Assumption of Mary; the Ketzel Panel in Gotha shows an Assumption of Mary with many angels in the corresponding position. A striking similarity to the Assumption of Mary and the Ascension of Christ in the Holzschuher Chapel can be seen in the Jerusalem Tapestry of Count Palatine Ottheinrich from 1541, which is now in the Bavarian National Museum in Munich.
In the court records concerning the dispute between the Imhoff and Holzschuher families over the rights to the Holzschuher Chapel at the end of the 16th century, an elderly woman named Lochner testified that Peter Imhoff (who was married to Magdalena Holzschuher) had commissioned the painting in the wall niche behind the Entombment. His younger half-brother, Franz Imhoff, administrator of St. John's Church from 1510 to 1517, acquired an indulgence for the Holzschuher Chapel in Rome in 1515. Veit Holzschuher, however, claimed in 1572 that his ancestor Georg Holzschuher (brother of Magdalena Holzschuher and brother-in-law of Peter Imhoff) had commissioned the mural.Georg Holzschuher, who was buried in the Holzschuher Chapel in 1526 along with his wife Walburga, had himself traveled to Jerusalem in 1470.
Literature: Viscount Powerscourt: A Description and History of Powerscourt, 1903, pp. 63–64; Reiner Zittlau: Heiliggrabkapelle und Kreuzweg, Nuremberg 1992, p. 112, note 44; Fritz Traugott Schulz: Nürnbergs Bürgerhäuser und ihre Ausstattung, n.d., p. 513; Bart Holtermann: Pilgrimages in Images, New York 2013, pp. 46–56; Mordechay Lewy: Die Wahrnehmung von Jerusalem im Spätmittelalter, 2019 (online)
See also: Burial of Adam Kraft
Location: Nuremberg, St. John's Cemetery
photo 2021, Theo Noll
Wall painting of the Entombment
1508
Right side of the niche with scenes from the Passion of Christ: Christ before Pilate, the scourging, the mocking, and Ecce Homo.
The painting, dated 1508 and by an unknown artist, in the niche behind the Entombment group in the Holzschuher Chapel, depicts Jerusalem with scenes from the Passion of Christ. It begins with Christ's entry into Jerusalem and ends with the Ascension. The Assumption of Mary is also depicted. For some of the prominent buildings, the artist drew on the Nuremberg Chronicle of 1493, whereby the artists who designed the chronicle, Michael Wolgemut and Wilhelm Pleydenwurff, in turn, used architectural elements from the epitaph of Adelheid Tucher with the Lamentation (circa 1483, now in the Tucher Castle Museum in Nuremberg, attributed to the Bamberg painter Wolfgang Katzheimer and workshop) as their model. Of particular note is the depiction of covered bazaar vaults with air vents, which first appears in a drawing accompanying Sebald Rieter's travelogue from 1479-80 (Bavarian State Library) and subsequently in the epitaph of Adelheid Tucher, in the Schedel World Chronicle, and in the wall paintings of the Holzschuher Chapel. Rieter had traveled to the Holy Land together with Hans Tucher, Adelheid's brother-in-law.
A famous depiction of Jerusalem with scenes from the Passion of Christ distributed within and around it, arranged similarly to the one in the Holzschuher Chapel, was created around 1470 by Hans Memling (Galleria Sabauda, Turin).
A similar depiction of the Ascension of Christ, as seen in the Holzschuher Chapel, is found on the Ketzel family panel in Gotha, at Friedenstein Castle. This panel, depicting the Holy Land, features Elector Frederick the Wise on the front and eight members of the Ketzel family who traveled to the Holy Land between 1389 and 1503 on the way back. According to a manuscript in the Germanisches Nationalmuseum (GNM, Ms. 7178, Vol. 6, p. 624) from the late 17th century, the Ketzel family commissioned two further panels listing the aforementioned eight members.
These panels were located in St. Sebald's Church and in the chapel of the House of the Golden Shield (formerly Schildgasse 23). The latter, also depicting the Holy Land, was seen by Christoph Wilder in the house when he drew a view of the chapel in 1854.
It could be identical to a panel painting acquired in Nuremberg (before 1862) by Frederick, 4th Marquis of Londonderry, and subsequently passed to his stepson, Mervyn Edward Wingfield, 7th Viscount of Powerscourt; this painting was destroyed in a fire at Powerscourt Castle in 1974. In the upper left of the main panel, the mural in the Holzschuher Chapel depicts the Assumption of Mary; the Ketzel Panel in Gotha shows an Assumption of Mary with many angels in the corresponding position. A striking similarity to the Assumption of Mary and the Ascension of Christ in the Holzschuher Chapel can be seen in the Jerusalem Tapestry of Count Palatine Ottheinrich from 1541, which is now in the Bavarian National Museum in Munich.
In the court records concerning the dispute between the Imhoff and Holzschuher families over the rights to the Holzschuher Chapel at the end of the 16th century, an elderly woman named Lochner testified that Peter Imhoff (who was married to Magdalena Holzschuher) had commissioned the painting in the wall niche behind the Entombment. His younger half-brother, Franz Imhoff, administrator of St. John's Church from 1510 to 1517, acquired an indulgence for the Holzschuher Chapel in Rome in 1515. Veit Holzschuher, however, claimed in 1572 that his ancestor Georg Holzschuher (brother of Magdalena Holzschuher and brother-in-law of Peter Imhoff) had commissioned the mural.Georg Holzschuher, who was buried in the Holzschuher Chapel in 1526 along with his wife Walburga, had himself traveled to Jerusalem in 1470.
Literature: Viscount Powerscourt: A Description and History of Powerscourt, 1903, pp. 63–64; Reiner Zittlau: Heiliggrabkapelle und Kreuzweg, Nuremberg 1992, p. 112, note 44; Fritz Traugott Schulz: Nürnbergs Bürgerhäuser und ihre Ausstattung, n.d., p. 513; Bart Holtermann: Pilgrimages in Images, New York 2013, pp. 46–56; Mordechay Lewy: Die Wahrnehmung von Jerusalem im Spätmittelalter, 2019 (online)
See also: Burial of Adam Kraft
Location: Nuremberg, St. John's Cemetery
photo 2021, Pablo de la Riestra
Wall painting of the Entombment
1508
Church of the Holy Sepulchre in the wall painting and its reception approximately 200m from St. John's Cemetery Ironically, it was designed as cinema architecture (see: Orpheum)
The painting, dated 1508 and by an unknown artist, in the niche behind the Entombment group in the Holzschuher Chapel, depicts Jerusalem with scenes from the Passion of Christ. It begins with Christ's entry into Jerusalem and ends with the Ascension. The Assumption of Mary is also depicted. For some of the prominent buildings, the artist drew on the Nuremberg Chronicle of 1493, whereby the artists who designed the chronicle, Michael Wolgemut and Wilhelm Pleydenwurff, in turn, used architectural elements from the epitaph of Adelheid Tucher with the Lamentation (circa 1483, now in the Tucher Castle Museum in Nuremberg, attributed to the Bamberg painter Wolfgang Katzheimer and workshop) as their model. Of particular note is the depiction of covered bazaar vaults with air vents, which first appears in a drawing accompanying Sebald Rieter's travelogue from 1479-80 (Bavarian State Library) and subsequently in the epitaph of Adelheid Tucher, in the Schedel World Chronicle, and in the wall paintings of the Holzschuher Chapel. Rieter had traveled to the Holy Land together with Hans Tucher, Adelheid's brother-in-law.
A famous depiction of Jerusalem with scenes from the Passion of Christ distributed within and around it, arranged similarly to the one in the Holzschuher Chapel, was created around 1470 by Hans Memling (Galleria Sabauda, Turin).
A similar depiction of the Ascension of Christ, as seen in the Holzschuher Chapel, is found on the Ketzel family panel in Gotha, at Friedenstein Castle. This panel, depicting the Holy Land, features Elector Frederick the Wise on the front and eight members of the Ketzel family who traveled to the Holy Land between 1389 and 1503 on the way back. According to a manuscript in the Germanisches Nationalmuseum (GNM, Ms. 7178, Vol. 6, p. 624) from the late 17th century, the Ketzel family commissioned two further panels listing the aforementioned eight members.
These panels were located in St. Sebald's Church and in the chapel of the House of the Golden Shield (formerly Schildgasse 23). The latter, also depicting the Holy Land, was seen by Christoph Wilder in the house when he drew a view of the chapel in 1854.
It could be identical to a panel painting acquired in Nuremberg (before 1862) by Frederick, 4th Marquis of Londonderry, and subsequently passed to his stepson, Mervyn Edward Wingfield, 7th Viscount of Powerscourt; this painting was destroyed in a fire at Powerscourt Castle in 1974. In the upper left of the main panel, the mural in the Holzschuher Chapel depicts the Assumption of Mary; the Ketzel Panel in Gotha shows an Assumption of Mary with many angels in the corresponding position. A striking similarity to the Assumption of Mary and the Ascension of Christ in the Holzschuher Chapel can be seen in the Jerusalem Tapestry of Count Palatine Ottheinrich from 1541, which is now in the Bavarian National Museum in Munich.
In the court records concerning the dispute between the Imhoff and Holzschuher families over the rights to the Holzschuher Chapel at the end of the 16th century, an elderly woman named Lochner testified that Peter Imhoff (who was married to Magdalena Holzschuher) had commissioned the painting in the wall niche behind the Entombment. His younger half-brother, Franz Imhoff, administrator of St. John's Church from 1510 to 1517, acquired an indulgence for the Holzschuher Chapel in Rome in 1515. Veit Holzschuher, however, claimed in 1572 that his ancestor Georg Holzschuher (brother of Magdalena Holzschuher and brother-in-law of Peter Imhoff) had commissioned the mural.Georg Holzschuher, who was buried in the Holzschuher Chapel in 1526 along with his wife Walburga, had himself traveled to Jerusalem in 1470.
Literature: Viscount Powerscourt: A Description and History of Powerscourt, 1903, pp. 63–64; Reiner Zittlau: Heiliggrabkapelle und Kreuzweg, Nuremberg 1992, p. 112, note 44; Fritz Traugott Schulz: Nürnbergs Bürgerhäuser und ihre Ausstattung, n.d., p. 513; Bart Holtermann: Pilgrimages in Images, New York 2013, pp. 46–56; Mordechay Lewy: Die Wahrnehmung von Jerusalem im Spätmittelalter, 2019 (online)
See also: Burial of Adam Kraft
Location: Nuremberg, St. John's Cemetery
photo 2021, Pablo de la Riestra