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Crucifix

Crucifix View into the church from the east

Crucifix

around 1515

View into the church from the east


"The strong corpus, depicted in idealised beauty, hangs on the cross with its hands nailed to the crossbeahttps://www.deepl.com/pro?cta=header-pro-buttonms slightly above crown level. In contrast to the famous expressive crucifixes by Veit Stoß, this figure radiates great emotional calm. This is also expressed formally. The limbs are not painfully overstretched: the legs are only slightly bent, one above the other, and the arms are raised in a delicate curve.

The body contour runs in generous soft sweeps. The fluffy fabric of the loincloth over the crotch remains compact and does not develop a spatially moving life of its own. Only one fold over the right hip is voluminous, otherwise fine, sharply split folds define the fabric of the pubic cloth, which is pulled tightly around the loins and whose short, loose ends fall steeply down. The familiar small-wave swinging hem edges suggest slight movement of the textile. The treatment of the loincloth is involuntarily reminiscent of the design of the vestments in the Bruck Resurrection Christ or in the Nuremberg Annenschrein. The compactness of the strongly corporeal Christ's body in St. Jobst resembles the shrine figures in Bruck and Nuremberg with their bulging volumes. However, the compact proportions of the Bruck shrine figures have now been elongated into the noble, as in the Annenschrein in Lorenzen. Nevertheless, a comparative look at the heads of the Crucified and the Bruck Paul leaves no doubt about an attribution to the same carver." (Stefan Roller, Hans von Kulmbach und der Nürnberger Bildschnitzer Meister Jörg, in: Renaissance in Franken. Hans von Kulmbach and the Art around Dürer, 2022, p.117).


The original destination is not known. Stefan Roller suggests that the cross can be identified with the crucifix that stood in front of the west gallery of the Dominican Church in Nuremberg together with a Madonna below it. The Madonna is identified with the Nuremberg Madonna in the GNM, to which the crucifix from St. Jobst "with its slender silhouette of loincloth and legs fits perfectly with the slender figure of the Dolorosa, but which above all shows a much greater stylistic closeness [than the Christ in the Nuremberg Burgkapelle, which comes from the circle of Veit Stoß] and the same still-pathetic habitus". The cross in front of the west portal in the Dominican Church is 

mentioned for the first time in connection with an eternal endowment by Hieronymus Haller, who died in 1519 and could thus also be a potential donor of the crucifix and Madonna. Cf. Roller, pp. 122-123.



See: Nuremberg Madonna


Location: Nuremberg, St. Jobst

Design: Herb (Meister Jörg Pildschnitzer), Georg

Realization: Herb (Meister Jörg Pildschnitzer), Georg

Material: Wood

photo 2022, Theo Noll

Crucifix General view, south wall

Crucifix

around 1515

General view, south wall


"The strong corpus, depicted in idealised beauty, hangs on the cross with its hands nailed to the crossbeahttps://www.deepl.com/pro?cta=header-pro-buttonms slightly above crown level. In contrast to the famous expressive crucifixes by Veit Stoß, this figure radiates great emotional calm. This is also expressed formally. The limbs are not painfully overstretched: the legs are only slightly bent, one above the other, and the arms are raised in a delicate curve.

The body contour runs in generous soft sweeps. The fluffy fabric of the loincloth over the crotch remains compact and does not develop a spatially moving life of its own. Only one fold over the right hip is voluminous, otherwise fine, sharply split folds define the fabric of the pubic cloth, which is pulled tightly around the loins and whose short, loose ends fall steeply down. The familiar small-wave swinging hem edges suggest slight movement of the textile. The treatment of the loincloth is involuntarily reminiscent of the design of the vestments in the Bruck Resurrection Christ or in the Nuremberg Annenschrein. The compactness of the strongly corporeal Christ's body in St. Jobst resembles the shrine figures in Bruck and Nuremberg with their bulging volumes. However, the compact proportions of the Bruck shrine figures have now been elongated into the noble, as in the Annenschrein in Lorenzen. Nevertheless, a comparative look at the heads of the Crucified and the Bruck Paul leaves no doubt about an attribution to the same carver." (Stefan Roller, Hans von Kulmbach und der Nürnberger Bildschnitzer Meister Jörg, in: Renaissance in Franken. Hans von Kulmbach and the Art around Dürer, 2022, p.117).


The original destination is not known. Stefan Roller suggests that the cross can be identified with the crucifix that stood in front of the west gallery of the Dominican Church in Nuremberg together with a Madonna below it. The Madonna is identified with the Nuremberg Madonna in the GNM, to which the crucifix from St. Jobst "with its slender silhouette of loincloth and legs fits perfectly with the slender figure of the Dolorosa, but which above all shows a much greater stylistic closeness [than the Christ in the Nuremberg Burgkapelle, which comes from the circle of Veit Stoß] and the same still-pathetic habitus". The cross in front of the west portal in the Dominican Church is 

mentioned for the first time in connection with an eternal endowment by Hieronymus Haller, who died in 1519 and could thus also be a potential donor of the crucifix and Madonna. Cf. Roller, pp. 122-123.



See: Nuremberg Madonna


Location: Nuremberg, St. Jobst

Design: Herb (Meister Jörg Pildschnitzer), Georg

Realization: Herb (Meister Jörg Pildschnitzer), Georg

Material: Wood

photo 2022, Theo Noll

Crucifix side view

Crucifix

around 1515

side view


"The strong corpus, depicted in idealised beauty, hangs on the cross with its hands nailed to the crossbeahttps://www.deepl.com/pro?cta=header-pro-buttonms slightly above crown level. In contrast to the famous expressive crucifixes by Veit Stoß, this figure radiates great emotional calm. This is also expressed formally. The limbs are not painfully overstretched: the legs are only slightly bent, one above the other, and the arms are raised in a delicate curve.

The body contour runs in generous soft sweeps. The fluffy fabric of the loincloth over the crotch remains compact and does not develop a spatially moving life of its own. Only one fold over the right hip is voluminous, otherwise fine, sharply split folds define the fabric of the pubic cloth, which is pulled tightly around the loins and whose short, loose ends fall steeply down. The familiar small-wave swinging hem edges suggest slight movement of the textile. The treatment of the loincloth is involuntarily reminiscent of the design of the vestments in the Bruck Resurrection Christ or in the Nuremberg Annenschrein. The compactness of the strongly corporeal Christ's body in St. Jobst resembles the shrine figures in Bruck and Nuremberg with their bulging volumes. However, the compact proportions of the Bruck shrine figures have now been elongated into the noble, as in the Annenschrein in Lorenzen. Nevertheless, a comparative look at the heads of the Crucified and the Bruck Paul leaves no doubt about an attribution to the same carver." (Stefan Roller, Hans von Kulmbach und der Nürnberger Bildschnitzer Meister Jörg, in: Renaissance in Franken. Hans von Kulmbach and the Art around Dürer, 2022, p.117).


The original destination is not known. Stefan Roller suggests that the cross can be identified with the crucifix that stood in front of the west gallery of the Dominican Church in Nuremberg together with a Madonna below it. The Madonna is identified with the Nuremberg Madonna in the GNM, to which the crucifix from St. Jobst "with its slender silhouette of loincloth and legs fits perfectly with the slender figure of the Dolorosa, but which above all shows a much greater stylistic closeness [than the Christ in the Nuremberg Burgkapelle, which comes from the circle of Veit Stoß] and the same still-pathetic habitus". The cross in front of the west portal in the Dominican Church is 

mentioned for the first time in connection with an eternal endowment by Hieronymus Haller, who died in 1519 and could thus also be a potential donor of the crucifix and Madonna. Cf. Roller, pp. 122-123.



See: Nuremberg Madonna


Location: Nuremberg, St. Jobst

Design: Herb (Meister Jörg Pildschnitzer), Georg

Realization: Herb (Meister Jörg Pildschnitzer), Georg

Material: Wood

photo 2022, Theo Noll

Crucifix legs, side view

Crucifix

around 1515

legs, side view


"The strong corpus, depicted in idealised beauty, hangs on the cross with its hands nailed to the crossbeahttps://www.deepl.com/pro?cta=header-pro-buttonms slightly above crown level. In contrast to the famous expressive crucifixes by Veit Stoß, this figure radiates great emotional calm. This is also expressed formally. The limbs are not painfully overstretched: the legs are only slightly bent, one above the other, and the arms are raised in a delicate curve.

The body contour runs in generous soft sweeps. The fluffy fabric of the loincloth over the crotch remains compact and does not develop a spatially moving life of its own. Only one fold over the right hip is voluminous, otherwise fine, sharply split folds define the fabric of the pubic cloth, which is pulled tightly around the loins and whose short, loose ends fall steeply down. The familiar small-wave swinging hem edges suggest slight movement of the textile. The treatment of the loincloth is involuntarily reminiscent of the design of the vestments in the Bruck Resurrection Christ or in the Nuremberg Annenschrein. The compactness of the strongly corporeal Christ's body in St. Jobst resembles the shrine figures in Bruck and Nuremberg with their bulging volumes. However, the compact proportions of the Bruck shrine figures have now been elongated into the noble, as in the Annenschrein in Lorenzen. Nevertheless, a comparative look at the heads of the Crucified and the Bruck Paul leaves no doubt about an attribution to the same carver." (Stefan Roller, Hans von Kulmbach und der Nürnberger Bildschnitzer Meister Jörg, in: Renaissance in Franken. Hans von Kulmbach and the Art around Dürer, 2022, p.117).


The original destination is not known. Stefan Roller suggests that the cross can be identified with the crucifix that stood in front of the west gallery of the Dominican Church in Nuremberg together with a Madonna below it. The Madonna is identified with the Nuremberg Madonna in the GNM, to which the crucifix from St. Jobst "with its slender silhouette of loincloth and legs fits perfectly with the slender figure of the Dolorosa, but which above all shows a much greater stylistic closeness [than the Christ in the Nuremberg Burgkapelle, which comes from the circle of Veit Stoß] and the same still-pathetic habitus". The cross in front of the west portal in the Dominican Church is 

mentioned for the first time in connection with an eternal endowment by Hieronymus Haller, who died in 1519 and could thus also be a potential donor of the crucifix and Madonna. Cf. Roller, pp. 122-123.



See: Nuremberg Madonna


Location: Nuremberg, St. Jobst

Design: Herb (Meister Jörg Pildschnitzer), Georg

Realization: Herb (Meister Jörg Pildschnitzer), Georg

Material: Wood

photo 2022, Theo Noll

Crucifix

Crucifix

around 1515


"The strong corpus, depicted in idealised beauty, hangs on the cross with its hands nailed to the crossbeahttps://www.deepl.com/pro?cta=header-pro-buttonms slightly above crown level. In contrast to the famous expressive crucifixes by Veit Stoß, this figure radiates great emotional calm. This is also expressed formally. The limbs are not painfully overstretched: the legs are only slightly bent, one above the other, and the arms are raised in a delicate curve.

The body contour runs in generous soft sweeps. The fluffy fabric of the loincloth over the crotch remains compact and does not develop a spatially moving life of its own. Only one fold over the right hip is voluminous, otherwise fine, sharply split folds define the fabric of the pubic cloth, which is pulled tightly around the loins and whose short, loose ends fall steeply down. The familiar small-wave swinging hem edges suggest slight movement of the textile. The treatment of the loincloth is involuntarily reminiscent of the design of the vestments in the Bruck Resurrection Christ or in the Nuremberg Annenschrein. The compactness of the strongly corporeal Christ's body in St. Jobst resembles the shrine figures in Bruck and Nuremberg with their bulging volumes. However, the compact proportions of the Bruck shrine figures have now been elongated into the noble, as in the Annenschrein in Lorenzen. Nevertheless, a comparative look at the heads of the Crucified and the Bruck Paul leaves no doubt about an attribution to the same carver." (Stefan Roller, Hans von Kulmbach und der Nürnberger Bildschnitzer Meister Jörg, in: Renaissance in Franken. Hans von Kulmbach and the Art around Dürer, 2022, p.117).


The original destination is not known. Stefan Roller suggests that the cross can be identified with the crucifix that stood in front of the west gallery of the Dominican Church in Nuremberg together with a Madonna below it. The Madonna is identified with the Nuremberg Madonna in the GNM, to which the crucifix from St. Jobst "with its slender silhouette of loincloth and legs fits perfectly with the slender figure of the Dolorosa, but which above all shows a much greater stylistic closeness [than the Christ in the Nuremberg Burgkapelle, which comes from the circle of Veit Stoß] and the same still-pathetic habitus". The cross in front of the west portal in the Dominican Church is 

mentioned for the first time in connection with an eternal endowment by Hieronymus Haller, who died in 1519 and could thus also be a potential donor of the crucifix and Madonna. Cf. Roller, pp. 122-123.



See: Nuremberg Madonna


Location: Nuremberg, St. Jobst

Design: Herb (Meister Jörg Pildschnitzer), Georg

Realization: Herb (Meister Jörg Pildschnitzer), Georg

Material: Wood

photo 2022, Theo Noll

Crucifix Head, view from the front

Crucifix

around 1515

Head, view from the front


"The strong corpus, depicted in idealised beauty, hangs on the cross with its hands nailed to the crossbeahttps://www.deepl.com/pro?cta=header-pro-buttonms slightly above crown level. In contrast to the famous expressive crucifixes by Veit Stoß, this figure radiates great emotional calm. This is also expressed formally. The limbs are not painfully overstretched: the legs are only slightly bent, one above the other, and the arms are raised in a delicate curve.

The body contour runs in generous soft sweeps. The fluffy fabric of the loincloth over the crotch remains compact and does not develop a spatially moving life of its own. Only one fold over the right hip is voluminous, otherwise fine, sharply split folds define the fabric of the pubic cloth, which is pulled tightly around the loins and whose short, loose ends fall steeply down. The familiar small-wave swinging hem edges suggest slight movement of the textile. The treatment of the loincloth is involuntarily reminiscent of the design of the vestments in the Bruck Resurrection Christ or in the Nuremberg Annenschrein. The compactness of the strongly corporeal Christ's body in St. Jobst resembles the shrine figures in Bruck and Nuremberg with their bulging volumes. However, the compact proportions of the Bruck shrine figures have now been elongated into the noble, as in the Annenschrein in Lorenzen. Nevertheless, a comparative look at the heads of the Crucified and the Bruck Paul leaves no doubt about an attribution to the same carver." (Stefan Roller, Hans von Kulmbach und der Nürnberger Bildschnitzer Meister Jörg, in: Renaissance in Franken. Hans von Kulmbach and the Art around Dürer, 2022, p.117).


The original destination is not known. Stefan Roller suggests that the cross can be identified with the crucifix that stood in front of the west gallery of the Dominican Church in Nuremberg together with a Madonna below it. The Madonna is identified with the Nuremberg Madonna in the GNM, to which the crucifix from St. Jobst "with its slender silhouette of loincloth and legs fits perfectly with the slender figure of the Dolorosa, but which above all shows a much greater stylistic closeness [than the Christ in the Nuremberg Burgkapelle, which comes from the circle of Veit Stoß] and the same still-pathetic habitus". The cross in front of the west portal in the Dominican Church is 

mentioned for the first time in connection with an eternal endowment by Hieronymus Haller, who died in 1519 and could thus also be a potential donor of the crucifix and Madonna. Cf. Roller, pp. 122-123.



See: Nuremberg Madonna


Location: Nuremberg, St. Jobst

Design: Herb (Meister Jörg Pildschnitzer), Georg

Realization: Herb (Meister Jörg Pildschnitzer), Georg

Material: Wood

photo 2022, Theo Noll

Crucifix Front view

Crucifix

around 1515

Front view


"The strong corpus, depicted in idealised beauty, hangs on the cross with its hands nailed to the crossbeahttps://www.deepl.com/pro?cta=header-pro-buttonms slightly above crown level. In contrast to the famous expressive crucifixes by Veit Stoß, this figure radiates great emotional calm. This is also expressed formally. The limbs are not painfully overstretched: the legs are only slightly bent, one above the other, and the arms are raised in a delicate curve.

The body contour runs in generous soft sweeps. The fluffy fabric of the loincloth over the crotch remains compact and does not develop a spatially moving life of its own. Only one fold over the right hip is voluminous, otherwise fine, sharply split folds define the fabric of the pubic cloth, which is pulled tightly around the loins and whose short, loose ends fall steeply down. The familiar small-wave swinging hem edges suggest slight movement of the textile. The treatment of the loincloth is involuntarily reminiscent of the design of the vestments in the Bruck Resurrection Christ or in the Nuremberg Annenschrein. The compactness of the strongly corporeal Christ's body in St. Jobst resembles the shrine figures in Bruck and Nuremberg with their bulging volumes. However, the compact proportions of the Bruck shrine figures have now been elongated into the noble, as in the Annenschrein in Lorenzen. Nevertheless, a comparative look at the heads of the Crucified and the Bruck Paul leaves no doubt about an attribution to the same carver." (Stefan Roller, Hans von Kulmbach und der Nürnberger Bildschnitzer Meister Jörg, in: Renaissance in Franken. Hans von Kulmbach and the Art around Dürer, 2022, p.117).


The original destination is not known. Stefan Roller suggests that the cross can be identified with the crucifix that stood in front of the west gallery of the Dominican Church in Nuremberg together with a Madonna below it. The Madonna is identified with the Nuremberg Madonna in the GNM, to which the crucifix from St. Jobst "with its slender silhouette of loincloth and legs fits perfectly with the slender figure of the Dolorosa, but which above all shows a much greater stylistic closeness [than the Christ in the Nuremberg Burgkapelle, which comes from the circle of Veit Stoß] and the same still-pathetic habitus". The cross in front of the west portal in the Dominican Church is 

mentioned for the first time in connection with an eternal endowment by Hieronymus Haller, who died in 1519 and could thus also be a potential donor of the crucifix and Madonna. Cf. Roller, pp. 122-123.



See: Nuremberg Madonna


Location: Nuremberg, St. Jobst

Design: Herb (Meister Jörg Pildschnitzer), Georg

Realization: Herb (Meister Jörg Pildschnitzer), Georg

Material: Wood

photo 2022, Theo Noll

Crucifix Detailed view of the left arm

Crucifix

around 1515

Detailed view of the left arm


"The strong corpus, depicted in idealised beauty, hangs on the cross with its hands nailed to the crossbeahttps://www.deepl.com/pro?cta=header-pro-buttonms slightly above crown level. In contrast to the famous expressive crucifixes by Veit Stoß, this figure radiates great emotional calm. This is also expressed formally. The limbs are not painfully overstretched: the legs are only slightly bent, one above the other, and the arms are raised in a delicate curve.

The body contour runs in generous soft sweeps. The fluffy fabric of the loincloth over the crotch remains compact and does not develop a spatially moving life of its own. Only one fold over the right hip is voluminous, otherwise fine, sharply split folds define the fabric of the pubic cloth, which is pulled tightly around the loins and whose short, loose ends fall steeply down. The familiar small-wave swinging hem edges suggest slight movement of the textile. The treatment of the loincloth is involuntarily reminiscent of the design of the vestments in the Bruck Resurrection Christ or in the Nuremberg Annenschrein. The compactness of the strongly corporeal Christ's body in St. Jobst resembles the shrine figures in Bruck and Nuremberg with their bulging volumes. However, the compact proportions of the Bruck shrine figures have now been elongated into the noble, as in the Annenschrein in Lorenzen. Nevertheless, a comparative look at the heads of the Crucified and the Bruck Paul leaves no doubt about an attribution to the same carver." (Stefan Roller, Hans von Kulmbach und der Nürnberger Bildschnitzer Meister Jörg, in: Renaissance in Franken. Hans von Kulmbach and the Art around Dürer, 2022, p.117).


The original destination is not known. Stefan Roller suggests that the cross can be identified with the crucifix that stood in front of the west gallery of the Dominican Church in Nuremberg together with a Madonna below it. The Madonna is identified with the Nuremberg Madonna in the GNM, to which the crucifix from St. Jobst "with its slender silhouette of loincloth and legs fits perfectly with the slender figure of the Dolorosa, but which above all shows a much greater stylistic closeness [than the Christ in the Nuremberg Burgkapelle, which comes from the circle of Veit Stoß] and the same still-pathetic habitus". The cross in front of the west portal in the Dominican Church is 

mentioned for the first time in connection with an eternal endowment by Hieronymus Haller, who died in 1519 and could thus also be a potential donor of the crucifix and Madonna. Cf. Roller, pp. 122-123.



See: Nuremberg Madonna


Location: Nuremberg, St. Jobst

Design: Herb (Meister Jörg Pildschnitzer), Georg

Realization: Herb (Meister Jörg Pildschnitzer), Georg

Material: Wood

photo 2022, Theo Noll

Crucifix Detailed view

Crucifix

around 1515

Detailed view


"The strong corpus, depicted in idealised beauty, hangs on the cross with its hands nailed to the crossbeahttps://www.deepl.com/pro?cta=header-pro-buttonms slightly above crown level. In contrast to the famous expressive crucifixes by Veit Stoß, this figure radiates great emotional calm. This is also expressed formally. The limbs are not painfully overstretched: the legs are only slightly bent, one above the other, and the arms are raised in a delicate curve.

The body contour runs in generous soft sweeps. The fluffy fabric of the loincloth over the crotch remains compact and does not develop a spatially moving life of its own. Only one fold over the right hip is voluminous, otherwise fine, sharply split folds define the fabric of the pubic cloth, which is pulled tightly around the loins and whose short, loose ends fall steeply down. The familiar small-wave swinging hem edges suggest slight movement of the textile. The treatment of the loincloth is involuntarily reminiscent of the design of the vestments in the Bruck Resurrection Christ or in the Nuremberg Annenschrein. The compactness of the strongly corporeal Christ's body in St. Jobst resembles the shrine figures in Bruck and Nuremberg with their bulging volumes. However, the compact proportions of the Bruck shrine figures have now been elongated into the noble, as in the Annenschrein in Lorenzen. Nevertheless, a comparative look at the heads of the Crucified and the Bruck Paul leaves no doubt about an attribution to the same carver." (Stefan Roller, Hans von Kulmbach und der Nürnberger Bildschnitzer Meister Jörg, in: Renaissance in Franken. Hans von Kulmbach and the Art around Dürer, 2022, p.117).


The original destination is not known. Stefan Roller suggests that the cross can be identified with the crucifix that stood in front of the west gallery of the Dominican Church in Nuremberg together with a Madonna below it. The Madonna is identified with the Nuremberg Madonna in the GNM, to which the crucifix from St. Jobst "with its slender silhouette of loincloth and legs fits perfectly with the slender figure of the Dolorosa, but which above all shows a much greater stylistic closeness [than the Christ in the Nuremberg Burgkapelle, which comes from the circle of Veit Stoß] and the same still-pathetic habitus". The cross in front of the west portal in the Dominican Church is 

mentioned for the first time in connection with an eternal endowment by Hieronymus Haller, who died in 1519 and could thus also be a potential donor of the crucifix and Madonna. Cf. Roller, pp. 122-123.



See: Nuremberg Madonna


Location: Nuremberg, St. Jobst

Design: Herb (Meister Jörg Pildschnitzer), Georg

Realization: Herb (Meister Jörg Pildschnitzer), Georg

Material: Wood

photo 2022, Theo Noll

Crucifix Detailed view

Crucifix

around 1515

Detailed view


"The strong corpus, depicted in idealised beauty, hangs on the cross with its hands nailed to the crossbeahttps://www.deepl.com/pro?cta=header-pro-buttonms slightly above crown level. In contrast to the famous expressive crucifixes by Veit Stoß, this figure radiates great emotional calm. This is also expressed formally. The limbs are not painfully overstretched: the legs are only slightly bent, one above the other, and the arms are raised in a delicate curve.

The body contour runs in generous soft sweeps. The fluffy fabric of the loincloth over the crotch remains compact and does not develop a spatially moving life of its own. Only one fold over the right hip is voluminous, otherwise fine, sharply split folds define the fabric of the pubic cloth, which is pulled tightly around the loins and whose short, loose ends fall steeply down. The familiar small-wave swinging hem edges suggest slight movement of the textile. The treatment of the loincloth is involuntarily reminiscent of the design of the vestments in the Bruck Resurrection Christ or in the Nuremberg Annenschrein. The compactness of the strongly corporeal Christ's body in St. Jobst resembles the shrine figures in Bruck and Nuremberg with their bulging volumes. However, the compact proportions of the Bruck shrine figures have now been elongated into the noble, as in the Annenschrein in Lorenzen. Nevertheless, a comparative look at the heads of the Crucified and the Bruck Paul leaves no doubt about an attribution to the same carver." (Stefan Roller, Hans von Kulmbach und der Nürnberger Bildschnitzer Meister Jörg, in: Renaissance in Franken. Hans von Kulmbach and the Art around Dürer, 2022, p.117).


The original destination is not known. Stefan Roller suggests that the cross can be identified with the crucifix that stood in front of the west gallery of the Dominican Church in Nuremberg together with a Madonna below it. The Madonna is identified with the Nuremberg Madonna in the GNM, to which the crucifix from St. Jobst "with its slender silhouette of loincloth and legs fits perfectly with the slender figure of the Dolorosa, but which above all shows a much greater stylistic closeness [than the Christ in the Nuremberg Burgkapelle, which comes from the circle of Veit Stoß] and the same still-pathetic habitus". The cross in front of the west portal in the Dominican Church is 

mentioned for the first time in connection with an eternal endowment by Hieronymus Haller, who died in 1519 and could thus also be a potential donor of the crucifix and Madonna. Cf. Roller, pp. 122-123.



See: Nuremberg Madonna


Location: Nuremberg, St. Jobst

Design: Herb (Meister Jörg Pildschnitzer), Georg

Realization: Herb (Meister Jörg Pildschnitzer), Georg

Material: Wood

photo 2022, Theo Noll

Crucifix Detailed view (flashlight)

Crucifix

around 1515

Detailed view (flashlight)


"The strong corpus, depicted in idealised beauty, hangs on the cross with its hands nailed to the crossbeahttps://www.deepl.com/pro?cta=header-pro-buttonms slightly above crown level. In contrast to the famous expressive crucifixes by Veit Stoß, this figure radiates great emotional calm. This is also expressed formally. The limbs are not painfully overstretched: the legs are only slightly bent, one above the other, and the arms are raised in a delicate curve.

The body contour runs in generous soft sweeps. The fluffy fabric of the loincloth over the crotch remains compact and does not develop a spatially moving life of its own. Only one fold over the right hip is voluminous, otherwise fine, sharply split folds define the fabric of the pubic cloth, which is pulled tightly around the loins and whose short, loose ends fall steeply down. The familiar small-wave swinging hem edges suggest slight movement of the textile. The treatment of the loincloth is involuntarily reminiscent of the design of the vestments in the Bruck Resurrection Christ or in the Nuremberg Annenschrein. The compactness of the strongly corporeal Christ's body in St. Jobst resembles the shrine figures in Bruck and Nuremberg with their bulging volumes. However, the compact proportions of the Bruck shrine figures have now been elongated into the noble, as in the Annenschrein in Lorenzen. Nevertheless, a comparative look at the heads of the Crucified and the Bruck Paul leaves no doubt about an attribution to the same carver." (Stefan Roller, Hans von Kulmbach und der Nürnberger Bildschnitzer Meister Jörg, in: Renaissance in Franken. Hans von Kulmbach and the Art around Dürer, 2022, p.117).


The original destination is not known. Stefan Roller suggests that the cross can be identified with the crucifix that stood in front of the west gallery of the Dominican Church in Nuremberg together with a Madonna below it. The Madonna is identified with the Nuremberg Madonna in the GNM, to which the crucifix from St. Jobst "with its slender silhouette of loincloth and legs fits perfectly with the slender figure of the Dolorosa, but which above all shows a much greater stylistic closeness [than the Christ in the Nuremberg Burgkapelle, which comes from the circle of Veit Stoß] and the same still-pathetic habitus". The cross in front of the west portal in the Dominican Church is 

mentioned for the first time in connection with an eternal endowment by Hieronymus Haller, who died in 1519 and could thus also be a potential donor of the crucifix and Madonna. Cf. Roller, pp. 122-123.



See: Nuremberg Madonna


Location: Nuremberg, St. Jobst

Design: Herb (Meister Jörg Pildschnitzer), Georg

Realization: Herb (Meister Jörg Pildschnitzer), Georg

Material: Wood

photo 2022, Theo Noll

Crucifix Loincloth with the "small-wave swinging hem edges"

Crucifix

around 1515

Loincloth with the "small-wave swinging hem edges"


"The strong corpus, depicted in idealised beauty, hangs on the cross with its hands nailed to the crossbeahttps://www.deepl.com/pro?cta=header-pro-buttonms slightly above crown level. In contrast to the famous expressive crucifixes by Veit Stoß, this figure radiates great emotional calm. This is also expressed formally. The limbs are not painfully overstretched: the legs are only slightly bent, one above the other, and the arms are raised in a delicate curve.

The body contour runs in generous soft sweeps. The fluffy fabric of the loincloth over the crotch remains compact and does not develop a spatially moving life of its own. Only one fold over the right hip is voluminous, otherwise fine, sharply split folds define the fabric of the pubic cloth, which is pulled tightly around the loins and whose short, loose ends fall steeply down. The familiar small-wave swinging hem edges suggest slight movement of the textile. The treatment of the loincloth is involuntarily reminiscent of the design of the vestments in the Bruck Resurrection Christ or in the Nuremberg Annenschrein. The compactness of the strongly corporeal Christ's body in St. Jobst resembles the shrine figures in Bruck and Nuremberg with their bulging volumes. However, the compact proportions of the Bruck shrine figures have now been elongated into the noble, as in the Annenschrein in Lorenzen. Nevertheless, a comparative look at the heads of the Crucified and the Bruck Paul leaves no doubt about an attribution to the same carver." (Stefan Roller, Hans von Kulmbach und der Nürnberger Bildschnitzer Meister Jörg, in: Renaissance in Franken. Hans von Kulmbach and the Art around Dürer, 2022, p.117).


The original destination is not known. Stefan Roller suggests that the cross can be identified with the crucifix that stood in front of the west gallery of the Dominican Church in Nuremberg together with a Madonna below it. The Madonna is identified with the Nuremberg Madonna in the GNM, to which the crucifix from St. Jobst "with its slender silhouette of loincloth and legs fits perfectly with the slender figure of the Dolorosa, but which above all shows a much greater stylistic closeness [than the Christ in the Nuremberg Burgkapelle, which comes from the circle of Veit Stoß] and the same still-pathetic habitus". The cross in front of the west portal in the Dominican Church is 

mentioned for the first time in connection with an eternal endowment by Hieronymus Haller, who died in 1519 and could thus also be a potential donor of the crucifix and Madonna. Cf. Roller, pp. 122-123.



See: Nuremberg Madonna


Location: Nuremberg, St. Jobst

Design: Herb (Meister Jörg Pildschnitzer), Georg

Realization: Herb (Meister Jörg Pildschnitzer), Georg

Material: Wood

photo 2022, Theo Noll

Crucifix Loincloth with the "small-wave swinging hem edges", side view

Crucifix

around 1515

Loincloth with the "small-wave swinging hem edges", side view


"The strong corpus, depicted in idealised beauty, hangs on the cross with its hands nailed to the crossbeahttps://www.deepl.com/pro?cta=header-pro-buttonms slightly above crown level. In contrast to the famous expressive crucifixes by Veit Stoß, this figure radiates great emotional calm. This is also expressed formally. The limbs are not painfully overstretched: the legs are only slightly bent, one above the other, and the arms are raised in a delicate curve.

The body contour runs in generous soft sweeps. The fluffy fabric of the loincloth over the crotch remains compact and does not develop a spatially moving life of its own. Only one fold over the right hip is voluminous, otherwise fine, sharply split folds define the fabric of the pubic cloth, which is pulled tightly around the loins and whose short, loose ends fall steeply down. The familiar small-wave swinging hem edges suggest slight movement of the textile. The treatment of the loincloth is involuntarily reminiscent of the design of the vestments in the Bruck Resurrection Christ or in the Nuremberg Annenschrein. The compactness of the strongly corporeal Christ's body in St. Jobst resembles the shrine figures in Bruck and Nuremberg with their bulging volumes. However, the compact proportions of the Bruck shrine figures have now been elongated into the noble, as in the Annenschrein in Lorenzen. Nevertheless, a comparative look at the heads of the Crucified and the Bruck Paul leaves no doubt about an attribution to the same carver." (Stefan Roller, Hans von Kulmbach und der Nürnberger Bildschnitzer Meister Jörg, in: Renaissance in Franken. Hans von Kulmbach and the Art around Dürer, 2022, p.117).


The original destination is not known. Stefan Roller suggests that the cross can be identified with the crucifix that stood in front of the west gallery of the Dominican Church in Nuremberg together with a Madonna below it. The Madonna is identified with the Nuremberg Madonna in the GNM, to which the crucifix from St. Jobst "with its slender silhouette of loincloth and legs fits perfectly with the slender figure of the Dolorosa, but which above all shows a much greater stylistic closeness [than the Christ in the Nuremberg Burgkapelle, which comes from the circle of Veit Stoß] and the same still-pathetic habitus". The cross in front of the west portal in the Dominican Church is 

mentioned for the first time in connection with an eternal endowment by Hieronymus Haller, who died in 1519 and could thus also be a potential donor of the crucifix and Madonna. Cf. Roller, pp. 122-123.



See: Nuremberg Madonna


Location: Nuremberg, St. Jobst

Design: Herb (Meister Jörg Pildschnitzer), Georg

Realization: Herb (Meister Jörg Pildschnitzer), Georg

Material: Wood

photo 2022, Theo Noll

Crucifix Detailed view of the right arm

Crucifix

around 1515

Detailed view of the right arm


"The strong corpus, depicted in idealised beauty, hangs on the cross with its hands nailed to the crossbeahttps://www.deepl.com/pro?cta=header-pro-buttonms slightly above crown level. In contrast to the famous expressive crucifixes by Veit Stoß, this figure radiates great emotional calm. This is also expressed formally. The limbs are not painfully overstretched: the legs are only slightly bent, one above the other, and the arms are raised in a delicate curve.

The body contour runs in generous soft sweeps. The fluffy fabric of the loincloth over the crotch remains compact and does not develop a spatially moving life of its own. Only one fold over the right hip is voluminous, otherwise fine, sharply split folds define the fabric of the pubic cloth, which is pulled tightly around the loins and whose short, loose ends fall steeply down. The familiar small-wave swinging hem edges suggest slight movement of the textile. The treatment of the loincloth is involuntarily reminiscent of the design of the vestments in the Bruck Resurrection Christ or in the Nuremberg Annenschrein. The compactness of the strongly corporeal Christ's body in St. Jobst resembles the shrine figures in Bruck and Nuremberg with their bulging volumes. However, the compact proportions of the Bruck shrine figures have now been elongated into the noble, as in the Annenschrein in Lorenzen. Nevertheless, a comparative look at the heads of the Crucified and the Bruck Paul leaves no doubt about an attribution to the same carver." (Stefan Roller, Hans von Kulmbach und der Nürnberger Bildschnitzer Meister Jörg, in: Renaissance in Franken. Hans von Kulmbach and the Art around Dürer, 2022, p.117).


The original destination is not known. Stefan Roller suggests that the cross can be identified with the crucifix that stood in front of the west gallery of the Dominican Church in Nuremberg together with a Madonna below it. The Madonna is identified with the Nuremberg Madonna in the GNM, to which the crucifix from St. Jobst "with its slender silhouette of loincloth and legs fits perfectly with the slender figure of the Dolorosa, but which above all shows a much greater stylistic closeness [than the Christ in the Nuremberg Burgkapelle, which comes from the circle of Veit Stoß] and the same still-pathetic habitus". The cross in front of the west portal in the Dominican Church is 

mentioned for the first time in connection with an eternal endowment by Hieronymus Haller, who died in 1519 and could thus also be a potential donor of the crucifix and Madonna. Cf. Roller, pp. 122-123.



See: Nuremberg Madonna


Location: Nuremberg, St. Jobst

Design: Herb (Meister Jörg Pildschnitzer), Georg

Realization: Herb (Meister Jörg Pildschnitzer), Georg

Material: Wood

photo 2022, Theo Noll

Crucifix Detailed view of the legs

Crucifix

around 1515

Detailed view of the legs


"The strong corpus, depicted in idealised beauty, hangs on the cross with its hands nailed to the crossbeahttps://www.deepl.com/pro?cta=header-pro-buttonms slightly above crown level. In contrast to the famous expressive crucifixes by Veit Stoß, this figure radiates great emotional calm. This is also expressed formally. The limbs are not painfully overstretched: the legs are only slightly bent, one above the other, and the arms are raised in a delicate curve.

The body contour runs in generous soft sweeps. The fluffy fabric of the loincloth over the crotch remains compact and does not develop a spatially moving life of its own. Only one fold over the right hip is voluminous, otherwise fine, sharply split folds define the fabric of the pubic cloth, which is pulled tightly around the loins and whose short, loose ends fall steeply down. The familiar small-wave swinging hem edges suggest slight movement of the textile. The treatment of the loincloth is involuntarily reminiscent of the design of the vestments in the Bruck Resurrection Christ or in the Nuremberg Annenschrein. The compactness of the strongly corporeal Christ's body in St. Jobst resembles the shrine figures in Bruck and Nuremberg with their bulging volumes. However, the compact proportions of the Bruck shrine figures have now been elongated into the noble, as in the Annenschrein in Lorenzen. Nevertheless, a comparative look at the heads of the Crucified and the Bruck Paul leaves no doubt about an attribution to the same carver." (Stefan Roller, Hans von Kulmbach und der Nürnberger Bildschnitzer Meister Jörg, in: Renaissance in Franken. Hans von Kulmbach and the Art around Dürer, 2022, p.117).


The original destination is not known. Stefan Roller suggests that the cross can be identified with the crucifix that stood in front of the west gallery of the Dominican Church in Nuremberg together with a Madonna below it. The Madonna is identified with the Nuremberg Madonna in the GNM, to which the crucifix from St. Jobst "with its slender silhouette of loincloth and legs fits perfectly with the slender figure of the Dolorosa, but which above all shows a much greater stylistic closeness [than the Christ in the Nuremberg Burgkapelle, which comes from the circle of Veit Stoß] and the same still-pathetic habitus". The cross in front of the west portal in the Dominican Church is 

mentioned for the first time in connection with an eternal endowment by Hieronymus Haller, who died in 1519 and could thus also be a potential donor of the crucifix and Madonna. Cf. Roller, pp. 122-123.



See: Nuremberg Madonna


Location: Nuremberg, St. Jobst

Design: Herb (Meister Jörg Pildschnitzer), Georg

Realization: Herb (Meister Jörg Pildschnitzer), Georg

Material: Wood

photo 2022, Theo Noll

Crucifix Oblique view from the west

Crucifix

around 1515

Oblique view from the west


"The strong corpus, depicted in idealised beauty, hangs on the cross with its hands nailed to the crossbeahttps://www.deepl.com/pro?cta=header-pro-buttonms slightly above crown level. In contrast to the famous expressive crucifixes by Veit Stoß, this figure radiates great emotional calm. This is also expressed formally. The limbs are not painfully overstretched: the legs are only slightly bent, one above the other, and the arms are raised in a delicate curve.

The body contour runs in generous soft sweeps. The fluffy fabric of the loincloth over the crotch remains compact and does not develop a spatially moving life of its own. Only one fold over the right hip is voluminous, otherwise fine, sharply split folds define the fabric of the pubic cloth, which is pulled tightly around the loins and whose short, loose ends fall steeply down. The familiar small-wave swinging hem edges suggest slight movement of the textile. The treatment of the loincloth is involuntarily reminiscent of the design of the vestments in the Bruck Resurrection Christ or in the Nuremberg Annenschrein. The compactness of the strongly corporeal Christ's body in St. Jobst resembles the shrine figures in Bruck and Nuremberg with their bulging volumes. However, the compact proportions of the Bruck shrine figures have now been elongated into the noble, as in the Annenschrein in Lorenzen. Nevertheless, a comparative look at the heads of the Crucified and the Bruck Paul leaves no doubt about an attribution to the same carver." (Stefan Roller, Hans von Kulmbach und der Nürnberger Bildschnitzer Meister Jörg, in: Renaissance in Franken. Hans von Kulmbach and the Art around Dürer, 2022, p.117).


The original destination is not known. Stefan Roller suggests that the cross can be identified with the crucifix that stood in front of the west gallery of the Dominican Church in Nuremberg together with a Madonna below it. The Madonna is identified with the Nuremberg Madonna in the GNM, to which the crucifix from St. Jobst "with its slender silhouette of loincloth and legs fits perfectly with the slender figure of the Dolorosa, but which above all shows a much greater stylistic closeness [than the Christ in the Nuremberg Burgkapelle, which comes from the circle of Veit Stoß] and the same still-pathetic habitus". The cross in front of the west portal in the Dominican Church is 

mentioned for the first time in connection with an eternal endowment by Hieronymus Haller, who died in 1519 and could thus also be a potential donor of the crucifix and Madonna. Cf. Roller, pp. 122-123.



See: Nuremberg Madonna


Location: Nuremberg, St. Jobst

Design: Herb (Meister Jörg Pildschnitzer), Georg

Realization: Herb (Meister Jörg Pildschnitzer), Georg

Material: Wood

photo 2022, Theo Noll

Crucifix Detaile view

Crucifix

around 1515

Detaile view


"The strong corpus, depicted in idealised beauty, hangs on the cross with its hands nailed to the crossbeahttps://www.deepl.com/pro?cta=header-pro-buttonms slightly above crown level. In contrast to the famous expressive crucifixes by Veit Stoß, this figure radiates great emotional calm. This is also expressed formally. The limbs are not painfully overstretched: the legs are only slightly bent, one above the other, and the arms are raised in a delicate curve.

The body contour runs in generous soft sweeps. The fluffy fabric of the loincloth over the crotch remains compact and does not develop a spatially moving life of its own. Only one fold over the right hip is voluminous, otherwise fine, sharply split folds define the fabric of the pubic cloth, which is pulled tightly around the loins and whose short, loose ends fall steeply down. The familiar small-wave swinging hem edges suggest slight movement of the textile. The treatment of the loincloth is involuntarily reminiscent of the design of the vestments in the Bruck Resurrection Christ or in the Nuremberg Annenschrein. The compactness of the strongly corporeal Christ's body in St. Jobst resembles the shrine figures in Bruck and Nuremberg with their bulging volumes. However, the compact proportions of the Bruck shrine figures have now been elongated into the noble, as in the Annenschrein in Lorenzen. Nevertheless, a comparative look at the heads of the Crucified and the Bruck Paul leaves no doubt about an attribution to the same carver." (Stefan Roller, Hans von Kulmbach und der Nürnberger Bildschnitzer Meister Jörg, in: Renaissance in Franken. Hans von Kulmbach and the Art around Dürer, 2022, p.117).


The original destination is not known. Stefan Roller suggests that the cross can be identified with the crucifix that stood in front of the west gallery of the Dominican Church in Nuremberg together with a Madonna below it. The Madonna is identified with the Nuremberg Madonna in the GNM, to which the crucifix from St. Jobst "with its slender silhouette of loincloth and legs fits perfectly with the slender figure of the Dolorosa, but which above all shows a much greater stylistic closeness [than the Christ in the Nuremberg Burgkapelle, which comes from the circle of Veit Stoß] and the same still-pathetic habitus". The cross in front of the west portal in the Dominican Church is 

mentioned for the first time in connection with an eternal endowment by Hieronymus Haller, who died in 1519 and could thus also be a potential donor of the crucifix and Madonna. Cf. Roller, pp. 122-123.



See: Nuremberg Madonna


Location: Nuremberg, St. Jobst

Design: Herb (Meister Jörg Pildschnitzer), Georg

Realization: Herb (Meister Jörg Pildschnitzer), Georg

Material: Wood

photo 2022, Theo Noll

Crucifix Detailed view of loincloth and legs

Crucifix

around 1515

Detailed view of loincloth and legs


"The strong corpus, depicted in idealised beauty, hangs on the cross with its hands nailed to the crossbeahttps://www.deepl.com/pro?cta=header-pro-buttonms slightly above crown level. In contrast to the famous expressive crucifixes by Veit Stoß, this figure radiates great emotional calm. This is also expressed formally. The limbs are not painfully overstretched: the legs are only slightly bent, one above the other, and the arms are raised in a delicate curve.

The body contour runs in generous soft sweeps. The fluffy fabric of the loincloth over the crotch remains compact and does not develop a spatially moving life of its own. Only one fold over the right hip is voluminous, otherwise fine, sharply split folds define the fabric of the pubic cloth, which is pulled tightly around the loins and whose short, loose ends fall steeply down. The familiar small-wave swinging hem edges suggest slight movement of the textile. The treatment of the loincloth is involuntarily reminiscent of the design of the vestments in the Bruck Resurrection Christ or in the Nuremberg Annenschrein. The compactness of the strongly corporeal Christ's body in St. Jobst resembles the shrine figures in Bruck and Nuremberg with their bulging volumes. However, the compact proportions of the Bruck shrine figures have now been elongated into the noble, as in the Annenschrein in Lorenzen. Nevertheless, a comparative look at the heads of the Crucified and the Bruck Paul leaves no doubt about an attribution to the same carver." (Stefan Roller, Hans von Kulmbach und der Nürnberger Bildschnitzer Meister Jörg, in: Renaissance in Franken. Hans von Kulmbach and the Art around Dürer, 2022, p.117).


The original destination is not known. Stefan Roller suggests that the cross can be identified with the crucifix that stood in front of the west gallery of the Dominican Church in Nuremberg together with a Madonna below it. The Madonna is identified with the Nuremberg Madonna in the GNM, to which the crucifix from St. Jobst "with its slender silhouette of loincloth and legs fits perfectly with the slender figure of the Dolorosa, but which above all shows a much greater stylistic closeness [than the Christ in the Nuremberg Burgkapelle, which comes from the circle of Veit Stoß] and the same still-pathetic habitus". The cross in front of the west portal in the Dominican Church is 

mentioned for the first time in connection with an eternal endowment by Hieronymus Haller, who died in 1519 and could thus also be a potential donor of the crucifix and Madonna. Cf. Roller, pp. 122-123.



See: Nuremberg Madonna


Location: Nuremberg, St. Jobst

Design: Herb (Meister Jörg Pildschnitzer), Georg

Realization: Herb (Meister Jörg Pildschnitzer), Georg

Material: Wood

photo 2022, Theo Noll

Crucifix DEtailed view of the legs

Crucifix

around 1515

DEtailed view of the legs


"The strong corpus, depicted in idealised beauty, hangs on the cross with its hands nailed to the crossbeahttps://www.deepl.com/pro?cta=header-pro-buttonms slightly above crown level. In contrast to the famous expressive crucifixes by Veit Stoß, this figure radiates great emotional calm. This is also expressed formally. The limbs are not painfully overstretched: the legs are only slightly bent, one above the other, and the arms are raised in a delicate curve.

The body contour runs in generous soft sweeps. The fluffy fabric of the loincloth over the crotch remains compact and does not develop a spatially moving life of its own. Only one fold over the right hip is voluminous, otherwise fine, sharply split folds define the fabric of the pubic cloth, which is pulled tightly around the loins and whose short, loose ends fall steeply down. The familiar small-wave swinging hem edges suggest slight movement of the textile. The treatment of the loincloth is involuntarily reminiscent of the design of the vestments in the Bruck Resurrection Christ or in the Nuremberg Annenschrein. The compactness of the strongly corporeal Christ's body in St. Jobst resembles the shrine figures in Bruck and Nuremberg with their bulging volumes. However, the compact proportions of the Bruck shrine figures have now been elongated into the noble, as in the Annenschrein in Lorenzen. Nevertheless, a comparative look at the heads of the Crucified and the Bruck Paul leaves no doubt about an attribution to the same carver." (Stefan Roller, Hans von Kulmbach und der Nürnberger Bildschnitzer Meister Jörg, in: Renaissance in Franken. Hans von Kulmbach and the Art around Dürer, 2022, p.117).


The original destination is not known. Stefan Roller suggests that the cross can be identified with the crucifix that stood in front of the west gallery of the Dominican Church in Nuremberg together with a Madonna below it. The Madonna is identified with the Nuremberg Madonna in the GNM, to which the crucifix from St. Jobst "with its slender silhouette of loincloth and legs fits perfectly with the slender figure of the Dolorosa, but which above all shows a much greater stylistic closeness [than the Christ in the Nuremberg Burgkapelle, which comes from the circle of Veit Stoß] and the same still-pathetic habitus". The cross in front of the west portal in the Dominican Church is 

mentioned for the first time in connection with an eternal endowment by Hieronymus Haller, who died in 1519 and could thus also be a potential donor of the crucifix and Madonna. Cf. Roller, pp. 122-123.



See: Nuremberg Madonna


Location: Nuremberg, St. Jobst

Design: Herb (Meister Jörg Pildschnitzer), Georg

Realization: Herb (Meister Jörg Pildschnitzer), Georg

Material: Wood

photo 2022, Theo Noll

Crucifix Feet

Crucifix

around 1515

Feet


"The strong corpus, depicted in idealised beauty, hangs on the cross with its hands nailed to the crossbeahttps://www.deepl.com/pro?cta=header-pro-buttonms slightly above crown level. In contrast to the famous expressive crucifixes by Veit Stoß, this figure radiates great emotional calm. This is also expressed formally. The limbs are not painfully overstretched: the legs are only slightly bent, one above the other, and the arms are raised in a delicate curve.

The body contour runs in generous soft sweeps. The fluffy fabric of the loincloth over the crotch remains compact and does not develop a spatially moving life of its own. Only one fold over the right hip is voluminous, otherwise fine, sharply split folds define the fabric of the pubic cloth, which is pulled tightly around the loins and whose short, loose ends fall steeply down. The familiar small-wave swinging hem edges suggest slight movement of the textile. The treatment of the loincloth is involuntarily reminiscent of the design of the vestments in the Bruck Resurrection Christ or in the Nuremberg Annenschrein. The compactness of the strongly corporeal Christ's body in St. Jobst resembles the shrine figures in Bruck and Nuremberg with their bulging volumes. However, the compact proportions of the Bruck shrine figures have now been elongated into the noble, as in the Annenschrein in Lorenzen. Nevertheless, a comparative look at the heads of the Crucified and the Bruck Paul leaves no doubt about an attribution to the same carver." (Stefan Roller, Hans von Kulmbach und der Nürnberger Bildschnitzer Meister Jörg, in: Renaissance in Franken. Hans von Kulmbach and the Art around Dürer, 2022, p.117).


The original destination is not known. Stefan Roller suggests that the cross can be identified with the crucifix that stood in front of the west gallery of the Dominican Church in Nuremberg together with a Madonna below it. The Madonna is identified with the Nuremberg Madonna in the GNM, to which the crucifix from St. Jobst "with its slender silhouette of loincloth and legs fits perfectly with the slender figure of the Dolorosa, but which above all shows a much greater stylistic closeness [than the Christ in the Nuremberg Burgkapelle, which comes from the circle of Veit Stoß] and the same still-pathetic habitus". The cross in front of the west portal in the Dominican Church is 

mentioned for the first time in connection with an eternal endowment by Hieronymus Haller, who died in 1519 and could thus also be a potential donor of the crucifix and Madonna. Cf. Roller, pp. 122-123.



See: Nuremberg Madonna


Location: Nuremberg, St. Jobst

Design: Herb (Meister Jörg Pildschnitzer), Georg

Realization: Herb (Meister Jörg Pildschnitzer), Georg

Material: Wood

photo 2022, Theo Noll

Georg
Herb (Meister Jörg Pildschnitzer)

Further works

St. Anne´s Altar
St. Anne´s Altar
Heinrich and Ottilie
Heinrich and Ottilie
Little Pietà
Little Pietà
Crucifix
Crucifix
Nuremberg Madonna
Nuremberg Madonna
Rochus
Rochus

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A project of the Förderverein Kulturhistorisches Museum Nürnberg e.V. (Association for the Promotion of the Museum of Cultural History Nuremberg - registered association)

The Förderverein Kulturhistorisches Museum Nürnberg e.V. supports the establishment of a museum of cultural history in Nuremberg. In anticipation of this it presents selected works of Nuremberg art in digital form. The Association will be happy to welcome new members. You will find a declaration of membership on our website.

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