"The Pfinzing monument in Henfenfeld is not a real tomb, but merely a simulation of one. In reality, the cover slab closes off the entrance to the family crypt. (...)

Only the narrow lower part of the slab contains the inscription; the upper part is reserved for the family tree. (...)

Positioned contrapposto, in a skillful, loosely symmetrical arrangement, a small putto holds a relief panel depicting the Resurrection of Christ; he himself, surrounded by symbols of death, the whole thing bound together on both sides by shells, (...)

Inside a church, such a structure might have sufficed, but in an open space, it risks being overlooked. Thus, in addition to the external reasons that necessitated a roof, there is also the artistic element, and for me, there is no doubt—especially since the style of the figurative elements in the canopy is consistent with Werner's other works—that the architecture, although not specifically signed, is also of the same caliber." The author's work is...

The subtly crafted composite capitals of the columns are particularly noteworthy. The architrave, adorned with inscriptions, is capped by a multi-profiled, only slightly projecting cornice. Above this, on both facades, are broken pediments, the panels of which are decorated with a coat of arms surrounded by two cherub heads; originally, the center of the pediment was further emphasized by obelisks (...).

" Felix Ettinghausen / Hans Werner, a Franconian sculptor around the year 1600 / Dissertation / Würzburg / 1921

"The Pfinzing monument in Henfenfeld is not a real tomb, but merely a simulation of one. In reality, the cover slab closes off the entrance to the family crypt. (...)

Only the narrow lower part of the slab contains the inscription; the upper part is reserved for the family tree. (...)

Positioned contrapposto, in a skillful, loosely symmetrical arrangement, a small putto holds a relief panel depicting the Resurrection of Christ; he himself, surrounded by symbols of death, the whole thing bound together on both sides by shells, (...)

Inside a church, such a structure might have sufficed, but in an open space, it risks being overlooked. Thus, in addition to the external reasons that necessitated a roof, there is also the artistic element, and for me, there is no doubt—especially since the style of the figurative elements in the canopy is consistent with Werner's other works—that the architecture, although not specifically signed, is also of the same caliber." The author's work is...

The subtly crafted composite capitals of the columns are particularly noteworthy. The architrave, adorned with inscriptions, is capped by a multi-profiled, only slightly projecting cornice. Above this, on both facades, are broken pediments, the panels of which are decorated with a coat of arms surrounded by two cherub heads; originally, the center of the pediment was further emphasized by obelisks (...).

" Felix Ettinghausen / Hans Werner, a Franconian sculptor around the year 1600 / Dissertation / Würzburg / 1921

"The Pfinzing monument in Henfenfeld is not a real tomb, but merely a simulation of one. In reality, the cover slab closes off the entrance to the family crypt. (...)

Only the narrow lower part of the slab contains the inscription; the upper part is reserved for the family tree. (...)

Positioned contrapposto, in a skillful, loosely symmetrical arrangement, a small putto holds a relief panel depicting the Resurrection of Christ; he himself, surrounded by symbols of death, the whole thing bound together on both sides by shells, (...)

Inside a church, such a structure might have sufficed, but in an open space, it risks being overlooked. Thus, in addition to the external reasons that necessitated a roof, there is also the artistic element, and for me, there is no doubt—especially since the style of the figurative elements in the canopy is consistent with Werner's other works—that the architecture, although not specifically signed, is also of the same caliber." The author's work is...

The subtly crafted composite capitals of the columns are particularly noteworthy. The architrave, adorned with inscriptions, is capped by a multi-profiled, only slightly projecting cornice. Above this, on both facades, are broken pediments, the panels of which are decorated with a coat of arms surrounded by two cherub heads; originally, the center of the pediment was further emphasized by obelisks (...).

" Felix Ettinghausen / Hans Werner, a Franconian sculptor around the year 1600 / Dissertation / Würzburg / 1921

"The Pfinzing monument in Henfenfeld is not a real tomb, but merely a simulation of one. In reality, the cover slab closes off the entrance to the family crypt. (...)

Only the narrow lower part of the slab contains the inscription; the upper part is reserved for the family tree. (...)

Positioned contrapposto, in a skillful, loosely symmetrical arrangement, a small putto holds a relief panel depicting the Resurrection of Christ; he himself, surrounded by symbols of death, the whole thing bound together on both sides by shells, (...)

Inside a church, such a structure might have sufficed, but in an open space, it risks being overlooked. Thus, in addition to the external reasons that necessitated a roof, there is also the artistic element, and for me, there is no doubt—especially since the style of the figurative elements in the canopy is consistent with Werner's other works—that the architecture, although not specifically signed, is also of the same caliber." The author's work is...

The subtly crafted composite capitals of the columns are particularly noteworthy. The architrave, adorned with inscriptions, is capped by a multi-profiled, only slightly projecting cornice. Above this, on both facades, are broken pediments, the panels of which are decorated with a coat of arms surrounded by two cherub heads; originally, the center of the pediment was further emphasized by obelisks (...).

" Felix Ettinghausen / Hans Werner, a Franconian sculptor around the year 1600 / Dissertation / Würzburg / 1921

"The Pfinzing monument in Henfenfeld is not a real tomb, but merely a simulation of one. In reality, the cover slab closes off the entrance to the family crypt. (...)

Only the narrow lower part of the slab contains the inscription; the upper part is reserved for the family tree. (...)

Positioned contrapposto, in a skillful, loosely symmetrical arrangement, a small putto holds a relief panel depicting the Resurrection of Christ; he himself, surrounded by symbols of death, the whole thing bound together on both sides by shells, (...)

Inside a church, such a structure might have sufficed, but in an open space, it risks being overlooked. Thus, in addition to the external reasons that necessitated a roof, there is also the artistic element, and for me, there is no doubt—especially since the style of the figurative elements in the canopy is consistent with Werner's other works—that the architecture, although not specifically signed, is also of the same caliber." The author's work is...

The subtly crafted composite capitals of the columns are particularly noteworthy. The architrave, adorned with inscriptions, is capped by a multi-profiled, only slightly projecting cornice. Above this, on both facades, are broken pediments, the panels of which are decorated with a coat of arms surrounded by two cherub heads; originally, the center of the pediment was further emphasized by obelisks (...).

" Felix Ettinghausen / Hans Werner, a Franconian sculptor around the year 1600 / Dissertation / Würzburg / 1921

"The Pfinzing monument in Henfenfeld is not a real tomb, but merely a simulation of one. In reality, the cover slab closes off the entrance to the family crypt. (...)

Only the narrow lower part of the slab contains the inscription; the upper part is reserved for the family tree. (...)

Positioned contrapposto, in a skillful, loosely symmetrical arrangement, a small putto holds a relief panel depicting the Resurrection of Christ; he himself, surrounded by symbols of death, the whole thing bound together on both sides by shells, (...)

Inside a church, such a structure might have sufficed, but in an open space, it risks being overlooked. Thus, in addition to the external reasons that necessitated a roof, there is also the artistic element, and for me, there is no doubt—especially since the style of the figurative elements in the canopy is consistent with Werner's other works—that the architecture, although not specifically signed, is also of the same caliber." The author's work is...

The subtly crafted composite capitals of the columns are particularly noteworthy. The architrave, adorned with inscriptions, is capped by a multi-profiled, only slightly projecting cornice. Above this, on both facades, are broken pediments, the panels of which are decorated with a coat of arms surrounded by two cherub heads; originally, the center of the pediment was further emphasized by obelisks (...).

" Felix Ettinghausen / Hans Werner, a Franconian sculptor around the year 1600 / Dissertation / Würzburg / 1921

"The Pfinzing monument in Henfenfeld is not a real tomb, but merely a simulation of one. In reality, the cover slab closes off the entrance to the family crypt. (...)

Only the narrow lower part of the slab contains the inscription; the upper part is reserved for the family tree. (...)

Positioned contrapposto, in a skillful, loosely symmetrical arrangement, a small putto holds a relief panel depicting the Resurrection of Christ; he himself, surrounded by symbols of death, the whole thing bound together on both sides by shells, (...)

Inside a church, such a structure might have sufficed, but in an open space, it risks being overlooked. Thus, in addition to the external reasons that necessitated a roof, there is also the artistic element, and for me, there is no doubt—especially since the style of the figurative elements in the canopy is consistent with Werner's other works—that the architecture, although not specifically signed, is also of the same caliber." The author's work is...

The subtly crafted composite capitals of the columns are particularly noteworthy. The architrave, adorned with inscriptions, is capped by a multi-profiled, only slightly projecting cornice. Above this, on both facades, are broken pediments, the panels of which are decorated with a coat of arms surrounded by two cherub heads; originally, the center of the pediment was further emphasized by obelisks (...).

" Felix Ettinghausen / Hans Werner, a Franconian sculptor around the year 1600 / Dissertation / Würzburg / 1921

"The Pfinzing monument in Henfenfeld is not a real tomb, but merely a simulation of one. In reality, the cover slab closes off the entrance to the family crypt. (...)

Only the narrow lower part of the slab contains the inscription; the upper part is reserved for the family tree. (...)

Positioned contrapposto, in a skillful, loosely symmetrical arrangement, a small putto holds a relief panel depicting the Resurrection of Christ; he himself, surrounded by symbols of death, the whole thing bound together on both sides by shells, (...)

Inside a church, such a structure might have sufficed, but in an open space, it risks being overlooked. Thus, in addition to the external reasons that necessitated a roof, there is also the artistic element, and for me, there is no doubt—especially since the style of the figurative elements in the canopy is consistent with Werner's other works—that the architecture, although not specifically signed, is also of the same caliber." The author's work is...

The subtly crafted composite capitals of the columns are particularly noteworthy. The architrave, adorned with inscriptions, is capped by a multi-profiled, only slightly projecting cornice. Above this, on both facades, are broken pediments, the panels of which are decorated with a coat of arms surrounded by two cherub heads; originally, the center of the pediment was further emphasized by obelisks (...).

" Felix Ettinghausen / Hans Werner, a Franconian sculptor around the year 1600 / Dissertation / Würzburg / 1921

"The Pfinzing monument in Henfenfeld is not a real tomb, but merely a simulation of one. In reality, the cover slab closes off the entrance to the family crypt. (...)

Only the narrow lower part of the slab contains the inscription; the upper part is reserved for the family tree. (...)

Positioned contrapposto, in a skillful, loosely symmetrical arrangement, a small putto holds a relief panel depicting the Resurrection of Christ; he himself, surrounded by symbols of death, the whole thing bound together on both sides by shells, (...)

Inside a church, such a structure might have sufficed, but in an open space, it risks being overlooked. Thus, in addition to the external reasons that necessitated a roof, there is also the artistic element, and for me, there is no doubt—especially since the style of the figurative elements in the canopy is consistent with Werner's other works—that the architecture, although not specifically signed, is also of the same caliber." The author's work is...

The subtly crafted composite capitals of the columns are particularly noteworthy. The architrave, adorned with inscriptions, is capped by a multi-profiled, only slightly projecting cornice. Above this, on both facades, are broken pediments, the panels of which are decorated with a coat of arms surrounded by two cherub heads; originally, the center of the pediment was further emphasized by obelisks (...).

" Felix Ettinghausen / Hans Werner, a Franconian sculptor around the year 1600 / Dissertation / Würzburg / 1921