dated 1615, donated by Margravine Maria of Brandenburg-Bayreuth.

Three-axis wooden construction with rich carved decoration of cartilage and metal fittings; the sides are finished with the founder's coat of arms between ornamental obelisks, the pelican and coat of arms with Passion insignia on the extension, flanked by angels and crowned by the Crucified; charming side panels.

Around 1820, the altarpieces were replaced by paintings by August Riedel: In the main field Christ on the Mount of Olives, flanked by the apostles Peter and Paul, in the attachment enthroned Salvator, all 1821/22; in the predella copy of the Last Supper (after Leonardo da Vinci) 1827 by Immanuel Friedrich Schuhmacher.

(Dehio / Franconia / Edited by Tilmann Breuer, Friedrich Oswald, Friedrich Piel, Wilhelm Schwemmer, and others / 1999)

_________________________

"During the reconstruction of the town church after the great fire of 1605, Werner was allowed to create the pulpit and the baptismal font. The high altar donated by Margravine Maria, whose pictures were painted by the court painter Heinrich Bolland, and the carved frame by Leonhard Brechtel of Nuremberg, date from the same period. We receive no documentary information about the carver of the frame, and we are not authorised to equate him with Brechtel, since experience shows that painting and gilding were entrusted to "experts" in each case. Sitzmann has repeatedly suggested that this altar frame also came from Werner. Sitzmann tries to refute the objection that our master did not work in wood by referring to the missing lid of the baptismal font in the same church, of which the old description tells us that it showed four figures of the cardinal virtues, which, since the lid was intended to be lifted off, must have been made of wood. Thus the carving technique would have been familiar to Werner, (...) Furthermore, it should be kept in mind that Dümpel was certainly Werner's assistant in 1615, and that wood carvings by him are known. (...)

The agreement in the typology of the putti heads speaks in favour of Werner's authorship (...)".

Felix Ettinghausen: Hans Werner, a Franconian sculptor around the year 1600 / dissertation / Würzburg / 1921 / p. 95 - 99

dated 1615, donated by Margravine Maria of Brandenburg-Bayreuth.

Three-axis wooden construction with rich carved decoration of cartilage and metal fittings; the sides are finished with the founder's coat of arms between ornamental obelisks, the pelican and coat of arms with Passion insignia on the extension, flanked by angels and crowned by the Crucified; charming side panels.

Around 1820, the altarpieces were replaced by paintings by August Riedel: In the main field Christ on the Mount of Olives, flanked by the apostles Peter and Paul, in the attachment enthroned Salvator, all 1821/22; in the predella copy of the Last Supper (after Leonardo da Vinci) 1827 by Immanuel Friedrich Schuhmacher.

(Dehio / Franconia / Edited by Tilmann Breuer, Friedrich Oswald, Friedrich Piel, Wilhelm Schwemmer, and others / 1999)

_________________________

"During the reconstruction of the town church after the great fire of 1605, Werner was allowed to create the pulpit and the baptismal font. The high altar donated by Margravine Maria, whose pictures were painted by the court painter Heinrich Bolland, and the carved frame by Leonhard Brechtel of Nuremberg, date from the same period. We receive no documentary information about the carver of the frame, and we are not authorised to equate him with Brechtel, since experience shows that painting and gilding were entrusted to "experts" in each case. Sitzmann has repeatedly suggested that this altar frame also came from Werner. Sitzmann tries to refute the objection that our master did not work in wood by referring to the missing lid of the baptismal font in the same church, of which the old description tells us that it showed four figures of the cardinal virtues, which, since the lid was intended to be lifted off, must have been made of wood. Thus the carving technique would have been familiar to Werner, (...) Furthermore, it should be kept in mind that Dümpel was certainly Werner's assistant in 1615, and that wood carvings by him are known. (...)

The agreement in the typology of the putti heads speaks in favour of Werner's authorship (...)".

Felix Ettinghausen: Hans Werner, a Franconian sculptor around the year 1600 / dissertation / Würzburg / 1921 / p. 95 - 99

dated 1615, donated by Margravine Maria of Brandenburg-Bayreuth.

Three-axis wooden construction with rich carved decoration of cartilage and metal fittings; the sides are finished with the founder's coat of arms between ornamental obelisks, the pelican and coat of arms with Passion insignia on the extension, flanked by angels and crowned by the Crucified; charming side panels.

Around 1820, the altarpieces were replaced by paintings by August Riedel: In the main field Christ on the Mount of Olives, flanked by the apostles Peter and Paul, in the attachment enthroned Salvator, all 1821/22; in the predella copy of the Last Supper (after Leonardo da Vinci) 1827 by Immanuel Friedrich Schuhmacher.

(Dehio / Franconia / Edited by Tilmann Breuer, Friedrich Oswald, Friedrich Piel, Wilhelm Schwemmer, and others / 1999)

_________________________

"During the reconstruction of the town church after the great fire of 1605, Werner was allowed to create the pulpit and the baptismal font. The high altar donated by Margravine Maria, whose pictures were painted by the court painter Heinrich Bolland, and the carved frame by Leonhard Brechtel of Nuremberg, date from the same period. We receive no documentary information about the carver of the frame, and we are not authorised to equate him with Brechtel, since experience shows that painting and gilding were entrusted to "experts" in each case. Sitzmann has repeatedly suggested that this altar frame also came from Werner. Sitzmann tries to refute the objection that our master did not work in wood by referring to the missing lid of the baptismal font in the same church, of which the old description tells us that it showed four figures of the cardinal virtues, which, since the lid was intended to be lifted off, must have been made of wood. Thus the carving technique would have been familiar to Werner, (...) Furthermore, it should be kept in mind that Dümpel was certainly Werner's assistant in 1615, and that wood carvings by him are known. (...)

The agreement in the typology of the putti heads speaks in favour of Werner's authorship (...)".

Felix Ettinghausen: Hans Werner, a Franconian sculptor around the year 1600 / dissertation / Würzburg / 1921 / p. 95 - 99

dated 1615, donated by Margravine Maria of Brandenburg-Bayreuth.

Three-axis wooden construction with rich carved decoration of cartilage and metal fittings; the sides are finished with the founder's coat of arms between ornamental obelisks, the pelican and coat of arms with Passion insignia on the extension, flanked by angels and crowned by the Crucified; charming side panels.

Around 1820, the altarpieces were replaced by paintings by August Riedel: In the main field Christ on the Mount of Olives, flanked by the apostles Peter and Paul, in the attachment enthroned Salvator, all 1821/22; in the predella copy of the Last Supper (after Leonardo da Vinci) 1827 by Immanuel Friedrich Schuhmacher.

(Dehio / Franconia / Edited by Tilmann Breuer, Friedrich Oswald, Friedrich Piel, Wilhelm Schwemmer, and others / 1999)

_________________________

"During the reconstruction of the town church after the great fire of 1605, Werner was allowed to create the pulpit and the baptismal font. The high altar donated by Margravine Maria, whose pictures were painted by the court painter Heinrich Bolland, and the carved frame by Leonhard Brechtel of Nuremberg, date from the same period. We receive no documentary information about the carver of the frame, and we are not authorised to equate him with Brechtel, since experience shows that painting and gilding were entrusted to "experts" in each case. Sitzmann has repeatedly suggested that this altar frame also came from Werner. Sitzmann tries to refute the objection that our master did not work in wood by referring to the missing lid of the baptismal font in the same church, of which the old description tells us that it showed four figures of the cardinal virtues, which, since the lid was intended to be lifted off, must have been made of wood. Thus the carving technique would have been familiar to Werner, (...) Furthermore, it should be kept in mind that Dümpel was certainly Werner's assistant in 1615, and that wood carvings by him are known. (...)

The agreement in the typology of the putti heads speaks in favour of Werner's authorship (...)".

Felix Ettinghausen: Hans Werner, a Franconian sculptor around the year 1600 / dissertation / Würzburg / 1921 / p. 95 - 99

dated 1615, donated by Margravine Maria of Brandenburg-Bayreuth.

Three-axis wooden construction with rich carved decoration of cartilage and metal fittings; the sides are finished with the founder's coat of arms between ornamental obelisks, the pelican and coat of arms with Passion insignia on the extension, flanked by angels and crowned by the Crucified; charming side panels.

Around 1820, the altarpieces were replaced by paintings by August Riedel: In the main field Christ on the Mount of Olives, flanked by the apostles Peter and Paul, in the attachment enthroned Salvator, all 1821/22; in the predella copy of the Last Supper (after Leonardo da Vinci) 1827 by Immanuel Friedrich Schuhmacher.

(Dehio / Franconia / Edited by Tilmann Breuer, Friedrich Oswald, Friedrich Piel, Wilhelm Schwemmer, and others / 1999)

_________________________

"During the reconstruction of the town church after the great fire of 1605, Werner was allowed to create the pulpit and the baptismal font. The high altar donated by Margravine Maria, whose pictures were painted by the court painter Heinrich Bolland, and the carved frame by Leonhard Brechtel of Nuremberg, date from the same period. We receive no documentary information about the carver of the frame, and we are not authorised to equate him with Brechtel, since experience shows that painting and gilding were entrusted to "experts" in each case. Sitzmann has repeatedly suggested that this altar frame also came from Werner. Sitzmann tries to refute the objection that our master did not work in wood by referring to the missing lid of the baptismal font in the same church, of which the old description tells us that it showed four figures of the cardinal virtues, which, since the lid was intended to be lifted off, must have been made of wood. Thus the carving technique would have been familiar to Werner, (...) Furthermore, it should be kept in mind that Dümpel was certainly Werner's assistant in 1615, and that wood carvings by him are known. (...)

The agreement in the typology of the putti heads speaks in favour of Werner's authorship (...)".

Felix Ettinghausen: Hans Werner, a Franconian sculptor around the year 1600 / dissertation / Würzburg / 1921 / p. 95 - 99

dated 1615, donated by Margravine Maria of Brandenburg-Bayreuth.

Three-axis wooden construction with rich carved decoration of cartilage and metal fittings; the sides are finished with the founder's coat of arms between ornamental obelisks, the pelican and coat of arms with Passion insignia on the extension, flanked by angels and crowned by the Crucified; charming side panels.

Around 1820, the altarpieces were replaced by paintings by August Riedel: In the main field Christ on the Mount of Olives, flanked by the apostles Peter and Paul, in the attachment enthroned Salvator, all 1821/22; in the predella copy of the Last Supper (after Leonardo da Vinci) 1827 by Immanuel Friedrich Schuhmacher.

(Dehio / Franconia / Edited by Tilmann Breuer, Friedrich Oswald, Friedrich Piel, Wilhelm Schwemmer, and others / 1999)

_________________________

"During the reconstruction of the town church after the great fire of 1605, Werner was allowed to create the pulpit and the baptismal font. The high altar donated by Margravine Maria, whose pictures were painted by the court painter Heinrich Bolland, and the carved frame by Leonhard Brechtel of Nuremberg, date from the same period. We receive no documentary information about the carver of the frame, and we are not authorised to equate him with Brechtel, since experience shows that painting and gilding were entrusted to "experts" in each case. Sitzmann has repeatedly suggested that this altar frame also came from Werner. Sitzmann tries to refute the objection that our master did not work in wood by referring to the missing lid of the baptismal font in the same church, of which the old description tells us that it showed four figures of the cardinal virtues, which, since the lid was intended to be lifted off, must have been made of wood. Thus the carving technique would have been familiar to Werner, (...) Furthermore, it should be kept in mind that Dümpel was certainly Werner's assistant in 1615, and that wood carvings by him are known. (...)

The agreement in the typology of the putti heads speaks in favour of Werner's authorship (...)".

Felix Ettinghausen: Hans Werner, a Franconian sculptor around the year 1600 / dissertation / Würzburg / 1921 / p. 95 - 99

dated 1615, donated by Margravine Maria of Brandenburg-Bayreuth.

Three-axis wooden construction with rich carved decoration of cartilage and metal fittings; the sides are finished with the founder's coat of arms between ornamental obelisks, the pelican and coat of arms with Passion insignia on the extension, flanked by angels and crowned by the Crucified; charming side panels.

Around 1820, the altarpieces were replaced by paintings by August Riedel: In the main field Christ on the Mount of Olives, flanked by the apostles Peter and Paul, in the attachment enthroned Salvator, all 1821/22; in the predella copy of the Last Supper (after Leonardo da Vinci) 1827 by Immanuel Friedrich Schuhmacher.

(Dehio / Franconia / Edited by Tilmann Breuer, Friedrich Oswald, Friedrich Piel, Wilhelm Schwemmer, and others / 1999)

_________________________

"During the reconstruction of the town church after the great fire of 1605, Werner was allowed to create the pulpit and the baptismal font. The high altar donated by Margravine Maria, whose pictures were painted by the court painter Heinrich Bolland, and the carved frame by Leonhard Brechtel of Nuremberg, date from the same period. We receive no documentary information about the carver of the frame, and we are not authorised to equate him with Brechtel, since experience shows that painting and gilding were entrusted to "experts" in each case. Sitzmann has repeatedly suggested that this altar frame also came from Werner. Sitzmann tries to refute the objection that our master did not work in wood by referring to the missing lid of the baptismal font in the same church, of which the old description tells us that it showed four figures of the cardinal virtues, which, since the lid was intended to be lifted off, must have been made of wood. Thus the carving technique would have been familiar to Werner, (...) Furthermore, it should be kept in mind that Dümpel was certainly Werner's assistant in 1615, and that wood carvings by him are known. (...)

The agreement in the typology of the putti heads speaks in favour of Werner's authorship (...)".

Felix Ettinghausen: Hans Werner, a Franconian sculptor around the year 1600 / dissertation / Würzburg / 1921 / p. 95 - 99

dated 1615, donated by Margravine Maria of Brandenburg-Bayreuth.

Three-axis wooden construction with rich carved decoration of cartilage and metal fittings; the sides are finished with the founder's coat of arms between ornamental obelisks, the pelican and coat of arms with Passion insignia on the extension, flanked by angels and crowned by the Crucified; charming side panels.

Around 1820, the altarpieces were replaced by paintings by August Riedel: In the main field Christ on the Mount of Olives, flanked by the apostles Peter and Paul, in the attachment enthroned Salvator, all 1821/22; in the predella copy of the Last Supper (after Leonardo da Vinci) 1827 by Immanuel Friedrich Schuhmacher.

(Dehio / Franconia / Edited by Tilmann Breuer, Friedrich Oswald, Friedrich Piel, Wilhelm Schwemmer, and others / 1999)

_________________________

"During the reconstruction of the town church after the great fire of 1605, Werner was allowed to create the pulpit and the baptismal font. The high altar donated by Margravine Maria, whose pictures were painted by the court painter Heinrich Bolland, and the carved frame by Leonhard Brechtel of Nuremberg, date from the same period. We receive no documentary information about the carver of the frame, and we are not authorised to equate him with Brechtel, since experience shows that painting and gilding were entrusted to "experts" in each case. Sitzmann has repeatedly suggested that this altar frame also came from Werner. Sitzmann tries to refute the objection that our master did not work in wood by referring to the missing lid of the baptismal font in the same church, of which the old description tells us that it showed four figures of the cardinal virtues, which, since the lid was intended to be lifted off, must have been made of wood. Thus the carving technique would have been familiar to Werner, (...) Furthermore, it should be kept in mind that Dümpel was certainly Werner's assistant in 1615, and that wood carvings by him are known. (...)

The agreement in the typology of the putti heads speaks in favour of Werner's authorship (...)".

Felix Ettinghausen: Hans Werner, a Franconian sculptor around the year 1600 / dissertation / Würzburg / 1921 / p. 95 - 99

dated 1615, donated by Margravine Maria of Brandenburg-Bayreuth.

Three-axis wooden construction with rich carved decoration of cartilage and metal fittings; the sides are finished with the founder's coat of arms between ornamental obelisks, the pelican and coat of arms with Passion insignia on the extension, flanked by angels and crowned by the Crucified; charming side panels.

Around 1820, the altarpieces were replaced by paintings by August Riedel: In the main field Christ on the Mount of Olives, flanked by the apostles Peter and Paul, in the attachment enthroned Salvator, all 1821/22; in the predella copy of the Last Supper (after Leonardo da Vinci) 1827 by Immanuel Friedrich Schuhmacher.

(Dehio / Franconia / Edited by Tilmann Breuer, Friedrich Oswald, Friedrich Piel, Wilhelm Schwemmer, and others / 1999)

_________________________

"During the reconstruction of the town church after the great fire of 1605, Werner was allowed to create the pulpit and the baptismal font. The high altar donated by Margravine Maria, whose pictures were painted by the court painter Heinrich Bolland, and the carved frame by Leonhard Brechtel of Nuremberg, date from the same period. We receive no documentary information about the carver of the frame, and we are not authorised to equate him with Brechtel, since experience shows that painting and gilding were entrusted to "experts" in each case. Sitzmann has repeatedly suggested that this altar frame also came from Werner. Sitzmann tries to refute the objection that our master did not work in wood by referring to the missing lid of the baptismal font in the same church, of which the old description tells us that it showed four figures of the cardinal virtues, which, since the lid was intended to be lifted off, must have been made of wood. Thus the carving technique would have been familiar to Werner, (...) Furthermore, it should be kept in mind that Dümpel was certainly Werner's assistant in 1615, and that wood carvings by him are known. (...)

The agreement in the typology of the putti heads speaks in favour of Werner's authorship (...)".

Felix Ettinghausen: Hans Werner, a Franconian sculptor around the year 1600 / dissertation / Würzburg / 1921 / p. 95 - 99

dated 1615, donated by Margravine Maria of Brandenburg-Bayreuth.

Three-axis wooden construction with rich carved decoration of cartilage and metal fittings; the sides are finished with the founder's coat of arms between ornamental obelisks, the pelican and coat of arms with Passion insignia on the extension, flanked by angels and crowned by the Crucified; charming side panels.

Around 1820, the altarpieces were replaced by paintings by August Riedel: In the main field Christ on the Mount of Olives, flanked by the apostles Peter and Paul, in the attachment enthroned Salvator, all 1821/22; in the predella copy of the Last Supper (after Leonardo da Vinci) 1827 by Immanuel Friedrich Schuhmacher.

(Dehio / Franconia / Edited by Tilmann Breuer, Friedrich Oswald, Friedrich Piel, Wilhelm Schwemmer, and others / 1999)

_________________________

"During the reconstruction of the town church after the great fire of 1605, Werner was allowed to create the pulpit and the baptismal font. The high altar donated by Margravine Maria, whose pictures were painted by the court painter Heinrich Bolland, and the carved frame by Leonhard Brechtel of Nuremberg, date from the same period. We receive no documentary information about the carver of the frame, and we are not authorised to equate him with Brechtel, since experience shows that painting and gilding were entrusted to "experts" in each case. Sitzmann has repeatedly suggested that this altar frame also came from Werner. Sitzmann tries to refute the objection that our master did not work in wood by referring to the missing lid of the baptismal font in the same church, of which the old description tells us that it showed four figures of the cardinal virtues, which, since the lid was intended to be lifted off, must have been made of wood. Thus the carving technique would have been familiar to Werner, (...) Furthermore, it should be kept in mind that Dümpel was certainly Werner's assistant in 1615, and that wood carvings by him are known. (...)

The agreement in the typology of the putti heads speaks in favour of Werner's authorship (...)".

Felix Ettinghausen: Hans Werner, a Franconian sculptor around the year 1600 / dissertation / Würzburg / 1921 / p. 95 - 99

dated 1615, donated by Margravine Maria of Brandenburg-Bayreuth.

Three-axis wooden construction with rich carved decoration of cartilage and metal fittings; the sides are finished with the founder's coat of arms between ornamental obelisks, the pelican and coat of arms with Passion insignia on the extension, flanked by angels and crowned by the Crucified; charming side panels.

Around 1820, the altarpieces were replaced by paintings by August Riedel: In the main field Christ on the Mount of Olives, flanked by the apostles Peter and Paul, in the attachment enthroned Salvator, all 1821/22; in the predella copy of the Last Supper (after Leonardo da Vinci) 1827 by Immanuel Friedrich Schuhmacher.

(Dehio / Franconia / Edited by Tilmann Breuer, Friedrich Oswald, Friedrich Piel, Wilhelm Schwemmer, and others / 1999)

_________________________

"During the reconstruction of the town church after the great fire of 1605, Werner was allowed to create the pulpit and the baptismal font. The high altar donated by Margravine Maria, whose pictures were painted by the court painter Heinrich Bolland, and the carved frame by Leonhard Brechtel of Nuremberg, date from the same period. We receive no documentary information about the carver of the frame, and we are not authorised to equate him with Brechtel, since experience shows that painting and gilding were entrusted to "experts" in each case. Sitzmann has repeatedly suggested that this altar frame also came from Werner. Sitzmann tries to refute the objection that our master did not work in wood by referring to the missing lid of the baptismal font in the same church, of which the old description tells us that it showed four figures of the cardinal virtues, which, since the lid was intended to be lifted off, must have been made of wood. Thus the carving technique would have been familiar to Werner, (...) Furthermore, it should be kept in mind that Dümpel was certainly Werner's assistant in 1615, and that wood carvings by him are known. (...)

The agreement in the typology of the putti heads speaks in favour of Werner's authorship (...)".

Felix Ettinghausen: Hans Werner, a Franconian sculptor around the year 1600 / dissertation / Würzburg / 1921 / p. 95 - 99

dated 1615, donated by Margravine Maria of Brandenburg-Bayreuth.

Three-axis wooden construction with rich carved decoration of cartilage and metal fittings; the sides are finished with the founder's coat of arms between ornamental obelisks, the pelican and coat of arms with Passion insignia on the extension, flanked by angels and crowned by the Crucified; charming side panels.

Around 1820, the altarpieces were replaced by paintings by August Riedel: In the main field Christ on the Mount of Olives, flanked by the apostles Peter and Paul, in the attachment enthroned Salvator, all 1821/22; in the predella copy of the Last Supper (after Leonardo da Vinci) 1827 by Immanuel Friedrich Schuhmacher.

(Dehio / Franconia / Edited by Tilmann Breuer, Friedrich Oswald, Friedrich Piel, Wilhelm Schwemmer, and others / 1999)

_________________________

"During the reconstruction of the town church after the great fire of 1605, Werner was allowed to create the pulpit and the baptismal font. The high altar donated by Margravine Maria, whose pictures were painted by the court painter Heinrich Bolland, and the carved frame by Leonhard Brechtel of Nuremberg, date from the same period. We receive no documentary information about the carver of the frame, and we are not authorised to equate him with Brechtel, since experience shows that painting and gilding were entrusted to "experts" in each case. Sitzmann has repeatedly suggested that this altar frame also came from Werner. Sitzmann tries to refute the objection that our master did not work in wood by referring to the missing lid of the baptismal font in the same church, of which the old description tells us that it showed four figures of the cardinal virtues, which, since the lid was intended to be lifted off, must have been made of wood. Thus the carving technique would have been familiar to Werner, (...) Furthermore, it should be kept in mind that Dümpel was certainly Werner's assistant in 1615, and that wood carvings by him are known. (...)

The agreement in the typology of the putti heads speaks in favour of Werner's authorship (...)".

Felix Ettinghausen: Hans Werner, a Franconian sculptor around the year 1600 / dissertation / Würzburg / 1921 / p. 95 - 99

dated 1615, donated by Margravine Maria of Brandenburg-Bayreuth.

Three-axis wooden construction with rich carved decoration of cartilage and metal fittings; the sides are finished with the founder's coat of arms between ornamental obelisks, the pelican and coat of arms with Passion insignia on the extension, flanked by angels and crowned by the Crucified; charming side panels.

Around 1820, the altarpieces were replaced by paintings by August Riedel: In the main field Christ on the Mount of Olives, flanked by the apostles Peter and Paul, in the attachment enthroned Salvator, all 1821/22; in the predella copy of the Last Supper (after Leonardo da Vinci) 1827 by Immanuel Friedrich Schuhmacher.

(Dehio / Franconia / Edited by Tilmann Breuer, Friedrich Oswald, Friedrich Piel, Wilhelm Schwemmer, and others / 1999)

_________________________

"During the reconstruction of the town church after the great fire of 1605, Werner was allowed to create the pulpit and the baptismal font. The high altar donated by Margravine Maria, whose pictures were painted by the court painter Heinrich Bolland, and the carved frame by Leonhard Brechtel of Nuremberg, date from the same period. We receive no documentary information about the carver of the frame, and we are not authorised to equate him with Brechtel, since experience shows that painting and gilding were entrusted to "experts" in each case. Sitzmann has repeatedly suggested that this altar frame also came from Werner. Sitzmann tries to refute the objection that our master did not work in wood by referring to the missing lid of the baptismal font in the same church, of which the old description tells us that it showed four figures of the cardinal virtues, which, since the lid was intended to be lifted off, must have been made of wood. Thus the carving technique would have been familiar to Werner, (...) Furthermore, it should be kept in mind that Dümpel was certainly Werner's assistant in 1615, and that wood carvings by him are known. (...)

The agreement in the typology of the putti heads speaks in favour of Werner's authorship (...)".

Felix Ettinghausen: Hans Werner, a Franconian sculptor around the year 1600 / dissertation / Würzburg / 1921 / p. 95 - 99

dated 1615, donated by Margravine Maria of Brandenburg-Bayreuth.

Three-axis wooden construction with rich carved decoration of cartilage and metal fittings; the sides are finished with the founder's coat of arms between ornamental obelisks, the pelican and coat of arms with Passion insignia on the extension, flanked by angels and crowned by the Crucified; charming side panels.

Around 1820, the altarpieces were replaced by paintings by August Riedel: In the main field Christ on the Mount of Olives, flanked by the apostles Peter and Paul, in the attachment enthroned Salvator, all 1821/22; in the predella copy of the Last Supper (after Leonardo da Vinci) 1827 by Immanuel Friedrich Schuhmacher.

(Dehio / Franconia / Edited by Tilmann Breuer, Friedrich Oswald, Friedrich Piel, Wilhelm Schwemmer, and others / 1999)

_________________________

"During the reconstruction of the town church after the great fire of 1605, Werner was allowed to create the pulpit and the baptismal font. The high altar donated by Margravine Maria, whose pictures were painted by the court painter Heinrich Bolland, and the carved frame by Leonhard Brechtel of Nuremberg, date from the same period. We receive no documentary information about the carver of the frame, and we are not authorised to equate him with Brechtel, since experience shows that painting and gilding were entrusted to "experts" in each case. Sitzmann has repeatedly suggested that this altar frame also came from Werner. Sitzmann tries to refute the objection that our master did not work in wood by referring to the missing lid of the baptismal font in the same church, of which the old description tells us that it showed four figures of the cardinal virtues, which, since the lid was intended to be lifted off, must have been made of wood. Thus the carving technique would have been familiar to Werner, (...) Furthermore, it should be kept in mind that Dümpel was certainly Werner's assistant in 1615, and that wood carvings by him are known. (...)

The agreement in the typology of the putti heads speaks in favour of Werner's authorship (...)".

Felix Ettinghausen: Hans Werner, a Franconian sculptor around the year 1600 / dissertation / Würzburg / 1921 / p. 95 - 99

dated 1615, donated by Margravine Maria of Brandenburg-Bayreuth.

Three-axis wooden construction with rich carved decoration of cartilage and metal fittings; the sides are finished with the founder's coat of arms between ornamental obelisks, the pelican and coat of arms with Passion insignia on the extension, flanked by angels and crowned by the Crucified; charming side panels.

Around 1820, the altarpieces were replaced by paintings by August Riedel: In the main field Christ on the Mount of Olives, flanked by the apostles Peter and Paul, in the attachment enthroned Salvator, all 1821/22; in the predella copy of the Last Supper (after Leonardo da Vinci) 1827 by Immanuel Friedrich Schuhmacher.

(Dehio / Franconia / Edited by Tilmann Breuer, Friedrich Oswald, Friedrich Piel, Wilhelm Schwemmer, and others / 1999)

_________________________

"During the reconstruction of the town church after the great fire of 1605, Werner was allowed to create the pulpit and the baptismal font. The high altar donated by Margravine Maria, whose pictures were painted by the court painter Heinrich Bolland, and the carved frame by Leonhard Brechtel of Nuremberg, date from the same period. We receive no documentary information about the carver of the frame, and we are not authorised to equate him with Brechtel, since experience shows that painting and gilding were entrusted to "experts" in each case. Sitzmann has repeatedly suggested that this altar frame also came from Werner. Sitzmann tries to refute the objection that our master did not work in wood by referring to the missing lid of the baptismal font in the same church, of which the old description tells us that it showed four figures of the cardinal virtues, which, since the lid was intended to be lifted off, must have been made of wood. Thus the carving technique would have been familiar to Werner, (...) Furthermore, it should be kept in mind that Dümpel was certainly Werner's assistant in 1615, and that wood carvings by him are known. (...)

The agreement in the typology of the putti heads speaks in favour of Werner's authorship (...)".

Felix Ettinghausen: Hans Werner, a Franconian sculptor around the year 1600 / dissertation / Würzburg / 1921 / p. 95 - 99

dated 1615, donated by Margravine Maria of Brandenburg-Bayreuth.

Three-axis wooden construction with rich carved decoration of cartilage and metal fittings; the sides are finished with the founder's coat of arms between ornamental obelisks, the pelican and coat of arms with Passion insignia on the extension, flanked by angels and crowned by the Crucified; charming side panels.

Around 1820, the altarpieces were replaced by paintings by August Riedel: In the main field Christ on the Mount of Olives, flanked by the apostles Peter and Paul, in the attachment enthroned Salvator, all 1821/22; in the predella copy of the Last Supper (after Leonardo da Vinci) 1827 by Immanuel Friedrich Schuhmacher.

(Dehio / Franconia / Edited by Tilmann Breuer, Friedrich Oswald, Friedrich Piel, Wilhelm Schwemmer, and others / 1999)

_________________________

"During the reconstruction of the town church after the great fire of 1605, Werner was allowed to create the pulpit and the baptismal font. The high altar donated by Margravine Maria, whose pictures were painted by the court painter Heinrich Bolland, and the carved frame by Leonhard Brechtel of Nuremberg, date from the same period. We receive no documentary information about the carver of the frame, and we are not authorised to equate him with Brechtel, since experience shows that painting and gilding were entrusted to "experts" in each case. Sitzmann has repeatedly suggested that this altar frame also came from Werner. Sitzmann tries to refute the objection that our master did not work in wood by referring to the missing lid of the baptismal font in the same church, of which the old description tells us that it showed four figures of the cardinal virtues, which, since the lid was intended to be lifted off, must have been made of wood. Thus the carving technique would have been familiar to Werner, (...) Furthermore, it should be kept in mind that Dümpel was certainly Werner's assistant in 1615, and that wood carvings by him are known. (...)

The agreement in the typology of the putti heads speaks in favour of Werner's authorship (...)".

Felix Ettinghausen: Hans Werner, a Franconian sculptor around the year 1600 / dissertation / Würzburg / 1921 / p. 95 - 99

dated 1615, donated by Margravine Maria of Brandenburg-Bayreuth.

Three-axis wooden construction with rich carved decoration of cartilage and metal fittings; the sides are finished with the founder's coat of arms between ornamental obelisks, the pelican and coat of arms with Passion insignia on the extension, flanked by angels and crowned by the Crucified; charming side panels.

Around 1820, the altarpieces were replaced by paintings by August Riedel: In the main field Christ on the Mount of Olives, flanked by the apostles Peter and Paul, in the attachment enthroned Salvator, all 1821/22; in the predella copy of the Last Supper (after Leonardo da Vinci) 1827 by Immanuel Friedrich Schuhmacher.

(Dehio / Franconia / Edited by Tilmann Breuer, Friedrich Oswald, Friedrich Piel, Wilhelm Schwemmer, and others / 1999)

_________________________

"During the reconstruction of the town church after the great fire of 1605, Werner was allowed to create the pulpit and the baptismal font. The high altar donated by Margravine Maria, whose pictures were painted by the court painter Heinrich Bolland, and the carved frame by Leonhard Brechtel of Nuremberg, date from the same period. We receive no documentary information about the carver of the frame, and we are not authorised to equate him with Brechtel, since experience shows that painting and gilding were entrusted to "experts" in each case. Sitzmann has repeatedly suggested that this altar frame also came from Werner. Sitzmann tries to refute the objection that our master did not work in wood by referring to the missing lid of the baptismal font in the same church, of which the old description tells us that it showed four figures of the cardinal virtues, which, since the lid was intended to be lifted off, must have been made of wood. Thus the carving technique would have been familiar to Werner, (...) Furthermore, it should be kept in mind that Dümpel was certainly Werner's assistant in 1615, and that wood carvings by him are known. (...)

The agreement in the typology of the putti heads speaks in favour of Werner's authorship (...)".

Felix Ettinghausen: Hans Werner, a Franconian sculptor around the year 1600 / dissertation / Würzburg / 1921 / p. 95 - 99

dated 1615, donated by Margravine Maria of Brandenburg-Bayreuth.

Three-axis wooden construction with rich carved decoration of cartilage and metal fittings; the sides are finished with the founder's coat of arms between ornamental obelisks, the pelican and coat of arms with Passion insignia on the extension, flanked by angels and crowned by the Crucified; charming side panels.

Around 1820, the altarpieces were replaced by paintings by August Riedel: In the main field Christ on the Mount of Olives, flanked by the apostles Peter and Paul, in the attachment enthroned Salvator, all 1821/22; in the predella copy of the Last Supper (after Leonardo da Vinci) 1827 by Immanuel Friedrich Schuhmacher.

(Dehio / Franconia / Edited by Tilmann Breuer, Friedrich Oswald, Friedrich Piel, Wilhelm Schwemmer, and others / 1999)

_________________________

"During the reconstruction of the town church after the great fire of 1605, Werner was allowed to create the pulpit and the baptismal font. The high altar donated by Margravine Maria, whose pictures were painted by the court painter Heinrich Bolland, and the carved frame by Leonhard Brechtel of Nuremberg, date from the same period. We receive no documentary information about the carver of the frame, and we are not authorised to equate him with Brechtel, since experience shows that painting and gilding were entrusted to "experts" in each case. Sitzmann has repeatedly suggested that this altar frame also came from Werner. Sitzmann tries to refute the objection that our master did not work in wood by referring to the missing lid of the baptismal font in the same church, of which the old description tells us that it showed four figures of the cardinal virtues, which, since the lid was intended to be lifted off, must have been made of wood. Thus the carving technique would have been familiar to Werner, (...) Furthermore, it should be kept in mind that Dümpel was certainly Werner's assistant in 1615, and that wood carvings by him are known. (...)

The agreement in the typology of the putti heads speaks in favour of Werner's authorship (...)".

Felix Ettinghausen: Hans Werner, a Franconian sculptor around the year 1600 / dissertation / Würzburg / 1921 / p. 95 - 99

dated 1615, donated by Margravine Maria of Brandenburg-Bayreuth.

Three-axis wooden construction with rich carved decoration of cartilage and metal fittings; the sides are finished with the founder's coat of arms between ornamental obelisks, the pelican and coat of arms with Passion insignia on the extension, flanked by angels and crowned by the Crucified; charming side panels.

Around 1820, the altarpieces were replaced by paintings by August Riedel: In the main field Christ on the Mount of Olives, flanked by the apostles Peter and Paul, in the attachment enthroned Salvator, all 1821/22; in the predella copy of the Last Supper (after Leonardo da Vinci) 1827 by Immanuel Friedrich Schuhmacher.

(Dehio / Franconia / Edited by Tilmann Breuer, Friedrich Oswald, Friedrich Piel, Wilhelm Schwemmer, and others / 1999)

_________________________

"During the reconstruction of the town church after the great fire of 1605, Werner was allowed to create the pulpit and the baptismal font. The high altar donated by Margravine Maria, whose pictures were painted by the court painter Heinrich Bolland, and the carved frame by Leonhard Brechtel of Nuremberg, date from the same period. We receive no documentary information about the carver of the frame, and we are not authorised to equate him with Brechtel, since experience shows that painting and gilding were entrusted to "experts" in each case. Sitzmann has repeatedly suggested that this altar frame also came from Werner. Sitzmann tries to refute the objection that our master did not work in wood by referring to the missing lid of the baptismal font in the same church, of which the old description tells us that it showed four figures of the cardinal virtues, which, since the lid was intended to be lifted off, must have been made of wood. Thus the carving technique would have been familiar to Werner, (...) Furthermore, it should be kept in mind that Dümpel was certainly Werner's assistant in 1615, and that wood carvings by him are known. (...)

The agreement in the typology of the putti heads speaks in favour of Werner's authorship (...)".

Felix Ettinghausen: Hans Werner, a Franconian sculptor around the year 1600 / dissertation / Würzburg / 1921 / p. 95 - 99

dated 1615, donated by Margravine Maria of Brandenburg-Bayreuth.

Three-axis wooden construction with rich carved decoration of cartilage and metal fittings; the sides are finished with the founder's coat of arms between ornamental obelisks, the pelican and coat of arms with Passion insignia on the extension, flanked by angels and crowned by the Crucified; charming side panels.

Around 1820, the altarpieces were replaced by paintings by August Riedel: In the main field Christ on the Mount of Olives, flanked by the apostles Peter and Paul, in the attachment enthroned Salvator, all 1821/22; in the predella copy of the Last Supper (after Leonardo da Vinci) 1827 by Immanuel Friedrich Schuhmacher.

(Dehio / Franconia / Edited by Tilmann Breuer, Friedrich Oswald, Friedrich Piel, Wilhelm Schwemmer, and others / 1999)

_________________________

"During the reconstruction of the town church after the great fire of 1605, Werner was allowed to create the pulpit and the baptismal font. The high altar donated by Margravine Maria, whose pictures were painted by the court painter Heinrich Bolland, and the carved frame by Leonhard Brechtel of Nuremberg, date from the same period. We receive no documentary information about the carver of the frame, and we are not authorised to equate him with Brechtel, since experience shows that painting and gilding were entrusted to "experts" in each case. Sitzmann has repeatedly suggested that this altar frame also came from Werner. Sitzmann tries to refute the objection that our master did not work in wood by referring to the missing lid of the baptismal font in the same church, of which the old description tells us that it showed four figures of the cardinal virtues, which, since the lid was intended to be lifted off, must have been made of wood. Thus the carving technique would have been familiar to Werner, (...) Furthermore, it should be kept in mind that Dümpel was certainly Werner's assistant in 1615, and that wood carvings by him are known. (...)

The agreement in the typology of the putti heads speaks in favour of Werner's authorship (...)".

Felix Ettinghausen: Hans Werner, a Franconian sculptor around the year 1600 / dissertation / Würzburg / 1921 / p. 95 - 99

dated 1615, donated by Margravine Maria of Brandenburg-Bayreuth.

Three-axis wooden construction with rich carved decoration of cartilage and metal fittings; the sides are finished with the founder's coat of arms between ornamental obelisks, the pelican and coat of arms with Passion insignia on the extension, flanked by angels and crowned by the Crucified; charming side panels.

Around 1820, the altarpieces were replaced by paintings by August Riedel: In the main field Christ on the Mount of Olives, flanked by the apostles Peter and Paul, in the attachment enthroned Salvator, all 1821/22; in the predella copy of the Last Supper (after Leonardo da Vinci) 1827 by Immanuel Friedrich Schuhmacher.

(Dehio / Franconia / Edited by Tilmann Breuer, Friedrich Oswald, Friedrich Piel, Wilhelm Schwemmer, and others / 1999)

_________________________

"During the reconstruction of the town church after the great fire of 1605, Werner was allowed to create the pulpit and the baptismal font. The high altar donated by Margravine Maria, whose pictures were painted by the court painter Heinrich Bolland, and the carved frame by Leonhard Brechtel of Nuremberg, date from the same period. We receive no documentary information about the carver of the frame, and we are not authorised to equate him with Brechtel, since experience shows that painting and gilding were entrusted to "experts" in each case. Sitzmann has repeatedly suggested that this altar frame also came from Werner. Sitzmann tries to refute the objection that our master did not work in wood by referring to the missing lid of the baptismal font in the same church, of which the old description tells us that it showed four figures of the cardinal virtues, which, since the lid was intended to be lifted off, must have been made of wood. Thus the carving technique would have been familiar to Werner, (...) Furthermore, it should be kept in mind that Dümpel was certainly Werner's assistant in 1615, and that wood carvings by him are known. (...)

The agreement in the typology of the putti heads speaks in favour of Werner's authorship (...)".

Felix Ettinghausen: Hans Werner, a Franconian sculptor around the year 1600 / dissertation / Würzburg / 1921 / p. 95 - 99

dated 1615, donated by Margravine Maria of Brandenburg-Bayreuth.

Three-axis wooden construction with rich carved decoration of cartilage and metal fittings; the sides are finished with the founder's coat of arms between ornamental obelisks, the pelican and coat of arms with Passion insignia on the extension, flanked by angels and crowned by the Crucified; charming side panels.

Around 1820, the altarpieces were replaced by paintings by August Riedel: In the main field Christ on the Mount of Olives, flanked by the apostles Peter and Paul, in the attachment enthroned Salvator, all 1821/22; in the predella copy of the Last Supper (after Leonardo da Vinci) 1827 by Immanuel Friedrich Schuhmacher.

(Dehio / Franconia / Edited by Tilmann Breuer, Friedrich Oswald, Friedrich Piel, Wilhelm Schwemmer, and others / 1999)

_________________________

"During the reconstruction of the town church after the great fire of 1605, Werner was allowed to create the pulpit and the baptismal font. The high altar donated by Margravine Maria, whose pictures were painted by the court painter Heinrich Bolland, and the carved frame by Leonhard Brechtel of Nuremberg, date from the same period. We receive no documentary information about the carver of the frame, and we are not authorised to equate him with Brechtel, since experience shows that painting and gilding were entrusted to "experts" in each case. Sitzmann has repeatedly suggested that this altar frame also came from Werner. Sitzmann tries to refute the objection that our master did not work in wood by referring to the missing lid of the baptismal font in the same church, of which the old description tells us that it showed four figures of the cardinal virtues, which, since the lid was intended to be lifted off, must have been made of wood. Thus the carving technique would have been familiar to Werner, (...) Furthermore, it should be kept in mind that Dümpel was certainly Werner's assistant in 1615, and that wood carvings by him are known. (...)

The agreement in the typology of the putti heads speaks in favour of Werner's authorship (...)".

Felix Ettinghausen: Hans Werner, a Franconian sculptor around the year 1600 / dissertation / Würzburg / 1921 / p. 95 - 99

dated 1615, donated by Margravine Maria of Brandenburg-Bayreuth.

Three-axis wooden construction with rich carved decoration of cartilage and metal fittings; the sides are finished with the founder's coat of arms between ornamental obelisks, the pelican and coat of arms with Passion insignia on the extension, flanked by angels and crowned by the Crucified; charming side panels.

Around 1820, the altarpieces were replaced by paintings by August Riedel: In the main field Christ on the Mount of Olives, flanked by the apostles Peter and Paul, in the attachment enthroned Salvator, all 1821/22; in the predella copy of the Last Supper (after Leonardo da Vinci) 1827 by Immanuel Friedrich Schuhmacher.

(Dehio / Franconia / Edited by Tilmann Breuer, Friedrich Oswald, Friedrich Piel, Wilhelm Schwemmer, and others / 1999)

_________________________

"During the reconstruction of the town church after the great fire of 1605, Werner was allowed to create the pulpit and the baptismal font. The high altar donated by Margravine Maria, whose pictures were painted by the court painter Heinrich Bolland, and the carved frame by Leonhard Brechtel of Nuremberg, date from the same period. We receive no documentary information about the carver of the frame, and we are not authorised to equate him with Brechtel, since experience shows that painting and gilding were entrusted to "experts" in each case. Sitzmann has repeatedly suggested that this altar frame also came from Werner. Sitzmann tries to refute the objection that our master did not work in wood by referring to the missing lid of the baptismal font in the same church, of which the old description tells us that it showed four figures of the cardinal virtues, which, since the lid was intended to be lifted off, must have been made of wood. Thus the carving technique would have been familiar to Werner, (...) Furthermore, it should be kept in mind that Dümpel was certainly Werner's assistant in 1615, and that wood carvings by him are known. (...)

The agreement in the typology of the putti heads speaks in favour of Werner's authorship (...)".

Felix Ettinghausen: Hans Werner, a Franconian sculptor around the year 1600 / dissertation / Würzburg / 1921 / p. 95 - 99

dated 1615, donated by Margravine Maria of Brandenburg-Bayreuth.

Three-axis wooden construction with rich carved decoration of cartilage and metal fittings; the sides are finished with the founder's coat of arms between ornamental obelisks, the pelican and coat of arms with Passion insignia on the extension, flanked by angels and crowned by the Crucified; charming side panels.

Around 1820, the altarpieces were replaced by paintings by August Riedel: In the main field Christ on the Mount of Olives, flanked by the apostles Peter and Paul, in the attachment enthroned Salvator, all 1821/22; in the predella copy of the Last Supper (after Leonardo da Vinci) 1827 by Immanuel Friedrich Schuhmacher.

(Dehio / Franconia / Edited by Tilmann Breuer, Friedrich Oswald, Friedrich Piel, Wilhelm Schwemmer, and others / 1999)

_________________________

"During the reconstruction of the town church after the great fire of 1605, Werner was allowed to create the pulpit and the baptismal font. The high altar donated by Margravine Maria, whose pictures were painted by the court painter Heinrich Bolland, and the carved frame by Leonhard Brechtel of Nuremberg, date from the same period. We receive no documentary information about the carver of the frame, and we are not authorised to equate him with Brechtel, since experience shows that painting and gilding were entrusted to "experts" in each case. Sitzmann has repeatedly suggested that this altar frame also came from Werner. Sitzmann tries to refute the objection that our master did not work in wood by referring to the missing lid of the baptismal font in the same church, of which the old description tells us that it showed four figures of the cardinal virtues, which, since the lid was intended to be lifted off, must have been made of wood. Thus the carving technique would have been familiar to Werner, (...) Furthermore, it should be kept in mind that Dümpel was certainly Werner's assistant in 1615, and that wood carvings by him are known. (...)

The agreement in the typology of the putti heads speaks in favour of Werner's authorship (...)".

Felix Ettinghausen: Hans Werner, a Franconian sculptor around the year 1600 / dissertation / Würzburg / 1921 / p. 95 - 99

dated 1615, donated by Margravine Maria of Brandenburg-Bayreuth.

Three-axis wooden construction with rich carved decoration of cartilage and metal fittings; the sides are finished with the founder's coat of arms between ornamental obelisks, the pelican and coat of arms with Passion insignia on the extension, flanked by angels and crowned by the Crucified; charming side panels.

Around 1820, the altarpieces were replaced by paintings by August Riedel: In the main field Christ on the Mount of Olives, flanked by the apostles Peter and Paul, in the attachment enthroned Salvator, all 1821/22; in the predella copy of the Last Supper (after Leonardo da Vinci) 1827 by Immanuel Friedrich Schuhmacher.

(Dehio / Franconia / Edited by Tilmann Breuer, Friedrich Oswald, Friedrich Piel, Wilhelm Schwemmer, and others / 1999)

_________________________

"During the reconstruction of the town church after the great fire of 1605, Werner was allowed to create the pulpit and the baptismal font. The high altar donated by Margravine Maria, whose pictures were painted by the court painter Heinrich Bolland, and the carved frame by Leonhard Brechtel of Nuremberg, date from the same period. We receive no documentary information about the carver of the frame, and we are not authorised to equate him with Brechtel, since experience shows that painting and gilding were entrusted to "experts" in each case. Sitzmann has repeatedly suggested that this altar frame also came from Werner. Sitzmann tries to refute the objection that our master did not work in wood by referring to the missing lid of the baptismal font in the same church, of which the old description tells us that it showed four figures of the cardinal virtues, which, since the lid was intended to be lifted off, must have been made of wood. Thus the carving technique would have been familiar to Werner, (...) Furthermore, it should be kept in mind that Dümpel was certainly Werner's assistant in 1615, and that wood carvings by him are known. (...)

The agreement in the typology of the putti heads speaks in favour of Werner's authorship (...)".

Felix Ettinghausen: Hans Werner, a Franconian sculptor around the year 1600 / dissertation / Würzburg / 1921 / p. 95 - 99

dated 1615, donated by Margravine Maria of Brandenburg-Bayreuth.

Three-axis wooden construction with rich carved decoration of cartilage and metal fittings; the sides are finished with the founder's coat of arms between ornamental obelisks, the pelican and coat of arms with Passion insignia on the extension, flanked by angels and crowned by the Crucified; charming side panels.

Around 1820, the altarpieces were replaced by paintings by August Riedel: In the main field Christ on the Mount of Olives, flanked by the apostles Peter and Paul, in the attachment enthroned Salvator, all 1821/22; in the predella copy of the Last Supper (after Leonardo da Vinci) 1827 by Immanuel Friedrich Schuhmacher.

(Dehio / Franconia / Edited by Tilmann Breuer, Friedrich Oswald, Friedrich Piel, Wilhelm Schwemmer, and others / 1999)

_________________________

"During the reconstruction of the town church after the great fire of 1605, Werner was allowed to create the pulpit and the baptismal font. The high altar donated by Margravine Maria, whose pictures were painted by the court painter Heinrich Bolland, and the carved frame by Leonhard Brechtel of Nuremberg, date from the same period. We receive no documentary information about the carver of the frame, and we are not authorised to equate him with Brechtel, since experience shows that painting and gilding were entrusted to "experts" in each case. Sitzmann has repeatedly suggested that this altar frame also came from Werner. Sitzmann tries to refute the objection that our master did not work in wood by referring to the missing lid of the baptismal font in the same church, of which the old description tells us that it showed four figures of the cardinal virtues, which, since the lid was intended to be lifted off, must have been made of wood. Thus the carving technique would have been familiar to Werner, (...) Furthermore, it should be kept in mind that Dümpel was certainly Werner's assistant in 1615, and that wood carvings by him are known. (...)

The agreement in the typology of the putti heads speaks in favour of Werner's authorship (...)".

Felix Ettinghausen: Hans Werner, a Franconian sculptor around the year 1600 / dissertation / Würzburg / 1921 / p. 95 - 99

dated 1615, donated by Margravine Maria of Brandenburg-Bayreuth.

Three-axis wooden construction with rich carved decoration of cartilage and metal fittings; the sides are finished with the founder's coat of arms between ornamental obelisks, the pelican and coat of arms with Passion insignia on the extension, flanked by angels and crowned by the Crucified; charming side panels.

Around 1820, the altarpieces were replaced by paintings by August Riedel: In the main field Christ on the Mount of Olives, flanked by the apostles Peter and Paul, in the attachment enthroned Salvator, all 1821/22; in the predella copy of the Last Supper (after Leonardo da Vinci) 1827 by Immanuel Friedrich Schuhmacher.

(Dehio / Franconia / Edited by Tilmann Breuer, Friedrich Oswald, Friedrich Piel, Wilhelm Schwemmer, and others / 1999)

_________________________

"During the reconstruction of the town church after the great fire of 1605, Werner was allowed to create the pulpit and the baptismal font. The high altar donated by Margravine Maria, whose pictures were painted by the court painter Heinrich Bolland, and the carved frame by Leonhard Brechtel of Nuremberg, date from the same period. We receive no documentary information about the carver of the frame, and we are not authorised to equate him with Brechtel, since experience shows that painting and gilding were entrusted to "experts" in each case. Sitzmann has repeatedly suggested that this altar frame also came from Werner. Sitzmann tries to refute the objection that our master did not work in wood by referring to the missing lid of the baptismal font in the same church, of which the old description tells us that it showed four figures of the cardinal virtues, which, since the lid was intended to be lifted off, must have been made of wood. Thus the carving technique would have been familiar to Werner, (...) Furthermore, it should be kept in mind that Dümpel was certainly Werner's assistant in 1615, and that wood carvings by him are known. (...)

The agreement in the typology of the putti heads speaks in favour of Werner's authorship (...)".

Felix Ettinghausen: Hans Werner, a Franconian sculptor around the year 1600 / dissertation / Würzburg / 1921 / p. 95 - 99

dated 1615, donated by Margravine Maria of Brandenburg-Bayreuth.

Three-axis wooden construction with rich carved decoration of cartilage and metal fittings; the sides are finished with the founder's coat of arms between ornamental obelisks, the pelican and coat of arms with Passion insignia on the extension, flanked by angels and crowned by the Crucified; charming side panels.

Around 1820, the altarpieces were replaced by paintings by August Riedel: In the main field Christ on the Mount of Olives, flanked by the apostles Peter and Paul, in the attachment enthroned Salvator, all 1821/22; in the predella copy of the Last Supper (after Leonardo da Vinci) 1827 by Immanuel Friedrich Schuhmacher.

(Dehio / Franconia / Edited by Tilmann Breuer, Friedrich Oswald, Friedrich Piel, Wilhelm Schwemmer, and others / 1999)

_________________________

"During the reconstruction of the town church after the great fire of 1605, Werner was allowed to create the pulpit and the baptismal font. The high altar donated by Margravine Maria, whose pictures were painted by the court painter Heinrich Bolland, and the carved frame by Leonhard Brechtel of Nuremberg, date from the same period. We receive no documentary information about the carver of the frame, and we are not authorised to equate him with Brechtel, since experience shows that painting and gilding were entrusted to "experts" in each case. Sitzmann has repeatedly suggested that this altar frame also came from Werner. Sitzmann tries to refute the objection that our master did not work in wood by referring to the missing lid of the baptismal font in the same church, of which the old description tells us that it showed four figures of the cardinal virtues, which, since the lid was intended to be lifted off, must have been made of wood. Thus the carving technique would have been familiar to Werner, (...) Furthermore, it should be kept in mind that Dümpel was certainly Werner's assistant in 1615, and that wood carvings by him are known. (...)

The agreement in the typology of the putti heads speaks in favour of Werner's authorship (...)".

Felix Ettinghausen: Hans Werner, a Franconian sculptor around the year 1600 / dissertation / Würzburg / 1921 / p. 95 - 99

dated 1615, donated by Margravine Maria of Brandenburg-Bayreuth.

Three-axis wooden construction with rich carved decoration of cartilage and metal fittings; the sides are finished with the founder's coat of arms between ornamental obelisks, the pelican and coat of arms with Passion insignia on the extension, flanked by angels and crowned by the Crucified; charming side panels.

Around 1820, the altarpieces were replaced by paintings by August Riedel: In the main field Christ on the Mount of Olives, flanked by the apostles Peter and Paul, in the attachment enthroned Salvator, all 1821/22; in the predella copy of the Last Supper (after Leonardo da Vinci) 1827 by Immanuel Friedrich Schuhmacher.

(Dehio / Franconia / Edited by Tilmann Breuer, Friedrich Oswald, Friedrich Piel, Wilhelm Schwemmer, and others / 1999)

_________________________

"During the reconstruction of the town church after the great fire of 1605, Werner was allowed to create the pulpit and the baptismal font. The high altar donated by Margravine Maria, whose pictures were painted by the court painter Heinrich Bolland, and the carved frame by Leonhard Brechtel of Nuremberg, date from the same period. We receive no documentary information about the carver of the frame, and we are not authorised to equate him with Brechtel, since experience shows that painting and gilding were entrusted to "experts" in each case. Sitzmann has repeatedly suggested that this altar frame also came from Werner. Sitzmann tries to refute the objection that our master did not work in wood by referring to the missing lid of the baptismal font in the same church, of which the old description tells us that it showed four figures of the cardinal virtues, which, since the lid was intended to be lifted off, must have been made of wood. Thus the carving technique would have been familiar to Werner, (...) Furthermore, it should be kept in mind that Dümpel was certainly Werner's assistant in 1615, and that wood carvings by him are known. (...)

The agreement in the typology of the putti heads speaks in favour of Werner's authorship (...)".

Felix Ettinghausen: Hans Werner, a Franconian sculptor around the year 1600 / dissertation / Würzburg / 1921 / p. 95 - 99

dated 1615, donated by Margravine Maria of Brandenburg-Bayreuth.

Three-axis wooden construction with rich carved decoration of cartilage and metal fittings; the sides are finished with the founder's coat of arms between ornamental obelisks, the pelican and coat of arms with Passion insignia on the extension, flanked by angels and crowned by the Crucified; charming side panels.

Around 1820, the altarpieces were replaced by paintings by August Riedel: In the main field Christ on the Mount of Olives, flanked by the apostles Peter and Paul, in the attachment enthroned Salvator, all 1821/22; in the predella copy of the Last Supper (after Leonardo da Vinci) 1827 by Immanuel Friedrich Schuhmacher.

(Dehio / Franconia / Edited by Tilmann Breuer, Friedrich Oswald, Friedrich Piel, Wilhelm Schwemmer, and others / 1999)

_________________________

"During the reconstruction of the town church after the great fire of 1605, Werner was allowed to create the pulpit and the baptismal font. The high altar donated by Margravine Maria, whose pictures were painted by the court painter Heinrich Bolland, and the carved frame by Leonhard Brechtel of Nuremberg, date from the same period. We receive no documentary information about the carver of the frame, and we are not authorised to equate him with Brechtel, since experience shows that painting and gilding were entrusted to "experts" in each case. Sitzmann has repeatedly suggested that this altar frame also came from Werner. Sitzmann tries to refute the objection that our master did not work in wood by referring to the missing lid of the baptismal font in the same church, of which the old description tells us that it showed four figures of the cardinal virtues, which, since the lid was intended to be lifted off, must have been made of wood. Thus the carving technique would have been familiar to Werner, (...) Furthermore, it should be kept in mind that Dümpel was certainly Werner's assistant in 1615, and that wood carvings by him are known. (...)

The agreement in the typology of the putti heads speaks in favour of Werner's authorship (...)".

Felix Ettinghausen: Hans Werner, a Franconian sculptor around the year 1600 / dissertation / Würzburg / 1921 / p. 95 - 99

dated 1615, donated by Margravine Maria of Brandenburg-Bayreuth.

Three-axis wooden construction with rich carved decoration of cartilage and metal fittings; the sides are finished with the founder's coat of arms between ornamental obelisks, the pelican and coat of arms with Passion insignia on the extension, flanked by angels and crowned by the Crucified; charming side panels.

Around 1820, the altarpieces were replaced by paintings by August Riedel: In the main field Christ on the Mount of Olives, flanked by the apostles Peter and Paul, in the attachment enthroned Salvator, all 1821/22; in the predella copy of the Last Supper (after Leonardo da Vinci) 1827 by Immanuel Friedrich Schuhmacher.

(Dehio / Franconia / Edited by Tilmann Breuer, Friedrich Oswald, Friedrich Piel, Wilhelm Schwemmer, and others / 1999)

_________________________

"During the reconstruction of the town church after the great fire of 1605, Werner was allowed to create the pulpit and the baptismal font. The high altar donated by Margravine Maria, whose pictures were painted by the court painter Heinrich Bolland, and the carved frame by Leonhard Brechtel of Nuremberg, date from the same period. We receive no documentary information about the carver of the frame, and we are not authorised to equate him with Brechtel, since experience shows that painting and gilding were entrusted to "experts" in each case. Sitzmann has repeatedly suggested that this altar frame also came from Werner. Sitzmann tries to refute the objection that our master did not work in wood by referring to the missing lid of the baptismal font in the same church, of which the old description tells us that it showed four figures of the cardinal virtues, which, since the lid was intended to be lifted off, must have been made of wood. Thus the carving technique would have been familiar to Werner, (...) Furthermore, it should be kept in mind that Dümpel was certainly Werner's assistant in 1615, and that wood carvings by him are known. (...)

The agreement in the typology of the putti heads speaks in favour of Werner's authorship (...)".

Felix Ettinghausen: Hans Werner, a Franconian sculptor around the year 1600 / dissertation / Würzburg / 1921 / p. 95 - 99

dated 1615, donated by Margravine Maria of Brandenburg-Bayreuth.

Three-axis wooden construction with rich carved decoration of cartilage and metal fittings; the sides are finished with the founder's coat of arms between ornamental obelisks, the pelican and coat of arms with Passion insignia on the extension, flanked by angels and crowned by the Crucified; charming side panels.

Around 1820, the altarpieces were replaced by paintings by August Riedel: In the main field Christ on the Mount of Olives, flanked by the apostles Peter and Paul, in the attachment enthroned Salvator, all 1821/22; in the predella copy of the Last Supper (after Leonardo da Vinci) 1827 by Immanuel Friedrich Schuhmacher.

(Dehio / Franconia / Edited by Tilmann Breuer, Friedrich Oswald, Friedrich Piel, Wilhelm Schwemmer, and others / 1999)

_________________________

"During the reconstruction of the town church after the great fire of 1605, Werner was allowed to create the pulpit and the baptismal font. The high altar donated by Margravine Maria, whose pictures were painted by the court painter Heinrich Bolland, and the carved frame by Leonhard Brechtel of Nuremberg, date from the same period. We receive no documentary information about the carver of the frame, and we are not authorised to equate him with Brechtel, since experience shows that painting and gilding were entrusted to "experts" in each case. Sitzmann has repeatedly suggested that this altar frame also came from Werner. Sitzmann tries to refute the objection that our master did not work in wood by referring to the missing lid of the baptismal font in the same church, of which the old description tells us that it showed four figures of the cardinal virtues, which, since the lid was intended to be lifted off, must have been made of wood. Thus the carving technique would have been familiar to Werner, (...) Furthermore, it should be kept in mind that Dümpel was certainly Werner's assistant in 1615, and that wood carvings by him are known. (...)

The agreement in the typology of the putti heads speaks in favour of Werner's authorship (...)".

Felix Ettinghausen: Hans Werner, a Franconian sculptor around the year 1600 / dissertation / Würzburg / 1921 / p. 95 - 99

dated 1615, donated by Margravine Maria of Brandenburg-Bayreuth.

Three-axis wooden construction with rich carved decoration of cartilage and metal fittings; the sides are finished with the founder's coat of arms between ornamental obelisks, the pelican and coat of arms with Passion insignia on the extension, flanked by angels and crowned by the Crucified; charming side panels.

Around 1820, the altarpieces were replaced by paintings by August Riedel: In the main field Christ on the Mount of Olives, flanked by the apostles Peter and Paul, in the attachment enthroned Salvator, all 1821/22; in the predella copy of the Last Supper (after Leonardo da Vinci) 1827 by Immanuel Friedrich Schuhmacher.

(Dehio / Franconia / Edited by Tilmann Breuer, Friedrich Oswald, Friedrich Piel, Wilhelm Schwemmer, and others / 1999)

_________________________

"During the reconstruction of the town church after the great fire of 1605, Werner was allowed to create the pulpit and the baptismal font. The high altar donated by Margravine Maria, whose pictures were painted by the court painter Heinrich Bolland, and the carved frame by Leonhard Brechtel of Nuremberg, date from the same period. We receive no documentary information about the carver of the frame, and we are not authorised to equate him with Brechtel, since experience shows that painting and gilding were entrusted to "experts" in each case. Sitzmann has repeatedly suggested that this altar frame also came from Werner. Sitzmann tries to refute the objection that our master did not work in wood by referring to the missing lid of the baptismal font in the same church, of which the old description tells us that it showed four figures of the cardinal virtues, which, since the lid was intended to be lifted off, must have been made of wood. Thus the carving technique would have been familiar to Werner, (...) Furthermore, it should be kept in mind that Dümpel was certainly Werner's assistant in 1615, and that wood carvings by him are known. (...)

The agreement in the typology of the putti heads speaks in favour of Werner's authorship (...)".

Felix Ettinghausen: Hans Werner, a Franconian sculptor around the year 1600 / dissertation / Würzburg / 1921 / p. 95 - 99

dated 1615, donated by Margravine Maria of Brandenburg-Bayreuth.

Three-axis wooden construction with rich carved decoration of cartilage and metal fittings; the sides are finished with the founder's coat of arms between ornamental obelisks, the pelican and coat of arms with Passion insignia on the extension, flanked by angels and crowned by the Crucified; charming side panels.

Around 1820, the altarpieces were replaced by paintings by August Riedel: In the main field Christ on the Mount of Olives, flanked by the apostles Peter and Paul, in the attachment enthroned Salvator, all 1821/22; in the predella copy of the Last Supper (after Leonardo da Vinci) 1827 by Immanuel Friedrich Schuhmacher.

(Dehio / Franconia / Edited by Tilmann Breuer, Friedrich Oswald, Friedrich Piel, Wilhelm Schwemmer, and others / 1999)

_________________________

"During the reconstruction of the town church after the great fire of 1605, Werner was allowed to create the pulpit and the baptismal font. The high altar donated by Margravine Maria, whose pictures were painted by the court painter Heinrich Bolland, and the carved frame by Leonhard Brechtel of Nuremberg, date from the same period. We receive no documentary information about the carver of the frame, and we are not authorised to equate him with Brechtel, since experience shows that painting and gilding were entrusted to "experts" in each case. Sitzmann has repeatedly suggested that this altar frame also came from Werner. Sitzmann tries to refute the objection that our master did not work in wood by referring to the missing lid of the baptismal font in the same church, of which the old description tells us that it showed four figures of the cardinal virtues, which, since the lid was intended to be lifted off, must have been made of wood. Thus the carving technique would have been familiar to Werner, (...) Furthermore, it should be kept in mind that Dümpel was certainly Werner's assistant in 1615, and that wood carvings by him are known. (...)

The agreement in the typology of the putti heads speaks in favour of Werner's authorship (...)".

Felix Ettinghausen: Hans Werner, a Franconian sculptor around the year 1600 / dissertation / Würzburg / 1921 / p. 95 - 99

dated 1615, donated by Margravine Maria of Brandenburg-Bayreuth.

Three-axis wooden construction with rich carved decoration of cartilage and metal fittings; the sides are finished with the founder's coat of arms between ornamental obelisks, the pelican and coat of arms with Passion insignia on the extension, flanked by angels and crowned by the Crucified; charming side panels.

Around 1820, the altarpieces were replaced by paintings by August Riedel: In the main field Christ on the Mount of Olives, flanked by the apostles Peter and Paul, in the attachment enthroned Salvator, all 1821/22; in the predella copy of the Last Supper (after Leonardo da Vinci) 1827 by Immanuel Friedrich Schuhmacher.

(Dehio / Franconia / Edited by Tilmann Breuer, Friedrich Oswald, Friedrich Piel, Wilhelm Schwemmer, and others / 1999)

_________________________

"During the reconstruction of the town church after the great fire of 1605, Werner was allowed to create the pulpit and the baptismal font. The high altar donated by Margravine Maria, whose pictures were painted by the court painter Heinrich Bolland, and the carved frame by Leonhard Brechtel of Nuremberg, date from the same period. We receive no documentary information about the carver of the frame, and we are not authorised to equate him with Brechtel, since experience shows that painting and gilding were entrusted to "experts" in each case. Sitzmann has repeatedly suggested that this altar frame also came from Werner. Sitzmann tries to refute the objection that our master did not work in wood by referring to the missing lid of the baptismal font in the same church, of which the old description tells us that it showed four figures of the cardinal virtues, which, since the lid was intended to be lifted off, must have been made of wood. Thus the carving technique would have been familiar to Werner, (...) Furthermore, it should be kept in mind that Dümpel was certainly Werner's assistant in 1615, and that wood carvings by him are known. (...)

The agreement in the typology of the putti heads speaks in favour of Werner's authorship (...)".

Felix Ettinghausen: Hans Werner, a Franconian sculptor around the year 1600 / dissertation / Würzburg / 1921 / p. 95 - 99

dated 1615, donated by Margravine Maria of Brandenburg-Bayreuth.

Three-axis wooden construction with rich carved decoration of cartilage and metal fittings; the sides are finished with the founder's coat of arms between ornamental obelisks, the pelican and coat of arms with Passion insignia on the extension, flanked by angels and crowned by the Crucified; charming side panels.

Around 1820, the altarpieces were replaced by paintings by August Riedel: In the main field Christ on the Mount of Olives, flanked by the apostles Peter and Paul, in the attachment enthroned Salvator, all 1821/22; in the predella copy of the Last Supper (after Leonardo da Vinci) 1827 by Immanuel Friedrich Schuhmacher.

(Dehio / Franconia / Edited by Tilmann Breuer, Friedrich Oswald, Friedrich Piel, Wilhelm Schwemmer, and others / 1999)

_________________________

"During the reconstruction of the town church after the great fire of 1605, Werner was allowed to create the pulpit and the baptismal font. The high altar donated by Margravine Maria, whose pictures were painted by the court painter Heinrich Bolland, and the carved frame by Leonhard Brechtel of Nuremberg, date from the same period. We receive no documentary information about the carver of the frame, and we are not authorised to equate him with Brechtel, since experience shows that painting and gilding were entrusted to "experts" in each case. Sitzmann has repeatedly suggested that this altar frame also came from Werner. Sitzmann tries to refute the objection that our master did not work in wood by referring to the missing lid of the baptismal font in the same church, of which the old description tells us that it showed four figures of the cardinal virtues, which, since the lid was intended to be lifted off, must have been made of wood. Thus the carving technique would have been familiar to Werner, (...) Furthermore, it should be kept in mind that Dümpel was certainly Werner's assistant in 1615, and that wood carvings by him are known. (...)

The agreement in the typology of the putti heads speaks in favour of Werner's authorship (...)".

Felix Ettinghausen: Hans Werner, a Franconian sculptor around the year 1600 / dissertation / Würzburg / 1921 / p. 95 - 99

dated 1615, donated by Margravine Maria of Brandenburg-Bayreuth.

Three-axis wooden construction with rich carved decoration of cartilage and metal fittings; the sides are finished with the founder's coat of arms between ornamental obelisks, the pelican and coat of arms with Passion insignia on the extension, flanked by angels and crowned by the Crucified; charming side panels.

Around 1820, the altarpieces were replaced by paintings by August Riedel: In the main field Christ on the Mount of Olives, flanked by the apostles Peter and Paul, in the attachment enthroned Salvator, all 1821/22; in the predella copy of the Last Supper (after Leonardo da Vinci) 1827 by Immanuel Friedrich Schuhmacher.

(Dehio / Franconia / Edited by Tilmann Breuer, Friedrich Oswald, Friedrich Piel, Wilhelm Schwemmer, and others / 1999)

_________________________

"During the reconstruction of the town church after the great fire of 1605, Werner was allowed to create the pulpit and the baptismal font. The high altar donated by Margravine Maria, whose pictures were painted by the court painter Heinrich Bolland, and the carved frame by Leonhard Brechtel of Nuremberg, date from the same period. We receive no documentary information about the carver of the frame, and we are not authorised to equate him with Brechtel, since experience shows that painting and gilding were entrusted to "experts" in each case. Sitzmann has repeatedly suggested that this altar frame also came from Werner. Sitzmann tries to refute the objection that our master did not work in wood by referring to the missing lid of the baptismal font in the same church, of which the old description tells us that it showed four figures of the cardinal virtues, which, since the lid was intended to be lifted off, must have been made of wood. Thus the carving technique would have been familiar to Werner, (...) Furthermore, it should be kept in mind that Dümpel was certainly Werner's assistant in 1615, and that wood carvings by him are known. (...)

The agreement in the typology of the putti heads speaks in favour of Werner's authorship (...)".

Felix Ettinghausen: Hans Werner, a Franconian sculptor around the year 1600 / dissertation / Würzburg / 1921 / p. 95 - 99

dated 1615, donated by Margravine Maria of Brandenburg-Bayreuth.

Three-axis wooden construction with rich carved decoration of cartilage and metal fittings; the sides are finished with the founder's coat of arms between ornamental obelisks, the pelican and coat of arms with Passion insignia on the extension, flanked by angels and crowned by the Crucified; charming side panels.

Around 1820, the altarpieces were replaced by paintings by August Riedel: In the main field Christ on the Mount of Olives, flanked by the apostles Peter and Paul, in the attachment enthroned Salvator, all 1821/22; in the predella copy of the Last Supper (after Leonardo da Vinci) 1827 by Immanuel Friedrich Schuhmacher.

(Dehio / Franconia / Edited by Tilmann Breuer, Friedrich Oswald, Friedrich Piel, Wilhelm Schwemmer, and others / 1999)

_________________________

"During the reconstruction of the town church after the great fire of 1605, Werner was allowed to create the pulpit and the baptismal font. The high altar donated by Margravine Maria, whose pictures were painted by the court painter Heinrich Bolland, and the carved frame by Leonhard Brechtel of Nuremberg, date from the same period. We receive no documentary information about the carver of the frame, and we are not authorised to equate him with Brechtel, since experience shows that painting and gilding were entrusted to "experts" in each case. Sitzmann has repeatedly suggested that this altar frame also came from Werner. Sitzmann tries to refute the objection that our master did not work in wood by referring to the missing lid of the baptismal font in the same church, of which the old description tells us that it showed four figures of the cardinal virtues, which, since the lid was intended to be lifted off, must have been made of wood. Thus the carving technique would have been familiar to Werner, (...) Furthermore, it should be kept in mind that Dümpel was certainly Werner's assistant in 1615, and that wood carvings by him are known. (...)

The agreement in the typology of the putti heads speaks in favour of Werner's authorship (...)".

Felix Ettinghausen: Hans Werner, a Franconian sculptor around the year 1600 / dissertation / Würzburg / 1921 / p. 95 - 99