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High Altar

High Altar Baptismal font (marble reliefs by Hans Werner) and high altar in the choir room

High Altar

1615

Baptismal font (marble reliefs by Hans Werner) and high altar in the choir room


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

Location: Bayreuth, Holy Trinity City Church

Realization: Brechtel, Leonhard d. Ä., Werner, Hans, Dümpel, Veit

photo 2022, Theo Noll

High Altar General view, high altar

High Altar

1615

General view, high altar


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

Location: Bayreuth, Holy Trinity City Church

Realization: Brechtel, Leonhard d. Ä., Werner, Hans, Dümpel, Veit

photo 2022, Theo Noll

High Altar upper finial: crucifix, coat of arms with Passion insignia, below a pelican

High Altar

1615

upper finial: crucifix, coat of arms with Passion insignia, below a pelican


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

Location: Bayreuth, Holy Trinity City Church

Realization: Brechtel, Leonhard d. Ä., Werner, Hans, Dümpel, Veit

photo 2022, Theo Noll

High Altar upper finial: crucifix, coat of arms with Passion insignia, below a pelican

High Altar

1615

upper finial: crucifix, coat of arms with Passion insignia, below a pelican


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

Location: Bayreuth, Holy Trinity City Church

Realization: Brechtel, Leonhard d. Ä., Werner, Hans, Dümpel, Veit

photo 2022, Theo Noll

High Altar upper finial, with donators´coats of arms on the sides

High Altar

1615

upper finial, with donators´coats of arms on the sides


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

Location: Bayreuth, Holy Trinity City Church

Realization: Brechtel, Leonhard d. Ä., Werner, Hans, Dümpel, Veit

photo 2022, Theo Noll

High Altar donators´coat of arms, left hand side

High Altar

1615

donators´coat of arms, left hand side


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

Location: Bayreuth, Holy Trinity City Church

Realization: Brechtel, Leonhard d. Ä., Werner, Hans, Dümpel, Veit

photo 2022, Theo Noll

High Altar Enthroned Salvator, painting by August Riedel 1821/22

High Altar

1615

Enthroned Salvator, painting by August Riedel 1821/22


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

Location: Bayreuth, Holy Trinity City Church

Realization: Brechtel, Leonhard d. Ä., Werner, Hans, Dümpel, Veit

photo 2022, Theo Noll

High Altar donators´coat of arms, right hand side

High Altar

1615

donators´coat of arms, right hand side


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

Location: Bayreuth, Holy Trinity City Church

Realization: Brechtel, Leonhard d. Ä., Werner, Hans, Dümpel, Veit

photo 2022, Theo Noll

High Altar Altar panels, paintings by August Riedel, 1821/22

High Altar

1615

Altar panels, paintings by August Riedel, 1821/22


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

Location: Bayreuth, Holy Trinity City Church

Realization: Brechtel, Leonhard d. Ä., Werner, Hans, Dümpel, Veit

photo 2022, Theo Noll

High Altar lateral auricular style carving by Werner / painting of St. Peter by August Riedel, 1821/22

High Altar

1615

lateral auricular style carving by Werner / painting of St. Peter by August Riedel, 1821/22


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

Location: Bayreuth, Holy Trinity City Church

Realization: Brechtel, Leonhard d. Ä., Werner, Hans, Dümpel, Veit

photo 2022, Theo Noll

High Altar lateral auricular style carving, detail

High Altar

1615

lateral auricular style carving, detail


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

Location: Bayreuth, Holy Trinity City Church

Realization: Brechtel, Leonhard d. Ä., Werner, Hans, Dümpel, Veit

photo 2022, Theo Noll

High Altar Mitteltafel mit Ölbergszene, Gemälde von August Riedel, 1821/22

High Altar

1615

Mitteltafel mit Ölbergszene, Gemälde von August Riedel, 1821/22


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

Location: Bayreuth, Holy Trinity City Church

Realization: Brechtel, Leonhard d. Ä., Werner, Hans, Dümpel, Veit

photo 2022, Theo Noll

High Altar lateral auricular style carving by Werner / painting of St. Peter by August Riedel, 1821/22

High Altar

1615

lateral auricular style carving by Werner / painting of St. Peter by August Riedel, 1821/22


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

Location: Bayreuth, Holy Trinity City Church

Realization: Brechtel, Leonhard d. Ä., Werner, Hans, Dümpel, Veit

photo 2022, Theo Noll

High Altar left lateral auricular style carving

High Altar

1615

left lateral auricular style carving


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

Location: Bayreuth, Holy Trinity City Church

Realization: Brechtel, Leonhard d. Ä., Werner, Hans, Dümpel, Veit

photo 2022, Theo Noll

High Altar left lateral auricular style carving, detail view

High Altar

1615

left lateral auricular style carving, detail view


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

Location: Bayreuth, Holy Trinity City Church

Realization: Brechtel, Leonhard d. Ä., Werner, Hans, Dümpel, Veit

photo 2022, Theo Noll

High Altar left lateral auricular style carving, detail view with putto

High Altar

1615

left lateral auricular style carving, detail view with putto


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

Location: Bayreuth, Holy Trinity City Church

Realization: Brechtel, Leonhard d. Ä., Werner, Hans, Dümpel, Veit

photo 2022, Theo Noll

High Altar left lateral auricular style carving, detail view of the lower end

High Altar

1615

left lateral auricular style carving, detail view of the lower end


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

Location: Bayreuth, Holy Trinity City Church

Realization: Brechtel, Leonhard d. Ä., Werner, Hans, Dümpel, Veit

photo 2022, Theo Noll

High Altar Hanging head capital on the right hand side with biblical quotation from Corinthians I: " As often as ye eat of this bread...."

High Altar

1615

Hanging head capital on the right hand side with biblical quotation from Corinthians I: " As often as ye eat of this bread...."


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

Location: Bayreuth, Holy Trinity City Church

Realization: Brechtel, Leonhard d. Ä., Werner, Hans, Dümpel, Veit

photo 2022, Theo Noll

High Altar Cartouche with biblical quotation from Corinthians I: " As often as ye eat of this bread...."

High Altar

1615

Cartouche with biblical quotation from Corinthians I: " As often as ye eat of this bread...."


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

Location: Bayreuth, Holy Trinity City Church

Realization: Brechtel, Leonhard d. Ä., Werner, Hans, Dümpel, Veit

photo 2022, Theo Noll

High Altar Hanging head capital

High Altar

1615

Hanging head capital


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

Location: Bayreuth, Holy Trinity City Church

Realization: Brechtel, Leonhard d. Ä., Werner, Hans, Dümpel, Veit

photo 2022, Theo Noll

High Altar Hanging head capital

High Altar

1615

Hanging head capital


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

Location: Bayreuth, Stadtkirche Heilig Dreifaltigkeit

Realization: Brechtel, Leonhard d. Ä., Werner, Hans, Dümpel, Veit

photo 2022, Theo Noll

High Altar Figurated console, cartouche and hanging head capital below the left-hand altar panel

High Altar

1615

Figurated console, cartouche and hanging head capital below the left-hand altar panel


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

Location: Bayreuth, Holy Trinity City Church

Realization: Brechtel, Leonhard d. Ä., Werner, Hans, Dümpel, Veit

photo 2022, Theo Noll

High Altar Figurated console, cartouche and hanging head capital below the left-hand altar panel

High Altar

1615

Figurated console, cartouche and hanging head capital below the left-hand altar panel


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

Location: Bayreuth, Holy Trinity City Church

Realization: Brechtel, Leonhard d. Ä., Werner, Hans, Dümpel, Veit

photo 2022, Theo Noll

High Altar Figurated console, cartouche and hanging head capital below the right-hand altar panel

High Altar

1615

Figurated console, cartouche and hanging head capital below the right-hand altar panel


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

Location: Bayreuth, Holy Trinity City Church

Realization: Brechtel, Leonhard d. Ä., Werner, Hans, Dümpel, Veit

photo 2022, Theo Noll

High Altar Figurated console, cartouche and hanging head capital below the right-hand altar panel

High Altar

1615

Figurated console, cartouche and hanging head capital below the right-hand altar panel


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

Location: Bayreuth, Holy Trinity City Church

Realization: Brechtel, Leonhard d. Ä., Werner, Hans, Dümpel, Veit

photo 2022, Theo Noll

High Altar Cartouche with biblical quotation below the right altar pane

High Altar

1615

Cartouche with biblical quotation below the right altar pane


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

Location: Bayreuth, Holy Trinity City Church

Realization: Brechtel, Leonhard d. Ä., Werner, Hans, Dümpel, Veit

photo 2022, Theo Noll

High Altar Hanging head capital below the right altarpiece

High Altar

1615

Hanging head capital below the right altarpiece


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

Location: Bayreuth, Holy Trinity City Church

Realization: Brechtel, Leonhard d. Ä., Werner, Hans, Dümpel, Veit

photo 2022, Theo Noll

High Altar Hanging head capital below the right altarpiece, view from below

High Altar

1615

Hanging head capital below the right altarpiece, view from below


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

Location: Bayreuth, Stadtkirche Heilig Dreifaltigkeit

Realization: Brechtel, Leonhard d. Ä., Werner, Hans, Dümpel, Veit

photo 2022, Theo Noll

High Altar Hanging head capital below the right altarpiece, south side

High Altar

1615

Hanging head capital below the right altarpiece, south side


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

Location: Bayreuth, Holy Trinity City Church

Realization: Brechtel, Leonhard d. Ä., Werner, Hans, Dümpel, Veit

photo 2022, Theo Noll

High Altar Hanging head capital below the right altarpiece, east side

High Altar

1615

Hanging head capital below the right altarpiece, east side


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

Location: Bayreuth, Holy Trinity City Church

Realization: Brechtel, Leonhard d. Ä., Werner, Hans, Dümpel, Veit

photo 2022, Theo Noll

High Altar Hanging head capital below the right altarpiece, west side

High Altar

1615

Hanging head capital below the right altarpiece, west side


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

Location: Bayreuth, Holy Trinity City Church

Realization: Brechtel, Leonhard d. Ä., Werner, Hans, Dümpel, Veit

photo 2022, Theo Noll

High Altar right lateral auricular style carving

High Altar

1615

right lateral auricular style carving


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

Location: Bayreuth, Holy Trinity City Church

Realization: Brechtel, Leonhard d. Ä., Werner, Hans, Dümpel, Veit

photo 2022, Theo Noll

High Altar right lateral auricular style carving

High Altar

1615

right lateral auricular style carving


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

Location: Bayreuth, Holy Trinity City Church

Realization: Brechtel, Leonhard d. Ä., Werner, Hans, Dümpel, Veit

photo 2022, Theo Noll

High Altar right lateral auricular style carving, detail view with putto

High Altar

1615

right lateral auricular style carving, detail view with putto


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

Location: Bayreuth, Holy Trinity City Church

Realization: Brechtel, Leonhard d. Ä., Werner, Hans, Dümpel, Veit

photo 2022, Theo Noll

High Altar Vergleichsbilder: Puttos aus verschiedenen Schaffensphasen

High Altar

1615

Vergleichsbilder: Puttos aus verschiedenen Schaffensphasen


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

Location: Bayreuth, Holy Trinity City Church

Realization: Brechtel, Leonhard d. Ä., Werner, Hans, Dümpel, Veit

photo 2022, Theo Noll

High Altar Vergleichsbilder: Puttos aus verschiedenen Schaffensphasen

High Altar

1615

Vergleichsbilder: Puttos aus verschiedenen Schaffensphasen


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

Location: Bayreuth, Holy Trinity City Church

Realization: Brechtel, Leonhard d. Ä., Werner, Hans, Dümpel, Veit

photo 2022, Theo Noll

High Altar lateral auricular style carving, upper end

High Altar

1615

lateral auricular style carving, upper end


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

Location: Bayreuth, Holy Trinity City Church

Realization: Brechtel, Leonhard d. Ä., Werner, Hans, Dümpel, Veit

photo 2022, Theo Noll

High Altar Bildvergleich

High Altar

1615

Bildvergleich


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

Location: Bayreuth, Holy Trinity City Church

Realization: Brechtel, Leonhard d. Ä., Werner, Hans, Dümpel, Veit

photo 2022, Theo Noll

High Altar right lateral auricular style carving, lower end

High Altar

1615

right lateral auricular style carving, lower end


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

Location: Bayreuth, Holy Trinity City Church

Realization: Brechtel, Leonhard d. Ä., Werner, Hans, Dümpel, Veit

photo 2022, Theo Noll

Veit
Dümpel

Further works

High Altar
High Altar

Leonhard d. Ä.
Brechtel

Further works

High Altar
High Altar

Hans
Werner

Further works

High Altar
High Altar

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

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