The neo-Gothic baptismal font from 1870 contains eight high-quality alabaster reliefs (from the original font) depicting scenes related to the sacrament of baptism. The font was originally built in the neo-Gothic style. "The city of Bayreuth and its church were severely damaged by a major fire in 1605. During the church's reconstruction, the opportunity was taken to also adapt the furnishings to the spirit of the age, and the then pastor and superintendent, M. Matth Chyträus, commissioned a new baptismal font in 1615 to replace the one erected only in 1562. He entrusted its creation to our master. Of this work, (...), only the eight reliefs remain. The church suffered a second fire in 1621 and subsequently received magnificent Baroque furnishings, which the misguided purism of the 19th century deemed worthy of removal. This circumstance is the reason why we see Werner's reliefs today in a Neo-Gothic baptismal font, and part of the unfavorable effect can be attributed to the mounting, which is not suited to the character of the pieces. Unfortunately, we do not know what the whole thing originally looked like; no painting or engraving provides us with this information. This is all the more regrettable as it is the only such creation." Werner's work is, and we have no doubt that his decorative talent was at its best in the composition of the whole. Only literary accounts give us a faint idea of ​​what originally existed. It was said to have been a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. The removable lid (probably made of wood) bore the figures of the four cardinal virtues and the dedicatory inscription. The four elements and biblical sayings were inscribed at the bottom, and portraits of the donor and his two wives were at the base. It was a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. (Felix Ettinghausen: Hans Werner, a Franconian sculptor around the year 1600 / Dissertation / Würzburg / 1921, pp. 71-72) According to the surviving baptismal font document, “Hanns Werner, a renowned sculptor from Nuremberg, crafted the lid and all its ornamentation, as well as the eight panels and historical figures in alabaster, at his own expense and expense in Nuremberg. The body and base, however, were crafted by a journeyman in my (the founder Matthäus Heffner, Latinized Chyträus) parsonage at my expense here in Bayrhütte for nine weeks. From this, he was hired and paid” 170 florins, then 3 florins in lieu of labor, 3/4 florins “as a token of appreciation for initially coming out upon request and giving me a sketch,” and finally 112 florins “to the journeyman.” "Trip money after completion of the work," total costs including painting and craftsman work: 391 fl. The journeyman was Veit Dümpel. (Karl Sitzmann: Artists and Craftsmen in East Franconia, Vol. 1, 1957, p. 574) ________________________ Another work by Werner in the church: The pulpit, donated in 1615 by Count Johann Casimir von Lynar, "an interesting sandstone structure supported by a Samson with several stately figures," was replaced by a wooden one in 1865. (Fritz Traugott Schulz / Thieme-Becker) The pulpit was erected on April 3, 1620, against the second pillar of the south side door. "It must have been an interesting sandstone structure supported by a Samson, with several stately figures" (Wilhelm Kneule: Church History of the City of Bayreuth. From the founding of the town around 1180 to the Enlightenment around 1810, Neustadt/Aisch 1971, p. 115)

The neo-Gothic baptismal font from 1870 contains eight high-quality alabaster reliefs (from the original font) depicting scenes related to the sacrament of baptism. The font was originally built in the neo-Gothic style. "The city of Bayreuth and its church were severely damaged by a major fire in 1605. During the church's reconstruction, the opportunity was taken to also adapt the furnishings to the spirit of the age, and the then pastor and superintendent, M. Matth Chyträus, commissioned a new baptismal font in 1615 to replace the one erected only in 1562. He entrusted its creation to our master. Of this work, (...), only the eight reliefs remain. The church suffered a second fire in 1621 and subsequently received magnificent Baroque furnishings, which the misguided purism of the 19th century deemed worthy of removal. This circumstance is the reason why we see Werner's reliefs today in a Neo-Gothic baptismal font, and part of the unfavorable effect can be attributed to the mounting, which is not suited to the character of the pieces. Unfortunately, we do not know what the whole thing originally looked like; no painting or engraving provides us with this information. This is all the more regrettable as it is the only such creation." Werner's work is, and we have no doubt that his decorative talent was at its best in the composition of the whole. Only literary accounts give us a faint idea of ​​what originally existed. It was said to have been a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. The removable lid (probably made of wood) bore the figures of the four cardinal virtues and the dedicatory inscription. The four elements and biblical sayings were inscribed at the bottom, and portraits of the donor and his two wives were at the base. It was a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. (Felix Ettinghausen: Hans Werner, a Franconian sculptor around the year 1600 / Dissertation / Würzburg / 1921, pp. 71-72) According to the surviving baptismal font document, “Hanns Werner, a renowned sculptor from Nuremberg, crafted the lid and all its ornamentation, as well as the eight panels and historical figures in alabaster, at his own expense and expense in Nuremberg. The body and base, however, were crafted by a journeyman in my (the founder Matthäus Heffner, Latinized Chyträus) parsonage at my expense here in Bayrhütte for nine weeks. From this, he was hired and paid” 170 florins, then 3 florins in lieu of labor, 3/4 florins “as a token of appreciation for initially coming out upon request and giving me a sketch,” and finally 112 florins “to the journeyman.” "Trip money after completion of the work," total costs including painting and craftsman work: 391 fl. The journeyman was Veit Dümpel. (Karl Sitzmann: Artists and Craftsmen in East Franconia, Vol. 1, 1957, p. 574) ________________________ Another work by Werner in the church: The pulpit, donated in 1615 by Count Johann Casimir von Lynar, "an interesting sandstone structure supported by a Samson with several stately figures," was replaced by a wooden one in 1865. (Fritz Traugott Schulz / Thieme-Becker) The pulpit was erected on April 3, 1620, against the second pillar of the south side door. "It must have been an interesting sandstone structure supported by a Samson, with several stately figures" (Wilhelm Kneule: Church History of the City of Bayreuth. From the founding of the town around 1180 to the Enlightenment around 1810, Neustadt/Aisch 1971, p. 115)

The neo-Gothic baptismal font from 1870 contains eight high-quality alabaster reliefs (from the original font) depicting scenes related to the sacrament of baptism. The font was originally built in the neo-Gothic style. "The city of Bayreuth and its church were severely damaged by a major fire in 1605. During the church's reconstruction, the opportunity was taken to also adapt the furnishings to the spirit of the age, and the then pastor and superintendent, M. Matth Chyträus, commissioned a new baptismal font in 1615 to replace the one erected only in 1562. He entrusted its creation to our master. Of this work, (...), only the eight reliefs remain. The church suffered a second fire in 1621 and subsequently received magnificent Baroque furnishings, which the misguided purism of the 19th century deemed worthy of removal. This circumstance is the reason why we see Werner's reliefs today in a Neo-Gothic baptismal font, and part of the unfavorable effect can be attributed to the mounting, which is not suited to the character of the pieces. Unfortunately, we do not know what the whole thing originally looked like; no painting or engraving provides us with this information. This is all the more regrettable as it is the only such creation." Werner's work is, and we have no doubt that his decorative talent was at its best in the composition of the whole. Only literary accounts give us a faint idea of ​​what originally existed. It was said to have been a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. The removable lid (probably made of wood) bore the figures of the four cardinal virtues and the dedicatory inscription. The four elements and biblical sayings were inscribed at the bottom, and portraits of the donor and his two wives were at the base. It was a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. (Felix Ettinghausen: Hans Werner, a Franconian sculptor around the year 1600 / Dissertation / Würzburg / 1921, pp. 71-72) According to the surviving baptismal font document, “Hanns Werner, a renowned sculptor from Nuremberg, crafted the lid and all its ornamentation, as well as the eight panels and historical figures in alabaster, at his own expense and expense in Nuremberg. The body and base, however, were crafted by a journeyman in my (the founder Matthäus Heffner, Latinized Chyträus) parsonage at my expense here in Bayrhütte for nine weeks. From this, he was hired and paid” 170 florins, then 3 florins in lieu of labor, 3/4 florins “as a token of appreciation for initially coming out upon request and giving me a sketch,” and finally 112 florins “to the journeyman.” "Trip money after completion of the work," total costs including painting and craftsman work: 391 fl. The journeyman was Veit Dümpel. (Karl Sitzmann: Artists and Craftsmen in East Franconia, Vol. 1, 1957, p. 574) ________________________ Another work by Werner in the church: The pulpit, donated in 1615 by Count Johann Casimir von Lynar, "an interesting sandstone structure supported by a Samson with several stately figures," was replaced by a wooden one in 1865. (Fritz Traugott Schulz / Thieme-Becker) The pulpit was erected on April 3, 1620, against the second pillar of the south side door. "It must have been an interesting sandstone structure supported by a Samson, with several stately figures" (Wilhelm Kneule: Church History of the City of Bayreuth. From the founding of the town around 1180 to the Enlightenment around 1810, Neustadt/Aisch 1971, p. 115)

The neo-Gothic baptismal font from 1870 contains eight high-quality alabaster reliefs (from the original font) depicting scenes related to the sacrament of baptism. The font was originally built in the neo-Gothic style. "The city of Bayreuth and its church were severely damaged by a major fire in 1605. During the church's reconstruction, the opportunity was taken to also adapt the furnishings to the spirit of the age, and the then pastor and superintendent, M. Matth Chyträus, commissioned a new baptismal font in 1615 to replace the one erected only in 1562. He entrusted its creation to our master. Of this work, (...), only the eight reliefs remain. The church suffered a second fire in 1621 and subsequently received magnificent Baroque furnishings, which the misguided purism of the 19th century deemed worthy of removal. This circumstance is the reason why we see Werner's reliefs today in a Neo-Gothic baptismal font, and part of the unfavorable effect can be attributed to the mounting, which is not suited to the character of the pieces. Unfortunately, we do not know what the whole thing originally looked like; no painting or engraving provides us with this information. This is all the more regrettable as it is the only such creation." Werner's work is, and we have no doubt that his decorative talent was at its best in the composition of the whole. Only literary accounts give us a faint idea of ​​what originally existed. It was said to have been a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. The removable lid (probably made of wood) bore the figures of the four cardinal virtues and the dedicatory inscription. The four elements and biblical sayings were inscribed at the bottom, and portraits of the donor and his two wives were at the base. It was a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. (Felix Ettinghausen: Hans Werner, a Franconian sculptor around the year 1600 / Dissertation / Würzburg / 1921, pp. 71-72) According to the surviving baptismal font document, “Hanns Werner, a renowned sculptor from Nuremberg, crafted the lid and all its ornamentation, as well as the eight panels and historical figures in alabaster, at his own expense and expense in Nuremberg. The body and base, however, were crafted by a journeyman in my (the founder Matthäus Heffner, Latinized Chyträus) parsonage at my expense here in Bayrhütte for nine weeks. From this, he was hired and paid” 170 florins, then 3 florins in lieu of labor, 3/4 florins “as a token of appreciation for initially coming out upon request and giving me a sketch,” and finally 112 florins “to the journeyman.” "Trip money after completion of the work," total costs including painting and craftsman work: 391 fl. The journeyman was Veit Dümpel. (Karl Sitzmann: Artists and Craftsmen in East Franconia, Vol. 1, 1957, p. 574) ________________________ Another work by Werner in the church: The pulpit, donated in 1615 by Count Johann Casimir von Lynar, "an interesting sandstone structure supported by a Samson with several stately figures," was replaced by a wooden one in 1865. (Fritz Traugott Schulz / Thieme-Becker) The pulpit was erected on April 3, 1620, against the second pillar of the south side door. "It must have been an interesting sandstone structure supported by a Samson, with several stately figures" (Wilhelm Kneule: Church History of the City of Bayreuth. From the founding of the town around 1180 to the Enlightenment around 1810, Neustadt/Aisch 1971, p. 115)

The neo-Gothic baptismal font from 1870 contains eight high-quality alabaster reliefs (from the original font) depicting scenes related to the sacrament of baptism. The font was originally built in the neo-Gothic style. "The city of Bayreuth and its church were severely damaged by a major fire in 1605. During the church's reconstruction, the opportunity was taken to also adapt the furnishings to the spirit of the age, and the then pastor and superintendent, M. Matth Chyträus, commissioned a new baptismal font in 1615 to replace the one erected only in 1562. He entrusted its creation to our master. Of this work, (...), only the eight reliefs remain. The church suffered a second fire in 1621 and subsequently received magnificent Baroque furnishings, which the misguided purism of the 19th century deemed worthy of removal. This circumstance is the reason why we see Werner's reliefs today in a Neo-Gothic baptismal font, and part of the unfavorable effect can be attributed to the mounting, which is not suited to the character of the pieces. Unfortunately, we do not know what the whole thing originally looked like; no painting or engraving provides us with this information. This is all the more regrettable as it is the only such creation." Werner's work is, and we have no doubt that his decorative talent was at its best in the composition of the whole. Only literary accounts give us a faint idea of ​​what originally existed. It was said to have been a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. The removable lid (probably made of wood) bore the figures of the four cardinal virtues and the dedicatory inscription. The four elements and biblical sayings were inscribed at the bottom, and portraits of the donor and his two wives were at the base. It was a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. (Felix Ettinghausen: Hans Werner, a Franconian sculptor around the year 1600 / Dissertation / Würzburg / 1921, pp. 71-72) According to the surviving baptismal font document, “Hanns Werner, a renowned sculptor from Nuremberg, crafted the lid and all its ornamentation, as well as the eight panels and historical figures in alabaster, at his own expense and expense in Nuremberg. The body and base, however, were crafted by a journeyman in my (the founder Matthäus Heffner, Latinized Chyträus) parsonage at my expense here in Bayrhütte for nine weeks. From this, he was hired and paid” 170 florins, then 3 florins in lieu of labor, 3/4 florins “as a token of appreciation for initially coming out upon request and giving me a sketch,” and finally 112 florins “to the journeyman.” "Trip money after completion of the work," total costs including painting and craftsman work: 391 fl. The journeyman was Veit Dümpel. (Karl Sitzmann: Artists and Craftsmen in East Franconia, Vol. 1, 1957, p. 574) ________________________ Another work by Werner in the church: The pulpit, donated in 1615 by Count Johann Casimir von Lynar, "an interesting sandstone structure supported by a Samson with several stately figures," was replaced by a wooden one in 1865. (Fritz Traugott Schulz / Thieme-Becker) The pulpit was erected on April 3, 1620, against the second pillar of the south side door. "It must have been an interesting sandstone structure supported by a Samson, with several stately figures" (Wilhelm Kneule: Church History of the City of Bayreuth. From the founding of the town around 1180 to the Enlightenment around 1810, Neustadt/Aisch 1971, p. 115)

The neo-Gothic baptismal font from 1870 contains eight high-quality alabaster reliefs (from the original font) depicting scenes related to the sacrament of baptism. The font was originally built in the neo-Gothic style. "The city of Bayreuth and its church were severely damaged by a major fire in 1605. During the church's reconstruction, the opportunity was taken to also adapt the furnishings to the spirit of the age, and the then pastor and superintendent, M. Matth Chyträus, commissioned a new baptismal font in 1615 to replace the one erected only in 1562. He entrusted its creation to our master. Of this work, (...), only the eight reliefs remain. The church suffered a second fire in 1621 and subsequently received magnificent Baroque furnishings, which the misguided purism of the 19th century deemed worthy of removal. This circumstance is the reason why we see Werner's reliefs today in a Neo-Gothic baptismal font, and part of the unfavorable effect can be attributed to the mounting, which is not suited to the character of the pieces. Unfortunately, we do not know what the whole thing originally looked like; no painting or engraving provides us with this information. This is all the more regrettable as it is the only such creation." Werner's work is, and we have no doubt that his decorative talent was at its best in the composition of the whole. Only literary accounts give us a faint idea of ​​what originally existed. It was said to have been a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. The removable lid (probably made of wood) bore the figures of the four cardinal virtues and the dedicatory inscription. The four elements and biblical sayings were inscribed at the bottom, and portraits of the donor and his two wives were at the base. It was a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. (Felix Ettinghausen: Hans Werner, a Franconian sculptor around the year 1600 / Dissertation / Würzburg / 1921, pp. 71-72) According to the surviving baptismal font document, “Hanns Werner, a renowned sculptor from Nuremberg, crafted the lid and all its ornamentation, as well as the eight panels and historical figures in alabaster, at his own expense and expense in Nuremberg. The body and base, however, were crafted by a journeyman in my (the founder Matthäus Heffner, Latinized Chyträus) parsonage at my expense here in Bayrhütte for nine weeks. From this, he was hired and paid” 170 florins, then 3 florins in lieu of labor, 3/4 florins “as a token of appreciation for initially coming out upon request and giving me a sketch,” and finally 112 florins “to the journeyman.” "Trip money after completion of the work," total costs including painting and craftsman work: 391 fl. The journeyman was Veit Dümpel. (Karl Sitzmann: Artists and Craftsmen in East Franconia, Vol. 1, 1957, p. 574) ________________________ Another work by Werner in the church: The pulpit, donated in 1615 by Count Johann Casimir von Lynar, "an interesting sandstone structure supported by a Samson with several stately figures," was replaced by a wooden one in 1865. (Fritz Traugott Schulz / Thieme-Becker) The pulpit was erected on April 3, 1620, against the second pillar of the south side door. "It must have been an interesting sandstone structure supported by a Samson, with several stately figures" (Wilhelm Kneule: Church History of the City of Bayreuth. From the founding of the town around 1180 to the Enlightenment around 1810, Neustadt/Aisch 1971, p. 115)

The neo-Gothic baptismal font from 1870 contains eight high-quality alabaster reliefs (from the original font) depicting scenes related to the sacrament of baptism. The font was originally built in the neo-Gothic style. "The city of Bayreuth and its church were severely damaged by a major fire in 1605. During the church's reconstruction, the opportunity was taken to also adapt the furnishings to the spirit of the age, and the then pastor and superintendent, M. Matth Chyträus, commissioned a new baptismal font in 1615 to replace the one erected only in 1562. He entrusted its creation to our master. Of this work, (...), only the eight reliefs remain. The church suffered a second fire in 1621 and subsequently received magnificent Baroque furnishings, which the misguided purism of the 19th century deemed worthy of removal. This circumstance is the reason why we see Werner's reliefs today in a Neo-Gothic baptismal font, and part of the unfavorable effect can be attributed to the mounting, which is not suited to the character of the pieces. Unfortunately, we do not know what the whole thing originally looked like; no painting or engraving provides us with this information. This is all the more regrettable as it is the only such creation." Werner's work is, and we have no doubt that his decorative talent was at its best in the composition of the whole. Only literary accounts give us a faint idea of ​​what originally existed. It was said to have been a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. The removable lid (probably made of wood) bore the figures of the four cardinal virtues and the dedicatory inscription. The four elements and biblical sayings were inscribed at the bottom, and portraits of the donor and his two wives were at the base. It was a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. (Felix Ettinghausen: Hans Werner, a Franconian sculptor around the year 1600 / Dissertation / Würzburg / 1921, pp. 71-72) According to the surviving baptismal font document, “Hanns Werner, a renowned sculptor from Nuremberg, crafted the lid and all its ornamentation, as well as the eight panels and historical figures in alabaster, at his own expense and expense in Nuremberg. The body and base, however, were crafted by a journeyman in my (the founder Matthäus Heffner, Latinized Chyträus) parsonage at my expense here in Bayrhütte for nine weeks. From this, he was hired and paid” 170 florins, then 3 florins in lieu of labor, 3/4 florins “as a token of appreciation for initially coming out upon request and giving me a sketch,” and finally 112 florins “to the journeyman.” "Trip money after completion of the work," total costs including painting and craftsman work: 391 fl. The journeyman was Veit Dümpel. (Karl Sitzmann: Artists and Craftsmen in East Franconia, Vol. 1, 1957, p. 574) ________________________ Another work by Werner in the church: The pulpit, donated in 1615 by Count Johann Casimir von Lynar, "an interesting sandstone structure supported by a Samson with several stately figures," was replaced by a wooden one in 1865. (Fritz Traugott Schulz / Thieme-Becker) The pulpit was erected on April 3, 1620, against the second pillar of the south side door. "It must have been an interesting sandstone structure supported by a Samson, with several stately figures" (Wilhelm Kneule: Church History of the City of Bayreuth. From the founding of the town around 1180 to the Enlightenment around 1810, Neustadt/Aisch 1971, p. 115)

The neo-Gothic baptismal font from 1870 contains eight high-quality alabaster reliefs (from the original font) depicting scenes related to the sacrament of baptism. The font was originally built in the neo-Gothic style. "The city of Bayreuth and its church were severely damaged by a major fire in 1605. During the church's reconstruction, the opportunity was taken to also adapt the furnishings to the spirit of the age, and the then pastor and superintendent, M. Matth Chyträus, commissioned a new baptismal font in 1615 to replace the one erected only in 1562. He entrusted its creation to our master. Of this work, (...), only the eight reliefs remain. The church suffered a second fire in 1621 and subsequently received magnificent Baroque furnishings, which the misguided purism of the 19th century deemed worthy of removal. This circumstance is the reason why we see Werner's reliefs today in a Neo-Gothic baptismal font, and part of the unfavorable effect can be attributed to the mounting, which is not suited to the character of the pieces. Unfortunately, we do not know what the whole thing originally looked like; no painting or engraving provides us with this information. This is all the more regrettable as it is the only such creation." Werner's work is, and we have no doubt that his decorative talent was at its best in the composition of the whole. Only literary accounts give us a faint idea of ​​what originally existed. It was said to have been a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. The removable lid (probably made of wood) bore the figures of the four cardinal virtues and the dedicatory inscription. The four elements and biblical sayings were inscribed at the bottom, and portraits of the donor and his two wives were at the base. It was a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. (Felix Ettinghausen: Hans Werner, a Franconian sculptor around the year 1600 / Dissertation / Würzburg / 1921, pp. 71-72) According to the surviving baptismal font document, “Hanns Werner, a renowned sculptor from Nuremberg, crafted the lid and all its ornamentation, as well as the eight panels and historical figures in alabaster, at his own expense and expense in Nuremberg. The body and base, however, were crafted by a journeyman in my (the founder Matthäus Heffner, Latinized Chyträus) parsonage at my expense here in Bayrhütte for nine weeks. From this, he was hired and paid” 170 florins, then 3 florins in lieu of labor, 3/4 florins “as a token of appreciation for initially coming out upon request and giving me a sketch,” and finally 112 florins “to the journeyman.” "Trip money after completion of the work," total costs including painting and craftsman work: 391 fl. The journeyman was Veit Dümpel. (Karl Sitzmann: Artists and Craftsmen in East Franconia, Vol. 1, 1957, p. 574) ________________________ Another work by Werner in the church: The pulpit, donated in 1615 by Count Johann Casimir von Lynar, "an interesting sandstone structure supported by a Samson with several stately figures," was replaced by a wooden one in 1865. (Fritz Traugott Schulz / Thieme-Becker) The pulpit was erected on April 3, 1620, against the second pillar of the south side door. "It must have been an interesting sandstone structure supported by a Samson, with several stately figures" (Wilhelm Kneule: Church History of the City of Bayreuth. From the founding of the town around 1180 to the Enlightenment around 1810, Neustadt/Aisch 1971, p. 115)

The neo-Gothic baptismal font from 1870 contains eight high-quality alabaster reliefs (from the original font) depicting scenes related to the sacrament of baptism. The font was originally built in the neo-Gothic style. "The city of Bayreuth and its church were severely damaged by a major fire in 1605. During the church's reconstruction, the opportunity was taken to also adapt the furnishings to the spirit of the age, and the then pastor and superintendent, M. Matth Chyträus, commissioned a new baptismal font in 1615 to replace the one erected only in 1562. He entrusted its creation to our master. Of this work, (...), only the eight reliefs remain. The church suffered a second fire in 1621 and subsequently received magnificent Baroque furnishings, which the misguided purism of the 19th century deemed worthy of removal. This circumstance is the reason why we see Werner's reliefs today in a Neo-Gothic baptismal font, and part of the unfavorable effect can be attributed to the mounting, which is not suited to the character of the pieces. Unfortunately, we do not know what the whole thing originally looked like; no painting or engraving provides us with this information. This is all the more regrettable as it is the only such creation." Werner's work is, and we have no doubt that his decorative talent was at its best in the composition of the whole. Only literary accounts give us a faint idea of ​​what originally existed. It was said to have been a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. The removable lid (probably made of wood) bore the figures of the four cardinal virtues and the dedicatory inscription. The four elements and biblical sayings were inscribed at the bottom, and portraits of the donor and his two wives were at the base. It was a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. (Felix Ettinghausen: Hans Werner, a Franconian sculptor around the year 1600 / Dissertation / Würzburg / 1921, pp. 71-72) According to the surviving baptismal font document, “Hanns Werner, a renowned sculptor from Nuremberg, crafted the lid and all its ornamentation, as well as the eight panels and historical figures in alabaster, at his own expense and expense in Nuremberg. The body and base, however, were crafted by a journeyman in my (the founder Matthäus Heffner, Latinized Chyträus) parsonage at my expense here in Bayrhütte for nine weeks. From this, he was hired and paid” 170 florins, then 3 florins in lieu of labor, 3/4 florins “as a token of appreciation for initially coming out upon request and giving me a sketch,” and finally 112 florins “to the journeyman.” "Trip money after completion of the work," total costs including painting and craftsman work: 391 fl. The journeyman was Veit Dümpel. (Karl Sitzmann: Artists and Craftsmen in East Franconia, Vol. 1, 1957, p. 574) ________________________ Another work by Werner in the church: The pulpit, donated in 1615 by Count Johann Casimir von Lynar, "an interesting sandstone structure supported by a Samson with several stately figures," was replaced by a wooden one in 1865. (Fritz Traugott Schulz / Thieme-Becker) The pulpit was erected on April 3, 1620, against the second pillar of the south side door. "It must have been an interesting sandstone structure supported by a Samson, with several stately figures" (Wilhelm Kneule: Church History of the City of Bayreuth. From the founding of the town around 1180 to the Enlightenment around 1810, Neustadt/Aisch 1971, p. 115)

The neo-Gothic baptismal font from 1870 contains eight high-quality alabaster reliefs (from the original font) depicting scenes related to the sacrament of baptism. The font was originally built in the neo-Gothic style. "The city of Bayreuth and its church were severely damaged by a major fire in 1605. During the church's reconstruction, the opportunity was taken to also adapt the furnishings to the spirit of the age, and the then pastor and superintendent, M. Matth Chyträus, commissioned a new baptismal font in 1615 to replace the one erected only in 1562. He entrusted its creation to our master. Of this work, (...), only the eight reliefs remain. The church suffered a second fire in 1621 and subsequently received magnificent Baroque furnishings, which the misguided purism of the 19th century deemed worthy of removal. This circumstance is the reason why we see Werner's reliefs today in a Neo-Gothic baptismal font, and part of the unfavorable effect can be attributed to the mounting, which is not suited to the character of the pieces. Unfortunately, we do not know what the whole thing originally looked like; no painting or engraving provides us with this information. This is all the more regrettable as it is the only such creation." Werner's work is, and we have no doubt that his decorative talent was at its best in the composition of the whole. Only literary accounts give us a faint idea of ​​what originally existed. It was said to have been a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. The removable lid (probably made of wood) bore the figures of the four cardinal virtues and the dedicatory inscription. The four elements and biblical sayings were inscribed at the bottom, and portraits of the donor and his two wives were at the base. It was a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. (Felix Ettinghausen: Hans Werner, a Franconian sculptor around the year 1600 / Dissertation / Würzburg / 1921, pp. 71-72) According to the surviving baptismal font document, “Hanns Werner, a renowned sculptor from Nuremberg, crafted the lid and all its ornamentation, as well as the eight panels and historical figures in alabaster, at his own expense and expense in Nuremberg. The body and base, however, were crafted by a journeyman in my (the founder Matthäus Heffner, Latinized Chyträus) parsonage at my expense here in Bayrhütte for nine weeks. From this, he was hired and paid” 170 florins, then 3 florins in lieu of labor, 3/4 florins “as a token of appreciation for initially coming out upon request and giving me a sketch,” and finally 112 florins “to the journeyman.” "Trip money after completion of the work," total costs including painting and craftsman work: 391 fl. The journeyman was Veit Dümpel. (Karl Sitzmann: Artists and Craftsmen in East Franconia, Vol. 1, 1957, p. 574) ________________________ Another work by Werner in the church: The pulpit, donated in 1615 by Count Johann Casimir von Lynar, "an interesting sandstone structure supported by a Samson with several stately figures," was replaced by a wooden one in 1865. (Fritz Traugott Schulz / Thieme-Becker) The pulpit was erected on April 3, 1620, against the second pillar of the south side door. "It must have been an interesting sandstone structure supported by a Samson, with several stately figures" (Wilhelm Kneule: Church History of the City of Bayreuth. From the founding of the town around 1180 to the Enlightenment around 1810, Neustadt/Aisch 1971, p. 115)

The neo-Gothic baptismal font from 1870 contains eight high-quality alabaster reliefs (from the original font) depicting scenes related to the sacrament of baptism. The font was originally built in the neo-Gothic style. "The city of Bayreuth and its church were severely damaged by a major fire in 1605. During the church's reconstruction, the opportunity was taken to also adapt the furnishings to the spirit of the age, and the then pastor and superintendent, M. Matth Chyträus, commissioned a new baptismal font in 1615 to replace the one erected only in 1562. He entrusted its creation to our master. Of this work, (...), only the eight reliefs remain. The church suffered a second fire in 1621 and subsequently received magnificent Baroque furnishings, which the misguided purism of the 19th century deemed worthy of removal. This circumstance is the reason why we see Werner's reliefs today in a Neo-Gothic baptismal font, and part of the unfavorable effect can be attributed to the mounting, which is not suited to the character of the pieces. Unfortunately, we do not know what the whole thing originally looked like; no painting or engraving provides us with this information. This is all the more regrettable as it is the only such creation." Werner's work is, and we have no doubt that his decorative talent was at its best in the composition of the whole. Only literary accounts give us a faint idea of ​​what originally existed. It was said to have been a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. The removable lid (probably made of wood) bore the figures of the four cardinal virtues and the dedicatory inscription. The four elements and biblical sayings were inscribed at the bottom, and portraits of the donor and his two wives were at the base. It was a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. (Felix Ettinghausen: Hans Werner, a Franconian sculptor around the year 1600 / Dissertation / Würzburg / 1921, pp. 71-72) According to the surviving baptismal font document, “Hanns Werner, a renowned sculptor from Nuremberg, crafted the lid and all its ornamentation, as well as the eight panels and historical figures in alabaster, at his own expense and expense in Nuremberg. The body and base, however, were crafted by a journeyman in my (the founder Matthäus Heffner, Latinized Chyträus) parsonage at my expense here in Bayrhütte for nine weeks. From this, he was hired and paid” 170 florins, then 3 florins in lieu of labor, 3/4 florins “as a token of appreciation for initially coming out upon request and giving me a sketch,” and finally 112 florins “to the journeyman.” "Trip money after completion of the work," total costs including painting and craftsman work: 391 fl. The journeyman was Veit Dümpel. (Karl Sitzmann: Artists and Craftsmen in East Franconia, Vol. 1, 1957, p. 574) ________________________ Another work by Werner in the church: The pulpit, donated in 1615 by Count Johann Casimir von Lynar, "an interesting sandstone structure supported by a Samson with several stately figures," was replaced by a wooden one in 1865. (Fritz Traugott Schulz / Thieme-Becker) The pulpit was erected on April 3, 1620, against the second pillar of the south side door. "It must have been an interesting sandstone structure supported by a Samson, with several stately figures" (Wilhelm Kneule: Church History of the City of Bayreuth. From the founding of the town around 1180 to the Enlightenment around 1810, Neustadt/Aisch 1971, p. 115)

The neo-Gothic baptismal font from 1870 contains eight high-quality alabaster reliefs (from the original font) depicting scenes related to the sacrament of baptism. The font was originally built in the neo-Gothic style. "The city of Bayreuth and its church were severely damaged by a major fire in 1605. During the church's reconstruction, the opportunity was taken to also adapt the furnishings to the spirit of the age, and the then pastor and superintendent, M. Matth Chyträus, commissioned a new baptismal font in 1615 to replace the one erected only in 1562. He entrusted its creation to our master. Of this work, (...), only the eight reliefs remain. The church suffered a second fire in 1621 and subsequently received magnificent Baroque furnishings, which the misguided purism of the 19th century deemed worthy of removal. This circumstance is the reason why we see Werner's reliefs today in a Neo-Gothic baptismal font, and part of the unfavorable effect can be attributed to the mounting, which is not suited to the character of the pieces. Unfortunately, we do not know what the whole thing originally looked like; no painting or engraving provides us with this information. This is all the more regrettable as it is the only such creation." Werner's work is, and we have no doubt that his decorative talent was at its best in the composition of the whole. Only literary accounts give us a faint idea of ​​what originally existed. It was said to have been a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. The removable lid (probably made of wood) bore the figures of the four cardinal virtues and the dedicatory inscription. The four elements and biblical sayings were inscribed at the bottom, and portraits of the donor and his two wives were at the base. It was a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. (Felix Ettinghausen: Hans Werner, a Franconian sculptor around the year 1600 / Dissertation / Würzburg / 1921, pp. 71-72) According to the surviving baptismal font document, “Hanns Werner, a renowned sculptor from Nuremberg, crafted the lid and all its ornamentation, as well as the eight panels and historical figures in alabaster, at his own expense and expense in Nuremberg. The body and base, however, were crafted by a journeyman in my (the founder Matthäus Heffner, Latinized Chyträus) parsonage at my expense here in Bayrhütte for nine weeks. From this, he was hired and paid” 170 florins, then 3 florins in lieu of labor, 3/4 florins “as a token of appreciation for initially coming out upon request and giving me a sketch,” and finally 112 florins “to the journeyman.” "Trip money after completion of the work," total costs including painting and craftsman work: 391 fl. The journeyman was Veit Dümpel. (Karl Sitzmann: Artists and Craftsmen in East Franconia, Vol. 1, 1957, p. 574) ________________________ Another work by Werner in the church: The pulpit, donated in 1615 by Count Johann Casimir von Lynar, "an interesting sandstone structure supported by a Samson with several stately figures," was replaced by a wooden one in 1865. (Fritz Traugott Schulz / Thieme-Becker) The pulpit was erected on April 3, 1620, against the second pillar of the south side door. "It must have been an interesting sandstone structure supported by a Samson, with several stately figures" (Wilhelm Kneule: Church History of the City of Bayreuth. From the founding of the town around 1180 to the Enlightenment around 1810, Neustadt/Aisch 1971, p. 115)

The neo-Gothic baptismal font from 1870 contains eight high-quality alabaster reliefs (from the original font) depicting scenes related to the sacrament of baptism. The font was originally built in the neo-Gothic style. "The city of Bayreuth and its church were severely damaged by a major fire in 1605. During the church's reconstruction, the opportunity was taken to also adapt the furnishings to the spirit of the age, and the then pastor and superintendent, M. Matth Chyträus, commissioned a new baptismal font in 1615 to replace the one erected only in 1562. He entrusted its creation to our master. Of this work, (...), only the eight reliefs remain. The church suffered a second fire in 1621 and subsequently received magnificent Baroque furnishings, which the misguided purism of the 19th century deemed worthy of removal. This circumstance is the reason why we see Werner's reliefs today in a Neo-Gothic baptismal font, and part of the unfavorable effect can be attributed to the mounting, which is not suited to the character of the pieces. Unfortunately, we do not know what the whole thing originally looked like; no painting or engraving provides us with this information. This is all the more regrettable as it is the only such creation." Werner's work is, and we have no doubt that his decorative talent was at its best in the composition of the whole. Only literary accounts give us a faint idea of ​​what originally existed. It was said to have been a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. The removable lid (probably made of wood) bore the figures of the four cardinal virtues and the dedicatory inscription. The four elements and biblical sayings were inscribed at the bottom, and portraits of the donor and his two wives were at the base. It was a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. (Felix Ettinghausen: Hans Werner, a Franconian sculptor around the year 1600 / Dissertation / Würzburg / 1921, pp. 71-72) According to the surviving baptismal font document, “Hanns Werner, a renowned sculptor from Nuremberg, crafted the lid and all its ornamentation, as well as the eight panels and historical figures in alabaster, at his own expense and expense in Nuremberg. The body and base, however, were crafted by a journeyman in my (the founder Matthäus Heffner, Latinized Chyträus) parsonage at my expense here in Bayrhütte for nine weeks. From this, he was hired and paid” 170 florins, then 3 florins in lieu of labor, 3/4 florins “as a token of appreciation for initially coming out upon request and giving me a sketch,” and finally 112 florins “to the journeyman.” "Trip money after completion of the work," total costs including painting and craftsman work: 391 fl. The journeyman was Veit Dümpel. (Karl Sitzmann: Artists and Craftsmen in East Franconia, Vol. 1, 1957, p. 574) ________________________ Another work by Werner in the church: The pulpit, donated in 1615 by Count Johann Casimir von Lynar, "an interesting sandstone structure supported by a Samson with several stately figures," was replaced by a wooden one in 1865. (Fritz Traugott Schulz / Thieme-Becker) The pulpit was erected on April 3, 1620, against the second pillar of the south side door. "It must have been an interesting sandstone structure supported by a Samson, with several stately figures" (Wilhelm Kneule: Church History of the City of Bayreuth. From the founding of the town around 1180 to the Enlightenment around 1810, Neustadt/Aisch 1971, p. 115)

The neo-Gothic baptismal font from 1870 contains eight high-quality alabaster reliefs (from the original font) depicting scenes related to the sacrament of baptism. The font was originally built in the neo-Gothic style. "The city of Bayreuth and its church were severely damaged by a major fire in 1605. During the church's reconstruction, the opportunity was taken to also adapt the furnishings to the spirit of the age, and the then pastor and superintendent, M. Matth Chyträus, commissioned a new baptismal font in 1615 to replace the one erected only in 1562. He entrusted its creation to our master. Of this work, (...), only the eight reliefs remain. The church suffered a second fire in 1621 and subsequently received magnificent Baroque furnishings, which the misguided purism of the 19th century deemed worthy of removal. This circumstance is the reason why we see Werner's reliefs today in a Neo-Gothic baptismal font, and part of the unfavorable effect can be attributed to the mounting, which is not suited to the character of the pieces. Unfortunately, we do not know what the whole thing originally looked like; no painting or engraving provides us with this information. This is all the more regrettable as it is the only such creation." Werner's work is, and we have no doubt that his decorative talent was at its best in the composition of the whole. Only literary accounts give us a faint idea of ​​what originally existed. It was said to have been a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. The removable lid (probably made of wood) bore the figures of the four cardinal virtues and the dedicatory inscription. The four elements and biblical sayings were inscribed at the bottom, and portraits of the donor and his two wives were at the base. It was a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. (Felix Ettinghausen: Hans Werner, a Franconian sculptor around the year 1600 / Dissertation / Würzburg / 1921, pp. 71-72) According to the surviving baptismal font document, “Hanns Werner, a renowned sculptor from Nuremberg, crafted the lid and all its ornamentation, as well as the eight panels and historical figures in alabaster, at his own expense and expense in Nuremberg. The body and base, however, were crafted by a journeyman in my (the founder Matthäus Heffner, Latinized Chyträus) parsonage at my expense here in Bayrhütte for nine weeks. From this, he was hired and paid” 170 florins, then 3 florins in lieu of labor, 3/4 florins “as a token of appreciation for initially coming out upon request and giving me a sketch,” and finally 112 florins “to the journeyman.” "Trip money after completion of the work," total costs including painting and craftsman work: 391 fl. The journeyman was Veit Dümpel. (Karl Sitzmann: Artists and Craftsmen in East Franconia, Vol. 1, 1957, p. 574) ________________________ Another work by Werner in the church: The pulpit, donated in 1615 by Count Johann Casimir von Lynar, "an interesting sandstone structure supported by a Samson with several stately figures," was replaced by a wooden one in 1865. (Fritz Traugott Schulz / Thieme-Becker) The pulpit was erected on April 3, 1620, against the second pillar of the south side door. "It must have been an interesting sandstone structure supported by a Samson, with several stately figures" (Wilhelm Kneule: Church History of the City of Bayreuth. From the founding of the town around 1180 to the Enlightenment around 1810, Neustadt/Aisch 1971, p. 115)

The neo-Gothic baptismal font from 1870 contains eight high-quality alabaster reliefs (from the original font) depicting scenes related to the sacrament of baptism. The font was originally built in the neo-Gothic style. "The city of Bayreuth and its church were severely damaged by a major fire in 1605. During the church's reconstruction, the opportunity was taken to also adapt the furnishings to the spirit of the age, and the then pastor and superintendent, M. Matth Chyträus, commissioned a new baptismal font in 1615 to replace the one erected only in 1562. He entrusted its creation to our master. Of this work, (...), only the eight reliefs remain. The church suffered a second fire in 1621 and subsequently received magnificent Baroque furnishings, which the misguided purism of the 19th century deemed worthy of removal. This circumstance is the reason why we see Werner's reliefs today in a Neo-Gothic baptismal font, and part of the unfavorable effect can be attributed to the mounting, which is not suited to the character of the pieces. Unfortunately, we do not know what the whole thing originally looked like; no painting or engraving provides us with this information. This is all the more regrettable as it is the only such creation." Werner's work is, and we have no doubt that his decorative talent was at its best in the composition of the whole. Only literary accounts give us a faint idea of ​​what originally existed. It was said to have been a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. The removable lid (probably made of wood) bore the figures of the four cardinal virtues and the dedicatory inscription. The four elements and biblical sayings were inscribed at the bottom, and portraits of the donor and his two wives were at the base. It was a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. (Felix Ettinghausen: Hans Werner, a Franconian sculptor around the year 1600 / Dissertation / Würzburg / 1921, pp. 71-72) According to the surviving baptismal font document, “Hanns Werner, a renowned sculptor from Nuremberg, crafted the lid and all its ornamentation, as well as the eight panels and historical figures in alabaster, at his own expense and expense in Nuremberg. The body and base, however, were crafted by a journeyman in my (the founder Matthäus Heffner, Latinized Chyträus) parsonage at my expense here in Bayrhütte for nine weeks. From this, he was hired and paid” 170 florins, then 3 florins in lieu of labor, 3/4 florins “as a token of appreciation for initially coming out upon request and giving me a sketch,” and finally 112 florins “to the journeyman.” "Trip money after completion of the work," total costs including painting and craftsman work: 391 fl. The journeyman was Veit Dümpel. (Karl Sitzmann: Artists and Craftsmen in East Franconia, Vol. 1, 1957, p. 574) ________________________ Another work by Werner in the church: The pulpit, donated in 1615 by Count Johann Casimir von Lynar, "an interesting sandstone structure supported by a Samson with several stately figures," was replaced by a wooden one in 1865. (Fritz Traugott Schulz / Thieme-Becker) The pulpit was erected on April 3, 1620, against the second pillar of the south side door. "It must have been an interesting sandstone structure supported by a Samson, with several stately figures" (Wilhelm Kneule: Church History of the City of Bayreuth. From the founding of the town around 1180 to the Enlightenment around 1810, Neustadt/Aisch 1971, p. 115)

The neo-Gothic baptismal font from 1870 contains eight high-quality alabaster reliefs (from the original font) depicting scenes related to the sacrament of baptism. The font was originally built in the neo-Gothic style. "The city of Bayreuth and its church were severely damaged by a major fire in 1605. During the church's reconstruction, the opportunity was taken to also adapt the furnishings to the spirit of the age, and the then pastor and superintendent, M. Matth Chyträus, commissioned a new baptismal font in 1615 to replace the one erected only in 1562. He entrusted its creation to our master. Of this work, (...), only the eight reliefs remain. The church suffered a second fire in 1621 and subsequently received magnificent Baroque furnishings, which the misguided purism of the 19th century deemed worthy of removal. This circumstance is the reason why we see Werner's reliefs today in a Neo-Gothic baptismal font, and part of the unfavorable effect can be attributed to the mounting, which is not suited to the character of the pieces. Unfortunately, we do not know what the whole thing originally looked like; no painting or engraving provides us with this information. This is all the more regrettable as it is the only such creation." Werner's work is, and we have no doubt that his decorative talent was at its best in the composition of the whole. Only literary accounts give us a faint idea of ​​what originally existed. It was said to have been a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. The removable lid (probably made of wood) bore the figures of the four cardinal virtues and the dedicatory inscription. The four elements and biblical sayings were inscribed at the bottom, and portraits of the donor and his two wives were at the base. It was a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. (Felix Ettinghausen: Hans Werner, a Franconian sculptor around the year 1600 / Dissertation / Würzburg / 1921, pp. 71-72) According to the surviving baptismal font document, “Hanns Werner, a renowned sculptor from Nuremberg, crafted the lid and all its ornamentation, as well as the eight panels and historical figures in alabaster, at his own expense and expense in Nuremberg. The body and base, however, were crafted by a journeyman in my (the founder Matthäus Heffner, Latinized Chyträus) parsonage at my expense here in Bayrhütte for nine weeks. From this, he was hired and paid” 170 florins, then 3 florins in lieu of labor, 3/4 florins “as a token of appreciation for initially coming out upon request and giving me a sketch,” and finally 112 florins “to the journeyman.” "Trip money after completion of the work," total costs including painting and craftsman work: 391 fl. The journeyman was Veit Dümpel. (Karl Sitzmann: Artists and Craftsmen in East Franconia, Vol. 1, 1957, p. 574) ________________________ Another work by Werner in the church: The pulpit, donated in 1615 by Count Johann Casimir von Lynar, "an interesting sandstone structure supported by a Samson with several stately figures," was replaced by a wooden one in 1865. (Fritz Traugott Schulz / Thieme-Becker) The pulpit was erected on April 3, 1620, against the second pillar of the south side door. "It must have been an interesting sandstone structure supported by a Samson, with several stately figures" (Wilhelm Kneule: Church History of the City of Bayreuth. From the founding of the town around 1180 to the Enlightenment around 1810, Neustadt/Aisch 1971, p. 115)

The neo-Gothic baptismal font from 1870 contains eight high-quality alabaster reliefs (from the original font) depicting scenes related to the sacrament of baptism. The font was originally built in the neo-Gothic style. "The city of Bayreuth and its church were severely damaged by a major fire in 1605. During the church's reconstruction, the opportunity was taken to also adapt the furnishings to the spirit of the age, and the then pastor and superintendent, M. Matth Chyträus, commissioned a new baptismal font in 1615 to replace the one erected only in 1562. He entrusted its creation to our master. Of this work, (...), only the eight reliefs remain. The church suffered a second fire in 1621 and subsequently received magnificent Baroque furnishings, which the misguided purism of the 19th century deemed worthy of removal. This circumstance is the reason why we see Werner's reliefs today in a Neo-Gothic baptismal font, and part of the unfavorable effect can be attributed to the mounting, which is not suited to the character of the pieces. Unfortunately, we do not know what the whole thing originally looked like; no painting or engraving provides us with this information. This is all the more regrettable as it is the only such creation." Werner's work is, and we have no doubt that his decorative talent was at its best in the composition of the whole. Only literary accounts give us a faint idea of ​​what originally existed. It was said to have been a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. The removable lid (probably made of wood) bore the figures of the four cardinal virtues and the dedicatory inscription. The four elements and biblical sayings were inscribed at the bottom, and portraits of the donor and his two wives were at the base. It was a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. (Felix Ettinghausen: Hans Werner, a Franconian sculptor around the year 1600 / Dissertation / Würzburg / 1921, pp. 71-72) According to the surviving baptismal font document, “Hanns Werner, a renowned sculptor from Nuremberg, crafted the lid and all its ornamentation, as well as the eight panels and historical figures in alabaster, at his own expense and expense in Nuremberg. The body and base, however, were crafted by a journeyman in my (the founder Matthäus Heffner, Latinized Chyträus) parsonage at my expense here in Bayrhütte for nine weeks. From this, he was hired and paid” 170 florins, then 3 florins in lieu of labor, 3/4 florins “as a token of appreciation for initially coming out upon request and giving me a sketch,” and finally 112 florins “to the journeyman.” "Trip money after completion of the work," total costs including painting and craftsman work: 391 fl. The journeyman was Veit Dümpel. (Karl Sitzmann: Artists and Craftsmen in East Franconia, Vol. 1, 1957, p. 574) ________________________ Another work by Werner in the church: The pulpit, donated in 1615 by Count Johann Casimir von Lynar, "an interesting sandstone structure supported by a Samson with several stately figures," was replaced by a wooden one in 1865. (Fritz Traugott Schulz / Thieme-Becker) The pulpit was erected on April 3, 1620, against the second pillar of the south side door. "It must have been an interesting sandstone structure supported by a Samson, with several stately figures" (Wilhelm Kneule: Church History of the City of Bayreuth. From the founding of the town around 1180 to the Enlightenment around 1810, Neustadt/Aisch 1971, p. 115)

The neo-Gothic baptismal font from 1870 contains eight high-quality alabaster reliefs (from the original font) depicting scenes related to the sacrament of baptism. The font was originally built in the neo-Gothic style. "The city of Bayreuth and its church were severely damaged by a major fire in 1605. During the church's reconstruction, the opportunity was taken to also adapt the furnishings to the spirit of the age, and the then pastor and superintendent, M. Matth Chyträus, commissioned a new baptismal font in 1615 to replace the one erected only in 1562. He entrusted its creation to our master. Of this work, (...), only the eight reliefs remain. The church suffered a second fire in 1621 and subsequently received magnificent Baroque furnishings, which the misguided purism of the 19th century deemed worthy of removal. This circumstance is the reason why we see Werner's reliefs today in a Neo-Gothic baptismal font, and part of the unfavorable effect can be attributed to the mounting, which is not suited to the character of the pieces. Unfortunately, we do not know what the whole thing originally looked like; no painting or engraving provides us with this information. This is all the more regrettable as it is the only such creation." Werner's work is, and we have no doubt that his decorative talent was at its best in the composition of the whole. Only literary accounts give us a faint idea of ​​what originally existed. It was said to have been a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. The removable lid (probably made of wood) bore the figures of the four cardinal virtues and the dedicatory inscription. The four elements and biblical sayings were inscribed at the bottom, and portraits of the donor and his two wives were at the base. It was a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. (Felix Ettinghausen: Hans Werner, a Franconian sculptor around the year 1600 / Dissertation / Würzburg / 1921, pp. 71-72) According to the surviving baptismal font document, “Hanns Werner, a renowned sculptor from Nuremberg, crafted the lid and all its ornamentation, as well as the eight panels and historical figures in alabaster, at his own expense and expense in Nuremberg. The body and base, however, were crafted by a journeyman in my (the founder Matthäus Heffner, Latinized Chyträus) parsonage at my expense here in Bayrhütte for nine weeks. From this, he was hired and paid” 170 florins, then 3 florins in lieu of labor, 3/4 florins “as a token of appreciation for initially coming out upon request and giving me a sketch,” and finally 112 florins “to the journeyman.” "Trip money after completion of the work," total costs including painting and craftsman work: 391 fl. The journeyman was Veit Dümpel. (Karl Sitzmann: Artists and Craftsmen in East Franconia, Vol. 1, 1957, p. 574) ________________________ Another work by Werner in the church: The pulpit, donated in 1615 by Count Johann Casimir von Lynar, "an interesting sandstone structure supported by a Samson with several stately figures," was replaced by a wooden one in 1865. (Fritz Traugott Schulz / Thieme-Becker) The pulpit was erected on April 3, 1620, against the second pillar of the south side door. "It must have been an interesting sandstone structure supported by a Samson, with several stately figures" (Wilhelm Kneule: Church History of the City of Bayreuth. From the founding of the town around 1180 to the Enlightenment around 1810, Neustadt/Aisch 1971, p. 115)

The neo-Gothic baptismal font from 1870 contains eight high-quality alabaster reliefs (from the original font) depicting scenes related to the sacrament of baptism. The font was originally built in the neo-Gothic style. "The city of Bayreuth and its church were severely damaged by a major fire in 1605. During the church's reconstruction, the opportunity was taken to also adapt the furnishings to the spirit of the age, and the then pastor and superintendent, M. Matth Chyträus, commissioned a new baptismal font in 1615 to replace the one erected only in 1562. He entrusted its creation to our master. Of this work, (...), only the eight reliefs remain. The church suffered a second fire in 1621 and subsequently received magnificent Baroque furnishings, which the misguided purism of the 19th century deemed worthy of removal. This circumstance is the reason why we see Werner's reliefs today in a Neo-Gothic baptismal font, and part of the unfavorable effect can be attributed to the mounting, which is not suited to the character of the pieces. Unfortunately, we do not know what the whole thing originally looked like; no painting or engraving provides us with this information. This is all the more regrettable as it is the only such creation." Werner's work is, and we have no doubt that his decorative talent was at its best in the composition of the whole. Only literary accounts give us a faint idea of ​​what originally existed. It was said to have been a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. The removable lid (probably made of wood) bore the figures of the four cardinal virtues and the dedicatory inscription. The four elements and biblical sayings were inscribed at the bottom, and portraits of the donor and his two wives were at the base. It was a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. (Felix Ettinghausen: Hans Werner, a Franconian sculptor around the year 1600 / Dissertation / Würzburg / 1921, pp. 71-72) According to the surviving baptismal font document, “Hanns Werner, a renowned sculptor from Nuremberg, crafted the lid and all its ornamentation, as well as the eight panels and historical figures in alabaster, at his own expense and expense in Nuremberg. The body and base, however, were crafted by a journeyman in my (the founder Matthäus Heffner, Latinized Chyträus) parsonage at my expense here in Bayrhütte for nine weeks. From this, he was hired and paid” 170 florins, then 3 florins in lieu of labor, 3/4 florins “as a token of appreciation for initially coming out upon request and giving me a sketch,” and finally 112 florins “to the journeyman.” "Trip money after completion of the work," total costs including painting and craftsman work: 391 fl. The journeyman was Veit Dümpel. (Karl Sitzmann: Artists and Craftsmen in East Franconia, Vol. 1, 1957, p. 574) ________________________ Another work by Werner in the church: The pulpit, donated in 1615 by Count Johann Casimir von Lynar, "an interesting sandstone structure supported by a Samson with several stately figures," was replaced by a wooden one in 1865. (Fritz Traugott Schulz / Thieme-Becker) The pulpit was erected on April 3, 1620, against the second pillar of the south side door. "It must have been an interesting sandstone structure supported by a Samson, with several stately figures" (Wilhelm Kneule: Church History of the City of Bayreuth. From the founding of the town around 1180 to the Enlightenment around 1810, Neustadt/Aisch 1971, p. 115)

The neo-Gothic baptismal font from 1870 contains eight high-quality alabaster reliefs (from the original font) depicting scenes related to the sacrament of baptism. The font was originally built in the neo-Gothic style. "The city of Bayreuth and its church were severely damaged by a major fire in 1605. During the church's reconstruction, the opportunity was taken to also adapt the furnishings to the spirit of the age, and the then pastor and superintendent, M. Matth Chyträus, commissioned a new baptismal font in 1615 to replace the one erected only in 1562. He entrusted its creation to our master. Of this work, (...), only the eight reliefs remain. The church suffered a second fire in 1621 and subsequently received magnificent Baroque furnishings, which the misguided purism of the 19th century deemed worthy of removal. This circumstance is the reason why we see Werner's reliefs today in a Neo-Gothic baptismal font, and part of the unfavorable effect can be attributed to the mounting, which is not suited to the character of the pieces. Unfortunately, we do not know what the whole thing originally looked like; no painting or engraving provides us with this information. This is all the more regrettable as it is the only such creation." Werner's work is, and we have no doubt that his decorative talent was at its best in the composition of the whole. Only literary accounts give us a faint idea of ​​what originally existed. It was said to have been a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. The removable lid (probably made of wood) bore the figures of the four cardinal virtues and the dedicatory inscription. The four elements and biblical sayings were inscribed at the bottom, and portraits of the donor and his two wives were at the base. It was a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. (Felix Ettinghausen: Hans Werner, a Franconian sculptor around the year 1600 / Dissertation / Würzburg / 1921, pp. 71-72) According to the surviving baptismal font document, “Hanns Werner, a renowned sculptor from Nuremberg, crafted the lid and all its ornamentation, as well as the eight panels and historical figures in alabaster, at his own expense and expense in Nuremberg. The body and base, however, were crafted by a journeyman in my (the founder Matthäus Heffner, Latinized Chyträus) parsonage at my expense here in Bayrhütte for nine weeks. From this, he was hired and paid” 170 florins, then 3 florins in lieu of labor, 3/4 florins “as a token of appreciation for initially coming out upon request and giving me a sketch,” and finally 112 florins “to the journeyman.” "Trip money after completion of the work," total costs including painting and craftsman work: 391 fl. The journeyman was Veit Dümpel. (Karl Sitzmann: Artists and Craftsmen in East Franconia, Vol. 1, 1957, p. 574) ________________________ Another work by Werner in the church: The pulpit, donated in 1615 by Count Johann Casimir von Lynar, "an interesting sandstone structure supported by a Samson with several stately figures," was replaced by a wooden one in 1865. (Fritz Traugott Schulz / Thieme-Becker) The pulpit was erected on April 3, 1620, against the second pillar of the south side door. "It must have been an interesting sandstone structure supported by a Samson, with several stately figures" (Wilhelm Kneule: Church History of the City of Bayreuth. From the founding of the town around 1180 to the Enlightenment around 1810, Neustadt/Aisch 1971, p. 115)

The neo-Gothic baptismal font from 1870 contains eight high-quality alabaster reliefs (from the original font) depicting scenes related to the sacrament of baptism. The font was originally built in the neo-Gothic style. "The city of Bayreuth and its church were severely damaged by a major fire in 1605. During the church's reconstruction, the opportunity was taken to also adapt the furnishings to the spirit of the age, and the then pastor and superintendent, M. Matth Chyträus, commissioned a new baptismal font in 1615 to replace the one erected only in 1562. He entrusted its creation to our master. Of this work, (...), only the eight reliefs remain. The church suffered a second fire in 1621 and subsequently received magnificent Baroque furnishings, which the misguided purism of the 19th century deemed worthy of removal. This circumstance is the reason why we see Werner's reliefs today in a Neo-Gothic baptismal font, and part of the unfavorable effect can be attributed to the mounting, which is not suited to the character of the pieces. Unfortunately, we do not know what the whole thing originally looked like; no painting or engraving provides us with this information. This is all the more regrettable as it is the only such creation." Werner's work is, and we have no doubt that his decorative talent was at its best in the composition of the whole. Only literary accounts give us a faint idea of ​​what originally existed. It was said to have been a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. The removable lid (probably made of wood) bore the figures of the four cardinal virtues and the dedicatory inscription. The four elements and biblical sayings were inscribed at the bottom, and portraits of the donor and his two wives were at the base. It was a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. (Felix Ettinghausen: Hans Werner, a Franconian sculptor around the year 1600 / Dissertation / Würzburg / 1921, pp. 71-72) According to the surviving baptismal font document, “Hanns Werner, a renowned sculptor from Nuremberg, crafted the lid and all its ornamentation, as well as the eight panels and historical figures in alabaster, at his own expense and expense in Nuremberg. The body and base, however, were crafted by a journeyman in my (the founder Matthäus Heffner, Latinized Chyträus) parsonage at my expense here in Bayrhütte for nine weeks. From this, he was hired and paid” 170 florins, then 3 florins in lieu of labor, 3/4 florins “as a token of appreciation for initially coming out upon request and giving me a sketch,” and finally 112 florins “to the journeyman.” "Trip money after completion of the work," total costs including painting and craftsman work: 391 fl. The journeyman was Veit Dümpel. (Karl Sitzmann: Artists and Craftsmen in East Franconia, Vol. 1, 1957, p. 574) ________________________ Another work by Werner in the church: The pulpit, donated in 1615 by Count Johann Casimir von Lynar, "an interesting sandstone structure supported by a Samson with several stately figures," was replaced by a wooden one in 1865. (Fritz Traugott Schulz / Thieme-Becker) The pulpit was erected on April 3, 1620, against the second pillar of the south side door. "It must have been an interesting sandstone structure supported by a Samson, with several stately figures" (Wilhelm Kneule: Church History of the City of Bayreuth. From the founding of the town around 1180 to the Enlightenment around 1810, Neustadt/Aisch 1971, p. 115)

The neo-Gothic baptismal font from 1870 contains eight high-quality alabaster reliefs (from the original font) depicting scenes related to the sacrament of baptism. The font was originally built in the neo-Gothic style. "The city of Bayreuth and its church were severely damaged by a major fire in 1605. During the church's reconstruction, the opportunity was taken to also adapt the furnishings to the spirit of the age, and the then pastor and superintendent, M. Matth Chyträus, commissioned a new baptismal font in 1615 to replace the one erected only in 1562. He entrusted its creation to our master. Of this work, (...), only the eight reliefs remain. The church suffered a second fire in 1621 and subsequently received magnificent Baroque furnishings, which the misguided purism of the 19th century deemed worthy of removal. This circumstance is the reason why we see Werner's reliefs today in a Neo-Gothic baptismal font, and part of the unfavorable effect can be attributed to the mounting, which is not suited to the character of the pieces. Unfortunately, we do not know what the whole thing originally looked like; no painting or engraving provides us with this information. This is all the more regrettable as it is the only such creation." Werner's work is, and we have no doubt that his decorative talent was at its best in the composition of the whole. Only literary accounts give us a faint idea of ​​what originally existed. It was said to have been a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. The removable lid (probably made of wood) bore the figures of the four cardinal virtues and the dedicatory inscription. The four elements and biblical sayings were inscribed at the bottom, and portraits of the donor and his two wives were at the base. It was a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. (Felix Ettinghausen: Hans Werner, a Franconian sculptor around the year 1600 / Dissertation / Würzburg / 1921, pp. 71-72) According to the surviving baptismal font document, “Hanns Werner, a renowned sculptor from Nuremberg, crafted the lid and all its ornamentation, as well as the eight panels and historical figures in alabaster, at his own expense and expense in Nuremberg. The body and base, however, were crafted by a journeyman in my (the founder Matthäus Heffner, Latinized Chyträus) parsonage at my expense here in Bayrhütte for nine weeks. From this, he was hired and paid” 170 florins, then 3 florins in lieu of labor, 3/4 florins “as a token of appreciation for initially coming out upon request and giving me a sketch,” and finally 112 florins “to the journeyman.” "Trip money after completion of the work," total costs including painting and craftsman work: 391 fl. The journeyman was Veit Dümpel. (Karl Sitzmann: Artists and Craftsmen in East Franconia, Vol. 1, 1957, p. 574) ________________________ Another work by Werner in the church: The pulpit, donated in 1615 by Count Johann Casimir von Lynar, "an interesting sandstone structure supported by a Samson with several stately figures," was replaced by a wooden one in 1865. (Fritz Traugott Schulz / Thieme-Becker) The pulpit was erected on April 3, 1620, against the second pillar of the south side door. "It must have been an interesting sandstone structure supported by a Samson, with several stately figures" (Wilhelm Kneule: Church History of the City of Bayreuth. From the founding of the town around 1180 to the Enlightenment around 1810, Neustadt/Aisch 1971, p. 115)

The neo-Gothic baptismal font from 1870 contains eight high-quality alabaster reliefs (from the original font) depicting scenes related to the sacrament of baptism. The font was originally built in the neo-Gothic style. "The city of Bayreuth and its church were severely damaged by a major fire in 1605. During the church's reconstruction, the opportunity was taken to also adapt the furnishings to the spirit of the age, and the then pastor and superintendent, M. Matth Chyträus, commissioned a new baptismal font in 1615 to replace the one erected only in 1562. He entrusted its creation to our master. Of this work, (...), only the eight reliefs remain. The church suffered a second fire in 1621 and subsequently received magnificent Baroque furnishings, which the misguided purism of the 19th century deemed worthy of removal. This circumstance is the reason why we see Werner's reliefs today in a Neo-Gothic baptismal font, and part of the unfavorable effect can be attributed to the mounting, which is not suited to the character of the pieces. Unfortunately, we do not know what the whole thing originally looked like; no painting or engraving provides us with this information. This is all the more regrettable as it is the only such creation." Werner's work is, and we have no doubt that his decorative talent was at its best in the composition of the whole. Only literary accounts give us a faint idea of ​​what originally existed. It was said to have been a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. The removable lid (probably made of wood) bore the figures of the four cardinal virtues and the dedicatory inscription. The four elements and biblical sayings were inscribed at the bottom, and portraits of the donor and his two wives were at the base. It was a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. (Felix Ettinghausen: Hans Werner, a Franconian sculptor around the year 1600 / Dissertation / Würzburg / 1921, pp. 71-72) According to the surviving baptismal font document, “Hanns Werner, a renowned sculptor from Nuremberg, crafted the lid and all its ornamentation, as well as the eight panels and historical figures in alabaster, at his own expense and expense in Nuremberg. The body and base, however, were crafted by a journeyman in my (the founder Matthäus Heffner, Latinized Chyträus) parsonage at my expense here in Bayrhütte for nine weeks. From this, he was hired and paid” 170 florins, then 3 florins in lieu of labor, 3/4 florins “as a token of appreciation for initially coming out upon request and giving me a sketch,” and finally 112 florins “to the journeyman.” "Trip money after completion of the work," total costs including painting and craftsman work: 391 fl. The journeyman was Veit Dümpel. (Karl Sitzmann: Artists and Craftsmen in East Franconia, Vol. 1, 1957, p. 574) ________________________ Another work by Werner in the church: The pulpit, donated in 1615 by Count Johann Casimir von Lynar, "an interesting sandstone structure supported by a Samson with several stately figures," was replaced by a wooden one in 1865. (Fritz Traugott Schulz / Thieme-Becker) The pulpit was erected on April 3, 1620, against the second pillar of the south side door. "It must have been an interesting sandstone structure supported by a Samson, with several stately figures" (Wilhelm Kneule: Church History of the City of Bayreuth. From the founding of the town around 1180 to the Enlightenment around 1810, Neustadt/Aisch 1971, p. 115)

The neo-Gothic baptismal font from 1870 contains eight high-quality alabaster reliefs (from the original font) depicting scenes related to the sacrament of baptism. The font was originally built in the neo-Gothic style. "The city of Bayreuth and its church were severely damaged by a major fire in 1605. During the church's reconstruction, the opportunity was taken to also adapt the furnishings to the spirit of the age, and the then pastor and superintendent, M. Matth Chyträus, commissioned a new baptismal font in 1615 to replace the one erected only in 1562. He entrusted its creation to our master. Of this work, (...), only the eight reliefs remain. The church suffered a second fire in 1621 and subsequently received magnificent Baroque furnishings, which the misguided purism of the 19th century deemed worthy of removal. This circumstance is the reason why we see Werner's reliefs today in a Neo-Gothic baptismal font, and part of the unfavorable effect can be attributed to the mounting, which is not suited to the character of the pieces. Unfortunately, we do not know what the whole thing originally looked like; no painting or engraving provides us with this information. This is all the more regrettable as it is the only such creation." Werner's work is, and we have no doubt that his decorative talent was at its best in the composition of the whole. Only literary accounts give us a faint idea of ​​what originally existed. It was said to have been a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. The removable lid (probably made of wood) bore the figures of the four cardinal virtues and the dedicatory inscription. The four elements and biblical sayings were inscribed at the bottom, and portraits of the donor and his two wives were at the base. It was a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. (Felix Ettinghausen: Hans Werner, a Franconian sculptor around the year 1600 / Dissertation / Würzburg / 1921, pp. 71-72) According to the surviving baptismal font document, “Hanns Werner, a renowned sculptor from Nuremberg, crafted the lid and all its ornamentation, as well as the eight panels and historical figures in alabaster, at his own expense and expense in Nuremberg. The body and base, however, were crafted by a journeyman in my (the founder Matthäus Heffner, Latinized Chyträus) parsonage at my expense here in Bayrhütte for nine weeks. From this, he was hired and paid” 170 florins, then 3 florins in lieu of labor, 3/4 florins “as a token of appreciation for initially coming out upon request and giving me a sketch,” and finally 112 florins “to the journeyman.” "Trip money after completion of the work," total costs including painting and craftsman work: 391 fl. The journeyman was Veit Dümpel. (Karl Sitzmann: Artists and Craftsmen in East Franconia, Vol. 1, 1957, p. 574) ________________________ Another work by Werner in the church: The pulpit, donated in 1615 by Count Johann Casimir von Lynar, "an interesting sandstone structure supported by a Samson with several stately figures," was replaced by a wooden one in 1865. (Fritz Traugott Schulz / Thieme-Becker) The pulpit was erected on April 3, 1620, against the second pillar of the south side door. "It must have been an interesting sandstone structure supported by a Samson, with several stately figures" (Wilhelm Kneule: Church History of the City of Bayreuth. From the founding of the town around 1180 to the Enlightenment around 1810, Neustadt/Aisch 1971, p. 115)

The neo-Gothic baptismal font from 1870 contains eight high-quality alabaster reliefs (from the original font) depicting scenes related to the sacrament of baptism. The font was originally built in the neo-Gothic style. "The city of Bayreuth and its church were severely damaged by a major fire in 1605. During the church's reconstruction, the opportunity was taken to also adapt the furnishings to the spirit of the age, and the then pastor and superintendent, M. Matth Chyträus, commissioned a new baptismal font in 1615 to replace the one erected only in 1562. He entrusted its creation to our master. Of this work, (...), only the eight reliefs remain. The church suffered a second fire in 1621 and subsequently received magnificent Baroque furnishings, which the misguided purism of the 19th century deemed worthy of removal. This circumstance is the reason why we see Werner's reliefs today in a Neo-Gothic baptismal font, and part of the unfavorable effect can be attributed to the mounting, which is not suited to the character of the pieces. Unfortunately, we do not know what the whole thing originally looked like; no painting or engraving provides us with this information. This is all the more regrettable as it is the only such creation." Werner's work is, and we have no doubt that his decorative talent was at its best in the composition of the whole. Only literary accounts give us a faint idea of ​​what originally existed. It was said to have been a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. The removable lid (probably made of wood) bore the figures of the four cardinal virtues and the dedicatory inscription. The four elements and biblical sayings were inscribed at the bottom, and portraits of the donor and his two wives were at the base. It was a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. (Felix Ettinghausen: Hans Werner, a Franconian sculptor around the year 1600 / Dissertation / Würzburg / 1921, pp. 71-72) According to the surviving baptismal font document, “Hanns Werner, a renowned sculptor from Nuremberg, crafted the lid and all its ornamentation, as well as the eight panels and historical figures in alabaster, at his own expense and expense in Nuremberg. The body and base, however, were crafted by a journeyman in my (the founder Matthäus Heffner, Latinized Chyträus) parsonage at my expense here in Bayrhütte for nine weeks. From this, he was hired and paid” 170 florins, then 3 florins in lieu of labor, 3/4 florins “as a token of appreciation for initially coming out upon request and giving me a sketch,” and finally 112 florins “to the journeyman.” "Trip money after completion of the work," total costs including painting and craftsman work: 391 fl. The journeyman was Veit Dümpel. (Karl Sitzmann: Artists and Craftsmen in East Franconia, Vol. 1, 1957, p. 574) ________________________ Another work by Werner in the church: The pulpit, donated in 1615 by Count Johann Casimir von Lynar, "an interesting sandstone structure supported by a Samson with several stately figures," was replaced by a wooden one in 1865. (Fritz Traugott Schulz / Thieme-Becker) The pulpit was erected on April 3, 1620, against the second pillar of the south side door. "It must have been an interesting sandstone structure supported by a Samson, with several stately figures" (Wilhelm Kneule: Church History of the City of Bayreuth. From the founding of the town around 1180 to the Enlightenment around 1810, Neustadt/Aisch 1971, p. 115)

The neo-Gothic baptismal font from 1870 contains eight high-quality alabaster reliefs (from the original font) depicting scenes related to the sacrament of baptism. The font was originally built in the neo-Gothic style. "The city of Bayreuth and its church were severely damaged by a major fire in 1605. During the church's reconstruction, the opportunity was taken to also adapt the furnishings to the spirit of the age, and the then pastor and superintendent, M. Matth Chyträus, commissioned a new baptismal font in 1615 to replace the one erected only in 1562. He entrusted its creation to our master. Of this work, (...), only the eight reliefs remain. The church suffered a second fire in 1621 and subsequently received magnificent Baroque furnishings, which the misguided purism of the 19th century deemed worthy of removal. This circumstance is the reason why we see Werner's reliefs today in a Neo-Gothic baptismal font, and part of the unfavorable effect can be attributed to the mounting, which is not suited to the character of the pieces. Unfortunately, we do not know what the whole thing originally looked like; no painting or engraving provides us with this information. This is all the more regrettable as it is the only such creation." Werner's work is, and we have no doubt that his decorative talent was at its best in the composition of the whole. Only literary accounts give us a faint idea of ​​what originally existed. It was said to have been a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. The removable lid (probably made of wood) bore the figures of the four cardinal virtues and the dedicatory inscription. The four elements and biblical sayings were inscribed at the bottom, and portraits of the donor and his two wives were at the base. It was a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. (Felix Ettinghausen: Hans Werner, a Franconian sculptor around the year 1600 / Dissertation / Würzburg / 1921, pp. 71-72) According to the surviving baptismal font document, “Hanns Werner, a renowned sculptor from Nuremberg, crafted the lid and all its ornamentation, as well as the eight panels and historical figures in alabaster, at his own expense and expense in Nuremberg. The body and base, however, were crafted by a journeyman in my (the founder Matthäus Heffner, Latinized Chyträus) parsonage at my expense here in Bayrhütte for nine weeks. From this, he was hired and paid” 170 florins, then 3 florins in lieu of labor, 3/4 florins “as a token of appreciation for initially coming out upon request and giving me a sketch,” and finally 112 florins “to the journeyman.” "Trip money after completion of the work," total costs including painting and craftsman work: 391 fl. The journeyman was Veit Dümpel. (Karl Sitzmann: Artists and Craftsmen in East Franconia, Vol. 1, 1957, p. 574) ________________________ Another work by Werner in the church: The pulpit, donated in 1615 by Count Johann Casimir von Lynar, "an interesting sandstone structure supported by a Samson with several stately figures," was replaced by a wooden one in 1865. (Fritz Traugott Schulz / Thieme-Becker) The pulpit was erected on April 3, 1620, against the second pillar of the south side door. "It must have been an interesting sandstone structure supported by a Samson, with several stately figures" (Wilhelm Kneule: Church History of the City of Bayreuth. From the founding of the town around 1180 to the Enlightenment around 1810, Neustadt/Aisch 1971, p. 115)

The neo-Gothic baptismal font from 1870 contains eight high-quality alabaster reliefs (from the original font) depicting scenes related to the sacrament of baptism. The font was originally built in the neo-Gothic style. "The city of Bayreuth and its church were severely damaged by a major fire in 1605. During the church's reconstruction, the opportunity was taken to also adapt the furnishings to the spirit of the age, and the then pastor and superintendent, M. Matth Chyträus, commissioned a new baptismal font in 1615 to replace the one erected only in 1562. He entrusted its creation to our master. Of this work, (...), only the eight reliefs remain. The church suffered a second fire in 1621 and subsequently received magnificent Baroque furnishings, which the misguided purism of the 19th century deemed worthy of removal. This circumstance is the reason why we see Werner's reliefs today in a Neo-Gothic baptismal font, and part of the unfavorable effect can be attributed to the mounting, which is not suited to the character of the pieces. Unfortunately, we do not know what the whole thing originally looked like; no painting or engraving provides us with this information. This is all the more regrettable as it is the only such creation." Werner's work is, and we have no doubt that his decorative talent was at its best in the composition of the whole. Only literary accounts give us a faint idea of ​​what originally existed. It was said to have been a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. The removable lid (probably made of wood) bore the figures of the four cardinal virtues and the dedicatory inscription. The four elements and biblical sayings were inscribed at the bottom, and portraits of the donor and his two wives were at the base. It was a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. (Felix Ettinghausen: Hans Werner, a Franconian sculptor around the year 1600 / Dissertation / Würzburg / 1921, pp. 71-72) According to the surviving baptismal font document, “Hanns Werner, a renowned sculptor from Nuremberg, crafted the lid and all its ornamentation, as well as the eight panels and historical figures in alabaster, at his own expense and expense in Nuremberg. The body and base, however, were crafted by a journeyman in my (the founder Matthäus Heffner, Latinized Chyträus) parsonage at my expense here in Bayrhütte for nine weeks. From this, he was hired and paid” 170 florins, then 3 florins in lieu of labor, 3/4 florins “as a token of appreciation for initially coming out upon request and giving me a sketch,” and finally 112 florins “to the journeyman.” "Trip money after completion of the work," total costs including painting and craftsman work: 391 fl. The journeyman was Veit Dümpel. (Karl Sitzmann: Artists and Craftsmen in East Franconia, Vol. 1, 1957, p. 574) ________________________ Another work by Werner in the church: The pulpit, donated in 1615 by Count Johann Casimir von Lynar, "an interesting sandstone structure supported by a Samson with several stately figures," was replaced by a wooden one in 1865. (Fritz Traugott Schulz / Thieme-Becker) The pulpit was erected on April 3, 1620, against the second pillar of the south side door. "It must have been an interesting sandstone structure supported by a Samson, with several stately figures" (Wilhelm Kneule: Church History of the City of Bayreuth. From the founding of the town around 1180 to the Enlightenment around 1810, Neustadt/Aisch 1971, p. 115)

The neo-Gothic baptismal font from 1870 contains eight high-quality alabaster reliefs (from the original font) depicting scenes related to the sacrament of baptism. The font was originally built in the neo-Gothic style. "The city of Bayreuth and its church were severely damaged by a major fire in 1605. During the church's reconstruction, the opportunity was taken to also adapt the furnishings to the spirit of the age, and the then pastor and superintendent, M. Matth Chyträus, commissioned a new baptismal font in 1615 to replace the one erected only in 1562. He entrusted its creation to our master. Of this work, (...), only the eight reliefs remain. The church suffered a second fire in 1621 and subsequently received magnificent Baroque furnishings, which the misguided purism of the 19th century deemed worthy of removal. This circumstance is the reason why we see Werner's reliefs today in a Neo-Gothic baptismal font, and part of the unfavorable effect can be attributed to the mounting, which is not suited to the character of the pieces. Unfortunately, we do not know what the whole thing originally looked like; no painting or engraving provides us with this information. This is all the more regrettable as it is the only such creation." Werner's work is, and we have no doubt that his decorative talent was at its best in the composition of the whole. Only literary accounts give us a faint idea of ​​what originally existed. It was said to have been a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. The removable lid (probably made of wood) bore the figures of the four cardinal virtues and the dedicatory inscription. The four elements and biblical sayings were inscribed at the bottom, and portraits of the donor and his two wives were at the base. It was a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. (Felix Ettinghausen: Hans Werner, a Franconian sculptor around the year 1600 / Dissertation / Würzburg / 1921, pp. 71-72) According to the surviving baptismal font document, “Hanns Werner, a renowned sculptor from Nuremberg, crafted the lid and all its ornamentation, as well as the eight panels and historical figures in alabaster, at his own expense and expense in Nuremberg. The body and base, however, were crafted by a journeyman in my (the founder Matthäus Heffner, Latinized Chyträus) parsonage at my expense here in Bayrhütte for nine weeks. From this, he was hired and paid” 170 florins, then 3 florins in lieu of labor, 3/4 florins “as a token of appreciation for initially coming out upon request and giving me a sketch,” and finally 112 florins “to the journeyman.” "Trip money after completion of the work," total costs including painting and craftsman work: 391 fl. The journeyman was Veit Dümpel. (Karl Sitzmann: Artists and Craftsmen in East Franconia, Vol. 1, 1957, p. 574) ________________________ Another work by Werner in the church: The pulpit, donated in 1615 by Count Johann Casimir von Lynar, "an interesting sandstone structure supported by a Samson with several stately figures," was replaced by a wooden one in 1865. (Fritz Traugott Schulz / Thieme-Becker) The pulpit was erected on April 3, 1620, against the second pillar of the south side door. "It must have been an interesting sandstone structure supported by a Samson, with several stately figures" (Wilhelm Kneule: Church History of the City of Bayreuth. From the founding of the town around 1180 to the Enlightenment around 1810, Neustadt/Aisch 1971, p. 115)

The neo-Gothic baptismal font from 1870 contains eight high-quality alabaster reliefs (from the original font) depicting scenes related to the sacrament of baptism. The font was originally built in the neo-Gothic style. "The city of Bayreuth and its church were severely damaged by a major fire in 1605. During the church's reconstruction, the opportunity was taken to also adapt the furnishings to the spirit of the age, and the then pastor and superintendent, M. Matth Chyträus, commissioned a new baptismal font in 1615 to replace the one erected only in 1562. He entrusted its creation to our master. Of this work, (...), only the eight reliefs remain. The church suffered a second fire in 1621 and subsequently received magnificent Baroque furnishings, which the misguided purism of the 19th century deemed worthy of removal. This circumstance is the reason why we see Werner's reliefs today in a Neo-Gothic baptismal font, and part of the unfavorable effect can be attributed to the mounting, which is not suited to the character of the pieces. Unfortunately, we do not know what the whole thing originally looked like; no painting or engraving provides us with this information. This is all the more regrettable as it is the only such creation." Werner's work is, and we have no doubt that his decorative talent was at its best in the composition of the whole. Only literary accounts give us a faint idea of ​​what originally existed. It was said to have been a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. The removable lid (probably made of wood) bore the figures of the four cardinal virtues and the dedicatory inscription. The four elements and biblical sayings were inscribed at the bottom, and portraits of the donor and his two wives were at the base. It was a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. (Felix Ettinghausen: Hans Werner, a Franconian sculptor around the year 1600 / Dissertation / Würzburg / 1921, pp. 71-72) According to the surviving baptismal font document, “Hanns Werner, a renowned sculptor from Nuremberg, crafted the lid and all its ornamentation, as well as the eight panels and historical figures in alabaster, at his own expense and expense in Nuremberg. The body and base, however, were crafted by a journeyman in my (the founder Matthäus Heffner, Latinized Chyträus) parsonage at my expense here in Bayrhütte for nine weeks. From this, he was hired and paid” 170 florins, then 3 florins in lieu of labor, 3/4 florins “as a token of appreciation for initially coming out upon request and giving me a sketch,” and finally 112 florins “to the journeyman.” "Trip money after completion of the work," total costs including painting and craftsman work: 391 fl. The journeyman was Veit Dümpel. (Karl Sitzmann: Artists and Craftsmen in East Franconia, Vol. 1, 1957, p. 574) ________________________ Another work by Werner in the church: The pulpit, donated in 1615 by Count Johann Casimir von Lynar, "an interesting sandstone structure supported by a Samson with several stately figures," was replaced by a wooden one in 1865. (Fritz Traugott Schulz / Thieme-Becker) The pulpit was erected on April 3, 1620, against the second pillar of the south side door. "It must have been an interesting sandstone structure supported by a Samson, with several stately figures" (Wilhelm Kneule: Church History of the City of Bayreuth. From the founding of the town around 1180 to the Enlightenment around 1810, Neustadt/Aisch 1971, p. 115)

The neo-Gothic baptismal font from 1870 contains eight high-quality alabaster reliefs (from the original font) depicting scenes related to the sacrament of baptism. The font was originally built in the neo-Gothic style. "The city of Bayreuth and its church were severely damaged by a major fire in 1605. During the church's reconstruction, the opportunity was taken to also adapt the furnishings to the spirit of the age, and the then pastor and superintendent, M. Matth Chyträus, commissioned a new baptismal font in 1615 to replace the one erected only in 1562. He entrusted its creation to our master. Of this work, (...), only the eight reliefs remain. The church suffered a second fire in 1621 and subsequently received magnificent Baroque furnishings, which the misguided purism of the 19th century deemed worthy of removal. This circumstance is the reason why we see Werner's reliefs today in a Neo-Gothic baptismal font, and part of the unfavorable effect can be attributed to the mounting, which is not suited to the character of the pieces. Unfortunately, we do not know what the whole thing originally looked like; no painting or engraving provides us with this information. This is all the more regrettable as it is the only such creation." Werner's work is, and we have no doubt that his decorative talent was at its best in the composition of the whole. Only literary accounts give us a faint idea of ​​what originally existed. It was said to have been a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. The removable lid (probably made of wood) bore the figures of the four cardinal virtues and the dedicatory inscription. The four elements and biblical sayings were inscribed at the bottom, and portraits of the donor and his two wives were at the base. It was a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. (Felix Ettinghausen: Hans Werner, a Franconian sculptor around the year 1600 / Dissertation / Würzburg / 1921, pp. 71-72) According to the surviving baptismal font document, “Hanns Werner, a renowned sculptor from Nuremberg, crafted the lid and all its ornamentation, as well as the eight panels and historical figures in alabaster, at his own expense and expense in Nuremberg. The body and base, however, were crafted by a journeyman in my (the founder Matthäus Heffner, Latinized Chyträus) parsonage at my expense here in Bayrhütte for nine weeks. From this, he was hired and paid” 170 florins, then 3 florins in lieu of labor, 3/4 florins “as a token of appreciation for initially coming out upon request and giving me a sketch,” and finally 112 florins “to the journeyman.” "Trip money after completion of the work," total costs including painting and craftsman work: 391 fl. The journeyman was Veit Dümpel. (Karl Sitzmann: Artists and Craftsmen in East Franconia, Vol. 1, 1957, p. 574) ________________________ Another work by Werner in the church: The pulpit, donated in 1615 by Count Johann Casimir von Lynar, "an interesting sandstone structure supported by a Samson with several stately figures," was replaced by a wooden one in 1865. (Fritz Traugott Schulz / Thieme-Becker) The pulpit was erected on April 3, 1620, against the second pillar of the south side door. "It must have been an interesting sandstone structure supported by a Samson, with several stately figures" (Wilhelm Kneule: Church History of the City of Bayreuth. From the founding of the town around 1180 to the Enlightenment around 1810, Neustadt/Aisch 1971, p. 115)

The neo-Gothic baptismal font from 1870 contains eight high-quality alabaster reliefs (from the original font) depicting scenes related to the sacrament of baptism. The font was originally built in the neo-Gothic style. "The city of Bayreuth and its church were severely damaged by a major fire in 1605. During the church's reconstruction, the opportunity was taken to also adapt the furnishings to the spirit of the age, and the then pastor and superintendent, M. Matth Chyträus, commissioned a new baptismal font in 1615 to replace the one erected only in 1562. He entrusted its creation to our master. Of this work, (...), only the eight reliefs remain. The church suffered a second fire in 1621 and subsequently received magnificent Baroque furnishings, which the misguided purism of the 19th century deemed worthy of removal. This circumstance is the reason why we see Werner's reliefs today in a Neo-Gothic baptismal font, and part of the unfavorable effect can be attributed to the mounting, which is not suited to the character of the pieces. Unfortunately, we do not know what the whole thing originally looked like; no painting or engraving provides us with this information. This is all the more regrettable as it is the only such creation." Werner's work is, and we have no doubt that his decorative talent was at its best in the composition of the whole. Only literary accounts give us a faint idea of ​​what originally existed. It was said to have been a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. The removable lid (probably made of wood) bore the figures of the four cardinal virtues and the dedicatory inscription. The four elements and biblical sayings were inscribed at the bottom, and portraits of the donor and his two wives were at the base. It was a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. (Felix Ettinghausen: Hans Werner, a Franconian sculptor around the year 1600 / Dissertation / Würzburg / 1921, pp. 71-72) According to the surviving baptismal font document, “Hanns Werner, a renowned sculptor from Nuremberg, crafted the lid and all its ornamentation, as well as the eight panels and historical figures in alabaster, at his own expense and expense in Nuremberg. The body and base, however, were crafted by a journeyman in my (the founder Matthäus Heffner, Latinized Chyträus) parsonage at my expense here in Bayrhütte for nine weeks. From this, he was hired and paid” 170 florins, then 3 florins in lieu of labor, 3/4 florins “as a token of appreciation for initially coming out upon request and giving me a sketch,” and finally 112 florins “to the journeyman.” "Trip money after completion of the work," total costs including painting and craftsman work: 391 fl. The journeyman was Veit Dümpel. (Karl Sitzmann: Artists and Craftsmen in East Franconia, Vol. 1, 1957, p. 574) ________________________ Another work by Werner in the church: The pulpit, donated in 1615 by Count Johann Casimir von Lynar, "an interesting sandstone structure supported by a Samson with several stately figures," was replaced by a wooden one in 1865. (Fritz Traugott Schulz / Thieme-Becker) The pulpit was erected on April 3, 1620, against the second pillar of the south side door. "It must have been an interesting sandstone structure supported by a Samson, with several stately figures" (Wilhelm Kneule: Church History of the City of Bayreuth. From the founding of the town around 1180 to the Enlightenment around 1810, Neustadt/Aisch 1971, p. 115)

The neo-Gothic baptismal font from 1870 contains eight high-quality alabaster reliefs (from the original font) depicting scenes related to the sacrament of baptism. The font was originally built in the neo-Gothic style. "The city of Bayreuth and its church were severely damaged by a major fire in 1605. During the church's reconstruction, the opportunity was taken to also adapt the furnishings to the spirit of the age, and the then pastor and superintendent, M. Matth Chyträus, commissioned a new baptismal font in 1615 to replace the one erected only in 1562. He entrusted its creation to our master. Of this work, (...), only the eight reliefs remain. The church suffered a second fire in 1621 and subsequently received magnificent Baroque furnishings, which the misguided purism of the 19th century deemed worthy of removal. This circumstance is the reason why we see Werner's reliefs today in a Neo-Gothic baptismal font, and part of the unfavorable effect can be attributed to the mounting, which is not suited to the character of the pieces. Unfortunately, we do not know what the whole thing originally looked like; no painting or engraving provides us with this information. This is all the more regrettable as it is the only such creation." Werner's work is, and we have no doubt that his decorative talent was at its best in the composition of the whole. Only literary accounts give us a faint idea of ​​what originally existed. It was said to have been a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. The removable lid (probably made of wood) bore the figures of the four cardinal virtues and the dedicatory inscription. The four elements and biblical sayings were inscribed at the bottom, and portraits of the donor and his two wives were at the base. It was a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. (Felix Ettinghausen: Hans Werner, a Franconian sculptor around the year 1600 / Dissertation / Würzburg / 1921, pp. 71-72) According to the surviving baptismal font document, “Hanns Werner, a renowned sculptor from Nuremberg, crafted the lid and all its ornamentation, as well as the eight panels and historical figures in alabaster, at his own expense and expense in Nuremberg. The body and base, however, were crafted by a journeyman in my (the founder Matthäus Heffner, Latinized Chyträus) parsonage at my expense here in Bayrhütte for nine weeks. From this, he was hired and paid” 170 florins, then 3 florins in lieu of labor, 3/4 florins “as a token of appreciation for initially coming out upon request and giving me a sketch,” and finally 112 florins “to the journeyman.” "Trip money after completion of the work," total costs including painting and craftsman work: 391 fl. The journeyman was Veit Dümpel. (Karl Sitzmann: Artists and Craftsmen in East Franconia, Vol. 1, 1957, p. 574) ________________________ Another work by Werner in the church: The pulpit, donated in 1615 by Count Johann Casimir von Lynar, "an interesting sandstone structure supported by a Samson with several stately figures," was replaced by a wooden one in 1865. (Fritz Traugott Schulz / Thieme-Becker) The pulpit was erected on April 3, 1620, against the second pillar of the south side door. "It must have been an interesting sandstone structure supported by a Samson, with several stately figures" (Wilhelm Kneule: Church History of the City of Bayreuth. From the founding of the town around 1180 to the Enlightenment around 1810, Neustadt/Aisch 1971, p. 115)

The neo-Gothic baptismal font from 1870 contains eight high-quality alabaster reliefs (from the original font) depicting scenes related to the sacrament of baptism. The font was originally built in the neo-Gothic style. "The city of Bayreuth and its church were severely damaged by a major fire in 1605. During the church's reconstruction, the opportunity was taken to also adapt the furnishings to the spirit of the age, and the then pastor and superintendent, M. Matth Chyträus, commissioned a new baptismal font in 1615 to replace the one erected only in 1562. He entrusted its creation to our master. Of this work, (...), only the eight reliefs remain. The church suffered a second fire in 1621 and subsequently received magnificent Baroque furnishings, which the misguided purism of the 19th century deemed worthy of removal. This circumstance is the reason why we see Werner's reliefs today in a Neo-Gothic baptismal font, and part of the unfavorable effect can be attributed to the mounting, which is not suited to the character of the pieces. Unfortunately, we do not know what the whole thing originally looked like; no painting or engraving provides us with this information. This is all the more regrettable as it is the only such creation." Werner's work is, and we have no doubt that his decorative talent was at its best in the composition of the whole. Only literary accounts give us a faint idea of ​​what originally existed. It was said to have been a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. The removable lid (probably made of wood) bore the figures of the four cardinal virtues and the dedicatory inscription. The four elements and biblical sayings were inscribed at the bottom, and portraits of the donor and his two wives were at the base. It was a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. (Felix Ettinghausen: Hans Werner, a Franconian sculptor around the year 1600 / Dissertation / Würzburg / 1921, pp. 71-72) According to the surviving baptismal font document, “Hanns Werner, a renowned sculptor from Nuremberg, crafted the lid and all its ornamentation, as well as the eight panels and historical figures in alabaster, at his own expense and expense in Nuremberg. The body and base, however, were crafted by a journeyman in my (the founder Matthäus Heffner, Latinized Chyträus) parsonage at my expense here in Bayrhütte for nine weeks. From this, he was hired and paid” 170 florins, then 3 florins in lieu of labor, 3/4 florins “as a token of appreciation for initially coming out upon request and giving me a sketch,” and finally 112 florins “to the journeyman.” "Trip money after completion of the work," total costs including painting and craftsman work: 391 fl. The journeyman was Veit Dümpel. (Karl Sitzmann: Artists and Craftsmen in East Franconia, Vol. 1, 1957, p. 574) ________________________ Another work by Werner in the church: The pulpit, donated in 1615 by Count Johann Casimir von Lynar, "an interesting sandstone structure supported by a Samson with several stately figures," was replaced by a wooden one in 1865. (Fritz Traugott Schulz / Thieme-Becker) The pulpit was erected on April 3, 1620, against the second pillar of the south side door. "It must have been an interesting sandstone structure supported by a Samson, with several stately figures" (Wilhelm Kneule: Church History of the City of Bayreuth. From the founding of the town around 1180 to the Enlightenment around 1810, Neustadt/Aisch 1971, p. 115)

The neo-Gothic baptismal font from 1870 contains eight high-quality alabaster reliefs (from the original font) depicting scenes related to the sacrament of baptism. The font was originally built in the neo-Gothic style. "The city of Bayreuth and its church were severely damaged by a major fire in 1605. During the church's reconstruction, the opportunity was taken to also adapt the furnishings to the spirit of the age, and the then pastor and superintendent, M. Matth Chyträus, commissioned a new baptismal font in 1615 to replace the one erected only in 1562. He entrusted its creation to our master. Of this work, (...), only the eight reliefs remain. The church suffered a second fire in 1621 and subsequently received magnificent Baroque furnishings, which the misguided purism of the 19th century deemed worthy of removal. This circumstance is the reason why we see Werner's reliefs today in a Neo-Gothic baptismal font, and part of the unfavorable effect can be attributed to the mounting, which is not suited to the character of the pieces. Unfortunately, we do not know what the whole thing originally looked like; no painting or engraving provides us with this information. This is all the more regrettable as it is the only such creation." Werner's work is, and we have no doubt that his decorative talent was at its best in the composition of the whole. Only literary accounts give us a faint idea of ​​what originally existed. It was said to have been a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. The removable lid (probably made of wood) bore the figures of the four cardinal virtues and the dedicatory inscription. The four elements and biblical sayings were inscribed at the bottom, and portraits of the donor and his two wives were at the base. It was a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. (Felix Ettinghausen: Hans Werner, a Franconian sculptor around the year 1600 / Dissertation / Würzburg / 1921, pp. 71-72) According to the surviving baptismal font document, “Hanns Werner, a renowned sculptor from Nuremberg, crafted the lid and all its ornamentation, as well as the eight panels and historical figures in alabaster, at his own expense and expense in Nuremberg. The body and base, however, were crafted by a journeyman in my (the founder Matthäus Heffner, Latinized Chyträus) parsonage at my expense here in Bayrhütte for nine weeks. From this, he was hired and paid” 170 florins, then 3 florins in lieu of labor, 3/4 florins “as a token of appreciation for initially coming out upon request and giving me a sketch,” and finally 112 florins “to the journeyman.” "Trip money after completion of the work," total costs including painting and craftsman work: 391 fl. The journeyman was Veit Dümpel. (Karl Sitzmann: Artists and Craftsmen in East Franconia, Vol. 1, 1957, p. 574) ________________________ Another work by Werner in the church: The pulpit, donated in 1615 by Count Johann Casimir von Lynar, "an interesting sandstone structure supported by a Samson with several stately figures," was replaced by a wooden one in 1865. (Fritz Traugott Schulz / Thieme-Becker) The pulpit was erected on April 3, 1620, against the second pillar of the south side door. "It must have been an interesting sandstone structure supported by a Samson, with several stately figures" (Wilhelm Kneule: Church History of the City of Bayreuth. From the founding of the town around 1180 to the Enlightenment around 1810, Neustadt/Aisch 1971, p. 115)

The neo-Gothic baptismal font from 1870 contains eight high-quality alabaster reliefs (from the original font) depicting scenes related to the sacrament of baptism. The font was originally built in the neo-Gothic style. "The city of Bayreuth and its church were severely damaged by a major fire in 1605. During the church's reconstruction, the opportunity was taken to also adapt the furnishings to the spirit of the age, and the then pastor and superintendent, M. Matth Chyträus, commissioned a new baptismal font in 1615 to replace the one erected only in 1562. He entrusted its creation to our master. Of this work, (...), only the eight reliefs remain. The church suffered a second fire in 1621 and subsequently received magnificent Baroque furnishings, which the misguided purism of the 19th century deemed worthy of removal. This circumstance is the reason why we see Werner's reliefs today in a Neo-Gothic baptismal font, and part of the unfavorable effect can be attributed to the mounting, which is not suited to the character of the pieces. Unfortunately, we do not know what the whole thing originally looked like; no painting or engraving provides us with this information. This is all the more regrettable as it is the only such creation." Werner's work is, and we have no doubt that his decorative talent was at its best in the composition of the whole. Only literary accounts give us a faint idea of ​​what originally existed. It was said to have been a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. The removable lid (probably made of wood) bore the figures of the four cardinal virtues and the dedicatory inscription. The four elements and biblical sayings were inscribed at the bottom, and portraits of the donor and his two wives were at the base. It was a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. (Felix Ettinghausen: Hans Werner, a Franconian sculptor around the year 1600 / Dissertation / Würzburg / 1921, pp. 71-72) According to the surviving baptismal font document, “Hanns Werner, a renowned sculptor from Nuremberg, crafted the lid and all its ornamentation, as well as the eight panels and historical figures in alabaster, at his own expense and expense in Nuremberg. The body and base, however, were crafted by a journeyman in my (the founder Matthäus Heffner, Latinized Chyträus) parsonage at my expense here in Bayrhütte for nine weeks. From this, he was hired and paid” 170 florins, then 3 florins in lieu of labor, 3/4 florins “as a token of appreciation for initially coming out upon request and giving me a sketch,” and finally 112 florins “to the journeyman.” "Trip money after completion of the work," total costs including painting and craftsman work: 391 fl. The journeyman was Veit Dümpel. (Karl Sitzmann: Artists and Craftsmen in East Franconia, Vol. 1, 1957, p. 574) ________________________ Another work by Werner in the church: The pulpit, donated in 1615 by Count Johann Casimir von Lynar, "an interesting sandstone structure supported by a Samson with several stately figures," was replaced by a wooden one in 1865. (Fritz Traugott Schulz / Thieme-Becker) The pulpit was erected on April 3, 1620, against the second pillar of the south side door. "It must have been an interesting sandstone structure supported by a Samson, with several stately figures" (Wilhelm Kneule: Church History of the City of Bayreuth. From the founding of the town around 1180 to the Enlightenment around 1810, Neustadt/Aisch 1971, p. 115)

The neo-Gothic baptismal font from 1870 contains eight high-quality alabaster reliefs (from the original font) depicting scenes related to the sacrament of baptism. The font was originally built in the neo-Gothic style. "The city of Bayreuth and its church were severely damaged by a major fire in 1605. During the church's reconstruction, the opportunity was taken to also adapt the furnishings to the spirit of the age, and the then pastor and superintendent, M. Matth Chyträus, commissioned a new baptismal font in 1615 to replace the one erected only in 1562. He entrusted its creation to our master. Of this work, (...), only the eight reliefs remain. The church suffered a second fire in 1621 and subsequently received magnificent Baroque furnishings, which the misguided purism of the 19th century deemed worthy of removal. This circumstance is the reason why we see Werner's reliefs today in a Neo-Gothic baptismal font, and part of the unfavorable effect can be attributed to the mounting, which is not suited to the character of the pieces. Unfortunately, we do not know what the whole thing originally looked like; no painting or engraving provides us with this information. This is all the more regrettable as it is the only such creation." Werner's work is, and we have no doubt that his decorative talent was at its best in the composition of the whole. Only literary accounts give us a faint idea of ​​what originally existed. It was said to have been a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. The removable lid (probably made of wood) bore the figures of the four cardinal virtues and the dedicatory inscription. The four elements and biblical sayings were inscribed at the bottom, and portraits of the donor and his two wives were at the base. It was a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. (Felix Ettinghausen: Hans Werner, a Franconian sculptor around the year 1600 / Dissertation / Würzburg / 1921, pp. 71-72) According to the surviving baptismal font document, “Hanns Werner, a renowned sculptor from Nuremberg, crafted the lid and all its ornamentation, as well as the eight panels and historical figures in alabaster, at his own expense and expense in Nuremberg. The body and base, however, were crafted by a journeyman in my (the founder Matthäus Heffner, Latinized Chyträus) parsonage at my expense here in Bayrhütte for nine weeks. From this, he was hired and paid” 170 florins, then 3 florins in lieu of labor, 3/4 florins “as a token of appreciation for initially coming out upon request and giving me a sketch,” and finally 112 florins “to the journeyman.” "Trip money after completion of the work," total costs including painting and craftsman work: 391 fl. The journeyman was Veit Dümpel. (Karl Sitzmann: Artists and Craftsmen in East Franconia, Vol. 1, 1957, p. 574) ________________________ Another work by Werner in the church: The pulpit, donated in 1615 by Count Johann Casimir von Lynar, "an interesting sandstone structure supported by a Samson with several stately figures," was replaced by a wooden one in 1865. (Fritz Traugott Schulz / Thieme-Becker) The pulpit was erected on April 3, 1620, against the second pillar of the south side door. "It must have been an interesting sandstone structure supported by a Samson, with several stately figures" (Wilhelm Kneule: Church History of the City of Bayreuth. From the founding of the town around 1180 to the Enlightenment around 1810, Neustadt/Aisch 1971, p. 115)

The neo-Gothic baptismal font from 1870 contains eight high-quality alabaster reliefs (from the original font) depicting scenes related to the sacrament of baptism. The font was originally built in the neo-Gothic style. "The city of Bayreuth and its church were severely damaged by a major fire in 1605. During the church's reconstruction, the opportunity was taken to also adapt the furnishings to the spirit of the age, and the then pastor and superintendent, M. Matth Chyträus, commissioned a new baptismal font in 1615 to replace the one erected only in 1562. He entrusted its creation to our master. Of this work, (...), only the eight reliefs remain. The church suffered a second fire in 1621 and subsequently received magnificent Baroque furnishings, which the misguided purism of the 19th century deemed worthy of removal. This circumstance is the reason why we see Werner's reliefs today in a Neo-Gothic baptismal font, and part of the unfavorable effect can be attributed to the mounting, which is not suited to the character of the pieces. Unfortunately, we do not know what the whole thing originally looked like; no painting or engraving provides us with this information. This is all the more regrettable as it is the only such creation." Werner's work is, and we have no doubt that his decorative talent was at its best in the composition of the whole. Only literary accounts give us a faint idea of ​​what originally existed. It was said to have been a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. The removable lid (probably made of wood) bore the figures of the four cardinal virtues and the dedicatory inscription. The four elements and biblical sayings were inscribed at the bottom, and portraits of the donor and his two wives were at the base. It was a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. (Felix Ettinghausen: Hans Werner, a Franconian sculptor around the year 1600 / Dissertation / Würzburg / 1921, pp. 71-72) According to the surviving baptismal font document, “Hanns Werner, a renowned sculptor from Nuremberg, crafted the lid and all its ornamentation, as well as the eight panels and historical figures in alabaster, at his own expense and expense in Nuremberg. The body and base, however, were crafted by a journeyman in my (the founder Matthäus Heffner, Latinized Chyträus) parsonage at my expense here in Bayrhütte for nine weeks. From this, he was hired and paid” 170 florins, then 3 florins in lieu of labor, 3/4 florins “as a token of appreciation for initially coming out upon request and giving me a sketch,” and finally 112 florins “to the journeyman.” "Trip money after completion of the work," total costs including painting and craftsman work: 391 fl. The journeyman was Veit Dümpel. (Karl Sitzmann: Artists and Craftsmen in East Franconia, Vol. 1, 1957, p. 574) ________________________ Another work by Werner in the church: The pulpit, donated in 1615 by Count Johann Casimir von Lynar, "an interesting sandstone structure supported by a Samson with several stately figures," was replaced by a wooden one in 1865. (Fritz Traugott Schulz / Thieme-Becker) The pulpit was erected on April 3, 1620, against the second pillar of the south side door. "It must have been an interesting sandstone structure supported by a Samson, with several stately figures" (Wilhelm Kneule: Church History of the City of Bayreuth. From the founding of the town around 1180 to the Enlightenment around 1810, Neustadt/Aisch 1971, p. 115)

The neo-Gothic baptismal font from 1870 contains eight high-quality alabaster reliefs (from the original font) depicting scenes related to the sacrament of baptism. The font was originally built in the neo-Gothic style. "The city of Bayreuth and its church were severely damaged by a major fire in 1605. During the church's reconstruction, the opportunity was taken to also adapt the furnishings to the spirit of the age, and the then pastor and superintendent, M. Matth Chyträus, commissioned a new baptismal font in 1615 to replace the one erected only in 1562. He entrusted its creation to our master. Of this work, (...), only the eight reliefs remain. The church suffered a second fire in 1621 and subsequently received magnificent Baroque furnishings, which the misguided purism of the 19th century deemed worthy of removal. This circumstance is the reason why we see Werner's reliefs today in a Neo-Gothic baptismal font, and part of the unfavorable effect can be attributed to the mounting, which is not suited to the character of the pieces. Unfortunately, we do not know what the whole thing originally looked like; no painting or engraving provides us with this information. This is all the more regrettable as it is the only such creation." Werner's work is, and we have no doubt that his decorative talent was at its best in the composition of the whole. Only literary accounts give us a faint idea of ​​what originally existed. It was said to have been a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. The removable lid (probably made of wood) bore the figures of the four cardinal virtues and the dedicatory inscription. The four elements and biblical sayings were inscribed at the bottom, and portraits of the donor and his two wives were at the base. It was a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. (Felix Ettinghausen: Hans Werner, a Franconian sculptor around the year 1600 / Dissertation / Würzburg / 1921, pp. 71-72) According to the surviving baptismal font document, “Hanns Werner, a renowned sculptor from Nuremberg, crafted the lid and all its ornamentation, as well as the eight panels and historical figures in alabaster, at his own expense and expense in Nuremberg. The body and base, however, were crafted by a journeyman in my (the founder Matthäus Heffner, Latinized Chyträus) parsonage at my expense here in Bayrhütte for nine weeks. From this, he was hired and paid” 170 florins, then 3 florins in lieu of labor, 3/4 florins “as a token of appreciation for initially coming out upon request and giving me a sketch,” and finally 112 florins “to the journeyman.” "Trip money after completion of the work," total costs including painting and craftsman work: 391 fl. The journeyman was Veit Dümpel. (Karl Sitzmann: Artists and Craftsmen in East Franconia, Vol. 1, 1957, p. 574) ________________________ Another work by Werner in the church: The pulpit, donated in 1615 by Count Johann Casimir von Lynar, "an interesting sandstone structure supported by a Samson with several stately figures," was replaced by a wooden one in 1865. (Fritz Traugott Schulz / Thieme-Becker) The pulpit was erected on April 3, 1620, against the second pillar of the south side door. "It must have been an interesting sandstone structure supported by a Samson, with several stately figures" (Wilhelm Kneule: Church History of the City of Bayreuth. From the founding of the town around 1180 to the Enlightenment around 1810, Neustadt/Aisch 1971, p. 115)

The neo-Gothic baptismal font from 1870 contains eight high-quality alabaster reliefs (from the original font) depicting scenes related to the sacrament of baptism. The font was originally built in the neo-Gothic style. "The city of Bayreuth and its church were severely damaged by a major fire in 1605. During the church's reconstruction, the opportunity was taken to also adapt the furnishings to the spirit of the age, and the then pastor and superintendent, M. Matth Chyträus, commissioned a new baptismal font in 1615 to replace the one erected only in 1562. He entrusted its creation to our master. Of this work, (...), only the eight reliefs remain. The church suffered a second fire in 1621 and subsequently received magnificent Baroque furnishings, which the misguided purism of the 19th century deemed worthy of removal. This circumstance is the reason why we see Werner's reliefs today in a Neo-Gothic baptismal font, and part of the unfavorable effect can be attributed to the mounting, which is not suited to the character of the pieces. Unfortunately, we do not know what the whole thing originally looked like; no painting or engraving provides us with this information. This is all the more regrettable as it is the only such creation." Werner's work is, and we have no doubt that his decorative talent was at its best in the composition of the whole. Only literary accounts give us a faint idea of ​​what originally existed. It was said to have been a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. The removable lid (probably made of wood) bore the figures of the four cardinal virtues and the dedicatory inscription. The four elements and biblical sayings were inscribed at the bottom, and portraits of the donor and his two wives were at the base. It was a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. (Felix Ettinghausen: Hans Werner, a Franconian sculptor around the year 1600 / Dissertation / Würzburg / 1921, pp. 71-72) According to the surviving baptismal font document, “Hanns Werner, a renowned sculptor from Nuremberg, crafted the lid and all its ornamentation, as well as the eight panels and historical figures in alabaster, at his own expense and expense in Nuremberg. The body and base, however, were crafted by a journeyman in my (the founder Matthäus Heffner, Latinized Chyträus) parsonage at my expense here in Bayrhütte for nine weeks. From this, he was hired and paid” 170 florins, then 3 florins in lieu of labor, 3/4 florins “as a token of appreciation for initially coming out upon request and giving me a sketch,” and finally 112 florins “to the journeyman.” "Trip money after completion of the work," total costs including painting and craftsman work: 391 fl. The journeyman was Veit Dümpel. (Karl Sitzmann: Artists and Craftsmen in East Franconia, Vol. 1, 1957, p. 574) ________________________ Another work by Werner in the church: The pulpit, donated in 1615 by Count Johann Casimir von Lynar, "an interesting sandstone structure supported by a Samson with several stately figures," was replaced by a wooden one in 1865. (Fritz Traugott Schulz / Thieme-Becker) The pulpit was erected on April 3, 1620, against the second pillar of the south side door. "It must have been an interesting sandstone structure supported by a Samson, with several stately figures" (Wilhelm Kneule: Church History of the City of Bayreuth. From the founding of the town around 1180 to the Enlightenment around 1810, Neustadt/Aisch 1971, p. 115)

The neo-Gothic baptismal font from 1870 contains eight high-quality alabaster reliefs (from the original font) depicting scenes related to the sacrament of baptism. The font was originally built in the neo-Gothic style. "The city of Bayreuth and its church were severely damaged by a major fire in 1605. During the church's reconstruction, the opportunity was taken to also adapt the furnishings to the spirit of the age, and the then pastor and superintendent, M. Matth Chyträus, commissioned a new baptismal font in 1615 to replace the one erected only in 1562. He entrusted its creation to our master. Of this work, (...), only the eight reliefs remain. The church suffered a second fire in 1621 and subsequently received magnificent Baroque furnishings, which the misguided purism of the 19th century deemed worthy of removal. This circumstance is the reason why we see Werner's reliefs today in a Neo-Gothic baptismal font, and part of the unfavorable effect can be attributed to the mounting, which is not suited to the character of the pieces. Unfortunately, we do not know what the whole thing originally looked like; no painting or engraving provides us with this information. This is all the more regrettable as it is the only such creation." Werner's work is, and we have no doubt that his decorative talent was at its best in the composition of the whole. Only literary accounts give us a faint idea of ​​what originally existed. It was said to have been a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. The removable lid (probably made of wood) bore the figures of the four cardinal virtues and the dedicatory inscription. The four elements and biblical sayings were inscribed at the bottom, and portraits of the donor and his two wives were at the base. It was a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. (Felix Ettinghausen: Hans Werner, a Franconian sculptor around the year 1600 / Dissertation / Würzburg / 1921, pp. 71-72) According to the surviving baptismal font document, “Hanns Werner, a renowned sculptor from Nuremberg, crafted the lid and all its ornamentation, as well as the eight panels and historical figures in alabaster, at his own expense and expense in Nuremberg. The body and base, however, were crafted by a journeyman in my (the founder Matthäus Heffner, Latinized Chyträus) parsonage at my expense here in Bayrhütte for nine weeks. From this, he was hired and paid” 170 florins, then 3 florins in lieu of labor, 3/4 florins “as a token of appreciation for initially coming out upon request and giving me a sketch,” and finally 112 florins “to the journeyman.” "Trip money after completion of the work," total costs including painting and craftsman work: 391 fl. The journeyman was Veit Dümpel. (Karl Sitzmann: Artists and Craftsmen in East Franconia, Vol. 1, 1957, p. 574) ________________________ Another work by Werner in the church: The pulpit, donated in 1615 by Count Johann Casimir von Lynar, "an interesting sandstone structure supported by a Samson with several stately figures," was replaced by a wooden one in 1865. (Fritz Traugott Schulz / Thieme-Becker) The pulpit was erected on April 3, 1620, against the second pillar of the south side door. "It must have been an interesting sandstone structure supported by a Samson, with several stately figures" (Wilhelm Kneule: Church History of the City of Bayreuth. From the founding of the town around 1180 to the Enlightenment around 1810, Neustadt/Aisch 1971, p. 115)

The neo-Gothic baptismal font from 1870 contains eight high-quality alabaster reliefs (from the original font) depicting scenes related to the sacrament of baptism. The font was originally built in the neo-Gothic style. "The city of Bayreuth and its church were severely damaged by a major fire in 1605. During the church's reconstruction, the opportunity was taken to also adapt the furnishings to the spirit of the age, and the then pastor and superintendent, M. Matth Chyträus, commissioned a new baptismal font in 1615 to replace the one erected only in 1562. He entrusted its creation to our master. Of this work, (...), only the eight reliefs remain. The church suffered a second fire in 1621 and subsequently received magnificent Baroque furnishings, which the misguided purism of the 19th century deemed worthy of removal. This circumstance is the reason why we see Werner's reliefs today in a Neo-Gothic baptismal font, and part of the unfavorable effect can be attributed to the mounting, which is not suited to the character of the pieces. Unfortunately, we do not know what the whole thing originally looked like; no painting or engraving provides us with this information. This is all the more regrettable as it is the only such creation." Werner's work is, and we have no doubt that his decorative talent was at its best in the composition of the whole. Only literary accounts give us a faint idea of ​​what originally existed. It was said to have been a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. The removable lid (probably made of wood) bore the figures of the four cardinal virtues and the dedicatory inscription. The four elements and biblical sayings were inscribed at the bottom, and portraits of the donor and his two wives were at the base. It was a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. (Felix Ettinghausen: Hans Werner, a Franconian sculptor around the year 1600 / Dissertation / Würzburg / 1921, pp. 71-72) According to the surviving baptismal font document, “Hanns Werner, a renowned sculptor from Nuremberg, crafted the lid and all its ornamentation, as well as the eight panels and historical figures in alabaster, at his own expense and expense in Nuremberg. The body and base, however, were crafted by a journeyman in my (the founder Matthäus Heffner, Latinized Chyträus) parsonage at my expense here in Bayrhütte for nine weeks. From this, he was hired and paid” 170 florins, then 3 florins in lieu of labor, 3/4 florins “as a token of appreciation for initially coming out upon request and giving me a sketch,” and finally 112 florins “to the journeyman.” "Trip money after completion of the work," total costs including painting and craftsman work: 391 fl. The journeyman was Veit Dümpel. (Karl Sitzmann: Artists and Craftsmen in East Franconia, Vol. 1, 1957, p. 574) ________________________ Another work by Werner in the church: The pulpit, donated in 1615 by Count Johann Casimir von Lynar, "an interesting sandstone structure supported by a Samson with several stately figures," was replaced by a wooden one in 1865. (Fritz Traugott Schulz / Thieme-Becker) The pulpit was erected on April 3, 1620, against the second pillar of the south side door. "It must have been an interesting sandstone structure supported by a Samson, with several stately figures" (Wilhelm Kneule: Church History of the City of Bayreuth. From the founding of the town around 1180 to the Enlightenment around 1810, Neustadt/Aisch 1971, p. 115)

The neo-Gothic baptismal font from 1870 contains eight high-quality alabaster reliefs (from the original font) depicting scenes related to the sacrament of baptism. The font was originally built in the neo-Gothic style. "The city of Bayreuth and its church were severely damaged by a major fire in 1605. During the church's reconstruction, the opportunity was taken to also adapt the furnishings to the spirit of the age, and the then pastor and superintendent, M. Matth Chyträus, commissioned a new baptismal font in 1615 to replace the one erected only in 1562. He entrusted its creation to our master. Of this work, (...), only the eight reliefs remain. The church suffered a second fire in 1621 and subsequently received magnificent Baroque furnishings, which the misguided purism of the 19th century deemed worthy of removal. This circumstance is the reason why we see Werner's reliefs today in a Neo-Gothic baptismal font, and part of the unfavorable effect can be attributed to the mounting, which is not suited to the character of the pieces. Unfortunately, we do not know what the whole thing originally looked like; no painting or engraving provides us with this information. This is all the more regrettable as it is the only such creation." Werner's work is, and we have no doubt that his decorative talent was at its best in the composition of the whole. Only literary accounts give us a faint idea of ​​what originally existed. It was said to have been a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. The removable lid (probably made of wood) bore the figures of the four cardinal virtues and the dedicatory inscription. The four elements and biblical sayings were inscribed at the bottom, and portraits of the donor and his two wives were at the base. It was a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. (Felix Ettinghausen: Hans Werner, a Franconian sculptor around the year 1600 / Dissertation / Würzburg / 1921, pp. 71-72) According to the surviving baptismal font document, “Hanns Werner, a renowned sculptor from Nuremberg, crafted the lid and all its ornamentation, as well as the eight panels and historical figures in alabaster, at his own expense and expense in Nuremberg. The body and base, however, were crafted by a journeyman in my (the founder Matthäus Heffner, Latinized Chyträus) parsonage at my expense here in Bayrhütte for nine weeks. From this, he was hired and paid” 170 florins, then 3 florins in lieu of labor, 3/4 florins “as a token of appreciation for initially coming out upon request and giving me a sketch,” and finally 112 florins “to the journeyman.” "Trip money after completion of the work," total costs including painting and craftsman work: 391 fl. The journeyman was Veit Dümpel. (Karl Sitzmann: Artists and Craftsmen in East Franconia, Vol. 1, 1957, p. 574) ________________________ Another work by Werner in the church: The pulpit, donated in 1615 by Count Johann Casimir von Lynar, "an interesting sandstone structure supported by a Samson with several stately figures," was replaced by a wooden one in 1865. (Fritz Traugott Schulz / Thieme-Becker) The pulpit was erected on April 3, 1620, against the second pillar of the south side door. "It must have been an interesting sandstone structure supported by a Samson, with several stately figures" (Wilhelm Kneule: Church History of the City of Bayreuth. From the founding of the town around 1180 to the Enlightenment around 1810, Neustadt/Aisch 1971, p. 115)

The neo-Gothic baptismal font from 1870 contains eight high-quality alabaster reliefs (from the original font) depicting scenes related to the sacrament of baptism. The font was originally built in the neo-Gothic style. "The city of Bayreuth and its church were severely damaged by a major fire in 1605. During the church's reconstruction, the opportunity was taken to also adapt the furnishings to the spirit of the age, and the then pastor and superintendent, M. Matth Chyträus, commissioned a new baptismal font in 1615 to replace the one erected only in 1562. He entrusted its creation to our master. Of this work, (...), only the eight reliefs remain. The church suffered a second fire in 1621 and subsequently received magnificent Baroque furnishings, which the misguided purism of the 19th century deemed worthy of removal. This circumstance is the reason why we see Werner's reliefs today in a Neo-Gothic baptismal font, and part of the unfavorable effect can be attributed to the mounting, which is not suited to the character of the pieces. Unfortunately, we do not know what the whole thing originally looked like; no painting or engraving provides us with this information. This is all the more regrettable as it is the only such creation." Werner's work is, and we have no doubt that his decorative talent was at its best in the composition of the whole. Only literary accounts give us a faint idea of ​​what originally existed. It was said to have been a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. The removable lid (probably made of wood) bore the figures of the four cardinal virtues and the dedicatory inscription. The four elements and biblical sayings were inscribed at the bottom, and portraits of the donor and his two wives were at the base. It was a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. (Felix Ettinghausen: Hans Werner, a Franconian sculptor around the year 1600 / Dissertation / Würzburg / 1921, pp. 71-72) According to the surviving baptismal font document, “Hanns Werner, a renowned sculptor from Nuremberg, crafted the lid and all its ornamentation, as well as the eight panels and historical figures in alabaster, at his own expense and expense in Nuremberg. The body and base, however, were crafted by a journeyman in my (the founder Matthäus Heffner, Latinized Chyträus) parsonage at my expense here in Bayrhütte for nine weeks. From this, he was hired and paid” 170 florins, then 3 florins in lieu of labor, 3/4 florins “as a token of appreciation for initially coming out upon request and giving me a sketch,” and finally 112 florins “to the journeyman.” "Trip money after completion of the work," total costs including painting and craftsman work: 391 fl. The journeyman was Veit Dümpel. (Karl Sitzmann: Artists and Craftsmen in East Franconia, Vol. 1, 1957, p. 574) ________________________ Another work by Werner in the church: The pulpit, donated in 1615 by Count Johann Casimir von Lynar, "an interesting sandstone structure supported by a Samson with several stately figures," was replaced by a wooden one in 1865. (Fritz Traugott Schulz / Thieme-Becker) The pulpit was erected on April 3, 1620, against the second pillar of the south side door. "It must have been an interesting sandstone structure supported by a Samson, with several stately figures" (Wilhelm Kneule: Church History of the City of Bayreuth. From the founding of the town around 1180 to the Enlightenment around 1810, Neustadt/Aisch 1971, p. 115)

The neo-Gothic baptismal font from 1870 contains eight high-quality alabaster reliefs (from the original font) depicting scenes related to the sacrament of baptism. The font was originally built in the neo-Gothic style. "The city of Bayreuth and its church were severely damaged by a major fire in 1605. During the church's reconstruction, the opportunity was taken to also adapt the furnishings to the spirit of the age, and the then pastor and superintendent, M. Matth Chyträus, commissioned a new baptismal font in 1615 to replace the one erected only in 1562. He entrusted its creation to our master. Of this work, (...), only the eight reliefs remain. The church suffered a second fire in 1621 and subsequently received magnificent Baroque furnishings, which the misguided purism of the 19th century deemed worthy of removal. This circumstance is the reason why we see Werner's reliefs today in a Neo-Gothic baptismal font, and part of the unfavorable effect can be attributed to the mounting, which is not suited to the character of the pieces. Unfortunately, we do not know what the whole thing originally looked like; no painting or engraving provides us with this information. This is all the more regrettable as it is the only such creation." Werner's work is, and we have no doubt that his decorative talent was at its best in the composition of the whole. Only literary accounts give us a faint idea of ​​what originally existed. It was said to have been a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. The removable lid (probably made of wood) bore the figures of the four cardinal virtues and the dedicatory inscription. The four elements and biblical sayings were inscribed at the bottom, and portraits of the donor and his two wives were at the base. It was a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. (Felix Ettinghausen: Hans Werner, a Franconian sculptor around the year 1600 / Dissertation / Würzburg / 1921, pp. 71-72) According to the surviving baptismal font document, “Hanns Werner, a renowned sculptor from Nuremberg, crafted the lid and all its ornamentation, as well as the eight panels and historical figures in alabaster, at his own expense and expense in Nuremberg. The body and base, however, were crafted by a journeyman in my (the founder Matthäus Heffner, Latinized Chyträus) parsonage at my expense here in Bayrhütte for nine weeks. From this, he was hired and paid” 170 florins, then 3 florins in lieu of labor, 3/4 florins “as a token of appreciation for initially coming out upon request and giving me a sketch,” and finally 112 florins “to the journeyman.” "Trip money after completion of the work," total costs including painting and craftsman work: 391 fl. The journeyman was Veit Dümpel. (Karl Sitzmann: Artists and Craftsmen in East Franconia, Vol. 1, 1957, p. 574) ________________________ Another work by Werner in the church: The pulpit, donated in 1615 by Count Johann Casimir von Lynar, "an interesting sandstone structure supported by a Samson with several stately figures," was replaced by a wooden one in 1865. (Fritz Traugott Schulz / Thieme-Becker) The pulpit was erected on April 3, 1620, against the second pillar of the south side door. "It must have been an interesting sandstone structure supported by a Samson, with several stately figures" (Wilhelm Kneule: Church History of the City of Bayreuth. From the founding of the town around 1180 to the Enlightenment around 1810, Neustadt/Aisch 1971, p. 115)

The neo-Gothic baptismal font from 1870 contains eight high-quality alabaster reliefs (from the original font) depicting scenes related to the sacrament of baptism. The font was originally built in the neo-Gothic style. "The city of Bayreuth and its church were severely damaged by a major fire in 1605. During the church's reconstruction, the opportunity was taken to also adapt the furnishings to the spirit of the age, and the then pastor and superintendent, M. Matth Chyträus, commissioned a new baptismal font in 1615 to replace the one erected only in 1562. He entrusted its creation to our master. Of this work, (...), only the eight reliefs remain. The church suffered a second fire in 1621 and subsequently received magnificent Baroque furnishings, which the misguided purism of the 19th century deemed worthy of removal. This circumstance is the reason why we see Werner's reliefs today in a Neo-Gothic baptismal font, and part of the unfavorable effect can be attributed to the mounting, which is not suited to the character of the pieces. Unfortunately, we do not know what the whole thing originally looked like; no painting or engraving provides us with this information. This is all the more regrettable as it is the only such creation." Werner's work is, and we have no doubt that his decorative talent was at its best in the composition of the whole. Only literary accounts give us a faint idea of ​​what originally existed. It was said to have been a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. The removable lid (probably made of wood) bore the figures of the four cardinal virtues and the dedicatory inscription. The four elements and biblical sayings were inscribed at the bottom, and portraits of the donor and his two wives were at the base. It was a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. (Felix Ettinghausen: Hans Werner, a Franconian sculptor around the year 1600 / Dissertation / Würzburg / 1921, pp. 71-72) According to the surviving baptismal font document, “Hanns Werner, a renowned sculptor from Nuremberg, crafted the lid and all its ornamentation, as well as the eight panels and historical figures in alabaster, at his own expense and expense in Nuremberg. The body and base, however, were crafted by a journeyman in my (the founder Matthäus Heffner, Latinized Chyträus) parsonage at my expense here in Bayrhütte for nine weeks. From this, he was hired and paid” 170 florins, then 3 florins in lieu of labor, 3/4 florins “as a token of appreciation for initially coming out upon request and giving me a sketch,” and finally 112 florins “to the journeyman.” "Trip money after completion of the work," total costs including painting and craftsman work: 391 fl. The journeyman was Veit Dümpel. (Karl Sitzmann: Artists and Craftsmen in East Franconia, Vol. 1, 1957, p. 574) ________________________ Another work by Werner in the church: The pulpit, donated in 1615 by Count Johann Casimir von Lynar, "an interesting sandstone structure supported by a Samson with several stately figures," was replaced by a wooden one in 1865. (Fritz Traugott Schulz / Thieme-Becker) The pulpit was erected on April 3, 1620, against the second pillar of the south side door. "It must have been an interesting sandstone structure supported by a Samson, with several stately figures" (Wilhelm Kneule: Church History of the City of Bayreuth. From the founding of the town around 1180 to the Enlightenment around 1810, Neustadt/Aisch 1971, p. 115)

The neo-Gothic baptismal font from 1870 contains eight high-quality alabaster reliefs (from the original font) depicting scenes related to the sacrament of baptism. The font was originally built in the neo-Gothic style. "The city of Bayreuth and its church were severely damaged by a major fire in 1605. During the church's reconstruction, the opportunity was taken to also adapt the furnishings to the spirit of the age, and the then pastor and superintendent, M. Matth Chyträus, commissioned a new baptismal font in 1615 to replace the one erected only in 1562. He entrusted its creation to our master. Of this work, (...), only the eight reliefs remain. The church suffered a second fire in 1621 and subsequently received magnificent Baroque furnishings, which the misguided purism of the 19th century deemed worthy of removal. This circumstance is the reason why we see Werner's reliefs today in a Neo-Gothic baptismal font, and part of the unfavorable effect can be attributed to the mounting, which is not suited to the character of the pieces. Unfortunately, we do not know what the whole thing originally looked like; no painting or engraving provides us with this information. This is all the more regrettable as it is the only such creation." Werner's work is, and we have no doubt that his decorative talent was at its best in the composition of the whole. Only literary accounts give us a faint idea of ​​what originally existed. It was said to have been a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. The removable lid (probably made of wood) bore the figures of the four cardinal virtues and the dedicatory inscription. The four elements and biblical sayings were inscribed at the bottom, and portraits of the donor and his two wives were at the base. It was a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. (Felix Ettinghausen: Hans Werner, a Franconian sculptor around the year 1600 / Dissertation / Würzburg / 1921, pp. 71-72) According to the surviving baptismal font document, “Hanns Werner, a renowned sculptor from Nuremberg, crafted the lid and all its ornamentation, as well as the eight panels and historical figures in alabaster, at his own expense and expense in Nuremberg. The body and base, however, were crafted by a journeyman in my (the founder Matthäus Heffner, Latinized Chyträus) parsonage at my expense here in Bayrhütte for nine weeks. From this, he was hired and paid” 170 florins, then 3 florins in lieu of labor, 3/4 florins “as a token of appreciation for initially coming out upon request and giving me a sketch,” and finally 112 florins “to the journeyman.” "Trip money after completion of the work," total costs including painting and craftsman work: 391 fl. The journeyman was Veit Dümpel. (Karl Sitzmann: Artists and Craftsmen in East Franconia, Vol. 1, 1957, p. 574) ________________________ Another work by Werner in the church: The pulpit, donated in 1615 by Count Johann Casimir von Lynar, "an interesting sandstone structure supported by a Samson with several stately figures," was replaced by a wooden one in 1865. (Fritz Traugott Schulz / Thieme-Becker) The pulpit was erected on April 3, 1620, against the second pillar of the south side door. "It must have been an interesting sandstone structure supported by a Samson, with several stately figures" (Wilhelm Kneule: Church History of the City of Bayreuth. From the founding of the town around 1180 to the Enlightenment around 1810, Neustadt/Aisch 1971, p. 115)

The neo-Gothic baptismal font from 1870 contains eight high-quality alabaster reliefs (from the original font) depicting scenes related to the sacrament of baptism. The font was originally built in the neo-Gothic style. "The city of Bayreuth and its church were severely damaged by a major fire in 1605. During the church's reconstruction, the opportunity was taken to also adapt the furnishings to the spirit of the age, and the then pastor and superintendent, M. Matth Chyträus, commissioned a new baptismal font in 1615 to replace the one erected only in 1562. He entrusted its creation to our master. Of this work, (...), only the eight reliefs remain. The church suffered a second fire in 1621 and subsequently received magnificent Baroque furnishings, which the misguided purism of the 19th century deemed worthy of removal. This circumstance is the reason why we see Werner's reliefs today in a Neo-Gothic baptismal font, and part of the unfavorable effect can be attributed to the mounting, which is not suited to the character of the pieces. Unfortunately, we do not know what the whole thing originally looked like; no painting or engraving provides us with this information. This is all the more regrettable as it is the only such creation." Werner's work is, and we have no doubt that his decorative talent was at its best in the composition of the whole. Only literary accounts give us a faint idea of ​​what originally existed. It was said to have been a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. The removable lid (probably made of wood) bore the figures of the four cardinal virtues and the dedicatory inscription. The four elements and biblical sayings were inscribed at the bottom, and portraits of the donor and his two wives were at the base. It was a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. (Felix Ettinghausen: Hans Werner, a Franconian sculptor around the year 1600 / Dissertation / Würzburg / 1921, pp. 71-72) According to the surviving baptismal font document, “Hanns Werner, a renowned sculptor from Nuremberg, crafted the lid and all its ornamentation, as well as the eight panels and historical figures in alabaster, at his own expense and expense in Nuremberg. The body and base, however, were crafted by a journeyman in my (the founder Matthäus Heffner, Latinized Chyträus) parsonage at my expense here in Bayrhütte for nine weeks. From this, he was hired and paid” 170 florins, then 3 florins in lieu of labor, 3/4 florins “as a token of appreciation for initially coming out upon request and giving me a sketch,” and finally 112 florins “to the journeyman.” "Trip money after completion of the work," total costs including painting and craftsman work: 391 fl. The journeyman was Veit Dümpel. (Karl Sitzmann: Artists and Craftsmen in East Franconia, Vol. 1, 1957, p. 574) ________________________ Another work by Werner in the church: The pulpit, donated in 1615 by Count Johann Casimir von Lynar, "an interesting sandstone structure supported by a Samson with several stately figures," was replaced by a wooden one in 1865. (Fritz Traugott Schulz / Thieme-Becker) The pulpit was erected on April 3, 1620, against the second pillar of the south side door. "It must have been an interesting sandstone structure supported by a Samson, with several stately figures" (Wilhelm Kneule: Church History of the City of Bayreuth. From the founding of the town around 1180 to the Enlightenment around 1810, Neustadt/Aisch 1971, p. 115)

The neo-Gothic baptismal font from 1870 contains eight high-quality alabaster reliefs (from the original font) depicting scenes related to the sacrament of baptism. The font was originally built in the neo-Gothic style. "The city of Bayreuth and its church were severely damaged by a major fire in 1605. During the church's reconstruction, the opportunity was taken to also adapt the furnishings to the spirit of the age, and the then pastor and superintendent, M. Matth Chyträus, commissioned a new baptismal font in 1615 to replace the one erected only in 1562. He entrusted its creation to our master. Of this work, (...), only the eight reliefs remain. The church suffered a second fire in 1621 and subsequently received magnificent Baroque furnishings, which the misguided purism of the 19th century deemed worthy of removal. This circumstance is the reason why we see Werner's reliefs today in a Neo-Gothic baptismal font, and part of the unfavorable effect can be attributed to the mounting, which is not suited to the character of the pieces. Unfortunately, we do not know what the whole thing originally looked like; no painting or engraving provides us with this information. This is all the more regrettable as it is the only such creation." Werner's work is, and we have no doubt that his decorative talent was at its best in the composition of the whole. Only literary accounts give us a faint idea of ​​what originally existed. It was said to have been a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. The removable lid (probably made of wood) bore the figures of the four cardinal virtues and the dedicatory inscription. The four elements and biblical sayings were inscribed at the bottom, and portraits of the donor and his two wives were at the base. It was a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. (Felix Ettinghausen: Hans Werner, a Franconian sculptor around the year 1600 / Dissertation / Würzburg / 1921, pp. 71-72) According to the surviving baptismal font document, “Hanns Werner, a renowned sculptor from Nuremberg, crafted the lid and all its ornamentation, as well as the eight panels and historical figures in alabaster, at his own expense and expense in Nuremberg. The body and base, however, were crafted by a journeyman in my (the founder Matthäus Heffner, Latinized Chyträus) parsonage at my expense here in Bayrhütte for nine weeks. From this, he was hired and paid” 170 florins, then 3 florins in lieu of labor, 3/4 florins “as a token of appreciation for initially coming out upon request and giving me a sketch,” and finally 112 florins “to the journeyman.” "Trip money after completion of the work," total costs including painting and craftsman work: 391 fl. The journeyman was Veit Dümpel. (Karl Sitzmann: Artists and Craftsmen in East Franconia, Vol. 1, 1957, p. 574) ________________________ Another work by Werner in the church: The pulpit, donated in 1615 by Count Johann Casimir von Lynar, "an interesting sandstone structure supported by a Samson with several stately figures," was replaced by a wooden one in 1865. (Fritz Traugott Schulz / Thieme-Becker) The pulpit was erected on April 3, 1620, against the second pillar of the south side door. "It must have been an interesting sandstone structure supported by a Samson, with several stately figures" (Wilhelm Kneule: Church History of the City of Bayreuth. From the founding of the town around 1180 to the Enlightenment around 1810, Neustadt/Aisch 1971, p. 115)

The neo-Gothic baptismal font from 1870 contains eight high-quality alabaster reliefs (from the original font) depicting scenes related to the sacrament of baptism. The font was originally built in the neo-Gothic style. "The city of Bayreuth and its church were severely damaged by a major fire in 1605. During the church's reconstruction, the opportunity was taken to also adapt the furnishings to the spirit of the age, and the then pastor and superintendent, M. Matth Chyträus, commissioned a new baptismal font in 1615 to replace the one erected only in 1562. He entrusted its creation to our master. Of this work, (...), only the eight reliefs remain. The church suffered a second fire in 1621 and subsequently received magnificent Baroque furnishings, which the misguided purism of the 19th century deemed worthy of removal. This circumstance is the reason why we see Werner's reliefs today in a Neo-Gothic baptismal font, and part of the unfavorable effect can be attributed to the mounting, which is not suited to the character of the pieces. Unfortunately, we do not know what the whole thing originally looked like; no painting or engraving provides us with this information. This is all the more regrettable as it is the only such creation." Werner's work is, and we have no doubt that his decorative talent was at its best in the composition of the whole. Only literary accounts give us a faint idea of ​​what originally existed. It was said to have been a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. The removable lid (probably made of wood) bore the figures of the four cardinal virtues and the dedicatory inscription. The four elements and biblical sayings were inscribed at the bottom, and portraits of the donor and his two wives were at the base. It was a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. (Felix Ettinghausen: Hans Werner, a Franconian sculptor around the year 1600 / Dissertation / Würzburg / 1921, pp. 71-72) According to the surviving baptismal font document, “Hanns Werner, a renowned sculptor from Nuremberg, crafted the lid and all its ornamentation, as well as the eight panels and historical figures in alabaster, at his own expense and expense in Nuremberg. The body and base, however, were crafted by a journeyman in my (the founder Matthäus Heffner, Latinized Chyträus) parsonage at my expense here in Bayrhütte for nine weeks. From this, he was hired and paid” 170 florins, then 3 florins in lieu of labor, 3/4 florins “as a token of appreciation for initially coming out upon request and giving me a sketch,” and finally 112 florins “to the journeyman.” "Trip money after completion of the work," total costs including painting and craftsman work: 391 fl. The journeyman was Veit Dümpel. (Karl Sitzmann: Artists and Craftsmen in East Franconia, Vol. 1, 1957, p. 574) ________________________ Another work by Werner in the church: The pulpit, donated in 1615 by Count Johann Casimir von Lynar, "an interesting sandstone structure supported by a Samson with several stately figures," was replaced by a wooden one in 1865. (Fritz Traugott Schulz / Thieme-Becker) The pulpit was erected on April 3, 1620, against the second pillar of the south side door. "It must have been an interesting sandstone structure supported by a Samson, with several stately figures" (Wilhelm Kneule: Church History of the City of Bayreuth. From the founding of the town around 1180 to the Enlightenment around 1810, Neustadt/Aisch 1971, p. 115)

The neo-Gothic baptismal font from 1870 contains eight high-quality alabaster reliefs (from the original font) depicting scenes related to the sacrament of baptism. The font was originally built in the neo-Gothic style. "The city of Bayreuth and its church were severely damaged by a major fire in 1605. During the church's reconstruction, the opportunity was taken to also adapt the furnishings to the spirit of the age, and the then pastor and superintendent, M. Matth Chyträus, commissioned a new baptismal font in 1615 to replace the one erected only in 1562. He entrusted its creation to our master. Of this work, (...), only the eight reliefs remain. The church suffered a second fire in 1621 and subsequently received magnificent Baroque furnishings, which the misguided purism of the 19th century deemed worthy of removal. This circumstance is the reason why we see Werner's reliefs today in a Neo-Gothic baptismal font, and part of the unfavorable effect can be attributed to the mounting, which is not suited to the character of the pieces. Unfortunately, we do not know what the whole thing originally looked like; no painting or engraving provides us with this information. This is all the more regrettable as it is the only such creation." Werner's work is, and we have no doubt that his decorative talent was at its best in the composition of the whole. Only literary accounts give us a faint idea of ​​what originally existed. It was said to have been a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. The removable lid (probably made of wood) bore the figures of the four cardinal virtues and the dedicatory inscription. The four elements and biblical sayings were inscribed at the bottom, and portraits of the donor and his two wives were at the base. It was a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. (Felix Ettinghausen: Hans Werner, a Franconian sculptor around the year 1600 / Dissertation / Würzburg / 1921, pp. 71-72) According to the surviving baptismal font document, “Hanns Werner, a renowned sculptor from Nuremberg, crafted the lid and all its ornamentation, as well as the eight panels and historical figures in alabaster, at his own expense and expense in Nuremberg. The body and base, however, were crafted by a journeyman in my (the founder Matthäus Heffner, Latinized Chyträus) parsonage at my expense here in Bayrhütte for nine weeks. From this, he was hired and paid” 170 florins, then 3 florins in lieu of labor, 3/4 florins “as a token of appreciation for initially coming out upon request and giving me a sketch,” and finally 112 florins “to the journeyman.” "Trip money after completion of the work," total costs including painting and craftsman work: 391 fl. The journeyman was Veit Dümpel. (Karl Sitzmann: Artists and Craftsmen in East Franconia, Vol. 1, 1957, p. 574) ________________________ Another work by Werner in the church: The pulpit, donated in 1615 by Count Johann Casimir von Lynar, "an interesting sandstone structure supported by a Samson with several stately figures," was replaced by a wooden one in 1865. (Fritz Traugott Schulz / Thieme-Becker) The pulpit was erected on April 3, 1620, against the second pillar of the south side door. "It must have been an interesting sandstone structure supported by a Samson, with several stately figures" (Wilhelm Kneule: Church History of the City of Bayreuth. From the founding of the town around 1180 to the Enlightenment around 1810, Neustadt/Aisch 1971, p. 115)

The neo-Gothic baptismal font from 1870 contains eight high-quality alabaster reliefs (from the original font) depicting scenes related to the sacrament of baptism. The font was originally built in the neo-Gothic style. "The city of Bayreuth and its church were severely damaged by a major fire in 1605. During the church's reconstruction, the opportunity was taken to also adapt the furnishings to the spirit of the age, and the then pastor and superintendent, M. Matth Chyträus, commissioned a new baptismal font in 1615 to replace the one erected only in 1562. He entrusted its creation to our master. Of this work, (...), only the eight reliefs remain. The church suffered a second fire in 1621 and subsequently received magnificent Baroque furnishings, which the misguided purism of the 19th century deemed worthy of removal. This circumstance is the reason why we see Werner's reliefs today in a Neo-Gothic baptismal font, and part of the unfavorable effect can be attributed to the mounting, which is not suited to the character of the pieces. Unfortunately, we do not know what the whole thing originally looked like; no painting or engraving provides us with this information. This is all the more regrettable as it is the only such creation." Werner's work is, and we have no doubt that his decorative talent was at its best in the composition of the whole. Only literary accounts give us a faint idea of ​​what originally existed. It was said to have been a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. The removable lid (probably made of wood) bore the figures of the four cardinal virtues and the dedicatory inscription. The four elements and biblical sayings were inscribed at the bottom, and portraits of the donor and his two wives were at the base. It was a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. (Felix Ettinghausen: Hans Werner, a Franconian sculptor around the year 1600 / Dissertation / Würzburg / 1921, pp. 71-72) According to the surviving baptismal font document, “Hanns Werner, a renowned sculptor from Nuremberg, crafted the lid and all its ornamentation, as well as the eight panels and historical figures in alabaster, at his own expense and expense in Nuremberg. The body and base, however, were crafted by a journeyman in my (the founder Matthäus Heffner, Latinized Chyträus) parsonage at my expense here in Bayrhütte for nine weeks. From this, he was hired and paid” 170 florins, then 3 florins in lieu of labor, 3/4 florins “as a token of appreciation for initially coming out upon request and giving me a sketch,” and finally 112 florins “to the journeyman.” "Trip money after completion of the work," total costs including painting and craftsman work: 391 fl. The journeyman was Veit Dümpel. (Karl Sitzmann: Artists and Craftsmen in East Franconia, Vol. 1, 1957, p. 574) ________________________ Another work by Werner in the church: The pulpit, donated in 1615 by Count Johann Casimir von Lynar, "an interesting sandstone structure supported by a Samson with several stately figures," was replaced by a wooden one in 1865. (Fritz Traugott Schulz / Thieme-Becker) The pulpit was erected on April 3, 1620, against the second pillar of the south side door. "It must have been an interesting sandstone structure supported by a Samson, with several stately figures" (Wilhelm Kneule: Church History of the City of Bayreuth. From the founding of the town around 1180 to the Enlightenment around 1810, Neustadt/Aisch 1971, p. 115)

The neo-Gothic baptismal font from 1870 contains eight high-quality alabaster reliefs (from the original font) depicting scenes related to the sacrament of baptism. The font was originally built in the neo-Gothic style. "The city of Bayreuth and its church were severely damaged by a major fire in 1605. During the church's reconstruction, the opportunity was taken to also adapt the furnishings to the spirit of the age, and the then pastor and superintendent, M. Matth Chyträus, commissioned a new baptismal font in 1615 to replace the one erected only in 1562. He entrusted its creation to our master. Of this work, (...), only the eight reliefs remain. The church suffered a second fire in 1621 and subsequently received magnificent Baroque furnishings, which the misguided purism of the 19th century deemed worthy of removal. This circumstance is the reason why we see Werner's reliefs today in a Neo-Gothic baptismal font, and part of the unfavorable effect can be attributed to the mounting, which is not suited to the character of the pieces. Unfortunately, we do not know what the whole thing originally looked like; no painting or engraving provides us with this information. This is all the more regrettable as it is the only such creation." Werner's work is, and we have no doubt that his decorative talent was at its best in the composition of the whole. Only literary accounts give us a faint idea of ​​what originally existed. It was said to have been a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. The removable lid (probably made of wood) bore the figures of the four cardinal virtues and the dedicatory inscription. The four elements and biblical sayings were inscribed at the bottom, and portraits of the donor and his two wives were at the base. It was a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. (Felix Ettinghausen: Hans Werner, a Franconian sculptor around the year 1600 / Dissertation / Würzburg / 1921, pp. 71-72) According to the surviving baptismal font document, “Hanns Werner, a renowned sculptor from Nuremberg, crafted the lid and all its ornamentation, as well as the eight panels and historical figures in alabaster, at his own expense and expense in Nuremberg. The body and base, however, were crafted by a journeyman in my (the founder Matthäus Heffner, Latinized Chyträus) parsonage at my expense here in Bayrhütte for nine weeks. From this, he was hired and paid” 170 florins, then 3 florins in lieu of labor, 3/4 florins “as a token of appreciation for initially coming out upon request and giving me a sketch,” and finally 112 florins “to the journeyman.” "Trip money after completion of the work," total costs including painting and craftsman work: 391 fl. The journeyman was Veit Dümpel. (Karl Sitzmann: Artists and Craftsmen in East Franconia, Vol. 1, 1957, p. 574) ________________________ Another work by Werner in the church: The pulpit, donated in 1615 by Count Johann Casimir von Lynar, "an interesting sandstone structure supported by a Samson with several stately figures," was replaced by a wooden one in 1865. (Fritz Traugott Schulz / Thieme-Becker) The pulpit was erected on April 3, 1620, against the second pillar of the south side door. "It must have been an interesting sandstone structure supported by a Samson, with several stately figures" (Wilhelm Kneule: Church History of the City of Bayreuth. From the founding of the town around 1180 to the Enlightenment around 1810, Neustadt/Aisch 1971, p. 115)

The neo-Gothic baptismal font from 1870 contains eight high-quality alabaster reliefs (from the original font) depicting scenes related to the sacrament of baptism. The font was originally built in the neo-Gothic style. "The city of Bayreuth and its church were severely damaged by a major fire in 1605. During the church's reconstruction, the opportunity was taken to also adapt the furnishings to the spirit of the age, and the then pastor and superintendent, M. Matth Chyträus, commissioned a new baptismal font in 1615 to replace the one erected only in 1562. He entrusted its creation to our master. Of this work, (...), only the eight reliefs remain. The church suffered a second fire in 1621 and subsequently received magnificent Baroque furnishings, which the misguided purism of the 19th century deemed worthy of removal. This circumstance is the reason why we see Werner's reliefs today in a Neo-Gothic baptismal font, and part of the unfavorable effect can be attributed to the mounting, which is not suited to the character of the pieces. Unfortunately, we do not know what the whole thing originally looked like; no painting or engraving provides us with this information. This is all the more regrettable as it is the only such creation." Werner's work is, and we have no doubt that his decorative talent was at its best in the composition of the whole. Only literary accounts give us a faint idea of ​​what originally existed. It was said to have been a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. The removable lid (probably made of wood) bore the figures of the four cardinal virtues and the dedicatory inscription. The four elements and biblical sayings were inscribed at the bottom, and portraits of the donor and his two wives were at the base. It was a large cauldron with an octagonal base, decorated on the outside with the reliefs that still survive. (Felix Ettinghausen: Hans Werner, a Franconian sculptor around the year 1600 / Dissertation / Würzburg / 1921, pp. 71-72) According to the surviving baptismal font document, “Hanns Werner, a renowned sculptor from Nuremberg, crafted the lid and all its ornamentation, as well as the eight panels and historical figures in alabaster, at his own expense and expense in Nuremberg. The body and base, however, were crafted by a journeyman in my (the founder Matthäus Heffner, Latinized Chyträus) parsonage at my expense here in Bayrhütte for nine weeks. From this, he was hired and paid” 170 florins, then 3 florins in lieu of labor, 3/4 florins “as a token of appreciation for initially coming out upon request and giving me a sketch,” and finally 112 florins “to the journeyman.” "Trip money after completion of the work," total costs including painting and craftsman work: 391 fl. The journeyman was Veit Dümpel. (Karl Sitzmann: Artists and Craftsmen in East Franconia, Vol. 1, 1957, p. 574) ________________________ Another work by Werner in the church: The pulpit, donated in 1615 by Count Johann Casimir von Lynar, "an interesting sandstone structure supported by a Samson with several stately figures," was replaced by a wooden one in 1865. (Fritz Traugott Schulz / Thieme-Becker) The pulpit was erected on April 3, 1620, against the second pillar of the south side door. "It must have been an interesting sandstone structure supported by a Samson, with several stately figures" (Wilhelm Kneule: Church History of the City of Bayreuth. From the founding of the town around 1180 to the Enlightenment around 1810, Neustadt/Aisch 1971, p. 115)