Main work of the artist

The structure consists of predella, main floor, upper floor and attic. This corresponds from bottom to top: Christ's body and the two Johns; above, three visions of St. Bernard of Clairvaux; on the upper floor, St. Bernard before the Mother of God; in the attic, the Crucified between Mary and John.

The staggered composition was somewhat obscured during the Early Classicist remodeling of the background, not least by the coffered calotte at the top (see image comparison without background).

Originally, the reredos was intended for the chapel near the chancel in the south transept arm. The more recent framing for the altar is too large. The simultaneous use of early Baroque and post-Gothic elements is curious.

Obviously, Dümpel could only fully develop his talent in the Catholic commission, which would have been denied him in Nuremberg. Notwithstanding the two-dimensional models of Antonio Tempesta, he almost approached the quality of a Heinrich Gröninger in Paderborn (thus his tomb for the prince-bishop Dietrich von Fürstenberg in the cathedral there).

Main work of the artist

The structure consists of predella, main floor, upper floor and attic. This corresponds from bottom to top: Christ's body and the two Johns; above, three visions of St. Bernard of Clairvaux; on the upper floor, St. Bernard before the Mother of God; in the attic, the Crucified between Mary and John.

The staggered composition was somewhat obscured during the Early Classicist remodeling of the background, not least by the coffered calotte at the top (see image comparison without background).

Originally, the reredos was intended for the chapel near the chancel in the south transept arm. The more recent framing for the altar is too large. The simultaneous use of early Baroque and post-Gothic elements is curious.

Obviously, Dümpel could only fully develop his talent in the Catholic commission, which would have been denied him in Nuremberg. Notwithstanding the two-dimensional models of Antonio Tempesta, he almost approached the quality of a Heinrich Gröninger in Paderborn (thus his tomb for the prince-bishop Dietrich von Fürstenberg in the cathedral there).

Main work of the artist

The structure consists of predella, main floor, upper floor and attic. This corresponds from bottom to top: Christ's body and the two Johns; above, three visions of St. Bernard of Clairvaux; on the upper floor, St. Bernard before the Mother of God; in the attic, the Crucified between Mary and John.

The staggered composition was somewhat obscured during the Early Classicist remodeling of the background, not least by the coffered calotte at the top (see image comparison without background).

Originally, the reredos was intended for the chapel near the chancel in the south transept arm. The more recent framing for the altar is too large. The simultaneous use of early Baroque and post-Gothic elements is curious.

Obviously, Dümpel could only fully develop his talent in the Catholic commission, which would have been denied him in Nuremberg. Notwithstanding the two-dimensional models of Antonio Tempesta, he almost approached the quality of a Heinrich Gröninger in Paderborn (thus his tomb for the prince-bishop Dietrich von Fürstenberg in the cathedral there).

Main work of the artist

The structure consists of predella, main floor, upper floor and attic. This corresponds from bottom to top: Christ's body and the two Johns; above, three visions of St. Bernard of Clairvaux; on the upper floor, St. Bernard before the Mother of God; in the attic, the Crucified between Mary and John.

The staggered composition was somewhat obscured during the Early Classicist remodeling of the background, not least by the coffered calotte at the top (see image comparison without background).

Originally, the reredos was intended for the chapel near the chancel in the south transept arm. The more recent framing for the altar is too large. The simultaneous use of early Baroque and post-Gothic elements is curious.

Obviously, Dümpel could only fully develop his talent in the Catholic commission, which would have been denied him in Nuremberg. Notwithstanding the two-dimensional models of Antonio Tempesta, he almost approached the quality of a Heinrich Gröninger in Paderborn (thus his tomb for the prince-bishop Dietrich von Fürstenberg in the cathedral there).

Main work of the artist

The structure consists of predella, main floor, upper floor and attic. This corresponds from bottom to top: Christ's body and the two Johns; above, three visions of St. Bernard of Clairvaux; on the upper floor, St. Bernard before the Mother of God; in the attic, the Crucified between Mary and John.

The staggered composition was somewhat obscured during the Early Classicist remodeling of the background, not least by the coffered calotte at the top (see image comparison without background).

Originally, the reredos was intended for the chapel near the chancel in the south transept arm. The more recent framing for the altar is too large. The simultaneous use of early Baroque and post-Gothic elements is curious.

Obviously, Dümpel could only fully develop his talent in the Catholic commission, which would have been denied him in Nuremberg. Notwithstanding the two-dimensional models of Antonio Tempesta, he almost approached the quality of a Heinrich Gröninger in Paderborn (thus his tomb for the prince-bishop Dietrich von Fürstenberg in the cathedral there).

Main work of the artist

The structure consists of predella, main floor, upper floor and attic. This corresponds from bottom to top: Christ's body and the two Johns; above, three visions of St. Bernard of Clairvaux; on the upper floor, St. Bernard before the Mother of God; in the attic, the Crucified between Mary and John.

The staggered composition was somewhat obscured during the Early Classicist remodeling of the background, not least by the coffered calotte at the top (see image comparison without background).

Originally, the reredos was intended for the chapel near the chancel in the south transept arm. The more recent framing for the altar is too large. The simultaneous use of early Baroque and post-Gothic elements is curious.

Obviously, Dümpel could only fully develop his talent in the Catholic commission, which would have been denied him in Nuremberg. Notwithstanding the two-dimensional models of Antonio Tempesta, he almost approached the quality of a Heinrich Gröninger in Paderborn (thus his tomb for the prince-bishop Dietrich von Fürstenberg in the cathedral there).

Main work of the artist

The structure consists of predella, main floor, upper floor and attic. This corresponds from bottom to top: Christ's body and the two Johns; above, three visions of St. Bernard of Clairvaux; on the upper floor, St. Bernard before the Mother of God; in the attic, the Crucified between Mary and John.

The staggered composition was somewhat obscured during the Early Classicist remodeling of the background, not least by the coffered calotte at the top (see image comparison without background).

Originally, the reredos was intended for the chapel near the chancel in the south transept arm. The more recent framing for the altar is too large. The simultaneous use of early Baroque and post-Gothic elements is curious.

Obviously, Dümpel could only fully develop his talent in the Catholic commission, which would have been denied him in Nuremberg. Notwithstanding the two-dimensional models of Antonio Tempesta, he almost approached the quality of a Heinrich Gröninger in Paderborn (thus his tomb for the prince-bishop Dietrich von Fürstenberg in the cathedral there).

Main work of the artist

The structure consists of predella, main floor, upper floor and attic. This corresponds from bottom to top: Christ's body and the two Johns; above, three visions of St. Bernard of Clairvaux; on the upper floor, St. Bernard before the Mother of God; in the attic, the Crucified between Mary and John.

The staggered composition was somewhat obscured during the Early Classicist remodeling of the background, not least by the coffered calotte at the top (see image comparison without background).

Originally, the reredos was intended for the chapel near the chancel in the south transept arm. The more recent framing for the altar is too large. The simultaneous use of early Baroque and post-Gothic elements is curious.

Obviously, Dümpel could only fully develop his talent in the Catholic commission, which would have been denied him in Nuremberg. Notwithstanding the two-dimensional models of Antonio Tempesta, he almost approached the quality of a Heinrich Gröninger in Paderborn (thus his tomb for the prince-bishop Dietrich von Fürstenberg in the cathedral there).

Main work of the artist

The structure consists of predella, main floor, upper floor and attic. This corresponds from bottom to top: Christ's body and the two Johns; above, three visions of St. Bernard of Clairvaux; on the upper floor, St. Bernard before the Mother of God; in the attic, the Crucified between Mary and John.

The staggered composition was somewhat obscured during the Early Classicist remodeling of the background, not least by the coffered calotte at the top (see image comparison without background).

Originally, the reredos was intended for the chapel near the chancel in the south transept arm. The more recent framing for the altar is too large. The simultaneous use of early Baroque and post-Gothic elements is curious.

Obviously, Dümpel could only fully develop his talent in the Catholic commission, which would have been denied him in Nuremberg. Notwithstanding the two-dimensional models of Antonio Tempesta, he almost approached the quality of a Heinrich Gröninger in Paderborn (thus his tomb for the prince-bishop Dietrich von Fürstenberg in the cathedral there).

Main work of the artist

The structure consists of predella, main floor, upper floor and attic. This corresponds from bottom to top: Christ's body and the two Johns; above, three visions of St. Bernard of Clairvaux; on the upper floor, St. Bernard before the Mother of God; in the attic, the Crucified between Mary and John.

The staggered composition was somewhat obscured during the Early Classicist remodeling of the background, not least by the coffered calotte at the top (see image comparison without background).

Originally, the reredos was intended for the chapel near the chancel in the south transept arm. The more recent framing for the altar is too large. The simultaneous use of early Baroque and post-Gothic elements is curious.

Obviously, Dümpel could only fully develop his talent in the Catholic commission, which would have been denied him in Nuremberg. Notwithstanding the two-dimensional models of Antonio Tempesta, he almost approached the quality of a Heinrich Gröninger in Paderborn (thus his tomb for the prince-bishop Dietrich von Fürstenberg in the cathedral there).

Main work of the artist

The structure consists of predella, main floor, upper floor and attic. This corresponds from bottom to top: Christ's body and the two Johns; above, three visions of St. Bernard of Clairvaux; on the upper floor, St. Bernard before the Mother of God; in the attic, the Crucified between Mary and John.

The staggered composition was somewhat obscured during the Early Classicist remodeling of the background, not least by the coffered calotte at the top (see image comparison without background).

Originally, the reredos was intended for the chapel near the chancel in the south transept arm. The more recent framing for the altar is too large. The simultaneous use of early Baroque and post-Gothic elements is curious.

Obviously, Dümpel could only fully develop his talent in the Catholic commission, which would have been denied him in Nuremberg. Notwithstanding the two-dimensional models of Antonio Tempesta, he almost approached the quality of a Heinrich Gröninger in Paderborn (thus his tomb for the prince-bishop Dietrich von Fürstenberg in the cathedral there).

Main work of the artist

The structure consists of predella, main floor, upper floor and attic. This corresponds from bottom to top: Christ's body and the two Johns; above, three visions of St. Bernard of Clairvaux; on the upper floor, St. Bernard before the Mother of God; in the attic, the Crucified between Mary and John.

The staggered composition was somewhat obscured during the Early Classicist remodeling of the background, not least by the coffered calotte at the top (see image comparison without background).

Originally, the reredos was intended for the chapel near the chancel in the south transept arm. The more recent framing for the altar is too large. The simultaneous use of early Baroque and post-Gothic elements is curious.

Obviously, Dümpel could only fully develop his talent in the Catholic commission, which would have been denied him in Nuremberg. Notwithstanding the two-dimensional models of Antonio Tempesta, he almost approached the quality of a Heinrich Gröninger in Paderborn (thus his tomb for the prince-bishop Dietrich von Fürstenberg in the cathedral there).

Main work of the artist

The structure consists of predella, main floor, upper floor and attic. This corresponds from bottom to top: Christ's body and the two Johns; above, three visions of St. Bernard of Clairvaux; on the upper floor, St. Bernard before the Mother of God; in the attic, the Crucified between Mary and John.

The staggered composition was somewhat obscured during the Early Classicist remodeling of the background, not least by the coffered calotte at the top (see image comparison without background).

Originally, the reredos was intended for the chapel near the chancel in the south transept arm. The more recent framing for the altar is too large. The simultaneous use of early Baroque and post-Gothic elements is curious.

Obviously, Dümpel could only fully develop his talent in the Catholic commission, which would have been denied him in Nuremberg. Notwithstanding the two-dimensional models of Antonio Tempesta, he almost approached the quality of a Heinrich Gröninger in Paderborn (thus his tomb for the prince-bishop Dietrich von Fürstenberg in the cathedral there).

Main work of the artist

The structure consists of predella, main floor, upper floor and attic. This corresponds from bottom to top: Christ's body and the two Johns; above, three visions of St. Bernard of Clairvaux; on the upper floor, St. Bernard before the Mother of God; in the attic, the Crucified between Mary and John.

The staggered composition was somewhat obscured during the Early Classicist remodeling of the background, not least by the coffered calotte at the top (see image comparison without background).

Originally, the reredos was intended for the chapel near the chancel in the south transept arm. The more recent framing for the altar is too large. The simultaneous use of early Baroque and post-Gothic elements is curious.

Obviously, Dümpel could only fully develop his talent in the Catholic commission, which would have been denied him in Nuremberg. Notwithstanding the two-dimensional models of Antonio Tempesta, he almost approached the quality of a Heinrich Gröninger in Paderborn (thus his tomb for the prince-bishop Dietrich von Fürstenberg in the cathedral there).

Main work of the artist

The structure consists of predella, main floor, upper floor and attic. This corresponds from bottom to top: Christ's body and the two Johns; above, three visions of St. Bernard of Clairvaux; on the upper floor, St. Bernard before the Mother of God; in the attic, the Crucified between Mary and John.

The staggered composition was somewhat obscured during the Early Classicist remodeling of the background, not least by the coffered calotte at the top (see image comparison without background).

Originally, the reredos was intended for the chapel near the chancel in the south transept arm. The more recent framing for the altar is too large. The simultaneous use of early Baroque and post-Gothic elements is curious.

Obviously, Dümpel could only fully develop his talent in the Catholic commission, which would have been denied him in Nuremberg. Notwithstanding the two-dimensional models of Antonio Tempesta, he almost approached the quality of a Heinrich Gröninger in Paderborn (thus his tomb for the prince-bishop Dietrich von Fürstenberg in the cathedral there).

Main work of the artist

The structure consists of predella, main floor, upper floor and attic. This corresponds from bottom to top: Christ's body and the two Johns; above, three visions of St. Bernard of Clairvaux; on the upper floor, St. Bernard before the Mother of God; in the attic, the Crucified between Mary and John.

The staggered composition was somewhat obscured during the Early Classicist remodeling of the background, not least by the coffered calotte at the top (see image comparison without background).

Originally, the reredos was intended for the chapel near the chancel in the south transept arm. The more recent framing for the altar is too large. The simultaneous use of early Baroque and post-Gothic elements is curious.

Obviously, Dümpel could only fully develop his talent in the Catholic commission, which would have been denied him in Nuremberg. Notwithstanding the two-dimensional models of Antonio Tempesta, he almost approached the quality of a Heinrich Gröninger in Paderborn (thus his tomb for the prince-bishop Dietrich von Fürstenberg in the cathedral there).

Main work of the artist

The structure consists of predella, main floor, upper floor and attic. This corresponds from bottom to top: Christ's body and the two Johns; above, three visions of St. Bernard of Clairvaux; on the upper floor, St. Bernard before the Mother of God; in the attic, the Crucified between Mary and John.

The staggered composition was somewhat obscured during the Early Classicist remodeling of the background, not least by the coffered calotte at the top (see image comparison without background).

Originally, the reredos was intended for the chapel near the chancel in the south transept arm. The more recent framing for the altar is too large. The simultaneous use of early Baroque and post-Gothic elements is curious.

Obviously, Dümpel could only fully develop his talent in the Catholic commission, which would have been denied him in Nuremberg. Notwithstanding the two-dimensional models of Antonio Tempesta, he almost approached the quality of a Heinrich Gröninger in Paderborn (thus his tomb for the prince-bishop Dietrich von Fürstenberg in the cathedral there).

Main work of the artist

The structure consists of predella, main floor, upper floor and attic. This corresponds from bottom to top: Christ's body and the two Johns; above, three visions of St. Bernard of Clairvaux; on the upper floor, St. Bernard before the Mother of God; in the attic, the Crucified between Mary and John.

The staggered composition was somewhat obscured during the Early Classicist remodeling of the background, not least by the coffered calotte at the top (see image comparison without background).

Originally, the reredos was intended for the chapel near the chancel in the south transept arm. The more recent framing for the altar is too large. The simultaneous use of early Baroque and post-Gothic elements is curious.

Obviously, Dümpel could only fully develop his talent in the Catholic commission, which would have been denied him in Nuremberg. Notwithstanding the two-dimensional models of Antonio Tempesta, he almost approached the quality of a Heinrich Gröninger in Paderborn (thus his tomb for the prince-bishop Dietrich von Fürstenberg in the cathedral there).