In Martin Peller's ledger, there are two entries for payments for sculptural work:

1606: To 4 young men, master Hans, sculptor, for 4 fireplaces on the hillside, Soller 307.10.-

1611: 8 ditto (June) To the painter and sculptor, 35.16.8

The first of the two payments was almost certainly made to the sculptor Hans Werner for the four fireplaces on the two porches of the first and second floors. These works have long been known as the work of Hans Werner due to their characteristic style, but especially because of the monogram H W on the capital of the large fireplace in the southwest corner of the second floor. The inscription on the other fireplace on this floor leaves no doubt that it was created in 1606. Seibold (1977) was also able to confirm Werner's work through archival evidence. (Note: However, the amount of payment needs to be corrected, as Seibold erroneously states it as 367 guilders instead of 307. Seibold 1977, p. 118, note 2.)

Therefore, only the entry dated June 8, 1611, remains for the carvings on the stove niche of the "Beautiful Room." This date is also plausible, since the work would naturally have had to wait for the installation of the coffered ceiling and the doors, as only then would the exact height of the arch be determined. The commission for the carving could therefore not have been given before June 1610. Delivery by the same month of the following year is entirely plausible.

The carvings could not have been commissioned before June 1610. The mention of both painter and sculptor also makes this entry seem appropriate, since the carving in the stove niche is painted. The partial gilding of the frame, the fruit garland, and the arch further suggests that the cost of the painting exceeded that of the carving. This would explain the mention of the painter first and only then the sculptor. The omission of their names is likely due to the fact that the two craftsmen were billed separately, and only the total sum was entered into the ledger. The amount of 35 guilders for the "grille" may also have been sufficient.

Dieter Büchner, The "Beautiful Room" from the Pellerhaus (Nuremberg Works 55), pp. 121–122

In Martin Peller's ledger, there are two entries for payments for sculptural work:

1606: To 4 young men, master Hans, sculptor, for 4 fireplaces on the hillside, Soller 307.10.-

1611: 8 ditto (June) To the painter and sculptor, 35.16.8

The first of the two payments was almost certainly made to the sculptor Hans Werner for the four fireplaces on the two porches of the first and second floors. These works have long been known as the work of Hans Werner due to their characteristic style, but especially because of the monogram H W on the capital of the large fireplace in the southwest corner of the second floor. The inscription on the other fireplace on this floor leaves no doubt that it was created in 1606. Seibold (1977) was also able to confirm Werner's work through archival evidence. (Note: However, the amount of payment needs to be corrected, as Seibold erroneously states it as 367 guilders instead of 307. Seibold 1977, p. 118, note 2.)

Therefore, only the entry dated June 8, 1611, remains for the carvings on the stove niche of the "Beautiful Room." This date is also plausible, since the work would naturally have had to wait for the installation of the coffered ceiling and the doors, as only then would the exact height of the arch be determined. The commission for the carving could therefore not have been given before June 1610. Delivery by the same month of the following year is entirely plausible.

The carvings could not have been commissioned before June 1610. The mention of both painter and sculptor also makes this entry seem appropriate, since the carving in the stove niche is painted. The partial gilding of the frame, the fruit garland, and the arch further suggests that the cost of the painting exceeded that of the carving. This would explain the mention of the painter first and only then the sculptor. The omission of their names is likely due to the fact that the two craftsmen were billed separately, and only the total sum was entered into the ledger. The amount of 35 guilders for the "grille" may also have been sufficient.

Dieter Büchner, The "Beautiful Room" from the Pellerhaus (Nuremberg Works 55), pp. 121–122

In Martin Peller's ledger, there are two entries for payments for sculptural work:

1606: To 4 young men, master Hans, sculptor, for 4 fireplaces on the hillside, Soller 307.10.-

1611: 8 ditto (June) To the painter and sculptor, 35.16.8

The first of the two payments was almost certainly made to the sculptor Hans Werner for the four fireplaces on the two porches of the first and second floors. These works have long been known as the work of Hans Werner due to their characteristic style, but especially because of the monogram H W on the capital of the large fireplace in the southwest corner of the second floor. The inscription on the other fireplace on this floor leaves no doubt that it was created in 1606. Seibold (1977) was also able to confirm Werner's work through archival evidence. (Note: However, the amount of payment needs to be corrected, as Seibold erroneously states it as 367 guilders instead of 307. Seibold 1977, p. 118, note 2.)

Therefore, only the entry dated June 8, 1611, remains for the carvings on the stove niche of the "Beautiful Room." This date is also plausible, since the work would naturally have had to wait for the installation of the coffered ceiling and the doors, as only then would the exact height of the arch be determined. The commission for the carving could therefore not have been given before June 1610. Delivery by the same month of the following year is entirely plausible.

The carvings could not have been commissioned before June 1610. The mention of both painter and sculptor also makes this entry seem appropriate, since the carving in the stove niche is painted. The partial gilding of the frame, the fruit garland, and the arch further suggests that the cost of the painting exceeded that of the carving. This would explain the mention of the painter first and only then the sculptor. The omission of their names is likely due to the fact that the two craftsmen were billed separately, and only the total sum was entered into the ledger. The amount of 35 guilders for the "grille" may also have been sufficient.

Dieter Büchner, The "Beautiful Room" from the Pellerhaus (Nuremberg Works 55), pp. 121–122

In Martin Peller's ledger, there are two entries for payments for sculptural work:

1606: To 4 young men, master Hans, sculptor, for 4 fireplaces on the hillside, Soller 307.10.-

1611: 8 ditto (June) To the painter and sculptor, 35.16.8

The first of the two payments was almost certainly made to the sculptor Hans Werner for the four fireplaces on the two porches of the first and second floors. These works have long been known as the work of Hans Werner due to their characteristic style, but especially because of the monogram H W on the capital of the large fireplace in the southwest corner of the second floor. The inscription on the other fireplace on this floor leaves no doubt that it was created in 1606. Seibold (1977) was also able to confirm Werner's work through archival evidence. (Note: However, the amount of payment needs to be corrected, as Seibold erroneously states it as 367 guilders instead of 307. Seibold 1977, p. 118, note 2.)

Therefore, only the entry dated June 8, 1611, remains for the carvings on the stove niche of the "Beautiful Room." This date is also plausible, since the work would naturally have had to wait for the installation of the coffered ceiling and the doors, as only then would the exact height of the arch be determined. The commission for the carving could therefore not have been given before June 1610. Delivery by the same month of the following year is entirely plausible.

The carvings could not have been commissioned before June 1610. The mention of both painter and sculptor also makes this entry seem appropriate, since the carving in the stove niche is painted. The partial gilding of the frame, the fruit garland, and the arch further suggests that the cost of the painting exceeded that of the carving. This would explain the mention of the painter first and only then the sculptor. The omission of their names is likely due to the fact that the two craftsmen were billed separately, and only the total sum was entered into the ledger. The amount of 35 guilders for the "grille" may also have been sufficient.

Dieter Büchner, The "Beautiful Room" from the Pellerhaus (Nuremberg Works 55), pp. 121–122

In Martin Peller's ledger, there are two entries for payments for sculptural work:

1606: To 4 young men, master Hans, sculptor, for 4 fireplaces on the hillside, Soller 307.10.-

1611: 8 ditto (June) To the painter and sculptor, 35.16.8

The first of the two payments was almost certainly made to the sculptor Hans Werner for the four fireplaces on the two porches of the first and second floors. These works have long been known as the work of Hans Werner due to their characteristic style, but especially because of the monogram H W on the capital of the large fireplace in the southwest corner of the second floor. The inscription on the other fireplace on this floor leaves no doubt that it was created in 1606. Seibold (1977) was also able to confirm Werner's work through archival evidence. (Note: However, the amount of payment needs to be corrected, as Seibold erroneously states it as 367 guilders instead of 307. Seibold 1977, p. 118, note 2.)

Therefore, only the entry dated June 8, 1611, remains for the carvings on the stove niche of the "Beautiful Room." This date is also plausible, since the work would naturally have had to wait for the installation of the coffered ceiling and the doors, as only then would the exact height of the arch be determined. The commission for the carving could therefore not have been given before June 1610. Delivery by the same month of the following year is entirely plausible.

The carvings could not have been commissioned before June 1610. The mention of both painter and sculptor also makes this entry seem appropriate, since the carving in the stove niche is painted. The partial gilding of the frame, the fruit garland, and the arch further suggests that the cost of the painting exceeded that of the carving. This would explain the mention of the painter first and only then the sculptor. The omission of their names is likely due to the fact that the two craftsmen were billed separately, and only the total sum was entered into the ledger. The amount of 35 guilders for the "grille" may also have been sufficient.

Dieter Büchner, The "Beautiful Room" from the Pellerhaus (Nuremberg Works 55), pp. 121–122

In Martin Peller's ledger, there are two entries for payments for sculptural work:

1606: To 4 young men, master Hans, sculptor, for 4 fireplaces on the hillside, Soller 307.10.-

1611: 8 ditto (June) To the painter and sculptor, 35.16.8

The first of the two payments was almost certainly made to the sculptor Hans Werner for the four fireplaces on the two porches of the first and second floors. These works have long been known as the work of Hans Werner due to their characteristic style, but especially because of the monogram H W on the capital of the large fireplace in the southwest corner of the second floor. The inscription on the other fireplace on this floor leaves no doubt that it was created in 1606. Seibold (1977) was also able to confirm Werner's work through archival evidence. (Note: However, the amount of payment needs to be corrected, as Seibold erroneously states it as 367 guilders instead of 307. Seibold 1977, p. 118, note 2.)

Therefore, only the entry dated June 8, 1611, remains for the carvings on the stove niche of the "Beautiful Room." This date is also plausible, since the work would naturally have had to wait for the installation of the coffered ceiling and the doors, as only then would the exact height of the arch be determined. The commission for the carving could therefore not have been given before June 1610. Delivery by the same month of the following year is entirely plausible.

The carvings could not have been commissioned before June 1610. The mention of both painter and sculptor also makes this entry seem appropriate, since the carving in the stove niche is painted. The partial gilding of the frame, the fruit garland, and the arch further suggests that the cost of the painting exceeded that of the carving. This would explain the mention of the painter first and only then the sculptor. The omission of their names is likely due to the fact that the two craftsmen were billed separately, and only the total sum was entered into the ledger. The amount of 35 guilders for the "grille" may also have been sufficient.

Dieter Büchner, The "Beautiful Room" from the Pellerhaus (Nuremberg Works 55), pp. 121–122

In Martin Peller's ledger, there are two entries for payments for sculptural work:

1606: To 4 young men, master Hans, sculptor, for 4 fireplaces on the hillside, Soller 307.10.-

1611: 8 ditto (June) To the painter and sculptor, 35.16.8

The first of the two payments was almost certainly made to the sculptor Hans Werner for the four fireplaces on the two porches of the first and second floors. These works have long been known as the work of Hans Werner due to their characteristic style, but especially because of the monogram H W on the capital of the large fireplace in the southwest corner of the second floor. The inscription on the other fireplace on this floor leaves no doubt that it was created in 1606. Seibold (1977) was also able to confirm Werner's work through archival evidence. (Note: However, the amount of payment needs to be corrected, as Seibold erroneously states it as 367 guilders instead of 307. Seibold 1977, p. 118, note 2.)

Therefore, only the entry dated June 8, 1611, remains for the carvings on the stove niche of the "Beautiful Room." This date is also plausible, since the work would naturally have had to wait for the installation of the coffered ceiling and the doors, as only then would the exact height of the arch be determined. The commission for the carving could therefore not have been given before June 1610. Delivery by the same month of the following year is entirely plausible.

The carvings could not have been commissioned before June 1610. The mention of both painter and sculptor also makes this entry seem appropriate, since the carving in the stove niche is painted. The partial gilding of the frame, the fruit garland, and the arch further suggests that the cost of the painting exceeded that of the carving. This would explain the mention of the painter first and only then the sculptor. The omission of their names is likely due to the fact that the two craftsmen were billed separately, and only the total sum was entered into the ledger. The amount of 35 guilders for the "grille" may also have been sufficient.

Dieter Büchner, The "Beautiful Room" from the Pellerhaus (Nuremberg Works 55), pp. 121–122

In Martin Peller's ledger, there are two entries for payments for sculptural work:

1606: To 4 young men, master Hans, sculptor, for 4 fireplaces on the hillside, Soller 307.10.-

1611: 8 ditto (June) To the painter and sculptor, 35.16.8

The first of the two payments was almost certainly made to the sculptor Hans Werner for the four fireplaces on the two porches of the first and second floors. These works have long been known as the work of Hans Werner due to their characteristic style, but especially because of the monogram H W on the capital of the large fireplace in the southwest corner of the second floor. The inscription on the other fireplace on this floor leaves no doubt that it was created in 1606. Seibold (1977) was also able to confirm Werner's work through archival evidence. (Note: However, the amount of payment needs to be corrected, as Seibold erroneously states it as 367 guilders instead of 307. Seibold 1977, p. 118, note 2.)

Therefore, only the entry dated June 8, 1611, remains for the carvings on the stove niche of the "Beautiful Room." This date is also plausible, since the work would naturally have had to wait for the installation of the coffered ceiling and the doors, as only then would the exact height of the arch be determined. The commission for the carving could therefore not have been given before June 1610. Delivery by the same month of the following year is entirely plausible.

The carvings could not have been commissioned before June 1610. The mention of both painter and sculptor also makes this entry seem appropriate, since the carving in the stove niche is painted. The partial gilding of the frame, the fruit garland, and the arch further suggests that the cost of the painting exceeded that of the carving. This would explain the mention of the painter first and only then the sculptor. The omission of their names is likely due to the fact that the two craftsmen were billed separately, and only the total sum was entered into the ledger. The amount of 35 guilders for the "grille" may also have been sufficient.

Dieter Büchner, The "Beautiful Room" from the Pellerhaus (Nuremberg Works 55), pp. 121–122

In Martin Peller's ledger, there are two entries for payments for sculptural work:

1606: To 4 young men, master Hans, sculptor, for 4 fireplaces on the hillside, Soller 307.10.-

1611: 8 ditto (June) To the painter and sculptor, 35.16.8

The first of the two payments was almost certainly made to the sculptor Hans Werner for the four fireplaces on the two porches of the first and second floors. These works have long been known as the work of Hans Werner due to their characteristic style, but especially because of the monogram H W on the capital of the large fireplace in the southwest corner of the second floor. The inscription on the other fireplace on this floor leaves no doubt that it was created in 1606. Seibold (1977) was also able to confirm Werner's work through archival evidence. (Note: However, the amount of payment needs to be corrected, as Seibold erroneously states it as 367 guilders instead of 307. Seibold 1977, p. 118, note 2.)

Therefore, only the entry dated June 8, 1611, remains for the carvings on the stove niche of the "Beautiful Room." This date is also plausible, since the work would naturally have had to wait for the installation of the coffered ceiling and the doors, as only then would the exact height of the arch be determined. The commission for the carving could therefore not have been given before June 1610. Delivery by the same month of the following year is entirely plausible.

The carvings could not have been commissioned before June 1610. The mention of both painter and sculptor also makes this entry seem appropriate, since the carving in the stove niche is painted. The partial gilding of the frame, the fruit garland, and the arch further suggests that the cost of the painting exceeded that of the carving. This would explain the mention of the painter first and only then the sculptor. The omission of their names is likely due to the fact that the two craftsmen were billed separately, and only the total sum was entered into the ledger. The amount of 35 guilders for the "grille" may also have been sufficient.

Dieter Büchner, The "Beautiful Room" from the Pellerhaus (Nuremberg Works 55), pp. 121–122

In Martin Peller's ledger, there are two entries for payments for sculptural work:

1606: To 4 young men, master Hans, sculptor, for 4 fireplaces on the hillside, Soller 307.10.-

1611: 8 ditto (June) To the painter and sculptor, 35.16.8

The first of the two payments was almost certainly made to the sculptor Hans Werner for the four fireplaces on the two porches of the first and second floors. These works have long been known as the work of Hans Werner due to their characteristic style, but especially because of the monogram H W on the capital of the large fireplace in the southwest corner of the second floor. The inscription on the other fireplace on this floor leaves no doubt that it was created in 1606. Seibold (1977) was also able to confirm Werner's work through archival evidence. (Note: However, the amount of payment needs to be corrected, as Seibold erroneously states it as 367 guilders instead of 307. Seibold 1977, p. 118, note 2.)

Therefore, only the entry dated June 8, 1611, remains for the carvings on the stove niche of the "Beautiful Room." This date is also plausible, since the work would naturally have had to wait for the installation of the coffered ceiling and the doors, as only then would the exact height of the arch be determined. The commission for the carving could therefore not have been given before June 1610. Delivery by the same month of the following year is entirely plausible.

The carvings could not have been commissioned before June 1610. The mention of both painter and sculptor also makes this entry seem appropriate, since the carving in the stove niche is painted. The partial gilding of the frame, the fruit garland, and the arch further suggests that the cost of the painting exceeded that of the carving. This would explain the mention of the painter first and only then the sculptor. The omission of their names is likely due to the fact that the two craftsmen were billed separately, and only the total sum was entered into the ledger. The amount of 35 guilders for the "grille" may also have been sufficient.

Dieter Büchner, The "Beautiful Room" from the Pellerhaus (Nuremberg Works 55), pp. 121–122

In Martin Peller's ledger, there are two entries for payments for sculptural work:

1606: To 4 young men, master Hans, sculptor, for 4 fireplaces on the hillside, Soller 307.10.-

1611: 8 ditto (June) To the painter and sculptor, 35.16.8

The first of the two payments was almost certainly made to the sculptor Hans Werner for the four fireplaces on the two porches of the first and second floors. These works have long been known as the work of Hans Werner due to their characteristic style, but especially because of the monogram H W on the capital of the large fireplace in the southwest corner of the second floor. The inscription on the other fireplace on this floor leaves no doubt that it was created in 1606. Seibold (1977) was also able to confirm Werner's work through archival evidence. (Note: However, the amount of payment needs to be corrected, as Seibold erroneously states it as 367 guilders instead of 307. Seibold 1977, p. 118, note 2.)

Therefore, only the entry dated June 8, 1611, remains for the carvings on the stove niche of the "Beautiful Room." This date is also plausible, since the work would naturally have had to wait for the installation of the coffered ceiling and the doors, as only then would the exact height of the arch be determined. The commission for the carving could therefore not have been given before June 1610. Delivery by the same month of the following year is entirely plausible.

The carvings could not have been commissioned before June 1610. The mention of both painter and sculptor also makes this entry seem appropriate, since the carving in the stove niche is painted. The partial gilding of the frame, the fruit garland, and the arch further suggests that the cost of the painting exceeded that of the carving. This would explain the mention of the painter first and only then the sculptor. The omission of their names is likely due to the fact that the two craftsmen were billed separately, and only the total sum was entered into the ledger. The amount of 35 guilders for the "grille" may also have been sufficient.

Dieter Büchner, The "Beautiful Room" from the Pellerhaus (Nuremberg Works 55), pp. 121–122

In Martin Peller's ledger, there are two entries for payments for sculptural work:

1606: To 4 young men, master Hans, sculptor, for 4 fireplaces on the hillside, Soller 307.10.-

1611: 8 ditto (June) To the painter and sculptor, 35.16.8

The first of the two payments was almost certainly made to the sculptor Hans Werner for the four fireplaces on the two porches of the first and second floors. These works have long been known as the work of Hans Werner due to their characteristic style, but especially because of the monogram H W on the capital of the large fireplace in the southwest corner of the second floor. The inscription on the other fireplace on this floor leaves no doubt that it was created in 1606. Seibold (1977) was also able to confirm Werner's work through archival evidence. (Note: However, the amount of payment needs to be corrected, as Seibold erroneously states it as 367 guilders instead of 307. Seibold 1977, p. 118, note 2.)

Therefore, only the entry dated June 8, 1611, remains for the carvings on the stove niche of the "Beautiful Room." This date is also plausible, since the work would naturally have had to wait for the installation of the coffered ceiling and the doors, as only then would the exact height of the arch be determined. The commission for the carving could therefore not have been given before June 1610. Delivery by the same month of the following year is entirely plausible.

The carvings could not have been commissioned before June 1610. The mention of both painter and sculptor also makes this entry seem appropriate, since the carving in the stove niche is painted. The partial gilding of the frame, the fruit garland, and the arch further suggests that the cost of the painting exceeded that of the carving. This would explain the mention of the painter first and only then the sculptor. The omission of their names is likely due to the fact that the two craftsmen were billed separately, and only the total sum was entered into the ledger. The amount of 35 guilders for the "grille" may also have been sufficient.

Dieter Büchner, The "Beautiful Room" from the Pellerhaus (Nuremberg Works 55), pp. 121–122

In Martin Peller's ledger, there are two entries for payments for sculptural work:

1606: To 4 young men, master Hans, sculptor, for 4 fireplaces on the hillside, Soller 307.10.-

1611: 8 ditto (June) To the painter and sculptor, 35.16.8

The first of the two payments was almost certainly made to the sculptor Hans Werner for the four fireplaces on the two porches of the first and second floors. These works have long been known as the work of Hans Werner due to their characteristic style, but especially because of the monogram H W on the capital of the large fireplace in the southwest corner of the second floor. The inscription on the other fireplace on this floor leaves no doubt that it was created in 1606. Seibold (1977) was also able to confirm Werner's work through archival evidence. (Note: However, the amount of payment needs to be corrected, as Seibold erroneously states it as 367 guilders instead of 307. Seibold 1977, p. 118, note 2.)

Therefore, only the entry dated June 8, 1611, remains for the carvings on the stove niche of the "Beautiful Room." This date is also plausible, since the work would naturally have had to wait for the installation of the coffered ceiling and the doors, as only then would the exact height of the arch be determined. The commission for the carving could therefore not have been given before June 1610. Delivery by the same month of the following year is entirely plausible.

The carvings could not have been commissioned before June 1610. The mention of both painter and sculptor also makes this entry seem appropriate, since the carving in the stove niche is painted. The partial gilding of the frame, the fruit garland, and the arch further suggests that the cost of the painting exceeded that of the carving. This would explain the mention of the painter first and only then the sculptor. The omission of their names is likely due to the fact that the two craftsmen were billed separately, and only the total sum was entered into the ledger. The amount of 35 guilders for the "grille" may also have been sufficient.

Dieter Büchner, The "Beautiful Room" from the Pellerhaus (Nuremberg Works 55), pp. 121–122

In Martin Peller's ledger, there are two entries for payments for sculptural work:

1606: To 4 young men, master Hans, sculptor, for 4 fireplaces on the hillside, Soller 307.10.-

1611: 8 ditto (June) To the painter and sculptor, 35.16.8

The first of the two payments was almost certainly made to the sculptor Hans Werner for the four fireplaces on the two porches of the first and second floors. These works have long been known as the work of Hans Werner due to their characteristic style, but especially because of the monogram H W on the capital of the large fireplace in the southwest corner of the second floor. The inscription on the other fireplace on this floor leaves no doubt that it was created in 1606. Seibold (1977) was also able to confirm Werner's work through archival evidence. (Note: However, the amount of payment needs to be corrected, as Seibold erroneously states it as 367 guilders instead of 307. Seibold 1977, p. 118, note 2.)

Therefore, only the entry dated June 8, 1611, remains for the carvings on the stove niche of the "Beautiful Room." This date is also plausible, since the work would naturally have had to wait for the installation of the coffered ceiling and the doors, as only then would the exact height of the arch be determined. The commission for the carving could therefore not have been given before June 1610. Delivery by the same month of the following year is entirely plausible.

The carvings could not have been commissioned before June 1610. The mention of both painter and sculptor also makes this entry seem appropriate, since the carving in the stove niche is painted. The partial gilding of the frame, the fruit garland, and the arch further suggests that the cost of the painting exceeded that of the carving. This would explain the mention of the painter first and only then the sculptor. The omission of their names is likely due to the fact that the two craftsmen were billed separately, and only the total sum was entered into the ledger. The amount of 35 guilders for the "grille" may also have been sufficient.

Dieter Büchner, The "Beautiful Room" from the Pellerhaus (Nuremberg Works 55), pp. 121–122