Design: Hans von Kulmbach

Execution: Hans Hirsvogel (1514)

Series of four small grisaille panels with angels holding coats of arms, surrounded by a pale blue-green ornamental border. The series, a donation from Melchior Pfinzing, was originally intended for the newly constructed "Pfinzing Choir," but after its destruction in World War II, it was moved to the East Choir.

The coats of arms represent the Holy Roman Empire (a double-headed eagle with an inescutcheon of Austria/Burgundy and an Austrian escutcheon), the reigning Prince-Bishop of Bamberg, Georg Schenk III zu Limpurg, and thus the crucial imperial, municipal, and ecclesiastical institutions behind the Provostry of St. Sebald.

The four heraldic panels were created based on only two designs and each pair was counter-designed.

The author of the preliminary drawings is consistently identified as Hans von Kulmbach, who is also credited with the charming selection of ornamental border motifs featuring putti, dolphins, cornucopias, laurel festoons, vases, masks, skulls, strings of pearls, shells, figures in armor, helmets, and suits of armor.

Hartmut Scholz: Masterpieces of Stained Glass, St. Sebald in Nuremberg, Freiburg im Breisgau, 2007

Design: Hans von Kulmbach

Execution: Hans Hirsvogel (1514)

Series of four small grisaille panels with angels holding coats of arms, surrounded by a pale blue-green ornamental border. The series, a donation from Melchior Pfinzing, was originally intended for the newly constructed "Pfinzing Choir," but after its destruction in World War II, it was moved to the East Choir.

The coats of arms represent the Holy Roman Empire (a double-headed eagle with an inescutcheon of Austria/Burgundy and an Austrian escutcheon), the reigning Prince-Bishop of Bamberg, Georg Schenk III zu Limpurg, and thus the crucial imperial, municipal, and ecclesiastical institutions behind the Provostry of St. Sebald.

The four heraldic panels were created based on only two designs and each pair was counter-designed.

The author of the preliminary drawings is consistently identified as Hans von Kulmbach, who is also credited with the charming selection of ornamental border motifs featuring putti, dolphins, cornucopias, laurel festoons, vases, masks, skulls, strings of pearls, shells, figures in armor, helmets, and suits of armor.

Hartmut Scholz: Masterpieces of Stained Glass, St. Sebald in Nuremberg, Freiburg im Breisgau, 2007

Design: Hans von Kulmbach

Execution: Hans Hirsvogel (1514)

Series of four small grisaille panels with angels holding coats of arms, surrounded by a pale blue-green ornamental border. The series, a donation from Melchior Pfinzing, was originally intended for the newly constructed "Pfinzing Choir," but after its destruction in World War II, it was moved to the East Choir.

The coats of arms represent the Holy Roman Empire (a double-headed eagle with an inescutcheon of Austria/Burgundy and an Austrian escutcheon), the reigning Prince-Bishop of Bamberg, Georg Schenk III zu Limpurg, and thus the crucial imperial, municipal, and ecclesiastical institutions behind the Provostry of St. Sebald.

The four heraldic panels were created based on only two designs and each pair was counter-designed.

The author of the preliminary drawings is consistently identified as Hans von Kulmbach, who is also credited with the charming selection of ornamental border motifs featuring putti, dolphins, cornucopias, laurel festoons, vases, masks, skulls, strings of pearls, shells, figures in armor, helmets, and suits of armor.

Hartmut Scholz: Masterpieces of Stained Glass, St. Sebald in Nuremberg, Freiburg im Breisgau, 2007

Design: Hans von Kulmbach

Execution: Hans Hirsvogel (1514)

Series of four small grisaille panels with angels holding coats of arms, surrounded by a pale blue-green ornamental border. The series, a donation from Melchior Pfinzing, was originally intended for the newly constructed "Pfinzing Choir," but after its destruction in World War II, it was moved to the East Choir.

The coats of arms represent the Holy Roman Empire (a double-headed eagle with an inescutcheon of Austria/Burgundy and an Austrian escutcheon), the reigning Prince-Bishop of Bamberg, Georg Schenk III zu Limpurg, and thus the crucial imperial, municipal, and ecclesiastical institutions behind the Provostry of St. Sebald.

The four heraldic panels were created based on only two designs and each pair was counter-designed.

The author of the preliminary drawings is consistently identified as Hans von Kulmbach, who is also credited with the charming selection of ornamental border motifs featuring putti, dolphins, cornucopias, laurel festoons, vases, masks, skulls, strings of pearls, shells, figures in armor, helmets, and suits of armor.

Hartmut Scholz: Masterpieces of Stained Glass, St. Sebald in Nuremberg, Freiburg im Breisgau, 2007

Design: Hans von Kulmbach

Execution: Hans Hirsvogel (1514)

Series of four small grisaille panels with angels holding coats of arms, surrounded by a pale blue-green ornamental border. The series, a donation from Melchior Pfinzing, was originally intended for the newly constructed "Pfinzing Choir," but after its destruction in World War II, it was moved to the East Choir.

The coats of arms represent the Holy Roman Empire (a double-headed eagle with an inescutcheon of Austria/Burgundy and an Austrian escutcheon), the reigning Prince-Bishop of Bamberg, Georg Schenk III zu Limpurg, and thus the crucial imperial, municipal, and ecclesiastical institutions behind the Provostry of St. Sebald.

The four heraldic panels were created based on only two designs and each pair was counter-designed.

The author of the preliminary drawings is consistently identified as Hans von Kulmbach, who is also credited with the charming selection of ornamental border motifs featuring putti, dolphins, cornucopias, laurel festoons, vases, masks, skulls, strings of pearls, shells, figures in armor, helmets, and suits of armor.

Hartmut Scholz: Masterpieces of Stained Glass, St. Sebald in Nuremberg, Freiburg im Breisgau, 2007

Design: Hans von Kulmbach

Execution: Hans Hirsvogel (1514)

Series of four small grisaille panels with angels holding coats of arms, surrounded by a pale blue-green ornamental border. The series, a donation from Melchior Pfinzing, was originally intended for the newly constructed "Pfinzing Choir," but after its destruction in World War II, it was moved to the East Choir.

The coats of arms represent the Holy Roman Empire (a double-headed eagle with an inescutcheon of Austria/Burgundy and an Austrian escutcheon), the reigning Prince-Bishop of Bamberg, Georg Schenk III zu Limpurg, and thus the crucial imperial, municipal, and ecclesiastical institutions behind the Provostry of St. Sebald.

The four heraldic panels were created based on only two designs and each pair was counter-designed.

The author of the preliminary drawings is consistently identified as Hans von Kulmbach, who is also credited with the charming selection of ornamental border motifs featuring putti, dolphins, cornucopias, laurel festoons, vases, masks, skulls, strings of pearls, shells, figures in armor, helmets, and suits of armor.

Hartmut Scholz: Masterpieces of Stained Glass, St. Sebald in Nuremberg, Freiburg im Breisgau, 2007

Design: Hans von Kulmbach

Execution: Hans Hirsvogel (1514)

Series of four small grisaille panels with angels holding coats of arms, surrounded by a pale blue-green ornamental border. The series, a donation from Melchior Pfinzing, was originally intended for the newly constructed "Pfinzing Choir," but after its destruction in World War II, it was moved to the East Choir.

The coats of arms represent the Holy Roman Empire (a double-headed eagle with an inescutcheon of Austria/Burgundy and an Austrian escutcheon), the reigning Prince-Bishop of Bamberg, Georg Schenk III zu Limpurg, and thus the crucial imperial, municipal, and ecclesiastical institutions behind the Provostry of St. Sebald.

The four heraldic panels were created based on only two designs and each pair was counter-designed.

The author of the preliminary drawings is consistently identified as Hans von Kulmbach, who is also credited with the charming selection of ornamental border motifs featuring putti, dolphins, cornucopias, laurel festoons, vases, masks, skulls, strings of pearls, shells, figures in armor, helmets, and suits of armor.

Hartmut Scholz: Masterpieces of Stained Glass, St. Sebald in Nuremberg, Freiburg im Breisgau, 2007

Design: Hans von Kulmbach

Execution: Hans Hirsvogel (1514)

Series of four small grisaille panels with angels holding coats of arms, surrounded by a pale blue-green ornamental border. The series, a donation from Melchior Pfinzing, was originally intended for the newly constructed "Pfinzing Choir," but after its destruction in World War II, it was moved to the East Choir.

The coats of arms represent the Holy Roman Empire (a double-headed eagle with an inescutcheon of Austria/Burgundy and an Austrian escutcheon), the reigning Prince-Bishop of Bamberg, Georg Schenk III zu Limpurg, and thus the crucial imperial, municipal, and ecclesiastical institutions behind the Provostry of St. Sebald.

The four heraldic panels were created based on only two designs and each pair was counter-designed.

The author of the preliminary drawings is consistently identified as Hans von Kulmbach, who is also credited with the charming selection of ornamental border motifs featuring putti, dolphins, cornucopias, laurel festoons, vases, masks, skulls, strings of pearls, shells, figures in armor, helmets, and suits of armor.

Hartmut Scholz: Masterpieces of Stained Glass, St. Sebald in Nuremberg, Freiburg im Breisgau, 2007

Design: Hans von Kulmbach

Execution: Hans Hirsvogel (1514)

Series of four small grisaille panels with angels holding coats of arms, surrounded by a pale blue-green ornamental border. The series, a donation from Melchior Pfinzing, was originally intended for the newly constructed "Pfinzing Choir," but after its destruction in World War II, it was moved to the East Choir.

The coats of arms represent the Holy Roman Empire (a double-headed eagle with an inescutcheon of Austria/Burgundy and an Austrian escutcheon), the reigning Prince-Bishop of Bamberg, Georg Schenk III zu Limpurg, and thus the crucial imperial, municipal, and ecclesiastical institutions behind the Provostry of St. Sebald.

The four heraldic panels were created based on only two designs and each pair was counter-designed.

The author of the preliminary drawings is consistently identified as Hans von Kulmbach, who is also credited with the charming selection of ornamental border motifs featuring putti, dolphins, cornucopias, laurel festoons, vases, masks, skulls, strings of pearls, shells, figures in armor, helmets, and suits of armor.

Hartmut Scholz: Masterpieces of Stained Glass, St. Sebald in Nuremberg, Freiburg im Breisgau, 2007

Design: Hans von Kulmbach

Execution: Hans Hirsvogel (1514)

Series of four small grisaille panels with angels holding coats of arms, surrounded by a pale blue-green ornamental border. The series, a donation from Melchior Pfinzing, was originally intended for the newly constructed "Pfinzing Choir," but after its destruction in World War II, it was moved to the East Choir.

The coats of arms represent the Holy Roman Empire (a double-headed eagle with an inescutcheon of Austria/Burgundy and an Austrian escutcheon), the reigning Prince-Bishop of Bamberg, Georg Schenk III zu Limpurg, and thus the crucial imperial, municipal, and ecclesiastical institutions behind the Provostry of St. Sebald.

The four heraldic panels were created based on only two designs and each pair was counter-designed.

The author of the preliminary drawings is consistently identified as Hans von Kulmbach, who is also credited with the charming selection of ornamental border motifs featuring putti, dolphins, cornucopias, laurel festoons, vases, masks, skulls, strings of pearls, shells, figures in armor, helmets, and suits of armor.

Hartmut Scholz: Masterpieces of Stained Glass, St. Sebald in Nuremberg, Freiburg im Breisgau, 2007

Design: Hans von Kulmbach

Execution: Hans Hirsvogel (1514)

Series of four small grisaille panels with angels holding coats of arms, surrounded by a pale blue-green ornamental border. The series, a donation from Melchior Pfinzing, was originally intended for the newly constructed "Pfinzing Choir," but after its destruction in World War II, it was moved to the East Choir.

The coats of arms represent the Holy Roman Empire (a double-headed eagle with an inescutcheon of Austria/Burgundy and an Austrian escutcheon), the reigning Prince-Bishop of Bamberg, Georg Schenk III zu Limpurg, and thus the crucial imperial, municipal, and ecclesiastical institutions behind the Provostry of St. Sebald.

The four heraldic panels were created based on only two designs and each pair was counter-designed.

The author of the preliminary drawings is consistently identified as Hans von Kulmbach, who is also credited with the charming selection of ornamental border motifs featuring putti, dolphins, cornucopias, laurel festoons, vases, masks, skulls, strings of pearls, shells, figures in armor, helmets, and suits of armor.

Hartmut Scholz: Masterpieces of Stained Glass, St. Sebald in Nuremberg, Freiburg im Breisgau, 2007

Design: Hans von Kulmbach

Execution: Hans Hirsvogel (1514)

Series of four small grisaille panels with angels holding coats of arms, surrounded by a pale blue-green ornamental border. The series, a donation from Melchior Pfinzing, was originally intended for the newly constructed "Pfinzing Choir," but after its destruction in World War II, it was moved to the East Choir.

The coats of arms represent the Holy Roman Empire (a double-headed eagle with an inescutcheon of Austria/Burgundy and an Austrian escutcheon), the reigning Prince-Bishop of Bamberg, Georg Schenk III zu Limpurg, and thus the crucial imperial, municipal, and ecclesiastical institutions behind the Provostry of St. Sebald.

The four heraldic panels were created based on only two designs and each pair was counter-designed.

The author of the preliminary drawings is consistently identified as Hans von Kulmbach, who is also credited with the charming selection of ornamental border motifs featuring putti, dolphins, cornucopias, laurel festoons, vases, masks, skulls, strings of pearls, shells, figures in armor, helmets, and suits of armor.

Hartmut Scholz: Masterpieces of Stained Glass, St. Sebald in Nuremberg, Freiburg im Breisgau, 2007

Design: Hans von Kulmbach

Execution: Hans Hirsvogel (1514)

Series of four small grisaille panels with angels holding coats of arms, surrounded by a pale blue-green ornamental border. The series, a donation from Melchior Pfinzing, was originally intended for the newly constructed "Pfinzing Choir," but after its destruction in World War II, it was moved to the East Choir.

The coats of arms represent the Holy Roman Empire (a double-headed eagle with an inescutcheon of Austria/Burgundy and an Austrian escutcheon), the reigning Prince-Bishop of Bamberg, Georg Schenk III zu Limpurg, and thus the crucial imperial, municipal, and ecclesiastical institutions behind the Provostry of St. Sebald.

The four heraldic panels were created based on only two designs and each pair was counter-designed.

The author of the preliminary drawings is consistently identified as Hans von Kulmbach, who is also credited with the charming selection of ornamental border motifs featuring putti, dolphins, cornucopias, laurel festoons, vases, masks, skulls, strings of pearls, shells, figures in armor, helmets, and suits of armor.

Hartmut Scholz: Masterpieces of Stained Glass, St. Sebald in Nuremberg, Freiburg im Breisgau, 2007

Design: Hans von Kulmbach

Execution: Hans Hirsvogel (1514)

Series of four small grisaille panels with angels holding coats of arms, surrounded by a pale blue-green ornamental border. The series, a donation from Melchior Pfinzing, was originally intended for the newly constructed "Pfinzing Choir," but after its destruction in World War II, it was moved to the East Choir.

The coats of arms represent the Holy Roman Empire (a double-headed eagle with an inescutcheon of Austria/Burgundy and an Austrian escutcheon), the reigning Prince-Bishop of Bamberg, Georg Schenk III zu Limpurg, and thus the crucial imperial, municipal, and ecclesiastical institutions behind the Provostry of St. Sebald.

The four heraldic panels were created based on only two designs and each pair was counter-designed.

The author of the preliminary drawings is consistently identified as Hans von Kulmbach, who is also credited with the charming selection of ornamental border motifs featuring putti, dolphins, cornucopias, laurel festoons, vases, masks, skulls, strings of pearls, shells, figures in armor, helmets, and suits of armor.

Hartmut Scholz: Masterpieces of Stained Glass, St. Sebald in Nuremberg, Freiburg im Breisgau, 2007

Design: Hans von Kulmbach

Execution: Hans Hirsvogel (1514)

Series of four small grisaille panels with angels holding coats of arms, surrounded by a pale blue-green ornamental border. The series, a donation from Melchior Pfinzing, was originally intended for the newly constructed "Pfinzing Choir," but after its destruction in World War II, it was moved to the East Choir.

The coats of arms represent the Holy Roman Empire (a double-headed eagle with an inescutcheon of Austria/Burgundy and an Austrian escutcheon), the reigning Prince-Bishop of Bamberg, Georg Schenk III zu Limpurg, and thus the crucial imperial, municipal, and ecclesiastical institutions behind the Provostry of St. Sebald.

The four heraldic panels were created based on only two designs and each pair was counter-designed.

The author of the preliminary drawings is consistently identified as Hans von Kulmbach, who is also credited with the charming selection of ornamental border motifs featuring putti, dolphins, cornucopias, laurel festoons, vases, masks, skulls, strings of pearls, shells, figures in armor, helmets, and suits of armor.

Hartmut Scholz: Masterpieces of Stained Glass, St. Sebald in Nuremberg, Freiburg im Breisgau, 2007

Design: Hans von Kulmbach

Execution: Hans Hirsvogel (1514)

Series of four small grisaille panels with angels holding coats of arms, surrounded by a pale blue-green ornamental border. The series, a donation from Melchior Pfinzing, was originally intended for the newly constructed "Pfinzing Choir," but after its destruction in World War II, it was moved to the East Choir.

The coats of arms represent the Holy Roman Empire (a double-headed eagle with an inescutcheon of Austria/Burgundy and an Austrian escutcheon), the reigning Prince-Bishop of Bamberg, Georg Schenk III zu Limpurg, and thus the crucial imperial, municipal, and ecclesiastical institutions behind the Provostry of St. Sebald.

The four heraldic panels were created based on only two designs and each pair was counter-designed.

The author of the preliminary drawings is consistently identified as Hans von Kulmbach, who is also credited with the charming selection of ornamental border motifs featuring putti, dolphins, cornucopias, laurel festoons, vases, masks, skulls, strings of pearls, shells, figures in armor, helmets, and suits of armor.

Hartmut Scholz: Masterpieces of Stained Glass, St. Sebald in Nuremberg, Freiburg im Breisgau, 2007

Design: Hans von Kulmbach

Execution: Hans Hirsvogel (1514)

Series of four small grisaille panels with angels holding coats of arms, surrounded by a pale blue-green ornamental border. The series, a donation from Melchior Pfinzing, was originally intended for the newly constructed "Pfinzing Choir," but after its destruction in World War II, it was moved to the East Choir.

The coats of arms represent the Holy Roman Empire (a double-headed eagle with an inescutcheon of Austria/Burgundy and an Austrian escutcheon), the reigning Prince-Bishop of Bamberg, Georg Schenk III zu Limpurg, and thus the crucial imperial, municipal, and ecclesiastical institutions behind the Provostry of St. Sebald.

The four heraldic panels were created based on only two designs and each pair was counter-designed.

The author of the preliminary drawings is consistently identified as Hans von Kulmbach, who is also credited with the charming selection of ornamental border motifs featuring putti, dolphins, cornucopias, laurel festoons, vases, masks, skulls, strings of pearls, shells, figures in armor, helmets, and suits of armor.

Hartmut Scholz: Masterpieces of Stained Glass, St. Sebald in Nuremberg, Freiburg im Breisgau, 2007

Design: Hans von Kulmbach

Execution: Hans Hirsvogel (1514)

Series of four small grisaille panels with angels holding coats of arms, surrounded by a pale blue-green ornamental border. The series, a donation from Melchior Pfinzing, was originally intended for the newly constructed "Pfinzing Choir," but after its destruction in World War II, it was moved to the East Choir.

The coats of arms represent the Holy Roman Empire (a double-headed eagle with an inescutcheon of Austria/Burgundy and an Austrian escutcheon), the reigning Prince-Bishop of Bamberg, Georg Schenk III zu Limpurg, and thus the crucial imperial, municipal, and ecclesiastical institutions behind the Provostry of St. Sebald.

The four heraldic panels were created based on only two designs and each pair was counter-designed.

The author of the preliminary drawings is consistently identified as Hans von Kulmbach, who is also credited with the charming selection of ornamental border motifs featuring putti, dolphins, cornucopias, laurel festoons, vases, masks, skulls, strings of pearls, shells, figures in armor, helmets, and suits of armor.

Hartmut Scholz: Masterpieces of Stained Glass, St. Sebald in Nuremberg, Freiburg im Breisgau, 2007

Design: Hans von Kulmbach

Execution: Hans Hirsvogel (1514)

Series of four small grisaille panels with angels holding coats of arms, surrounded by a pale blue-green ornamental border. The series, a donation from Melchior Pfinzing, was originally intended for the newly constructed "Pfinzing Choir," but after its destruction in World War II, it was moved to the East Choir.

The coats of arms represent the Holy Roman Empire (a double-headed eagle with an inescutcheon of Austria/Burgundy and an Austrian escutcheon), the reigning Prince-Bishop of Bamberg, Georg Schenk III zu Limpurg, and thus the crucial imperial, municipal, and ecclesiastical institutions behind the Provostry of St. Sebald.

The four heraldic panels were created based on only two designs and each pair was counter-designed.

The author of the preliminary drawings is consistently identified as Hans von Kulmbach, who is also credited with the charming selection of ornamental border motifs featuring putti, dolphins, cornucopias, laurel festoons, vases, masks, skulls, strings of pearls, shells, figures in armor, helmets, and suits of armor.

Hartmut Scholz: Masterpieces of Stained Glass, St. Sebald in Nuremberg, Freiburg im Breisgau, 2007

Design: Hans von Kulmbach

Execution: Hans Hirsvogel (1514)

Series of four small grisaille panels with angels holding coats of arms, surrounded by a pale blue-green ornamental border. The series, a donation from Melchior Pfinzing, was originally intended for the newly constructed "Pfinzing Choir," but after its destruction in World War II, it was moved to the East Choir.

The coats of arms represent the Holy Roman Empire (a double-headed eagle with an inescutcheon of Austria/Burgundy and an Austrian escutcheon), the reigning Prince-Bishop of Bamberg, Georg Schenk III zu Limpurg, and thus the crucial imperial, municipal, and ecclesiastical institutions behind the Provostry of St. Sebald.

The four heraldic panels were created based on only two designs and each pair was counter-designed.

The author of the preliminary drawings is consistently identified as Hans von Kulmbach, who is also credited with the charming selection of ornamental border motifs featuring putti, dolphins, cornucopias, laurel festoons, vases, masks, skulls, strings of pearls, shells, figures in armor, helmets, and suits of armor.

Hartmut Scholz: Masterpieces of Stained Glass, St. Sebald in Nuremberg, Freiburg im Breisgau, 2007

Design: Hans von Kulmbach

Execution: Hans Hirsvogel (1514)

Series of four small grisaille panels with angels holding coats of arms, surrounded by a pale blue-green ornamental border. The series, a donation from Melchior Pfinzing, was originally intended for the newly constructed "Pfinzing Choir," but after its destruction in World War II, it was moved to the East Choir.

The coats of arms represent the Holy Roman Empire (a double-headed eagle with an inescutcheon of Austria/Burgundy and an Austrian escutcheon), the reigning Prince-Bishop of Bamberg, Georg Schenk III zu Limpurg, and thus the crucial imperial, municipal, and ecclesiastical institutions behind the Provostry of St. Sebald.

The four heraldic panels were created based on only two designs and each pair was counter-designed.

The author of the preliminary drawings is consistently identified as Hans von Kulmbach, who is also credited with the charming selection of ornamental border motifs featuring putti, dolphins, cornucopias, laurel festoons, vases, masks, skulls, strings of pearls, shells, figures in armor, helmets, and suits of armor.

Hartmut Scholz: Masterpieces of Stained Glass, St. Sebald in Nuremberg, Freiburg im Breisgau, 2007

Design: Hans von Kulmbach

Execution: Hans Hirsvogel (1514)

Series of four small grisaille panels with angels holding coats of arms, surrounded by a pale blue-green ornamental border. The series, a donation from Melchior Pfinzing, was originally intended for the newly constructed "Pfinzing Choir," but after its destruction in World War II, it was moved to the East Choir.

The coats of arms represent the Holy Roman Empire (a double-headed eagle with an inescutcheon of Austria/Burgundy and an Austrian escutcheon), the reigning Prince-Bishop of Bamberg, Georg Schenk III zu Limpurg, and thus the crucial imperial, municipal, and ecclesiastical institutions behind the Provostry of St. Sebald.

The four heraldic panels were created based on only two designs and each pair was counter-designed.

The author of the preliminary drawings is consistently identified as Hans von Kulmbach, who is also credited with the charming selection of ornamental border motifs featuring putti, dolphins, cornucopias, laurel festoons, vases, masks, skulls, strings of pearls, shells, figures in armor, helmets, and suits of armor.

Hartmut Scholz: Masterpieces of Stained Glass, St. Sebald in Nuremberg, Freiburg im Breisgau, 2007

Design: Hans von Kulmbach

Execution: Hans Hirsvogel (1514)

Series of four small grisaille panels with angels holding coats of arms, surrounded by a pale blue-green ornamental border. The series, a donation from Melchior Pfinzing, was originally intended for the newly constructed "Pfinzing Choir," but after its destruction in World War II, it was moved to the East Choir.

The coats of arms represent the Holy Roman Empire (a double-headed eagle with an inescutcheon of Austria/Burgundy and an Austrian escutcheon), the reigning Prince-Bishop of Bamberg, Georg Schenk III zu Limpurg, and thus the crucial imperial, municipal, and ecclesiastical institutions behind the Provostry of St. Sebald.

The four heraldic panels were created based on only two designs and each pair was counter-designed.

The author of the preliminary drawings is consistently identified as Hans von Kulmbach, who is also credited with the charming selection of ornamental border motifs featuring putti, dolphins, cornucopias, laurel festoons, vases, masks, skulls, strings of pearls, shells, figures in armor, helmets, and suits of armor.

Hartmut Scholz: Masterpieces of Stained Glass, St. Sebald in Nuremberg, Freiburg im Breisgau, 2007

Design: Hans von Kulmbach

Execution: Hans Hirsvogel (1514)

Series of four small grisaille panels with angels holding coats of arms, surrounded by a pale blue-green ornamental border. The series, a donation from Melchior Pfinzing, was originally intended for the newly constructed "Pfinzing Choir," but after its destruction in World War II, it was moved to the East Choir.

The coats of arms represent the Holy Roman Empire (a double-headed eagle with an inescutcheon of Austria/Burgundy and an Austrian escutcheon), the reigning Prince-Bishop of Bamberg, Georg Schenk III zu Limpurg, and thus the crucial imperial, municipal, and ecclesiastical institutions behind the Provostry of St. Sebald.

The four heraldic panels were created based on only two designs and each pair was counter-designed.

The author of the preliminary drawings is consistently identified as Hans von Kulmbach, who is also credited with the charming selection of ornamental border motifs featuring putti, dolphins, cornucopias, laurel festoons, vases, masks, skulls, strings of pearls, shells, figures in armor, helmets, and suits of armor.

Hartmut Scholz: Masterpieces of Stained Glass, St. Sebald in Nuremberg, Freiburg im Breisgau, 2007