Design: Hans von Kulmbach

Execution: Veit Hirsvogel (the younger /son of Veit Hirsvogel)

Also transferred to the east chancel of the vicarage after the war was a series with a total of three monolithic discs of angels holding coats of arms, dated 1517 and with the monogram VH - Veit Hirsvogel (meaning here the eldest son of the old Veit). This series of coats of arms was also based on design drawings by Hans von Kulmbach, one of which has been preserved in the collection of the École nationale supérieure des beaux-arts in Paris.

The signed and dated plate with the triple coat of arms under an open tent, crowned by the imperial crown, refers to Emperor Maximilian I. It shows, held by putti, the double-headed imperial eagle with the heart shield of Austria/Burgundy above, and the two full coats of arms of the Archduchy of Austria and the County of Tyrol below.

The four-part coat of arms Pfinzing/Grundherr, which is presented by an angel turned to the left, refers to the parents of the provost, Siegfrid Pfinzing von Henfenfeld (1514) and his wife Barbara née Grundherr, whose founder's image had already been depicted in a prominent position in the choir window s III in 1515.

The third coat of arms is also divided into four parts. (...) The depicted coat of arms alliance Eseler/Propstei St. Sebald is interpreted as an indication of a significant participation of the Eseler family, which died out in the 14th century, or of a member of the family in the new building and in the furnishing of the vicarage.

Hartmut Scholz: Masterpieces of Stained Glass, St. Sebald in Nuremberg, Freiburg i. Br., 2007

see also: Window sII 1 of the Sebalder Chörlein

Design: Hans von Kulmbach

Execution: Veit Hirsvogel (the younger /son of Veit Hirsvogel)

Also transferred to the east chancel of the vicarage after the war was a series with a total of three monolithic discs of angels holding coats of arms, dated 1517 and with the monogram VH - Veit Hirsvogel (meaning here the eldest son of the old Veit). This series of coats of arms was also based on design drawings by Hans von Kulmbach, one of which has been preserved in the collection of the École nationale supérieure des beaux-arts in Paris.

The signed and dated plate with the triple coat of arms under an open tent, crowned by the imperial crown, refers to Emperor Maximilian I. It shows, held by putti, the double-headed imperial eagle with the heart shield of Austria/Burgundy above, and the two full coats of arms of the Archduchy of Austria and the County of Tyrol below.

The four-part coat of arms Pfinzing/Grundherr, which is presented by an angel turned to the left, refers to the parents of the provost, Siegfrid Pfinzing von Henfenfeld (1514) and his wife Barbara née Grundherr, whose founder's image had already been depicted in a prominent position in the choir window s III in 1515.

The third coat of arms is also divided into four parts. (...) The depicted coat of arms alliance Eseler/Propstei St. Sebald is interpreted as an indication of a significant participation of the Eseler family, which died out in the 14th century, or of a member of the family in the new building and in the furnishing of the vicarage.

Hartmut Scholz: Masterpieces of Stained Glass, St. Sebald in Nuremberg, Freiburg i. Br., 2007

see also: Window sII 1 of the Sebalder Chörlein

Design: Hans von Kulmbach

Execution: Veit Hirsvogel (the younger /son of Veit Hirsvogel)

Also transferred to the east chancel of the vicarage after the war was a series with a total of three monolithic discs of angels holding coats of arms, dated 1517 and with the monogram VH - Veit Hirsvogel (meaning here the eldest son of the old Veit). This series of coats of arms was also based on design drawings by Hans von Kulmbach, one of which has been preserved in the collection of the École nationale supérieure des beaux-arts in Paris.

The signed and dated plate with the triple coat of arms under an open tent, crowned by the imperial crown, refers to Emperor Maximilian I. It shows, held by putti, the double-headed imperial eagle with the heart shield of Austria/Burgundy above, and the two full coats of arms of the Archduchy of Austria and the County of Tyrol below.

The four-part coat of arms Pfinzing/Grundherr, which is presented by an angel turned to the left, refers to the parents of the provost, Siegfrid Pfinzing von Henfenfeld (1514) and his wife Barbara née Grundherr, whose founder's image had already been depicted in a prominent position in the choir window s III in 1515.

The third coat of arms is also divided into four parts. (...) The depicted coat of arms alliance Eseler/Propstei St. Sebald is interpreted as an indication of a significant participation of the Eseler family, which died out in the 14th century, or of a member of the family in the new building and in the furnishing of the vicarage.

Hartmut Scholz: Masterpieces of Stained Glass, St. Sebald in Nuremberg, Freiburg i. Br., 2007

see also: Window sII 1 of the Sebalder Chörlein

Design: Hans von Kulmbach

Execution: Veit Hirsvogel (the younger /son of Veit Hirsvogel)

Also transferred to the east chancel of the vicarage after the war was a series with a total of three monolithic discs of angels holding coats of arms, dated 1517 and with the monogram VH - Veit Hirsvogel (meaning here the eldest son of the old Veit). This series of coats of arms was also based on design drawings by Hans von Kulmbach, one of which has been preserved in the collection of the École nationale supérieure des beaux-arts in Paris.

The signed and dated plate with the triple coat of arms under an open tent, crowned by the imperial crown, refers to Emperor Maximilian I. It shows, held by putti, the double-headed imperial eagle with the heart shield of Austria/Burgundy above, and the two full coats of arms of the Archduchy of Austria and the County of Tyrol below.

The four-part coat of arms Pfinzing/Grundherr, which is presented by an angel turned to the left, refers to the parents of the provost, Siegfrid Pfinzing von Henfenfeld (1514) and his wife Barbara née Grundherr, whose founder's image had already been depicted in a prominent position in the choir window s III in 1515.

The third coat of arms is also divided into four parts. (...) The depicted coat of arms alliance Eseler/Propstei St. Sebald is interpreted as an indication of a significant participation of the Eseler family, which died out in the 14th century, or of a member of the family in the new building and in the furnishing of the vicarage.

Hartmut Scholz: Masterpieces of Stained Glass, St. Sebald in Nuremberg, Freiburg i. Br., 2007

see also: Window sII 1 of the Sebalder Chörlein

Design: Hans von Kulmbach

Execution: Veit Hirsvogel (the younger /son of Veit Hirsvogel)

Also transferred to the east chancel of the vicarage after the war was a series with a total of three monolithic discs of angels holding coats of arms, dated 1517 and with the monogram VH - Veit Hirsvogel (meaning here the eldest son of the old Veit). This series of coats of arms was also based on design drawings by Hans von Kulmbach, one of which has been preserved in the collection of the École nationale supérieure des beaux-arts in Paris.

The signed and dated plate with the triple coat of arms under an open tent, crowned by the imperial crown, refers to Emperor Maximilian I. It shows, held by putti, the double-headed imperial eagle with the heart shield of Austria/Burgundy above, and the two full coats of arms of the Archduchy of Austria and the County of Tyrol below.

The four-part coat of arms Pfinzing/Grundherr, which is presented by an angel turned to the left, refers to the parents of the provost, Siegfrid Pfinzing von Henfenfeld (1514) and his wife Barbara née Grundherr, whose founder's image had already been depicted in a prominent position in the choir window s III in 1515.

The third coat of arms is also divided into four parts. (...) The depicted coat of arms alliance Eseler/Propstei St. Sebald is interpreted as an indication of a significant participation of the Eseler family, which died out in the 14th century, or of a member of the family in the new building and in the furnishing of the vicarage.

Hartmut Scholz: Masterpieces of Stained Glass, St. Sebald in Nuremberg, Freiburg i. Br., 2007

see also: Window sII 1 of the Sebalder Chörlein

Design: Hans von Kulmbach

Execution: Veit Hirsvogel (the younger /son of Veit Hirsvogel)

Also transferred to the east chancel of the vicarage after the war was a series with a total of three monolithic discs of angels holding coats of arms, dated 1517 and with the monogram VH - Veit Hirsvogel (meaning here the eldest son of the old Veit). This series of coats of arms was also based on design drawings by Hans von Kulmbach, one of which has been preserved in the collection of the École nationale supérieure des beaux-arts in Paris.

The signed and dated plate with the triple coat of arms under an open tent, crowned by the imperial crown, refers to Emperor Maximilian I. It shows, held by putti, the double-headed imperial eagle with the heart shield of Austria/Burgundy above, and the two full coats of arms of the Archduchy of Austria and the County of Tyrol below.

The four-part coat of arms Pfinzing/Grundherr, which is presented by an angel turned to the left, refers to the parents of the provost, Siegfrid Pfinzing von Henfenfeld (1514) and his wife Barbara née Grundherr, whose founder's image had already been depicted in a prominent position in the choir window s III in 1515.

The third coat of arms is also divided into four parts. (...) The depicted coat of arms alliance Eseler/Propstei St. Sebald is interpreted as an indication of a significant participation of the Eseler family, which died out in the 14th century, or of a member of the family in the new building and in the furnishing of the vicarage.

Hartmut Scholz: Masterpieces of Stained Glass, St. Sebald in Nuremberg, Freiburg i. Br., 2007

see also: Window sII 1 of the Sebalder Chörlein

Design: Hans von Kulmbach

Execution: Veit Hirsvogel (the younger /son of Veit Hirsvogel)

Also transferred to the east chancel of the vicarage after the war was a series with a total of three monolithic discs of angels holding coats of arms, dated 1517 and with the monogram VH - Veit Hirsvogel (meaning here the eldest son of the old Veit). This series of coats of arms was also based on design drawings by Hans von Kulmbach, one of which has been preserved in the collection of the École nationale supérieure des beaux-arts in Paris.

The signed and dated plate with the triple coat of arms under an open tent, crowned by the imperial crown, refers to Emperor Maximilian I. It shows, held by putti, the double-headed imperial eagle with the heart shield of Austria/Burgundy above, and the two full coats of arms of the Archduchy of Austria and the County of Tyrol below.

The four-part coat of arms Pfinzing/Grundherr, which is presented by an angel turned to the left, refers to the parents of the provost, Siegfrid Pfinzing von Henfenfeld (1514) and his wife Barbara née Grundherr, whose founder's image had already been depicted in a prominent position in the choir window s III in 1515.

The third coat of arms is also divided into four parts. (...) The depicted coat of arms alliance Eseler/Propstei St. Sebald is interpreted as an indication of a significant participation of the Eseler family, which died out in the 14th century, or of a member of the family in the new building and in the furnishing of the vicarage.

Hartmut Scholz: Masterpieces of Stained Glass, St. Sebald in Nuremberg, Freiburg i. Br., 2007

see also: Window sII 1 of the Sebalder Chörlein

Design: Hans von Kulmbach

Execution: Veit Hirsvogel (the younger /son of Veit Hirsvogel)

Also transferred to the east chancel of the vicarage after the war was a series with a total of three monolithic discs of angels holding coats of arms, dated 1517 and with the monogram VH - Veit Hirsvogel (meaning here the eldest son of the old Veit). This series of coats of arms was also based on design drawings by Hans von Kulmbach, one of which has been preserved in the collection of the École nationale supérieure des beaux-arts in Paris.

The signed and dated plate with the triple coat of arms under an open tent, crowned by the imperial crown, refers to Emperor Maximilian I. It shows, held by putti, the double-headed imperial eagle with the heart shield of Austria/Burgundy above, and the two full coats of arms of the Archduchy of Austria and the County of Tyrol below.

The four-part coat of arms Pfinzing/Grundherr, which is presented by an angel turned to the left, refers to the parents of the provost, Siegfrid Pfinzing von Henfenfeld (1514) and his wife Barbara née Grundherr, whose founder's image had already been depicted in a prominent position in the choir window s III in 1515.

The third coat of arms is also divided into four parts. (...) The depicted coat of arms alliance Eseler/Propstei St. Sebald is interpreted as an indication of a significant participation of the Eseler family, which died out in the 14th century, or of a member of the family in the new building and in the furnishing of the vicarage.

Hartmut Scholz: Masterpieces of Stained Glass, St. Sebald in Nuremberg, Freiburg i. Br., 2007

see also: Window sII 1 of the Sebalder Chörlein

Design: Hans von Kulmbach

Execution: Veit Hirsvogel (the younger /son of Veit Hirsvogel)

Also transferred to the east chancel of the vicarage after the war was a series with a total of three monolithic discs of angels holding coats of arms, dated 1517 and with the monogram VH - Veit Hirsvogel (meaning here the eldest son of the old Veit). This series of coats of arms was also based on design drawings by Hans von Kulmbach, one of which has been preserved in the collection of the École nationale supérieure des beaux-arts in Paris.

The signed and dated plate with the triple coat of arms under an open tent, crowned by the imperial crown, refers to Emperor Maximilian I. It shows, held by putti, the double-headed imperial eagle with the heart shield of Austria/Burgundy above, and the two full coats of arms of the Archduchy of Austria and the County of Tyrol below.

The four-part coat of arms Pfinzing/Grundherr, which is presented by an angel turned to the left, refers to the parents of the provost, Siegfrid Pfinzing von Henfenfeld (1514) and his wife Barbara née Grundherr, whose founder's image had already been depicted in a prominent position in the choir window s III in 1515.

The third coat of arms is also divided into four parts. (...) The depicted coat of arms alliance Eseler/Propstei St. Sebald is interpreted as an indication of a significant participation of the Eseler family, which died out in the 14th century, or of a member of the family in the new building and in the furnishing of the vicarage.

Hartmut Scholz: Masterpieces of Stained Glass, St. Sebald in Nuremberg, Freiburg i. Br., 2007

see also: Window sII 1 of the Sebalder Chörlein

Design: Hans von Kulmbach

Execution: Veit Hirsvogel (the younger /son of Veit Hirsvogel)

Also transferred to the east chancel of the vicarage after the war was a series with a total of three monolithic discs of angels holding coats of arms, dated 1517 and with the monogram VH - Veit Hirsvogel (meaning here the eldest son of the old Veit). This series of coats of arms was also based on design drawings by Hans von Kulmbach, one of which has been preserved in the collection of the École nationale supérieure des beaux-arts in Paris.

The signed and dated plate with the triple coat of arms under an open tent, crowned by the imperial crown, refers to Emperor Maximilian I. It shows, held by putti, the double-headed imperial eagle with the heart shield of Austria/Burgundy above, and the two full coats of arms of the Archduchy of Austria and the County of Tyrol below.

The four-part coat of arms Pfinzing/Grundherr, which is presented by an angel turned to the left, refers to the parents of the provost, Siegfrid Pfinzing von Henfenfeld (1514) and his wife Barbara née Grundherr, whose founder's image had already been depicted in a prominent position in the choir window s III in 1515.

The third coat of arms is also divided into four parts. (...) The depicted coat of arms alliance Eseler/Propstei St. Sebald is interpreted as an indication of a significant participation of the Eseler family, which died out in the 14th century, or of a member of the family in the new building and in the furnishing of the vicarage.

Hartmut Scholz: Masterpieces of Stained Glass, St. Sebald in Nuremberg, Freiburg i. Br., 2007

see also: Window sII 1 of the Sebalder Chörlein

Design: Hans von Kulmbach

Execution: Veit Hirsvogel (the younger /son of Veit Hirsvogel)

Also transferred to the east chancel of the vicarage after the war was a series with a total of three monolithic discs of angels holding coats of arms, dated 1517 and with the monogram VH - Veit Hirsvogel (meaning here the eldest son of the old Veit). This series of coats of arms was also based on design drawings by Hans von Kulmbach, one of which has been preserved in the collection of the École nationale supérieure des beaux-arts in Paris.

The signed and dated plate with the triple coat of arms under an open tent, crowned by the imperial crown, refers to Emperor Maximilian I. It shows, held by putti, the double-headed imperial eagle with the heart shield of Austria/Burgundy above, and the two full coats of arms of the Archduchy of Austria and the County of Tyrol below.

The four-part coat of arms Pfinzing/Grundherr, which is presented by an angel turned to the left, refers to the parents of the provost, Siegfrid Pfinzing von Henfenfeld (1514) and his wife Barbara née Grundherr, whose founder's image had already been depicted in a prominent position in the choir window s III in 1515.

The third coat of arms is also divided into four parts. (...) The depicted coat of arms alliance Eseler/Propstei St. Sebald is interpreted as an indication of a significant participation of the Eseler family, which died out in the 14th century, or of a member of the family in the new building and in the furnishing of the vicarage.

Hartmut Scholz: Masterpieces of Stained Glass, St. Sebald in Nuremberg, Freiburg i. Br., 2007

see also: Window sII 1 of the Sebalder Chörlein

Design: Hans von Kulmbach

Execution: Veit Hirsvogel (the younger /son of Veit Hirsvogel)

Also transferred to the east chancel of the vicarage after the war was a series with a total of three monolithic discs of angels holding coats of arms, dated 1517 and with the monogram VH - Veit Hirsvogel (meaning here the eldest son of the old Veit). This series of coats of arms was also based on design drawings by Hans von Kulmbach, one of which has been preserved in the collection of the École nationale supérieure des beaux-arts in Paris.

The signed and dated plate with the triple coat of arms under an open tent, crowned by the imperial crown, refers to Emperor Maximilian I. It shows, held by putti, the double-headed imperial eagle with the heart shield of Austria/Burgundy above, and the two full coats of arms of the Archduchy of Austria and the County of Tyrol below.

The four-part coat of arms Pfinzing/Grundherr, which is presented by an angel turned to the left, refers to the parents of the provost, Siegfrid Pfinzing von Henfenfeld (1514) and his wife Barbara née Grundherr, whose founder's image had already been depicted in a prominent position in the choir window s III in 1515.

The third coat of arms is also divided into four parts. (...) The depicted coat of arms alliance Eseler/Propstei St. Sebald is interpreted as an indication of a significant participation of the Eseler family, which died out in the 14th century, or of a member of the family in the new building and in the furnishing of the vicarage.

Hartmut Scholz: Masterpieces of Stained Glass, St. Sebald in Nuremberg, Freiburg i. Br., 2007

see also: Window sII 1 of the Sebalder Chörlein

Design: Hans von Kulmbach

Execution: Veit Hirsvogel (the younger /son of Veit Hirsvogel)

Also transferred to the east chancel of the vicarage after the war was a series with a total of three monolithic discs of angels holding coats of arms, dated 1517 and with the monogram VH - Veit Hirsvogel (meaning here the eldest son of the old Veit). This series of coats of arms was also based on design drawings by Hans von Kulmbach, one of which has been preserved in the collection of the École nationale supérieure des beaux-arts in Paris.

The signed and dated plate with the triple coat of arms under an open tent, crowned by the imperial crown, refers to Emperor Maximilian I. It shows, held by putti, the double-headed imperial eagle with the heart shield of Austria/Burgundy above, and the two full coats of arms of the Archduchy of Austria and the County of Tyrol below.

The four-part coat of arms Pfinzing/Grundherr, which is presented by an angel turned to the left, refers to the parents of the provost, Siegfrid Pfinzing von Henfenfeld (1514) and his wife Barbara née Grundherr, whose founder's image had already been depicted in a prominent position in the choir window s III in 1515.

The third coat of arms is also divided into four parts. (...) The depicted coat of arms alliance Eseler/Propstei St. Sebald is interpreted as an indication of a significant participation of the Eseler family, which died out in the 14th century, or of a member of the family in the new building and in the furnishing of the vicarage.

Hartmut Scholz: Masterpieces of Stained Glass, St. Sebald in Nuremberg, Freiburg i. Br., 2007

see also: Window sII 1 of the Sebalder Chörlein

Design: Hans von Kulmbach

Execution: Veit Hirsvogel (the younger /son of Veit Hirsvogel)

Also transferred to the east chancel of the vicarage after the war was a series with a total of three monolithic discs of angels holding coats of arms, dated 1517 and with the monogram VH - Veit Hirsvogel (meaning here the eldest son of the old Veit). This series of coats of arms was also based on design drawings by Hans von Kulmbach, one of which has been preserved in the collection of the École nationale supérieure des beaux-arts in Paris.

The signed and dated plate with the triple coat of arms under an open tent, crowned by the imperial crown, refers to Emperor Maximilian I. It shows, held by putti, the double-headed imperial eagle with the heart shield of Austria/Burgundy above, and the two full coats of arms of the Archduchy of Austria and the County of Tyrol below.

The four-part coat of arms Pfinzing/Grundherr, which is presented by an angel turned to the left, refers to the parents of the provost, Siegfrid Pfinzing von Henfenfeld (1514) and his wife Barbara née Grundherr, whose founder's image had already been depicted in a prominent position in the choir window s III in 1515.

The third coat of arms is also divided into four parts. (...) The depicted coat of arms alliance Eseler/Propstei St. Sebald is interpreted as an indication of a significant participation of the Eseler family, which died out in the 14th century, or of a member of the family in the new building and in the furnishing of the vicarage.

Hartmut Scholz: Masterpieces of Stained Glass, St. Sebald in Nuremberg, Freiburg i. Br., 2007

see also: Window sII 1 of the Sebalder Chörlein