A donation of Christoph VII Fürer von Haimendorf.

In 1718 the painting (from the workshop of the famous van Dyck) was used as an altar leaf for the Baroque high altar of the rebuilt Egidienkirche; at that time it was added to the sides by 7 cm and also in height and supplemented by Johann Daniel Preißler with a gloriole of clouds with angels.

Since 1959, the painting is located in the southern transept in a stucco frame.

see also: Church interior after Johann Adam Delsenbach

A donation of Christoph VII Fürer von Haimendorf.

In 1718 the painting (from the workshop of the famous van Dyck) was used as an altar leaf for the Baroque high altar of the rebuilt Egidienkirche; at that time it was added to the sides by 7 cm and also in height and supplemented by Johann Daniel Preißler with a gloriole of clouds with angels.

Since 1959, the painting is located in the southern transept in a stucco frame.

see also: Church interior after Johann Adam Delsenbach

A donation of Christoph VII Fürer von Haimendorf.

In 1718 the painting (from the workshop of the famous van Dyck) was used as an altar leaf for the Baroque high altar of the rebuilt Egidienkirche; at that time it was added to the sides by 7 cm and also in height and supplemented by Johann Daniel Preißler with a gloriole of clouds with angels.

Since 1959, the painting is located in the southern transept in a stucco frame.

see also: Church interior after Johann Adam Delsenbach

A donation of Christoph VII Fürer von Haimendorf.

In 1718 the painting (from the workshop of the famous van Dyck) was used as an altar leaf for the Baroque high altar of the rebuilt Egidienkirche; at that time it was added to the sides by 7 cm and also in height and supplemented by Johann Daniel Preißler with a gloriole of clouds with angels.

Since 1959, the painting is located in the southern transept in a stucco frame.

see also: Church interior after Johann Adam Delsenbach

A donation of Christoph VII Fürer von Haimendorf.

In 1718 the painting (from the workshop of the famous van Dyck) was used as an altar leaf for the Baroque high altar of the rebuilt Egidienkirche; at that time it was added to the sides by 7 cm and also in height and supplemented by Johann Daniel Preißler with a gloriole of clouds with angels.

Since 1959, the painting is located in the southern transept in a stucco frame.

see also: Church interior after Johann Adam Delsenbach

A donation of Christoph VII Fürer von Haimendorf.

In 1718 the painting (from the workshop of the famous van Dyck) was used as an altar leaf for the Baroque high altar of the rebuilt Egidienkirche; at that time it was added to the sides by 7 cm and also in height and supplemented by Johann Daniel Preißler with a gloriole of clouds with angels.

Since 1959, the painting is located in the southern transept in a stucco frame.

see also: Church interior after Johann Adam Delsenbach

A donation of Christoph VII Fürer von Haimendorf.

In 1718 the painting (from the workshop of the famous van Dyck) was used as an altar leaf for the Baroque high altar of the rebuilt Egidienkirche; at that time it was added to the sides by 7 cm and also in height and supplemented by Johann Daniel Preißler with a gloriole of clouds with angels.

Since 1959, the painting is located in the southern transept in a stucco frame.

see also: Church interior after Johann Adam Delsenbach

A donation of Christoph VII Fürer von Haimendorf.

In 1718 the painting (from the workshop of the famous van Dyck) was used as an altar leaf for the Baroque high altar of the rebuilt Egidienkirche; at that time it was added to the sides by 7 cm and also in height and supplemented by Johann Daniel Preißler with a gloriole of clouds with angels.

Since 1959, the painting is located in the southern transept in a stucco frame.

see also: Church interior after Johann Adam Delsenbach

A donation of Christoph VII Fürer von Haimendorf.

In 1718 the painting (from the workshop of the famous van Dyck) was used as an altar leaf for the Baroque high altar of the rebuilt Egidienkirche; at that time it was added to the sides by 7 cm and also in height and supplemented by Johann Daniel Preißler with a gloriole of clouds with angels.

Since 1959, the painting is located in the southern transept in a stucco frame.

see also: Church interior after Johann Adam Delsenbach

A donation of Christoph VII Fürer von Haimendorf.

In 1718 the painting (from the workshop of the famous van Dyck) was used as an altar leaf for the Baroque high altar of the rebuilt Egidienkirche; at that time it was added to the sides by 7 cm and also in height and supplemented by Johann Daniel Preißler with a gloriole of clouds with angels.

Since 1959, the painting is located in the southern transept in a stucco frame.

see also: Church interior after Johann Adam Delsenbach

A donation of Christoph VII Fürer von Haimendorf.

In 1718 the painting (from the workshop of the famous van Dyck) was used as an altar leaf for the Baroque high altar of the rebuilt Egidienkirche; at that time it was added to the sides by 7 cm and also in height and supplemented by Johann Daniel Preißler with a gloriole of clouds with angels.

Since 1959, the painting is located in the southern transept in a stucco frame.

see also: Church interior after Johann Adam Delsenbach

A donation of Christoph VII Fürer von Haimendorf.

In 1718 the painting (from the workshop of the famous van Dyck) was used as an altar leaf for the Baroque high altar of the rebuilt Egidienkirche; at that time it was added to the sides by 7 cm and also in height and supplemented by Johann Daniel Preißler with a gloriole of clouds with angels.

Since 1959, the painting is located in the southern transept in a stucco frame.

see also: Church interior after Johann Adam Delsenbach

A donation of Christoph VII Fürer von Haimendorf.

In 1718 the painting (from the workshop of the famous van Dyck) was used as an altar leaf for the Baroque high altar of the rebuilt Egidienkirche; at that time it was added to the sides by 7 cm and also in height and supplemented by Johann Daniel Preißler with a gloriole of clouds with angels.

Since 1959, the painting is located in the southern transept in a stucco frame.

see also: Church interior after Johann Adam Delsenbach

A donation of Christoph VII Fürer von Haimendorf.

In 1718 the painting (from the workshop of the famous van Dyck) was used as an altar leaf for the Baroque high altar of the rebuilt Egidienkirche; at that time it was added to the sides by 7 cm and also in height and supplemented by Johann Daniel Preißler with a gloriole of clouds with angels.

Since 1959, the painting is located in the southern transept in a stucco frame.

see also: Church interior after Johann Adam Delsenbach

A donation of Christoph VII Fürer von Haimendorf.

In 1718 the painting (from the workshop of the famous van Dyck) was used as an altar leaf for the Baroque high altar of the rebuilt Egidienkirche; at that time it was added to the sides by 7 cm and also in height and supplemented by Johann Daniel Preißler with a gloriole of clouds with angels.

Since 1959, the painting is located in the southern transept in a stucco frame.

see also: Church interior after Johann Adam Delsenbach

A donation of Christoph VII Fürer von Haimendorf.

In 1718 the painting (from the workshop of the famous van Dyck) was used as an altar leaf for the Baroque high altar of the rebuilt Egidienkirche; at that time it was added to the sides by 7 cm and also in height and supplemented by Johann Daniel Preißler with a gloriole of clouds with angels.

Since 1959, the painting is located in the southern transept in a stucco frame.

see also: Church interior after Johann Adam Delsenbach

A donation of Christoph VII Fürer von Haimendorf.

In 1718 the painting (from the workshop of the famous van Dyck) was used as an altar leaf for the Baroque high altar of the rebuilt Egidienkirche; at that time it was added to the sides by 7 cm and also in height and supplemented by Johann Daniel Preißler with a gloriole of clouds with angels.

Since 1959, the painting is located in the southern transept in a stucco frame.

see also: Church interior after Johann Adam Delsenbach