Donated by two unidentified Teutonic Knights. ... "The altarpiece has survived the ages in its original location, but underwent alterations in the late 17th century, some of which have since been partially reversed. The central panel was lost. Its general arrangement is based on the scheme of winged altarpieces from the first half of the 19th century. In two rows, one above the other, individual figures are painted in a varied Gothic decorative system. In the lower row, these figures are grouped thematically to depict the Annunciation and Coronation of the Virgin on the right, and the resurrected Christ with the three Marys at the empty tomb on the left. The apostles and prophets above each form groups of three within gables adorned with tracery. The outer panels, on a monumental scale rivaling that of murals, depict the beginning and end of Christ's earthly life, although the journey and adoration of the Magi on the left wing has been almost completely destroyed. (...)" Peter Strieder (Panel painting in Nuremberg, Königstein im Taunus, 1993) ______________________________________________

In the Three apostles, carved from red clay and painted in various colors, are enthroned on the predella of the high altar. They originated in a Nuremberg workshop around 1400 and were not brought to St. James' Church until 1824/25. They represent an "older apostle," Jude Thaddeus—both venerable, mature men with long beards—and a beardless, "youthful apostle." On the far left sits John the Baptist with the lamb, a figure carved from linden wood decades later. These clay sculptures, in the Soft Style, originally belonged to a Last Supper scene. Six of them have been in the Germanisches Nationalmuseum since 1882; three apostles and the figure of Christ were lost. The figures are slightly turned away from their frontal position, facing the missing Christ in the center. They are dressed in softly draped garments, the fabric of which models the individual body parts in different ways: sometimes smoothly, sometimes with lavish folds and richly articulated hems. .

Robert Leyh St. Jakob, Nuremberg, Schnell & Steiner, Art Guide No. 1699, Regensburg 2006

Donated by two unidentified Teutonic Knights. ... "The altarpiece has survived the ages in its original location, but underwent alterations in the late 17th century, some of which have since been partially reversed. The central panel was lost. Its general arrangement is based on the scheme of winged altarpieces from the first half of the 19th century. In two rows, one above the other, individual figures are painted in a varied Gothic decorative system. In the lower row, these figures are grouped thematically to depict the Annunciation and Coronation of the Virgin on the right, and the resurrected Christ with the three Marys at the empty tomb on the left. The apostles and prophets above each form groups of three within gables adorned with tracery. The outer panels, on a monumental scale rivaling that of murals, depict the beginning and end of Christ's earthly life, although the journey and adoration of the Magi on the left wing has been almost completely destroyed. (...)" Peter Strieder (Panel painting in Nuremberg, Königstein im Taunus, 1993) ______________________________________________

In the Three apostles, carved from red clay and painted in various colors, are enthroned on the predella of the high altar. They originated in a Nuremberg workshop around 1400 and were not brought to St. James' Church until 1824/25. They represent an "older apostle," Jude Thaddeus—both venerable, mature men with long beards—and a beardless, "youthful apostle." On the far left sits John the Baptist with the lamb, a figure carved from linden wood decades later. These clay sculptures, in the Soft Style, originally belonged to a Last Supper scene. Six of them have been in the Germanisches Nationalmuseum since 1882; three apostles and the figure of Christ were lost. The figures are slightly turned away from their frontal position, facing the missing Christ in the center. They are dressed in softly draped garments, the fabric of which models the individual body parts in different ways: sometimes smoothly, sometimes with lavish folds and richly articulated hems. .

Robert Leyh St. Jakob, Nuremberg, Schnell & Steiner, Art Guide No. 1699, Regensburg 2006

Donated by two unidentified Teutonic Knights. ... "The altarpiece has survived the ages in its original location, but underwent alterations in the late 17th century, some of which have since been partially reversed. The central panel was lost. Its general arrangement is based on the scheme of winged altarpieces from the first half of the 19th century. In two rows, one above the other, individual figures are painted in a varied Gothic decorative system. In the lower row, these figures are grouped thematically to depict the Annunciation and Coronation of the Virgin on the right, and the resurrected Christ with the three Marys at the empty tomb on the left. The apostles and prophets above each form groups of three within gables adorned with tracery. The outer panels, on a monumental scale rivaling that of murals, depict the beginning and end of Christ's earthly life, although the journey and adoration of the Magi on the left wing has been almost completely destroyed. (...)" Peter Strieder (Panel painting in Nuremberg, Königstein im Taunus, 1993) ______________________________________________

In the Three apostles, carved from red clay and painted in various colors, are enthroned on the predella of the high altar. They originated in a Nuremberg workshop around 1400 and were not brought to St. James' Church until 1824/25. They represent an "older apostle," Jude Thaddeus—both venerable, mature men with long beards—and a beardless, "youthful apostle." On the far left sits John the Baptist with the lamb, a figure carved from linden wood decades later. These clay sculptures, in the Soft Style, originally belonged to a Last Supper scene. Six of them have been in the Germanisches Nationalmuseum since 1882; three apostles and the figure of Christ were lost. The figures are slightly turned away from their frontal position, facing the missing Christ in the center. They are dressed in softly draped garments, the fabric of which models the individual body parts in different ways: sometimes smoothly, sometimes with lavish folds and richly articulated hems. .

Robert Leyh St. Jakob, Nuremberg, Schnell & Steiner, Art Guide No. 1699, Regensburg 2006

Donated by two unidentified Teutonic Knights. ... "The altarpiece has survived the ages in its original location, but underwent alterations in the late 17th century, some of which have since been partially reversed. The central panel was lost. Its general arrangement is based on the scheme of winged altarpieces from the first half of the 19th century. In two rows, one above the other, individual figures are painted in a varied Gothic decorative system. In the lower row, these figures are grouped thematically to depict the Annunciation and Coronation of the Virgin on the right, and the resurrected Christ with the three Marys at the empty tomb on the left. The apostles and prophets above each form groups of three within gables adorned with tracery. The outer panels, on a monumental scale rivaling that of murals, depict the beginning and end of Christ's earthly life, although the journey and adoration of the Magi on the left wing has been almost completely destroyed. (...)" Peter Strieder (Panel painting in Nuremberg, Königstein im Taunus, 1993) ______________________________________________

In the Three apostles, carved from red clay and painted in various colors, are enthroned on the predella of the high altar. They originated in a Nuremberg workshop around 1400 and were not brought to St. James' Church until 1824/25. They represent an "older apostle," Jude Thaddeus—both venerable, mature men with long beards—and a beardless, "youthful apostle." On the far left sits John the Baptist with the lamb, a figure carved from linden wood decades later. These clay sculptures, in the Soft Style, originally belonged to a Last Supper scene. Six of them have been in the Germanisches Nationalmuseum since 1882; three apostles and the figure of Christ were lost. The figures are slightly turned away from their frontal position, facing the missing Christ in the center. They are dressed in softly draped garments, the fabric of which models the individual body parts in different ways: sometimes smoothly, sometimes with lavish folds and richly articulated hems. .

Robert Leyh St. Jakob, Nuremberg, Schnell & Steiner, Art Guide No. 1699, Regensburg 2006

Donated by two unidentified Teutonic Knights. ... "The altarpiece has survived the ages in its original location, but underwent alterations in the late 17th century, some of which have since been partially reversed. The central panel was lost. Its general arrangement is based on the scheme of winged altarpieces from the first half of the 19th century. In two rows, one above the other, individual figures are painted in a varied Gothic decorative system. In the lower row, these figures are grouped thematically to depict the Annunciation and Coronation of the Virgin on the right, and the resurrected Christ with the three Marys at the empty tomb on the left. The apostles and prophets above each form groups of three within gables adorned with tracery. The outer panels, on a monumental scale rivaling that of murals, depict the beginning and end of Christ's earthly life, although the journey and adoration of the Magi on the left wing has been almost completely destroyed. (...)" Peter Strieder (Panel painting in Nuremberg, Königstein im Taunus, 1993) ______________________________________________

In the Three apostles, carved from red clay and painted in various colors, are enthroned on the predella of the high altar. They originated in a Nuremberg workshop around 1400 and were not brought to St. James' Church until 1824/25. They represent an "older apostle," Jude Thaddeus—both venerable, mature men with long beards—and a beardless, "youthful apostle." On the far left sits John the Baptist with the lamb, a figure carved from linden wood decades later. These clay sculptures, in the Soft Style, originally belonged to a Last Supper scene. Six of them have been in the Germanisches Nationalmuseum since 1882; three apostles and the figure of Christ were lost. The figures are slightly turned away from their frontal position, facing the missing Christ in the center. They are dressed in softly draped garments, the fabric of which models the individual body parts in different ways: sometimes smoothly, sometimes with lavish folds and richly articulated hems. .

Robert Leyh St. Jakob, Nuremberg, Schnell & Steiner, Art Guide No. 1699, Regensburg 2006

Donated by two unidentified Teutonic Knights. ... "The altarpiece has survived the ages in its original location, but underwent alterations in the late 17th century, some of which have since been partially reversed. The central panel was lost. Its general arrangement is based on the scheme of winged altarpieces from the first half of the 19th century. In two rows, one above the other, individual figures are painted in a varied Gothic decorative system. In the lower row, these figures are grouped thematically to depict the Annunciation and Coronation of the Virgin on the right, and the resurrected Christ with the three Marys at the empty tomb on the left. The apostles and prophets above each form groups of three within gables adorned with tracery. The outer panels, on a monumental scale rivaling that of murals, depict the beginning and end of Christ's earthly life, although the journey and adoration of the Magi on the left wing has been almost completely destroyed. (...)" Peter Strieder (Panel painting in Nuremberg, Königstein im Taunus, 1993) ______________________________________________

In the Three apostles, carved from red clay and painted in various colors, are enthroned on the predella of the high altar. They originated in a Nuremberg workshop around 1400 and were not brought to St. James' Church until 1824/25. They represent an "older apostle," Jude Thaddeus—both venerable, mature men with long beards—and a beardless, "youthful apostle." On the far left sits John the Baptist with the lamb, a figure carved from linden wood decades later. These clay sculptures, in the Soft Style, originally belonged to a Last Supper scene. Six of them have been in the Germanisches Nationalmuseum since 1882; three apostles and the figure of Christ were lost. The figures are slightly turned away from their frontal position, facing the missing Christ in the center. They are dressed in softly draped garments, the fabric of which models the individual body parts in different ways: sometimes smoothly, sometimes with lavish folds and richly articulated hems. .

Robert Leyh St. Jakob, Nuremberg, Schnell & Steiner, Art Guide No. 1699, Regensburg 2006

Donated by two unidentified Teutonic Knights. ... "The altarpiece has survived the ages in its original location, but underwent alterations in the late 17th century, some of which have since been partially reversed. The central panel was lost. Its general arrangement is based on the scheme of winged altarpieces from the first half of the 19th century. In two rows, one above the other, individual figures are painted in a varied Gothic decorative system. In the lower row, these figures are grouped thematically to depict the Annunciation and Coronation of the Virgin on the right, and the resurrected Christ with the three Marys at the empty tomb on the left. The apostles and prophets above each form groups of three within gables adorned with tracery. The outer panels, on a monumental scale rivaling that of murals, depict the beginning and end of Christ's earthly life, although the journey and adoration of the Magi on the left wing has been almost completely destroyed. (...)" Peter Strieder (Panel painting in Nuremberg, Königstein im Taunus, 1993) ______________________________________________

In the Three apostles, carved from red clay and painted in various colors, are enthroned on the predella of the high altar. They originated in a Nuremberg workshop around 1400 and were not brought to St. James' Church until 1824/25. They represent an "older apostle," Jude Thaddeus—both venerable, mature men with long beards—and a beardless, "youthful apostle." On the far left sits John the Baptist with the lamb, a figure carved from linden wood decades later. These clay sculptures, in the Soft Style, originally belonged to a Last Supper scene. Six of them have been in the Germanisches Nationalmuseum since 1882; three apostles and the figure of Christ were lost. The figures are slightly turned away from their frontal position, facing the missing Christ in the center. They are dressed in softly draped garments, the fabric of which models the individual body parts in different ways: sometimes smoothly, sometimes with lavish folds and richly articulated hems. .

Robert Leyh St. Jakob, Nuremberg, Schnell & Steiner, Art Guide No. 1699, Regensburg 2006

Donated by two unidentified Teutonic Knights. ... "The altarpiece has survived the ages in its original location, but underwent alterations in the late 17th century, some of which have since been partially reversed. The central panel was lost. Its general arrangement is based on the scheme of winged altarpieces from the first half of the 19th century. In two rows, one above the other, individual figures are painted in a varied Gothic decorative system. In the lower row, these figures are grouped thematically to depict the Annunciation and Coronation of the Virgin on the right, and the resurrected Christ with the three Marys at the empty tomb on the left. The apostles and prophets above each form groups of three within gables adorned with tracery. The outer panels, on a monumental scale rivaling that of murals, depict the beginning and end of Christ's earthly life, although the journey and adoration of the Magi on the left wing has been almost completely destroyed. (...)" Peter Strieder (Panel painting in Nuremberg, Königstein im Taunus, 1993) ______________________________________________

In the Three apostles, carved from red clay and painted in various colors, are enthroned on the predella of the high altar. They originated in a Nuremberg workshop around 1400 and were not brought to St. James' Church until 1824/25. They represent an "older apostle," Jude Thaddeus—both venerable, mature men with long beards—and a beardless, "youthful apostle." On the far left sits John the Baptist with the lamb, a figure carved from linden wood decades later. These clay sculptures, in the Soft Style, originally belonged to a Last Supper scene. Six of them have been in the Germanisches Nationalmuseum since 1882; three apostles and the figure of Christ were lost. The figures are slightly turned away from their frontal position, facing the missing Christ in the center. They are dressed in softly draped garments, the fabric of which models the individual body parts in different ways: sometimes smoothly, sometimes with lavish folds and richly articulated hems. .

Robert Leyh St. Jakob, Nuremberg, Schnell & Steiner, Art Guide No. 1699, Regensburg 2006

Donated by two unidentified Teutonic Knights. ... "The altarpiece has survived the ages in its original location, but underwent alterations in the late 17th century, some of which have since been partially reversed. The central panel was lost. Its general arrangement is based on the scheme of winged altarpieces from the first half of the 19th century. In two rows, one above the other, individual figures are painted in a varied Gothic decorative system. In the lower row, these figures are grouped thematically to depict the Annunciation and Coronation of the Virgin on the right, and the resurrected Christ with the three Marys at the empty tomb on the left. The apostles and prophets above each form groups of three within gables adorned with tracery. The outer panels, on a monumental scale rivaling that of murals, depict the beginning and end of Christ's earthly life, although the journey and adoration of the Magi on the left wing has been almost completely destroyed. (...)" Peter Strieder (Panel painting in Nuremberg, Königstein im Taunus, 1993) ______________________________________________

In the Three apostles, carved from red clay and painted in various colors, are enthroned on the predella of the high altar. They originated in a Nuremberg workshop around 1400 and were not brought to St. James' Church until 1824/25. They represent an "older apostle," Jude Thaddeus—both venerable, mature men with long beards—and a beardless, "youthful apostle." On the far left sits John the Baptist with the lamb, a figure carved from linden wood decades later. These clay sculptures, in the Soft Style, originally belonged to a Last Supper scene. Six of them have been in the Germanisches Nationalmuseum since 1882; three apostles and the figure of Christ were lost. The figures are slightly turned away from their frontal position, facing the missing Christ in the center. They are dressed in softly draped garments, the fabric of which models the individual body parts in different ways: sometimes smoothly, sometimes with lavish folds and richly articulated hems. .

Robert Leyh St. Jakob, Nuremberg, Schnell & Steiner, Art Guide No. 1699, Regensburg 2006

Donated by two unidentified Teutonic Knights. ... "The altarpiece has survived the ages in its original location, but underwent alterations in the late 17th century, some of which have since been partially reversed. The central panel was lost. Its general arrangement is based on the scheme of winged altarpieces from the first half of the 19th century. In two rows, one above the other, individual figures are painted in a varied Gothic decorative system. In the lower row, these figures are grouped thematically to depict the Annunciation and Coronation of the Virgin on the right, and the resurrected Christ with the three Marys at the empty tomb on the left. The apostles and prophets above each form groups of three within gables adorned with tracery. The outer panels, on a monumental scale rivaling that of murals, depict the beginning and end of Christ's earthly life, although the journey and adoration of the Magi on the left wing has been almost completely destroyed. (...)" Peter Strieder (Panel painting in Nuremberg, Königstein im Taunus, 1993) ______________________________________________

In the Three apostles, carved from red clay and painted in various colors, are enthroned on the predella of the high altar. They originated in a Nuremberg workshop around 1400 and were not brought to St. James' Church until 1824/25. They represent an "older apostle," Jude Thaddeus—both venerable, mature men with long beards—and a beardless, "youthful apostle." On the far left sits John the Baptist with the lamb, a figure carved from linden wood decades later. These clay sculptures, in the Soft Style, originally belonged to a Last Supper scene. Six of them have been in the Germanisches Nationalmuseum since 1882; three apostles and the figure of Christ were lost. The figures are slightly turned away from their frontal position, facing the missing Christ in the center. They are dressed in softly draped garments, the fabric of which models the individual body parts in different ways: sometimes smoothly, sometimes with lavish folds and richly articulated hems. .

Robert Leyh St. Jakob, Nuremberg, Schnell & Steiner, Art Guide No. 1699, Regensburg 2006

Donated by two unidentified Teutonic Knights. ... "The altarpiece has survived the ages in its original location, but underwent alterations in the late 17th century, some of which have since been partially reversed. The central panel was lost. Its general arrangement is based on the scheme of winged altarpieces from the first half of the 19th century. In two rows, one above the other, individual figures are painted in a varied Gothic decorative system. In the lower row, these figures are grouped thematically to depict the Annunciation and Coronation of the Virgin on the right, and the resurrected Christ with the three Marys at the empty tomb on the left. The apostles and prophets above each form groups of three within gables adorned with tracery. The outer panels, on a monumental scale rivaling that of murals, depict the beginning and end of Christ's earthly life, although the journey and adoration of the Magi on the left wing has been almost completely destroyed. (...)" Peter Strieder (Panel painting in Nuremberg, Königstein im Taunus, 1993) ______________________________________________

In the Three apostles, carved from red clay and painted in various colors, are enthroned on the predella of the high altar. They originated in a Nuremberg workshop around 1400 and were not brought to St. James' Church until 1824/25. They represent an "older apostle," Jude Thaddeus—both venerable, mature men with long beards—and a beardless, "youthful apostle." On the far left sits John the Baptist with the lamb, a figure carved from linden wood decades later. These clay sculptures, in the Soft Style, originally belonged to a Last Supper scene. Six of them have been in the Germanisches Nationalmuseum since 1882; three apostles and the figure of Christ were lost. The figures are slightly turned away from their frontal position, facing the missing Christ in the center. They are dressed in softly draped garments, the fabric of which models the individual body parts in different ways: sometimes smoothly, sometimes with lavish folds and richly articulated hems. .

Robert Leyh St. Jakob, Nuremberg, Schnell & Steiner, Art Guide No. 1699, Regensburg 2006

Donated by two unidentified Teutonic Knights. ... "The altarpiece has survived the ages in its original location, but underwent alterations in the late 17th century, some of which have since been partially reversed. The central panel was lost. Its general arrangement is based on the scheme of winged altarpieces from the first half of the 19th century. In two rows, one above the other, individual figures are painted in a varied Gothic decorative system. In the lower row, these figures are grouped thematically to depict the Annunciation and Coronation of the Virgin on the right, and the resurrected Christ with the three Marys at the empty tomb on the left. The apostles and prophets above each form groups of three within gables adorned with tracery. The outer panels, on a monumental scale rivaling that of murals, depict the beginning and end of Christ's earthly life, although the journey and adoration of the Magi on the left wing has been almost completely destroyed. (...)" Peter Strieder (Panel painting in Nuremberg, Königstein im Taunus, 1993) ______________________________________________

In the Three apostles, carved from red clay and painted in various colors, are enthroned on the predella of the high altar. They originated in a Nuremberg workshop around 1400 and were not brought to St. James' Church until 1824/25. They represent an "older apostle," Jude Thaddeus—both venerable, mature men with long beards—and a beardless, "youthful apostle." On the far left sits John the Baptist with the lamb, a figure carved from linden wood decades later. These clay sculptures, in the Soft Style, originally belonged to a Last Supper scene. Six of them have been in the Germanisches Nationalmuseum since 1882; three apostles and the figure of Christ were lost. The figures are slightly turned away from their frontal position, facing the missing Christ in the center. They are dressed in softly draped garments, the fabric of which models the individual body parts in different ways: sometimes smoothly, sometimes with lavish folds and richly articulated hems. .

Robert Leyh St. Jakob, Nuremberg, Schnell & Steiner, Art Guide No. 1699, Regensburg 2006

Donated by two unidentified Teutonic Knights. ... "The altarpiece has survived the ages in its original location, but underwent alterations in the late 17th century, some of which have since been partially reversed. The central panel was lost. Its general arrangement is based on the scheme of winged altarpieces from the first half of the 19th century. In two rows, one above the other, individual figures are painted in a varied Gothic decorative system. In the lower row, these figures are grouped thematically to depict the Annunciation and Coronation of the Virgin on the right, and the resurrected Christ with the three Marys at the empty tomb on the left. The apostles and prophets above each form groups of three within gables adorned with tracery. The outer panels, on a monumental scale rivaling that of murals, depict the beginning and end of Christ's earthly life, although the journey and adoration of the Magi on the left wing has been almost completely destroyed. (...)" Peter Strieder (Panel painting in Nuremberg, Königstein im Taunus, 1993) ______________________________________________

In the Three apostles, carved from red clay and painted in various colors, are enthroned on the predella of the high altar. They originated in a Nuremberg workshop around 1400 and were not brought to St. James' Church until 1824/25. They represent an "older apostle," Jude Thaddeus—both venerable, mature men with long beards—and a beardless, "youthful apostle." On the far left sits John the Baptist with the lamb, a figure carved from linden wood decades later. These clay sculptures, in the Soft Style, originally belonged to a Last Supper scene. Six of them have been in the Germanisches Nationalmuseum since 1882; three apostles and the figure of Christ were lost. The figures are slightly turned away from their frontal position, facing the missing Christ in the center. They are dressed in softly draped garments, the fabric of which models the individual body parts in different ways: sometimes smoothly, sometimes with lavish folds and richly articulated hems. .

Robert Leyh St. Jakob, Nuremberg, Schnell & Steiner, Art Guide No. 1699, Regensburg 2006

Donated by two unidentified Teutonic Knights. ... "The altarpiece has survived the ages in its original location, but underwent alterations in the late 17th century, some of which have since been partially reversed. The central panel was lost. Its general arrangement is based on the scheme of winged altarpieces from the first half of the 19th century. In two rows, one above the other, individual figures are painted in a varied Gothic decorative system. In the lower row, these figures are grouped thematically to depict the Annunciation and Coronation of the Virgin on the right, and the resurrected Christ with the three Marys at the empty tomb on the left. The apostles and prophets above each form groups of three within gables adorned with tracery. The outer panels, on a monumental scale rivaling that of murals, depict the beginning and end of Christ's earthly life, although the journey and adoration of the Magi on the left wing has been almost completely destroyed. (...)" Peter Strieder (Panel painting in Nuremberg, Königstein im Taunus, 1993) ______________________________________________

In the Three apostles, carved from red clay and painted in various colors, are enthroned on the predella of the high altar. They originated in a Nuremberg workshop around 1400 and were not brought to St. James' Church until 1824/25. They represent an "older apostle," Jude Thaddeus—both venerable, mature men with long beards—and a beardless, "youthful apostle." On the far left sits John the Baptist with the lamb, a figure carved from linden wood decades later. These clay sculptures, in the Soft Style, originally belonged to a Last Supper scene. Six of them have been in the Germanisches Nationalmuseum since 1882; three apostles and the figure of Christ were lost. The figures are slightly turned away from their frontal position, facing the missing Christ in the center. They are dressed in softly draped garments, the fabric of which models the individual body parts in different ways: sometimes smoothly, sometimes with lavish folds and richly articulated hems. .

Robert Leyh St. Jakob, Nuremberg, Schnell & Steiner, Art Guide No. 1699, Regensburg 2006

Donated by two unidentified Teutonic Knights. ... "The altarpiece has survived the ages in its original location, but underwent alterations in the late 17th century, some of which have since been partially reversed. The central panel was lost. Its general arrangement is based on the scheme of winged altarpieces from the first half of the 19th century. In two rows, one above the other, individual figures are painted in a varied Gothic decorative system. In the lower row, these figures are grouped thematically to depict the Annunciation and Coronation of the Virgin on the right, and the resurrected Christ with the three Marys at the empty tomb on the left. The apostles and prophets above each form groups of three within gables adorned with tracery. The outer panels, on a monumental scale rivaling that of murals, depict the beginning and end of Christ's earthly life, although the journey and adoration of the Magi on the left wing has been almost completely destroyed. (...)" Peter Strieder (Panel painting in Nuremberg, Königstein im Taunus, 1993) ______________________________________________

In the Three apostles, carved from red clay and painted in various colors, are enthroned on the predella of the high altar. They originated in a Nuremberg workshop around 1400 and were not brought to St. James' Church until 1824/25. They represent an "older apostle," Jude Thaddeus—both venerable, mature men with long beards—and a beardless, "youthful apostle." On the far left sits John the Baptist with the lamb, a figure carved from linden wood decades later. These clay sculptures, in the Soft Style, originally belonged to a Last Supper scene. Six of them have been in the Germanisches Nationalmuseum since 1882; three apostles and the figure of Christ were lost. The figures are slightly turned away from their frontal position, facing the missing Christ in the center. They are dressed in softly draped garments, the fabric of which models the individual body parts in different ways: sometimes smoothly, sometimes with lavish folds and richly articulated hems. .

Robert Leyh St. Jakob, Nuremberg, Schnell & Steiner, Art Guide No. 1699, Regensburg 2006

Donated by two unidentified Teutonic Knights. ... "The altarpiece has survived the ages in its original location, but underwent alterations in the late 17th century, some of which have since been partially reversed. The central panel was lost. Its general arrangement is based on the scheme of winged altarpieces from the first half of the 19th century. In two rows, one above the other, individual figures are painted in a varied Gothic decorative system. In the lower row, these figures are grouped thematically to depict the Annunciation and Coronation of the Virgin on the right, and the resurrected Christ with the three Marys at the empty tomb on the left. The apostles and prophets above each form groups of three within gables adorned with tracery. The outer panels, on a monumental scale rivaling that of murals, depict the beginning and end of Christ's earthly life, although the journey and adoration of the Magi on the left wing has been almost completely destroyed. (...)" Peter Strieder (Panel painting in Nuremberg, Königstein im Taunus, 1993) ______________________________________________

In the Three apostles, carved from red clay and painted in various colors, are enthroned on the predella of the high altar. They originated in a Nuremberg workshop around 1400 and were not brought to St. James' Church until 1824/25. They represent an "older apostle," Jude Thaddeus—both venerable, mature men with long beards—and a beardless, "youthful apostle." On the far left sits John the Baptist with the lamb, a figure carved from linden wood decades later. These clay sculptures, in the Soft Style, originally belonged to a Last Supper scene. Six of them have been in the Germanisches Nationalmuseum since 1882; three apostles and the figure of Christ were lost. The figures are slightly turned away from their frontal position, facing the missing Christ in the center. They are dressed in softly draped garments, the fabric of which models the individual body parts in different ways: sometimes smoothly, sometimes with lavish folds and richly articulated hems. .

Robert Leyh St. Jakob, Nuremberg, Schnell & Steiner, Art Guide No. 1699, Regensburg 2006

Donated by two unidentified Teutonic Knights. ... "The altarpiece has survived the ages in its original location, but underwent alterations in the late 17th century, some of which have since been partially reversed. The central panel was lost. Its general arrangement is based on the scheme of winged altarpieces from the first half of the 19th century. In two rows, one above the other, individual figures are painted in a varied Gothic decorative system. In the lower row, these figures are grouped thematically to depict the Annunciation and Coronation of the Virgin on the right, and the resurrected Christ with the three Marys at the empty tomb on the left. The apostles and prophets above each form groups of three within gables adorned with tracery. The outer panels, on a monumental scale rivaling that of murals, depict the beginning and end of Christ's earthly life, although the journey and adoration of the Magi on the left wing has been almost completely destroyed. (...)" Peter Strieder (Panel painting in Nuremberg, Königstein im Taunus, 1993) ______________________________________________

In the Three apostles, carved from red clay and painted in various colors, are enthroned on the predella of the high altar. They originated in a Nuremberg workshop around 1400 and were not brought to St. James' Church until 1824/25. They represent an "older apostle," Jude Thaddeus—both venerable, mature men with long beards—and a beardless, "youthful apostle." On the far left sits John the Baptist with the lamb, a figure carved from linden wood decades later. These clay sculptures, in the Soft Style, originally belonged to a Last Supper scene. Six of them have been in the Germanisches Nationalmuseum since 1882; three apostles and the figure of Christ were lost. The figures are slightly turned away from their frontal position, facing the missing Christ in the center. They are dressed in softly draped garments, the fabric of which models the individual body parts in different ways: sometimes smoothly, sometimes with lavish folds and richly articulated hems. .

Robert Leyh St. Jakob, Nuremberg, Schnell & Steiner, Art Guide No. 1699, Regensburg 2006

Donated by two unidentified Teutonic Knights. ... "The altarpiece has survived the ages in its original location, but underwent alterations in the late 17th century, some of which have since been partially reversed. The central panel was lost. Its general arrangement is based on the scheme of winged altarpieces from the first half of the 19th century. In two rows, one above the other, individual figures are painted in a varied Gothic decorative system. In the lower row, these figures are grouped thematically to depict the Annunciation and Coronation of the Virgin on the right, and the resurrected Christ with the three Marys at the empty tomb on the left. The apostles and prophets above each form groups of three within gables adorned with tracery. The outer panels, on a monumental scale rivaling that of murals, depict the beginning and end of Christ's earthly life, although the journey and adoration of the Magi on the left wing has been almost completely destroyed. (...)" Peter Strieder (Panel painting in Nuremberg, Königstein im Taunus, 1993) ______________________________________________

In the Three apostles, carved from red clay and painted in various colors, are enthroned on the predella of the high altar. They originated in a Nuremberg workshop around 1400 and were not brought to St. James' Church until 1824/25. They represent an "older apostle," Jude Thaddeus—both venerable, mature men with long beards—and a beardless, "youthful apostle." On the far left sits John the Baptist with the lamb, a figure carved from linden wood decades later. These clay sculptures, in the Soft Style, originally belonged to a Last Supper scene. Six of them have been in the Germanisches Nationalmuseum since 1882; three apostles and the figure of Christ were lost. The figures are slightly turned away from their frontal position, facing the missing Christ in the center. They are dressed in softly draped garments, the fabric of which models the individual body parts in different ways: sometimes smoothly, sometimes with lavish folds and richly articulated hems. .

Robert Leyh St. Jakob, Nuremberg, Schnell & Steiner, Art Guide No. 1699, Regensburg 2006

Donated by two unidentified Teutonic Knights. ... "The altarpiece has survived the ages in its original location, but underwent alterations in the late 17th century, some of which have since been partially reversed. The central panel was lost. Its general arrangement is based on the scheme of winged altarpieces from the first half of the 19th century. In two rows, one above the other, individual figures are painted in a varied Gothic decorative system. In the lower row, these figures are grouped thematically to depict the Annunciation and Coronation of the Virgin on the right, and the resurrected Christ with the three Marys at the empty tomb on the left. The apostles and prophets above each form groups of three within gables adorned with tracery. The outer panels, on a monumental scale rivaling that of murals, depict the beginning and end of Christ's earthly life, although the journey and adoration of the Magi on the left wing has been almost completely destroyed. (...)" Peter Strieder (Panel painting in Nuremberg, Königstein im Taunus, 1993) ______________________________________________

In the Three apostles, carved from red clay and painted in various colors, are enthroned on the predella of the high altar. They originated in a Nuremberg workshop around 1400 and were not brought to St. James' Church until 1824/25. They represent an "older apostle," Jude Thaddeus—both venerable, mature men with long beards—and a beardless, "youthful apostle." On the far left sits John the Baptist with the lamb, a figure carved from linden wood decades later. These clay sculptures, in the Soft Style, originally belonged to a Last Supper scene. Six of them have been in the Germanisches Nationalmuseum since 1882; three apostles and the figure of Christ were lost. The figures are slightly turned away from their frontal position, facing the missing Christ in the center. They are dressed in softly draped garments, the fabric of which models the individual body parts in different ways: sometimes smoothly, sometimes with lavish folds and richly articulated hems. .

Robert Leyh St. Jakob, Nuremberg, Schnell & Steiner, Art Guide No. 1699, Regensburg 2006

Donated by two unidentified Teutonic Knights. ... "The altarpiece has survived the ages in its original location, but underwent alterations in the late 17th century, some of which have since been partially reversed. The central panel was lost. Its general arrangement is based on the scheme of winged altarpieces from the first half of the 19th century. In two rows, one above the other, individual figures are painted in a varied Gothic decorative system. In the lower row, these figures are grouped thematically to depict the Annunciation and Coronation of the Virgin on the right, and the resurrected Christ with the three Marys at the empty tomb on the left. The apostles and prophets above each form groups of three within gables adorned with tracery. The outer panels, on a monumental scale rivaling that of murals, depict the beginning and end of Christ's earthly life, although the journey and adoration of the Magi on the left wing has been almost completely destroyed. (...)" Peter Strieder (Panel painting in Nuremberg, Königstein im Taunus, 1993) ______________________________________________

In the Three apostles, carved from red clay and painted in various colors, are enthroned on the predella of the high altar. They originated in a Nuremberg workshop around 1400 and were not brought to St. James' Church until 1824/25. They represent an "older apostle," Jude Thaddeus—both venerable, mature men with long beards—and a beardless, "youthful apostle." On the far left sits John the Baptist with the lamb, a figure carved from linden wood decades later. These clay sculptures, in the Soft Style, originally belonged to a Last Supper scene. Six of them have been in the Germanisches Nationalmuseum since 1882; three apostles and the figure of Christ were lost. The figures are slightly turned away from their frontal position, facing the missing Christ in the center. They are dressed in softly draped garments, the fabric of which models the individual body parts in different ways: sometimes smoothly, sometimes with lavish folds and richly articulated hems. .

Robert Leyh St. Jakob, Nuremberg, Schnell & Steiner, Art Guide No. 1699, Regensburg 2006

Donated by two unidentified Teutonic Knights. ... "The altarpiece has survived the ages in its original location, but underwent alterations in the late 17th century, some of which have since been partially reversed. The central panel was lost. Its general arrangement is based on the scheme of winged altarpieces from the first half of the 19th century. In two rows, one above the other, individual figures are painted in a varied Gothic decorative system. In the lower row, these figures are grouped thematically to depict the Annunciation and Coronation of the Virgin on the right, and the resurrected Christ with the three Marys at the empty tomb on the left. The apostles and prophets above each form groups of three within gables adorned with tracery. The outer panels, on a monumental scale rivaling that of murals, depict the beginning and end of Christ's earthly life, although the journey and adoration of the Magi on the left wing has been almost completely destroyed. (...)" Peter Strieder (Panel painting in Nuremberg, Königstein im Taunus, 1993) ______________________________________________

In the Three apostles, carved from red clay and painted in various colors, are enthroned on the predella of the high altar. They originated in a Nuremberg workshop around 1400 and were not brought to St. James' Church until 1824/25. They represent an "older apostle," Jude Thaddeus—both venerable, mature men with long beards—and a beardless, "youthful apostle." On the far left sits John the Baptist with the lamb, a figure carved from linden wood decades later. These clay sculptures, in the Soft Style, originally belonged to a Last Supper scene. Six of them have been in the Germanisches Nationalmuseum since 1882; three apostles and the figure of Christ were lost. The figures are slightly turned away from their frontal position, facing the missing Christ in the center. They are dressed in softly draped garments, the fabric of which models the individual body parts in different ways: sometimes smoothly, sometimes with lavish folds and richly articulated hems. .

Robert Leyh St. Jakob, Nuremberg, Schnell & Steiner, Art Guide No. 1699, Regensburg 2006

Donated by two unidentified Teutonic Knights. ... "The altarpiece has survived the ages in its original location, but underwent alterations in the late 17th century, some of which have since been partially reversed. The central panel was lost. Its general arrangement is based on the scheme of winged altarpieces from the first half of the 19th century. In two rows, one above the other, individual figures are painted in a varied Gothic decorative system. In the lower row, these figures are grouped thematically to depict the Annunciation and Coronation of the Virgin on the right, and the resurrected Christ with the three Marys at the empty tomb on the left. The apostles and prophets above each form groups of three within gables adorned with tracery. The outer panels, on a monumental scale rivaling that of murals, depict the beginning and end of Christ's earthly life, although the journey and adoration of the Magi on the left wing has been almost completely destroyed. (...)" Peter Strieder (Panel painting in Nuremberg, Königstein im Taunus, 1993) ______________________________________________

In the Three apostles, carved from red clay and painted in various colors, are enthroned on the predella of the high altar. They originated in a Nuremberg workshop around 1400 and were not brought to St. James' Church until 1824/25. They represent an "older apostle," Jude Thaddeus—both venerable, mature men with long beards—and a beardless, "youthful apostle." On the far left sits John the Baptist with the lamb, a figure carved from linden wood decades later. These clay sculptures, in the Soft Style, originally belonged to a Last Supper scene. Six of them have been in the Germanisches Nationalmuseum since 1882; three apostles and the figure of Christ were lost. The figures are slightly turned away from their frontal position, facing the missing Christ in the center. They are dressed in softly draped garments, the fabric of which models the individual body parts in different ways: sometimes smoothly, sometimes with lavish folds and richly articulated hems. .

Robert Leyh St. Jakob, Nuremberg, Schnell & Steiner, Art Guide No. 1699, Regensburg 2006

Donated by two unidentified Teutonic Knights. ... "The altarpiece has survived the ages in its original location, but underwent alterations in the late 17th century, some of which have since been partially reversed. The central panel was lost. Its general arrangement is based on the scheme of winged altarpieces from the first half of the 19th century. In two rows, one above the other, individual figures are painted in a varied Gothic decorative system. In the lower row, these figures are grouped thematically to depict the Annunciation and Coronation of the Virgin on the right, and the resurrected Christ with the three Marys at the empty tomb on the left. The apostles and prophets above each form groups of three within gables adorned with tracery. The outer panels, on a monumental scale rivaling that of murals, depict the beginning and end of Christ's earthly life, although the journey and adoration of the Magi on the left wing has been almost completely destroyed. (...)" Peter Strieder (Panel painting in Nuremberg, Königstein im Taunus, 1993) ______________________________________________

In the Three apostles, carved from red clay and painted in various colors, are enthroned on the predella of the high altar. They originated in a Nuremberg workshop around 1400 and were not brought to St. James' Church until 1824/25. They represent an "older apostle," Jude Thaddeus—both venerable, mature men with long beards—and a beardless, "youthful apostle." On the far left sits John the Baptist with the lamb, a figure carved from linden wood decades later. These clay sculptures, in the Soft Style, originally belonged to a Last Supper scene. Six of them have been in the Germanisches Nationalmuseum since 1882; three apostles and the figure of Christ were lost. The figures are slightly turned away from their frontal position, facing the missing Christ in the center. They are dressed in softly draped garments, the fabric of which models the individual body parts in different ways: sometimes smoothly, sometimes with lavish folds and richly articulated hems. .

Robert Leyh St. Jakob, Nuremberg, Schnell & Steiner, Art Guide No. 1699, Regensburg 2006

Donated by two unidentified Teutonic Knights. ... "The altarpiece has survived the ages in its original location, but underwent alterations in the late 17th century, some of which have since been partially reversed. The central panel was lost. Its general arrangement is based on the scheme of winged altarpieces from the first half of the 19th century. In two rows, one above the other, individual figures are painted in a varied Gothic decorative system. In the lower row, these figures are grouped thematically to depict the Annunciation and Coronation of the Virgin on the right, and the resurrected Christ with the three Marys at the empty tomb on the left. The apostles and prophets above each form groups of three within gables adorned with tracery. The outer panels, on a monumental scale rivaling that of murals, depict the beginning and end of Christ's earthly life, although the journey and adoration of the Magi on the left wing has been almost completely destroyed. (...)" Peter Strieder (Panel painting in Nuremberg, Königstein im Taunus, 1993) ______________________________________________

In the Three apostles, carved from red clay and painted in various colors, are enthroned on the predella of the high altar. They originated in a Nuremberg workshop around 1400 and were not brought to St. James' Church until 1824/25. They represent an "older apostle," Jude Thaddeus—both venerable, mature men with long beards—and a beardless, "youthful apostle." On the far left sits John the Baptist with the lamb, a figure carved from linden wood decades later. These clay sculptures, in the Soft Style, originally belonged to a Last Supper scene. Six of them have been in the Germanisches Nationalmuseum since 1882; three apostles and the figure of Christ were lost. The figures are slightly turned away from their frontal position, facing the missing Christ in the center. They are dressed in softly draped garments, the fabric of which models the individual body parts in different ways: sometimes smoothly, sometimes with lavish folds and richly articulated hems. .

Robert Leyh St. Jakob, Nuremberg, Schnell & Steiner, Art Guide No. 1699, Regensburg 2006

Donated by two unidentified Teutonic Knights. ... "The altarpiece has survived the ages in its original location, but underwent alterations in the late 17th century, some of which have since been partially reversed. The central panel was lost. Its general arrangement is based on the scheme of winged altarpieces from the first half of the 19th century. In two rows, one above the other, individual figures are painted in a varied Gothic decorative system. In the lower row, these figures are grouped thematically to depict the Annunciation and Coronation of the Virgin on the right, and the resurrected Christ with the three Marys at the empty tomb on the left. The apostles and prophets above each form groups of three within gables adorned with tracery. The outer panels, on a monumental scale rivaling that of murals, depict the beginning and end of Christ's earthly life, although the journey and adoration of the Magi on the left wing has been almost completely destroyed. (...)" Peter Strieder (Panel painting in Nuremberg, Königstein im Taunus, 1993) ______________________________________________

In the Three apostles, carved from red clay and painted in various colors, are enthroned on the predella of the high altar. They originated in a Nuremberg workshop around 1400 and were not brought to St. James' Church until 1824/25. They represent an "older apostle," Jude Thaddeus—both venerable, mature men with long beards—and a beardless, "youthful apostle." On the far left sits John the Baptist with the lamb, a figure carved from linden wood decades later. These clay sculptures, in the Soft Style, originally belonged to a Last Supper scene. Six of them have been in the Germanisches Nationalmuseum since 1882; three apostles and the figure of Christ were lost. The figures are slightly turned away from their frontal position, facing the missing Christ in the center. They are dressed in softly draped garments, the fabric of which models the individual body parts in different ways: sometimes smoothly, sometimes with lavish folds and richly articulated hems. .

Robert Leyh St. Jakob, Nuremberg, Schnell & Steiner, Art Guide No. 1699, Regensburg 2006

Donated by two unidentified Teutonic Knights. ... "The altarpiece has survived the ages in its original location, but underwent alterations in the late 17th century, some of which have since been partially reversed. The central panel was lost. Its general arrangement is based on the scheme of winged altarpieces from the first half of the 19th century. In two rows, one above the other, individual figures are painted in a varied Gothic decorative system. In the lower row, these figures are grouped thematically to depict the Annunciation and Coronation of the Virgin on the right, and the resurrected Christ with the three Marys at the empty tomb on the left. The apostles and prophets above each form groups of three within gables adorned with tracery. The outer panels, on a monumental scale rivaling that of murals, depict the beginning and end of Christ's earthly life, although the journey and adoration of the Magi on the left wing has been almost completely destroyed. (...)" Peter Strieder (Panel painting in Nuremberg, Königstein im Taunus, 1993) ______________________________________________

In the Three apostles, carved from red clay and painted in various colors, are enthroned on the predella of the high altar. They originated in a Nuremberg workshop around 1400 and were not brought to St. James' Church until 1824/25. They represent an "older apostle," Jude Thaddeus—both venerable, mature men with long beards—and a beardless, "youthful apostle." On the far left sits John the Baptist with the lamb, a figure carved from linden wood decades later. These clay sculptures, in the Soft Style, originally belonged to a Last Supper scene. Six of them have been in the Germanisches Nationalmuseum since 1882; three apostles and the figure of Christ were lost. The figures are slightly turned away from their frontal position, facing the missing Christ in the center. They are dressed in softly draped garments, the fabric of which models the individual body parts in different ways: sometimes smoothly, sometimes with lavish folds and richly articulated hems. .

Robert Leyh St. Jakob, Nuremberg, Schnell & Steiner, Art Guide No. 1699, Regensburg 2006

Donated by two unidentified Teutonic Knights. ... "The altarpiece has survived the ages in its original location, but underwent alterations in the late 17th century, some of which have since been partially reversed. The central panel was lost. Its general arrangement is based on the scheme of winged altarpieces from the first half of the 19th century. In two rows, one above the other, individual figures are painted in a varied Gothic decorative system. In the lower row, these figures are grouped thematically to depict the Annunciation and Coronation of the Virgin on the right, and the resurrected Christ with the three Marys at the empty tomb on the left. The apostles and prophets above each form groups of three within gables adorned with tracery. The outer panels, on a monumental scale rivaling that of murals, depict the beginning and end of Christ's earthly life, although the journey and adoration of the Magi on the left wing has been almost completely destroyed. (...)" Peter Strieder (Panel painting in Nuremberg, Königstein im Taunus, 1993) ______________________________________________

In the Three apostles, carved from red clay and painted in various colors, are enthroned on the predella of the high altar. They originated in a Nuremberg workshop around 1400 and were not brought to St. James' Church until 1824/25. They represent an "older apostle," Jude Thaddeus—both venerable, mature men with long beards—and a beardless, "youthful apostle." On the far left sits John the Baptist with the lamb, a figure carved from linden wood decades later. These clay sculptures, in the Soft Style, originally belonged to a Last Supper scene. Six of them have been in the Germanisches Nationalmuseum since 1882; three apostles and the figure of Christ were lost. The figures are slightly turned away from their frontal position, facing the missing Christ in the center. They are dressed in softly draped garments, the fabric of which models the individual body parts in different ways: sometimes smoothly, sometimes with lavish folds and richly articulated hems. .

Robert Leyh St. Jakob, Nuremberg, Schnell & Steiner, Art Guide No. 1699, Regensburg 2006

Donated by two unidentified Teutonic Knights. ... "The altarpiece has survived the ages in its original location, but underwent alterations in the late 17th century, some of which have since been partially reversed. The central panel was lost. Its general arrangement is based on the scheme of winged altarpieces from the first half of the 19th century. In two rows, one above the other, individual figures are painted in a varied Gothic decorative system. In the lower row, these figures are grouped thematically to depict the Annunciation and Coronation of the Virgin on the right, and the resurrected Christ with the three Marys at the empty tomb on the left. The apostles and prophets above each form groups of three within gables adorned with tracery. The outer panels, on a monumental scale rivaling that of murals, depict the beginning and end of Christ's earthly life, although the journey and adoration of the Magi on the left wing has been almost completely destroyed. (...)" Peter Strieder (Panel painting in Nuremberg, Königstein im Taunus, 1993) ______________________________________________

In the Three apostles, carved from red clay and painted in various colors, are enthroned on the predella of the high altar. They originated in a Nuremberg workshop around 1400 and were not brought to St. James' Church until 1824/25. They represent an "older apostle," Jude Thaddeus—both venerable, mature men with long beards—and a beardless, "youthful apostle." On the far left sits John the Baptist with the lamb, a figure carved from linden wood decades later. These clay sculptures, in the Soft Style, originally belonged to a Last Supper scene. Six of them have been in the Germanisches Nationalmuseum since 1882; three apostles and the figure of Christ were lost. The figures are slightly turned away from their frontal position, facing the missing Christ in the center. They are dressed in softly draped garments, the fabric of which models the individual body parts in different ways: sometimes smoothly, sometimes with lavish folds and richly articulated hems. .

Robert Leyh St. Jakob, Nuremberg, Schnell & Steiner, Art Guide No. 1699, Regensburg 2006

Donated by two unidentified Teutonic Knights. ... "The altarpiece has survived the ages in its original location, but underwent alterations in the late 17th century, some of which have since been partially reversed. The central panel was lost. Its general arrangement is based on the scheme of winged altarpieces from the first half of the 19th century. In two rows, one above the other, individual figures are painted in a varied Gothic decorative system. In the lower row, these figures are grouped thematically to depict the Annunciation and Coronation of the Virgin on the right, and the resurrected Christ with the three Marys at the empty tomb on the left. The apostles and prophets above each form groups of three within gables adorned with tracery. The outer panels, on a monumental scale rivaling that of murals, depict the beginning and end of Christ's earthly life, although the journey and adoration of the Magi on the left wing has been almost completely destroyed. (...)" Peter Strieder (Panel painting in Nuremberg, Königstein im Taunus, 1993) ______________________________________________

In the Three apostles, carved from red clay and painted in various colors, are enthroned on the predella of the high altar. They originated in a Nuremberg workshop around 1400 and were not brought to St. James' Church until 1824/25. They represent an "older apostle," Jude Thaddeus—both venerable, mature men with long beards—and a beardless, "youthful apostle." On the far left sits John the Baptist with the lamb, a figure carved from linden wood decades later. These clay sculptures, in the Soft Style, originally belonged to a Last Supper scene. Six of them have been in the Germanisches Nationalmuseum since 1882; three apostles and the figure of Christ were lost. The figures are slightly turned away from their frontal position, facing the missing Christ in the center. They are dressed in softly draped garments, the fabric of which models the individual body parts in different ways: sometimes smoothly, sometimes with lavish folds and richly articulated hems. .

Robert Leyh St. Jakob, Nuremberg, Schnell & Steiner, Art Guide No. 1699, Regensburg 2006

Donated by two unidentified Teutonic Knights. ... "The altarpiece has survived the ages in its original location, but underwent alterations in the late 17th century, some of which have since been partially reversed. The central panel was lost. Its general arrangement is based on the scheme of winged altarpieces from the first half of the 19th century. In two rows, one above the other, individual figures are painted in a varied Gothic decorative system. In the lower row, these figures are grouped thematically to depict the Annunciation and Coronation of the Virgin on the right, and the resurrected Christ with the three Marys at the empty tomb on the left. The apostles and prophets above each form groups of three within gables adorned with tracery. The outer panels, on a monumental scale rivaling that of murals, depict the beginning and end of Christ's earthly life, although the journey and adoration of the Magi on the left wing has been almost completely destroyed. (...)" Peter Strieder (Panel painting in Nuremberg, Königstein im Taunus, 1993) ______________________________________________

In the Three apostles, carved from red clay and painted in various colors, are enthroned on the predella of the high altar. They originated in a Nuremberg workshop around 1400 and were not brought to St. James' Church until 1824/25. They represent an "older apostle," Jude Thaddeus—both venerable, mature men with long beards—and a beardless, "youthful apostle." On the far left sits John the Baptist with the lamb, a figure carved from linden wood decades later. These clay sculptures, in the Soft Style, originally belonged to a Last Supper scene. Six of them have been in the Germanisches Nationalmuseum since 1882; three apostles and the figure of Christ were lost. The figures are slightly turned away from their frontal position, facing the missing Christ in the center. They are dressed in softly draped garments, the fabric of which models the individual body parts in different ways: sometimes smoothly, sometimes with lavish folds and richly articulated hems. .

Robert Leyh St. Jakob, Nuremberg, Schnell & Steiner, Art Guide No. 1699, Regensburg 2006

Donated by two unidentified Teutonic Knights. ... "The altarpiece has survived the ages in its original location, but underwent alterations in the late 17th century, some of which have since been partially reversed. The central panel was lost. Its general arrangement is based on the scheme of winged altarpieces from the first half of the 19th century. In two rows, one above the other, individual figures are painted in a varied Gothic decorative system. In the lower row, these figures are grouped thematically to depict the Annunciation and Coronation of the Virgin on the right, and the resurrected Christ with the three Marys at the empty tomb on the left. The apostles and prophets above each form groups of three within gables adorned with tracery. The outer panels, on a monumental scale rivaling that of murals, depict the beginning and end of Christ's earthly life, although the journey and adoration of the Magi on the left wing has been almost completely destroyed. (...)" Peter Strieder (Panel painting in Nuremberg, Königstein im Taunus, 1993) ______________________________________________

In the Three apostles, carved from red clay and painted in various colors, are enthroned on the predella of the high altar. They originated in a Nuremberg workshop around 1400 and were not brought to St. James' Church until 1824/25. They represent an "older apostle," Jude Thaddeus—both venerable, mature men with long beards—and a beardless, "youthful apostle." On the far left sits John the Baptist with the lamb, a figure carved from linden wood decades later. These clay sculptures, in the Soft Style, originally belonged to a Last Supper scene. Six of them have been in the Germanisches Nationalmuseum since 1882; three apostles and the figure of Christ were lost. The figures are slightly turned away from their frontal position, facing the missing Christ in the center. They are dressed in softly draped garments, the fabric of which models the individual body parts in different ways: sometimes smoothly, sometimes with lavish folds and richly articulated hems. .

Robert Leyh St. Jakob, Nuremberg, Schnell & Steiner, Art Guide No. 1699, Regensburg 2006

Donated by two unidentified Teutonic Knights. ... "The altarpiece has survived the ages in its original location, but underwent alterations in the late 17th century, some of which have since been partially reversed. The central panel was lost. Its general arrangement is based on the scheme of winged altarpieces from the first half of the 19th century. In two rows, one above the other, individual figures are painted in a varied Gothic decorative system. In the lower row, these figures are grouped thematically to depict the Annunciation and Coronation of the Virgin on the right, and the resurrected Christ with the three Marys at the empty tomb on the left. The apostles and prophets above each form groups of three within gables adorned with tracery. The outer panels, on a monumental scale rivaling that of murals, depict the beginning and end of Christ's earthly life, although the journey and adoration of the Magi on the left wing has been almost completely destroyed. (...)" Peter Strieder (Panel painting in Nuremberg, Königstein im Taunus, 1993) ______________________________________________

In the Three apostles, carved from red clay and painted in various colors, are enthroned on the predella of the high altar. They originated in a Nuremberg workshop around 1400 and were not brought to St. James' Church until 1824/25. They represent an "older apostle," Jude Thaddeus—both venerable, mature men with long beards—and a beardless, "youthful apostle." On the far left sits John the Baptist with the lamb, a figure carved from linden wood decades later. These clay sculptures, in the Soft Style, originally belonged to a Last Supper scene. Six of them have been in the Germanisches Nationalmuseum since 1882; three apostles and the figure of Christ were lost. The figures are slightly turned away from their frontal position, facing the missing Christ in the center. They are dressed in softly draped garments, the fabric of which models the individual body parts in different ways: sometimes smoothly, sometimes with lavish folds and richly articulated hems. .

Robert Leyh St. Jakob, Nuremberg, Schnell & Steiner, Art Guide No. 1699, Regensburg 2006

Donated by two unidentified Teutonic Knights. ... "The altarpiece has survived the ages in its original location, but underwent alterations in the late 17th century, some of which have since been partially reversed. The central panel was lost. Its general arrangement is based on the scheme of winged altarpieces from the first half of the 19th century. In two rows, one above the other, individual figures are painted in a varied Gothic decorative system. In the lower row, these figures are grouped thematically to depict the Annunciation and Coronation of the Virgin on the right, and the resurrected Christ with the three Marys at the empty tomb on the left. The apostles and prophets above each form groups of three within gables adorned with tracery. The outer panels, on a monumental scale rivaling that of murals, depict the beginning and end of Christ's earthly life, although the journey and adoration of the Magi on the left wing has been almost completely destroyed. (...)" Peter Strieder (Panel painting in Nuremberg, Königstein im Taunus, 1993) ______________________________________________

In the Three apostles, carved from red clay and painted in various colors, are enthroned on the predella of the high altar. They originated in a Nuremberg workshop around 1400 and were not brought to St. James' Church until 1824/25. They represent an "older apostle," Jude Thaddeus—both venerable, mature men with long beards—and a beardless, "youthful apostle." On the far left sits John the Baptist with the lamb, a figure carved from linden wood decades later. These clay sculptures, in the Soft Style, originally belonged to a Last Supper scene. Six of them have been in the Germanisches Nationalmuseum since 1882; three apostles and the figure of Christ were lost. The figures are slightly turned away from their frontal position, facing the missing Christ in the center. They are dressed in softly draped garments, the fabric of which models the individual body parts in different ways: sometimes smoothly, sometimes with lavish folds and richly articulated hems. .

Robert Leyh St. Jakob, Nuremberg, Schnell & Steiner, Art Guide No. 1699, Regensburg 2006

Donated by two unidentified Teutonic Knights. ... "The altarpiece has survived the ages in its original location, but underwent alterations in the late 17th century, some of which have since been partially reversed. The central panel was lost. Its general arrangement is based on the scheme of winged altarpieces from the first half of the 19th century. In two rows, one above the other, individual figures are painted in a varied Gothic decorative system. In the lower row, these figures are grouped thematically to depict the Annunciation and Coronation of the Virgin on the right, and the resurrected Christ with the three Marys at the empty tomb on the left. The apostles and prophets above each form groups of three within gables adorned with tracery. The outer panels, on a monumental scale rivaling that of murals, depict the beginning and end of Christ's earthly life, although the journey and adoration of the Magi on the left wing has been almost completely destroyed. (...)" Peter Strieder (Panel painting in Nuremberg, Königstein im Taunus, 1993) ______________________________________________

In the Three apostles, carved from red clay and painted in various colors, are enthroned on the predella of the high altar. They originated in a Nuremberg workshop around 1400 and were not brought to St. James' Church until 1824/25. They represent an "older apostle," Jude Thaddeus—both venerable, mature men with long beards—and a beardless, "youthful apostle." On the far left sits John the Baptist with the lamb, a figure carved from linden wood decades later. These clay sculptures, in the Soft Style, originally belonged to a Last Supper scene. Six of them have been in the Germanisches Nationalmuseum since 1882; three apostles and the figure of Christ were lost. The figures are slightly turned away from their frontal position, facing the missing Christ in the center. They are dressed in softly draped garments, the fabric of which models the individual body parts in different ways: sometimes smoothly, sometimes with lavish folds and richly articulated hems. .

Robert Leyh St. Jakob, Nuremberg, Schnell & Steiner, Art Guide No. 1699, Regensburg 2006

Donated by two unidentified Teutonic Knights. ... "The altarpiece has survived the ages in its original location, but underwent alterations in the late 17th century, some of which have since been partially reversed. The central panel was lost. Its general arrangement is based on the scheme of winged altarpieces from the first half of the 19th century. In two rows, one above the other, individual figures are painted in a varied Gothic decorative system. In the lower row, these figures are grouped thematically to depict the Annunciation and Coronation of the Virgin on the right, and the resurrected Christ with the three Marys at the empty tomb on the left. The apostles and prophets above each form groups of three within gables adorned with tracery. The outer panels, on a monumental scale rivaling that of murals, depict the beginning and end of Christ's earthly life, although the journey and adoration of the Magi on the left wing has been almost completely destroyed. (...)" Peter Strieder (Panel painting in Nuremberg, Königstein im Taunus, 1993) ______________________________________________

In the Three apostles, carved from red clay and painted in various colors, are enthroned on the predella of the high altar. They originated in a Nuremberg workshop around 1400 and were not brought to St. James' Church until 1824/25. They represent an "older apostle," Jude Thaddeus—both venerable, mature men with long beards—and a beardless, "youthful apostle." On the far left sits John the Baptist with the lamb, a figure carved from linden wood decades later. These clay sculptures, in the Soft Style, originally belonged to a Last Supper scene. Six of them have been in the Germanisches Nationalmuseum since 1882; three apostles and the figure of Christ were lost. The figures are slightly turned away from their frontal position, facing the missing Christ in the center. They are dressed in softly draped garments, the fabric of which models the individual body parts in different ways: sometimes smoothly, sometimes with lavish folds and richly articulated hems. .

Robert Leyh St. Jakob, Nuremberg, Schnell & Steiner, Art Guide No. 1699, Regensburg 2006

Donated by two unidentified Teutonic Knights. ... "The altarpiece has survived the ages in its original location, but underwent alterations in the late 17th century, some of which have since been partially reversed. The central panel was lost. Its general arrangement is based on the scheme of winged altarpieces from the first half of the 19th century. In two rows, one above the other, individual figures are painted in a varied Gothic decorative system. In the lower row, these figures are grouped thematically to depict the Annunciation and Coronation of the Virgin on the right, and the resurrected Christ with the three Marys at the empty tomb on the left. The apostles and prophets above each form groups of three within gables adorned with tracery. The outer panels, on a monumental scale rivaling that of murals, depict the beginning and end of Christ's earthly life, although the journey and adoration of the Magi on the left wing has been almost completely destroyed. (...)" Peter Strieder (Panel painting in Nuremberg, Königstein im Taunus, 1993) ______________________________________________

In the Three apostles, carved from red clay and painted in various colors, are enthroned on the predella of the high altar. They originated in a Nuremberg workshop around 1400 and were not brought to St. James' Church until 1824/25. They represent an "older apostle," Jude Thaddeus—both venerable, mature men with long beards—and a beardless, "youthful apostle." On the far left sits John the Baptist with the lamb, a figure carved from linden wood decades later. These clay sculptures, in the Soft Style, originally belonged to a Last Supper scene. Six of them have been in the Germanisches Nationalmuseum since 1882; three apostles and the figure of Christ were lost. The figures are slightly turned away from their frontal position, facing the missing Christ in the center. They are dressed in softly draped garments, the fabric of which models the individual body parts in different ways: sometimes smoothly, sometimes with lavish folds and richly articulated hems. .

Robert Leyh St. Jakob, Nuremberg, Schnell & Steiner, Art Guide No. 1699, Regensburg 2006

Donated by two unidentified Teutonic Knights. ... "The altarpiece has survived the ages in its original location, but underwent alterations in the late 17th century, some of which have since been partially reversed. The central panel was lost. Its general arrangement is based on the scheme of winged altarpieces from the first half of the 19th century. In two rows, one above the other, individual figures are painted in a varied Gothic decorative system. In the lower row, these figures are grouped thematically to depict the Annunciation and Coronation of the Virgin on the right, and the resurrected Christ with the three Marys at the empty tomb on the left. The apostles and prophets above each form groups of three within gables adorned with tracery. The outer panels, on a monumental scale rivaling that of murals, depict the beginning and end of Christ's earthly life, although the journey and adoration of the Magi on the left wing has been almost completely destroyed. (...)" Peter Strieder (Panel painting in Nuremberg, Königstein im Taunus, 1993) ______________________________________________

In the Three apostles, carved from red clay and painted in various colors, are enthroned on the predella of the high altar. They originated in a Nuremberg workshop around 1400 and were not brought to St. James' Church until 1824/25. They represent an "older apostle," Jude Thaddeus—both venerable, mature men with long beards—and a beardless, "youthful apostle." On the far left sits John the Baptist with the lamb, a figure carved from linden wood decades later. These clay sculptures, in the Soft Style, originally belonged to a Last Supper scene. Six of them have been in the Germanisches Nationalmuseum since 1882; three apostles and the figure of Christ were lost. The figures are slightly turned away from their frontal position, facing the missing Christ in the center. They are dressed in softly draped garments, the fabric of which models the individual body parts in different ways: sometimes smoothly, sometimes with lavish folds and richly articulated hems. .

Robert Leyh St. Jakob, Nuremberg, Schnell & Steiner, Art Guide No. 1699, Regensburg 2006

Donated by two unidentified Teutonic Knights. ... "The altarpiece has survived the ages in its original location, but underwent alterations in the late 17th century, some of which have since been partially reversed. The central panel was lost. Its general arrangement is based on the scheme of winged altarpieces from the first half of the 19th century. In two rows, one above the other, individual figures are painted in a varied Gothic decorative system. In the lower row, these figures are grouped thematically to depict the Annunciation and Coronation of the Virgin on the right, and the resurrected Christ with the three Marys at the empty tomb on the left. The apostles and prophets above each form groups of three within gables adorned with tracery. The outer panels, on a monumental scale rivaling that of murals, depict the beginning and end of Christ's earthly life, although the journey and adoration of the Magi on the left wing has been almost completely destroyed. (...)" Peter Strieder (Panel painting in Nuremberg, Königstein im Taunus, 1993) ______________________________________________

In the Three apostles, carved from red clay and painted in various colors, are enthroned on the predella of the high altar. They originated in a Nuremberg workshop around 1400 and were not brought to St. James' Church until 1824/25. They represent an "older apostle," Jude Thaddeus—both venerable, mature men with long beards—and a beardless, "youthful apostle." On the far left sits John the Baptist with the lamb, a figure carved from linden wood decades later. These clay sculptures, in the Soft Style, originally belonged to a Last Supper scene. Six of them have been in the Germanisches Nationalmuseum since 1882; three apostles and the figure of Christ were lost. The figures are slightly turned away from their frontal position, facing the missing Christ in the center. They are dressed in softly draped garments, the fabric of which models the individual body parts in different ways: sometimes smoothly, sometimes with lavish folds and richly articulated hems. .

Robert Leyh St. Jakob, Nuremberg, Schnell & Steiner, Art Guide No. 1699, Regensburg 2006

Donated by two unidentified Teutonic Knights. ... "The altarpiece has survived the ages in its original location, but underwent alterations in the late 17th century, some of which have since been partially reversed. The central panel was lost. Its general arrangement is based on the scheme of winged altarpieces from the first half of the 19th century. In two rows, one above the other, individual figures are painted in a varied Gothic decorative system. In the lower row, these figures are grouped thematically to depict the Annunciation and Coronation of the Virgin on the right, and the resurrected Christ with the three Marys at the empty tomb on the left. The apostles and prophets above each form groups of three within gables adorned with tracery. The outer panels, on a monumental scale rivaling that of murals, depict the beginning and end of Christ's earthly life, although the journey and adoration of the Magi on the left wing has been almost completely destroyed. (...)" Peter Strieder (Panel painting in Nuremberg, Königstein im Taunus, 1993) ______________________________________________

In the Three apostles, carved from red clay and painted in various colors, are enthroned on the predella of the high altar. They originated in a Nuremberg workshop around 1400 and were not brought to St. James' Church until 1824/25. They represent an "older apostle," Jude Thaddeus—both venerable, mature men with long beards—and a beardless, "youthful apostle." On the far left sits John the Baptist with the lamb, a figure carved from linden wood decades later. These clay sculptures, in the Soft Style, originally belonged to a Last Supper scene. Six of them have been in the Germanisches Nationalmuseum since 1882; three apostles and the figure of Christ were lost. The figures are slightly turned away from their frontal position, facing the missing Christ in the center. They are dressed in softly draped garments, the fabric of which models the individual body parts in different ways: sometimes smoothly, sometimes with lavish folds and richly articulated hems. .

Robert Leyh St. Jakob, Nuremberg, Schnell & Steiner, Art Guide No. 1699, Regensburg 2006