The so-called Imhoff or Dürer foundation plaque from 1624 hangs in the choir directly north of the main altar. It is a flat “cupboard” with a folding panel. For a long time, the work was considered the chapel's ultimate celebrity because it supposedly contained two pictures by Dürer - even Goethe admired them in 1797 without knowing that they were copies. But it's even more serious: not even this property as a "copy" can be proven today. The object is also an epitaph for the art collector Hans VII Imhoff, his father Willibald I and his ancestors Imhoff and Pirckheimer. Georg Gärtner the Younger was the painter here. The solid back wall shows an adoration of the Christ child by the shepherds. The inside of the folding panel depicts the death in 1504 of Creszentia Pirckheimer, wife of the famous humanist, this time with the mentioned year of death and again with Dürer's monogram, although the great master had no business here. When closed, you can see what is perhaps the most interesting of the three paintings: a “mercy seat”, which is ultimately said to go back to Dürer's woodcut of the same name from 1511, paraphrasing it freely. Iconographically, it is striking that Dürer's papal tiara of God has certainly become an imperial crown for religious reasons. Furthermore, there is little correspondence with the model, as a whole and in detail, let alone the painting style. Above the flat cabinet there is an aedicula-like panel with the portrait of the chapel founder Konrad Imhoff, as we know him from the depiction on the triptych by Jakob Elsner dated 1486 (today in the Bavarian National Museum in Munich), i.e. a copy of a late Gothic work. (Pablo de la Riestra) Rochuskapelle Nuremberg, 32 pages, 66 illustrations, format 13.6 x 19 cm, 1st edition 2021, Art publisher Josef Fink / ISBN 978-3-95976-339-4​Feedback gebenSeitenleisten

The so-called Imhoff or Dürer foundation plaque from 1624 hangs in the choir directly north of the main altar. It is a flat “cupboard” with a folding panel. For a long time, the work was considered the chapel's ultimate celebrity because it supposedly contained two pictures by Dürer - even Goethe admired them in 1797 without knowing that they were copies. But it's even more serious: not even this property as a "copy" can be proven today. The object is also an epitaph for the art collector Hans VII Imhoff, his father Willibald I and his ancestors Imhoff and Pirckheimer. Georg Gärtner the Younger was the painter here. The solid back wall shows an adoration of the Christ child by the shepherds. The inside of the folding panel depicts the death in 1504 of Creszentia Pirckheimer, wife of the famous humanist, this time with the mentioned year of death and again with Dürer's monogram, although the great master had no business here. When closed, you can see what is perhaps the most interesting of the three paintings: a “mercy seat”, which is ultimately said to go back to Dürer's woodcut of the same name from 1511, paraphrasing it freely. Iconographically, it is striking that Dürer's papal tiara of God has certainly become an imperial crown for religious reasons. Furthermore, there is little correspondence with the model, as a whole and in detail, let alone the painting style. Above the flat cabinet there is an aedicula-like panel with the portrait of the chapel founder Konrad Imhoff, as we know him from the depiction on the triptych by Jakob Elsner dated 1486 (today in the Bavarian National Museum in Munich), i.e. a copy of a late Gothic work. (Pablo de la Riestra) Rochuskapelle Nuremberg, 32 pages, 66 illustrations, format 13.6 x 19 cm, 1st edition 2021, Art publisher Josef Fink / ISBN 978-3-95976-339-4​Feedback gebenSeitenleisten

The so-called Imhoff or Dürer foundation plaque from 1624 hangs in the choir directly north of the main altar. It is a flat “cupboard” with a folding panel. For a long time, the work was considered the chapel's ultimate celebrity because it supposedly contained two pictures by Dürer - even Goethe admired them in 1797 without knowing that they were copies. But it's even more serious: not even this property as a "copy" can be proven today. The object is also an epitaph for the art collector Hans VII Imhoff, his father Willibald I and his ancestors Imhoff and Pirckheimer. Georg Gärtner the Younger was the painter here. The solid back wall shows an adoration of the Christ child by the shepherds. The inside of the folding panel depicts the death in 1504 of Creszentia Pirckheimer, wife of the famous humanist, this time with the mentioned year of death and again with Dürer's monogram, although the great master had no business here. When closed, you can see what is perhaps the most interesting of the three paintings: a “mercy seat”, which is ultimately said to go back to Dürer's woodcut of the same name from 1511, paraphrasing it freely. Iconographically, it is striking that Dürer's papal tiara of God has certainly become an imperial crown for religious reasons. Furthermore, there is little correspondence with the model, as a whole and in detail, let alone the painting style. Above the flat cabinet there is an aedicula-like panel with the portrait of the chapel founder Konrad Imhoff, as we know him from the depiction on the triptych by Jakob Elsner dated 1486 (today in the Bavarian National Museum in Munich), i.e. a copy of a late Gothic work. (Pablo de la Riestra) Rochuskapelle Nuremberg, 32 pages, 66 illustrations, format 13.6 x 19 cm, 1st edition 2021, Art publisher Josef Fink / ISBN 978-3-95976-339-4​Feedback gebenSeitenleisten

The so-called Imhoff or Dürer foundation plaque from 1624 hangs in the choir directly north of the main altar. It is a flat “cupboard” with a folding panel. For a long time, the work was considered the chapel's ultimate celebrity because it supposedly contained two pictures by Dürer - even Goethe admired them in 1797 without knowing that they were copies. But it's even more serious: not even this property as a "copy" can be proven today. The object is also an epitaph for the art collector Hans VII Imhoff, his father Willibald I and his ancestors Imhoff and Pirckheimer. Georg Gärtner the Younger was the painter here. The solid back wall shows an adoration of the Christ child by the shepherds. The inside of the folding panel depicts the death in 1504 of Creszentia Pirckheimer, wife of the famous humanist, this time with the mentioned year of death and again with Dürer's monogram, although the great master had no business here. When closed, you can see what is perhaps the most interesting of the three paintings: a “mercy seat”, which is ultimately said to go back to Dürer's woodcut of the same name from 1511, paraphrasing it freely. Iconographically, it is striking that Dürer's papal tiara of God has certainly become an imperial crown for religious reasons. Furthermore, there is little correspondence with the model, as a whole and in detail, let alone the painting style. Above the flat cabinet there is an aedicula-like panel with the portrait of the chapel founder Konrad Imhoff, as we know him from the depiction on the triptych by Jakob Elsner dated 1486 (today in the Bavarian National Museum in Munich), i.e. a copy of a late Gothic work. (Pablo de la Riestra) Rochuskapelle Nuremberg, 32 pages, 66 illustrations, format 13.6 x 19 cm, 1st edition 2021, Art publisher Josef Fink / ISBN 978-3-95976-339-4​Feedback gebenSeitenleisten

The so-called Imhoff or Dürer foundation plaque from 1624 hangs in the choir directly north of the main altar. It is a flat “cupboard” with a folding panel. For a long time, the work was considered the chapel's ultimate celebrity because it supposedly contained two pictures by Dürer - even Goethe admired them in 1797 without knowing that they were copies. But it's even more serious: not even this property as a "copy" can be proven today. The object is also an epitaph for the art collector Hans VII Imhoff, his father Willibald I and his ancestors Imhoff and Pirckheimer. Georg Gärtner the Younger was the painter here. The solid back wall shows an adoration of the Christ child by the shepherds. The inside of the folding panel depicts the death in 1504 of Creszentia Pirckheimer, wife of the famous humanist, this time with the mentioned year of death and again with Dürer's monogram, although the great master had no business here. When closed, you can see what is perhaps the most interesting of the three paintings: a “mercy seat”, which is ultimately said to go back to Dürer's woodcut of the same name from 1511, paraphrasing it freely. Iconographically, it is striking that Dürer's papal tiara of God has certainly become an imperial crown for religious reasons. Furthermore, there is little correspondence with the model, as a whole and in detail, let alone the painting style. Above the flat cabinet there is an aedicula-like panel with the portrait of the chapel founder Konrad Imhoff, as we know him from the depiction on the triptych by Jakob Elsner dated 1486 (today in the Bavarian National Museum in Munich), i.e. a copy of a late Gothic work. (Pablo de la Riestra) Rochuskapelle Nuremberg, 32 pages, 66 illustrations, format 13.6 x 19 cm, 1st edition 2021, Art publisher Josef Fink / ISBN 978-3-95976-339-4​Feedback gebenSeitenleisten

The so-called Imhoff or Dürer foundation plaque from 1624 hangs in the choir directly north of the main altar. It is a flat “cupboard” with a folding panel. For a long time, the work was considered the chapel's ultimate celebrity because it supposedly contained two pictures by Dürer - even Goethe admired them in 1797 without knowing that they were copies. But it's even more serious: not even this property as a "copy" can be proven today. The object is also an epitaph for the art collector Hans VII Imhoff, his father Willibald I and his ancestors Imhoff and Pirckheimer. Georg Gärtner the Younger was the painter here. The solid back wall shows an adoration of the Christ child by the shepherds. The inside of the folding panel depicts the death in 1504 of Creszentia Pirckheimer, wife of the famous humanist, this time with the mentioned year of death and again with Dürer's monogram, although the great master had no business here. When closed, you can see what is perhaps the most interesting of the three paintings: a “mercy seat”, which is ultimately said to go back to Dürer's woodcut of the same name from 1511, paraphrasing it freely. Iconographically, it is striking that Dürer's papal tiara of God has certainly become an imperial crown for religious reasons. Furthermore, there is little correspondence with the model, as a whole and in detail, let alone the painting style. Above the flat cabinet there is an aedicula-like panel with the portrait of the chapel founder Konrad Imhoff, as we know him from the depiction on the triptych by Jakob Elsner dated 1486 (today in the Bavarian National Museum in Munich), i.e. a copy of a late Gothic work. (Pablo de la Riestra) Rochuskapelle Nuremberg, 32 pages, 66 illustrations, format 13.6 x 19 cm, 1st edition 2021, Art publisher Josef Fink / ISBN 978-3-95976-339-4​Feedback gebenSeitenleisten

The so-called Imhoff or Dürer foundation plaque from 1624 hangs in the choir directly north of the main altar. It is a flat “cupboard” with a folding panel. For a long time, the work was considered the chapel's ultimate celebrity because it supposedly contained two pictures by Dürer - even Goethe admired them in 1797 without knowing that they were copies. But it's even more serious: not even this property as a "copy" can be proven today. The object is also an epitaph for the art collector Hans VII Imhoff, his father Willibald I and his ancestors Imhoff and Pirckheimer. Georg Gärtner the Younger was the painter here. The solid back wall shows an adoration of the Christ child by the shepherds. The inside of the folding panel depicts the death in 1504 of Creszentia Pirckheimer, wife of the famous humanist, this time with the mentioned year of death and again with Dürer's monogram, although the great master had no business here. When closed, you can see what is perhaps the most interesting of the three paintings: a “mercy seat”, which is ultimately said to go back to Dürer's woodcut of the same name from 1511, paraphrasing it freely. Iconographically, it is striking that Dürer's papal tiara of God has certainly become an imperial crown for religious reasons. Furthermore, there is little correspondence with the model, as a whole and in detail, let alone the painting style. Above the flat cabinet there is an aedicula-like panel with the portrait of the chapel founder Konrad Imhoff, as we know him from the depiction on the triptych by Jakob Elsner dated 1486 (today in the Bavarian National Museum in Munich), i.e. a copy of a late Gothic work. (Pablo de la Riestra) Rochuskapelle Nuremberg, 32 pages, 66 illustrations, format 13.6 x 19 cm, 1st edition 2021, Art publisher Josef Fink / ISBN 978-3-95976-339-4​Feedback gebenSeitenleisten

The so-called Imhoff or Dürer foundation plaque from 1624 hangs in the choir directly north of the main altar. It is a flat “cupboard” with a folding panel. For a long time, the work was considered the chapel's ultimate celebrity because it supposedly contained two pictures by Dürer - even Goethe admired them in 1797 without knowing that they were copies. But it's even more serious: not even this property as a "copy" can be proven today. The object is also an epitaph for the art collector Hans VII Imhoff, his father Willibald I and his ancestors Imhoff and Pirckheimer. Georg Gärtner the Younger was the painter here. The solid back wall shows an adoration of the Christ child by the shepherds. The inside of the folding panel depicts the death in 1504 of Creszentia Pirckheimer, wife of the famous humanist, this time with the mentioned year of death and again with Dürer's monogram, although the great master had no business here. When closed, you can see what is perhaps the most interesting of the three paintings: a “mercy seat”, which is ultimately said to go back to Dürer's woodcut of the same name from 1511, paraphrasing it freely. Iconographically, it is striking that Dürer's papal tiara of God has certainly become an imperial crown for religious reasons. Furthermore, there is little correspondence with the model, as a whole and in detail, let alone the painting style. Above the flat cabinet there is an aedicula-like panel with the portrait of the chapel founder Konrad Imhoff, as we know him from the depiction on the triptych by Jakob Elsner dated 1486 (today in the Bavarian National Museum in Munich), i.e. a copy of a late Gothic work. (Pablo de la Riestra) Rochuskapelle Nuremberg, 32 pages, 66 illustrations, format 13.6 x 19 cm, 1st edition 2021, Art publisher Josef Fink / ISBN 978-3-95976-339-4​Feedback gebenSeitenleisten

The so-called Imhoff or Dürer foundation plaque from 1624 hangs in the choir directly north of the main altar. It is a flat “cupboard” with a folding panel. For a long time, the work was considered the chapel's ultimate celebrity because it supposedly contained two pictures by Dürer - even Goethe admired them in 1797 without knowing that they were copies. But it's even more serious: not even this property as a "copy" can be proven today. The object is also an epitaph for the art collector Hans VII Imhoff, his father Willibald I and his ancestors Imhoff and Pirckheimer. Georg Gärtner the Younger was the painter here. The solid back wall shows an adoration of the Christ child by the shepherds. The inside of the folding panel depicts the death in 1504 of Creszentia Pirckheimer, wife of the famous humanist, this time with the mentioned year of death and again with Dürer's monogram, although the great master had no business here. When closed, you can see what is perhaps the most interesting of the three paintings: a “mercy seat”, which is ultimately said to go back to Dürer's woodcut of the same name from 1511, paraphrasing it freely. Iconographically, it is striking that Dürer's papal tiara of God has certainly become an imperial crown for religious reasons. Furthermore, there is little correspondence with the model, as a whole and in detail, let alone the painting style. Above the flat cabinet there is an aedicula-like panel with the portrait of the chapel founder Konrad Imhoff, as we know him from the depiction on the triptych by Jakob Elsner dated 1486 (today in the Bavarian National Museum in Munich), i.e. a copy of a late Gothic work. (Pablo de la Riestra) Rochuskapelle Nuremberg, 32 pages, 66 illustrations, format 13.6 x 19 cm, 1st edition 2021, Art publisher Josef Fink / ISBN 978-3-95976-339-4​Feedback gebenSeitenleisten

The so-called Imhoff or Dürer foundation plaque from 1624 hangs in the choir directly north of the main altar. It is a flat “cupboard” with a folding panel. For a long time, the work was considered the chapel's ultimate celebrity because it supposedly contained two pictures by Dürer - even Goethe admired them in 1797 without knowing that they were copies. But it's even more serious: not even this property as a "copy" can be proven today. The object is also an epitaph for the art collector Hans VII Imhoff, his father Willibald I and his ancestors Imhoff and Pirckheimer. Georg Gärtner the Younger was the painter here. The solid back wall shows an adoration of the Christ child by the shepherds. The inside of the folding panel depicts the death in 1504 of Creszentia Pirckheimer, wife of the famous humanist, this time with the mentioned year of death and again with Dürer's monogram, although the great master had no business here. When closed, you can see what is perhaps the most interesting of the three paintings: a “mercy seat”, which is ultimately said to go back to Dürer's woodcut of the same name from 1511, paraphrasing it freely. Iconographically, it is striking that Dürer's papal tiara of God has certainly become an imperial crown for religious reasons. Furthermore, there is little correspondence with the model, as a whole and in detail, let alone the painting style. Above the flat cabinet there is an aedicula-like panel with the portrait of the chapel founder Konrad Imhoff, as we know him from the depiction on the triptych by Jakob Elsner dated 1486 (today in the Bavarian National Museum in Munich), i.e. a copy of a late Gothic work. (Pablo de la Riestra) Rochuskapelle Nuremberg, 32 pages, 66 illustrations, format 13.6 x 19 cm, 1st edition 2021, Art publisher Josef Fink / ISBN 978-3-95976-339-4​Feedback gebenSeitenleisten

The so-called Imhoff or Dürer foundation plaque from 1624 hangs in the choir directly north of the main altar. It is a flat “cupboard” with a folding panel. For a long time, the work was considered the chapel's ultimate celebrity because it supposedly contained two pictures by Dürer - even Goethe admired them in 1797 without knowing that they were copies. But it's even more serious: not even this property as a "copy" can be proven today. The object is also an epitaph for the art collector Hans VII Imhoff, his father Willibald I and his ancestors Imhoff and Pirckheimer. Georg Gärtner the Younger was the painter here. The solid back wall shows an adoration of the Christ child by the shepherds. The inside of the folding panel depicts the death in 1504 of Creszentia Pirckheimer, wife of the famous humanist, this time with the mentioned year of death and again with Dürer's monogram, although the great master had no business here. When closed, you can see what is perhaps the most interesting of the three paintings: a “mercy seat”, which is ultimately said to go back to Dürer's woodcut of the same name from 1511, paraphrasing it freely. Iconographically, it is striking that Dürer's papal tiara of God has certainly become an imperial crown for religious reasons. Furthermore, there is little correspondence with the model, as a whole and in detail, let alone the painting style. Above the flat cabinet there is an aedicula-like panel with the portrait of the chapel founder Konrad Imhoff, as we know him from the depiction on the triptych by Jakob Elsner dated 1486 (today in the Bavarian National Museum in Munich), i.e. a copy of a late Gothic work. (Pablo de la Riestra) Rochuskapelle Nuremberg, 32 pages, 66 illustrations, format 13.6 x 19 cm, 1st edition 2021, Art publisher Josef Fink / ISBN 978-3-95976-339-4​Feedback gebenSeitenleisten

The so-called Imhoff or Dürer foundation plaque from 1624 hangs in the choir directly north of the main altar. It is a flat “cupboard” with a folding panel. For a long time, the work was considered the chapel's ultimate celebrity because it supposedly contained two pictures by Dürer - even Goethe admired them in 1797 without knowing that they were copies. But it's even more serious: not even this property as a "copy" can be proven today. The object is also an epitaph for the art collector Hans VII Imhoff, his father Willibald I and his ancestors Imhoff and Pirckheimer. Georg Gärtner the Younger was the painter here. The solid back wall shows an adoration of the Christ child by the shepherds. The inside of the folding panel depicts the death in 1504 of Creszentia Pirckheimer, wife of the famous humanist, this time with the mentioned year of death and again with Dürer's monogram, although the great master had no business here. When closed, you can see what is perhaps the most interesting of the three paintings: a “mercy seat”, which is ultimately said to go back to Dürer's woodcut of the same name from 1511, paraphrasing it freely. Iconographically, it is striking that Dürer's papal tiara of God has certainly become an imperial crown for religious reasons. Furthermore, there is little correspondence with the model, as a whole and in detail, let alone the painting style. Above the flat cabinet there is an aedicula-like panel with the portrait of the chapel founder Konrad Imhoff, as we know him from the depiction on the triptych by Jakob Elsner dated 1486 (today in the Bavarian National Museum in Munich), i.e. a copy of a late Gothic work. (Pablo de la Riestra) Rochuskapelle Nuremberg, 32 pages, 66 illustrations, format 13.6 x 19 cm, 1st edition 2021, Art publisher Josef Fink / ISBN 978-3-95976-339-4​Feedback gebenSeitenleisten

The so-called Imhoff or Dürer foundation plaque from 1624 hangs in the choir directly north of the main altar. It is a flat “cupboard” with a folding panel. For a long time, the work was considered the chapel's ultimate celebrity because it supposedly contained two pictures by Dürer - even Goethe admired them in 1797 without knowing that they were copies. But it's even more serious: not even this property as a "copy" can be proven today. The object is also an epitaph for the art collector Hans VII Imhoff, his father Willibald I and his ancestors Imhoff and Pirckheimer. Georg Gärtner the Younger was the painter here. The solid back wall shows an adoration of the Christ child by the shepherds. The inside of the folding panel depicts the death in 1504 of Creszentia Pirckheimer, wife of the famous humanist, this time with the mentioned year of death and again with Dürer's monogram, although the great master had no business here. When closed, you can see what is perhaps the most interesting of the three paintings: a “mercy seat”, which is ultimately said to go back to Dürer's woodcut of the same name from 1511, paraphrasing it freely. Iconographically, it is striking that Dürer's papal tiara of God has certainly become an imperial crown for religious reasons. Furthermore, there is little correspondence with the model, as a whole and in detail, let alone the painting style. Above the flat cabinet there is an aedicula-like panel with the portrait of the chapel founder Konrad Imhoff, as we know him from the depiction on the triptych by Jakob Elsner dated 1486 (today in the Bavarian National Museum in Munich), i.e. a copy of a late Gothic work. (Pablo de la Riestra) Rochuskapelle Nuremberg, 32 pages, 66 illustrations, format 13.6 x 19 cm, 1st edition 2021, Art publisher Josef Fink / ISBN 978-3-95976-339-4​Feedback gebenSeitenleisten

The so-called Imhoff or Dürer foundation plaque from 1624 hangs in the choir directly north of the main altar. It is a flat “cupboard” with a folding panel. For a long time, the work was considered the chapel's ultimate celebrity because it supposedly contained two pictures by Dürer - even Goethe admired them in 1797 without knowing that they were copies. But it's even more serious: not even this property as a "copy" can be proven today. The object is also an epitaph for the art collector Hans VII Imhoff, his father Willibald I and his ancestors Imhoff and Pirckheimer. Georg Gärtner the Younger was the painter here. The solid back wall shows an adoration of the Christ child by the shepherds. The inside of the folding panel depicts the death in 1504 of Creszentia Pirckheimer, wife of the famous humanist, this time with the mentioned year of death and again with Dürer's monogram, although the great master had no business here. When closed, you can see what is perhaps the most interesting of the three paintings: a “mercy seat”, which is ultimately said to go back to Dürer's woodcut of the same name from 1511, paraphrasing it freely. Iconographically, it is striking that Dürer's papal tiara of God has certainly become an imperial crown for religious reasons. Furthermore, there is little correspondence with the model, as a whole and in detail, let alone the painting style. Above the flat cabinet there is an aedicula-like panel with the portrait of the chapel founder Konrad Imhoff, as we know him from the depiction on the triptych by Jakob Elsner dated 1486 (today in the Bavarian National Museum in Munich), i.e. a copy of a late Gothic work. (Pablo de la Riestra) Rochuskapelle Nuremberg, 32 pages, 66 illustrations, format 13.6 x 19 cm, 1st edition 2021, Art publisher Josef Fink / ISBN 978-3-95976-339-4​Feedback gebenSeitenleisten

The so-called Imhoff or Dürer foundation plaque from 1624 hangs in the choir directly north of the main altar. It is a flat “cupboard” with a folding panel. For a long time, the work was considered the chapel's ultimate celebrity because it supposedly contained two pictures by Dürer - even Goethe admired them in 1797 without knowing that they were copies. But it's even more serious: not even this property as a "copy" can be proven today. The object is also an epitaph for the art collector Hans VII Imhoff, his father Willibald I and his ancestors Imhoff and Pirckheimer. Georg Gärtner the Younger was the painter here. The solid back wall shows an adoration of the Christ child by the shepherds. The inside of the folding panel depicts the death in 1504 of Creszentia Pirckheimer, wife of the famous humanist, this time with the mentioned year of death and again with Dürer's monogram, although the great master had no business here. When closed, you can see what is perhaps the most interesting of the three paintings: a “mercy seat”, which is ultimately said to go back to Dürer's woodcut of the same name from 1511, paraphrasing it freely. Iconographically, it is striking that Dürer's papal tiara of God has certainly become an imperial crown for religious reasons. Furthermore, there is little correspondence with the model, as a whole and in detail, let alone the painting style. Above the flat cabinet there is an aedicula-like panel with the portrait of the chapel founder Konrad Imhoff, as we know him from the depiction on the triptych by Jakob Elsner dated 1486 (today in the Bavarian National Museum in Munich), i.e. a copy of a late Gothic work. (Pablo de la Riestra) Rochuskapelle Nuremberg, 32 pages, 66 illustrations, format 13.6 x 19 cm, 1st edition 2021, Art publisher Josef Fink / ISBN 978-3-95976-339-4​Feedback gebenSeitenleisten

The so-called Imhoff or Dürer foundation plaque from 1624 hangs in the choir directly north of the main altar. It is a flat “cupboard” with a folding panel. For a long time, the work was considered the chapel's ultimate celebrity because it supposedly contained two pictures by Dürer - even Goethe admired them in 1797 without knowing that they were copies. But it's even more serious: not even this property as a "copy" can be proven today. The object is also an epitaph for the art collector Hans VII Imhoff, his father Willibald I and his ancestors Imhoff and Pirckheimer. Georg Gärtner the Younger was the painter here. The solid back wall shows an adoration of the Christ child by the shepherds. The inside of the folding panel depicts the death in 1504 of Creszentia Pirckheimer, wife of the famous humanist, this time with the mentioned year of death and again with Dürer's monogram, although the great master had no business here. When closed, you can see what is perhaps the most interesting of the three paintings: a “mercy seat”, which is ultimately said to go back to Dürer's woodcut of the same name from 1511, paraphrasing it freely. Iconographically, it is striking that Dürer's papal tiara of God has certainly become an imperial crown for religious reasons. Furthermore, there is little correspondence with the model, as a whole and in detail, let alone the painting style. Above the flat cabinet there is an aedicula-like panel with the portrait of the chapel founder Konrad Imhoff, as we know him from the depiction on the triptych by Jakob Elsner dated 1486 (today in the Bavarian National Museum in Munich), i.e. a copy of a late Gothic work. (Pablo de la Riestra) Rochuskapelle Nuremberg, 32 pages, 66 illustrations, format 13.6 x 19 cm, 1st edition 2021, Art publisher Josef Fink / ISBN 978-3-95976-339-4​Feedback gebenSeitenleisten

The so-called Imhoff or Dürer foundation plaque from 1624 hangs in the choir directly north of the main altar. It is a flat “cupboard” with a folding panel. For a long time, the work was considered the chapel's ultimate celebrity because it supposedly contained two pictures by Dürer - even Goethe admired them in 1797 without knowing that they were copies. But it's even more serious: not even this property as a "copy" can be proven today. The object is also an epitaph for the art collector Hans VII Imhoff, his father Willibald I and his ancestors Imhoff and Pirckheimer. Georg Gärtner the Younger was the painter here. The solid back wall shows an adoration of the Christ child by the shepherds. The inside of the folding panel depicts the death in 1504 of Creszentia Pirckheimer, wife of the famous humanist, this time with the mentioned year of death and again with Dürer's monogram, although the great master had no business here. When closed, you can see what is perhaps the most interesting of the three paintings: a “mercy seat”, which is ultimately said to go back to Dürer's woodcut of the same name from 1511, paraphrasing it freely. Iconographically, it is striking that Dürer's papal tiara of God has certainly become an imperial crown for religious reasons. Furthermore, there is little correspondence with the model, as a whole and in detail, let alone the painting style. Above the flat cabinet there is an aedicula-like panel with the portrait of the chapel founder Konrad Imhoff, as we know him from the depiction on the triptych by Jakob Elsner dated 1486 (today in the Bavarian National Museum in Munich), i.e. a copy of a late Gothic work. (Pablo de la Riestra) Rochuskapelle Nuremberg, 32 pages, 66 illustrations, format 13.6 x 19 cm, 1st edition 2021, Art publisher Josef Fink / ISBN 978-3-95976-339-4​Feedback gebenSeitenleisten

The so-called Imhoff or Dürer foundation plaque from 1624 hangs in the choir directly north of the main altar. It is a flat “cupboard” with a folding panel. For a long time, the work was considered the chapel's ultimate celebrity because it supposedly contained two pictures by Dürer - even Goethe admired them in 1797 without knowing that they were copies. But it's even more serious: not even this property as a "copy" can be proven today. The object is also an epitaph for the art collector Hans VII Imhoff, his father Willibald I and his ancestors Imhoff and Pirckheimer. Georg Gärtner the Younger was the painter here. The solid back wall shows an adoration of the Christ child by the shepherds. The inside of the folding panel depicts the death in 1504 of Creszentia Pirckheimer, wife of the famous humanist, this time with the mentioned year of death and again with Dürer's monogram, although the great master had no business here. When closed, you can see what is perhaps the most interesting of the three paintings: a “mercy seat”, which is ultimately said to go back to Dürer's woodcut of the same name from 1511, paraphrasing it freely. Iconographically, it is striking that Dürer's papal tiara of God has certainly become an imperial crown for religious reasons. Furthermore, there is little correspondence with the model, as a whole and in detail, let alone the painting style. Above the flat cabinet there is an aedicula-like panel with the portrait of the chapel founder Konrad Imhoff, as we know him from the depiction on the triptych by Jakob Elsner dated 1486 (today in the Bavarian National Museum in Munich), i.e. a copy of a late Gothic work. (Pablo de la Riestra) Rochuskapelle Nuremberg, 32 pages, 66 illustrations, format 13.6 x 19 cm, 1st edition 2021, Art publisher Josef Fink / ISBN 978-3-95976-339-4​Feedback gebenSeitenleisten

The so-called Imhoff or Dürer foundation plaque from 1624 hangs in the choir directly north of the main altar. It is a flat “cupboard” with a folding panel. For a long time, the work was considered the chapel's ultimate celebrity because it supposedly contained two pictures by Dürer - even Goethe admired them in 1797 without knowing that they were copies. But it's even more serious: not even this property as a "copy" can be proven today. The object is also an epitaph for the art collector Hans VII Imhoff, his father Willibald I and his ancestors Imhoff and Pirckheimer. Georg Gärtner the Younger was the painter here. The solid back wall shows an adoration of the Christ child by the shepherds. The inside of the folding panel depicts the death in 1504 of Creszentia Pirckheimer, wife of the famous humanist, this time with the mentioned year of death and again with Dürer's monogram, although the great master had no business here. When closed, you can see what is perhaps the most interesting of the three paintings: a “mercy seat”, which is ultimately said to go back to Dürer's woodcut of the same name from 1511, paraphrasing it freely. Iconographically, it is striking that Dürer's papal tiara of God has certainly become an imperial crown for religious reasons. Furthermore, there is little correspondence with the model, as a whole and in detail, let alone the painting style. Above the flat cabinet there is an aedicula-like panel with the portrait of the chapel founder Konrad Imhoff, as we know him from the depiction on the triptych by Jakob Elsner dated 1486 (today in the Bavarian National Museum in Munich), i.e. a copy of a late Gothic work. (Pablo de la Riestra) Rochuskapelle Nuremberg, 32 pages, 66 illustrations, format 13.6 x 19 cm, 1st edition 2021, Art publisher Josef Fink / ISBN 978-3-95976-339-4​Feedback gebenSeitenleisten

The so-called Imhoff or Dürer foundation plaque from 1624 hangs in the choir directly north of the main altar. It is a flat “cupboard” with a folding panel. For a long time, the work was considered the chapel's ultimate celebrity because it supposedly contained two pictures by Dürer - even Goethe admired them in 1797 without knowing that they were copies. But it's even more serious: not even this property as a "copy" can be proven today. The object is also an epitaph for the art collector Hans VII Imhoff, his father Willibald I and his ancestors Imhoff and Pirckheimer. Georg Gärtner the Younger was the painter here. The solid back wall shows an adoration of the Christ child by the shepherds. The inside of the folding panel depicts the death in 1504 of Creszentia Pirckheimer, wife of the famous humanist, this time with the mentioned year of death and again with Dürer's monogram, although the great master had no business here. When closed, you can see what is perhaps the most interesting of the three paintings: a “mercy seat”, which is ultimately said to go back to Dürer's woodcut of the same name from 1511, paraphrasing it freely. Iconographically, it is striking that Dürer's papal tiara of God has certainly become an imperial crown for religious reasons. Furthermore, there is little correspondence with the model, as a whole and in detail, let alone the painting style. Above the flat cabinet there is an aedicula-like panel with the portrait of the chapel founder Konrad Imhoff, as we know him from the depiction on the triptych by Jakob Elsner dated 1486 (today in the Bavarian National Museum in Munich), i.e. a copy of a late Gothic work. (Pablo de la Riestra) Rochuskapelle Nuremberg, 32 pages, 66 illustrations, format 13.6 x 19 cm, 1st edition 2021, Art publisher Josef Fink / ISBN 978-3-95976-339-4​Feedback gebenSeitenleisten

The so-called Imhoff or Dürer foundation plaque from 1624 hangs in the choir directly north of the main altar. It is a flat “cupboard” with a folding panel. For a long time, the work was considered the chapel's ultimate celebrity because it supposedly contained two pictures by Dürer - even Goethe admired them in 1797 without knowing that they were copies. But it's even more serious: not even this property as a "copy" can be proven today. The object is also an epitaph for the art collector Hans VII Imhoff, his father Willibald I and his ancestors Imhoff and Pirckheimer. Georg Gärtner the Younger was the painter here. The solid back wall shows an adoration of the Christ child by the shepherds. The inside of the folding panel depicts the death in 1504 of Creszentia Pirckheimer, wife of the famous humanist, this time with the mentioned year of death and again with Dürer's monogram, although the great master had no business here. When closed, you can see what is perhaps the most interesting of the three paintings: a “mercy seat”, which is ultimately said to go back to Dürer's woodcut of the same name from 1511, paraphrasing it freely. Iconographically, it is striking that Dürer's papal tiara of God has certainly become an imperial crown for religious reasons. Furthermore, there is little correspondence with the model, as a whole and in detail, let alone the painting style. Above the flat cabinet there is an aedicula-like panel with the portrait of the chapel founder Konrad Imhoff, as we know him from the depiction on the triptych by Jakob Elsner dated 1486 (today in the Bavarian National Museum in Munich), i.e. a copy of a late Gothic work. (Pablo de la Riestra) Rochuskapelle Nuremberg, 32 pages, 66 illustrations, format 13.6 x 19 cm, 1st edition 2021, Art publisher Josef Fink / ISBN 978-3-95976-339-4​Feedback gebenSeitenleisten

The so-called Imhoff or Dürer foundation plaque from 1624 hangs in the choir directly north of the main altar. It is a flat “cupboard” with a folding panel. For a long time, the work was considered the chapel's ultimate celebrity because it supposedly contained two pictures by Dürer - even Goethe admired them in 1797 without knowing that they were copies. But it's even more serious: not even this property as a "copy" can be proven today. The object is also an epitaph for the art collector Hans VII Imhoff, his father Willibald I and his ancestors Imhoff and Pirckheimer. Georg Gärtner the Younger was the painter here. The solid back wall shows an adoration of the Christ child by the shepherds. The inside of the folding panel depicts the death in 1504 of Creszentia Pirckheimer, wife of the famous humanist, this time with the mentioned year of death and again with Dürer's monogram, although the great master had no business here. When closed, you can see what is perhaps the most interesting of the three paintings: a “mercy seat”, which is ultimately said to go back to Dürer's woodcut of the same name from 1511, paraphrasing it freely. Iconographically, it is striking that Dürer's papal tiara of God has certainly become an imperial crown for religious reasons. Furthermore, there is little correspondence with the model, as a whole and in detail, let alone the painting style. Above the flat cabinet there is an aedicula-like panel with the portrait of the chapel founder Konrad Imhoff, as we know him from the depiction on the triptych by Jakob Elsner dated 1486 (today in the Bavarian National Museum in Munich), i.e. a copy of a late Gothic work. (Pablo de la Riestra) Rochuskapelle Nuremberg, 32 pages, 66 illustrations, format 13.6 x 19 cm, 1st edition 2021, Art publisher Josef Fink / ISBN 978-3-95976-339-4​Feedback gebenSeitenleisten

The so-called Imhoff or Dürer foundation plaque from 1624 hangs in the choir directly north of the main altar. It is a flat “cupboard” with a folding panel. For a long time, the work was considered the chapel's ultimate celebrity because it supposedly contained two pictures by Dürer - even Goethe admired them in 1797 without knowing that they were copies. But it's even more serious: not even this property as a "copy" can be proven today. The object is also an epitaph for the art collector Hans VII Imhoff, his father Willibald I and his ancestors Imhoff and Pirckheimer. Georg Gärtner the Younger was the painter here. The solid back wall shows an adoration of the Christ child by the shepherds. The inside of the folding panel depicts the death in 1504 of Creszentia Pirckheimer, wife of the famous humanist, this time with the mentioned year of death and again with Dürer's monogram, although the great master had no business here. When closed, you can see what is perhaps the most interesting of the three paintings: a “mercy seat”, which is ultimately said to go back to Dürer's woodcut of the same name from 1511, paraphrasing it freely. Iconographically, it is striking that Dürer's papal tiara of God has certainly become an imperial crown for religious reasons. Furthermore, there is little correspondence with the model, as a whole and in detail, let alone the painting style. Above the flat cabinet there is an aedicula-like panel with the portrait of the chapel founder Konrad Imhoff, as we know him from the depiction on the triptych by Jakob Elsner dated 1486 (today in the Bavarian National Museum in Munich), i.e. a copy of a late Gothic work. (Pablo de la Riestra) Rochuskapelle Nuremberg, 32 pages, 66 illustrations, format 13.6 x 19 cm, 1st edition 2021, Art publisher Josef Fink / ISBN 978-3-95976-339-4​Feedback gebenSeitenleisten

The so-called Imhoff or Dürer foundation plaque from 1624 hangs in the choir directly north of the main altar. It is a flat “cupboard” with a folding panel. For a long time, the work was considered the chapel's ultimate celebrity because it supposedly contained two pictures by Dürer - even Goethe admired them in 1797 without knowing that they were copies. But it's even more serious: not even this property as a "copy" can be proven today. The object is also an epitaph for the art collector Hans VII Imhoff, his father Willibald I and his ancestors Imhoff and Pirckheimer. Georg Gärtner the Younger was the painter here. The solid back wall shows an adoration of the Christ child by the shepherds. The inside of the folding panel depicts the death in 1504 of Creszentia Pirckheimer, wife of the famous humanist, this time with the mentioned year of death and again with Dürer's monogram, although the great master had no business here. When closed, you can see what is perhaps the most interesting of the three paintings: a “mercy seat”, which is ultimately said to go back to Dürer's woodcut of the same name from 1511, paraphrasing it freely. Iconographically, it is striking that Dürer's papal tiara of God has certainly become an imperial crown for religious reasons. Furthermore, there is little correspondence with the model, as a whole and in detail, let alone the painting style. Above the flat cabinet there is an aedicula-like panel with the portrait of the chapel founder Konrad Imhoff, as we know him from the depiction on the triptych by Jakob Elsner dated 1486 (today in the Bavarian National Museum in Munich), i.e. a copy of a late Gothic work. (Pablo de la Riestra) Rochuskapelle Nuremberg, 32 pages, 66 illustrations, format 13.6 x 19 cm, 1st edition 2021, Art publisher Josef Fink / ISBN 978-3-95976-339-4​Feedback gebenSeitenleisten

The so-called Imhoff or Dürer foundation plaque from 1624 hangs in the choir directly north of the main altar. It is a flat “cupboard” with a folding panel. For a long time, the work was considered the chapel's ultimate celebrity because it supposedly contained two pictures by Dürer - even Goethe admired them in 1797 without knowing that they were copies. But it's even more serious: not even this property as a "copy" can be proven today. The object is also an epitaph for the art collector Hans VII Imhoff, his father Willibald I and his ancestors Imhoff and Pirckheimer. Georg Gärtner the Younger was the painter here. The solid back wall shows an adoration of the Christ child by the shepherds. The inside of the folding panel depicts the death in 1504 of Creszentia Pirckheimer, wife of the famous humanist, this time with the mentioned year of death and again with Dürer's monogram, although the great master had no business here. When closed, you can see what is perhaps the most interesting of the three paintings: a “mercy seat”, which is ultimately said to go back to Dürer's woodcut of the same name from 1511, paraphrasing it freely. Iconographically, it is striking that Dürer's papal tiara of God has certainly become an imperial crown for religious reasons. Furthermore, there is little correspondence with the model, as a whole and in detail, let alone the painting style. Above the flat cabinet there is an aedicula-like panel with the portrait of the chapel founder Konrad Imhoff, as we know him from the depiction on the triptych by Jakob Elsner dated 1486 (today in the Bavarian National Museum in Munich), i.e. a copy of a late Gothic work. (Pablo de la Riestra) Rochuskapelle Nuremberg, 32 pages, 66 illustrations, format 13.6 x 19 cm, 1st edition 2021, Art publisher Josef Fink / ISBN 978-3-95976-339-4​Feedback gebenSeitenleisten

The so-called Imhoff or Dürer foundation plaque from 1624 hangs in the choir directly north of the main altar. It is a flat “cupboard” with a folding panel. For a long time, the work was considered the chapel's ultimate celebrity because it supposedly contained two pictures by Dürer - even Goethe admired them in 1797 without knowing that they were copies. But it's even more serious: not even this property as a "copy" can be proven today. The object is also an epitaph for the art collector Hans VII Imhoff, his father Willibald I and his ancestors Imhoff and Pirckheimer. Georg Gärtner the Younger was the painter here. The solid back wall shows an adoration of the Christ child by the shepherds. The inside of the folding panel depicts the death in 1504 of Creszentia Pirckheimer, wife of the famous humanist, this time with the mentioned year of death and again with Dürer's monogram, although the great master had no business here. When closed, you can see what is perhaps the most interesting of the three paintings: a “mercy seat”, which is ultimately said to go back to Dürer's woodcut of the same name from 1511, paraphrasing it freely. Iconographically, it is striking that Dürer's papal tiara of God has certainly become an imperial crown for religious reasons. Furthermore, there is little correspondence with the model, as a whole and in detail, let alone the painting style. Above the flat cabinet there is an aedicula-like panel with the portrait of the chapel founder Konrad Imhoff, as we know him from the depiction on the triptych by Jakob Elsner dated 1486 (today in the Bavarian National Museum in Munich), i.e. a copy of a late Gothic work. (Pablo de la Riestra) Rochuskapelle Nuremberg, 32 pages, 66 illustrations, format 13.6 x 19 cm, 1st edition 2021, Art publisher Josef Fink / ISBN 978-3-95976-339-4​Feedback gebenSeitenleisten

The so-called Imhoff or Dürer foundation plaque from 1624 hangs in the choir directly north of the main altar. It is a flat “cupboard” with a folding panel. For a long time, the work was considered the chapel's ultimate celebrity because it supposedly contained two pictures by Dürer - even Goethe admired them in 1797 without knowing that they were copies. But it's even more serious: not even this property as a "copy" can be proven today. The object is also an epitaph for the art collector Hans VII Imhoff, his father Willibald I and his ancestors Imhoff and Pirckheimer. Georg Gärtner the Younger was the painter here. The solid back wall shows an adoration of the Christ child by the shepherds. The inside of the folding panel depicts the death in 1504 of Creszentia Pirckheimer, wife of the famous humanist, this time with the mentioned year of death and again with Dürer's monogram, although the great master had no business here. When closed, you can see what is perhaps the most interesting of the three paintings: a “mercy seat”, which is ultimately said to go back to Dürer's woodcut of the same name from 1511, paraphrasing it freely. Iconographically, it is striking that Dürer's papal tiara of God has certainly become an imperial crown for religious reasons. Furthermore, there is little correspondence with the model, as a whole and in detail, let alone the painting style. Above the flat cabinet there is an aedicula-like panel with the portrait of the chapel founder Konrad Imhoff, as we know him from the depiction on the triptych by Jakob Elsner dated 1486 (today in the Bavarian National Museum in Munich), i.e. a copy of a late Gothic work. (Pablo de la Riestra) Rochuskapelle Nuremberg, 32 pages, 66 illustrations, format 13.6 x 19 cm, 1st edition 2021, Art publisher Josef Fink / ISBN 978-3-95976-339-4​Feedback gebenSeitenleisten

The so-called Imhoff or Dürer foundation plaque from 1624 hangs in the choir directly north of the main altar. It is a flat “cupboard” with a folding panel. For a long time, the work was considered the chapel's ultimate celebrity because it supposedly contained two pictures by Dürer - even Goethe admired them in 1797 without knowing that they were copies. But it's even more serious: not even this property as a "copy" can be proven today. The object is also an epitaph for the art collector Hans VII Imhoff, his father Willibald I and his ancestors Imhoff and Pirckheimer. Georg Gärtner the Younger was the painter here. The solid back wall shows an adoration of the Christ child by the shepherds. The inside of the folding panel depicts the death in 1504 of Creszentia Pirckheimer, wife of the famous humanist, this time with the mentioned year of death and again with Dürer's monogram, although the great master had no business here. When closed, you can see what is perhaps the most interesting of the three paintings: a “mercy seat”, which is ultimately said to go back to Dürer's woodcut of the same name from 1511, paraphrasing it freely. Iconographically, it is striking that Dürer's papal tiara of God has certainly become an imperial crown for religious reasons. Furthermore, there is little correspondence with the model, as a whole and in detail, let alone the painting style. Above the flat cabinet there is an aedicula-like panel with the portrait of the chapel founder Konrad Imhoff, as we know him from the depiction on the triptych by Jakob Elsner dated 1486 (today in the Bavarian National Museum in Munich), i.e. a copy of a late Gothic work. (Pablo de la Riestra) Rochuskapelle Nuremberg, 32 pages, 66 illustrations, format 13.6 x 19 cm, 1st edition 2021, Art publisher Josef Fink / ISBN 978-3-95976-339-4​Feedback gebenSeitenleisten

The so-called Imhoff or Dürer foundation plaque from 1624 hangs in the choir directly north of the main altar. It is a flat “cupboard” with a folding panel. For a long time, the work was considered the chapel's ultimate celebrity because it supposedly contained two pictures by Dürer - even Goethe admired them in 1797 without knowing that they were copies. But it's even more serious: not even this property as a "copy" can be proven today. The object is also an epitaph for the art collector Hans VII Imhoff, his father Willibald I and his ancestors Imhoff and Pirckheimer. Georg Gärtner the Younger was the painter here. The solid back wall shows an adoration of the Christ child by the shepherds. The inside of the folding panel depicts the death in 1504 of Creszentia Pirckheimer, wife of the famous humanist, this time with the mentioned year of death and again with Dürer's monogram, although the great master had no business here. When closed, you can see what is perhaps the most interesting of the three paintings: a “mercy seat”, which is ultimately said to go back to Dürer's woodcut of the same name from 1511, paraphrasing it freely. Iconographically, it is striking that Dürer's papal tiara of God has certainly become an imperial crown for religious reasons. Furthermore, there is little correspondence with the model, as a whole and in detail, let alone the painting style. Above the flat cabinet there is an aedicula-like panel with the portrait of the chapel founder Konrad Imhoff, as we know him from the depiction on the triptych by Jakob Elsner dated 1486 (today in the Bavarian National Museum in Munich), i.e. a copy of a late Gothic work. (Pablo de la Riestra) Rochuskapelle Nuremberg, 32 pages, 66 illustrations, format 13.6 x 19 cm, 1st edition 2021, Art publisher Josef Fink / ISBN 978-3-95976-339-4​Feedback gebenSeitenleisten