ca. 1514
DeutschEnglisch Crucifixion pane in the east window of the north sacristy, which, as a possible remnant of the former Sebalder spoonwood window, can clearly be traced back to designs by Hans von Kulmbach, although the Berlin visor can hardly have served as a direct template for the glass painter: the many more or less striking deviations, for example in the figure of the beloved disciple, but also in the loincloth of the crucified man and in the folds of the cloak of the Mother of God, rather point to the free combinatory use of various templates that were available for permanent use in Veit Hirsvogel's workshop: If you look more closely, Then the robed figure of the Mother of God under the cross in the executed pane actually corresponds much better - but again not literally - to Kulmbach's design for a reading Mary at the Annunciation in Erlangen. The mantle of St. Clare falls in a disc in St. Jakob, which is almost identical again. Hartmut Scholz: St. Sebald in Nuremberg, masterpieces of stained glass, Volume 3, Freiburg i. Br. 2007, pp. 80-81 see also: - Mary (at an Annunciation) by Hans Kulmbach, 1513, FAU Erlangen-Nuremberg, graphic collection) - Design for a crucifixion by Hans Kulmbach, 1514, State Museums in Berlin, copper engraving cabinet
Location: Nuremberg, St. Sebald, north sacristy
Design: Kulmbach, Hans Süß von
Realization: Hirsvogel (Hirschvogel, Hirsfogel), Werkstatt
Material: glass
photo 2022, Pablo de la Riestra
ca. 1514
East wall of the sacristy with niches and windows
DeutschEnglisch Crucifixion pane in the east window of the north sacristy, which, as a possible remnant of the former Sebalder spoonwood window, can clearly be traced back to designs by Hans von Kulmbach, although the Berlin visor can hardly have served as a direct template for the glass painter: the many more or less striking deviations, for example in the figure of the beloved disciple, but also in the loincloth of the crucified man and in the folds of the cloak of the Mother of God, rather point to the free combinatory use of various templates that were available for permanent use in Veit Hirsvogel's workshop: If you look more closely, Then the robed figure of the Mother of God under the cross in the executed pane actually corresponds much better - but again not literally - to Kulmbach's design for a reading Mary at the Annunciation in Erlangen. The mantle of St. Clare falls in a disc in St. Jakob, which is almost identical again. Hartmut Scholz: St. Sebald in Nuremberg, masterpieces of stained glass, Volume 3, Freiburg i. Br. 2007, pp. 80-81 see also: - Mary (at an Annunciation) by Hans Kulmbach, 1513, FAU Erlangen-Nuremberg, graphic collection) - Design for a crucifixion by Hans Kulmbach, 1514, State Museums in Berlin, copper engraving cabinet
Location: Nuremberg, St. Sebald, north sacristy
Design: Kulmbach, Hans Süß von
Realization: Hirsvogel (Hirschvogel, Hirsfogel), Werkstatt
Material: glass
photo 2022, Pablo de la Riestra
ca. 1514
upper half of the picture
DeutschEnglisch Crucifixion pane in the east window of the north sacristy, which, as a possible remnant of the former Sebalder spoonwood window, can clearly be traced back to designs by Hans von Kulmbach, although the Berlin visor can hardly have served as a direct template for the glass painter: the many more or less striking deviations, for example in the figure of the beloved disciple, but also in the loincloth of the crucified man and in the folds of the cloak of the Mother of God, rather point to the free combinatory use of various templates that were available for permanent use in Veit Hirsvogel's workshop: If you look more closely, Then the robed figure of the Mother of God under the cross in the executed pane actually corresponds much better - but again not literally - to Kulmbach's design for a reading Mary at the Annunciation in Erlangen. The mantle of St. Clare falls in a disc in St. Jakob, which is almost identical again. Hartmut Scholz: St. Sebald in Nuremberg, masterpieces of stained glass, Volume 3, Freiburg i. Br. 2007, pp. 80-81 see also: - Mary (at an Annunciation) by Hans Kulmbach, 1513, FAU Erlangen-Nuremberg, graphic collection) - Design for a crucifixion by Hans Kulmbach, 1514, State Museums in Berlin, copper engraving cabinet
Location: Nuremberg, St. Sebald, north sacristy
Design: Kulmbach, Hans Süß von
Realization: Hirsvogel (Hirschvogel, Hirsfogel), Werkstatt
Material: glass
photo 2022, Pablo de la Riestra
ca. 1514
Detail view
DeutschEnglisch Crucifixion pane in the east window of the north sacristy, which, as a possible remnant of the former Sebalder spoonwood window, can clearly be traced back to designs by Hans von Kulmbach, although the Berlin visor can hardly have served as a direct template for the glass painter: the many more or less striking deviations, for example in the figure of the beloved disciple, but also in the loincloth of the crucified man and in the folds of the cloak of the Mother of God, rather point to the free combinatory use of various templates that were available for permanent use in Veit Hirsvogel's workshop: If you look more closely, Then the robed figure of the Mother of God under the cross in the executed pane actually corresponds much better - but again not literally - to Kulmbach's design for a reading Mary at the Annunciation in Erlangen. The mantle of St. Clare falls in a disc in St. Jakob, which is almost identical again. Hartmut Scholz: St. Sebald in Nuremberg, masterpieces of stained glass, Volume 3, Freiburg i. Br. 2007, pp. 80-81 see also: - Mary (at an Annunciation) by Hans Kulmbach, 1513, FAU Erlangen-Nuremberg, graphic collection) - Design for a crucifixion by Hans Kulmbach, 1514, State Museums in Berlin, copper engraving cabinet
Location: Nuremberg, St. Sebald, north sacristy
Design: Kulmbach, Hans Süß von
Realization: Hirsvogel (Hirschvogel, Hirsfogel), Werkstatt
Material: glass
photo 2022, Pablo de la Riestra
ca. 1514
lower half of the picture
DeutschEnglisch Crucifixion pane in the east window of the north sacristy, which, as a possible remnant of the former Sebalder spoonwood window, can clearly be traced back to designs by Hans von Kulmbach, although the Berlin visor can hardly have served as a direct template for the glass painter: the many more or less striking deviations, for example in the figure of the beloved disciple, but also in the loincloth of the crucified man and in the folds of the cloak of the Mother of God, rather point to the free combinatory use of various templates that were available for permanent use in Veit Hirsvogel's workshop: If you look more closely, Then the robed figure of the Mother of God under the cross in the executed pane actually corresponds much better - but again not literally - to Kulmbach's design for a reading Mary at the Annunciation in Erlangen. The mantle of St. Clare falls in a disc in St. Jakob, which is almost identical again. Hartmut Scholz: St. Sebald in Nuremberg, masterpieces of stained glass, Volume 3, Freiburg i. Br. 2007, pp. 80-81 see also: - Mary (at an Annunciation) by Hans Kulmbach, 1513, FAU Erlangen-Nuremberg, graphic collection) - Design for a crucifixion by Hans Kulmbach, 1514, State Museums in Berlin, copper engraving cabinet
Location: Nuremberg, St. Sebald, north sacristy
Design: Kulmbach, Hans Süß von
Realization: Hirsvogel (Hirschvogel, Hirsfogel), Werkstatt
Material: glass
photo 2022, Theo Noll
ca. 1514
Image comparison with Kulmbach's design for a crucifixion (State Museums in Berlin, Kupferstichkabinett / Jörg P. Anders / Ident. No.: KdZ 4070)
DeutschEnglisch Crucifixion pane in the east window of the north sacristy, which, as a possible remnant of the former Sebalder spoonwood window, can clearly be traced back to designs by Hans von Kulmbach, although the Berlin visor can hardly have served as a direct template for the glass painter: the many more or less striking deviations, for example in the figure of the beloved disciple, but also in the loincloth of the crucified man and in the folds of the cloak of the Mother of God, rather point to the free combinatory use of various templates that were available for permanent use in Veit Hirsvogel's workshop: If you look more closely, Then the robed figure of the Mother of God under the cross in the executed pane actually corresponds much better - but again not literally - to Kulmbach's design for a reading Mary at the Annunciation in Erlangen. The mantle of St. Clare falls in a disc in St. Jakob, which is almost identical again. Hartmut Scholz: St. Sebald in Nuremberg, masterpieces of stained glass, Volume 3, Freiburg i. Br. 2007, pp. 80-81 see also: - Mary (at an Annunciation) by Hans Kulmbach, 1513, FAU Erlangen-Nuremberg, graphic collection) - Design for a crucifixion by Hans Kulmbach, 1514, State Museums in Berlin, copper engraving cabinet
Location: Friedrich-Alexander-Universität Erlangen-Nürnberg, Graphische Sammlung / Signatur: H62/B 238)
Design: Kulmbach, Hans Süß von
Realization: Hirsvogel (Hirschvogel, Hirsfogel), Werkstatt
Material: glass
photo 2022, Pablo de la Riestra
ca. 1514
Image comparison with Kulmbach's design for a reading Mary at the Annunciation (Friedrich Alexander University Erlangen-Nuremberg, Graphic Collection / Signature: H62/B 238)
DeutschEnglisch Crucifixion pane in the east window of the north sacristy, which, as a possible remnant of the former Sebalder spoonwood window, can clearly be traced back to designs by Hans von Kulmbach, although the Berlin visor can hardly have served as a direct template for the glass painter: the many more or less striking deviations, for example in the figure of the beloved disciple, but also in the loincloth of the crucified man and in the folds of the cloak of the Mother of God, rather point to the free combinatory use of various templates that were available for permanent use in Veit Hirsvogel's workshop: If you look more closely, Then the robed figure of the Mother of God under the cross in the executed pane actually corresponds much better - but again not literally - to Kulmbach's design for a reading Mary at the Annunciation in Erlangen. The mantle of St. Clare falls in a disc in St. Jakob, which is almost identical again. Hartmut Scholz: St. Sebald in Nuremberg, masterpieces of stained glass, Volume 3, Freiburg i. Br. 2007, pp. 80-81 see also: - Mary (at an Annunciation) by Hans Kulmbach, 1513, FAU Erlangen-Nuremberg, graphic collection) - Design for a crucifixion by Hans Kulmbach, 1514, State Museums in Berlin, copper engraving cabinet
Location: Friedrich-Alexander University Erlangen-Nuremberg, graphic collection / signature: H62/B 238 // Nuremberg, St. Sebald, northern sacristy
Design: Kulmbach, Hans Süß von
Realization: Hirsvogel (Hirschvogel, Hirsfogel), Werkstatt
Material: glass
photo 2022, Pablo de la Riestra
ca. 1514
Image comparison with three Marys: left from draft for a reading Mary of the Annunciation, FAU Erlangen Graphic Collection / right from draft for a crucifixion, Berlin State Museums, Kupferstichkabinett
DeutschEnglisch Crucifixion pane in the east window of the north sacristy, which, as a possible remnant of the former Sebalder spoonwood window, can clearly be traced back to designs by Hans von Kulmbach, although the Berlin visor can hardly have served as a direct template for the glass painter: the many more or less striking deviations, for example in the figure of the beloved disciple, but also in the loincloth of the crucified man and in the folds of the cloak of the Mother of God, rather point to the free combinatory use of various templates that were available for permanent use in Veit Hirsvogel's workshop: If you look more closely, Then the robed figure of the Mother of God under the cross in the executed pane actually corresponds much better - but again not literally - to Kulmbach's design for a reading Mary at the Annunciation in Erlangen. The mantle of St. Clare falls in a disc in St. Jakob, which is almost identical again. Hartmut Scholz: St. Sebald in Nuremberg, masterpieces of stained glass, Volume 3, Freiburg i. Br. 2007, pp. 80-81 see also: - Mary (at an Annunciation) by Hans Kulmbach, 1513, FAU Erlangen-Nuremberg, graphic collection) - Design for a crucifixion by Hans Kulmbach, 1514, State Museums in Berlin, copper engraving cabinet
Location: Erlangen / Nuremberg / Berlin
Design: Kulmbach, Hans Süß von
Realization: Hirsvogel (Hirschvogel, Hirsfogel), Werkstatt
Material: glass
photoPablo de la Riestra, ,
ca. 1514
"The mantle of St. Clare falls in a disc in St. Jakob in an almost identical way." (Hartmut Scholz)
DeutschEnglisch Crucifixion pane in the east window of the north sacristy, which, as a possible remnant of the former Sebalder spoonwood window, can clearly be traced back to designs by Hans von Kulmbach, although the Berlin visor can hardly have served as a direct template for the glass painter: the many more or less striking deviations, for example in the figure of the beloved disciple, but also in the loincloth of the crucified man and in the folds of the cloak of the Mother of God, rather point to the free combinatory use of various templates that were available for permanent use in Veit Hirsvogel's workshop: If you look more closely, Then the robed figure of the Mother of God under the cross in the executed pane actually corresponds much better - but again not literally - to Kulmbach's design for a reading Mary at the Annunciation in Erlangen. The mantle of St. Clare falls in a disc in St. Jakob, which is almost identical again. Hartmut Scholz: St. Sebald in Nuremberg, masterpieces of stained glass, Volume 3, Freiburg i. Br. 2007, pp. 80-81 see also: - Mary (at an Annunciation) by Hans Kulmbach, 1513, FAU Erlangen-Nuremberg, graphic collection) - Design for a crucifixion by Hans Kulmbach, 1514, State Museums in Berlin, copper engraving cabinet
Location: Nuremberg, St. Jakob, detail from the window S II
Design: Kulmbach, Hans Süß von
Realization: Hirsvogel (Hirschvogel, Hirsfogel), Werkstatt
Material: glass
photo 2023, Theo Noll
ca. 1514
.
photo 2023, Theo Noll
DeutschEnglisch Crucifixion pane in the east window of the north sacristy, which, as a possible remnant of the former Sebalder spoonwood window, can clearly be traced back to designs by Hans von Kulmbach, although the Berlin visor can hardly have served as a direct template for the glass painter: the many more or less striking deviations, for example in the figure of the beloved disciple, but also in the loincloth of the crucified man and in the folds of the cloak of the Mother of God, rather point to the free combinatory use of various templates that were available for permanent use in Veit Hirsvogel's workshop: If you look more closely, Then the robed figure of the Mother of God under the cross in the executed pane actually corresponds much better - but again not literally - to Kulmbach's design for a reading Mary at the Annunciation in Erlangen. The mantle of St. Clare falls in a disc in St. Jakob, which is almost identical again. Hartmut Scholz: St. Sebald in Nuremberg, masterpieces of stained glass, Volume 3, Freiburg i. Br. 2007, pp. 80-81 see also: - Mary (at an Annunciation) by Hans Kulmbach, 1513, FAU Erlangen-Nuremberg, graphic collection) - Design for a crucifixion by Hans Kulmbach, 1514, State Museums in Berlin, copper engraving cabinet
Location: Erlangen / Nürnberg (Sebald) / Berlin / Nürnberg (Jakob)
Design: Kulmbach, Hans Süß von
Realization: Hirsvogel (Hirschvogel, Hirsfogel), Werkstatt
Material: Glas
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