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

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

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

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

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

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

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

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