Numerous engravings by Martin Schongauer and Albrecht Dürer provided the models for artists who transferred them to another visual medium. The Bergheim Altar is a typical example of the spread of print models. It is attributed to the carver Veit Wagner, who worked in the Strasbourg region between 1492 and 1510. For the church of Bergheim near Colmar he created an altar for which he was based heavily on Dürer engravings, namely St. George slaying the dragon, the Annunciation and the Adoration of the Shepherds. A certain harshness in the execution makes it clear how difficult it is to transfer the graphic original to a relief. The perspective spatial design achieved by staggering the levels is convincing. On the fourth panel Wagner depicted a praying hermit, possibly St. Onuphrius. (Musee Unterlinden, Colmar) The outside of the two wings, which were open to churchgoers when closed, are painted. Depicted are John the Baptist and John the Evangelist. Carver: Veit Wagner (1420 - c. 1517)

Numerous engravings by Martin Schongauer and Albrecht Dürer provided the models for artists who transferred them to another visual medium. The Bergheim Altar is a typical example of the spread of print models. It is attributed to the carver Veit Wagner, who worked in the Strasbourg region between 1492 and 1510. For the church of Bergheim near Colmar he created an altar for which he was based heavily on Dürer engravings, namely St. George slaying the dragon, the Annunciation and the Adoration of the Shepherds. A certain harshness in the execution makes it clear how difficult it is to transfer the graphic original to a relief. The perspective spatial design achieved by staggering the levels is convincing. On the fourth panel Wagner depicted a praying hermit, possibly St. Onuphrius. (Musee Unterlinden, Colmar) The outside of the two wings, which were open to churchgoers when closed, are painted. Depicted are John the Baptist and John the Evangelist. Carver: Veit Wagner (1420 - c. 1517)

Numerous engravings by Martin Schongauer and Albrecht Dürer provided the models for artists who transferred them to another visual medium. The Bergheim Altar is a typical example of the spread of print models. It is attributed to the carver Veit Wagner, who worked in the Strasbourg region between 1492 and 1510. For the church of Bergheim near Colmar he created an altar for which he was based heavily on Dürer engravings, namely St. George slaying the dragon, the Annunciation and the Adoration of the Shepherds. A certain harshness in the execution makes it clear how difficult it is to transfer the graphic original to a relief. The perspective spatial design achieved by staggering the levels is convincing. On the fourth panel Wagner depicted a praying hermit, possibly St. Onuphrius. (Musee Unterlinden, Colmar) The outside of the two wings, which were open to churchgoers when closed, are painted. Depicted are John the Baptist and John the Evangelist. Carver: Veit Wagner (1420 - c. 1517)

Numerous engravings by Martin Schongauer and Albrecht Dürer provided the models for artists who transferred them to another visual medium. The Bergheim Altar is a typical example of the spread of print models. It is attributed to the carver Veit Wagner, who worked in the Strasbourg region between 1492 and 1510. For the church of Bergheim near Colmar he created an altar for which he was based heavily on Dürer engravings, namely St. George slaying the dragon, the Annunciation and the Adoration of the Shepherds. A certain harshness in the execution makes it clear how difficult it is to transfer the graphic original to a relief. The perspective spatial design achieved by staggering the levels is convincing. On the fourth panel Wagner depicted a praying hermit, possibly St. Onuphrius. (Musee Unterlinden, Colmar) The outside of the two wings, which were open to churchgoers when closed, are painted. Depicted are John the Baptist and John the Evangelist. Carver: Veit Wagner (1420 - c. 1517)

Numerous engravings by Martin Schongauer and Albrecht Dürer provided the models for artists who transferred them to another visual medium. The Bergheim Altar is a typical example of the spread of print models. It is attributed to the carver Veit Wagner, who worked in the Strasbourg region between 1492 and 1510. For the church of Bergheim near Colmar he created an altar for which he was based heavily on Dürer engravings, namely St. George slaying the dragon, the Annunciation and the Adoration of the Shepherds. A certain harshness in the execution makes it clear how difficult it is to transfer the graphic original to a relief. The perspective spatial design achieved by staggering the levels is convincing. On the fourth panel Wagner depicted a praying hermit, possibly St. Onuphrius. (Musee Unterlinden, Colmar) The outside of the two wings, which were open to churchgoers when closed, are painted. Depicted are John the Baptist and John the Evangelist. Carver: Veit Wagner (1420 - c. 1517)

Numerous engravings by Martin Schongauer and Albrecht Dürer provided the models for artists who transferred them to another visual medium. The Bergheim Altar is a typical example of the spread of print models. It is attributed to the carver Veit Wagner, who worked in the Strasbourg region between 1492 and 1510. For the church of Bergheim near Colmar he created an altar for which he was based heavily on Dürer engravings, namely St. George slaying the dragon, the Annunciation and the Adoration of the Shepherds. A certain harshness in the execution makes it clear how difficult it is to transfer the graphic original to a relief. The perspective spatial design achieved by staggering the levels is convincing. On the fourth panel Wagner depicted a praying hermit, possibly St. Onuphrius. (Musee Unterlinden, Colmar) The outside of the two wings, which were open to churchgoers when closed, are painted. Depicted are John the Baptist and John the Evangelist. Carver: Veit Wagner (1420 - c. 1517)

Numerous engravings by Martin Schongauer and Albrecht Dürer provided the models for artists who transferred them to another visual medium. The Bergheim Altar is a typical example of the spread of print models. It is attributed to the carver Veit Wagner, who worked in the Strasbourg region between 1492 and 1510. For the church of Bergheim near Colmar he created an altar for which he was based heavily on Dürer engravings, namely St. George slaying the dragon, the Annunciation and the Adoration of the Shepherds. A certain harshness in the execution makes it clear how difficult it is to transfer the graphic original to a relief. The perspective spatial design achieved by staggering the levels is convincing. On the fourth panel Wagner depicted a praying hermit, possibly St. Onuphrius. (Musee Unterlinden, Colmar) The outside of the two wings, which were open to churchgoers when closed, are painted. Depicted are John the Baptist and John the Evangelist. Carver: Veit Wagner (1420 - c. 1517)

Numerous engravings by Martin Schongauer and Albrecht Dürer provided the models for artists who transferred them to another visual medium. The Bergheim Altar is a typical example of the spread of print models. It is attributed to the carver Veit Wagner, who worked in the Strasbourg region between 1492 and 1510. For the church of Bergheim near Colmar he created an altar for which he was based heavily on Dürer engravings, namely St. George slaying the dragon, the Annunciation and the Adoration of the Shepherds. A certain harshness in the execution makes it clear how difficult it is to transfer the graphic original to a relief. The perspective spatial design achieved by staggering the levels is convincing. On the fourth panel Wagner depicted a praying hermit, possibly St. Onuphrius. (Musee Unterlinden, Colmar) The outside of the two wings, which were open to churchgoers when closed, are painted. Depicted are John the Baptist and John the Evangelist. Carver: Veit Wagner (1420 - c. 1517)

Numerous engravings by Martin Schongauer and Albrecht Dürer provided the models for artists who transferred them to another visual medium. The Bergheim Altar is a typical example of the spread of print models. It is attributed to the carver Veit Wagner, who worked in the Strasbourg region between 1492 and 1510. For the church of Bergheim near Colmar he created an altar for which he was based heavily on Dürer engravings, namely St. George slaying the dragon, the Annunciation and the Adoration of the Shepherds. A certain harshness in the execution makes it clear how difficult it is to transfer the graphic original to a relief. The perspective spatial design achieved by staggering the levels is convincing. On the fourth panel Wagner depicted a praying hermit, possibly St. Onuphrius. (Musee Unterlinden, Colmar) The outside of the two wings, which were open to churchgoers when closed, are painted. Depicted are John the Baptist and John the Evangelist. Carver: Veit Wagner (1420 - c. 1517)

Numerous engravings by Martin Schongauer and Albrecht Dürer provided the models for artists who transferred them to another visual medium. The Bergheim Altar is a typical example of the spread of print models. It is attributed to the carver Veit Wagner, who worked in the Strasbourg region between 1492 and 1510. For the church of Bergheim near Colmar he created an altar for which he was based heavily on Dürer engravings, namely St. George slaying the dragon, the Annunciation and the Adoration of the Shepherds. A certain harshness in the execution makes it clear how difficult it is to transfer the graphic original to a relief. The perspective spatial design achieved by staggering the levels is convincing. On the fourth panel Wagner depicted a praying hermit, possibly St. Onuphrius. (Musee Unterlinden, Colmar) The outside of the two wings, which were open to churchgoers when closed, are painted. Depicted are John the Baptist and John the Evangelist. Carver: Veit Wagner (1420 - c. 1517)

Numerous engravings by Martin Schongauer and Albrecht Dürer provided the models for artists who transferred them to another visual medium. The Bergheim Altar is a typical example of the spread of print models. It is attributed to the carver Veit Wagner, who worked in the Strasbourg region between 1492 and 1510. For the church of Bergheim near Colmar he created an altar for which he was based heavily on Dürer engravings, namely St. George slaying the dragon, the Annunciation and the Adoration of the Shepherds. A certain harshness in the execution makes it clear how difficult it is to transfer the graphic original to a relief. The perspective spatial design achieved by staggering the levels is convincing. On the fourth panel Wagner depicted a praying hermit, possibly St. Onuphrius. (Musee Unterlinden, Colmar) The outside of the two wings, which were open to churchgoers when closed, are painted. Depicted are John the Baptist and John the Evangelist. Carver: Veit Wagner (1420 - c. 1517)

Numerous engravings by Martin Schongauer and Albrecht Dürer provided the models for artists who transferred them to another visual medium. The Bergheim Altar is a typical example of the spread of print models. It is attributed to the carver Veit Wagner, who worked in the Strasbourg region between 1492 and 1510. For the church of Bergheim near Colmar he created an altar for which he was based heavily on Dürer engravings, namely St. George slaying the dragon, the Annunciation and the Adoration of the Shepherds. A certain harshness in the execution makes it clear how difficult it is to transfer the graphic original to a relief. The perspective spatial design achieved by staggering the levels is convincing. On the fourth panel Wagner depicted a praying hermit, possibly St. Onuphrius. (Musee Unterlinden, Colmar) The outside of the two wings, which were open to churchgoers when closed, are painted. Depicted are John the Baptist and John the Evangelist. Carver: Veit Wagner (1420 - c. 1517)

Numerous engravings by Martin Schongauer and Albrecht Dürer provided the models for artists who transferred them to another visual medium. The Bergheim Altar is a typical example of the spread of print models. It is attributed to the carver Veit Wagner, who worked in the Strasbourg region between 1492 and 1510. For the church of Bergheim near Colmar he created an altar for which he was based heavily on Dürer engravings, namely St. George slaying the dragon, the Annunciation and the Adoration of the Shepherds. A certain harshness in the execution makes it clear how difficult it is to transfer the graphic original to a relief. The perspective spatial design achieved by staggering the levels is convincing. On the fourth panel Wagner depicted a praying hermit, possibly St. Onuphrius. (Musee Unterlinden, Colmar) The outside of the two wings, which were open to churchgoers when closed, are painted. Depicted are John the Baptist and John the Evangelist. Carver: Veit Wagner (1420 - c. 1517)

Numerous engravings by Martin Schongauer and Albrecht Dürer provided the models for artists who transferred them to another visual medium. The Bergheim Altar is a typical example of the spread of print models. It is attributed to the carver Veit Wagner, who worked in the Strasbourg region between 1492 and 1510. For the church of Bergheim near Colmar he created an altar for which he was based heavily on Dürer engravings, namely St. George slaying the dragon, the Annunciation and the Adoration of the Shepherds. A certain harshness in the execution makes it clear how difficult it is to transfer the graphic original to a relief. The perspective spatial design achieved by staggering the levels is convincing. On the fourth panel Wagner depicted a praying hermit, possibly St. Onuphrius. (Musee Unterlinden, Colmar) The outside of the two wings, which were open to churchgoers when closed, are painted. Depicted are John the Baptist and John the Evangelist. Carver: Veit Wagner (1420 - c. 1517)

Numerous engravings by Martin Schongauer and Albrecht Dürer provided the models for artists who transferred them to another visual medium. The Bergheim Altar is a typical example of the spread of print models. It is attributed to the carver Veit Wagner, who worked in the Strasbourg region between 1492 and 1510. For the church of Bergheim near Colmar he created an altar for which he was based heavily on Dürer engravings, namely St. George slaying the dragon, the Annunciation and the Adoration of the Shepherds. A certain harshness in the execution makes it clear how difficult it is to transfer the graphic original to a relief. The perspective spatial design achieved by staggering the levels is convincing. On the fourth panel Wagner depicted a praying hermit, possibly St. Onuphrius. (Musee Unterlinden, Colmar) The outside of the two wings, which were open to churchgoers when closed, are painted. Depicted are John the Baptist and John the Evangelist. Carver: Veit Wagner (1420 - c. 1517)

Numerous engravings by Martin Schongauer and Albrecht Dürer provided the models for artists who transferred them to another visual medium. The Bergheim Altar is a typical example of the spread of print models. It is attributed to the carver Veit Wagner, who worked in the Strasbourg region between 1492 and 1510. For the church of Bergheim near Colmar he created an altar for which he was based heavily on Dürer engravings, namely St. George slaying the dragon, the Annunciation and the Adoration of the Shepherds. A certain harshness in the execution makes it clear how difficult it is to transfer the graphic original to a relief. The perspective spatial design achieved by staggering the levels is convincing. On the fourth panel Wagner depicted a praying hermit, possibly St. Onuphrius. (Musee Unterlinden, Colmar) The outside of the two wings, which were open to churchgoers when closed, are painted. Depicted are John the Baptist and John the Evangelist. Carver: Veit Wagner (1420 - c. 1517)