The monumental composition of the Moses Window in Straubing's St. Jacob's Church, which was recognized in the 18th century as probably the most successful creation of stained glass in all of Bavaria, has not yet been researched to any extent satisfactorily. Recent technical observations of painting have now led to the unequivocal anchoring of the Window in the early oeuvre of the workshop of the Nuremberg city glazier Veit Hirsvogel the Elder and the assignment of the overall design to no one Lesser than Albrecht Dürer himself. His drawings and prints from the time of the apocalypse, around 1498, reveal the most direct parallels in stylistic language and individual motifs, in gestures and physiognomies, in folding and landscape mood. This is the assignment of the great one introduced by Franz Ebner in 1920 "Painting" to Wilhelm Pleydenwurff and the dating, which is almost a decade too early "around 1490" is outdated. The reassessment of the Moses Window enriches our idea of ​​Dürer's beginnings after his return from Italy with a central masterpiece and, in particular, puts the ongoing discussion about the authenticity of Dürer's stained glass designs preserved from this early period on a new basis ." Hartmut Scholz (Albrecht Dürer and the Moses window in St. Jakob in Straubing Published by the German Association for Art Studies / 2005)

The monumental composition of the Moses Window in Straubing's St. Jacob's Church, which was recognized in the 18th century as probably the most successful creation of stained glass in all of Bavaria, has not yet been researched to any extent satisfactorily. Recent technical observations of painting have now led to the unequivocal anchoring of the Window in the early oeuvre of the workshop of the Nuremberg city glazier Veit Hirsvogel the Elder and the assignment of the overall design to no one Lesser than Albrecht Dürer himself. His drawings and prints from the time of the apocalypse, around 1498, reveal the most direct parallels in stylistic language and individual motifs, in gestures and physiognomies, in folding and landscape mood. This is the assignment of the great one introduced by Franz Ebner in 1920 "Painting" to Wilhelm Pleydenwurff and the dating, which is almost a decade too early "around 1490" is outdated. The reassessment of the Moses Window enriches our idea of ​​Dürer's beginnings after his return from Italy with a central masterpiece and, in particular, puts the ongoing discussion about the authenticity of Dürer's stained glass designs preserved from this early period on a new basis ." Hartmut Scholz (Albrecht Dürer and the Moses window in St. Jakob in Straubing Published by the German Association for Art Studies / 2005)

The monumental composition of the Moses Window in Straubing's St. Jacob's Church, which was recognized in the 18th century as probably the most successful creation of stained glass in all of Bavaria, has not yet been researched to any extent satisfactorily. Recent technical observations of painting have now led to the unequivocal anchoring of the Window in the early oeuvre of the workshop of the Nuremberg city glazier Veit Hirsvogel the Elder and the assignment of the overall design to no one Lesser than Albrecht Dürer himself. His drawings and prints from the time of the apocalypse, around 1498, reveal the most direct parallels in stylistic language and individual motifs, in gestures and physiognomies, in folding and landscape mood. This is the assignment of the great one introduced by Franz Ebner in 1920 "Painting" to Wilhelm Pleydenwurff and the dating, which is almost a decade too early "around 1490" is outdated. The reassessment of the Moses Window enriches our idea of ​​Dürer's beginnings after his return from Italy with a central masterpiece and, in particular, puts the ongoing discussion about the authenticity of Dürer's stained glass designs preserved from this early period on a new basis ." Hartmut Scholz (Albrecht Dürer and the Moses window in St. Jakob in Straubing Published by the German Association for Art Studies / 2005)

The monumental composition of the Moses Window in Straubing's St. Jacob's Church, which was recognized in the 18th century as probably the most successful creation of stained glass in all of Bavaria, has not yet been researched to any extent satisfactorily. Recent technical observations of painting have now led to the unequivocal anchoring of the Window in the early oeuvre of the workshop of the Nuremberg city glazier Veit Hirsvogel the Elder and the assignment of the overall design to no one Lesser than Albrecht Dürer himself. His drawings and prints from the time of the apocalypse, around 1498, reveal the most direct parallels in stylistic language and individual motifs, in gestures and physiognomies, in folding and landscape mood. This is the assignment of the great one introduced by Franz Ebner in 1920 "Painting" to Wilhelm Pleydenwurff and the dating, which is almost a decade too early "around 1490" is outdated. The reassessment of the Moses Window enriches our idea of ​​Dürer's beginnings after his return from Italy with a central masterpiece and, in particular, puts the ongoing discussion about the authenticity of Dürer's stained glass designs preserved from this early period on a new basis ." Hartmut Scholz (Albrecht Dürer and the Moses window in St. Jakob in Straubing Published by the German Association for Art Studies / 2005)

The monumental composition of the Moses Window in Straubing's St. Jacob's Church, which was recognized in the 18th century as probably the most successful creation of stained glass in all of Bavaria, has not yet been researched to any extent satisfactorily. Recent technical observations of painting have now led to the unequivocal anchoring of the Window in the early oeuvre of the workshop of the Nuremberg city glazier Veit Hirsvogel the Elder and the assignment of the overall design to no one Lesser than Albrecht Dürer himself. His drawings and prints from the time of the apocalypse, around 1498, reveal the most direct parallels in stylistic language and individual motifs, in gestures and physiognomies, in folding and landscape mood. This is the assignment of the great one introduced by Franz Ebner in 1920 "Painting" to Wilhelm Pleydenwurff and the dating, which is almost a decade too early "around 1490" is outdated. The reassessment of the Moses Window enriches our idea of ​​Dürer's beginnings after his return from Italy with a central masterpiece and, in particular, puts the ongoing discussion about the authenticity of Dürer's stained glass designs preserved from this early period on a new basis ." Hartmut Scholz (Albrecht Dürer and the Moses window in St. Jakob in Straubing Published by the German Association for Art Studies / 2005)

The monumental composition of the Moses Window in Straubing's St. Jacob's Church, which was recognized in the 18th century as probably the most successful creation of stained glass in all of Bavaria, has not yet been researched to any extent satisfactorily. Recent technical observations of painting have now led to the unequivocal anchoring of the Window in the early oeuvre of the workshop of the Nuremberg city glazier Veit Hirsvogel the Elder and the assignment of the overall design to no one Lesser than Albrecht Dürer himself. His drawings and prints from the time of the apocalypse, around 1498, reveal the most direct parallels in stylistic language and individual motifs, in gestures and physiognomies, in folding and landscape mood. This is the assignment of the great one introduced by Franz Ebner in 1920 "Painting" to Wilhelm Pleydenwurff and the dating, which is almost a decade too early "around 1490" is outdated. The reassessment of the Moses Window enriches our idea of ​​Dürer's beginnings after his return from Italy with a central masterpiece and, in particular, puts the ongoing discussion about the authenticity of Dürer's stained glass designs preserved from this early period on a new basis ." Hartmut Scholz (Albrecht Dürer and the Moses window in St. Jakob in Straubing Published by the German Association for Art Studies / 2005)

The monumental composition of the Moses Window in Straubing's St. Jacob's Church, which was recognized in the 18th century as probably the most successful creation of stained glass in all of Bavaria, has not yet been researched to any extent satisfactorily. Recent technical observations of painting have now led to the unequivocal anchoring of the Window in the early oeuvre of the workshop of the Nuremberg city glazier Veit Hirsvogel the Elder and the assignment of the overall design to no one Lesser than Albrecht Dürer himself. His drawings and prints from the time of the apocalypse, around 1498, reveal the most direct parallels in stylistic language and individual motifs, in gestures and physiognomies, in folding and landscape mood. This is the assignment of the great one introduced by Franz Ebner in 1920 "Painting" to Wilhelm Pleydenwurff and the dating, which is almost a decade too early "around 1490" is outdated. The reassessment of the Moses Window enriches our idea of ​​Dürer's beginnings after his return from Italy with a central masterpiece and, in particular, puts the ongoing discussion about the authenticity of Dürer's stained glass designs preserved from this early period on a new basis ." Hartmut Scholz (Albrecht Dürer and the Moses window in St. Jakob in Straubing Published by the German Association for Art Studies / 2005)

The monumental composition of the Moses Window in Straubing's St. Jacob's Church, which was recognized in the 18th century as probably the most successful creation of stained glass in all of Bavaria, has not yet been researched to any extent satisfactorily. Recent technical observations of painting have now led to the unequivocal anchoring of the Window in the early oeuvre of the workshop of the Nuremberg city glazier Veit Hirsvogel the Elder and the assignment of the overall design to no one Lesser than Albrecht Dürer himself. His drawings and prints from the time of the apocalypse, around 1498, reveal the most direct parallels in stylistic language and individual motifs, in gestures and physiognomies, in folding and landscape mood. This is the assignment of the great one introduced by Franz Ebner in 1920 "Painting" to Wilhelm Pleydenwurff and the dating, which is almost a decade too early "around 1490" is outdated. The reassessment of the Moses Window enriches our idea of ​​Dürer's beginnings after his return from Italy with a central masterpiece and, in particular, puts the ongoing discussion about the authenticity of Dürer's stained glass designs preserved from this early period on a new basis ." Hartmut Scholz (Albrecht Dürer and the Moses window in St. Jakob in Straubing Published by the German Association for Art Studies / 2005)

The monumental composition of the Moses Window in Straubing's St. Jacob's Church, which was recognized in the 18th century as probably the most successful creation of stained glass in all of Bavaria, has not yet been researched to any extent satisfactorily. Recent technical observations of painting have now led to the unequivocal anchoring of the Window in the early oeuvre of the workshop of the Nuremberg city glazier Veit Hirsvogel the Elder and the assignment of the overall design to no one Lesser than Albrecht Dürer himself. His drawings and prints from the time of the apocalypse, around 1498, reveal the most direct parallels in stylistic language and individual motifs, in gestures and physiognomies, in folding and landscape mood. This is the assignment of the great one introduced by Franz Ebner in 1920 "Painting" to Wilhelm Pleydenwurff and the dating, which is almost a decade too early "around 1490" is outdated. The reassessment of the Moses Window enriches our idea of ​​Dürer's beginnings after his return from Italy with a central masterpiece and, in particular, puts the ongoing discussion about the authenticity of Dürer's stained glass designs preserved from this early period on a new basis ." Hartmut Scholz (Albrecht Dürer and the Moses window in St. Jakob in Straubing Published by the German Association for Art Studies / 2005)

The monumental composition of the Moses Window in Straubing's St. Jacob's Church, which was recognized in the 18th century as probably the most successful creation of stained glass in all of Bavaria, has not yet been researched to any extent satisfactorily. Recent technical observations of painting have now led to the unequivocal anchoring of the Window in the early oeuvre of the workshop of the Nuremberg city glazier Veit Hirsvogel the Elder and the assignment of the overall design to no one Lesser than Albrecht Dürer himself. His drawings and prints from the time of the apocalypse, around 1498, reveal the most direct parallels in stylistic language and individual motifs, in gestures and physiognomies, in folding and landscape mood. This is the assignment of the great one introduced by Franz Ebner in 1920 "Painting" to Wilhelm Pleydenwurff and the dating, which is almost a decade too early "around 1490" is outdated. The reassessment of the Moses Window enriches our idea of ​​Dürer's beginnings after his return from Italy with a central masterpiece and, in particular, puts the ongoing discussion about the authenticity of Dürer's stained glass designs preserved from this early period on a new basis ." Hartmut Scholz (Albrecht Dürer and the Moses window in St. Jakob in Straubing Published by the German Association for Art Studies / 2005)

The monumental composition of the Moses Window in Straubing's St. Jacob's Church, which was recognized in the 18th century as probably the most successful creation of stained glass in all of Bavaria, has not yet been researched to any extent satisfactorily. Recent technical observations of painting have now led to the unequivocal anchoring of the Window in the early oeuvre of the workshop of the Nuremberg city glazier Veit Hirsvogel the Elder and the assignment of the overall design to no one Lesser than Albrecht Dürer himself. His drawings and prints from the time of the apocalypse, around 1498, reveal the most direct parallels in stylistic language and individual motifs, in gestures and physiognomies, in folding and landscape mood. This is the assignment of the great one introduced by Franz Ebner in 1920 "Painting" to Wilhelm Pleydenwurff and the dating, which is almost a decade too early "around 1490" is outdated. The reassessment of the Moses Window enriches our idea of ​​Dürer's beginnings after his return from Italy with a central masterpiece and, in particular, puts the ongoing discussion about the authenticity of Dürer's stained glass designs preserved from this early period on a new basis ." Hartmut Scholz (Albrecht Dürer and the Moses window in St. Jakob in Straubing Published by the German Association for Art Studies / 2005)

The monumental composition of the Moses Window in Straubing's St. Jacob's Church, which was recognized in the 18th century as probably the most successful creation of stained glass in all of Bavaria, has not yet been researched to any extent satisfactorily. Recent technical observations of painting have now led to the unequivocal anchoring of the Window in the early oeuvre of the workshop of the Nuremberg city glazier Veit Hirsvogel the Elder and the assignment of the overall design to no one Lesser than Albrecht Dürer himself. His drawings and prints from the time of the apocalypse, around 1498, reveal the most direct parallels in stylistic language and individual motifs, in gestures and physiognomies, in folding and landscape mood. This is the assignment of the great one introduced by Franz Ebner in 1920 "Painting" to Wilhelm Pleydenwurff and the dating, which is almost a decade too early "around 1490" is outdated. The reassessment of the Moses Window enriches our idea of ​​Dürer's beginnings after his return from Italy with a central masterpiece and, in particular, puts the ongoing discussion about the authenticity of Dürer's stained glass designs preserved from this early period on a new basis ." Hartmut Scholz (Albrecht Dürer and the Moses window in St. Jakob in Straubing Published by the German Association for Art Studies / 2005)

The monumental composition of the Moses Window in Straubing's St. Jacob's Church, which was recognized in the 18th century as probably the most successful creation of stained glass in all of Bavaria, has not yet been researched to any extent satisfactorily. Recent technical observations of painting have now led to the unequivocal anchoring of the Window in the early oeuvre of the workshop of the Nuremberg city glazier Veit Hirsvogel the Elder and the assignment of the overall design to no one Lesser than Albrecht Dürer himself. His drawings and prints from the time of the apocalypse, around 1498, reveal the most direct parallels in stylistic language and individual motifs, in gestures and physiognomies, in folding and landscape mood. This is the assignment of the great one introduced by Franz Ebner in 1920 "Painting" to Wilhelm Pleydenwurff and the dating, which is almost a decade too early "around 1490" is outdated. The reassessment of the Moses Window enriches our idea of ​​Dürer's beginnings after his return from Italy with a central masterpiece and, in particular, puts the ongoing discussion about the authenticity of Dürer's stained glass designs preserved from this early period on a new basis ." Hartmut Scholz (Albrecht Dürer and the Moses window in St. Jakob in Straubing Published by the German Association for Art Studies / 2005)

The monumental composition of the Moses Window in Straubing's St. Jacob's Church, which was recognized in the 18th century as probably the most successful creation of stained glass in all of Bavaria, has not yet been researched to any extent satisfactorily. Recent technical observations of painting have now led to the unequivocal anchoring of the Window in the early oeuvre of the workshop of the Nuremberg city glazier Veit Hirsvogel the Elder and the assignment of the overall design to no one Lesser than Albrecht Dürer himself. His drawings and prints from the time of the apocalypse, around 1498, reveal the most direct parallels in stylistic language and individual motifs, in gestures and physiognomies, in folding and landscape mood. This is the assignment of the great one introduced by Franz Ebner in 1920 "Painting" to Wilhelm Pleydenwurff and the dating, which is almost a decade too early "around 1490" is outdated. The reassessment of the Moses Window enriches our idea of ​​Dürer's beginnings after his return from Italy with a central masterpiece and, in particular, puts the ongoing discussion about the authenticity of Dürer's stained glass designs preserved from this early period on a new basis ." Hartmut Scholz (Albrecht Dürer and the Moses window in St. Jakob in Straubing Published by the German Association for Art Studies / 2005)

The monumental composition of the Moses Window in Straubing's St. Jacob's Church, which was recognized in the 18th century as probably the most successful creation of stained glass in all of Bavaria, has not yet been researched to any extent satisfactorily. Recent technical observations of painting have now led to the unequivocal anchoring of the Window in the early oeuvre of the workshop of the Nuremberg city glazier Veit Hirsvogel the Elder and the assignment of the overall design to no one Lesser than Albrecht Dürer himself. His drawings and prints from the time of the apocalypse, around 1498, reveal the most direct parallels in stylistic language and individual motifs, in gestures and physiognomies, in folding and landscape mood. This is the assignment of the great one introduced by Franz Ebner in 1920 "Painting" to Wilhelm Pleydenwurff and the dating, which is almost a decade too early "around 1490" is outdated. The reassessment of the Moses Window enriches our idea of ​​Dürer's beginnings after his return from Italy with a central masterpiece and, in particular, puts the ongoing discussion about the authenticity of Dürer's stained glass designs preserved from this early period on a new basis ." Hartmut Scholz (Albrecht Dürer and the Moses window in St. Jakob in Straubing Published by the German Association for Art Studies / 2005)

The monumental composition of the Moses Window in Straubing's St. Jacob's Church, which was recognized in the 18th century as probably the most successful creation of stained glass in all of Bavaria, has not yet been researched to any extent satisfactorily. Recent technical observations of painting have now led to the unequivocal anchoring of the Window in the early oeuvre of the workshop of the Nuremberg city glazier Veit Hirsvogel the Elder and the assignment of the overall design to no one Lesser than Albrecht Dürer himself. His drawings and prints from the time of the apocalypse, around 1498, reveal the most direct parallels in stylistic language and individual motifs, in gestures and physiognomies, in folding and landscape mood. This is the assignment of the great one introduced by Franz Ebner in 1920 "Painting" to Wilhelm Pleydenwurff and the dating, which is almost a decade too early "around 1490" is outdated. The reassessment of the Moses Window enriches our idea of ​​Dürer's beginnings after his return from Italy with a central masterpiece and, in particular, puts the ongoing discussion about the authenticity of Dürer's stained glass designs preserved from this early period on a new basis ." Hartmut Scholz (Albrecht Dürer and the Moses window in St. Jakob in Straubing Published by the German Association for Art Studies / 2005)

The monumental composition of the Moses Window in Straubing's St. Jacob's Church, which was recognized in the 18th century as probably the most successful creation of stained glass in all of Bavaria, has not yet been researched to any extent satisfactorily. Recent technical observations of painting have now led to the unequivocal anchoring of the Window in the early oeuvre of the workshop of the Nuremberg city glazier Veit Hirsvogel the Elder and the assignment of the overall design to no one Lesser than Albrecht Dürer himself. His drawings and prints from the time of the apocalypse, around 1498, reveal the most direct parallels in stylistic language and individual motifs, in gestures and physiognomies, in folding and landscape mood. This is the assignment of the great one introduced by Franz Ebner in 1920 "Painting" to Wilhelm Pleydenwurff and the dating, which is almost a decade too early "around 1490" is outdated. The reassessment of the Moses Window enriches our idea of ​​Dürer's beginnings after his return from Italy with a central masterpiece and, in particular, puts the ongoing discussion about the authenticity of Dürer's stained glass designs preserved from this early period on a new basis ." Hartmut Scholz (Albrecht Dürer and the Moses window in St. Jakob in Straubing Published by the German Association for Art Studies / 2005)

The monumental composition of the Moses Window in Straubing's St. Jacob's Church, which was recognized in the 18th century as probably the most successful creation of stained glass in all of Bavaria, has not yet been researched to any extent satisfactorily. Recent technical observations of painting have now led to the unequivocal anchoring of the Window in the early oeuvre of the workshop of the Nuremberg city glazier Veit Hirsvogel the Elder and the assignment of the overall design to no one Lesser than Albrecht Dürer himself. His drawings and prints from the time of the apocalypse, around 1498, reveal the most direct parallels in stylistic language and individual motifs, in gestures and physiognomies, in folding and landscape mood. This is the assignment of the great one introduced by Franz Ebner in 1920 "Painting" to Wilhelm Pleydenwurff and the dating, which is almost a decade too early "around 1490" is outdated. The reassessment of the Moses Window enriches our idea of ​​Dürer's beginnings after his return from Italy with a central masterpiece and, in particular, puts the ongoing discussion about the authenticity of Dürer's stained glass designs preserved from this early period on a new basis ." Hartmut Scholz (Albrecht Dürer and the Moses window in St. Jakob in Straubing Published by the German Association for Art Studies / 2005)

The monumental composition of the Moses Window in Straubing's St. Jacob's Church, which was recognized in the 18th century as probably the most successful creation of stained glass in all of Bavaria, has not yet been researched to any extent satisfactorily. Recent technical observations of painting have now led to the unequivocal anchoring of the Window in the early oeuvre of the workshop of the Nuremberg city glazier Veit Hirsvogel the Elder and the assignment of the overall design to no one Lesser than Albrecht Dürer himself. His drawings and prints from the time of the apocalypse, around 1498, reveal the most direct parallels in stylistic language and individual motifs, in gestures and physiognomies, in folding and landscape mood. This is the assignment of the great one introduced by Franz Ebner in 1920 "Painting" to Wilhelm Pleydenwurff and the dating, which is almost a decade too early "around 1490" is outdated. The reassessment of the Moses Window enriches our idea of ​​Dürer's beginnings after his return from Italy with a central masterpiece and, in particular, puts the ongoing discussion about the authenticity of Dürer's stained glass designs preserved from this early period on a new basis ." Hartmut Scholz (Albrecht Dürer and the Moses window in St. Jakob in Straubing Published by the German Association for Art Studies / 2005)

The monumental composition of the Moses Window in Straubing's St. Jacob's Church, which was recognized in the 18th century as probably the most successful creation of stained glass in all of Bavaria, has not yet been researched to any extent satisfactorily. Recent technical observations of painting have now led to the unequivocal anchoring of the Window in the early oeuvre of the workshop of the Nuremberg city glazier Veit Hirsvogel the Elder and the assignment of the overall design to no one Lesser than Albrecht Dürer himself. His drawings and prints from the time of the apocalypse, around 1498, reveal the most direct parallels in stylistic language and individual motifs, in gestures and physiognomies, in folding and landscape mood. This is the assignment of the great one introduced by Franz Ebner in 1920 "Painting" to Wilhelm Pleydenwurff and the dating, which is almost a decade too early "around 1490" is outdated. The reassessment of the Moses Window enriches our idea of ​​Dürer's beginnings after his return from Italy with a central masterpiece and, in particular, puts the ongoing discussion about the authenticity of Dürer's stained glass designs preserved from this early period on a new basis ." Hartmut Scholz (Albrecht Dürer and the Moses window in St. Jakob in Straubing Published by the German Association for Art Studies / 2005)

The monumental composition of the Moses Window in Straubing's St. Jacob's Church, which was recognized in the 18th century as probably the most successful creation of stained glass in all of Bavaria, has not yet been researched to any extent satisfactorily. Recent technical observations of painting have now led to the unequivocal anchoring of the Window in the early oeuvre of the workshop of the Nuremberg city glazier Veit Hirsvogel the Elder and the assignment of the overall design to no one Lesser than Albrecht Dürer himself. His drawings and prints from the time of the apocalypse, around 1498, reveal the most direct parallels in stylistic language and individual motifs, in gestures and physiognomies, in folding and landscape mood. This is the assignment of the great one introduced by Franz Ebner in 1920 "Painting" to Wilhelm Pleydenwurff and the dating, which is almost a decade too early "around 1490" is outdated. The reassessment of the Moses Window enriches our idea of ​​Dürer's beginnings after his return from Italy with a central masterpiece and, in particular, puts the ongoing discussion about the authenticity of Dürer's stained glass designs preserved from this early period on a new basis ." Hartmut Scholz (Albrecht Dürer and the Moses window in St. Jakob in Straubing Published by the German Association for Art Studies / 2005)