1838 1855
Twelve panels with carved late Gothic ornaments, along with the corresponding posts with Renaissance ornaments, which form the parapet of the wooden gallery of the house at Winklerstrasse 40 in Nuremberg, two stories above each other. Two of the corresponding columns are shown in Volume IX, Pl. 4, Figs. b and c. The quite striking blend of Gothic and Renaissance art forms here is characteristic of Nuremberg and has been practiced there for a very long time. According to the inscription, this courtyard dates from 1516. in: Carl Heideloff's Medieval Ornamentation. 200 copper plates with explanatory text. New edition, Nuremberg, published by Conrad Geiger. (Originally published in 25 volumes, 1838-55)
Design: Heideloff, Carl Alexander
Realization: Marx, Alexander Richard Wilhelm
photoTheo Noll
1838 1855
Volume XI, Pl. 4, Fig. g
photoTheo Noll
Twelve panels with carved late Gothic ornaments, along with the corresponding posts with Renaissance ornaments, which form the parapet of the wooden gallery of the house at Winklerstrasse 40 in Nuremberg, two stories above each other. Two of the corresponding columns are shown in Volume IX, Pl. 4, Figs. b and c. The quite striking blend of Gothic and Renaissance art forms here is characteristic of Nuremberg and has been practiced there for a very long time. According to the inscription, this courtyard dates from 1516. in: Carl Heideloff's Medieval Ornamentation. 200 copper plates with explanatory text. New edition, Nuremberg, published by Conrad Geiger. (Originally published in 25 volumes, 1838-55)
Design: Heideloff, Carl Alexander
Realization: Marx, Alexander Richard Wilhelm
1838 1855
Volume XI, Pl. 4, Fig. h
photoTheo Noll
Twelve panels with carved late Gothic ornaments, along with the corresponding posts with Renaissance ornaments, which form the parapet of the wooden gallery of the house at Winklerstrasse 40 in Nuremberg, two stories above each other. Two of the corresponding columns are shown in Volume IX, Pl. 4, Figs. b and c. The quite striking blend of Gothic and Renaissance art forms here is characteristic of Nuremberg and has been practiced there for a very long time. According to the inscription, this courtyard dates from 1516. in: Carl Heideloff's Medieval Ornamentation. 200 copper plates with explanatory text. New edition, Nuremberg, published by Conrad Geiger. (Originally published in 25 volumes, 1838-55)
Design: Heideloff, Carl Alexander
Realization: Marx, Alexander Richard Wilhelm
1838 1855
Volume XI, Pl. 4, Fig. h
photoTheo Noll
Twelve panels with carved late Gothic ornaments, along with the corresponding posts with Renaissance ornaments, which form the parapet of the wooden gallery of the house at Winklerstrasse 40 in Nuremberg, two stories above each other. Two of the corresponding columns are shown in Volume IX, Pl. 4, Figs. b and c. The quite striking blend of Gothic and Renaissance art forms here is characteristic of Nuremberg and has been practiced there for a very long time. According to the inscription, this courtyard dates from 1516. in: Carl Heideloff's Medieval Ornamentation. 200 copper plates with explanatory text. New edition, Nuremberg, published by Conrad Geiger. (Originally published in 25 volumes, 1838-55)
Design: Heideloff, Carl Alexander
Realization: Marx, Alexander Richard Wilhelm
1838 1855
Detail view with artist signature Alexander Marx scp. (Latin: sculpsit, "[...] it engraved")
Twelve panels with carved late Gothic ornaments, along with the corresponding posts with Renaissance ornaments, which form the parapet of the wooden gallery of the house at Winklerstrasse 40 in Nuremberg, two stories above each other. Two of the corresponding columns are shown in Volume IX, Pl. 4, Figs. b and c. The quite striking blend of Gothic and Renaissance art forms here is characteristic of Nuremberg and has been practiced there for a very long time. According to the inscription, this courtyard dates from 1516. in: Carl Heideloff's Medieval Ornamentation. 200 copper plates with explanatory text. New edition, Nuremberg, published by Conrad Geiger. (Originally published in 25 volumes, 1838-55)
Design: Heideloff, Carl Alexander
Realization: Marx, Alexander Richard Wilhelm
photoTheo Noll
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