Bronze cast around 1430. One of the oldest surviving works of Nuremberg foundry art. A round, richly profiled base, a squat, cylindrical shaft, and above it, projecting a bell-shaped bowl with a rim cornice above a profiled cornice. In front of the shaft are four free-paste evangelists supporting the bowl with their heads; their bases project from the cornice. The figures have no attributes, three of them apparently from the same model. Around the bowl and shaft, a frieze of keel-arched arcades depicting the Crucifixion of Christ and individual figures (Christ, Apostles, and Saints) in low relief. Vine leaf and flower staves are depicted in the cornice valleys. On the shaft, a keel-arched iron door for the heating system. A copper insert with an ornamental frieze. The bronze basin, one of the earliest examples of this distinctive type, was modeled in clay by a bell founder using a lathe and has a closed form. It is likely a work by Master Ulrich (bell founder), who was documented in Nuremberg around 1420-39. The aedicule decoration found on his works, and especially the reliefs of the baptismal font, are related to the motif of the Crucifixion group, which is based on a model by Master Peter I (bell founder, Ulrich's stepfather). (Sigrid Thurm) The City of Nuremberg, Brief Inventory, Deutscher Kunstverlag, Munich, 1977

Bronze cast around 1430. One of the oldest surviving works of Nuremberg foundry art. A round, richly profiled base, a squat, cylindrical shaft, and above it, projecting a bell-shaped bowl with a rim cornice above a profiled cornice. In front of the shaft are four free-paste evangelists supporting the bowl with their heads; their bases project from the cornice. The figures have no attributes, three of them apparently from the same model. Around the bowl and shaft, a frieze of keel-arched arcades depicting the Crucifixion of Christ and individual figures (Christ, Apostles, and Saints) in low relief. Vine leaf and flower staves are depicted in the cornice valleys. On the shaft, a keel-arched iron door for the heating system. A copper insert with an ornamental frieze. The bronze basin, one of the earliest examples of this distinctive type, was modeled in clay by a bell founder using a lathe and has a closed form. It is likely a work by Master Ulrich (bell founder), who was documented in Nuremberg around 1420-39. The aedicule decoration found on his works, and especially the reliefs of the baptismal font, are related to the motif of the Crucifixion group, which is based on a model by Master Peter I (bell founder, Ulrich's stepfather). (Sigrid Thurm) The City of Nuremberg, Brief Inventory, Deutscher Kunstverlag, Munich, 1977

Bronze cast around 1430. One of the oldest surviving works of Nuremberg foundry art. A round, richly profiled base, a squat, cylindrical shaft, and above it, projecting a bell-shaped bowl with a rim cornice above a profiled cornice. In front of the shaft are four free-paste evangelists supporting the bowl with their heads; their bases project from the cornice. The figures have no attributes, three of them apparently from the same model. Around the bowl and shaft, a frieze of keel-arched arcades depicting the Crucifixion of Christ and individual figures (Christ, Apostles, and Saints) in low relief. Vine leaf and flower staves are depicted in the cornice valleys. On the shaft, a keel-arched iron door for the heating system. A copper insert with an ornamental frieze. The bronze basin, one of the earliest examples of this distinctive type, was modeled in clay by a bell founder using a lathe and has a closed form. It is likely a work by Master Ulrich (bell founder), who was documented in Nuremberg around 1420-39. The aedicule decoration found on his works, and especially the reliefs of the baptismal font, are related to the motif of the Crucifixion group, which is based on a model by Master Peter I (bell founder, Ulrich's stepfather). (Sigrid Thurm) The City of Nuremberg, Brief Inventory, Deutscher Kunstverlag, Munich, 1977

Bronze cast around 1430. One of the oldest surviving works of Nuremberg foundry art. A round, richly profiled base, a squat, cylindrical shaft, and above it, projecting a bell-shaped bowl with a rim cornice above a profiled cornice. In front of the shaft are four free-paste evangelists supporting the bowl with their heads; their bases project from the cornice. The figures have no attributes, three of them apparently from the same model. Around the bowl and shaft, a frieze of keel-arched arcades depicting the Crucifixion of Christ and individual figures (Christ, Apostles, and Saints) in low relief. Vine leaf and flower staves are depicted in the cornice valleys. On the shaft, a keel-arched iron door for the heating system. A copper insert with an ornamental frieze. The bronze basin, one of the earliest examples of this distinctive type, was modeled in clay by a bell founder using a lathe and has a closed form. It is likely a work by Master Ulrich (bell founder), who was documented in Nuremberg around 1420-39. The aedicule decoration found on his works, and especially the reliefs of the baptismal font, are related to the motif of the Crucifixion group, which is based on a model by Master Peter I (bell founder, Ulrich's stepfather). (Sigrid Thurm) The City of Nuremberg, Brief Inventory, Deutscher Kunstverlag, Munich, 1977

Bronze cast around 1430. One of the oldest surviving works of Nuremberg foundry art. A round, richly profiled base, a squat, cylindrical shaft, and above it, projecting a bell-shaped bowl with a rim cornice above a profiled cornice. In front of the shaft are four free-paste evangelists supporting the bowl with their heads; their bases project from the cornice. The figures have no attributes, three of them apparently from the same model. Around the bowl and shaft, a frieze of keel-arched arcades depicting the Crucifixion of Christ and individual figures (Christ, Apostles, and Saints) in low relief. Vine leaf and flower staves are depicted in the cornice valleys. On the shaft, a keel-arched iron door for the heating system. A copper insert with an ornamental frieze. The bronze basin, one of the earliest examples of this distinctive type, was modeled in clay by a bell founder using a lathe and has a closed form. It is likely a work by Master Ulrich (bell founder), who was documented in Nuremberg around 1420-39. The aedicule decoration found on his works, and especially the reliefs of the baptismal font, are related to the motif of the Crucifixion group, which is based on a model by Master Peter I (bell founder, Ulrich's stepfather). (Sigrid Thurm) The City of Nuremberg, Brief Inventory, Deutscher Kunstverlag, Munich, 1977

Bronze cast around 1430. One of the oldest surviving works of Nuremberg foundry art. A round, richly profiled base, a squat, cylindrical shaft, and above it, projecting a bell-shaped bowl with a rim cornice above a profiled cornice. In front of the shaft are four free-paste evangelists supporting the bowl with their heads; their bases project from the cornice. The figures have no attributes, three of them apparently from the same model. Around the bowl and shaft, a frieze of keel-arched arcades depicting the Crucifixion of Christ and individual figures (Christ, Apostles, and Saints) in low relief. Vine leaf and flower staves are depicted in the cornice valleys. On the shaft, a keel-arched iron door for the heating system. A copper insert with an ornamental frieze. The bronze basin, one of the earliest examples of this distinctive type, was modeled in clay by a bell founder using a lathe and has a closed form. It is likely a work by Master Ulrich (bell founder), who was documented in Nuremberg around 1420-39. The aedicule decoration found on his works, and especially the reliefs of the baptismal font, are related to the motif of the Crucifixion group, which is based on a model by Master Peter I (bell founder, Ulrich's stepfather). (Sigrid Thurm) The City of Nuremberg, Brief Inventory, Deutscher Kunstverlag, Munich, 1977

Bronze cast around 1430. One of the oldest surviving works of Nuremberg foundry art. A round, richly profiled base, a squat, cylindrical shaft, and above it, projecting a bell-shaped bowl with a rim cornice above a profiled cornice. In front of the shaft are four free-paste evangelists supporting the bowl with their heads; their bases project from the cornice. The figures have no attributes, three of them apparently from the same model. Around the bowl and shaft, a frieze of keel-arched arcades depicting the Crucifixion of Christ and individual figures (Christ, Apostles, and Saints) in low relief. Vine leaf and flower staves are depicted in the cornice valleys. On the shaft, a keel-arched iron door for the heating system. A copper insert with an ornamental frieze. The bronze basin, one of the earliest examples of this distinctive type, was modeled in clay by a bell founder using a lathe and has a closed form. It is likely a work by Master Ulrich (bell founder), who was documented in Nuremberg around 1420-39. The aedicule decoration found on his works, and especially the reliefs of the baptismal font, are related to the motif of the Crucifixion group, which is based on a model by Master Peter I (bell founder, Ulrich's stepfather). (Sigrid Thurm) The City of Nuremberg, Brief Inventory, Deutscher Kunstverlag, Munich, 1977

Bronze cast around 1430. One of the oldest surviving works of Nuremberg foundry art. A round, richly profiled base, a squat, cylindrical shaft, and above it, projecting a bell-shaped bowl with a rim cornice above a profiled cornice. In front of the shaft are four free-paste evangelists supporting the bowl with their heads; their bases project from the cornice. The figures have no attributes, three of them apparently from the same model. Around the bowl and shaft, a frieze of keel-arched arcades depicting the Crucifixion of Christ and individual figures (Christ, Apostles, and Saints) in low relief. Vine leaf and flower staves are depicted in the cornice valleys. On the shaft, a keel-arched iron door for the heating system. A copper insert with an ornamental frieze. The bronze basin, one of the earliest examples of this distinctive type, was modeled in clay by a bell founder using a lathe and has a closed form. It is likely a work by Master Ulrich (bell founder), who was documented in Nuremberg around 1420-39. The aedicule decoration found on his works, and especially the reliefs of the baptismal font, are related to the motif of the Crucifixion group, which is based on a model by Master Peter I (bell founder, Ulrich's stepfather). (Sigrid Thurm) The City of Nuremberg, Brief Inventory, Deutscher Kunstverlag, Munich, 1977

Bronze cast around 1430. One of the oldest surviving works of Nuremberg foundry art. A round, richly profiled base, a squat, cylindrical shaft, and above it, projecting a bell-shaped bowl with a rim cornice above a profiled cornice. In front of the shaft are four free-paste evangelists supporting the bowl with their heads; their bases project from the cornice. The figures have no attributes, three of them apparently from the same model. Around the bowl and shaft, a frieze of keel-arched arcades depicting the Crucifixion of Christ and individual figures (Christ, Apostles, and Saints) in low relief. Vine leaf and flower staves are depicted in the cornice valleys. On the shaft, a keel-arched iron door for the heating system. A copper insert with an ornamental frieze. The bronze basin, one of the earliest examples of this distinctive type, was modeled in clay by a bell founder using a lathe and has a closed form. It is likely a work by Master Ulrich (bell founder), who was documented in Nuremberg around 1420-39. The aedicule decoration found on his works, and especially the reliefs of the baptismal font, are related to the motif of the Crucifixion group, which is based on a model by Master Peter I (bell founder, Ulrich's stepfather). (Sigrid Thurm) The City of Nuremberg, Brief Inventory, Deutscher Kunstverlag, Munich, 1977

Bronze cast around 1430. One of the oldest surviving works of Nuremberg foundry art. A round, richly profiled base, a squat, cylindrical shaft, and above it, projecting a bell-shaped bowl with a rim cornice above a profiled cornice. In front of the shaft are four free-paste evangelists supporting the bowl with their heads; their bases project from the cornice. The figures have no attributes, three of them apparently from the same model. Around the bowl and shaft, a frieze of keel-arched arcades depicting the Crucifixion of Christ and individual figures (Christ, Apostles, and Saints) in low relief. Vine leaf and flower staves are depicted in the cornice valleys. On the shaft, a keel-arched iron door for the heating system. A copper insert with an ornamental frieze. The bronze basin, one of the earliest examples of this distinctive type, was modeled in clay by a bell founder using a lathe and has a closed form. It is likely a work by Master Ulrich (bell founder), who was documented in Nuremberg around 1420-39. The aedicule decoration found on his works, and especially the reliefs of the baptismal font, are related to the motif of the Crucifixion group, which is based on a model by Master Peter I (bell founder, Ulrich's stepfather). (Sigrid Thurm) The City of Nuremberg, Brief Inventory, Deutscher Kunstverlag, Munich, 1977

Bronze cast around 1430. One of the oldest surviving works of Nuremberg foundry art. A round, richly profiled base, a squat, cylindrical shaft, and above it, projecting a bell-shaped bowl with a rim cornice above a profiled cornice. In front of the shaft are four free-paste evangelists supporting the bowl with their heads; their bases project from the cornice. The figures have no attributes, three of them apparently from the same model. Around the bowl and shaft, a frieze of keel-arched arcades depicting the Crucifixion of Christ and individual figures (Christ, Apostles, and Saints) in low relief. Vine leaf and flower staves are depicted in the cornice valleys. On the shaft, a keel-arched iron door for the heating system. A copper insert with an ornamental frieze. The bronze basin, one of the earliest examples of this distinctive type, was modeled in clay by a bell founder using a lathe and has a closed form. It is likely a work by Master Ulrich (bell founder), who was documented in Nuremberg around 1420-39. The aedicule decoration found on his works, and especially the reliefs of the baptismal font, are related to the motif of the Crucifixion group, which is based on a model by Master Peter I (bell founder, Ulrich's stepfather). (Sigrid Thurm) The City of Nuremberg, Brief Inventory, Deutscher Kunstverlag, Munich, 1977

Bronze cast around 1430. One of the oldest surviving works of Nuremberg foundry art. A round, richly profiled base, a squat, cylindrical shaft, and above it, projecting a bell-shaped bowl with a rim cornice above a profiled cornice. In front of the shaft are four free-paste evangelists supporting the bowl with their heads; their bases project from the cornice. The figures have no attributes, three of them apparently from the same model. Around the bowl and shaft, a frieze of keel-arched arcades depicting the Crucifixion of Christ and individual figures (Christ, Apostles, and Saints) in low relief. Vine leaf and flower staves are depicted in the cornice valleys. On the shaft, a keel-arched iron door for the heating system. A copper insert with an ornamental frieze. The bronze basin, one of the earliest examples of this distinctive type, was modeled in clay by a bell founder using a lathe and has a closed form. It is likely a work by Master Ulrich (bell founder), who was documented in Nuremberg around 1420-39. The aedicule decoration found on his works, and especially the reliefs of the baptismal font, are related to the motif of the Crucifixion group, which is based on a model by Master Peter I (bell founder, Ulrich's stepfather). (Sigrid Thurm) The City of Nuremberg, Brief Inventory, Deutscher Kunstverlag, Munich, 1977

Bronze cast around 1430. One of the oldest surviving works of Nuremberg foundry art. A round, richly profiled base, a squat, cylindrical shaft, and above it, projecting a bell-shaped bowl with a rim cornice above a profiled cornice. In front of the shaft are four free-paste evangelists supporting the bowl with their heads; their bases project from the cornice. The figures have no attributes, three of them apparently from the same model. Around the bowl and shaft, a frieze of keel-arched arcades depicting the Crucifixion of Christ and individual figures (Christ, Apostles, and Saints) in low relief. Vine leaf and flower staves are depicted in the cornice valleys. On the shaft, a keel-arched iron door for the heating system. A copper insert with an ornamental frieze. The bronze basin, one of the earliest examples of this distinctive type, was modeled in clay by a bell founder using a lathe and has a closed form. It is likely a work by Master Ulrich (bell founder), who was documented in Nuremberg around 1420-39. The aedicule decoration found on his works, and especially the reliefs of the baptismal font, are related to the motif of the Crucifixion group, which is based on a model by Master Peter I (bell founder, Ulrich's stepfather). (Sigrid Thurm) The City of Nuremberg, Brief Inventory, Deutscher Kunstverlag, Munich, 1977

Bronze cast around 1430. One of the oldest surviving works of Nuremberg foundry art. A round, richly profiled base, a squat, cylindrical shaft, and above it, projecting a bell-shaped bowl with a rim cornice above a profiled cornice. In front of the shaft are four free-paste evangelists supporting the bowl with their heads; their bases project from the cornice. The figures have no attributes, three of them apparently from the same model. Around the bowl and shaft, a frieze of keel-arched arcades depicting the Crucifixion of Christ and individual figures (Christ, Apostles, and Saints) in low relief. Vine leaf and flower staves are depicted in the cornice valleys. On the shaft, a keel-arched iron door for the heating system. A copper insert with an ornamental frieze. The bronze basin, one of the earliest examples of this distinctive type, was modeled in clay by a bell founder using a lathe and has a closed form. It is likely a work by Master Ulrich (bell founder), who was documented in Nuremberg around 1420-39. The aedicule decoration found on his works, and especially the reliefs of the baptismal font, are related to the motif of the Crucifixion group, which is based on a model by Master Peter I (bell founder, Ulrich's stepfather). (Sigrid Thurm) The City of Nuremberg, Brief Inventory, Deutscher Kunstverlag, Munich, 1977

Bronze cast around 1430. One of the oldest surviving works of Nuremberg foundry art. A round, richly profiled base, a squat, cylindrical shaft, and above it, projecting a bell-shaped bowl with a rim cornice above a profiled cornice. In front of the shaft are four free-paste evangelists supporting the bowl with their heads; their bases project from the cornice. The figures have no attributes, three of them apparently from the same model. Around the bowl and shaft, a frieze of keel-arched arcades depicting the Crucifixion of Christ and individual figures (Christ, Apostles, and Saints) in low relief. Vine leaf and flower staves are depicted in the cornice valleys. On the shaft, a keel-arched iron door for the heating system. A copper insert with an ornamental frieze. The bronze basin, one of the earliest examples of this distinctive type, was modeled in clay by a bell founder using a lathe and has a closed form. It is likely a work by Master Ulrich (bell founder), who was documented in Nuremberg around 1420-39. The aedicule decoration found on his works, and especially the reliefs of the baptismal font, are related to the motif of the Crucifixion group, which is based on a model by Master Peter I (bell founder, Ulrich's stepfather). (Sigrid Thurm) The City of Nuremberg, Brief Inventory, Deutscher Kunstverlag, Munich, 1977

Bronze cast around 1430. One of the oldest surviving works of Nuremberg foundry art. A round, richly profiled base, a squat, cylindrical shaft, and above it, projecting a bell-shaped bowl with a rim cornice above a profiled cornice. In front of the shaft are four free-paste evangelists supporting the bowl with their heads; their bases project from the cornice. The figures have no attributes, three of them apparently from the same model. Around the bowl and shaft, a frieze of keel-arched arcades depicting the Crucifixion of Christ and individual figures (Christ, Apostles, and Saints) in low relief. Vine leaf and flower staves are depicted in the cornice valleys. On the shaft, a keel-arched iron door for the heating system. A copper insert with an ornamental frieze. The bronze basin, one of the earliest examples of this distinctive type, was modeled in clay by a bell founder using a lathe and has a closed form. It is likely a work by Master Ulrich (bell founder), who was documented in Nuremberg around 1420-39. The aedicule decoration found on his works, and especially the reliefs of the baptismal font, are related to the motif of the Crucifixion group, which is based on a model by Master Peter I (bell founder, Ulrich's stepfather). (Sigrid Thurm) The City of Nuremberg, Brief Inventory, Deutscher Kunstverlag, Munich, 1977

Bronze cast around 1430. One of the oldest surviving works of Nuremberg foundry art. A round, richly profiled base, a squat, cylindrical shaft, and above it, projecting a bell-shaped bowl with a rim cornice above a profiled cornice. In front of the shaft are four free-paste evangelists supporting the bowl with their heads; their bases project from the cornice. The figures have no attributes, three of them apparently from the same model. Around the bowl and shaft, a frieze of keel-arched arcades depicting the Crucifixion of Christ and individual figures (Christ, Apostles, and Saints) in low relief. Vine leaf and flower staves are depicted in the cornice valleys. On the shaft, a keel-arched iron door for the heating system. A copper insert with an ornamental frieze. The bronze basin, one of the earliest examples of this distinctive type, was modeled in clay by a bell founder using a lathe and has a closed form. It is likely a work by Master Ulrich (bell founder), who was documented in Nuremberg around 1420-39. The aedicule decoration found on his works, and especially the reliefs of the baptismal font, are related to the motif of the Crucifixion group, which is based on a model by Master Peter I (bell founder, Ulrich's stepfather). (Sigrid Thurm) The City of Nuremberg, Brief Inventory, Deutscher Kunstverlag, Munich, 1977

Bronze cast around 1430. One of the oldest surviving works of Nuremberg foundry art. A round, richly profiled base, a squat, cylindrical shaft, and above it, projecting a bell-shaped bowl with a rim cornice above a profiled cornice. In front of the shaft are four free-paste evangelists supporting the bowl with their heads; their bases project from the cornice. The figures have no attributes, three of them apparently from the same model. Around the bowl and shaft, a frieze of keel-arched arcades depicting the Crucifixion of Christ and individual figures (Christ, Apostles, and Saints) in low relief. Vine leaf and flower staves are depicted in the cornice valleys. On the shaft, a keel-arched iron door for the heating system. A copper insert with an ornamental frieze. The bronze basin, one of the earliest examples of this distinctive type, was modeled in clay by a bell founder using a lathe and has a closed form. It is likely a work by Master Ulrich (bell founder), who was documented in Nuremberg around 1420-39. The aedicule decoration found on his works, and especially the reliefs of the baptismal font, are related to the motif of the Crucifixion group, which is based on a model by Master Peter I (bell founder, Ulrich's stepfather). (Sigrid Thurm) The City of Nuremberg, Brief Inventory, Deutscher Kunstverlag, Munich, 1977

Bronze cast around 1430. One of the oldest surviving works of Nuremberg foundry art. A round, richly profiled base, a squat, cylindrical shaft, and above it, projecting a bell-shaped bowl with a rim cornice above a profiled cornice. In front of the shaft are four free-paste evangelists supporting the bowl with their heads; their bases project from the cornice. The figures have no attributes, three of them apparently from the same model. Around the bowl and shaft, a frieze of keel-arched arcades depicting the Crucifixion of Christ and individual figures (Christ, Apostles, and Saints) in low relief. Vine leaf and flower staves are depicted in the cornice valleys. On the shaft, a keel-arched iron door for the heating system. A copper insert with an ornamental frieze. The bronze basin, one of the earliest examples of this distinctive type, was modeled in clay by a bell founder using a lathe and has a closed form. It is likely a work by Master Ulrich (bell founder), who was documented in Nuremberg around 1420-39. The aedicule decoration found on his works, and especially the reliefs of the baptismal font, are related to the motif of the Crucifixion group, which is based on a model by Master Peter I (bell founder, Ulrich's stepfather). (Sigrid Thurm) The City of Nuremberg, Brief Inventory, Deutscher Kunstverlag, Munich, 1977

Bronze cast around 1430. One of the oldest surviving works of Nuremberg foundry art. A round, richly profiled base, a squat, cylindrical shaft, and above it, projecting a bell-shaped bowl with a rim cornice above a profiled cornice. In front of the shaft are four free-paste evangelists supporting the bowl with their heads; their bases project from the cornice. The figures have no attributes, three of them apparently from the same model. Around the bowl and shaft, a frieze of keel-arched arcades depicting the Crucifixion of Christ and individual figures (Christ, Apostles, and Saints) in low relief. Vine leaf and flower staves are depicted in the cornice valleys. On the shaft, a keel-arched iron door for the heating system. A copper insert with an ornamental frieze. The bronze basin, one of the earliest examples of this distinctive type, was modeled in clay by a bell founder using a lathe and has a closed form. It is likely a work by Master Ulrich (bell founder), who was documented in Nuremberg around 1420-39. The aedicule decoration found on his works, and especially the reliefs of the baptismal font, are related to the motif of the Crucifixion group, which is based on a model by Master Peter I (bell founder, Ulrich's stepfather). (Sigrid Thurm) The City of Nuremberg, Brief Inventory, Deutscher Kunstverlag, Munich, 1977

Bronze cast around 1430. One of the oldest surviving works of Nuremberg foundry art. A round, richly profiled base, a squat, cylindrical shaft, and above it, projecting a bell-shaped bowl with a rim cornice above a profiled cornice. In front of the shaft are four free-paste evangelists supporting the bowl with their heads; their bases project from the cornice. The figures have no attributes, three of them apparently from the same model. Around the bowl and shaft, a frieze of keel-arched arcades depicting the Crucifixion of Christ and individual figures (Christ, Apostles, and Saints) in low relief. Vine leaf and flower staves are depicted in the cornice valleys. On the shaft, a keel-arched iron door for the heating system. A copper insert with an ornamental frieze. The bronze basin, one of the earliest examples of this distinctive type, was modeled in clay by a bell founder using a lathe and has a closed form. It is likely a work by Master Ulrich (bell founder), who was documented in Nuremberg around 1420-39. The aedicule decoration found on his works, and especially the reliefs of the baptismal font, are related to the motif of the Crucifixion group, which is based on a model by Master Peter I (bell founder, Ulrich's stepfather). (Sigrid Thurm) The City of Nuremberg, Brief Inventory, Deutscher Kunstverlag, Munich, 1977

Bronze cast around 1430. One of the oldest surviving works of Nuremberg foundry art. A round, richly profiled base, a squat, cylindrical shaft, and above it, projecting a bell-shaped bowl with a rim cornice above a profiled cornice. In front of the shaft are four free-paste evangelists supporting the bowl with their heads; their bases project from the cornice. The figures have no attributes, three of them apparently from the same model. Around the bowl and shaft, a frieze of keel-arched arcades depicting the Crucifixion of Christ and individual figures (Christ, Apostles, and Saints) in low relief. Vine leaf and flower staves are depicted in the cornice valleys. On the shaft, a keel-arched iron door for the heating system. A copper insert with an ornamental frieze. The bronze basin, one of the earliest examples of this distinctive type, was modeled in clay by a bell founder using a lathe and has a closed form. It is likely a work by Master Ulrich (bell founder), who was documented in Nuremberg around 1420-39. The aedicule decoration found on his works, and especially the reliefs of the baptismal font, are related to the motif of the Crucifixion group, which is based on a model by Master Peter I (bell founder, Ulrich's stepfather). (Sigrid Thurm) The City of Nuremberg, Brief Inventory, Deutscher Kunstverlag, Munich, 1977

Bronze cast around 1430. One of the oldest surviving works of Nuremberg foundry art. A round, richly profiled base, a squat, cylindrical shaft, and above it, projecting a bell-shaped bowl with a rim cornice above a profiled cornice. In front of the shaft are four free-paste evangelists supporting the bowl with their heads; their bases project from the cornice. The figures have no attributes, three of them apparently from the same model. Around the bowl and shaft, a frieze of keel-arched arcades depicting the Crucifixion of Christ and individual figures (Christ, Apostles, and Saints) in low relief. Vine leaf and flower staves are depicted in the cornice valleys. On the shaft, a keel-arched iron door for the heating system. A copper insert with an ornamental frieze. The bronze basin, one of the earliest examples of this distinctive type, was modeled in clay by a bell founder using a lathe and has a closed form. It is likely a work by Master Ulrich (bell founder), who was documented in Nuremberg around 1420-39. The aedicule decoration found on his works, and especially the reliefs of the baptismal font, are related to the motif of the Crucifixion group, which is based on a model by Master Peter I (bell founder, Ulrich's stepfather). (Sigrid Thurm) The City of Nuremberg, Brief Inventory, Deutscher Kunstverlag, Munich, 1977