"Its creator was Veit Hirsvogel the Elder (1461–1526), ​​who became the city's glazier in 1495 and achieved a kind of monopoly on demanding commissions. He followed only the models of prominent artists: Dürer, Hans Baldung Grien, and Hans von Kulmbach, which is reflected in the outstanding graphic quality of his stained glass, remarkable both in its color and technical skill. It is important to know that by this time (1520), the combination of stained glass windows with clear glass (colorless bullseye panes) to allow more natural light into the space was already well-established. This is confirmed not only by many works preserved in situ but also by depictions in late Gothic paintings. Payments to the Hirsvogel workshop for clear glass in St. Roch's Chapel have survived." ] ] ] ] ... The semicircular, tripartite windows depicted the history of salvation, while the two-light windows show patron saints of the Nuremberg and Augsburg branches of the Imhoff family. All eleven windows feature the Imhoff/Haller/Nützel coat of arms in the lower corners of their respective compositions, a reference to the chapel's founder, Konrad Imhoff, who was married first to Magdalena Haller and second to Ursula Nützel. The central or east window in the chancel depicts, so to speak, a Coronation of the Virgin at the last minute of Catholicism in Nuremberg, five years before the conversion to Catholicism! Dr. Pablo de la Riestra Lit.: The Rochus Chapel in Nuremberg, Josef Fink Art Publishers, Lindenberg im Allgäu, 2021 ________________________ "Saints Catherine and Barbara, as patron saints of two female members of the Imhoff family, may also have found their way into the window program." Both saints display their traditional attributes: Catherine the sword and wheel of her martyrdom, Barbara, instead of the tower, only the chalice with host to identify her as patron saint of the dying. The Imhoff and Haller/Nützel coats of arms appear again in the corners. Once again, earlier works by Hans von Kulmbach—in the style of the Tucher epitaph in St. Sebald—as well as Wolf Traut's Artelshofen altarpiece (Munich, Bavarian National Museum, Inv. No. R 722) appear to have served as models. Stylistically comparable is Kulmbach's stained-glass panel depicting Mary reading (from the Annunciation?) (Erlangen, Friedrich-Alexander University Erlangen-Nuremberg, Margravial Graphic Collection, Inv. No. H62/B 238), which, according to the inscription on the reverse, can be dated to 1513 or 1518, and a roughly contemporaneous cardboard fragment of Saint Barbara as a shield bearer (Berlin, Kupferstichkabinett, Inv. No. KdZ 12507). Source: Corpusvitrearum.de https://corpusvitrearum.de/glasmalerei-im-kontext.html - Corpus vitrearum medii aevi - Germany, Volume 10.1, Part 1: Berlin: Deutscher Verlag für Kunstwissenschaft, 2002Feedback geben

"Its creator was Veit Hirsvogel the Elder (1461–1526), ​​who became the city's glazier in 1495 and achieved a kind of monopoly on demanding commissions. He followed only the models of prominent artists: Dürer, Hans Baldung Grien, and Hans von Kulmbach, which is reflected in the outstanding graphic quality of his stained glass, remarkable both in its color and technical skill. It is important to know that by this time (1520), the combination of stained glass windows with clear glass (colorless bullseye panes) to allow more natural light into the space was already well-established. This is confirmed not only by many works preserved in situ but also by depictions in late Gothic paintings. Payments to the Hirsvogel workshop for clear glass in St. Roch's Chapel have survived." ] ] ] ] ... The semicircular, tripartite windows depicted the history of salvation, while the two-light windows show patron saints of the Nuremberg and Augsburg branches of the Imhoff family. All eleven windows feature the Imhoff/Haller/Nützel coat of arms in the lower corners of their respective compositions, a reference to the chapel's founder, Konrad Imhoff, who was married first to Magdalena Haller and second to Ursula Nützel. The central or east window in the chancel depicts, so to speak, a Coronation of the Virgin at the last minute of Catholicism in Nuremberg, five years before the conversion to Catholicism! Dr. Pablo de la Riestra Lit.: The Rochus Chapel in Nuremberg, Josef Fink Art Publishers, Lindenberg im Allgäu, 2021 ________________________ "Saints Catherine and Barbara, as patron saints of two female members of the Imhoff family, may also have found their way into the window program." Both saints display their traditional attributes: Catherine the sword and wheel of her martyrdom, Barbara, instead of the tower, only the chalice with host to identify her as patron saint of the dying. The Imhoff and Haller/Nützel coats of arms appear again in the corners. Once again, earlier works by Hans von Kulmbach—in the style of the Tucher epitaph in St. Sebald—as well as Wolf Traut's Artelshofen altarpiece (Munich, Bavarian National Museum, Inv. No. R 722) appear to have served as models. Stylistically comparable is Kulmbach's stained-glass panel depicting Mary reading (from the Annunciation?) (Erlangen, Friedrich-Alexander University Erlangen-Nuremberg, Margravial Graphic Collection, Inv. No. H62/B 238), which, according to the inscription on the reverse, can be dated to 1513 or 1518, and a roughly contemporaneous cardboard fragment of Saint Barbara as a shield bearer (Berlin, Kupferstichkabinett, Inv. No. KdZ 12507). Source: Corpusvitrearum.de https://corpusvitrearum.de/glasmalerei-im-kontext.html - Corpus vitrearum medii aevi - Germany, Volume 10.1, Part 1: Berlin: Deutscher Verlag für Kunstwissenschaft, 2002Feedback geben

"Its creator was Veit Hirsvogel the Elder (1461–1526), ​​who became the city's glazier in 1495 and achieved a kind of monopoly on demanding commissions. He followed only the models of prominent artists: Dürer, Hans Baldung Grien, and Hans von Kulmbach, which is reflected in the outstanding graphic quality of his stained glass, remarkable both in its color and technical skill. It is important to know that by this time (1520), the combination of stained glass windows with clear glass (colorless bullseye panes) to allow more natural light into the space was already well-established. This is confirmed not only by many works preserved in situ but also by depictions in late Gothic paintings. Payments to the Hirsvogel workshop for clear glass in St. Roch's Chapel have survived." ] ] ] ] ... The semicircular, tripartite windows depicted the history of salvation, while the two-light windows show patron saints of the Nuremberg and Augsburg branches of the Imhoff family. All eleven windows feature the Imhoff/Haller/Nützel coat of arms in the lower corners of their respective compositions, a reference to the chapel's founder, Konrad Imhoff, who was married first to Magdalena Haller and second to Ursula Nützel. The central or east window in the chancel depicts, so to speak, a Coronation of the Virgin at the last minute of Catholicism in Nuremberg, five years before the conversion to Catholicism! Dr. Pablo de la Riestra Lit.: The Rochus Chapel in Nuremberg, Josef Fink Art Publishers, Lindenberg im Allgäu, 2021 ________________________ "Saints Catherine and Barbara, as patron saints of two female members of the Imhoff family, may also have found their way into the window program." Both saints display their traditional attributes: Catherine the sword and wheel of her martyrdom, Barbara, instead of the tower, only the chalice with host to identify her as patron saint of the dying. The Imhoff and Haller/Nützel coats of arms appear again in the corners. Once again, earlier works by Hans von Kulmbach—in the style of the Tucher epitaph in St. Sebald—as well as Wolf Traut's Artelshofen altarpiece (Munich, Bavarian National Museum, Inv. No. R 722) appear to have served as models. Stylistically comparable is Kulmbach's stained-glass panel depicting Mary reading (from the Annunciation?) (Erlangen, Friedrich-Alexander University Erlangen-Nuremberg, Margravial Graphic Collection, Inv. No. H62/B 238), which, according to the inscription on the reverse, can be dated to 1513 or 1518, and a roughly contemporaneous cardboard fragment of Saint Barbara as a shield bearer (Berlin, Kupferstichkabinett, Inv. No. KdZ 12507). Source: Corpusvitrearum.de https://corpusvitrearum.de/glasmalerei-im-kontext.html - Corpus vitrearum medii aevi - Germany, Volume 10.1, Part 1: Berlin: Deutscher Verlag für Kunstwissenschaft, 2002Feedback geben

"Its creator was Veit Hirsvogel the Elder (1461–1526), ​​who became the city's glazier in 1495 and achieved a kind of monopoly on demanding commissions. He followed only the models of prominent artists: Dürer, Hans Baldung Grien, and Hans von Kulmbach, which is reflected in the outstanding graphic quality of his stained glass, remarkable both in its color and technical skill. It is important to know that by this time (1520), the combination of stained glass windows with clear glass (colorless bullseye panes) to allow more natural light into the space was already well-established. This is confirmed not only by many works preserved in situ but also by depictions in late Gothic paintings. Payments to the Hirsvogel workshop for clear glass in St. Roch's Chapel have survived." ] ] ] ] ... The semicircular, tripartite windows depicted the history of salvation, while the two-light windows show patron saints of the Nuremberg and Augsburg branches of the Imhoff family. All eleven windows feature the Imhoff/Haller/Nützel coat of arms in the lower corners of their respective compositions, a reference to the chapel's founder, Konrad Imhoff, who was married first to Magdalena Haller and second to Ursula Nützel. The central or east window in the chancel depicts, so to speak, a Coronation of the Virgin at the last minute of Catholicism in Nuremberg, five years before the conversion to Catholicism! Dr. Pablo de la Riestra Lit.: The Rochus Chapel in Nuremberg, Josef Fink Art Publishers, Lindenberg im Allgäu, 2021 ________________________ "Saints Catherine and Barbara, as patron saints of two female members of the Imhoff family, may also have found their way into the window program." Both saints display their traditional attributes: Catherine the sword and wheel of her martyrdom, Barbara, instead of the tower, only the chalice with host to identify her as patron saint of the dying. The Imhoff and Haller/Nützel coats of arms appear again in the corners. Once again, earlier works by Hans von Kulmbach—in the style of the Tucher epitaph in St. Sebald—as well as Wolf Traut's Artelshofen altarpiece (Munich, Bavarian National Museum, Inv. No. R 722) appear to have served as models. Stylistically comparable is Kulmbach's stained-glass panel depicting Mary reading (from the Annunciation?) (Erlangen, Friedrich-Alexander University Erlangen-Nuremberg, Margravial Graphic Collection, Inv. No. H62/B 238), which, according to the inscription on the reverse, can be dated to 1513 or 1518, and a roughly contemporaneous cardboard fragment of Saint Barbara as a shield bearer (Berlin, Kupferstichkabinett, Inv. No. KdZ 12507). Source: Corpusvitrearum.de https://corpusvitrearum.de/glasmalerei-im-kontext.html - Corpus vitrearum medii aevi - Germany, Volume 10.1, Part 1: Berlin: Deutscher Verlag für Kunstwissenschaft, 2002Feedback geben

"Its creator was Veit Hirsvogel the Elder (1461–1526), ​​who became the city's glazier in 1495 and achieved a kind of monopoly on demanding commissions. He followed only the models of prominent artists: Dürer, Hans Baldung Grien, and Hans von Kulmbach, which is reflected in the outstanding graphic quality of his stained glass, remarkable both in its color and technical skill. It is important to know that by this time (1520), the combination of stained glass windows with clear glass (colorless bullseye panes) to allow more natural light into the space was already well-established. This is confirmed not only by many works preserved in situ but also by depictions in late Gothic paintings. Payments to the Hirsvogel workshop for clear glass in St. Roch's Chapel have survived." ] ] ] ] ... The semicircular, tripartite windows depicted the history of salvation, while the two-light windows show patron saints of the Nuremberg and Augsburg branches of the Imhoff family. All eleven windows feature the Imhoff/Haller/Nützel coat of arms in the lower corners of their respective compositions, a reference to the chapel's founder, Konrad Imhoff, who was married first to Magdalena Haller and second to Ursula Nützel. The central or east window in the chancel depicts, so to speak, a Coronation of the Virgin at the last minute of Catholicism in Nuremberg, five years before the conversion to Catholicism! Dr. Pablo de la Riestra Lit.: The Rochus Chapel in Nuremberg, Josef Fink Art Publishers, Lindenberg im Allgäu, 2021 ________________________ "Saints Catherine and Barbara, as patron saints of two female members of the Imhoff family, may also have found their way into the window program." Both saints display their traditional attributes: Catherine the sword and wheel of her martyrdom, Barbara, instead of the tower, only the chalice with host to identify her as patron saint of the dying. The Imhoff and Haller/Nützel coats of arms appear again in the corners. Once again, earlier works by Hans von Kulmbach—in the style of the Tucher epitaph in St. Sebald—as well as Wolf Traut's Artelshofen altarpiece (Munich, Bavarian National Museum, Inv. No. R 722) appear to have served as models. Stylistically comparable is Kulmbach's stained-glass panel depicting Mary reading (from the Annunciation?) (Erlangen, Friedrich-Alexander University Erlangen-Nuremberg, Margravial Graphic Collection, Inv. No. H62/B 238), which, according to the inscription on the reverse, can be dated to 1513 or 1518, and a roughly contemporaneous cardboard fragment of Saint Barbara as a shield bearer (Berlin, Kupferstichkabinett, Inv. No. KdZ 12507). Source: Corpusvitrearum.de https://corpusvitrearum.de/glasmalerei-im-kontext.html - Corpus vitrearum medii aevi - Germany, Volume 10.1, Part 1: Berlin: Deutscher Verlag für Kunstwissenschaft, 2002Feedback geben

"Its creator was Veit Hirsvogel the Elder (1461–1526), ​​who became the city's glazier in 1495 and achieved a kind of monopoly on demanding commissions. He followed only the models of prominent artists: Dürer, Hans Baldung Grien, and Hans von Kulmbach, which is reflected in the outstanding graphic quality of his stained glass, remarkable both in its color and technical skill. It is important to know that by this time (1520), the combination of stained glass windows with clear glass (colorless bullseye panes) to allow more natural light into the space was already well-established. This is confirmed not only by many works preserved in situ but also by depictions in late Gothic paintings. Payments to the Hirsvogel workshop for clear glass in St. Roch's Chapel have survived." ] ] ] ] ... The semicircular, tripartite windows depicted the history of salvation, while the two-light windows show patron saints of the Nuremberg and Augsburg branches of the Imhoff family. All eleven windows feature the Imhoff/Haller/Nützel coat of arms in the lower corners of their respective compositions, a reference to the chapel's founder, Konrad Imhoff, who was married first to Magdalena Haller and second to Ursula Nützel. The central or east window in the chancel depicts, so to speak, a Coronation of the Virgin at the last minute of Catholicism in Nuremberg, five years before the conversion to Catholicism! Dr. Pablo de la Riestra Lit.: The Rochus Chapel in Nuremberg, Josef Fink Art Publishers, Lindenberg im Allgäu, 2021 ________________________ "Saints Catherine and Barbara, as patron saints of two female members of the Imhoff family, may also have found their way into the window program." Both saints display their traditional attributes: Catherine the sword and wheel of her martyrdom, Barbara, instead of the tower, only the chalice with host to identify her as patron saint of the dying. The Imhoff and Haller/Nützel coats of arms appear again in the corners. Once again, earlier works by Hans von Kulmbach—in the style of the Tucher epitaph in St. Sebald—as well as Wolf Traut's Artelshofen altarpiece (Munich, Bavarian National Museum, Inv. No. R 722) appear to have served as models. Stylistically comparable is Kulmbach's stained-glass panel depicting Mary reading (from the Annunciation?) (Erlangen, Friedrich-Alexander University Erlangen-Nuremberg, Margravial Graphic Collection, Inv. No. H62/B 238), which, according to the inscription on the reverse, can be dated to 1513 or 1518, and a roughly contemporaneous cardboard fragment of Saint Barbara as a shield bearer (Berlin, Kupferstichkabinett, Inv. No. KdZ 12507). Source: Corpusvitrearum.de https://corpusvitrearum.de/glasmalerei-im-kontext.html - Corpus vitrearum medii aevi - Germany, Volume 10.1, Part 1: Berlin: Deutscher Verlag für Kunstwissenschaft, 2002Feedback geben

"Its creator was Veit Hirsvogel the Elder (1461–1526), ​​who became the city's glazier in 1495 and achieved a kind of monopoly on demanding commissions. He followed only the models of prominent artists: Dürer, Hans Baldung Grien, and Hans von Kulmbach, which is reflected in the outstanding graphic quality of his stained glass, remarkable both in its color and technical skill. It is important to know that by this time (1520), the combination of stained glass windows with clear glass (colorless bullseye panes) to allow more natural light into the space was already well-established. This is confirmed not only by many works preserved in situ but also by depictions in late Gothic paintings. Payments to the Hirsvogel workshop for clear glass in St. Roch's Chapel have survived." ] ] ] ] ... The semicircular, tripartite windows depicted the history of salvation, while the two-light windows show patron saints of the Nuremberg and Augsburg branches of the Imhoff family. All eleven windows feature the Imhoff/Haller/Nützel coat of arms in the lower corners of their respective compositions, a reference to the chapel's founder, Konrad Imhoff, who was married first to Magdalena Haller and second to Ursula Nützel. The central or east window in the chancel depicts, so to speak, a Coronation of the Virgin at the last minute of Catholicism in Nuremberg, five years before the conversion to Catholicism! Dr. Pablo de la Riestra Lit.: The Rochus Chapel in Nuremberg, Josef Fink Art Publishers, Lindenberg im Allgäu, 2021 ________________________ "Saints Catherine and Barbara, as patron saints of two female members of the Imhoff family, may also have found their way into the window program." Both saints display their traditional attributes: Catherine the sword and wheel of her martyrdom, Barbara, instead of the tower, only the chalice with host to identify her as patron saint of the dying. The Imhoff and Haller/Nützel coats of arms appear again in the corners. Once again, earlier works by Hans von Kulmbach—in the style of the Tucher epitaph in St. Sebald—as well as Wolf Traut's Artelshofen altarpiece (Munich, Bavarian National Museum, Inv. No. R 722) appear to have served as models. Stylistically comparable is Kulmbach's stained-glass panel depicting Mary reading (from the Annunciation?) (Erlangen, Friedrich-Alexander University Erlangen-Nuremberg, Margravial Graphic Collection, Inv. No. H62/B 238), which, according to the inscription on the reverse, can be dated to 1513 or 1518, and a roughly contemporaneous cardboard fragment of Saint Barbara as a shield bearer (Berlin, Kupferstichkabinett, Inv. No. KdZ 12507). Source: Corpusvitrearum.de https://corpusvitrearum.de/glasmalerei-im-kontext.html - Corpus vitrearum medii aevi - Germany, Volume 10.1, Part 1: Berlin: Deutscher Verlag für Kunstwissenschaft, 2002Feedback geben