Saints Lawrence and Stephen: 
Both are identified as martyrs by palm branches. Layfarth is depicted in the vestments of a deacon, holding the gridiron that symbolizes his death by burning. Stephen is depicted in the vestments of a deacon, holding the stones that symbolize his martyrdom by stoning. 

"The black-and-white drawing of the two saints represents the late style of the Hirsvogel workshop in a particularly dry and practiced manner, reminiscent of Sebald Beham's drawing style. A quatrefoil stained-glass window design by Beham, dated 1520, is also remarkably similar in design to that of Saint Stephen in the present window (Berlin, Kupferstichkabinett, Inv. No. KdZ 531)."  

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, 2002 

_______________________ 
"Their creator was Veit Hirsvogel the Elder (1461–1526), ​​who became the city 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 glasswork, 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 panes (colorless bullseye panes) was already well-established for allowing more natural light into the room." This is confirmed not only by numerous works preserved in situ, but also by depictions of late Gothic paintings. Payments to the Hirsvogel workshop for stained 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 coat of arms of Imhoff/Haller/Nützel in the lower corners of their respective compositions, referring 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 St. Roch's Chapel in Nuremberg, Josef Fink Art Publishers, Lindenberg im Allgäu, 2021

Saints Lawrence and Stephen: 
Both are identified as martyrs by palm branches. Layfarth is depicted in the vestments of a deacon, holding the gridiron that symbolizes his death by burning. Stephen is depicted in the vestments of a deacon, holding the stones that symbolize his martyrdom by stoning. 

"The black-and-white drawing of the two saints represents the late style of the Hirsvogel workshop in a particularly dry and practiced manner, reminiscent of Sebald Beham's drawing style. A quatrefoil stained-glass window design by Beham, dated 1520, is also remarkably similar in design to that of Saint Stephen in the present window (Berlin, Kupferstichkabinett, Inv. No. KdZ 531)."  

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, 2002 

_______________________ 
"Their creator was Veit Hirsvogel the Elder (1461–1526), ​​who became the city 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 glasswork, 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 panes (colorless bullseye panes) was already well-established for allowing more natural light into the room." This is confirmed not only by numerous works preserved in situ, but also by depictions of late Gothic paintings. Payments to the Hirsvogel workshop for stained 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 coat of arms of Imhoff/Haller/Nützel in the lower corners of their respective compositions, referring 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 St. Roch's Chapel in Nuremberg, Josef Fink Art Publishers, Lindenberg im Allgäu, 2021

Saints Lawrence and Stephen: 
Both are identified as martyrs by palm branches. Layfarth is depicted in the vestments of a deacon, holding the gridiron that symbolizes his death by burning. Stephen is depicted in the vestments of a deacon, holding the stones that symbolize his martyrdom by stoning. 

"The black-and-white drawing of the two saints represents the late style of the Hirsvogel workshop in a particularly dry and practiced manner, reminiscent of Sebald Beham's drawing style. A quatrefoil stained-glass window design by Beham, dated 1520, is also remarkably similar in design to that of Saint Stephen in the present window (Berlin, Kupferstichkabinett, Inv. No. KdZ 531)."  

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, 2002 

_______________________ 
"Their creator was Veit Hirsvogel the Elder (1461–1526), ​​who became the city 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 glasswork, 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 panes (colorless bullseye panes) was already well-established for allowing more natural light into the room." This is confirmed not only by numerous works preserved in situ, but also by depictions of late Gothic paintings. Payments to the Hirsvogel workshop for stained 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 coat of arms of Imhoff/Haller/Nützel in the lower corners of their respective compositions, referring 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 St. Roch's Chapel in Nuremberg, Josef Fink Art Publishers, Lindenberg im Allgäu, 2021