"Their 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 designs 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 execution. It is important to know that by this time (1520), the combination of stained glass windows with clear glass (colorless bullseye panes) was already well-established for allowing more natural light into the room. 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 glasswork in Rochus have survived. The semicircular, tripartite windows depicted the story 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 church's 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, likely also found their way into the window program. Both saints present their traditional attributes: Catherine the sword and wheel of her martyrdom, Barbara, instead of the tower, only the chalice with host, signifying her role as patron saint of the dying.

The Imhoff and Haller/Nützel coats of arms appear again in the corners. " Once again, older works by Hans von Kulmbach – in the style of the Tucher epitaph in St. Sebald – but also Wolf Traut's Artelshofen altar (Munich, Bavarian National Museum, Inv. No. R 722) appear to have served as models for the designs.

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, 2002

"Their 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 designs 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 execution. It is important to know that by this time (1520), the combination of stained glass windows with clear glass (colorless bullseye panes) was already well-established for allowing more natural light into the room. 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 glasswork in Rochus have survived. The semicircular, tripartite windows depicted the story 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 church's 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, likely also found their way into the window program. Both saints present their traditional attributes: Catherine the sword and wheel of her martyrdom, Barbara, instead of the tower, only the chalice with host, signifying her role as patron saint of the dying.

The Imhoff and Haller/Nützel coats of arms appear again in the corners. " Once again, older works by Hans von Kulmbach – in the style of the Tucher epitaph in St. Sebald – but also Wolf Traut's Artelshofen altar (Munich, Bavarian National Museum, Inv. No. R 722) appear to have served as models for the designs.

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, 2002

"Their 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 designs 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 execution. It is important to know that by this time (1520), the combination of stained glass windows with clear glass (colorless bullseye panes) was already well-established for allowing more natural light into the room. 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 glasswork in Rochus have survived. The semicircular, tripartite windows depicted the story 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 church's 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, likely also found their way into the window program. Both saints present their traditional attributes: Catherine the sword and wheel of her martyrdom, Barbara, instead of the tower, only the chalice with host, signifying her role as patron saint of the dying.

The Imhoff and Haller/Nützel coats of arms appear again in the corners. " Once again, older works by Hans von Kulmbach – in the style of the Tucher epitaph in St. Sebald – but also Wolf Traut's Artelshofen altar (Munich, Bavarian National Museum, Inv. No. R 722) appear to have served as models for the designs.

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, 2002

"Their 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 designs 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 execution. It is important to know that by this time (1520), the combination of stained glass windows with clear glass (colorless bullseye panes) was already well-established for allowing more natural light into the room. 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 glasswork in Rochus have survived. The semicircular, tripartite windows depicted the story 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 church's 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, likely also found their way into the window program. Both saints present their traditional attributes: Catherine the sword and wheel of her martyrdom, Barbara, instead of the tower, only the chalice with host, signifying her role as patron saint of the dying.

The Imhoff and Haller/Nützel coats of arms appear again in the corners. " Once again, older works by Hans von Kulmbach – in the style of the Tucher epitaph in St. Sebald – but also Wolf Traut's Artelshofen altar (Munich, Bavarian National Museum, Inv. No. R 722) appear to have served as models for the designs.

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, 2002

"Their 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 designs 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 execution. It is important to know that by this time (1520), the combination of stained glass windows with clear glass (colorless bullseye panes) was already well-established for allowing more natural light into the room. 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 glasswork in Rochus have survived. The semicircular, tripartite windows depicted the story 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 church's 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, likely also found their way into the window program. Both saints present their traditional attributes: Catherine the sword and wheel of her martyrdom, Barbara, instead of the tower, only the chalice with host, signifying her role as patron saint of the dying.

The Imhoff and Haller/Nützel coats of arms appear again in the corners. " Once again, older works by Hans von Kulmbach – in the style of the Tucher epitaph in St. Sebald – but also Wolf Traut's Artelshofen altar (Munich, Bavarian National Museum, Inv. No. R 722) appear to have served as models for the designs.

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, 2002

"Their 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 designs 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 execution. It is important to know that by this time (1520), the combination of stained glass windows with clear glass (colorless bullseye panes) was already well-established for allowing more natural light into the room. 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 glasswork in Rochus have survived. The semicircular, tripartite windows depicted the story 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 church's 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, likely also found their way into the window program. Both saints present their traditional attributes: Catherine the sword and wheel of her martyrdom, Barbara, instead of the tower, only the chalice with host, signifying her role as patron saint of the dying.

The Imhoff and Haller/Nützel coats of arms appear again in the corners. " Once again, older works by Hans von Kulmbach – in the style of the Tucher epitaph in St. Sebald – but also Wolf Traut's Artelshofen altar (Munich, Bavarian National Museum, Inv. No. R 722) appear to have served as models for the designs.

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, 2002

"Their 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 designs 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 execution. It is important to know that by this time (1520), the combination of stained glass windows with clear glass (colorless bullseye panes) was already well-established for allowing more natural light into the room. 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 glasswork in Rochus have survived. The semicircular, tripartite windows depicted the story 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 church's 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, likely also found their way into the window program. Both saints present their traditional attributes: Catherine the sword and wheel of her martyrdom, Barbara, instead of the tower, only the chalice with host, signifying her role as patron saint of the dying.

The Imhoff and Haller/Nützel coats of arms appear again in the corners. " Once again, older works by Hans von Kulmbach – in the style of the Tucher epitaph in St. Sebald – but also Wolf Traut's Artelshofen altar (Munich, Bavarian National Museum, Inv. No. R 722) appear to have served as models for the designs.

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, 2002

"Their 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 designs 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 execution. It is important to know that by this time (1520), the combination of stained glass windows with clear glass (colorless bullseye panes) was already well-established for allowing more natural light into the room. 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 glasswork in Rochus have survived. The semicircular, tripartite windows depicted the story 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 church's 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, likely also found their way into the window program. Both saints present their traditional attributes: Catherine the sword and wheel of her martyrdom, Barbara, instead of the tower, only the chalice with host, signifying her role as patron saint of the dying.

The Imhoff and Haller/Nützel coats of arms appear again in the corners. " Once again, older works by Hans von Kulmbach – in the style of the Tucher epitaph in St. Sebald – but also Wolf Traut's Artelshofen altar (Munich, Bavarian National Museum, Inv. No. R 722) appear to have served as models for the designs.

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, 2002

"Their 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 designs 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 execution. It is important to know that by this time (1520), the combination of stained glass windows with clear glass (colorless bullseye panes) was already well-established for allowing more natural light into the room. 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 glasswork in Rochus have survived. The semicircular, tripartite windows depicted the story 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 church's 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, likely also found their way into the window program. Both saints present their traditional attributes: Catherine the sword and wheel of her martyrdom, Barbara, instead of the tower, only the chalice with host, signifying her role as patron saint of the dying.

The Imhoff and Haller/Nützel coats of arms appear again in the corners. " Once again, older works by Hans von Kulmbach – in the style of the Tucher epitaph in St. Sebald – but also Wolf Traut's Artelshofen altar (Munich, Bavarian National Museum, Inv. No. R 722) appear to have served as models for the designs.

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, 2002