The central figures of the Virgin Mary with Child and the kneeling king were taken directly from Albrecht Dürer's famous woodcut of the Adoration of the Magi in the Life of the Virgin, created around 1503.

(...)

The asymmetrical staging of the image's architecture and individual motifs, such as the wooden tie rod running at the level of the impost, also reveal inspiration from a second woodcut by Dürer, the Annunciation, also created around 1503 for the Life of the Virgin.

On the column base in panel 3a is the monogrammed signature of the glass painter Veit Hirsvogel: H with an inset v. On the rearmost arch of the pictorial architecture in 4b is the year 1520. The same monogram also appears on a drawing of a young woman's head in Erlangen, which is associated with the eldest son of the workshop manager, Veit Hirsvogel the Younger (Erlangen, Friedrich-Alexander University Erlangen-Nuremberg, Margravial Graphic Collection, Inv. No. H62/B 178).

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

Lit.: The Rochus Chapel in Nuremberg, Josef Fink Art Publishers, Lindenberg im Allgäu, 2021

The central figures of the Virgin Mary with Child and the kneeling king were taken directly from Albrecht Dürer's famous woodcut of the Adoration of the Magi in the Life of the Virgin, created around 1503.

(...)

The asymmetrical staging of the image's architecture and individual motifs, such as the wooden tie rod running at the level of the impost, also reveal inspiration from a second woodcut by Dürer, the Annunciation, also created around 1503 for the Life of the Virgin.

On the column base in panel 3a is the monogrammed signature of the glass painter Veit Hirsvogel: H with an inset v. On the rearmost arch of the pictorial architecture in 4b is the year 1520. The same monogram also appears on a drawing of a young woman's head in Erlangen, which is associated with the eldest son of the workshop manager, Veit Hirsvogel the Younger (Erlangen, Friedrich-Alexander University Erlangen-Nuremberg, Margravial Graphic Collection, Inv. No. H62/B 178).

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

Lit.: The Rochus Chapel in Nuremberg, Josef Fink Art Publishers, Lindenberg im Allgäu, 2021

The central figures of the Virgin Mary with Child and the kneeling king were taken directly from Albrecht Dürer's famous woodcut of the Adoration of the Magi in the Life of the Virgin, created around 1503.

(...)

The asymmetrical staging of the image's architecture and individual motifs, such as the wooden tie rod running at the level of the impost, also reveal inspiration from a second woodcut by Dürer, the Annunciation, also created around 1503 for the Life of the Virgin.

On the column base in panel 3a is the monogrammed signature of the glass painter Veit Hirsvogel: H with an inset v. On the rearmost arch of the pictorial architecture in 4b is the year 1520. The same monogram also appears on a drawing of a young woman's head in Erlangen, which is associated with the eldest son of the workshop manager, Veit Hirsvogel the Younger (Erlangen, Friedrich-Alexander University Erlangen-Nuremberg, Margravial Graphic Collection, Inv. No. H62/B 178).

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

Lit.: The Rochus Chapel in Nuremberg, Josef Fink Art Publishers, Lindenberg im Allgäu, 2021

The central figures of the Virgin Mary with Child and the kneeling king were taken directly from Albrecht Dürer's famous woodcut of the Adoration of the Magi in the Life of the Virgin, created around 1503.

(...)

The asymmetrical staging of the image's architecture and individual motifs, such as the wooden tie rod running at the level of the impost, also reveal inspiration from a second woodcut by Dürer, the Annunciation, also created around 1503 for the Life of the Virgin.

On the column base in panel 3a is the monogrammed signature of the glass painter Veit Hirsvogel: H with an inset v. On the rearmost arch of the pictorial architecture in 4b is the year 1520. The same monogram also appears on a drawing of a young woman's head in Erlangen, which is associated with the eldest son of the workshop manager, Veit Hirsvogel the Younger (Erlangen, Friedrich-Alexander University Erlangen-Nuremberg, Margravial Graphic Collection, Inv. No. H62/B 178).

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

Lit.: The Rochus Chapel in Nuremberg, Josef Fink Art Publishers, Lindenberg im Allgäu, 2021

The central figures of the Virgin Mary with Child and the kneeling king were taken directly from Albrecht Dürer's famous woodcut of the Adoration of the Magi in the Life of the Virgin, created around 1503.

(...)

The asymmetrical staging of the image's architecture and individual motifs, such as the wooden tie rod running at the level of the impost, also reveal inspiration from a second woodcut by Dürer, the Annunciation, also created around 1503 for the Life of the Virgin.

On the column base in panel 3a is the monogrammed signature of the glass painter Veit Hirsvogel: H with an inset v. On the rearmost arch of the pictorial architecture in 4b is the year 1520. The same monogram also appears on a drawing of a young woman's head in Erlangen, which is associated with the eldest son of the workshop manager, Veit Hirsvogel the Younger (Erlangen, Friedrich-Alexander University Erlangen-Nuremberg, Margravial Graphic Collection, Inv. No. H62/B 178).

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

Lit.: The Rochus Chapel in Nuremberg, Josef Fink Art Publishers, Lindenberg im Allgäu, 2021

The central figures of the Virgin Mary with Child and the kneeling king were taken directly from Albrecht Dürer's famous woodcut of the Adoration of the Magi in the Life of the Virgin, created around 1503.

(...)

The asymmetrical staging of the image's architecture and individual motifs, such as the wooden tie rod running at the level of the impost, also reveal inspiration from a second woodcut by Dürer, the Annunciation, also created around 1503 for the Life of the Virgin.

On the column base in panel 3a is the monogrammed signature of the glass painter Veit Hirsvogel: H with an inset v. On the rearmost arch of the pictorial architecture in 4b is the year 1520. The same monogram also appears on a drawing of a young woman's head in Erlangen, which is associated with the eldest son of the workshop manager, Veit Hirsvogel the Younger (Erlangen, Friedrich-Alexander University Erlangen-Nuremberg, Margravial Graphic Collection, Inv. No. H62/B 178).

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

Lit.: The Rochus Chapel in Nuremberg, Josef Fink Art Publishers, Lindenberg im Allgäu, 2021

The central figures of the Virgin Mary with Child and the kneeling king were taken directly from Albrecht Dürer's famous woodcut of the Adoration of the Magi in the Life of the Virgin, created around 1503.

(...)

The asymmetrical staging of the image's architecture and individual motifs, such as the wooden tie rod running at the level of the impost, also reveal inspiration from a second woodcut by Dürer, the Annunciation, also created around 1503 for the Life of the Virgin.

On the column base in panel 3a is the monogrammed signature of the glass painter Veit Hirsvogel: H with an inset v. On the rearmost arch of the pictorial architecture in 4b is the year 1520. The same monogram also appears on a drawing of a young woman's head in Erlangen, which is associated with the eldest son of the workshop manager, Veit Hirsvogel the Younger (Erlangen, Friedrich-Alexander University Erlangen-Nuremberg, Margravial Graphic Collection, Inv. No. H62/B 178).

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

Lit.: The Rochus Chapel in Nuremberg, Josef Fink Art Publishers, Lindenberg im Allgäu, 2021

The central figures of the Virgin Mary with Child and the kneeling king were taken directly from Albrecht Dürer's famous woodcut of the Adoration of the Magi in the Life of the Virgin, created around 1503.

(...)

The asymmetrical staging of the image's architecture and individual motifs, such as the wooden tie rod running at the level of the impost, also reveal inspiration from a second woodcut by Dürer, the Annunciation, also created around 1503 for the Life of the Virgin.

On the column base in panel 3a is the monogrammed signature of the glass painter Veit Hirsvogel: H with an inset v. On the rearmost arch of the pictorial architecture in 4b is the year 1520. The same monogram also appears on a drawing of a young woman's head in Erlangen, which is associated with the eldest son of the workshop manager, Veit Hirsvogel the Younger (Erlangen, Friedrich-Alexander University Erlangen-Nuremberg, Margravial Graphic Collection, Inv. No. H62/B 178).

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

Lit.: The Rochus Chapel in Nuremberg, Josef Fink Art Publishers, Lindenberg im Allgäu, 2021