"Parlier" Heinrich is said to have been in charge of the overall design. The original sculptural parts are attributed to several masters. The fountain was repaired two times at the end of the 18th century. It was removed respectively renewed 1821-24, restored in 1835 and finally completely replaced by a valuable copy by Heinrich Wallraff 1897-1902. Original parts of the fountain have been preserved in the German National Museum as have parts of the sculptures in Bodemuseum in Berlin. Whereas the fountain architecture can be considered to be originally Gothic, the statues are but an echo of the originals. The original quality of these sculptures is evident by the fragments that have been preserved, it supersedes by far the quality of the sculptures of the previous period in Nuremberg, it is of much higher quality than the one of the figures at the West portal of St. Lorenz-Church and even of the portal of Our Lady´s Church (Frauenkirche) which was created under the Parlers. Regarding architectural history the tower-shaped fountain is a sensation, it is a micro-architecture, definitely with a secular purpose, but completely designed in sacred form-language. In the following time the fountain was adopted as far away as in the Norman Rouen. Relationships with tabernacles of the Late Gothic Period are evident. Concerning the iconographic program the design of the fountain is highly ambitious. The exclusively male figures are distributed over two tiers at the edge of the basin (allegories of Philosophy, the Seven Liberal Arts, the Four Evangelists and the Four Latin Fathers of the Church), apart from that the figures are distributed over two levels of the octagonal tower. The main level displays the Nine Good Heroes, and Seven Electors, over them the Prophets. The hollow octagon ends in an casing of buttresses with an open-worked tracery helmet. The fountain was explicitly mentioned in 1517 by the Italian Antonio de Beatis, correspondent of Cardinal Luigi d´Aragona. Dr. Pablo de la Riestra

"Parlier" Heinrich is said to have been in charge of the overall design. The original sculptural parts are attributed to several masters. The fountain was repaired two times at the end of the 18th century. It was removed respectively renewed 1821-24, restored in 1835 and finally completely replaced by a valuable copy by Heinrich Wallraff 1897-1902. Original parts of the fountain have been preserved in the German National Museum as have parts of the sculptures in Bodemuseum in Berlin. Whereas the fountain architecture can be considered to be originally Gothic, the statues are but an echo of the originals. The original quality of these sculptures is evident by the fragments that have been preserved, it supersedes by far the quality of the sculptures of the previous period in Nuremberg, it is of much higher quality than the one of the figures at the West portal of St. Lorenz-Church and even of the portal of Our Lady´s Church (Frauenkirche) which was created under the Parlers. Regarding architectural history the tower-shaped fountain is a sensation, it is a micro-architecture, definitely with a secular purpose, but completely designed in sacred form-language. In the following time the fountain was adopted as far away as in the Norman Rouen. Relationships with tabernacles of the Late Gothic Period are evident. Concerning the iconographic program the design of the fountain is highly ambitious. The exclusively male figures are distributed over two tiers at the edge of the basin (allegories of Philosophy, the Seven Liberal Arts, the Four Evangelists and the Four Latin Fathers of the Church), apart from that the figures are distributed over two levels of the octagonal tower. The main level displays the Nine Good Heroes, and Seven Electors, over them the Prophets. The hollow octagon ends in an casing of buttresses with an open-worked tracery helmet. The fountain was explicitly mentioned in 1517 by the Italian Antonio de Beatis, correspondent of Cardinal Luigi d´Aragona. Dr. Pablo de la Riestra

"Parlier" Heinrich is said to have been in charge of the overall design. The original sculptural parts are attributed to several masters. The fountain was repaired two times at the end of the 18th century. It was removed respectively renewed 1821-24, restored in 1835 and finally completely replaced by a valuable copy by Heinrich Wallraff 1897-1902. Original parts of the fountain have been preserved in the German National Museum as have parts of the sculptures in Bodemuseum in Berlin. Whereas the fountain architecture can be considered to be originally Gothic, the statues are but an echo of the originals. The original quality of these sculptures is evident by the fragments that have been preserved, it supersedes by far the quality of the sculptures of the previous period in Nuremberg, it is of much higher quality than the one of the figures at the West portal of St. Lorenz-Church and even of the portal of Our Lady´s Church (Frauenkirche) which was created under the Parlers. Regarding architectural history the tower-shaped fountain is a sensation, it is a micro-architecture, definitely with a secular purpose, but completely designed in sacred form-language. In the following time the fountain was adopted as far away as in the Norman Rouen. Relationships with tabernacles of the Late Gothic Period are evident. Concerning the iconographic program the design of the fountain is highly ambitious. The exclusively male figures are distributed over two tiers at the edge of the basin (allegories of Philosophy, the Seven Liberal Arts, the Four Evangelists and the Four Latin Fathers of the Church), apart from that the figures are distributed over two levels of the octagonal tower. The main level displays the Nine Good Heroes, and Seven Electors, over them the Prophets. The hollow octagon ends in an casing of buttresses with an open-worked tracery helmet. The fountain was explicitly mentioned in 1517 by the Italian Antonio de Beatis, correspondent of Cardinal Luigi d´Aragona. Dr. Pablo de la Riestra

"Parlier" Heinrich is said to have been in charge of the overall design. The original sculptural parts are attributed to several masters. The fountain was repaired two times at the end of the 18th century. It was removed respectively renewed 1821-24, restored in 1835 and finally completely replaced by a valuable copy by Heinrich Wallraff 1897-1902. Original parts of the fountain have been preserved in the German National Museum as have parts of the sculptures in Bodemuseum in Berlin. Whereas the fountain architecture can be considered to be originally Gothic, the statues are but an echo of the originals. The original quality of these sculptures is evident by the fragments that have been preserved, it supersedes by far the quality of the sculptures of the previous period in Nuremberg, it is of much higher quality than the one of the figures at the West portal of St. Lorenz-Church and even of the portal of Our Lady´s Church (Frauenkirche) which was created under the Parlers. Regarding architectural history the tower-shaped fountain is a sensation, it is a micro-architecture, definitely with a secular purpose, but completely designed in sacred form-language. In the following time the fountain was adopted as far away as in the Norman Rouen. Relationships with tabernacles of the Late Gothic Period are evident. Concerning the iconographic program the design of the fountain is highly ambitious. The exclusively male figures are distributed over two tiers at the edge of the basin (allegories of Philosophy, the Seven Liberal Arts, the Four Evangelists and the Four Latin Fathers of the Church), apart from that the figures are distributed over two levels of the octagonal tower. The main level displays the Nine Good Heroes, and Seven Electors, over them the Prophets. The hollow octagon ends in an casing of buttresses with an open-worked tracery helmet. The fountain was explicitly mentioned in 1517 by the Italian Antonio de Beatis, correspondent of Cardinal Luigi d´Aragona. Dr. Pablo de la Riestra

"Parlier" Heinrich is said to have been in charge of the overall design. The original sculptural parts are attributed to several masters. The fountain was repaired two times at the end of the 18th century. It was removed respectively renewed 1821-24, restored in 1835 and finally completely replaced by a valuable copy by Heinrich Wallraff 1897-1902. Original parts of the fountain have been preserved in the German National Museum as have parts of the sculptures in Bodemuseum in Berlin. Whereas the fountain architecture can be considered to be originally Gothic, the statues are but an echo of the originals. The original quality of these sculptures is evident by the fragments that have been preserved, it supersedes by far the quality of the sculptures of the previous period in Nuremberg, it is of much higher quality than the one of the figures at the West portal of St. Lorenz-Church and even of the portal of Our Lady´s Church (Frauenkirche) which was created under the Parlers. Regarding architectural history the tower-shaped fountain is a sensation, it is a micro-architecture, definitely with a secular purpose, but completely designed in sacred form-language. In the following time the fountain was adopted as far away as in the Norman Rouen. Relationships with tabernacles of the Late Gothic Period are evident. Concerning the iconographic program the design of the fountain is highly ambitious. The exclusively male figures are distributed over two tiers at the edge of the basin (allegories of Philosophy, the Seven Liberal Arts, the Four Evangelists and the Four Latin Fathers of the Church), apart from that the figures are distributed over two levels of the octagonal tower. The main level displays the Nine Good Heroes, and Seven Electors, over them the Prophets. The hollow octagon ends in an casing of buttresses with an open-worked tracery helmet. The fountain was explicitly mentioned in 1517 by the Italian Antonio de Beatis, correspondent of Cardinal Luigi d´Aragona. Dr. Pablo de la Riestra

"Parlier" Heinrich is said to have been in charge of the overall design. The original sculptural parts are attributed to several masters. The fountain was repaired two times at the end of the 18th century. It was removed respectively renewed 1821-24, restored in 1835 and finally completely replaced by a valuable copy by Heinrich Wallraff 1897-1902. Original parts of the fountain have been preserved in the German National Museum as have parts of the sculptures in Bodemuseum in Berlin. Whereas the fountain architecture can be considered to be originally Gothic, the statues are but an echo of the originals. The original quality of these sculptures is evident by the fragments that have been preserved, it supersedes by far the quality of the sculptures of the previous period in Nuremberg, it is of much higher quality than the one of the figures at the West portal of St. Lorenz-Church and even of the portal of Our Lady´s Church (Frauenkirche) which was created under the Parlers. Regarding architectural history the tower-shaped fountain is a sensation, it is a micro-architecture, definitely with a secular purpose, but completely designed in sacred form-language. In the following time the fountain was adopted as far away as in the Norman Rouen. Relationships with tabernacles of the Late Gothic Period are evident. Concerning the iconographic program the design of the fountain is highly ambitious. The exclusively male figures are distributed over two tiers at the edge of the basin (allegories of Philosophy, the Seven Liberal Arts, the Four Evangelists and the Four Latin Fathers of the Church), apart from that the figures are distributed over two levels of the octagonal tower. The main level displays the Nine Good Heroes, and Seven Electors, over them the Prophets. The hollow octagon ends in an casing of buttresses with an open-worked tracery helmet. The fountain was explicitly mentioned in 1517 by the Italian Antonio de Beatis, correspondent of Cardinal Luigi d´Aragona. Dr. Pablo de la Riestra

"Parlier" Heinrich is said to have been in charge of the overall design. The original sculptural parts are attributed to several masters. The fountain was repaired two times at the end of the 18th century. It was removed respectively renewed 1821-24, restored in 1835 and finally completely replaced by a valuable copy by Heinrich Wallraff 1897-1902. Original parts of the fountain have been preserved in the German National Museum as have parts of the sculptures in Bodemuseum in Berlin. Whereas the fountain architecture can be considered to be originally Gothic, the statues are but an echo of the originals. The original quality of these sculptures is evident by the fragments that have been preserved, it supersedes by far the quality of the sculptures of the previous period in Nuremberg, it is of much higher quality than the one of the figures at the West portal of St. Lorenz-Church and even of the portal of Our Lady´s Church (Frauenkirche) which was created under the Parlers. Regarding architectural history the tower-shaped fountain is a sensation, it is a micro-architecture, definitely with a secular purpose, but completely designed in sacred form-language. In the following time the fountain was adopted as far away as in the Norman Rouen. Relationships with tabernacles of the Late Gothic Period are evident. Concerning the iconographic program the design of the fountain is highly ambitious. The exclusively male figures are distributed over two tiers at the edge of the basin (allegories of Philosophy, the Seven Liberal Arts, the Four Evangelists and the Four Latin Fathers of the Church), apart from that the figures are distributed over two levels of the octagonal tower. The main level displays the Nine Good Heroes, and Seven Electors, over them the Prophets. The hollow octagon ends in an casing of buttresses with an open-worked tracery helmet. The fountain was explicitly mentioned in 1517 by the Italian Antonio de Beatis, correspondent of Cardinal Luigi d´Aragona. Dr. Pablo de la Riestra

"Parlier" Heinrich is said to have been in charge of the overall design. The original sculptural parts are attributed to several masters. The fountain was repaired two times at the end of the 18th century. It was removed respectively renewed 1821-24, restored in 1835 and finally completely replaced by a valuable copy by Heinrich Wallraff 1897-1902. Original parts of the fountain have been preserved in the German National Museum as have parts of the sculptures in Bodemuseum in Berlin. Whereas the fountain architecture can be considered to be originally Gothic, the statues are but an echo of the originals. The original quality of these sculptures is evident by the fragments that have been preserved, it supersedes by far the quality of the sculptures of the previous period in Nuremberg, it is of much higher quality than the one of the figures at the West portal of St. Lorenz-Church and even of the portal of Our Lady´s Church (Frauenkirche) which was created under the Parlers. Regarding architectural history the tower-shaped fountain is a sensation, it is a micro-architecture, definitely with a secular purpose, but completely designed in sacred form-language. In the following time the fountain was adopted as far away as in the Norman Rouen. Relationships with tabernacles of the Late Gothic Period are evident. Concerning the iconographic program the design of the fountain is highly ambitious. The exclusively male figures are distributed over two tiers at the edge of the basin (allegories of Philosophy, the Seven Liberal Arts, the Four Evangelists and the Four Latin Fathers of the Church), apart from that the figures are distributed over two levels of the octagonal tower. The main level displays the Nine Good Heroes, and Seven Electors, over them the Prophets. The hollow octagon ends in an casing of buttresses with an open-worked tracery helmet. The fountain was explicitly mentioned in 1517 by the Italian Antonio de Beatis, correspondent of Cardinal Luigi d´Aragona. Dr. Pablo de la Riestra

"Parlier" Heinrich is said to have been in charge of the overall design. The original sculptural parts are attributed to several masters. The fountain was repaired two times at the end of the 18th century. It was removed respectively renewed 1821-24, restored in 1835 and finally completely replaced by a valuable copy by Heinrich Wallraff 1897-1902. Original parts of the fountain have been preserved in the German National Museum as have parts of the sculptures in Bodemuseum in Berlin. Whereas the fountain architecture can be considered to be originally Gothic, the statues are but an echo of the originals. The original quality of these sculptures is evident by the fragments that have been preserved, it supersedes by far the quality of the sculptures of the previous period in Nuremberg, it is of much higher quality than the one of the figures at the West portal of St. Lorenz-Church and even of the portal of Our Lady´s Church (Frauenkirche) which was created under the Parlers. Regarding architectural history the tower-shaped fountain is a sensation, it is a micro-architecture, definitely with a secular purpose, but completely designed in sacred form-language. In the following time the fountain was adopted as far away as in the Norman Rouen. Relationships with tabernacles of the Late Gothic Period are evident. Concerning the iconographic program the design of the fountain is highly ambitious. The exclusively male figures are distributed over two tiers at the edge of the basin (allegories of Philosophy, the Seven Liberal Arts, the Four Evangelists and the Four Latin Fathers of the Church), apart from that the figures are distributed over two levels of the octagonal tower. The main level displays the Nine Good Heroes, and Seven Electors, over them the Prophets. The hollow octagon ends in an casing of buttresses with an open-worked tracery helmet. The fountain was explicitly mentioned in 1517 by the Italian Antonio de Beatis, correspondent of Cardinal Luigi d´Aragona. Dr. Pablo de la Riestra

"Parlier" Heinrich is said to have been in charge of the overall design. The original sculptural parts are attributed to several masters. The fountain was repaired two times at the end of the 18th century. It was removed respectively renewed 1821-24, restored in 1835 and finally completely replaced by a valuable copy by Heinrich Wallraff 1897-1902. Original parts of the fountain have been preserved in the German National Museum as have parts of the sculptures in Bodemuseum in Berlin. Whereas the fountain architecture can be considered to be originally Gothic, the statues are but an echo of the originals. The original quality of these sculptures is evident by the fragments that have been preserved, it supersedes by far the quality of the sculptures of the previous period in Nuremberg, it is of much higher quality than the one of the figures at the West portal of St. Lorenz-Church and even of the portal of Our Lady´s Church (Frauenkirche) which was created under the Parlers. Regarding architectural history the tower-shaped fountain is a sensation, it is a micro-architecture, definitely with a secular purpose, but completely designed in sacred form-language. In the following time the fountain was adopted as far away as in the Norman Rouen. Relationships with tabernacles of the Late Gothic Period are evident. Concerning the iconographic program the design of the fountain is highly ambitious. The exclusively male figures are distributed over two tiers at the edge of the basin (allegories of Philosophy, the Seven Liberal Arts, the Four Evangelists and the Four Latin Fathers of the Church), apart from that the figures are distributed over two levels of the octagonal tower. The main level displays the Nine Good Heroes, and Seven Electors, over them the Prophets. The hollow octagon ends in an casing of buttresses with an open-worked tracery helmet. The fountain was explicitly mentioned in 1517 by the Italian Antonio de Beatis, correspondent of Cardinal Luigi d´Aragona. Dr. Pablo de la Riestra

"Parlier" Heinrich is said to have been in charge of the overall design. The original sculptural parts are attributed to several masters. The fountain was repaired two times at the end of the 18th century. It was removed respectively renewed 1821-24, restored in 1835 and finally completely replaced by a valuable copy by Heinrich Wallraff 1897-1902. Original parts of the fountain have been preserved in the German National Museum as have parts of the sculptures in Bodemuseum in Berlin. Whereas the fountain architecture can be considered to be originally Gothic, the statues are but an echo of the originals. The original quality of these sculptures is evident by the fragments that have been preserved, it supersedes by far the quality of the sculptures of the previous period in Nuremberg, it is of much higher quality than the one of the figures at the West portal of St. Lorenz-Church and even of the portal of Our Lady´s Church (Frauenkirche) which was created under the Parlers. Regarding architectural history the tower-shaped fountain is a sensation, it is a micro-architecture, definitely with a secular purpose, but completely designed in sacred form-language. In the following time the fountain was adopted as far away as in the Norman Rouen. Relationships with tabernacles of the Late Gothic Period are evident. Concerning the iconographic program the design of the fountain is highly ambitious. The exclusively male figures are distributed over two tiers at the edge of the basin (allegories of Philosophy, the Seven Liberal Arts, the Four Evangelists and the Four Latin Fathers of the Church), apart from that the figures are distributed over two levels of the octagonal tower. The main level displays the Nine Good Heroes, and Seven Electors, over them the Prophets. The hollow octagon ends in an casing of buttresses with an open-worked tracery helmet. The fountain was explicitly mentioned in 1517 by the Italian Antonio de Beatis, correspondent of Cardinal Luigi d´Aragona. Dr. Pablo de la Riestra

"Parlier" Heinrich is said to have been in charge of the overall design. The original sculptural parts are attributed to several masters. The fountain was repaired two times at the end of the 18th century. It was removed respectively renewed 1821-24, restored in 1835 and finally completely replaced by a valuable copy by Heinrich Wallraff 1897-1902. Original parts of the fountain have been preserved in the German National Museum as have parts of the sculptures in Bodemuseum in Berlin. Whereas the fountain architecture can be considered to be originally Gothic, the statues are but an echo of the originals. The original quality of these sculptures is evident by the fragments that have been preserved, it supersedes by far the quality of the sculptures of the previous period in Nuremberg, it is of much higher quality than the one of the figures at the West portal of St. Lorenz-Church and even of the portal of Our Lady´s Church (Frauenkirche) which was created under the Parlers. Regarding architectural history the tower-shaped fountain is a sensation, it is a micro-architecture, definitely with a secular purpose, but completely designed in sacred form-language. In the following time the fountain was adopted as far away as in the Norman Rouen. Relationships with tabernacles of the Late Gothic Period are evident. Concerning the iconographic program the design of the fountain is highly ambitious. The exclusively male figures are distributed over two tiers at the edge of the basin (allegories of Philosophy, the Seven Liberal Arts, the Four Evangelists and the Four Latin Fathers of the Church), apart from that the figures are distributed over two levels of the octagonal tower. The main level displays the Nine Good Heroes, and Seven Electors, over them the Prophets. The hollow octagon ends in an casing of buttresses with an open-worked tracery helmet. The fountain was explicitly mentioned in 1517 by the Italian Antonio de Beatis, correspondent of Cardinal Luigi d´Aragona. Dr. Pablo de la Riestra

"Parlier" Heinrich is said to have been in charge of the overall design. The original sculptural parts are attributed to several masters. The fountain was repaired two times at the end of the 18th century. It was removed respectively renewed 1821-24, restored in 1835 and finally completely replaced by a valuable copy by Heinrich Wallraff 1897-1902. Original parts of the fountain have been preserved in the German National Museum as have parts of the sculptures in Bodemuseum in Berlin. Whereas the fountain architecture can be considered to be originally Gothic, the statues are but an echo of the originals. The original quality of these sculptures is evident by the fragments that have been preserved, it supersedes by far the quality of the sculptures of the previous period in Nuremberg, it is of much higher quality than the one of the figures at the West portal of St. Lorenz-Church and even of the portal of Our Lady´s Church (Frauenkirche) which was created under the Parlers. Regarding architectural history the tower-shaped fountain is a sensation, it is a micro-architecture, definitely with a secular purpose, but completely designed in sacred form-language. In the following time the fountain was adopted as far away as in the Norman Rouen. Relationships with tabernacles of the Late Gothic Period are evident. Concerning the iconographic program the design of the fountain is highly ambitious. The exclusively male figures are distributed over two tiers at the edge of the basin (allegories of Philosophy, the Seven Liberal Arts, the Four Evangelists and the Four Latin Fathers of the Church), apart from that the figures are distributed over two levels of the octagonal tower. The main level displays the Nine Good Heroes, and Seven Electors, over them the Prophets. The hollow octagon ends in an casing of buttresses with an open-worked tracery helmet. The fountain was explicitly mentioned in 1517 by the Italian Antonio de Beatis, correspondent of Cardinal Luigi d´Aragona. Dr. Pablo de la Riestra

"Parlier" Heinrich is said to have been in charge of the overall design. The original sculptural parts are attributed to several masters. The fountain was repaired two times at the end of the 18th century. It was removed respectively renewed 1821-24, restored in 1835 and finally completely replaced by a valuable copy by Heinrich Wallraff 1897-1902. Original parts of the fountain have been preserved in the German National Museum as have parts of the sculptures in Bodemuseum in Berlin. Whereas the fountain architecture can be considered to be originally Gothic, the statues are but an echo of the originals. The original quality of these sculptures is evident by the fragments that have been preserved, it supersedes by far the quality of the sculptures of the previous period in Nuremberg, it is of much higher quality than the one of the figures at the West portal of St. Lorenz-Church and even of the portal of Our Lady´s Church (Frauenkirche) which was created under the Parlers. Regarding architectural history the tower-shaped fountain is a sensation, it is a micro-architecture, definitely with a secular purpose, but completely designed in sacred form-language. In the following time the fountain was adopted as far away as in the Norman Rouen. Relationships with tabernacles of the Late Gothic Period are evident. Concerning the iconographic program the design of the fountain is highly ambitious. The exclusively male figures are distributed over two tiers at the edge of the basin (allegories of Philosophy, the Seven Liberal Arts, the Four Evangelists and the Four Latin Fathers of the Church), apart from that the figures are distributed over two levels of the octagonal tower. The main level displays the Nine Good Heroes, and Seven Electors, over them the Prophets. The hollow octagon ends in an casing of buttresses with an open-worked tracery helmet. The fountain was explicitly mentioned in 1517 by the Italian Antonio de Beatis, correspondent of Cardinal Luigi d´Aragona. Dr. Pablo de la Riestra

"Parlier" Heinrich is said to have been in charge of the overall design. The original sculptural parts are attributed to several masters. The fountain was repaired two times at the end of the 18th century. It was removed respectively renewed 1821-24, restored in 1835 and finally completely replaced by a valuable copy by Heinrich Wallraff 1897-1902. Original parts of the fountain have been preserved in the German National Museum as have parts of the sculptures in Bodemuseum in Berlin. Whereas the fountain architecture can be considered to be originally Gothic, the statues are but an echo of the originals. The original quality of these sculptures is evident by the fragments that have been preserved, it supersedes by far the quality of the sculptures of the previous period in Nuremberg, it is of much higher quality than the one of the figures at the West portal of St. Lorenz-Church and even of the portal of Our Lady´s Church (Frauenkirche) which was created under the Parlers. Regarding architectural history the tower-shaped fountain is a sensation, it is a micro-architecture, definitely with a secular purpose, but completely designed in sacred form-language. In the following time the fountain was adopted as far away as in the Norman Rouen. Relationships with tabernacles of the Late Gothic Period are evident. Concerning the iconographic program the design of the fountain is highly ambitious. The exclusively male figures are distributed over two tiers at the edge of the basin (allegories of Philosophy, the Seven Liberal Arts, the Four Evangelists and the Four Latin Fathers of the Church), apart from that the figures are distributed over two levels of the octagonal tower. The main level displays the Nine Good Heroes, and Seven Electors, over them the Prophets. The hollow octagon ends in an casing of buttresses with an open-worked tracery helmet. The fountain was explicitly mentioned in 1517 by the Italian Antonio de Beatis, correspondent of Cardinal Luigi d´Aragona. Dr. Pablo de la Riestra

"Parlier" Heinrich is said to have been in charge of the overall design. The original sculptural parts are attributed to several masters. The fountain was repaired two times at the end of the 18th century. It was removed respectively renewed 1821-24, restored in 1835 and finally completely replaced by a valuable copy by Heinrich Wallraff 1897-1902. Original parts of the fountain have been preserved in the German National Museum as have parts of the sculptures in Bodemuseum in Berlin. Whereas the fountain architecture can be considered to be originally Gothic, the statues are but an echo of the originals. The original quality of these sculptures is evident by the fragments that have been preserved, it supersedes by far the quality of the sculptures of the previous period in Nuremberg, it is of much higher quality than the one of the figures at the West portal of St. Lorenz-Church and even of the portal of Our Lady´s Church (Frauenkirche) which was created under the Parlers. Regarding architectural history the tower-shaped fountain is a sensation, it is a micro-architecture, definitely with a secular purpose, but completely designed in sacred form-language. In the following time the fountain was adopted as far away as in the Norman Rouen. Relationships with tabernacles of the Late Gothic Period are evident. Concerning the iconographic program the design of the fountain is highly ambitious. The exclusively male figures are distributed over two tiers at the edge of the basin (allegories of Philosophy, the Seven Liberal Arts, the Four Evangelists and the Four Latin Fathers of the Church), apart from that the figures are distributed over two levels of the octagonal tower. The main level displays the Nine Good Heroes, and Seven Electors, over them the Prophets. The hollow octagon ends in an casing of buttresses with an open-worked tracery helmet. The fountain was explicitly mentioned in 1517 by the Italian Antonio de Beatis, correspondent of Cardinal Luigi d´Aragona. Dr. Pablo de la Riestra

"Parlier" Heinrich is said to have been in charge of the overall design. The original sculptural parts are attributed to several masters. The fountain was repaired two times at the end of the 18th century. It was removed respectively renewed 1821-24, restored in 1835 and finally completely replaced by a valuable copy by Heinrich Wallraff 1897-1902. Original parts of the fountain have been preserved in the German National Museum as have parts of the sculptures in Bodemuseum in Berlin. Whereas the fountain architecture can be considered to be originally Gothic, the statues are but an echo of the originals. The original quality of these sculptures is evident by the fragments that have been preserved, it supersedes by far the quality of the sculptures of the previous period in Nuremberg, it is of much higher quality than the one of the figures at the West portal of St. Lorenz-Church and even of the portal of Our Lady´s Church (Frauenkirche) which was created under the Parlers. Regarding architectural history the tower-shaped fountain is a sensation, it is a micro-architecture, definitely with a secular purpose, but completely designed in sacred form-language. In the following time the fountain was adopted as far away as in the Norman Rouen. Relationships with tabernacles of the Late Gothic Period are evident. Concerning the iconographic program the design of the fountain is highly ambitious. The exclusively male figures are distributed over two tiers at the edge of the basin (allegories of Philosophy, the Seven Liberal Arts, the Four Evangelists and the Four Latin Fathers of the Church), apart from that the figures are distributed over two levels of the octagonal tower. The main level displays the Nine Good Heroes, and Seven Electors, over them the Prophets. The hollow octagon ends in an casing of buttresses with an open-worked tracery helmet. The fountain was explicitly mentioned in 1517 by the Italian Antonio de Beatis, correspondent of Cardinal Luigi d´Aragona. Dr. Pablo de la Riestra

"Parlier" Heinrich is said to have been in charge of the overall design. The original sculptural parts are attributed to several masters. The fountain was repaired two times at the end of the 18th century. It was removed respectively renewed 1821-24, restored in 1835 and finally completely replaced by a valuable copy by Heinrich Wallraff 1897-1902. Original parts of the fountain have been preserved in the German National Museum as have parts of the sculptures in Bodemuseum in Berlin. Whereas the fountain architecture can be considered to be originally Gothic, the statues are but an echo of the originals. The original quality of these sculptures is evident by the fragments that have been preserved, it supersedes by far the quality of the sculptures of the previous period in Nuremberg, it is of much higher quality than the one of the figures at the West portal of St. Lorenz-Church and even of the portal of Our Lady´s Church (Frauenkirche) which was created under the Parlers. Regarding architectural history the tower-shaped fountain is a sensation, it is a micro-architecture, definitely with a secular purpose, but completely designed in sacred form-language. In the following time the fountain was adopted as far away as in the Norman Rouen. Relationships with tabernacles of the Late Gothic Period are evident. Concerning the iconographic program the design of the fountain is highly ambitious. The exclusively male figures are distributed over two tiers at the edge of the basin (allegories of Philosophy, the Seven Liberal Arts, the Four Evangelists and the Four Latin Fathers of the Church), apart from that the figures are distributed over two levels of the octagonal tower. The main level displays the Nine Good Heroes, and Seven Electors, over them the Prophets. The hollow octagon ends in an casing of buttresses with an open-worked tracery helmet. The fountain was explicitly mentioned in 1517 by the Italian Antonio de Beatis, correspondent of Cardinal Luigi d´Aragona. Dr. Pablo de la Riestra

"Parlier" Heinrich is said to have been in charge of the overall design. The original sculptural parts are attributed to several masters. The fountain was repaired two times at the end of the 18th century. It was removed respectively renewed 1821-24, restored in 1835 and finally completely replaced by a valuable copy by Heinrich Wallraff 1897-1902. Original parts of the fountain have been preserved in the German National Museum as have parts of the sculptures in Bodemuseum in Berlin. Whereas the fountain architecture can be considered to be originally Gothic, the statues are but an echo of the originals. The original quality of these sculptures is evident by the fragments that have been preserved, it supersedes by far the quality of the sculptures of the previous period in Nuremberg, it is of much higher quality than the one of the figures at the West portal of St. Lorenz-Church and even of the portal of Our Lady´s Church (Frauenkirche) which was created under the Parlers. Regarding architectural history the tower-shaped fountain is a sensation, it is a micro-architecture, definitely with a secular purpose, but completely designed in sacred form-language. In the following time the fountain was adopted as far away as in the Norman Rouen. Relationships with tabernacles of the Late Gothic Period are evident. Concerning the iconographic program the design of the fountain is highly ambitious. The exclusively male figures are distributed over two tiers at the edge of the basin (allegories of Philosophy, the Seven Liberal Arts, the Four Evangelists and the Four Latin Fathers of the Church), apart from that the figures are distributed over two levels of the octagonal tower. The main level displays the Nine Good Heroes, and Seven Electors, over them the Prophets. The hollow octagon ends in an casing of buttresses with an open-worked tracery helmet. The fountain was explicitly mentioned in 1517 by the Italian Antonio de Beatis, correspondent of Cardinal Luigi d´Aragona. Dr. Pablo de la Riestra

"Parlier" Heinrich is said to have been in charge of the overall design. The original sculptural parts are attributed to several masters. The fountain was repaired two times at the end of the 18th century. It was removed respectively renewed 1821-24, restored in 1835 and finally completely replaced by a valuable copy by Heinrich Wallraff 1897-1902. Original parts of the fountain have been preserved in the German National Museum as have parts of the sculptures in Bodemuseum in Berlin. Whereas the fountain architecture can be considered to be originally Gothic, the statues are but an echo of the originals. The original quality of these sculptures is evident by the fragments that have been preserved, it supersedes by far the quality of the sculptures of the previous period in Nuremberg, it is of much higher quality than the one of the figures at the West portal of St. Lorenz-Church and even of the portal of Our Lady´s Church (Frauenkirche) which was created under the Parlers. Regarding architectural history the tower-shaped fountain is a sensation, it is a micro-architecture, definitely with a secular purpose, but completely designed in sacred form-language. In the following time the fountain was adopted as far away as in the Norman Rouen. Relationships with tabernacles of the Late Gothic Period are evident. Concerning the iconographic program the design of the fountain is highly ambitious. The exclusively male figures are distributed over two tiers at the edge of the basin (allegories of Philosophy, the Seven Liberal Arts, the Four Evangelists and the Four Latin Fathers of the Church), apart from that the figures are distributed over two levels of the octagonal tower. The main level displays the Nine Good Heroes, and Seven Electors, over them the Prophets. The hollow octagon ends in an casing of buttresses with an open-worked tracery helmet. The fountain was explicitly mentioned in 1517 by the Italian Antonio de Beatis, correspondent of Cardinal Luigi d´Aragona. Dr. Pablo de la Riestra

"Parlier" Heinrich is said to have been in charge of the overall design. The original sculptural parts are attributed to several masters. The fountain was repaired two times at the end of the 18th century. It was removed respectively renewed 1821-24, restored in 1835 and finally completely replaced by a valuable copy by Heinrich Wallraff 1897-1902. Original parts of the fountain have been preserved in the German National Museum as have parts of the sculptures in Bodemuseum in Berlin. Whereas the fountain architecture can be considered to be originally Gothic, the statues are but an echo of the originals. The original quality of these sculptures is evident by the fragments that have been preserved, it supersedes by far the quality of the sculptures of the previous period in Nuremberg, it is of much higher quality than the one of the figures at the West portal of St. Lorenz-Church and even of the portal of Our Lady´s Church (Frauenkirche) which was created under the Parlers. Regarding architectural history the tower-shaped fountain is a sensation, it is a micro-architecture, definitely with a secular purpose, but completely designed in sacred form-language. In the following time the fountain was adopted as far away as in the Norman Rouen. Relationships with tabernacles of the Late Gothic Period are evident. Concerning the iconographic program the design of the fountain is highly ambitious. The exclusively male figures are distributed over two tiers at the edge of the basin (allegories of Philosophy, the Seven Liberal Arts, the Four Evangelists and the Four Latin Fathers of the Church), apart from that the figures are distributed over two levels of the octagonal tower. The main level displays the Nine Good Heroes, and Seven Electors, over them the Prophets. The hollow octagon ends in an casing of buttresses with an open-worked tracery helmet. The fountain was explicitly mentioned in 1517 by the Italian Antonio de Beatis, correspondent of Cardinal Luigi d´Aragona. Dr. Pablo de la Riestra

"Parlier" Heinrich is said to have been in charge of the overall design. The original sculptural parts are attributed to several masters. The fountain was repaired two times at the end of the 18th century. It was removed respectively renewed 1821-24, restored in 1835 and finally completely replaced by a valuable copy by Heinrich Wallraff 1897-1902. Original parts of the fountain have been preserved in the German National Museum as have parts of the sculptures in Bodemuseum in Berlin. Whereas the fountain architecture can be considered to be originally Gothic, the statues are but an echo of the originals. The original quality of these sculptures is evident by the fragments that have been preserved, it supersedes by far the quality of the sculptures of the previous period in Nuremberg, it is of much higher quality than the one of the figures at the West portal of St. Lorenz-Church and even of the portal of Our Lady´s Church (Frauenkirche) which was created under the Parlers. Regarding architectural history the tower-shaped fountain is a sensation, it is a micro-architecture, definitely with a secular purpose, but completely designed in sacred form-language. In the following time the fountain was adopted as far away as in the Norman Rouen. Relationships with tabernacles of the Late Gothic Period are evident. Concerning the iconographic program the design of the fountain is highly ambitious. The exclusively male figures are distributed over two tiers at the edge of the basin (allegories of Philosophy, the Seven Liberal Arts, the Four Evangelists and the Four Latin Fathers of the Church), apart from that the figures are distributed over two levels of the octagonal tower. The main level displays the Nine Good Heroes, and Seven Electors, over them the Prophets. The hollow octagon ends in an casing of buttresses with an open-worked tracery helmet. The fountain was explicitly mentioned in 1517 by the Italian Antonio de Beatis, correspondent of Cardinal Luigi d´Aragona. Dr. Pablo de la Riestra

"Parlier" Heinrich is said to have been in charge of the overall design. The original sculptural parts are attributed to several masters. The fountain was repaired two times at the end of the 18th century. It was removed respectively renewed 1821-24, restored in 1835 and finally completely replaced by a valuable copy by Heinrich Wallraff 1897-1902. Original parts of the fountain have been preserved in the German National Museum as have parts of the sculptures in Bodemuseum in Berlin. Whereas the fountain architecture can be considered to be originally Gothic, the statues are but an echo of the originals. The original quality of these sculptures is evident by the fragments that have been preserved, it supersedes by far the quality of the sculptures of the previous period in Nuremberg, it is of much higher quality than the one of the figures at the West portal of St. Lorenz-Church and even of the portal of Our Lady´s Church (Frauenkirche) which was created under the Parlers. Regarding architectural history the tower-shaped fountain is a sensation, it is a micro-architecture, definitely with a secular purpose, but completely designed in sacred form-language. In the following time the fountain was adopted as far away as in the Norman Rouen. Relationships with tabernacles of the Late Gothic Period are evident. Concerning the iconographic program the design of the fountain is highly ambitious. The exclusively male figures are distributed over two tiers at the edge of the basin (allegories of Philosophy, the Seven Liberal Arts, the Four Evangelists and the Four Latin Fathers of the Church), apart from that the figures are distributed over two levels of the octagonal tower. The main level displays the Nine Good Heroes, and Seven Electors, over them the Prophets. The hollow octagon ends in an casing of buttresses with an open-worked tracery helmet. The fountain was explicitly mentioned in 1517 by the Italian Antonio de Beatis, correspondent of Cardinal Luigi d´Aragona. Dr. Pablo de la Riestra

"Parlier" Heinrich is said to have been in charge of the overall design. The original sculptural parts are attributed to several masters. The fountain was repaired two times at the end of the 18th century. It was removed respectively renewed 1821-24, restored in 1835 and finally completely replaced by a valuable copy by Heinrich Wallraff 1897-1902. Original parts of the fountain have been preserved in the German National Museum as have parts of the sculptures in Bodemuseum in Berlin. Whereas the fountain architecture can be considered to be originally Gothic, the statues are but an echo of the originals. The original quality of these sculptures is evident by the fragments that have been preserved, it supersedes by far the quality of the sculptures of the previous period in Nuremberg, it is of much higher quality than the one of the figures at the West portal of St. Lorenz-Church and even of the portal of Our Lady´s Church (Frauenkirche) which was created under the Parlers. Regarding architectural history the tower-shaped fountain is a sensation, it is a micro-architecture, definitely with a secular purpose, but completely designed in sacred form-language. In the following time the fountain was adopted as far away as in the Norman Rouen. Relationships with tabernacles of the Late Gothic Period are evident. Concerning the iconographic program the design of the fountain is highly ambitious. The exclusively male figures are distributed over two tiers at the edge of the basin (allegories of Philosophy, the Seven Liberal Arts, the Four Evangelists and the Four Latin Fathers of the Church), apart from that the figures are distributed over two levels of the octagonal tower. The main level displays the Nine Good Heroes, and Seven Electors, over them the Prophets. The hollow octagon ends in an casing of buttresses with an open-worked tracery helmet. The fountain was explicitly mentioned in 1517 by the Italian Antonio de Beatis, correspondent of Cardinal Luigi d´Aragona. Dr. Pablo de la Riestra

"Parlier" Heinrich is said to have been in charge of the overall design. The original sculptural parts are attributed to several masters. The fountain was repaired two times at the end of the 18th century. It was removed respectively renewed 1821-24, restored in 1835 and finally completely replaced by a valuable copy by Heinrich Wallraff 1897-1902. Original parts of the fountain have been preserved in the German National Museum as have parts of the sculptures in Bodemuseum in Berlin. Whereas the fountain architecture can be considered to be originally Gothic, the statues are but an echo of the originals. The original quality of these sculptures is evident by the fragments that have been preserved, it supersedes by far the quality of the sculptures of the previous period in Nuremberg, it is of much higher quality than the one of the figures at the West portal of St. Lorenz-Church and even of the portal of Our Lady´s Church (Frauenkirche) which was created under the Parlers. Regarding architectural history the tower-shaped fountain is a sensation, it is a micro-architecture, definitely with a secular purpose, but completely designed in sacred form-language. In the following time the fountain was adopted as far away as in the Norman Rouen. Relationships with tabernacles of the Late Gothic Period are evident. Concerning the iconographic program the design of the fountain is highly ambitious. The exclusively male figures are distributed over two tiers at the edge of the basin (allegories of Philosophy, the Seven Liberal Arts, the Four Evangelists and the Four Latin Fathers of the Church), apart from that the figures are distributed over two levels of the octagonal tower. The main level displays the Nine Good Heroes, and Seven Electors, over them the Prophets. The hollow octagon ends in an casing of buttresses with an open-worked tracery helmet. The fountain was explicitly mentioned in 1517 by the Italian Antonio de Beatis, correspondent of Cardinal Luigi d´Aragona. Dr. Pablo de la Riestra

"Parlier" Heinrich is said to have been in charge of the overall design. The original sculptural parts are attributed to several masters. The fountain was repaired two times at the end of the 18th century. It was removed respectively renewed 1821-24, restored in 1835 and finally completely replaced by a valuable copy by Heinrich Wallraff 1897-1902. Original parts of the fountain have been preserved in the German National Museum as have parts of the sculptures in Bodemuseum in Berlin. Whereas the fountain architecture can be considered to be originally Gothic, the statues are but an echo of the originals. The original quality of these sculptures is evident by the fragments that have been preserved, it supersedes by far the quality of the sculptures of the previous period in Nuremberg, it is of much higher quality than the one of the figures at the West portal of St. Lorenz-Church and even of the portal of Our Lady´s Church (Frauenkirche) which was created under the Parlers. Regarding architectural history the tower-shaped fountain is a sensation, it is a micro-architecture, definitely with a secular purpose, but completely designed in sacred form-language. In the following time the fountain was adopted as far away as in the Norman Rouen. Relationships with tabernacles of the Late Gothic Period are evident. Concerning the iconographic program the design of the fountain is highly ambitious. The exclusively male figures are distributed over two tiers at the edge of the basin (allegories of Philosophy, the Seven Liberal Arts, the Four Evangelists and the Four Latin Fathers of the Church), apart from that the figures are distributed over two levels of the octagonal tower. The main level displays the Nine Good Heroes, and Seven Electors, over them the Prophets. The hollow octagon ends in an casing of buttresses with an open-worked tracery helmet. The fountain was explicitly mentioned in 1517 by the Italian Antonio de Beatis, correspondent of Cardinal Luigi d´Aragona. Dr. Pablo de la Riestra

"Parlier" Heinrich is said to have been in charge of the overall design. The original sculptural parts are attributed to several masters. The fountain was repaired two times at the end of the 18th century. It was removed respectively renewed 1821-24, restored in 1835 and finally completely replaced by a valuable copy by Heinrich Wallraff 1897-1902. Original parts of the fountain have been preserved in the German National Museum as have parts of the sculptures in Bodemuseum in Berlin. Whereas the fountain architecture can be considered to be originally Gothic, the statues are but an echo of the originals. The original quality of these sculptures is evident by the fragments that have been preserved, it supersedes by far the quality of the sculptures of the previous period in Nuremberg, it is of much higher quality than the one of the figures at the West portal of St. Lorenz-Church and even of the portal of Our Lady´s Church (Frauenkirche) which was created under the Parlers. Regarding architectural history the tower-shaped fountain is a sensation, it is a micro-architecture, definitely with a secular purpose, but completely designed in sacred form-language. In the following time the fountain was adopted as far away as in the Norman Rouen. Relationships with tabernacles of the Late Gothic Period are evident. Concerning the iconographic program the design of the fountain is highly ambitious. The exclusively male figures are distributed over two tiers at the edge of the basin (allegories of Philosophy, the Seven Liberal Arts, the Four Evangelists and the Four Latin Fathers of the Church), apart from that the figures are distributed over two levels of the octagonal tower. The main level displays the Nine Good Heroes, and Seven Electors, over them the Prophets. The hollow octagon ends in an casing of buttresses with an open-worked tracery helmet. The fountain was explicitly mentioned in 1517 by the Italian Antonio de Beatis, correspondent of Cardinal Luigi d´Aragona. Dr. Pablo de la Riestra

"Parlier" Heinrich is said to have been in charge of the overall design. The original sculptural parts are attributed to several masters. The fountain was repaired two times at the end of the 18th century. It was removed respectively renewed 1821-24, restored in 1835 and finally completely replaced by a valuable copy by Heinrich Wallraff 1897-1902. Original parts of the fountain have been preserved in the German National Museum as have parts of the sculptures in Bodemuseum in Berlin. Whereas the fountain architecture can be considered to be originally Gothic, the statues are but an echo of the originals. The original quality of these sculptures is evident by the fragments that have been preserved, it supersedes by far the quality of the sculptures of the previous period in Nuremberg, it is of much higher quality than the one of the figures at the West portal of St. Lorenz-Church and even of the portal of Our Lady´s Church (Frauenkirche) which was created under the Parlers. Regarding architectural history the tower-shaped fountain is a sensation, it is a micro-architecture, definitely with a secular purpose, but completely designed in sacred form-language. In the following time the fountain was adopted as far away as in the Norman Rouen. Relationships with tabernacles of the Late Gothic Period are evident. Concerning the iconographic program the design of the fountain is highly ambitious. The exclusively male figures are distributed over two tiers at the edge of the basin (allegories of Philosophy, the Seven Liberal Arts, the Four Evangelists and the Four Latin Fathers of the Church), apart from that the figures are distributed over two levels of the octagonal tower. The main level displays the Nine Good Heroes, and Seven Electors, over them the Prophets. The hollow octagon ends in an casing of buttresses with an open-worked tracery helmet. The fountain was explicitly mentioned in 1517 by the Italian Antonio de Beatis, correspondent of Cardinal Luigi d´Aragona. Dr. Pablo de la Riestra

"Parlier" Heinrich is said to have been in charge of the overall design. The original sculptural parts are attributed to several masters. The fountain was repaired two times at the end of the 18th century. It was removed respectively renewed 1821-24, restored in 1835 and finally completely replaced by a valuable copy by Heinrich Wallraff 1897-1902. Original parts of the fountain have been preserved in the German National Museum as have parts of the sculptures in Bodemuseum in Berlin. Whereas the fountain architecture can be considered to be originally Gothic, the statues are but an echo of the originals. The original quality of these sculptures is evident by the fragments that have been preserved, it supersedes by far the quality of the sculptures of the previous period in Nuremberg, it is of much higher quality than the one of the figures at the West portal of St. Lorenz-Church and even of the portal of Our Lady´s Church (Frauenkirche) which was created under the Parlers. Regarding architectural history the tower-shaped fountain is a sensation, it is a micro-architecture, definitely with a secular purpose, but completely designed in sacred form-language. In the following time the fountain was adopted as far away as in the Norman Rouen. Relationships with tabernacles of the Late Gothic Period are evident. Concerning the iconographic program the design of the fountain is highly ambitious. The exclusively male figures are distributed over two tiers at the edge of the basin (allegories of Philosophy, the Seven Liberal Arts, the Four Evangelists and the Four Latin Fathers of the Church), apart from that the figures are distributed over two levels of the octagonal tower. The main level displays the Nine Good Heroes, and Seven Electors, over them the Prophets. The hollow octagon ends in an casing of buttresses with an open-worked tracery helmet. The fountain was explicitly mentioned in 1517 by the Italian Antonio de Beatis, correspondent of Cardinal Luigi d´Aragona. Dr. Pablo de la Riestra

"Parlier" Heinrich is said to have been in charge of the overall design. The original sculptural parts are attributed to several masters. The fountain was repaired two times at the end of the 18th century. It was removed respectively renewed 1821-24, restored in 1835 and finally completely replaced by a valuable copy by Heinrich Wallraff 1897-1902. Original parts of the fountain have been preserved in the German National Museum as have parts of the sculptures in Bodemuseum in Berlin. Whereas the fountain architecture can be considered to be originally Gothic, the statues are but an echo of the originals. The original quality of these sculptures is evident by the fragments that have been preserved, it supersedes by far the quality of the sculptures of the previous period in Nuremberg, it is of much higher quality than the one of the figures at the West portal of St. Lorenz-Church and even of the portal of Our Lady´s Church (Frauenkirche) which was created under the Parlers. Regarding architectural history the tower-shaped fountain is a sensation, it is a micro-architecture, definitely with a secular purpose, but completely designed in sacred form-language. In the following time the fountain was adopted as far away as in the Norman Rouen. Relationships with tabernacles of the Late Gothic Period are evident. Concerning the iconographic program the design of the fountain is highly ambitious. The exclusively male figures are distributed over two tiers at the edge of the basin (allegories of Philosophy, the Seven Liberal Arts, the Four Evangelists and the Four Latin Fathers of the Church), apart from that the figures are distributed over two levels of the octagonal tower. The main level displays the Nine Good Heroes, and Seven Electors, over them the Prophets. The hollow octagon ends in an casing of buttresses with an open-worked tracery helmet. The fountain was explicitly mentioned in 1517 by the Italian Antonio de Beatis, correspondent of Cardinal Luigi d´Aragona. Dr. Pablo de la Riestra

"Parlier" Heinrich is said to have been in charge of the overall design. The original sculptural parts are attributed to several masters. The fountain was repaired two times at the end of the 18th century. It was removed respectively renewed 1821-24, restored in 1835 and finally completely replaced by a valuable copy by Heinrich Wallraff 1897-1902. Original parts of the fountain have been preserved in the German National Museum as have parts of the sculptures in Bodemuseum in Berlin. Whereas the fountain architecture can be considered to be originally Gothic, the statues are but an echo of the originals. The original quality of these sculptures is evident by the fragments that have been preserved, it supersedes by far the quality of the sculptures of the previous period in Nuremberg, it is of much higher quality than the one of the figures at the West portal of St. Lorenz-Church and even of the portal of Our Lady´s Church (Frauenkirche) which was created under the Parlers. Regarding architectural history the tower-shaped fountain is a sensation, it is a micro-architecture, definitely with a secular purpose, but completely designed in sacred form-language. In the following time the fountain was adopted as far away as in the Norman Rouen. Relationships with tabernacles of the Late Gothic Period are evident. Concerning the iconographic program the design of the fountain is highly ambitious. The exclusively male figures are distributed over two tiers at the edge of the basin (allegories of Philosophy, the Seven Liberal Arts, the Four Evangelists and the Four Latin Fathers of the Church), apart from that the figures are distributed over two levels of the octagonal tower. The main level displays the Nine Good Heroes, and Seven Electors, over them the Prophets. The hollow octagon ends in an casing of buttresses with an open-worked tracery helmet. The fountain was explicitly mentioned in 1517 by the Italian Antonio de Beatis, correspondent of Cardinal Luigi d´Aragona. Dr. Pablo de la Riestra

"Parlier" Heinrich is said to have been in charge of the overall design. The original sculptural parts are attributed to several masters. The fountain was repaired two times at the end of the 18th century. It was removed respectively renewed 1821-24, restored in 1835 and finally completely replaced by a valuable copy by Heinrich Wallraff 1897-1902. Original parts of the fountain have been preserved in the German National Museum as have parts of the sculptures in Bodemuseum in Berlin. Whereas the fountain architecture can be considered to be originally Gothic, the statues are but an echo of the originals. The original quality of these sculptures is evident by the fragments that have been preserved, it supersedes by far the quality of the sculptures of the previous period in Nuremberg, it is of much higher quality than the one of the figures at the West portal of St. Lorenz-Church and even of the portal of Our Lady´s Church (Frauenkirche) which was created under the Parlers. Regarding architectural history the tower-shaped fountain is a sensation, it is a micro-architecture, definitely with a secular purpose, but completely designed in sacred form-language. In the following time the fountain was adopted as far away as in the Norman Rouen. Relationships with tabernacles of the Late Gothic Period are evident. Concerning the iconographic program the design of the fountain is highly ambitious. The exclusively male figures are distributed over two tiers at the edge of the basin (allegories of Philosophy, the Seven Liberal Arts, the Four Evangelists and the Four Latin Fathers of the Church), apart from that the figures are distributed over two levels of the octagonal tower. The main level displays the Nine Good Heroes, and Seven Electors, over them the Prophets. The hollow octagon ends in an casing of buttresses with an open-worked tracery helmet. The fountain was explicitly mentioned in 1517 by the Italian Antonio de Beatis, correspondent of Cardinal Luigi d´Aragona. Dr. Pablo de la Riestra

"Parlier" Heinrich is said to have been in charge of the overall design. The original sculptural parts are attributed to several masters. The fountain was repaired two times at the end of the 18th century. It was removed respectively renewed 1821-24, restored in 1835 and finally completely replaced by a valuable copy by Heinrich Wallraff 1897-1902. Original parts of the fountain have been preserved in the German National Museum as have parts of the sculptures in Bodemuseum in Berlin. Whereas the fountain architecture can be considered to be originally Gothic, the statues are but an echo of the originals. The original quality of these sculptures is evident by the fragments that have been preserved, it supersedes by far the quality of the sculptures of the previous period in Nuremberg, it is of much higher quality than the one of the figures at the West portal of St. Lorenz-Church and even of the portal of Our Lady´s Church (Frauenkirche) which was created under the Parlers. Regarding architectural history the tower-shaped fountain is a sensation, it is a micro-architecture, definitely with a secular purpose, but completely designed in sacred form-language. In the following time the fountain was adopted as far away as in the Norman Rouen. Relationships with tabernacles of the Late Gothic Period are evident. Concerning the iconographic program the design of the fountain is highly ambitious. The exclusively male figures are distributed over two tiers at the edge of the basin (allegories of Philosophy, the Seven Liberal Arts, the Four Evangelists and the Four Latin Fathers of the Church), apart from that the figures are distributed over two levels of the octagonal tower. The main level displays the Nine Good Heroes, and Seven Electors, over them the Prophets. The hollow octagon ends in an casing of buttresses with an open-worked tracery helmet. The fountain was explicitly mentioned in 1517 by the Italian Antonio de Beatis, correspondent of Cardinal Luigi d´Aragona. Dr. Pablo de la Riestra

"Parlier" Heinrich is said to have been in charge of the overall design. The original sculptural parts are attributed to several masters. The fountain was repaired two times at the end of the 18th century. It was removed respectively renewed 1821-24, restored in 1835 and finally completely replaced by a valuable copy by Heinrich Wallraff 1897-1902. Original parts of the fountain have been preserved in the German National Museum as have parts of the sculptures in Bodemuseum in Berlin. Whereas the fountain architecture can be considered to be originally Gothic, the statues are but an echo of the originals. The original quality of these sculptures is evident by the fragments that have been preserved, it supersedes by far the quality of the sculptures of the previous period in Nuremberg, it is of much higher quality than the one of the figures at the West portal of St. Lorenz-Church and even of the portal of Our Lady´s Church (Frauenkirche) which was created under the Parlers. Regarding architectural history the tower-shaped fountain is a sensation, it is a micro-architecture, definitely with a secular purpose, but completely designed in sacred form-language. In the following time the fountain was adopted as far away as in the Norman Rouen. Relationships with tabernacles of the Late Gothic Period are evident. Concerning the iconographic program the design of the fountain is highly ambitious. The exclusively male figures are distributed over two tiers at the edge of the basin (allegories of Philosophy, the Seven Liberal Arts, the Four Evangelists and the Four Latin Fathers of the Church), apart from that the figures are distributed over two levels of the octagonal tower. The main level displays the Nine Good Heroes, and Seven Electors, over them the Prophets. The hollow octagon ends in an casing of buttresses with an open-worked tracery helmet. The fountain was explicitly mentioned in 1517 by the Italian Antonio de Beatis, correspondent of Cardinal Luigi d´Aragona. Dr. Pablo de la Riestra

"Parlier" Heinrich is said to have been in charge of the overall design. The original sculptural parts are attributed to several masters. The fountain was repaired two times at the end of the 18th century. It was removed respectively renewed 1821-24, restored in 1835 and finally completely replaced by a valuable copy by Heinrich Wallraff 1897-1902. Original parts of the fountain have been preserved in the German National Museum as have parts of the sculptures in Bodemuseum in Berlin. Whereas the fountain architecture can be considered to be originally Gothic, the statues are but an echo of the originals. The original quality of these sculptures is evident by the fragments that have been preserved, it supersedes by far the quality of the sculptures of the previous period in Nuremberg, it is of much higher quality than the one of the figures at the West portal of St. Lorenz-Church and even of the portal of Our Lady´s Church (Frauenkirche) which was created under the Parlers. Regarding architectural history the tower-shaped fountain is a sensation, it is a micro-architecture, definitely with a secular purpose, but completely designed in sacred form-language. In the following time the fountain was adopted as far away as in the Norman Rouen. Relationships with tabernacles of the Late Gothic Period are evident. Concerning the iconographic program the design of the fountain is highly ambitious. The exclusively male figures are distributed over two tiers at the edge of the basin (allegories of Philosophy, the Seven Liberal Arts, the Four Evangelists and the Four Latin Fathers of the Church), apart from that the figures are distributed over two levels of the octagonal tower. The main level displays the Nine Good Heroes, and Seven Electors, over them the Prophets. The hollow octagon ends in an casing of buttresses with an open-worked tracery helmet. The fountain was explicitly mentioned in 1517 by the Italian Antonio de Beatis, correspondent of Cardinal Luigi d´Aragona. Dr. Pablo de la Riestra

"Parlier" Heinrich is said to have been in charge of the overall design. The original sculptural parts are attributed to several masters. The fountain was repaired two times at the end of the 18th century. It was removed respectively renewed 1821-24, restored in 1835 and finally completely replaced by a valuable copy by Heinrich Wallraff 1897-1902. Original parts of the fountain have been preserved in the German National Museum as have parts of the sculptures in Bodemuseum in Berlin. Whereas the fountain architecture can be considered to be originally Gothic, the statues are but an echo of the originals. The original quality of these sculptures is evident by the fragments that have been preserved, it supersedes by far the quality of the sculptures of the previous period in Nuremberg, it is of much higher quality than the one of the figures at the West portal of St. Lorenz-Church and even of the portal of Our Lady´s Church (Frauenkirche) which was created under the Parlers. Regarding architectural history the tower-shaped fountain is a sensation, it is a micro-architecture, definitely with a secular purpose, but completely designed in sacred form-language. In the following time the fountain was adopted as far away as in the Norman Rouen. Relationships with tabernacles of the Late Gothic Period are evident. Concerning the iconographic program the design of the fountain is highly ambitious. The exclusively male figures are distributed over two tiers at the edge of the basin (allegories of Philosophy, the Seven Liberal Arts, the Four Evangelists and the Four Latin Fathers of the Church), apart from that the figures are distributed over two levels of the octagonal tower. The main level displays the Nine Good Heroes, and Seven Electors, over them the Prophets. The hollow octagon ends in an casing of buttresses with an open-worked tracery helmet. The fountain was explicitly mentioned in 1517 by the Italian Antonio de Beatis, correspondent of Cardinal Luigi d´Aragona. Dr. Pablo de la Riestra

"Parlier" Heinrich is said to have been in charge of the overall design. The original sculptural parts are attributed to several masters. The fountain was repaired two times at the end of the 18th century. It was removed respectively renewed 1821-24, restored in 1835 and finally completely replaced by a valuable copy by Heinrich Wallraff 1897-1902. Original parts of the fountain have been preserved in the German National Museum as have parts of the sculptures in Bodemuseum in Berlin. Whereas the fountain architecture can be considered to be originally Gothic, the statues are but an echo of the originals. The original quality of these sculptures is evident by the fragments that have been preserved, it supersedes by far the quality of the sculptures of the previous period in Nuremberg, it is of much higher quality than the one of the figures at the West portal of St. Lorenz-Church and even of the portal of Our Lady´s Church (Frauenkirche) which was created under the Parlers. Regarding architectural history the tower-shaped fountain is a sensation, it is a micro-architecture, definitely with a secular purpose, but completely designed in sacred form-language. In the following time the fountain was adopted as far away as in the Norman Rouen. Relationships with tabernacles of the Late Gothic Period are evident. Concerning the iconographic program the design of the fountain is highly ambitious. The exclusively male figures are distributed over two tiers at the edge of the basin (allegories of Philosophy, the Seven Liberal Arts, the Four Evangelists and the Four Latin Fathers of the Church), apart from that the figures are distributed over two levels of the octagonal tower. The main level displays the Nine Good Heroes, and Seven Electors, over them the Prophets. The hollow octagon ends in an casing of buttresses with an open-worked tracery helmet. The fountain was explicitly mentioned in 1517 by the Italian Antonio de Beatis, correspondent of Cardinal Luigi d´Aragona. Dr. Pablo de la Riestra

"Parlier" Heinrich is said to have been in charge of the overall design. The original sculptural parts are attributed to several masters. The fountain was repaired two times at the end of the 18th century. It was removed respectively renewed 1821-24, restored in 1835 and finally completely replaced by a valuable copy by Heinrich Wallraff 1897-1902. Original parts of the fountain have been preserved in the German National Museum as have parts of the sculptures in Bodemuseum in Berlin. Whereas the fountain architecture can be considered to be originally Gothic, the statues are but an echo of the originals. The original quality of these sculptures is evident by the fragments that have been preserved, it supersedes by far the quality of the sculptures of the previous period in Nuremberg, it is of much higher quality than the one of the figures at the West portal of St. Lorenz-Church and even of the portal of Our Lady´s Church (Frauenkirche) which was created under the Parlers. Regarding architectural history the tower-shaped fountain is a sensation, it is a micro-architecture, definitely with a secular purpose, but completely designed in sacred form-language. In the following time the fountain was adopted as far away as in the Norman Rouen. Relationships with tabernacles of the Late Gothic Period are evident. Concerning the iconographic program the design of the fountain is highly ambitious. The exclusively male figures are distributed over two tiers at the edge of the basin (allegories of Philosophy, the Seven Liberal Arts, the Four Evangelists and the Four Latin Fathers of the Church), apart from that the figures are distributed over two levels of the octagonal tower. The main level displays the Nine Good Heroes, and Seven Electors, over them the Prophets. The hollow octagon ends in an casing of buttresses with an open-worked tracery helmet. The fountain was explicitly mentioned in 1517 by the Italian Antonio de Beatis, correspondent of Cardinal Luigi d´Aragona. Dr. Pablo de la Riestra

"Parlier" Heinrich is said to have been in charge of the overall design. The original sculptural parts are attributed to several masters. The fountain was repaired two times at the end of the 18th century. It was removed respectively renewed 1821-24, restored in 1835 and finally completely replaced by a valuable copy by Heinrich Wallraff 1897-1902. Original parts of the fountain have been preserved in the German National Museum as have parts of the sculptures in Bodemuseum in Berlin. Whereas the fountain architecture can be considered to be originally Gothic, the statues are but an echo of the originals. The original quality of these sculptures is evident by the fragments that have been preserved, it supersedes by far the quality of the sculptures of the previous period in Nuremberg, it is of much higher quality than the one of the figures at the West portal of St. Lorenz-Church and even of the portal of Our Lady´s Church (Frauenkirche) which was created under the Parlers. Regarding architectural history the tower-shaped fountain is a sensation, it is a micro-architecture, definitely with a secular purpose, but completely designed in sacred form-language. In the following time the fountain was adopted as far away as in the Norman Rouen. Relationships with tabernacles of the Late Gothic Period are evident. Concerning the iconographic program the design of the fountain is highly ambitious. The exclusively male figures are distributed over two tiers at the edge of the basin (allegories of Philosophy, the Seven Liberal Arts, the Four Evangelists and the Four Latin Fathers of the Church), apart from that the figures are distributed over two levels of the octagonal tower. The main level displays the Nine Good Heroes, and Seven Electors, over them the Prophets. The hollow octagon ends in an casing of buttresses with an open-worked tracery helmet. The fountain was explicitly mentioned in 1517 by the Italian Antonio de Beatis, correspondent of Cardinal Luigi d´Aragona. Dr. Pablo de la Riestra

"Parlier" Heinrich is said to have been in charge of the overall design. The original sculptural parts are attributed to several masters. The fountain was repaired two times at the end of the 18th century. It was removed respectively renewed 1821-24, restored in 1835 and finally completely replaced by a valuable copy by Heinrich Wallraff 1897-1902. Original parts of the fountain have been preserved in the German National Museum as have parts of the sculptures in Bodemuseum in Berlin. Whereas the fountain architecture can be considered to be originally Gothic, the statues are but an echo of the originals. The original quality of these sculptures is evident by the fragments that have been preserved, it supersedes by far the quality of the sculptures of the previous period in Nuremberg, it is of much higher quality than the one of the figures at the West portal of St. Lorenz-Church and even of the portal of Our Lady´s Church (Frauenkirche) which was created under the Parlers. Regarding architectural history the tower-shaped fountain is a sensation, it is a micro-architecture, definitely with a secular purpose, but completely designed in sacred form-language. In the following time the fountain was adopted as far away as in the Norman Rouen. Relationships with tabernacles of the Late Gothic Period are evident. Concerning the iconographic program the design of the fountain is highly ambitious. The exclusively male figures are distributed over two tiers at the edge of the basin (allegories of Philosophy, the Seven Liberal Arts, the Four Evangelists and the Four Latin Fathers of the Church), apart from that the figures are distributed over two levels of the octagonal tower. The main level displays the Nine Good Heroes, and Seven Electors, over them the Prophets. The hollow octagon ends in an casing of buttresses with an open-worked tracery helmet. The fountain was explicitly mentioned in 1517 by the Italian Antonio de Beatis, correspondent of Cardinal Luigi d´Aragona. Dr. Pablo de la Riestra

"Parlier" Heinrich is said to have been in charge of the overall design. The original sculptural parts are attributed to several masters. The fountain was repaired two times at the end of the 18th century. It was removed respectively renewed 1821-24, restored in 1835 and finally completely replaced by a valuable copy by Heinrich Wallraff 1897-1902. Original parts of the fountain have been preserved in the German National Museum as have parts of the sculptures in Bodemuseum in Berlin. Whereas the fountain architecture can be considered to be originally Gothic, the statues are but an echo of the originals. The original quality of these sculptures is evident by the fragments that have been preserved, it supersedes by far the quality of the sculptures of the previous period in Nuremberg, it is of much higher quality than the one of the figures at the West portal of St. Lorenz-Church and even of the portal of Our Lady´s Church (Frauenkirche) which was created under the Parlers. Regarding architectural history the tower-shaped fountain is a sensation, it is a micro-architecture, definitely with a secular purpose, but completely designed in sacred form-language. In the following time the fountain was adopted as far away as in the Norman Rouen. Relationships with tabernacles of the Late Gothic Period are evident. Concerning the iconographic program the design of the fountain is highly ambitious. The exclusively male figures are distributed over two tiers at the edge of the basin (allegories of Philosophy, the Seven Liberal Arts, the Four Evangelists and the Four Latin Fathers of the Church), apart from that the figures are distributed over two levels of the octagonal tower. The main level displays the Nine Good Heroes, and Seven Electors, over them the Prophets. The hollow octagon ends in an casing of buttresses with an open-worked tracery helmet. The fountain was explicitly mentioned in 1517 by the Italian Antonio de Beatis, correspondent of Cardinal Luigi d´Aragona. Dr. Pablo de la Riestra

"Parlier" Heinrich is said to have been in charge of the overall design. The original sculptural parts are attributed to several masters. The fountain was repaired two times at the end of the 18th century. It was removed respectively renewed 1821-24, restored in 1835 and finally completely replaced by a valuable copy by Heinrich Wallraff 1897-1902. Original parts of the fountain have been preserved in the German National Museum as have parts of the sculptures in Bodemuseum in Berlin. Whereas the fountain architecture can be considered to be originally Gothic, the statues are but an echo of the originals. The original quality of these sculptures is evident by the fragments that have been preserved, it supersedes by far the quality of the sculptures of the previous period in Nuremberg, it is of much higher quality than the one of the figures at the West portal of St. Lorenz-Church and even of the portal of Our Lady´s Church (Frauenkirche) which was created under the Parlers. Regarding architectural history the tower-shaped fountain is a sensation, it is a micro-architecture, definitely with a secular purpose, but completely designed in sacred form-language. In the following time the fountain was adopted as far away as in the Norman Rouen. Relationships with tabernacles of the Late Gothic Period are evident. Concerning the iconographic program the design of the fountain is highly ambitious. The exclusively male figures are distributed over two tiers at the edge of the basin (allegories of Philosophy, the Seven Liberal Arts, the Four Evangelists and the Four Latin Fathers of the Church), apart from that the figures are distributed over two levels of the octagonal tower. The main level displays the Nine Good Heroes, and Seven Electors, over them the Prophets. The hollow octagon ends in an casing of buttresses with an open-worked tracery helmet. The fountain was explicitly mentioned in 1517 by the Italian Antonio de Beatis, correspondent of Cardinal Luigi d´Aragona. Dr. Pablo de la Riestra

"Parlier" Heinrich is said to have been in charge of the overall design. The original sculptural parts are attributed to several masters. The fountain was repaired two times at the end of the 18th century. It was removed respectively renewed 1821-24, restored in 1835 and finally completely replaced by a valuable copy by Heinrich Wallraff 1897-1902. Original parts of the fountain have been preserved in the German National Museum as have parts of the sculptures in Bodemuseum in Berlin. Whereas the fountain architecture can be considered to be originally Gothic, the statues are but an echo of the originals. The original quality of these sculptures is evident by the fragments that have been preserved, it supersedes by far the quality of the sculptures of the previous period in Nuremberg, it is of much higher quality than the one of the figures at the West portal of St. Lorenz-Church and even of the portal of Our Lady´s Church (Frauenkirche) which was created under the Parlers. Regarding architectural history the tower-shaped fountain is a sensation, it is a micro-architecture, definitely with a secular purpose, but completely designed in sacred form-language. In the following time the fountain was adopted as far away as in the Norman Rouen. Relationships with tabernacles of the Late Gothic Period are evident. Concerning the iconographic program the design of the fountain is highly ambitious. The exclusively male figures are distributed over two tiers at the edge of the basin (allegories of Philosophy, the Seven Liberal Arts, the Four Evangelists and the Four Latin Fathers of the Church), apart from that the figures are distributed over two levels of the octagonal tower. The main level displays the Nine Good Heroes, and Seven Electors, over them the Prophets. The hollow octagon ends in an casing of buttresses with an open-worked tracery helmet. The fountain was explicitly mentioned in 1517 by the Italian Antonio de Beatis, correspondent of Cardinal Luigi d´Aragona. Dr. Pablo de la Riestra

"Parlier" Heinrich is said to have been in charge of the overall design. The original sculptural parts are attributed to several masters. The fountain was repaired two times at the end of the 18th century. It was removed respectively renewed 1821-24, restored in 1835 and finally completely replaced by a valuable copy by Heinrich Wallraff 1897-1902. Original parts of the fountain have been preserved in the German National Museum as have parts of the sculptures in Bodemuseum in Berlin. Whereas the fountain architecture can be considered to be originally Gothic, the statues are but an echo of the originals. The original quality of these sculptures is evident by the fragments that have been preserved, it supersedes by far the quality of the sculptures of the previous period in Nuremberg, it is of much higher quality than the one of the figures at the West portal of St. Lorenz-Church and even of the portal of Our Lady´s Church (Frauenkirche) which was created under the Parlers. Regarding architectural history the tower-shaped fountain is a sensation, it is a micro-architecture, definitely with a secular purpose, but completely designed in sacred form-language. In the following time the fountain was adopted as far away as in the Norman Rouen. Relationships with tabernacles of the Late Gothic Period are evident. Concerning the iconographic program the design of the fountain is highly ambitious. The exclusively male figures are distributed over two tiers at the edge of the basin (allegories of Philosophy, the Seven Liberal Arts, the Four Evangelists and the Four Latin Fathers of the Church), apart from that the figures are distributed over two levels of the octagonal tower. The main level displays the Nine Good Heroes, and Seven Electors, over them the Prophets. The hollow octagon ends in an casing of buttresses with an open-worked tracery helmet. The fountain was explicitly mentioned in 1517 by the Italian Antonio de Beatis, correspondent of Cardinal Luigi d´Aragona. Dr. Pablo de la Riestra

"Parlier" Heinrich is said to have been in charge of the overall design. The original sculptural parts are attributed to several masters. The fountain was repaired two times at the end of the 18th century. It was removed respectively renewed 1821-24, restored in 1835 and finally completely replaced by a valuable copy by Heinrich Wallraff 1897-1902. Original parts of the fountain have been preserved in the German National Museum as have parts of the sculptures in Bodemuseum in Berlin. Whereas the fountain architecture can be considered to be originally Gothic, the statues are but an echo of the originals. The original quality of these sculptures is evident by the fragments that have been preserved, it supersedes by far the quality of the sculptures of the previous period in Nuremberg, it is of much higher quality than the one of the figures at the West portal of St. Lorenz-Church and even of the portal of Our Lady´s Church (Frauenkirche) which was created under the Parlers. Regarding architectural history the tower-shaped fountain is a sensation, it is a micro-architecture, definitely with a secular purpose, but completely designed in sacred form-language. In the following time the fountain was adopted as far away as in the Norman Rouen. Relationships with tabernacles of the Late Gothic Period are evident. Concerning the iconographic program the design of the fountain is highly ambitious. The exclusively male figures are distributed over two tiers at the edge of the basin (allegories of Philosophy, the Seven Liberal Arts, the Four Evangelists and the Four Latin Fathers of the Church), apart from that the figures are distributed over two levels of the octagonal tower. The main level displays the Nine Good Heroes, and Seven Electors, over them the Prophets. The hollow octagon ends in an casing of buttresses with an open-worked tracery helmet. The fountain was explicitly mentioned in 1517 by the Italian Antonio de Beatis, correspondent of Cardinal Luigi d´Aragona. Dr. Pablo de la Riestra

"Parlier" Heinrich is said to have been in charge of the overall design. The original sculptural parts are attributed to several masters. The fountain was repaired two times at the end of the 18th century. It was removed respectively renewed 1821-24, restored in 1835 and finally completely replaced by a valuable copy by Heinrich Wallraff 1897-1902. Original parts of the fountain have been preserved in the German National Museum as have parts of the sculptures in Bodemuseum in Berlin. Whereas the fountain architecture can be considered to be originally Gothic, the statues are but an echo of the originals. The original quality of these sculptures is evident by the fragments that have been preserved, it supersedes by far the quality of the sculptures of the previous period in Nuremberg, it is of much higher quality than the one of the figures at the West portal of St. Lorenz-Church and even of the portal of Our Lady´s Church (Frauenkirche) which was created under the Parlers. Regarding architectural history the tower-shaped fountain is a sensation, it is a micro-architecture, definitely with a secular purpose, but completely designed in sacred form-language. In the following time the fountain was adopted as far away as in the Norman Rouen. Relationships with tabernacles of the Late Gothic Period are evident. Concerning the iconographic program the design of the fountain is highly ambitious. The exclusively male figures are distributed over two tiers at the edge of the basin (allegories of Philosophy, the Seven Liberal Arts, the Four Evangelists and the Four Latin Fathers of the Church), apart from that the figures are distributed over two levels of the octagonal tower. The main level displays the Nine Good Heroes, and Seven Electors, over them the Prophets. The hollow octagon ends in an casing of buttresses with an open-worked tracery helmet. The fountain was explicitly mentioned in 1517 by the Italian Antonio de Beatis, correspondent of Cardinal Luigi d´Aragona. Dr. Pablo de la Riestra

"Parlier" Heinrich is said to have been in charge of the overall design. The original sculptural parts are attributed to several masters. The fountain was repaired two times at the end of the 18th century. It was removed respectively renewed 1821-24, restored in 1835 and finally completely replaced by a valuable copy by Heinrich Wallraff 1897-1902. Original parts of the fountain have been preserved in the German National Museum as have parts of the sculptures in Bodemuseum in Berlin. Whereas the fountain architecture can be considered to be originally Gothic, the statues are but an echo of the originals. The original quality of these sculptures is evident by the fragments that have been preserved, it supersedes by far the quality of the sculptures of the previous period in Nuremberg, it is of much higher quality than the one of the figures at the West portal of St. Lorenz-Church and even of the portal of Our Lady´s Church (Frauenkirche) which was created under the Parlers. Regarding architectural history the tower-shaped fountain is a sensation, it is a micro-architecture, definitely with a secular purpose, but completely designed in sacred form-language. In the following time the fountain was adopted as far away as in the Norman Rouen. Relationships with tabernacles of the Late Gothic Period are evident. Concerning the iconographic program the design of the fountain is highly ambitious. The exclusively male figures are distributed over two tiers at the edge of the basin (allegories of Philosophy, the Seven Liberal Arts, the Four Evangelists and the Four Latin Fathers of the Church), apart from that the figures are distributed over two levels of the octagonal tower. The main level displays the Nine Good Heroes, and Seven Electors, over them the Prophets. The hollow octagon ends in an casing of buttresses with an open-worked tracery helmet. The fountain was explicitly mentioned in 1517 by the Italian Antonio de Beatis, correspondent of Cardinal Luigi d´Aragona. Dr. Pablo de la Riestra

"Parlier" Heinrich is said to have been in charge of the overall design. The original sculptural parts are attributed to several masters. The fountain was repaired two times at the end of the 18th century. It was removed respectively renewed 1821-24, restored in 1835 and finally completely replaced by a valuable copy by Heinrich Wallraff 1897-1902. Original parts of the fountain have been preserved in the German National Museum as have parts of the sculptures in Bodemuseum in Berlin. Whereas the fountain architecture can be considered to be originally Gothic, the statues are but an echo of the originals. The original quality of these sculptures is evident by the fragments that have been preserved, it supersedes by far the quality of the sculptures of the previous period in Nuremberg, it is of much higher quality than the one of the figures at the West portal of St. Lorenz-Church and even of the portal of Our Lady´s Church (Frauenkirche) which was created under the Parlers. Regarding architectural history the tower-shaped fountain is a sensation, it is a micro-architecture, definitely with a secular purpose, but completely designed in sacred form-language. In the following time the fountain was adopted as far away as in the Norman Rouen. Relationships with tabernacles of the Late Gothic Period are evident. Concerning the iconographic program the design of the fountain is highly ambitious. The exclusively male figures are distributed over two tiers at the edge of the basin (allegories of Philosophy, the Seven Liberal Arts, the Four Evangelists and the Four Latin Fathers of the Church), apart from that the figures are distributed over two levels of the octagonal tower. The main level displays the Nine Good Heroes, and Seven Electors, over them the Prophets. The hollow octagon ends in an casing of buttresses with an open-worked tracery helmet. The fountain was explicitly mentioned in 1517 by the Italian Antonio de Beatis, correspondent of Cardinal Luigi d´Aragona. Dr. Pablo de la Riestra