Attributed to Michael Wolgemut
____________________________

Christ appears with the instruments of passion on an altar mensa in an half-open church interior in front of a group of men. Pope Gregorius is kneeling at the left edge, stretching out his hands towards the eucharistic miracle. The view of the place behind the arcades of the Post-Romanesque era is especially interesting for the architectural history of Nuremberg: One looks at a noble home at Egidienberg, which later belonged to the Imhoff family. The building of the Late Gothic era consisted of two houses. After the right house had collapsed in 1451the complex was erected anew with a uniform front for Sebald Groland in 1465 in the style of the Late Gothic era which was ultramodern at the time. Its condition in the 17th century is documented by an engraving of Heideloff in the 19th century when it had been already changed. It was again altered in the 1930s. The architecture of the old Groland building was taken up in the 1530s, i.e. 70 years after it had been built, in the Little Tucher Palace, so that the architecture of the latter was neither real Renaissance nor modern for the time.

Dr. Pablo de la Riestra und Karl Kohn

Attributed to Michael Wolgemut
____________________________

Christ appears with the instruments of passion on an altar mensa in an half-open church interior in front of a group of men. Pope Gregorius is kneeling at the left edge, stretching out his hands towards the eucharistic miracle. The view of the place behind the arcades of the Post-Romanesque era is especially interesting for the architectural history of Nuremberg: One looks at a noble home at Egidienberg, which later belonged to the Imhoff family. The building of the Late Gothic era consisted of two houses. After the right house had collapsed in 1451the complex was erected anew with a uniform front for Sebald Groland in 1465 in the style of the Late Gothic era which was ultramodern at the time. Its condition in the 17th century is documented by an engraving of Heideloff in the 19th century when it had been already changed. It was again altered in the 1930s. The architecture of the old Groland building was taken up in the 1530s, i.e. 70 years after it had been built, in the Little Tucher Palace, so that the architecture of the latter was neither real Renaissance nor modern for the time.

Dr. Pablo de la Riestra und Karl Kohn

Attributed to Michael Wolgemut
____________________________

Christ appears with the instruments of passion on an altar mensa in an half-open church interior in front of a group of men. Pope Gregorius is kneeling at the left edge, stretching out his hands towards the eucharistic miracle. The view of the place behind the arcades of the Post-Romanesque era is especially interesting for the architectural history of Nuremberg: One looks at a noble home at Egidienberg, which later belonged to the Imhoff family. The building of the Late Gothic era consisted of two houses. After the right house had collapsed in 1451the complex was erected anew with a uniform front for Sebald Groland in 1465 in the style of the Late Gothic era which was ultramodern at the time. Its condition in the 17th century is documented by an engraving of Heideloff in the 19th century when it had been already changed. It was again altered in the 1930s. The architecture of the old Groland building was taken up in the 1530s, i.e. 70 years after it had been built, in the Little Tucher Palace, so that the architecture of the latter was neither real Renaissance nor modern for the time.

Dr. Pablo de la Riestra und Karl Kohn

Attributed to Michael Wolgemut
____________________________

Christ appears with the instruments of passion on an altar mensa in an half-open church interior in front of a group of men. Pope Gregorius is kneeling at the left edge, stretching out his hands towards the eucharistic miracle. The view of the place behind the arcades of the Post-Romanesque era is especially interesting for the architectural history of Nuremberg: One looks at a noble home at Egidienberg, which later belonged to the Imhoff family. The building of the Late Gothic era consisted of two houses. After the right house had collapsed in 1451the complex was erected anew with a uniform front for Sebald Groland in 1465 in the style of the Late Gothic era which was ultramodern at the time. Its condition in the 17th century is documented by an engraving of Heideloff in the 19th century when it had been already changed. It was again altered in the 1930s. The architecture of the old Groland building was taken up in the 1530s, i.e. 70 years after it had been built, in the Little Tucher Palace, so that the architecture of the latter was neither real Renaissance nor modern for the time.

Dr. Pablo de la Riestra und Karl Kohn

Attributed to Michael Wolgemut
____________________________

Christ appears with the instruments of passion on an altar mensa in an half-open church interior in front of a group of men. Pope Gregorius is kneeling at the left edge, stretching out his hands towards the eucharistic miracle. The view of the place behind the arcades of the Post-Romanesque era is especially interesting for the architectural history of Nuremberg: One looks at a noble home at Egidienberg, which later belonged to the Imhoff family. The building of the Late Gothic era consisted of two houses. After the right house had collapsed in 1451the complex was erected anew with a uniform front for Sebald Groland in 1465 in the style of the Late Gothic era which was ultramodern at the time. Its condition in the 17th century is documented by an engraving of Heideloff in the 19th century when it had been already changed. It was again altered in the 1930s. The architecture of the old Groland building was taken up in the 1530s, i.e. 70 years after it had been built, in the Little Tucher Palace, so that the architecture of the latter was neither real Renaissance nor modern for the time.

Dr. Pablo de la Riestra und Karl Kohn

Attributed to Michael Wolgemut
____________________________

Christ appears with the instruments of passion on an altar mensa in an half-open church interior in front of a group of men. Pope Gregorius is kneeling at the left edge, stretching out his hands towards the eucharistic miracle. The view of the place behind the arcades of the Post-Romanesque era is especially interesting for the architectural history of Nuremberg: One looks at a noble home at Egidienberg, which later belonged to the Imhoff family. The building of the Late Gothic era consisted of two houses. After the right house had collapsed in 1451the complex was erected anew with a uniform front for Sebald Groland in 1465 in the style of the Late Gothic era which was ultramodern at the time. Its condition in the 17th century is documented by an engraving of Heideloff in the 19th century when it had been already changed. It was again altered in the 1930s. The architecture of the old Groland building was taken up in the 1530s, i.e. 70 years after it had been built, in the Little Tucher Palace, so that the architecture of the latter was neither real Renaissance nor modern for the time.

Dr. Pablo de la Riestra und Karl Kohn