The Virgin Mary (circa 1440) on a crescent-shaped base, supported by two putti (circa 1520) and crowned by two contemporaneous cherubs – all this originates from the former high altar, created around 1525 (a donation from Jakob Welser). The current arrangement dates from the post-war period.

The high altar was dismantled in 1815/16.

_____________________________

That this image of Mary, created around 1440, was likely of great importance to Nuremberg is suggested not only by its reuse as the central figure in the altarpiece donated by Jacob Welser around 1520/25 for the high altar of the Frauenkirche. Its artistic reception, reflected in numerous sculptures such as the Baldachin Madonna from Weißenburg in the Bavarian National Museum (c. 1465) or Adam Kraft's Madonna of Mercy from the Peringsdörffer Epitaph in the Frauenkirche (c. 1498), suggests that this statue was highly venerated as an important devotional image.

(...)

Stefan Roller Nuremberg Sculpture of the Late Gothic Period

Deutscher Kunstverlag, 1999, p. 170

______________

See also:

- Illustration of the Welser Altarpiece Johann Andreas Graff Interior of the Frauenkirche (1696)

- Madonna of Mercy by Adam Kraft Peringsdörffer Epitaph (1498)

The Virgin Mary (circa 1440) on a crescent-shaped base, supported by two putti (circa 1520) and crowned by two contemporaneous cherubs – all this originates from the former high altar, created around 1525 (a donation from Jakob Welser). The current arrangement dates from the post-war period.

The high altar was dismantled in 1815/16.

_____________________________

That this image of Mary, created around 1440, was likely of great importance to Nuremberg is suggested not only by its reuse as the central figure in the altarpiece donated by Jacob Welser around 1520/25 for the high altar of the Frauenkirche. Its artistic reception, reflected in numerous sculptures such as the Baldachin Madonna from Weißenburg in the Bavarian National Museum (c. 1465) or Adam Kraft's Madonna of Mercy from the Peringsdörffer Epitaph in the Frauenkirche (c. 1498), suggests that this statue was highly venerated as an important devotional image.

(...)

Stefan Roller Nuremberg Sculpture of the Late Gothic Period

Deutscher Kunstverlag, 1999, p. 170

______________

See also:

- Illustration of the Welser Altarpiece Johann Andreas Graff Interior of the Frauenkirche (1696)

- Madonna of Mercy by Adam Kraft Peringsdörffer Epitaph (1498)

The Virgin Mary (circa 1440) on a crescent-shaped base, supported by two putti (circa 1520) and crowned by two contemporaneous cherubs – all this originates from the former high altar, created around 1525 (a donation from Jakob Welser). The current arrangement dates from the post-war period.

The high altar was dismantled in 1815/16.

_____________________________

That this image of Mary, created around 1440, was likely of great importance to Nuremberg is suggested not only by its reuse as the central figure in the altarpiece donated by Jacob Welser around 1520/25 for the high altar of the Frauenkirche. Its artistic reception, reflected in numerous sculptures such as the Baldachin Madonna from Weißenburg in the Bavarian National Museum (c. 1465) or Adam Kraft's Madonna of Mercy from the Peringsdörffer Epitaph in the Frauenkirche (c. 1498), suggests that this statue was highly venerated as an important devotional image.

(...)

Stefan Roller Nuremberg Sculpture of the Late Gothic Period

Deutscher Kunstverlag, 1999, p. 170

______________

See also:

- Illustration of the Welser Altarpiece Johann Andreas Graff Interior of the Frauenkirche (1696)

- Madonna of Mercy by Adam Kraft Peringsdörffer Epitaph (1498)

The Virgin Mary (circa 1440) on a crescent-shaped base, supported by two putti (circa 1520) and crowned by two contemporaneous cherubs – all this originates from the former high altar, created around 1525 (a donation from Jakob Welser). The current arrangement dates from the post-war period.

The high altar was dismantled in 1815/16.

_____________________________

That this image of Mary, created around 1440, was likely of great importance to Nuremberg is suggested not only by its reuse as the central figure in the altarpiece donated by Jacob Welser around 1520/25 for the high altar of the Frauenkirche. Its artistic reception, reflected in numerous sculptures such as the Baldachin Madonna from Weißenburg in the Bavarian National Museum (c. 1465) or Adam Kraft's Madonna of Mercy from the Peringsdörffer Epitaph in the Frauenkirche (c. 1498), suggests that this statue was highly venerated as an important devotional image.

(...)

Stefan Roller Nuremberg Sculpture of the Late Gothic Period

Deutscher Kunstverlag, 1999, p. 170

______________

See also:

- Illustration of the Welser Altarpiece Johann Andreas Graff Interior of the Frauenkirche (1696)

- Madonna of Mercy by Adam Kraft Peringsdörffer Epitaph (1498)

The Virgin Mary (circa 1440) on a crescent-shaped base, supported by two putti (circa 1520) and crowned by two contemporaneous cherubs – all this originates from the former high altar, created around 1525 (a donation from Jakob Welser). The current arrangement dates from the post-war period.

The high altar was dismantled in 1815/16.

_____________________________

That this image of Mary, created around 1440, was likely of great importance to Nuremberg is suggested not only by its reuse as the central figure in the altarpiece donated by Jacob Welser around 1520/25 for the high altar of the Frauenkirche. Its artistic reception, reflected in numerous sculptures such as the Baldachin Madonna from Weißenburg in the Bavarian National Museum (c. 1465) or Adam Kraft's Madonna of Mercy from the Peringsdörffer Epitaph in the Frauenkirche (c. 1498), suggests that this statue was highly venerated as an important devotional image.

(...)

Stefan Roller Nuremberg Sculpture of the Late Gothic Period

Deutscher Kunstverlag, 1999, p. 170

______________

See also:

- Illustration of the Welser Altarpiece Johann Andreas Graff Interior of the Frauenkirche (1696)

- Madonna of Mercy by Adam Kraft Peringsdörffer Epitaph (1498)

The Virgin Mary (circa 1440) on a crescent-shaped base, supported by two putti (circa 1520) and crowned by two contemporaneous cherubs – all this originates from the former high altar, created around 1525 (a donation from Jakob Welser). The current arrangement dates from the post-war period.

The high altar was dismantled in 1815/16.

_____________________________

That this image of Mary, created around 1440, was likely of great importance to Nuremberg is suggested not only by its reuse as the central figure in the altarpiece donated by Jacob Welser around 1520/25 for the high altar of the Frauenkirche. Its artistic reception, reflected in numerous sculptures such as the Baldachin Madonna from Weißenburg in the Bavarian National Museum (c. 1465) or Adam Kraft's Madonna of Mercy from the Peringsdörffer Epitaph in the Frauenkirche (c. 1498), suggests that this statue was highly venerated as an important devotional image.

(...)

Stefan Roller Nuremberg Sculpture of the Late Gothic Period

Deutscher Kunstverlag, 1999, p. 170

______________

See also:

- Illustration of the Welser Altarpiece Johann Andreas Graff Interior of the Frauenkirche (1696)

- Madonna of Mercy by Adam Kraft Peringsdörffer Epitaph (1498)

The Virgin Mary (circa 1440) on a crescent-shaped base, supported by two putti (circa 1520) and crowned by two contemporaneous cherubs – all this originates from the former high altar, created around 1525 (a donation from Jakob Welser). The current arrangement dates from the post-war period.

The high altar was dismantled in 1815/16.

_____________________________

That this image of Mary, created around 1440, was likely of great importance to Nuremberg is suggested not only by its reuse as the central figure in the altarpiece donated by Jacob Welser around 1520/25 for the high altar of the Frauenkirche. Its artistic reception, reflected in numerous sculptures such as the Baldachin Madonna from Weißenburg in the Bavarian National Museum (c. 1465) or Adam Kraft's Madonna of Mercy from the Peringsdörffer Epitaph in the Frauenkirche (c. 1498), suggests that this statue was highly venerated as an important devotional image.

(...)

Stefan Roller Nuremberg Sculpture of the Late Gothic Period

Deutscher Kunstverlag, 1999, p. 170

______________

See also:

- Illustration of the Welser Altarpiece Johann Andreas Graff Interior of the Frauenkirche (1696)

- Madonna of Mercy by Adam Kraft Peringsdörffer Epitaph (1498)

The Virgin Mary (circa 1440) on a crescent-shaped base, supported by two putti (circa 1520) and crowned by two contemporaneous cherubs – all this originates from the former high altar, created around 1525 (a donation from Jakob Welser). The current arrangement dates from the post-war period.

The high altar was dismantled in 1815/16.

_____________________________

That this image of Mary, created around 1440, was likely of great importance to Nuremberg is suggested not only by its reuse as the central figure in the altarpiece donated by Jacob Welser around 1520/25 for the high altar of the Frauenkirche. Its artistic reception, reflected in numerous sculptures such as the Baldachin Madonna from Weißenburg in the Bavarian National Museum (c. 1465) or Adam Kraft's Madonna of Mercy from the Peringsdörffer Epitaph in the Frauenkirche (c. 1498), suggests that this statue was highly venerated as an important devotional image.

(...)

Stefan Roller Nuremberg Sculpture of the Late Gothic Period

Deutscher Kunstverlag, 1999, p. 170

______________

See also:

- Illustration of the Welser Altarpiece Johann Andreas Graff Interior of the Frauenkirche (1696)

- Madonna of Mercy by Adam Kraft Peringsdörffer Epitaph (1498)

The Virgin Mary (circa 1440) on a crescent-shaped base, supported by two putti (circa 1520) and crowned by two contemporaneous cherubs – all this originates from the former high altar, created around 1525 (a donation from Jakob Welser). The current arrangement dates from the post-war period.

The high altar was dismantled in 1815/16.

_____________________________

That this image of Mary, created around 1440, was likely of great importance to Nuremberg is suggested not only by its reuse as the central figure in the altarpiece donated by Jacob Welser around 1520/25 for the high altar of the Frauenkirche. Its artistic reception, reflected in numerous sculptures such as the Baldachin Madonna from Weißenburg in the Bavarian National Museum (c. 1465) or Adam Kraft's Madonna of Mercy from the Peringsdörffer Epitaph in the Frauenkirche (c. 1498), suggests that this statue was highly venerated as an important devotional image.

(...)

Stefan Roller Nuremberg Sculpture of the Late Gothic Period

Deutscher Kunstverlag, 1999, p. 170

______________

See also:

- Illustration of the Welser Altarpiece Johann Andreas Graff Interior of the Frauenkirche (1696)

- Madonna of Mercy by Adam Kraft Peringsdörffer Epitaph (1498)

The Virgin Mary (circa 1440) on a crescent-shaped base, supported by two putti (circa 1520) and crowned by two contemporaneous cherubs – all this originates from the former high altar, created around 1525 (a donation from Jakob Welser). The current arrangement dates from the post-war period.

The high altar was dismantled in 1815/16.

_____________________________

That this image of Mary, created around 1440, was likely of great importance to Nuremberg is suggested not only by its reuse as the central figure in the altarpiece donated by Jacob Welser around 1520/25 for the high altar of the Frauenkirche. Its artistic reception, reflected in numerous sculptures such as the Baldachin Madonna from Weißenburg in the Bavarian National Museum (c. 1465) or Adam Kraft's Madonna of Mercy from the Peringsdörffer Epitaph in the Frauenkirche (c. 1498), suggests that this statue was highly venerated as an important devotional image.

(...)

Stefan Roller Nuremberg Sculpture of the Late Gothic Period

Deutscher Kunstverlag, 1999, p. 170

______________

See also:

- Illustration of the Welser Altarpiece Johann Andreas Graff Interior of the Frauenkirche (1696)

- Madonna of Mercy by Adam Kraft Peringsdörffer Epitaph (1498)

The Virgin Mary (circa 1440) on a crescent-shaped base, supported by two putti (circa 1520) and crowned by two contemporaneous cherubs – all this originates from the former high altar, created around 1525 (a donation from Jakob Welser). The current arrangement dates from the post-war period.

The high altar was dismantled in 1815/16.

_____________________________

That this image of Mary, created around 1440, was likely of great importance to Nuremberg is suggested not only by its reuse as the central figure in the altarpiece donated by Jacob Welser around 1520/25 for the high altar of the Frauenkirche. Its artistic reception, reflected in numerous sculptures such as the Baldachin Madonna from Weißenburg in the Bavarian National Museum (c. 1465) or Adam Kraft's Madonna of Mercy from the Peringsdörffer Epitaph in the Frauenkirche (c. 1498), suggests that this statue was highly venerated as an important devotional image.

(...)

Stefan Roller Nuremberg Sculpture of the Late Gothic Period

Deutscher Kunstverlag, 1999, p. 170

______________

See also:

- Illustration of the Welser Altarpiece Johann Andreas Graff Interior of the Frauenkirche (1696)

- Madonna of Mercy by Adam Kraft Peringsdörffer Epitaph (1498)

The Virgin Mary (circa 1440) on a crescent-shaped base, supported by two putti (circa 1520) and crowned by two contemporaneous cherubs – all this originates from the former high altar, created around 1525 (a donation from Jakob Welser). The current arrangement dates from the post-war period.

The high altar was dismantled in 1815/16.

_____________________________

That this image of Mary, created around 1440, was likely of great importance to Nuremberg is suggested not only by its reuse as the central figure in the altarpiece donated by Jacob Welser around 1520/25 for the high altar of the Frauenkirche. Its artistic reception, reflected in numerous sculptures such as the Baldachin Madonna from Weißenburg in the Bavarian National Museum (c. 1465) or Adam Kraft's Madonna of Mercy from the Peringsdörffer Epitaph in the Frauenkirche (c. 1498), suggests that this statue was highly venerated as an important devotional image.

(...)

Stefan Roller Nuremberg Sculpture of the Late Gothic Period

Deutscher Kunstverlag, 1999, p. 170

______________

See also:

- Illustration of the Welser Altarpiece Johann Andreas Graff Interior of the Frauenkirche (1696)

- Madonna of Mercy by Adam Kraft Peringsdörffer Epitaph (1498)

The Virgin Mary (circa 1440) on a crescent-shaped base, supported by two putti (circa 1520) and crowned by two contemporaneous cherubs – all this originates from the former high altar, created around 1525 (a donation from Jakob Welser). The current arrangement dates from the post-war period.

The high altar was dismantled in 1815/16.

_____________________________

That this image of Mary, created around 1440, was likely of great importance to Nuremberg is suggested not only by its reuse as the central figure in the altarpiece donated by Jacob Welser around 1520/25 for the high altar of the Frauenkirche. Its artistic reception, reflected in numerous sculptures such as the Baldachin Madonna from Weißenburg in the Bavarian National Museum (c. 1465) or Adam Kraft's Madonna of Mercy from the Peringsdörffer Epitaph in the Frauenkirche (c. 1498), suggests that this statue was highly venerated as an important devotional image.

(...)

Stefan Roller Nuremberg Sculpture of the Late Gothic Period

Deutscher Kunstverlag, 1999, p. 170

______________

See also:

- Illustration of the Welser Altarpiece Johann Andreas Graff Interior of the Frauenkirche (1696)

- Madonna of Mercy by Adam Kraft Peringsdörffer Epitaph (1498)

The Virgin Mary (circa 1440) on a crescent-shaped base, supported by two putti (circa 1520) and crowned by two contemporaneous cherubs – all this originates from the former high altar, created around 1525 (a donation from Jakob Welser). The current arrangement dates from the post-war period.

The high altar was dismantled in 1815/16.

_____________________________

That this image of Mary, created around 1440, was likely of great importance to Nuremberg is suggested not only by its reuse as the central figure in the altarpiece donated by Jacob Welser around 1520/25 for the high altar of the Frauenkirche. Its artistic reception, reflected in numerous sculptures such as the Baldachin Madonna from Weißenburg in the Bavarian National Museum (c. 1465) or Adam Kraft's Madonna of Mercy from the Peringsdörffer Epitaph in the Frauenkirche (c. 1498), suggests that this statue was highly venerated as an important devotional image.

(...)

Stefan Roller Nuremberg Sculpture of the Late Gothic Period

Deutscher Kunstverlag, 1999, p. 170

______________

See also:

- Illustration of the Welser Altarpiece Johann Andreas Graff Interior of the Frauenkirche (1696)

- Madonna of Mercy by Adam Kraft Peringsdörffer Epitaph (1498)

The Virgin Mary (circa 1440) on a crescent-shaped base, supported by two putti (circa 1520) and crowned by two contemporaneous cherubs – all this originates from the former high altar, created around 1525 (a donation from Jakob Welser). The current arrangement dates from the post-war period.

The high altar was dismantled in 1815/16.

_____________________________

That this image of Mary, created around 1440, was likely of great importance to Nuremberg is suggested not only by its reuse as the central figure in the altarpiece donated by Jacob Welser around 1520/25 for the high altar of the Frauenkirche. Its artistic reception, reflected in numerous sculptures such as the Baldachin Madonna from Weißenburg in the Bavarian National Museum (c. 1465) or Adam Kraft's Madonna of Mercy from the Peringsdörffer Epitaph in the Frauenkirche (c. 1498), suggests that this statue was highly venerated as an important devotional image.

(...)

Stefan Roller Nuremberg Sculpture of the Late Gothic Period

Deutscher Kunstverlag, 1999, p. 170

______________

See also:

- Illustration of the Welser Altarpiece Johann Andreas Graff Interior of the Frauenkirche (1696)

- Madonna of Mercy by Adam Kraft Peringsdörffer Epitaph (1498)