Originally mounted on a pulpit from 1659, now lost, which was donated by Benedikt Winkler (1621–1688), a citizen of Leipzig. An engraving by Johann Andreas Graff, "Urbis Norimbergensis Insigniorum Templorum..." St. Sebald (1697), depicts a Baroque pulpit with a carved volute finial, suggesting that the figure was mounted on the pulpit's staircase. "The difference in quality between the Salvator figure and Schweigger's other monumental sculptures makes it likely that its execution was largely left to the workshop." (Margarete Schuster: Georg Schweigger. A Nuremberg Sculptor of the 17th Century. Dissertation, University of Vienna, 1965). "The difference in quality between the Salvator figure and Schweigger's other monumental sculptures makes it probable that its execution was largely left to the workshop." (Margarete Schuster: Georg Schweigger. A Nuremberg Sculptor of the 17th Century. Dissertation, University of Vienna, 1965). ``` Lit.: Ott, Carolin: Georg Schweigger (1613–1690): The work of the Nuremberg sculptor as reflected in the reception of Dürer from the 16th to the 20th century, Heidelberg: arthistoricum.net-ART-Books, 2023. https://doi.org/10.11588/arthistoricum.1159, pp. 375–376, Cat. No. 3.

Originally mounted on a pulpit from 1659, now lost, which was donated by Benedikt Winkler (1621–1688), a citizen of Leipzig. An engraving by Johann Andreas Graff, "Urbis Norimbergensis Insigniorum Templorum..." St. Sebald (1697), depicts a Baroque pulpit with a carved volute finial, suggesting that the figure was mounted on the pulpit's staircase. "The difference in quality between the Salvator figure and Schweigger's other monumental sculptures makes it likely that its execution was largely left to the workshop." (Margarete Schuster: Georg Schweigger. A Nuremberg Sculptor of the 17th Century. Dissertation, University of Vienna, 1965). "The difference in quality between the Salvator figure and Schweigger's other monumental sculptures makes it probable that its execution was largely left to the workshop." (Margarete Schuster: Georg Schweigger. A Nuremberg Sculptor of the 17th Century. Dissertation, University of Vienna, 1965). ``` Lit.: Ott, Carolin: Georg Schweigger (1613–1690): The work of the Nuremberg sculptor as reflected in the reception of Dürer from the 16th to the 20th century, Heidelberg: arthistoricum.net-ART-Books, 2023. https://doi.org/10.11588/arthistoricum.1159, pp. 375–376, Cat. No. 3.

Originally mounted on a pulpit from 1659, now lost, which was donated by Benedikt Winkler (1621–1688), a citizen of Leipzig. An engraving by Johann Andreas Graff, "Urbis Norimbergensis Insigniorum Templorum..." St. Sebald (1697), depicts a Baroque pulpit with a carved volute finial, suggesting that the figure was mounted on the pulpit's staircase. "The difference in quality between the Salvator figure and Schweigger's other monumental sculptures makes it likely that its execution was largely left to the workshop." (Margarete Schuster: Georg Schweigger. A Nuremberg Sculptor of the 17th Century. Dissertation, University of Vienna, 1965). "The difference in quality between the Salvator figure and Schweigger's other monumental sculptures makes it probable that its execution was largely left to the workshop." (Margarete Schuster: Georg Schweigger. A Nuremberg Sculptor of the 17th Century. Dissertation, University of Vienna, 1965). ``` Lit.: Ott, Carolin: Georg Schweigger (1613–1690): The work of the Nuremberg sculptor as reflected in the reception of Dürer from the 16th to the 20th century, Heidelberg: arthistoricum.net-ART-Books, 2023. https://doi.org/10.11588/arthistoricum.1159, pp. 375–376, Cat. No. 3.

Originally mounted on a pulpit from 1659, now lost, which was donated by Benedikt Winkler (1621–1688), a citizen of Leipzig. An engraving by Johann Andreas Graff, "Urbis Norimbergensis Insigniorum Templorum..." St. Sebald (1697), depicts a Baroque pulpit with a carved volute finial, suggesting that the figure was mounted on the pulpit's staircase. "The difference in quality between the Salvator figure and Schweigger's other monumental sculptures makes it likely that its execution was largely left to the workshop." (Margarete Schuster: Georg Schweigger. A Nuremberg Sculptor of the 17th Century. Dissertation, University of Vienna, 1965). "The difference in quality between the Salvator figure and Schweigger's other monumental sculptures makes it probable that its execution was largely left to the workshop." (Margarete Schuster: Georg Schweigger. A Nuremberg Sculptor of the 17th Century. Dissertation, University of Vienna, 1965). ``` Lit.: Ott, Carolin: Georg Schweigger (1613–1690): The work of the Nuremberg sculptor as reflected in the reception of Dürer from the 16th to the 20th century, Heidelberg: arthistoricum.net-ART-Books, 2023. https://doi.org/10.11588/arthistoricum.1159, pp. 375–376, Cat. No. 3.

Originally mounted on a pulpit from 1659, now lost, which was donated by Benedikt Winkler (1621–1688), a citizen of Leipzig. An engraving by Johann Andreas Graff, "Urbis Norimbergensis Insigniorum Templorum..." St. Sebald (1697), depicts a Baroque pulpit with a carved volute finial, suggesting that the figure was mounted on the pulpit's staircase. "The difference in quality between the Salvator figure and Schweigger's other monumental sculptures makes it likely that its execution was largely left to the workshop." (Margarete Schuster: Georg Schweigger. A Nuremberg Sculptor of the 17th Century. Dissertation, University of Vienna, 1965). "The difference in quality between the Salvator figure and Schweigger's other monumental sculptures makes it probable that its execution was largely left to the workshop." (Margarete Schuster: Georg Schweigger. A Nuremberg Sculptor of the 17th Century. Dissertation, University of Vienna, 1965). ``` Lit.: Ott, Carolin: Georg Schweigger (1613–1690): The work of the Nuremberg sculptor as reflected in the reception of Dürer from the 16th to the 20th century, Heidelberg: arthistoricum.net-ART-Books, 2023. https://doi.org/10.11588/arthistoricum.1159, pp. 375–376, Cat. No. 3.