On the inside, representatives of the clergy, facing left in worship, in front of a landscape. Annunciation angel on the outside. Remains of an altar from the former Dominican church with a carved image of the Virgin Mary in a rosary (this one in the Germanic National Museum), in front of which the secular and clerical classes knelt on the painted wings.(...) Günther P. Fehring and Anton Ress, Bavarian art monuments, the city of Nuremberg, Short inventory 1977 The rosary tablet was completed in 1489 after a year of work. For the dating see Gerhard Weilandt: The Prince at Prayer, in: Lucas Cranach 1553/2003, Leipzig 2007, p. 62. ______________________________________

Landscape on the inside of Dürer? He was Wolgemut's apprentice at the time the altar was made. see Thomas Schauerte: Dürer. The distant genius. A biography, Stuttgart 2012, p. 35. For the castle in the background of the Annunciation Angel, however, a template was used that was also used for the woodcut for “macedonia” in the Schedel World Chronicle of 1493 (page 273) made in the Wolgemut workshop. The castle (siege of Ulm Fortress) can already be seen in a simplified form and reversed in Thomas Lirer's Swabian Chronicle, printed by Konrad Dinckmut in Ulm in 1486; the original is attributed to the “Master of Ulm Terence”.​

On the inside, representatives of the clergy, facing left in worship, in front of a landscape. Annunciation angel on the outside. Remains of an altar from the former Dominican church with a carved image of the Virgin Mary in a rosary (this one in the Germanic National Museum), in front of which the secular and clerical classes knelt on the painted wings.(...) Günther P. Fehring and Anton Ress, Bavarian art monuments, the city of Nuremberg, Short inventory 1977 The rosary tablet was completed in 1489 after a year of work. For the dating see Gerhard Weilandt: The Prince at Prayer, in: Lucas Cranach 1553/2003, Leipzig 2007, p. 62. ______________________________________

Landscape on the inside of Dürer? He was Wolgemut's apprentice at the time the altar was made. see Thomas Schauerte: Dürer. The distant genius. A biography, Stuttgart 2012, p. 35. For the castle in the background of the Annunciation Angel, however, a template was used that was also used for the woodcut for “macedonia” in the Schedel World Chronicle of 1493 (page 273) made in the Wolgemut workshop. The castle (siege of Ulm Fortress) can already be seen in a simplified form and reversed in Thomas Lirer's Swabian Chronicle, printed by Konrad Dinckmut in Ulm in 1486; the original is attributed to the “Master of Ulm Terence”.​

On the inside, representatives of the clergy, facing left in worship, in front of a landscape. Annunciation angel on the outside. Remains of an altar from the former Dominican church with a carved image of the Virgin Mary in a rosary (this one in the Germanic National Museum), in front of which the secular and clerical classes knelt on the painted wings.(...) Günther P. Fehring and Anton Ress, Bavarian art monuments, the city of Nuremberg, Short inventory 1977 The rosary tablet was completed in 1489 after a year of work. For the dating see Gerhard Weilandt: The Prince at Prayer, in: Lucas Cranach 1553/2003, Leipzig 2007, p. 62. ______________________________________

Landscape on the inside of Dürer? He was Wolgemut's apprentice at the time the altar was made. see Thomas Schauerte: Dürer. The distant genius. A biography, Stuttgart 2012, p. 35. For the castle in the background of the Annunciation Angel, however, a template was used that was also used for the woodcut for “macedonia” in the Schedel World Chronicle of 1493 (page 273) made in the Wolgemut workshop. The castle (siege of Ulm Fortress) can already be seen in a simplified form and reversed in Thomas Lirer's Swabian Chronicle, printed by Konrad Dinckmut in Ulm in 1486; the original is attributed to the “Master of Ulm Terence”.​

On the inside, representatives of the clergy, facing left in worship, in front of a landscape. Annunciation angel on the outside. Remains of an altar from the former Dominican church with a carved image of the Virgin Mary in a rosary (this one in the Germanic National Museum), in front of which the secular and clerical classes knelt on the painted wings.(...) Günther P. Fehring and Anton Ress, Bavarian art monuments, the city of Nuremberg, Short inventory 1977 The rosary tablet was completed in 1489 after a year of work. For the dating see Gerhard Weilandt: The Prince at Prayer, in: Lucas Cranach 1553/2003, Leipzig 2007, p. 62. ______________________________________

Landscape on the inside of Dürer? He was Wolgemut's apprentice at the time the altar was made. see Thomas Schauerte: Dürer. The distant genius. A biography, Stuttgart 2012, p. 35. For the castle in the background of the Annunciation Angel, however, a template was used that was also used for the woodcut for “macedonia” in the Schedel World Chronicle of 1493 (page 273) made in the Wolgemut workshop. The castle (siege of Ulm Fortress) can already be seen in a simplified form and reversed in Thomas Lirer's Swabian Chronicle, printed by Konrad Dinckmut in Ulm in 1486; the original is attributed to the “Master of Ulm Terence”.​

On the inside, representatives of the clergy, facing left in worship, in front of a landscape. Annunciation angel on the outside. Remains of an altar from the former Dominican church with a carved image of the Virgin Mary in a rosary (this one in the Germanic National Museum), in front of which the secular and clerical classes knelt on the painted wings.(...) Günther P. Fehring and Anton Ress, Bavarian art monuments, the city of Nuremberg, Short inventory 1977 The rosary tablet was completed in 1489 after a year of work. For the dating see Gerhard Weilandt: The Prince at Prayer, in: Lucas Cranach 1553/2003, Leipzig 2007, p. 62. ______________________________________

Landscape on the inside of Dürer? He was Wolgemut's apprentice at the time the altar was made. see Thomas Schauerte: Dürer. The distant genius. A biography, Stuttgart 2012, p. 35. For the castle in the background of the Annunciation Angel, however, a template was used that was also used for the woodcut for “macedonia” in the Schedel World Chronicle of 1493 (page 273) made in the Wolgemut workshop. The castle (siege of Ulm Fortress) can already be seen in a simplified form and reversed in Thomas Lirer's Swabian Chronicle, printed by Konrad Dinckmut in Ulm in 1486; the original is attributed to the “Master of Ulm Terence”.​

On the inside, representatives of the clergy, facing left in worship, in front of a landscape. Annunciation angel on the outside. Remains of an altar from the former Dominican church with a carved image of the Virgin Mary in a rosary (this one in the Germanic National Museum), in front of which the secular and clerical classes knelt on the painted wings.(...) Günther P. Fehring and Anton Ress, Bavarian art monuments, the city of Nuremberg, Short inventory 1977 The rosary tablet was completed in 1489 after a year of work. For the dating see Gerhard Weilandt: The Prince at Prayer, in: Lucas Cranach 1553/2003, Leipzig 2007, p. 62. ______________________________________

Landscape on the inside of Dürer? He was Wolgemut's apprentice at the time the altar was made. see Thomas Schauerte: Dürer. The distant genius. A biography, Stuttgart 2012, p. 35. For the castle in the background of the Annunciation Angel, however, a template was used that was also used for the woodcut for “macedonia” in the Schedel World Chronicle of 1493 (page 273) made in the Wolgemut workshop. The castle (siege of Ulm Fortress) can already be seen in a simplified form and reversed in Thomas Lirer's Swabian Chronicle, printed by Konrad Dinckmut in Ulm in 1486; the original is attributed to the “Master of Ulm Terence”.​

On the inside, representatives of the clergy, facing left in worship, in front of a landscape. Annunciation angel on the outside. Remains of an altar from the former Dominican church with a carved image of the Virgin Mary in a rosary (this one in the Germanic National Museum), in front of which the secular and clerical classes knelt on the painted wings.(...) Günther P. Fehring and Anton Ress, Bavarian art monuments, the city of Nuremberg, Short inventory 1977 The rosary tablet was completed in 1489 after a year of work. For the dating see Gerhard Weilandt: The Prince at Prayer, in: Lucas Cranach 1553/2003, Leipzig 2007, p. 62. ______________________________________

Landscape on the inside of Dürer? He was Wolgemut's apprentice at the time the altar was made. see Thomas Schauerte: Dürer. The distant genius. A biography, Stuttgart 2012, p. 35. For the castle in the background of the Annunciation Angel, however, a template was used that was also used for the woodcut for “macedonia” in the Schedel World Chronicle of 1493 (page 273) made in the Wolgemut workshop. The castle (siege of Ulm Fortress) can already be seen in a simplified form and reversed in Thomas Lirer's Swabian Chronicle, printed by Konrad Dinckmut in Ulm in 1486; the original is attributed to the “Master of Ulm Terence”.​

On the inside, representatives of the clergy, facing left in worship, in front of a landscape. Annunciation angel on the outside. Remains of an altar from the former Dominican church with a carved image of the Virgin Mary in a rosary (this one in the Germanic National Museum), in front of which the secular and clerical classes knelt on the painted wings.(...) Günther P. Fehring and Anton Ress, Bavarian art monuments, the city of Nuremberg, Short inventory 1977 The rosary tablet was completed in 1489 after a year of work. For the dating see Gerhard Weilandt: The Prince at Prayer, in: Lucas Cranach 1553/2003, Leipzig 2007, p. 62. ______________________________________

Landscape on the inside of Dürer? He was Wolgemut's apprentice at the time the altar was made. see Thomas Schauerte: Dürer. The distant genius. A biography, Stuttgart 2012, p. 35. For the castle in the background of the Annunciation Angel, however, a template was used that was also used for the woodcut for “macedonia” in the Schedel World Chronicle of 1493 (page 273) made in the Wolgemut workshop. The castle (siege of Ulm Fortress) can already be seen in a simplified form and reversed in Thomas Lirer's Swabian Chronicle, printed by Konrad Dinckmut in Ulm in 1486; the original is attributed to the “Master of Ulm Terence”.​

On the inside, representatives of the clergy, facing left in worship, in front of a landscape. Annunciation angel on the outside. Remains of an altar from the former Dominican church with a carved image of the Virgin Mary in a rosary (this one in the Germanic National Museum), in front of which the secular and clerical classes knelt on the painted wings.(...) Günther P. Fehring and Anton Ress, Bavarian art monuments, the city of Nuremberg, Short inventory 1977 The rosary tablet was completed in 1489 after a year of work. For the dating see Gerhard Weilandt: The Prince at Prayer, in: Lucas Cranach 1553/2003, Leipzig 2007, p. 62. ______________________________________

Landscape on the inside of Dürer? He was Wolgemut's apprentice at the time the altar was made. see Thomas Schauerte: Dürer. The distant genius. A biography, Stuttgart 2012, p. 35. For the castle in the background of the Annunciation Angel, however, a template was used that was also used for the woodcut for “macedonia” in the Schedel World Chronicle of 1493 (page 273) made in the Wolgemut workshop. The castle (siege of Ulm Fortress) can already be seen in a simplified form and reversed in Thomas Lirer's Swabian Chronicle, printed by Konrad Dinckmut in Ulm in 1486; the original is attributed to the “Master of Ulm Terence”.​

On the inside, representatives of the clergy, facing left in worship, in front of a landscape. Annunciation angel on the outside. Remains of an altar from the former Dominican church with a carved image of the Virgin Mary in a rosary (this one in the Germanic National Museum), in front of which the secular and clerical classes knelt on the painted wings.(...) Günther P. Fehring and Anton Ress, Bavarian art monuments, the city of Nuremberg, Short inventory 1977 The rosary tablet was completed in 1489 after a year of work. For the dating see Gerhard Weilandt: The Prince at Prayer, in: Lucas Cranach 1553/2003, Leipzig 2007, p. 62. ______________________________________

Landscape on the inside of Dürer? He was Wolgemut's apprentice at the time the altar was made. see Thomas Schauerte: Dürer. The distant genius. A biography, Stuttgart 2012, p. 35. For the castle in the background of the Annunciation Angel, however, a template was used that was also used for the woodcut for “macedonia” in the Schedel World Chronicle of 1493 (page 273) made in the Wolgemut workshop. The castle (siege of Ulm Fortress) can already be seen in a simplified form and reversed in Thomas Lirer's Swabian Chronicle, printed by Konrad Dinckmut in Ulm in 1486; the original is attributed to the “Master of Ulm Terence”.​

On the inside, representatives of the clergy, facing left in worship, in front of a landscape. Annunciation angel on the outside. Remains of an altar from the former Dominican church with a carved image of the Virgin Mary in a rosary (this one in the Germanic National Museum), in front of which the secular and clerical classes knelt on the painted wings.(...) Günther P. Fehring and Anton Ress, Bavarian art monuments, the city of Nuremberg, Short inventory 1977 The rosary tablet was completed in 1489 after a year of work. For the dating see Gerhard Weilandt: The Prince at Prayer, in: Lucas Cranach 1553/2003, Leipzig 2007, p. 62. ______________________________________

Landscape on the inside of Dürer? He was Wolgemut's apprentice at the time the altar was made. see Thomas Schauerte: Dürer. The distant genius. A biography, Stuttgart 2012, p. 35. For the castle in the background of the Annunciation Angel, however, a template was used that was also used for the woodcut for “macedonia” in the Schedel World Chronicle of 1493 (page 273) made in the Wolgemut workshop. The castle (siege of Ulm Fortress) can already be seen in a simplified form and reversed in Thomas Lirer's Swabian Chronicle, printed by Konrad Dinckmut in Ulm in 1486; the original is attributed to the “Master of Ulm Terence”.​

On the inside, representatives of the clergy, facing left in worship, in front of a landscape. Annunciation angel on the outside. Remains of an altar from the former Dominican church with a carved image of the Virgin Mary in a rosary (this one in the Germanic National Museum), in front of which the secular and clerical classes knelt on the painted wings.(...) Günther P. Fehring and Anton Ress, Bavarian art monuments, the city of Nuremberg, Short inventory 1977 The rosary tablet was completed in 1489 after a year of work. For the dating see Gerhard Weilandt: The Prince at Prayer, in: Lucas Cranach 1553/2003, Leipzig 2007, p. 62. ______________________________________

Landscape on the inside of Dürer? He was Wolgemut's apprentice at the time the altar was made. see Thomas Schauerte: Dürer. The distant genius. A biography, Stuttgart 2012, p. 35. For the castle in the background of the Annunciation Angel, however, a template was used that was also used for the woodcut for “macedonia” in the Schedel World Chronicle of 1493 (page 273) made in the Wolgemut workshop. The castle (siege of Ulm Fortress) can already be seen in a simplified form and reversed in Thomas Lirer's Swabian Chronicle, printed by Konrad Dinckmut in Ulm in 1486; the original is attributed to the “Master of Ulm Terence”.​