RM2H9BY2T–Engraving of scenes in Nuremberg, Germany during the 1500s
RMRYTXR2–religion, Christianity, angel, head of the angel of annunciation from the Angelic Salutation, sculpture, by Veit Stoss (circa 1447 - 1533), 1517 / 1518, wood, painted, St. Lawrence Church, Nuremberg, Additional-Rights-Clearance-Info-Not-Available
RF2R1X44T–The 1906 caption reads: 'View of City of Nuremberg in the 15th century. from Hartmann Schedel's Chronicle of the world.' Hartmann Schedel (1440 –1514) was a German historian, physician, humanist, and one of the first cartographers to use the printing press. He wrote the Chronicle in 1493.
RFDJYK96–16th Century XVI 1500s German Burgher of Nuremberg
RMMTY7YY–Maiden from Nuremberg carrying pails, and a livestock driver. Hand-colored print
RM2A8JGEM–16th century German armour for man and horse, made in Nuremberg, c.1520
RM2HDG94G–Allegory of the administration of the city of Nuremberg, print by Albrecht Durer, 1521
RM2G35YPT–Stoeckel, Andreas, + 1591, German lawyer, council in Nuremberg, half length, ARTIST'S COPYRIGHT HAS NOT TO BE CLEARED
RME94NG5–The German figure represented here is a woman from Nuremberg, between 1550 an 1600. The illustration dates to 1882.
RM2G35Y9K–Stockhamer, Alexander, + 9.3.1610, German lawyer, Imperial city judge in Nuremberg 1593 - 1610, ADDITIONAL-RIGHTS-CLEARANCE-INFO-NOT-AVAILABLE
RME93BT4–The German figures represented here are, from left to right: woman from Nuremberg, woman from Frankfurt, woman from Swabia.
RMHHW2B6–Costumes of Jews II (2/3): 13. Germany (Worms, 16th century); 14. Germany (Nuremberg, 17th - 18th century); 15. Germany
RM2A529D3–Standing Cup, mid-late 1500s. Large ceremonial silver cups with covers were a status symbol in the late 16th century, particularly when gilded like this superb example from Nuremberg. Stylish and grand, these cups provided the ultimate vessel from which a royal guest or aristocratic visitor could drink at a formal banquet. They came to be known as willkom, or welcome cups, as a result. The lid, mid-section, and base are all cast in sections, creating imposing height and stability for the great amount of silver used, a testament to the skill of the maker and the pocketbook of the owner.
RM2H106YE–Breastplate in the Maximilian Style, c.1510–30. Germany, Nuremberg(?), early 16th century. Steel, brass rivets; overall: 48.3 x 40.3 x 16 cm (19 x 15 7/8 x 6 5/16 in.). Distinguished by its regularly fluted surfaces, armor in this style was popularized in South Germany during the early 1500s. The style is usually called 'Maximilian,' as it was introduced during the reign of Emperor Maximilian I (1493-1519). The style reflects male costume of the period and the shift to the new rounded forms of the Renaissance. Other examples of this armor style may be seen nearby.
RMT19A19–religion, Christianity, Madonna / Mary with child, commemorative picture for provost Lorenz Tucher, painting, by Hans of Kulmbach (circa 1480 - circa 1522), 1513, St. Sebaldus Church, Nuremberg, Artist's Copyright has not to be cleared
RMRN59TJ–Female anatomical woodcut from ‘Hierinn sind begriffen vier bücher von menschlicher Proportion’ by Albrecht Durer (1471-1528) a work about the proportion of the human body first published in 1528.
RMT1A3E7–religion, Christianity, Madonna / Mary with child, 'Annunciation by the archangel Gabriel', sculpture, by Veit Stoss (circa 1447 - 1533), 1517 / 1518, wood, painted, Saint Lawrence's Church, Nuremberg, Additional-Rights-Clearance-Info-Not-Available
RF2EGBHMC–1516 German bookplate for the library of Hieronymus Ebner, by artist Albrecht Dürer
RMT1155W–writing, script, Latin, Capitalis Monumentalis, initial 'K', from: 'Liber quindecim Missarum', printed by Johannes Petreius, Nuremberg, 1539, Additional-Rights-Clearance-Info-Not-Available
RM2H9BY3P–Engraving of the Peller Court in Nuremberg, Germany, circa 1520
RMT11522–press / media, magazines, 'Natuerliche Contrafeyhung des gewaltigen flugs der Heswchrecken' (Natural image of the giant locust flight), front page, woodcut by HW, Nuremberg, 1556, Artist's Copyright has not to be cleared
RM2H6X9EJ–Painting 'Flight into Egypt' from the Aggsbach Altarpiece by German Renaissance painter Jörg Breu the Elder (1501) on display at the special exhibition in the Belvedere Museum in Vienna, Austria. The exhibition entitled 'The Age of Dürer' and devoted to Austria at the Gate of the Renaissance runs till 22 January 2022.
RFDJYKD4–16th Century XVI 1500s German citizens of Nuremberg in holiday dress and a standard bearer
RF2ENBHHT–Former Benedictine Abbey Church of Saint James the Apostle (Szent Jakab-templom), built in the early 1200s, at Lébény, Gyor-Moson-Sopron county, Hungary. The basilica, with a nave, two aisles and three apses, is among the earliest and best examples of Hungarian Romanesque architecture. Lébény’s turbulent history includes destruction by Tartar and Turk invaders. The basilica was restored to its original style in the late 1800s and now serves as the parish church.
RF2GGD6GJ–Zeus, King of the Gods, turns Lycaon, King of Arcadia, into a wolf while destroying his palace with thunderbolts, in Renaissance sgraffito art on the late 16th century front of Stadtplatz 33 in the town square at Gmünd, Lower Austria, Austria. The scene from ancient Greek mythology is derived from a woodcut by Virgil Solis (1514-62) depicting an episode narrated by the Roman poet, Ovid, in Book 1 of his narrative poem, The Metamorphoses.
RME8D2TJ–The German figures represented here are, from left to right: woman from Nuremberg, woman from Frankfurt, woman from Swabia.
RMEAHDPF–Hans Sachs (1494-1576) was a leading poet at the German school at Nuremberg. The German artist Andreas Herneyssen lived in Nuremberg.
RM2H1071K–Close Helmet in Maximilian Style, c. 1510–30. Germany, Nuremberg(?), 16th century. Steel, brass rivets; overall: 29.2 x 34.9 x 23.5 cm (11 1/2 x 13 3/4 x 9 1/4 in.). Distinguished by its regularly fluted surfaces, armor in this style was popularized in South Germany during the early 1500s. The style is usually called 'Maximilian,' as it was introduced during the reign of Emperor Maximilian I (1493-1519). The style reflects male costume of the period and the shift to the new rounded forms of the Renaissance. Other examples of this armor style may be seen nearby.
RME93BRT–The German women represented here are, from left to right: woman from Bohemia, woman from Nuremberg, woman and child from Silesia, bride from Cologne, woman from Augsburg.
RM2A50GRA–Closed Sallet with Grotesque Face (Schembart visor), c. 1500. A small number of similar painted helmets survive today. All appear to date to the early 1500s. The visors of these helmets are usually in the form of fiercely grimacing human or animal faces, known as Schembart visors after the masked revelers in the Schembartlaufen, the medieval Shrovetide parades. The city of Nuremberg was particularly famous for its Shrovetide parades that were often held in conjunction with a tournament in which the younger members of the city's patrician families, presumably sporting such helmets, participated
RMRN59TE–Female anatomical woodcut from ‘Hierinn sind begriffen vier bücher von menschlicher Proportion’ by Albrecht Durer (1471-1528) a work about the proportion of the human body first published in 1528.
RM2H9BMPN–Engraving of scenes in Nuremberg, Germany during the 1500s
RF2GGD6GR–Ancient Greek hero Perseus uses the face of the Medusa to turn Atlas into a mountain – or even Africa’s Atlas Mountains – in late-1500s Renaissance sgraffito art on the facade of Stadtplatz 33 in the town square at Gmünd, Lower Austria, Austria. The scene from Greek mythology, derived from a woodcut by Virgil Solis (1514-62), depicts an episode narrated by the Roman poet, Ovid, in Book 4 of his epic narrative poem, The Metamorphoses.
RM2H1070X–Backplate in the Maximilian Style, c.1510–30. Germany, Nuremberg(?), early 16th century. Steel, brass rivets; overall: 42 x 33.9 x 15.5 cm (16 9/16 x 13 3/8 x 6 1/8 in.). Distinguished by its regularly fluted surfaces, armor in this style was popularized in South Germany during the early 1500s. The style is usually called 'Maximilian,' as it was introduced during the reign of Emperor Maximilian I (1493-1519). The style reflects male costume of the period and the shift to the new rounded forms of the Renaissance. Other examples of this armor style may be seen nearby.
RME93BT1–The German figures represented here are, from left to right: woman from Nuremberg, woman from Misnia, woman from Swabia, woman from Frankfurt, woman from Misnia, maid servant from Cologne, two women from Misnia, woman from Nuremberg, woman from Frankfurt, woman from Swabia.
RM2KFFJ26–Nuremberg, 1502.
RMRN59W6–Anatomical woodcut from ‘Hierinn sind begriffen vier bücher von menschlicher Proportion’ by Albrecht Durer (1471-1528) a work about the proportion of the human body first published in 1528.
RM2H9BMR6–Engraving of a gala day in Nuremberg, Germany, during the 1500s
RF2GGD6H3–Trojan War hero Aeneas escapes from burning Troy carrying his elderly father Anchises on his back, in late-1500s Renaissance sgraffito art on the facade of Stadtplatz 33, one of two remarkable ‘sgraffito houses’ in the town square at Gmünd, Lower Austria, Austria. The scene from Greco-Roman mythology, derived from a woodcut by Virgilius Solis (1514-62), depicts an episode narrated by the Roman poet Ovid in Book 13 of his epic narrative poem, The Metamorphoses.
RM2H0XXJG–Standing Cup, mid-late 1500s. After a design by Virgilius Solis (German, 1514-1562). Gilt silver; overall: 50.8 x 20.4 cm (20 x 8 1/16 in.). Large ceremonial silver cups with covers were a status symbol in the late 16th century, particularly when gilded like this superb example from Nuremberg. Stylish and grand, these cups provided the ultimate vessel from which a royal guest or aristocratic visitor could drink at a formal banquet. They came to be known as willkom, or welcome cups, as a result. The lid, mid-section, and base are all cast in sections, creating imposing height and stability for
RME8D2TE–The German figures represented here are, from left to right: woman from Nuremberg, woman from Misnia, woman from Swabia, woman from Frankfurt, woman from Misnia, maid servant from Cologne, two women from Misnia, woman from Nuremberg, woman from Frankfurt, woman from Swabia.
RM2KFJ8GE–Nuremberg, 1502.
RMDRW88H–Hans Sachs (1494-1576) was a leading poet at the German school at Nuremberg.
RMRN59TN–Female with staff, anatomical woodcut from ‘Hierinn sind begriffen vier bücher von menschlicher Proportion’ by Albrecht Durer (1471-1528) a work about the proportion of the human body first published in 1528.
RF2PWGBCW–The 1906 caption reads: 'Albrecht Durer - a self portrait - in the Old Pinakothek in Munich.' Albrecht Durer (1471-1528) was a German artist well known for his prints and drawings of keen observation and rich detail. He was born in Nuremberg and had a studio there.
RM2H9BMR2–Engraving of the Papal Nuncio Francesco Chiericati (1479 – 1539) arriving in Nuremberg, Germany. Chiericati (AKA Chieregati or Chieregato) was also a bishop, and a member of the house of Chiericati from Vicenza.
RFERCMYA–Erasmus Desiderius of Rotterdam was a Dutch Renaissance humanist. He lived from 1466 to 1536. Erasmus was also a Catholic priest, a social critic, a teacher, and a theologian. He wrote many works, and one of the best known is Praise of Folly. This portrait of Erasmus was done in 1526 by the German painter Albrecht Durer, who was in Nuremberg, Germany, and was a contemporary of Erasmus.
RM2H10712–Closed Sallet with Grotesque Face (Schembart visor), c. 1500. Germany, Nuremberg, early 16th Century. Painted steel; overall: 27.3 x 25.7 x 22.2 cm (10 3/4 x 10 1/8 x 8 3/4 in.). A small number of similar painted helmets survive today. All appear to date to the early 1500s. The visors of these helmets are usually in the form of fiercely grimacing human or animal faces, known as Schembart visors after the masked revelers in the Schembartlaufen, the medieval Shrovetide parades. The city of Nuremberg was particularly famous for its Shrovetide parades that were often held in conjunction with a to
RM2A50GR4–Close Helmet in Maximilian Style, c. 1510-1530. Distinguished by its regularly fluted surfaces, armor in this style was popularized in South Germany during the early 1500s. The style is usually called "Maximilian," as it was introduced during the reign of Emperor Maximilian I (1493-1519). The style reflects male costume of the period and the shift to the new rounded forms of the Renaissance. Other examples of this armor style may be seen nearby.
RMRN59TR–Title page featuring Durer’s woodcut monogram from ‘Hierinn sind begriffen vier bücher von menschlicher Proportion’ by Albrecht Durer (1471-1528) a work about the proportion of the human body first published in 1528.
RM2H9BJBM–Engraving of scenes in Nuremberg, Germany during the 1500s
RM2A507HJ–Backplate in the Maximilian Style, c.1510-1530. Distinguished by its regularly fluted surfaces, armor in this style was popularized in South Germany during the early 1500s. The style is usually called "Maximilian," as it was introduced during the reign of Emperor Maximilian I (1493-1519). The style reflects male costume of the period and the shift to the new rounded forms of the Renaissance. Other examples of this armor style may be seen nearby.
RMRN59TY–Proportions of the human head from ‘Hierinn sind begriffen vier bücher von menschlicher Proportion’ by Albrecht Durer (1471-1528) a work about the proportion of the human body first published in 1528.
RM2H9BJEY–Engraving of the entrance to the imperial castle, Nuremberg, Germany during the 1500s
RM2A50C2G–Breastplate in the Maximilian Style, c.1510-1530. Distinguished by its regularly fluted surfaces, armor in this style was popularized in South Germany during the early 1500s. The style is usually called "Maximilian," as it was introduced during the reign of Emperor Maximilian I (1493-1519). The style reflects male costume of the period and the shift to the new rounded forms of the Renaissance. Other examples of this armor style may be seen nearby.
RM2H9BXYM–Map of Switzerland at the time of the Reformation, circa 1520
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