Hl. Hieronymus Außenseite: Marter der Zehntausend (Werkstatt, Hans Siebenbürger)

The panel displays a restrained realism characteristic of Pleydenwurff’s circle, employing subtle gradations of light to model faces and drapery without resorting to dramatic chiaroscuro. Careful attention to the folds of the robe and the play of shadow on the figure’s cheek creates a modest three‑dimensional effect, while the overall composition remains flat and narrative‑focused.

Created in Nuremberg shortly after Pleydenwurff’s settlement there in 1457, the work remained in ecclesiastical settings before entering the Alte Pinakothek. The artist’s lineage continued in the arts: his son Wilhelm became a noted woodcut artist, while another son, Sebald, pursued a different, less documented profession.

Pleydenwurff’s workshop absorbed influences from the Northern Renaissance, integrating a heightened naturalism into traditional Germanic iconography. The panel reflects the mid‑15th‑century shift toward more lifelike representation in religious art, aligning with contemporary trends that emphasized individual expression within collective devotional narratives.