. . . . "1592, Alsace" . . . . . . . . "With subtlety and dexterity, this tapestry's weavers- who apparently used the monograms AR and ICM- borrowed, enlarged, reversed, and added color to Hans Sch\u00E4ufelein\u2019s design for the Pentecost woodcut in Ulrich Pinder\u2019s Speculum Passionis, published in 1507.This panel is part of a group of similarly sized scenes from the New Testament, woven across more than two decades, all closely based upon printed prototypes by Albrecht D\u00FCrer, Hans Baldung Grien, Martin Schongauer and Hans Wechtlin, as well as by Sch\u00E4ufelein. Together with other surviving tapestry panels now in the Museum Haus L\u00F6wenberg in Gengenbach and spread across private collections, these small, captioned Biblical scenes were probably made on speculation for sale to Protestant individuals and religious institutions in the Strasburg area around the turn of the seventeenth century."@en . . "0.61330002546310424805"^^ . "11.148.2" . . . . "1592, Alsace" . "0.75"^^ . . . "With subtlety and dexterity, this tapestry's weavers- who apparently used the monograms AR and ICM- borrowed, enlarged, reversed, and added color to Hans Sch\u00E4ufelein\u2019s design for the Pentecost woodcut in Ulrich Pinder\u2019s Speculum Passionis, published in 1507.This panel is part of a group of similarly sized scenes from the New Testament, woven across more than two decades, all closely based upon printed prototypes by Albrecht D\u00FCrer, Hans Baldung Grien, Martin Schongauer and Hans Wechtlin, as well as by Sch\u00E4ufelein. Together with other surviving tapestry panels now in the Museum Haus L\u00F6wenberg in Gengenbach and spread across private collections, these small, captioned Biblical scenes were probably made on speculation for sale to Protestant individuals and religious institutions in the Strasburg area around the turn of the seventeenth century."@en .