Amazing photo locations in Nuremberg of Dec 1, 2019

Bridge Steubenbrücke in Nuremberg is named after General Steuben, a hereditary military man. He became famous in the battles near Prague, survived the Russian captivity, and fought in the war of the North and South in the United States. He owns the creation of the "Blue Book" - the US military code. The last years of his life he spent in New York on 57th Avenue. He was not married and had no children. Many historians tend to believe that he was gay.

The artist Johannes Brus created this monument in 1992 on the square named after Andrei Dmitrievich Sakharov. Four massive columns are made of industrial presses. It is impossible not to feel their heaviness and pressure. They allegorically show the atmosphere of enormous public pressure and persecution created by the Soviet regime concerning Andrei Sakharov, the defender of human rights in the former USSR. Amid these columns is a blue rider on a strong horse. This horseman is not combined with either color, shape, or texture with the surrounding rusty pillars. It tells us how human rights defenders look like in totalitarian regimes. But the horse carries not one rider but two. These riders symbolize "there is safety in numbers" two are joining by one, then three by one, and so else, until a national movement appears.

Shooting clubs have their historical roots in the cities of the late Middle Ages. The burghers sought to preserve their rights and protect them from the encroachments of the rulers. In 1429, the Union of St. John was founded in Nuremberg. This year, the shooters were separated from the "crossbows." The houses of rifle companies were called shooting ranges. The Nuremberg privileged Hauptschützengesellschaft built such a house in 1462 at Johannisfriedhof.

https://blauenacht.nuernberg.de/Herrenschiesshaus

The city executioners of Nuremberg lived in the house of the executioners for about 400 years until 1806. The former official residence of the executioners of Nuremberg and their assistants was installed in the old city walls and in the tower of the 15th century. The Nuremberg executioner, Franz Schmidt, kept a proper diary in the 16th century about all his executions and torture. Thanks to this information, you can get a fairly accurate picture of medieval law.

An amazing impression is made by the crossbow fountain. It was created in 1904 by Leonard Herzog on donations from the society of shooters of St. Johanson. There is a plate on the fountain with the following content: “SNAPPER FOUNTAIN” by Leonard Herzog, created in 1904, marks the traditional crossbow shooting that took place here until the second half of the 18th century and the first was in honor of Emperor Frederick III in 1487. This is an amazing park in Nuremberg. It combines dull neglect with the desire to walk endlessly along its paths covered with fallen leaves.

The Neutorn was one of the four main gates of the Nuremberg city fortifications, was mentioned as early as 1377, and led via St. Johannis (Nuremberg) to Fürth, Würzburg and Frankfurt am Main. In 1564 the tower was encased, and the Neutorbastei replaced the old barbican. A medicinal plant garden was created in the Neutorn kennel (between Haller and Neutorn), which is open to the public in the warm half of the year. A door at the Neutor Zwinger leads to the northern fortifications with the mayor's garden and the castle bastions.

The arched Tiergärtnertor consists of a square tower and a barbican. The origin of the tower, according to some estimates, dates back to the end of the 13th century. It was the main gate to Nuremberg in the northwest. Roads to Erlangen, Bamberg, Thuringia, and Saxony began here. The two upper floors were built in 1516. When the castle's bastion was restored in the mid-16th century, the barbican was demolished; the road to the west was led through a curved tunnel; the original gate was blocked. The German Museum used the Tiergärtnertorturm since 1852 as a warehouse for its first collection.

When Albrecht Dürer bought this prestigious house in 1509, it was almost 100 years old. Germany's most celebrated painter lived here until he died in 1528. By a miracle, the house survived the destruction of Nuremberg in World War I. Today it is not only a museum and a memorial to Albrecht Dürer but also the only place where the bourgeois lifestyle of Nuremberg from 1500th is restored and preserved. The house was constructed in 1420, together with a yard with a well and stables. In 1509 the house was purchased by Dürer for the substantial sum of 275 guilders. Only in1526 Dürer finally redeemed all interest charges on the house, but two years later, on 6 April 1528, Dürer died. Durer has no offspring, and his wife Agnes was the sole heir to the entire property. After the death of Agness, the house was sold in 1541. After the Second World War, the house was repaired and reopened in 1971. Modern construction was annexed on the 500th anniversary of Dürer's birth in 1995. Today there are guided tours by "Agnes Dürer" that demonstrate historic printing techniques in the "Workshop." In 2010 new methodic development for the museum was the creation of a graphics cabinet on the 3rd floor. The first thing, the visitor sees in the museum is the picture known by the title Albrecht Dürer, Nuremberg, 1500. This is one of the most famous self-portraits and at the same time one of the most mysterious. Did Albrecht Dürer really want to represent himself as a Jesus Christ in this portrait? Does this portrait really show 29-year-old Dürer, or was "the year 1500" simply chosen as a particularly meaningful date? The controversy among art historians continues. We will try to find answers to this and other questions during our visit to the museum.

The visit to the house tells a lot about life in Nurenberg almost 500 years ago. This large room may have served as a sleeping room since the adjacent kitchen would have provided heat in winter. But that presumably would have posed problems in summer so we cannot be sure. The passage linking the room to the staircase is modern. The kitchen is the only room in the house whose purpose can be determined without a doubt—the kitchen utensils date from a later time. Privy space is the most exciting place in the kitchen. In 1520, Durer's health deteriorated, and he had part of the kitchen partitioned off as a "secret chamber" (toilet). At that time, access to this room was only from the corridor, where today's staircase is located.

Dürer's family life was somewhat out of the ordinary: in 1494, he married Agnes Frey, at the will of both fathers. While Dürer's mother had been pregnant eighteen times, his marriage remained childless. In any case, the barrenness left them more time for work; Agnes helped with the distribution of Dürer's prints. He cared for his parents and his brothers, Hans and Endres, relocating his widowed mother into his household in 1504. We know a lot about Durer, even the piquant details. In 1515, Dürer was so severely insulted by a certain Jörg Vierling that the matter was taken to the City Council. Dürer left an incredible amount of personal documents: letters and diaries, annotated paintings, and countless self-portraits and portraits of his contemporaries. All evidence points out that the great artist seems to have been a great human being, too – if a bit suffering.

Let us pass to the dining room. The generous glazing indicated wealth, both to inhabitants of the house and the citizens of Nuremberg. In this room, around 1885, Friedrich Wilhelm Wanderer, the previous possessor of the house furnished a prestigious "dining room," following the style of Historicism. The tiled stove dates from the 17th century.

Let us pass to the master's room. The staircase is thought to have been added in the 17th century. Until then, the various floors were a bit roomier than today. As in many other Nuremberg townhouses, access to the upper floors was probably via an external staircase in the courtyard.

In this room, we can learn about the gilding process and other color preparations. To get a gilded page with text or picture, the sheet of the book was usually removed from the book, placed on the gilder's cushion. By using a broad, long-haired gilder's brush, the wafer-thin gold cover was applied to the surface which has been treated with an adhesive substance. When gilding, the surface has to be covered first with a soft lay bole of clayey, "fatty" mud; only then can the gold be polished. In the middle ages, this was done using a wolf's, boar's, or a horse's tooth. Malted gold is applied like paint with a brush.

Showcase next to the door presents several materials the paints were made out. Lapis lazuli, semi-precious stone, was quarried in Afghanistan and brought over the sea to Venice. Monks in Venice specialized in the production of this azure paint. The stone was broken up, heated to 500 C, and ground to pale blue powder. This powder was blended with resin and wax into a mixture, which was then kneaded for hours. The kneading was then continued in cold water. This paint waa as valuable as gold Today's price: € 15,250,- per kilo. Arsenic sulfide is the mineral from Hungary. The powder was very poisonous and could only be used with a protective mask. Dürer liked to use this color when portraying black, blue tones. Semi-precious stone from Hoh Schwaz came from the copper mines. Schwaz was the second biggest town in Austria after Vien. 10.000 miners worked in these copper, and silver mines belong to a Fugagers patrician family from Augsburg. Dürer liked to use these green tones as a background color. Mercury sulfide. The alchemists heated yellow sulfur and mercury in the hope of producing gold. At a temperature of 500 C, it was disintegrating, leaving red powder. Ultramarine, Aurum pigment, Azurite, Malachite, Cinnabar, Dragon's blood, resin from a tropical tree; all of them were the essential ingredient for ink. Painters made white lead staunch ink. They were placing a roll of lead with vinegar in a receptacle, which was then put in the manure heap, thus exposing it to ammonia fumes and oxygen. After four weeks, the white crystals could be scraped off the lead. Heating to 350 C was producing yellow paint, to 480 C, orange-red. Mild vinegar was producing blue, sour vinegar, green tones. The insect lays its eggs in oak leaves, which then swell up with the development of the larvae (Cynipidae). These "gall apples" were dried and ground and mixed with sour wine and vitriol (ferrous sulfate) and brought to the boil, producing a brownish-black ink. Soot, egg-white, and water used to make black ink. Grit was used for transporting freshly mixed paint by sealing the edges of containers. The water-soluble resin was used as a binder for watercolors. Mastix - the resin from a bush found in Mediterranean countries, the pistacia lentiscus was used as a binder and as vanish, being especially transparent. Linseed oil or nut oil was used to produce the oil paints. Colors and pigments could be mixed at will.

"Albrecht Durer was the greatest painter of all time, unrivaled in engraving on copper," says Sofia Frankl, who has been working in Albrecht Duer House in her workshop for 25 years. Anyone who watches Sophia Frankl knows that the artist said: "You can print from 50 to 70 copies on one plate." By the way, Dürer's most famous works, such as a rabbit and hands, were not copper engravings. They were painted. Only Sofia Frankl engraved them on copper.

With the relief printing press, which can also be used for press, Albrecht Dürer himself printed his woodcuts. The exhibit is a reconstruction made in 1971, the Dürer year, based on one of Dürer's sketches from the year 1511. The printing (wooden) block wet with ink from leather pads is placed in a retractable carriage on an underframe. The sheet of paper to be printed is attached to a swiveling cover in a frame that also protects the edge of the page from dust. The layer of paper in the closed cover is then brought down onto the printing block. The spindle and the platen attached to it are screwed down with the aid of the bar. The platen exerts pressure on the paper and the printing block, whose lines relief leave an imprint on the paper – hence the name relief printing press. Printing was a particularly lengthy process, as each sheet of paper had to be inserted individually.

The Era of Geniuses Europe occurred around 1500. In 1503, Leonardo da Vinci created what is arguably the world's most famous painting Mona Liza, Albrecht Durer was working on the probably most influential copperplate engraving of all times his "Adam and Eve" of 1504. Since the 15th century, a breathtaking wave of renewal in visual art and architecture had been sweeping through large parts of Europe. We call this time the "Renaissance," referring to the rebirth of Antiquity. It started in Italy, but in Northern Europe was taken on in a very modified form. Here, the formal principles of the late Gothic period- prolific abundance and great attention to detail - remained valid for decades. Many German scholars studied at Italian universities and brought Humanism home with them. But around 1500, Italian scholars rejected the German "barbarians," which led to a kind of "national countermovement." Its spokesman, the famous poet, and scholar, Konrad Celtis, had been closely cooperating with Dürer. Thus Dürer had the opportunity to participate in the debates of his time with his works of art. Around 1500, Dürer's lifelong friendship began, with the essential Nuremberg humanist, Willibald Pirckheimer In 1494, Dürer traveled south, his destination unknown, but probably only managed to get as far as South Tyrol. In 1505 that he lived and worked in Venice for 18 months, painted a magnificent altarpiece for the German merchants there, and successfully sold his prints. Dürer irrevocably opened up the path from medieval craftsman to the autonomous, modern artist. We know more about the creative genius and human being Albrecht Dürer than about all the other artists of his epoch, but we still know far from everything. Dürer's parents were pious, and nothing points to the difference from Dürer himself. The church year, with its many holy days and devotions, permeated all areas of life, and the Bible was the highest moral authority in everyday life, too. About two-thirds of Dürer's enormous oeuvre dealt with religious topics, but Dürer's particular achievement is the completely novel, emotional treatment of old familiar issues. In 1525, Nuremberg, one of the most powerful city-states, gave an early and vital impetus to the Reformation. In 1520, Dürer opened himself enthusiastically to Martin Luther. But he also criticized the devastation wrought by the iconoclasts. Dürer's friend, Willibald Pirckheimer, later on, distanced himself from the new faith. Whether Dürer followed him in this, remains unclear. His artistic inheritance, the "Four Apostles", when painted in 1526 was not destined for a church, but for Nuremberg's City Hall: as a warning to Christians, whatever their denomination. And also, Albrecht specialized in an entirely new profession: that of book illustrator and free graphic artist. Many German scholars studied at Italian universities and brought Humanism home with them. But around 1500, Italian scholars rejected the German "barbarians," which led to a kind of "national countermovement." Its spokesman, the famous poet, and scholar, Konrad Celtis, had been closely cooperating with Dürer. Thus Dürer had the opportunity to participate in the debates of his time with his works of art. Around 1500, Dürer's lifelong friendship began, with the essential Nuremberg humanist, Willibald Pirckheimer In 1494, Dürer traveled south, his destination unknown, but probably only managed to get as far as South Tyrol. In 1505 that he lived and worked in Venice for 18 months, painted a magnificent altarpiece for the German merchants there, and successfully sold his prints. Dürer irrevocably opened up the path from medieval craftsman to the autonomous, modern artist. We know more about the creative genius and human being Albrecht Dürer than about all the other artists of his epoch, but we still know far from everything. Dürer's parents were pious, and nothing points to the difference from Dürer himself. The church year, with its many holy days and devotions, permeated all areas of life, and the Bible was the highest moral authority in everyday life, too. About two-thirds of Dürer's enormous oeuvre dealt with religious topics, but Dürer's particular achievement is the completely novel, emotional treatment of old familiar issues. In 1525, Nuremberg, one of the most powerful city-states, gave an early and vital impetus to the Reformation. In 1520, Dürer opened himself enthusiastically to Martin Luther. But he also criticized the devastation wrought by the iconoclasts. Dürer's friend, Willibald Pirckheimer, later on, distanced himself from the new faith. Whether Dürer followed him in this, remains unclear. His artistic inheritance, the "Four Apostles", when painted in 1526 was not destined for a church, but for Nuremberg's City Hall: as a warning to Christians, whatever their denomination. And also, Albrecht specialized in an entirely new profession: that of book illustrator and free graphic artist. With his "artist's book" of the Apocalypse of 1498 and the copperplate engraving of Cardinal Albrecht of 1519, he reinvented entire art genres anew. But mainly Dürer was the first person outside Italy to ask the central questions which still affect art today: What is beauty? What makes a genius? What can art express? What defines the role of art in society? Dürer's creations- around 100 paintings, 250 graphic prints, 1000 drawings, and three textbooks are as many attempts at finding answers to all these questions. Modern art seems to be 500 years old!

Selfportrait is the most famous painting by Durer. The history of this painting is also famous. In 1798 before the Napoleonic wars swept Europe, the painter, Wolfgang Küfner, who was later convicted of forging money, was commissioned to make a copy of Durer's self-portrait. Instead of the original portrait, he apparently returned a forgery of the picture, and this was at first not noticed in the turmoil of the French occupation. In 1805, Küfner offered the original painting to the directors of the Pinakothek Gallery in Munich - and art manager Maximilian bought it up at the price of 600 guilders. Thus to this day, the Alte Pinakothek in Munich displays a major work of European art history which was perhaps stolen. Almost ten years before, in 1786, Nuremberg City Council purchased a high-quality copy of one of the famous self-portraits of art history, from the collection of Johann Georg von Hagen. This picture still has riddles, these important facts such as the artist, the date and, most importantly, the reason for painting this copy remain mysterious. Even the back of the painting, with a layer of tow -a coarse fibrous material - glued onto the panel, was constructed similar to that of the original. In both cases, the purpose was to stabilize the painting surface which consisted of several thin wooden panels. Furthermore, there is a story of a "Patriotic Copy." In 1801, the Napoleonic forces occupying the city requisitioned Dürer's famous self-portrait for the "Musée central" in Paris. But someone in Nuremberg had covertly replaced the original with this copy - and the French did not realize they had been tricked.

The historic art bunker is a tunnel system under the Nuremberg Castle and forms a station of the Nuremberg Historic Mile. The rock passages have been created in the hard sandstone since the Middle Ages. From 1939, at the instigation of the then director of the Germanic National Museum Heinrich Kohlhaußen, numerous of these rock passages were used to protect works of art from bombing raids. From summer 1940 the rock cellar Obere Schmiedgasse 52 was reconstructed in 1941 the Neutorturm cellar, and from 1943, the passage under the palace was also turned into art bunker. The reconstruction ensured heating, ventilation, and drainage; the bunker extends up to 24 meters deep and supplies optimal conditions. Today the shelter is the first fully automated museum in Nuremberg.

This part of the city partially survived during World War II. However, it burned several times in the Middle Ages. This is how the chronicles in Nuremberg describe the fire: an arc of flame and fire arose over the street, forcing everyone to step down to earth. Attempts to tear down burning houses failed because appliances broke or burned. Burning houses spread the fire. It spread from Bebenhuiser-Hof, through the Messger and Sufer guild pipes, northwest of the market, and in lower Messgergan with tailors guild pipes, baths houses, and Somiebe, over Ho-Berpital with a church, sheds, and barrels in Stutt and Grau. Kramers did everything possible to destroy what the fire feeds but in vain.

The name Krämersgassen comes from Krämern (small traders). The street corner at Krämergassen 2 is one of the best-preserved parts of the modern old town. Tiny craft houses with half-timbered facades (No. 18, partially preserved from 1482) stand next to the broader stone buildings of higher quality. In the house of Ober Kraemergasse 12 from 1395, the founder and scribe Georg Kaper lived from 1453 to 1484. On the opposite corner, buildings on the upper floors are depicted, especially ancient half-timbered houses built-in 1452.

Today's Sebalder Platz, north of the Sebalduskirche, is the venue for the Nuremberg Bardentreffen (German: bards' meeting) is an annual open-air music festival. In earlier centuries, this place was less festive - until 1520, the area was part of the Sebald Cemetery. Almost in the middle of the Platz, there is a memorial plate on the earth mentioning the Moritz chapel built from 1313, which housed a traditional sausage kitchen that delivered food on the bell ringing. One of the six pharmacies that still existed at the end of the imperial city era, the Kugel pharmacy, is located in the house on the east side of the plaza.

The Bratwurst means grilled or fried sausage. The Bratwurst Röslein - is the largest bratwurst restaurant in the world was first opened in 1431. Up to 600 guests can be accommodated in four different rooms with a cozy authentic atmosphere. BRATWURST RÖSLEIN is considered the oldest restaurant in the city. Today it is run by the Förster family, which prides itself on the quality of the meat, the quality of the roast, and the number of seats in the restaurant. Pork is delivered to the restaurant's kitchen by farmers in Berching, and Steigerwald, beef comes from Angus Manufaktur Franken. The traditions of roasting meat are transmitted from the grandfather of Herman Förster. Franconian wines come from Rainer Mueller wineries. Beer is brewed by hand at the traditional Tucher brewery. Special Tucher Rotbier from a wooden barrel - made for the restaurant on Schillerplatz.

The restaurant is respected among the participants of the traditional summer song festival. For example, a visit to the restaurant by star tenor Andrea Bocelli on August 19 was an event. The Italian has appreciated German cuisine! By the way, then the slogan appeared: Sing, drink and eat like Bocelli. Most of all, the famous tenor liked smoked pork fillet in caraway seeds with wild mushroom sauce on a bruschetta topped with tomatoes. Red mullet with gorgonzola cheese was served as an appetizer.

You can buy Nuremberg ' s famous sweetly - spiced Lebkuchen gingerbread - initially a Christmas treat, but now available all year round - at Wicklein at Hauptmarkt 7 ( Mon - Fri 9 . 30am - 6 . 30pm, Sat 9 . 30am - 4 pm). Karl Wicklein took over the management of the company together with Christa Walter (née Wicklein). Both families rebuilt the factory, situated on the Bucher Straße in Nuremberg, which was destroyed in the Second World War. In 1972 Karl Wicklein died, being only 47 years old. Christa`s son, Ernst-August Walter, managed the company from 1972-1988, together with his sister Christa Eder (née Walter). In 1988, the gingerbread- and sweets factory Gottfried Wicklein was taken over by Lebkuchen-Schmidt. Today, Wicklein Lebkuchen is the leading brand for Original Nürnberger Lebkuchen – regionally, nationally and internationally known and loved for a good reason! Till today, the famous Wicklein gingerbread still owes its special flavor to our old recipes, which are true to the traditional handicraft. http://www.wicklein.de/en/

This monument is dedicated to the fallen and missing soldiers natives of Nuremberg as part of the twenty-first infantry regiment during the Second World War. The history of this regiment has a special symbolism for the inhabitants of Nuremberg. It would have been formed in 1921 after the First World War and equipped with the remnants of the state regiments 45, 46 and 47 and received the Bavarian prefix to its name. Despite this, during the beer coup Hitler in Munich, the regiment remained faithful to state power in Berlin. In 1934, after Hitler came to power, the regiment was divided into the Nuremberg and Bavarian composition.

This square is named after the King of Bavaria Ludwig. He was one of the most unusual kings of Germany in the nineteenth century. He built the most beautiful castles that inspired Walt Disney to create his famous castle at the beginning of each cartoon. Ludwig could not live without Wagner's music. Ludwig was deprived of governing the country. He drowned in a lake under unclear circumstances. As a reprise to an unusual king, an unusual fountain is installed in the square. It is called the carousel of family life—his images based on the characters of Hans Sachs - the most famous Nuremberg meistersinger.

Hans Sachs-Brunnen is a primary architectural fountain in Nuremberg. It is located right at the intersection of the streets of the pedestrian zone. This fountain is also known as Ehekarussell or Ehebrunnen. We are familiar with the oeuvre of Hans Sachs, thanks to the square in his honor in the city. Jorgen Weber - the sculptor of "The Ship of Fools" designed this fountain. By the way, this work was the first and caused much more controversy than the Fools Ship presented four years later in 1988. The storyline of figures at the fountain is based on a poem by Hans Sachs, "Das bittersweet eh' lich Leben," written for the poet's wife. Six groups of figures show the ups and downs of family life from sweety falling in love until bitter quarrels. Hans Sachs is also featured on a pedestal.

Scene "Idyll." A caring mother feeds children with apples on a bed in the form of a pelican - a symbol of motherhood.

Scene "Routine." The couple remained alone: the exhausted, but dreaming husband and domineering wife eats a piece of cake.

Scene "Apogee." Husband and wife are tired of quarrels, but can not live one without another.

Scene "Final." A colossal dragon raises a couple of skeletons from the depths of Hell. The couple has already died, but still together in the next world.

Further, in a circle of the fountain, you can see again the young woman crawling out of the water, a goat as a symbol of life, and you understand that the carousel of life whirls further.

The tower name is derived from the white plastering of the brick masonry that is not preserved. The tower was originally part of the Inner Spittler Gate named after the former Elisabeth Hospital. The gate was probably built around 1250 and originally also served as a toll road. The demolition of the gate planned after the transfer of the imperial city to Bavaria was prevented by the resistance of the citizens of Nuremberg. The medieval church of St Jacob that is clearly seen in front of the withe gate was possessed be Teutonic knights until the first half of the ninth century when Napoleon Bonaparte ordered the Order dissolution.

On June 23, 1999, a flashlight converted to a pipe bomb exploded in a Turkish-born restaurant in Nuremberg. After a lengthy investigation and trial, the federal prosecutor considered this act as "the NSU's first racist, extremist-motivated offense." The so-called National Socialist Underground (NSU) was a neo-Nazi terrorist organization in Germany that was formed around 1999 and aimed to murder people with a migration background based on racist and xenophobic motives. Between 2000 and 2007, they killed nine migrants and one police officer, carried out 43 attempted murders, three bombing attacks, and 15 robberies.