As a merchant active across Europe, Konrad Rehlinger (1470–1553, see inv. no. WAF 1064) was a member of one of the oldest patrician families of the Free Imperial City of Augsburg—and one of the city’s richest sons at that. Together with business partners, he ran a successful trading centre at the Fondaco dei Tedeschi in Venice. His house opposite the Augsburg town hall was admired for its almost Oriental splendour. The portraits were painted two years after the death of Konrad’s wife, Barbara (née Walther). The composition is defined in such a way that the backdrops of both panels merge into one large, coherent window view, just as the pictorial space in general is to be understood as one single room. Although essentially a votive picture, the painting is recognized in the history of portraiture as an early full-length portrait depicting members of the new class of prosperous burghers.