The Altar

The artist used his altarpiece view of the figure personnel and the composition of other works of art. A round arch supported by richly decorated pillars is divided into three horizontal segments. The tympanum is completed by a mutual copy after Dürer’s 1511 designed woodcut “The Holy Trinity (The Mercy Chair).” The planes below each house three scenes, which are separated by pillars. The cross acceptance on the left is followed by a mutual copy after Dürer’s 1509 made copper engraving, “Der SchDer ensmann an der Der”, which is commonly considered the title page of his copper engraving passion (cf. I Bb 3 of the State Library Bamberg). On the right there is an adaptation of Dürer’s 1510 designed woodcut “Assumption and Coronation,” part of his 1511 with Latin texts of the Chelidonius “Marienleben” (cf. I F 53 of the State Library Bamberg). In the lower level, just above the two kneeling pen figures and coat of arms shields, there is a Saint Christopher, Saint Barbara and a view into the Purgatory, reminiscent of Dürer’s realizations of the figure. The grooves formed by the round arch are filled by two angels, which act as a coat of arms holder. Neither an indication of the creators of the visual ideas nor the actual artist or the time of creation is integrated into the representation. According to Heller, there are prints printed by two plates in light dark (cf. Heller Dürer 1827 II.782,2054).