Auhauser All Saints Altar
Auhauser All Saints Altar
1513
The central panel of the altarpiece depicts, in the lower section, which occupies less than half the height of the image, the Adoration of the Lamb by the Patriarchs, Prophets, and Apostles, and in the upper section, the Coronation of the Virgin surrounded by choirs of angels. The spatial division is achieved by means of narrow bands of clouds. Wherever the background is visible, it is blue. (...) On both sides, the nine choirs of angels are arranged one above the other, (...) Below, those adoring the Lamb are gathered on a bank of clouds. They are separated into two groups: on the left, the representatives of the Old Testament, i.e., the Patriarchs and Prophets, and on the right, those of the New Testament, the Apostles. The arrangement of the two groups is strictly symmetrical. Towards the center, there is a kneeling figure: on the left, Moses with the Tablets of the Law, and on the right, Paul with the sword. On either side, a smaller kneeling figure is placed alongside a standing figure. On the left are Abraham with Isaac, and on the right, Matthew with the donor, Georg Truchseß von Wetzhausen. (...) The left wing depicts the martyrs at the top, some carrying palm branches. They are predominantly represented by the Fourteen Holy Helpers, but fifteen saints are depicted, and Stephen, Lawrence, and Sebastian are not among the Fourteen Holy Helpers. (...) The panel at the top right depicts the Confessors, namely Church Fathers, bishops, and founders of religious orders. In the foreground, kneeling on clouds, are Jerome, Gregory, Francis, and Benedict. Nicholas and Wolfgang can be identified in the rear row. (...) The lower panel of the left wing shows Emperor Henry and Cunigunde, female saints, co-donors of the altarpiece (?), and a self-portrait of Schäufelin. In the foreground, kneeling on clouds, are the holy imperial couple and Saints Catherine and Barbara. Behind Henry follows Elizabeth of Thuringia. On the left appears a group of civic-dressed and clerical dignitaries, none of whom have halos – these are likely co-founders of the altarpiece. The group is led on the right by Schäufelin himself, depicted as a curly-haired, full-bearded man in a robe. In his left hand, he holds a small tablet with the monogram HS and a small shovel. To the right stand female saints, some carrying palm fronds. They can be identified as Apollonia, Anne with the Virgin and Child, and Ottilia. The gray-blue sky is overcast. On the lower panel of the right wing, "poor souls" are depicted in purgatory. Two angels descend from above and draw two of the souls, represented as human figures, from the sea of flames. Quoted from: Christof Metzger: Hans Schäufelin as a Painter, German Publishing House for Art History, Berlin 2002, pp. 314–329 ___________________ The church's most precious furnishing is the large high altar, whose paintings were created in 1513 by Hans Schäufelin and his assistant Sebastian Daig. It is the only work by the artist to remain in its original location. With these panel paintings, which present their narratives rather calmly and without excessive drama, Schäufelin had achieved his mature style. The theological program likely originated with the patron, Abbot Georg: the main panel depicts the Coronation of Mary and the Lamb of God, surrounded by the heavenly hosts and the symbols of the Evangelists, with the Holy Spirit above and the representatives of the Old and New Testaments below, including a portrait of the donor. Movable wings, Inside: left, martyrs (Schäufelein's self-portrait in the background at the bottom left); right, popes, Church Fathers, bishops, and founders of religious orders, Purgatory; Outside: Passion of Christ. On the fixed wings, Saints George, Christopher, Jerome, and Benedict. Predella inside: Christ in Limbo, Pope Innocent II (?) with monastery and church in the background, Noli me tangere, Resurrection of Christ, Doubting Thomas; outside: Saints Anne with the Virgin and Child and Ottilia, Scholastica, and Barbara. Quoted from: Dehio, Swabia, edited by Bruno Bushart and Georg Paula Darmstadt, 1989, pp. 146–147
Location: Auhausen, former Benedictine monastery church
Design: Schäufelin, Hans
Realization: Schäufelin, Hans
Depicted: Schäufelin, Hans
photo 2018, Pablo de la Riestra
Auhauser All Saints Altar
1513
Coronation of the Virgin, lower right Georg Truchsess von Wetzhausen (1465–1552), the last abbot of Auhausen Abbey on the Wörnitz River
The central panel of the altarpiece depicts, in the lower section, which occupies less than half the height of the image, the Adoration of the Lamb by the Patriarchs, Prophets, and Apostles, and in the upper section, the Coronation of the Virgin surrounded by choirs of angels. The spatial division is achieved by means of narrow bands of clouds. Wherever the background is visible, it is blue. (...) On both sides, the nine choirs of angels are arranged one above the other, (...) Below, those adoring the Lamb are gathered on a bank of clouds. They are separated into two groups: on the left, the representatives of the Old Testament, i.e., the Patriarchs and Prophets, and on the right, those of the New Testament, the Apostles. The arrangement of the two groups is strictly symmetrical. Towards the center, there is a kneeling figure: on the left, Moses with the Tablets of the Law, and on the right, Paul with the sword. On either side, a smaller kneeling figure is placed alongside a standing figure. On the left are Abraham with Isaac, and on the right, Matthew with the donor, Georg Truchseß von Wetzhausen. (...) The left wing depicts the martyrs at the top, some carrying palm branches. They are predominantly represented by the Fourteen Holy Helpers, but fifteen saints are depicted, and Stephen, Lawrence, and Sebastian are not among the Fourteen Holy Helpers. (...) The panel at the top right depicts the Confessors, namely Church Fathers, bishops, and founders of religious orders. In the foreground, kneeling on clouds, are Jerome, Gregory, Francis, and Benedict. Nicholas and Wolfgang can be identified in the rear row. (...) The lower panel of the left wing shows Emperor Henry and Cunigunde, female saints, co-donors of the altarpiece (?), and a self-portrait of Schäufelin. In the foreground, kneeling on clouds, are the holy imperial couple and Saints Catherine and Barbara. Behind Henry follows Elizabeth of Thuringia. On the left appears a group of civic-dressed and clerical dignitaries, none of whom have halos – these are likely co-founders of the altarpiece. The group is led on the right by Schäufelin himself, depicted as a curly-haired, full-bearded man in a robe. In his left hand, he holds a small tablet with the monogram HS and a small shovel. To the right stand female saints, some carrying palm fronds. They can be identified as Apollonia, Anne with the Virgin and Child, and Ottilia. The gray-blue sky is overcast. On the lower panel of the right wing, "poor souls" are depicted in purgatory. Two angels descend from above and draw two of the souls, represented as human figures, from the sea of flames. Quoted from: Christof Metzger: Hans Schäufelin as a Painter, German Publishing House for Art History, Berlin 2002, pp. 314–329 ___________________ The church's most precious furnishing is the large high altar, whose paintings were created in 1513 by Hans Schäufelin and his assistant Sebastian Daig. It is the only work by the artist to remain in its original location. With these panel paintings, which present their narratives rather calmly and without excessive drama, Schäufelin had achieved his mature style. The theological program likely originated with the patron, Abbot Georg: the main panel depicts the Coronation of Mary and the Lamb of God, surrounded by the heavenly hosts and the symbols of the Evangelists, with the Holy Spirit above and the representatives of the Old and New Testaments below, including a portrait of the donor. Movable wings, Inside: left, martyrs (Schäufelein's self-portrait in the background at the bottom left); right, popes, Church Fathers, bishops, and founders of religious orders, Purgatory; Outside: Passion of Christ. On the fixed wings, Saints George, Christopher, Jerome, and Benedict. Predella inside: Christ in Limbo, Pope Innocent II (?) with monastery and church in the background, Noli me tangere, Resurrection of Christ, Doubting Thomas; outside: Saints Anne with the Virgin and Child and Ottilia, Scholastica, and Barbara. Quoted from: Dehio, Swabia, edited by Bruno Bushart and Georg Paula Darmstadt, 1989, pp. 146–147
Location: Auhausen, former Benedictine monastery church
Design: Schäufelin, Hans
Realization: Schäufelin, Hans
Depicted: Schäufelin, Hans
photo 2018, Pablo de la Riestra
Auhauser All Saints Altar
1513
Coronation of the Virgin, detail with Holy Spirit, symbols of the Evangelists, John and Matthew
photo 2018, Pablo de la Riestra
The central panel of the altarpiece depicts, in the lower section, which occupies less than half the height of the image, the Adoration of the Lamb by the Patriarchs, Prophets, and Apostles, and in the upper section, the Coronation of the Virgin surrounded by choirs of angels. The spatial division is achieved by means of narrow bands of clouds. Wherever the background is visible, it is blue. (...) On both sides, the nine choirs of angels are arranged one above the other, (...) Below, those adoring the Lamb are gathered on a bank of clouds. They are separated into two groups: on the left, the representatives of the Old Testament, i.e., the Patriarchs and Prophets, and on the right, those of the New Testament, the Apostles. The arrangement of the two groups is strictly symmetrical. Towards the center, there is a kneeling figure: on the left, Moses with the Tablets of the Law, and on the right, Paul with the sword. On either side, a smaller kneeling figure is placed alongside a standing figure. On the left are Abraham with Isaac, and on the right, Matthew with the donor, Georg Truchseß von Wetzhausen. (...) The left wing depicts the martyrs at the top, some carrying palm branches. They are predominantly represented by the Fourteen Holy Helpers, but fifteen saints are depicted, and Stephen, Lawrence, and Sebastian are not among the Fourteen Holy Helpers. (...) The panel at the top right depicts the Confessors, namely Church Fathers, bishops, and founders of religious orders. In the foreground, kneeling on clouds, are Jerome, Gregory, Francis, and Benedict. Nicholas and Wolfgang can be identified in the rear row. (...) The lower panel of the left wing shows Emperor Henry and Cunigunde, female saints, co-donors of the altarpiece (?), and a self-portrait of Schäufelin. In the foreground, kneeling on clouds, are the holy imperial couple and Saints Catherine and Barbara. Behind Henry follows Elizabeth of Thuringia. On the left appears a group of civic-dressed and clerical dignitaries, none of whom have halos – these are likely co-founders of the altarpiece. The group is led on the right by Schäufelin himself, depicted as a curly-haired, full-bearded man in a robe. In his left hand, he holds a small tablet with the monogram HS and a small shovel. To the right stand female saints, some carrying palm fronds. They can be identified as Apollonia, Anne with the Virgin and Child, and Ottilia. The gray-blue sky is overcast. On the lower panel of the right wing, "poor souls" are depicted in purgatory. Two angels descend from above and draw two of the souls, represented as human figures, from the sea of flames. Quoted from: Christof Metzger: Hans Schäufelin as a Painter, German Publishing House for Art History, Berlin 2002, pp. 314–329 ___________________ The church's most precious furnishing is the large high altar, whose paintings were created in 1513 by Hans Schäufelin and his assistant Sebastian Daig. It is the only work by the artist to remain in its original location. With these panel paintings, which present their narratives rather calmly and without excessive drama, Schäufelin had achieved his mature style. The theological program likely originated with the patron, Abbot Georg: the main panel depicts the Coronation of Mary and the Lamb of God, surrounded by the heavenly hosts and the symbols of the Evangelists, with the Holy Spirit above and the representatives of the Old and New Testaments below, including a portrait of the donor. Movable wings, Inside: left, martyrs (Schäufelein's self-portrait in the background at the bottom left); right, popes, Church Fathers, bishops, and founders of religious orders, Purgatory; Outside: Passion of Christ. On the fixed wings, Saints George, Christopher, Jerome, and Benedict. Predella inside: Christ in Limbo, Pope Innocent II (?) with monastery and church in the background, Noli me tangere, Resurrection of Christ, Doubting Thomas; outside: Saints Anne with the Virgin and Child and Ottilia, Scholastica, and Barbara. Quoted from: Dehio, Swabia, edited by Bruno Bushart and Georg Paula Darmstadt, 1989, pp. 146–147
Location: Auhausen, former Benedictine monastery church
Design: Schäufelin, Hans
Realization: Schäufelin, Hans
Depicted: Schäufelin, Hans
Auhauser All Saints Altar
1513
Coronation scene, Mary between Jesus and God the Father
The central panel of the altarpiece depicts, in the lower section, which occupies less than half the height of the image, the Adoration of the Lamb by the Patriarchs, Prophets, and Apostles, and in the upper section, the Coronation of the Virgin surrounded by choirs of angels. The spatial division is achieved by means of narrow bands of clouds. Wherever the background is visible, it is blue. (...) On both sides, the nine choirs of angels are arranged one above the other, (...) Below, those adoring the Lamb are gathered on a bank of clouds. They are separated into two groups: on the left, the representatives of the Old Testament, i.e., the Patriarchs and Prophets, and on the right, those of the New Testament, the Apostles. The arrangement of the two groups is strictly symmetrical. Towards the center, there is a kneeling figure: on the left, Moses with the Tablets of the Law, and on the right, Paul with the sword. On either side, a smaller kneeling figure is placed alongside a standing figure. On the left are Abraham with Isaac, and on the right, Matthew with the donor, Georg Truchseß von Wetzhausen. (...) The left wing depicts the martyrs at the top, some carrying palm branches. They are predominantly represented by the Fourteen Holy Helpers, but fifteen saints are depicted, and Stephen, Lawrence, and Sebastian are not among the Fourteen Holy Helpers. (...) The panel at the top right depicts the Confessors, namely Church Fathers, bishops, and founders of religious orders. In the foreground, kneeling on clouds, are Jerome, Gregory, Francis, and Benedict. Nicholas and Wolfgang can be identified in the rear row. (...) The lower panel of the left wing shows Emperor Henry and Cunigunde, female saints, co-donors of the altarpiece (?), and a self-portrait of Schäufelin. In the foreground, kneeling on clouds, are the holy imperial couple and Saints Catherine and Barbara. Behind Henry follows Elizabeth of Thuringia. On the left appears a group of civic-dressed and clerical dignitaries, none of whom have halos – these are likely co-founders of the altarpiece. The group is led on the right by Schäufelin himself, depicted as a curly-haired, full-bearded man in a robe. In his left hand, he holds a small tablet with the monogram HS and a small shovel. To the right stand female saints, some carrying palm fronds. They can be identified as Apollonia, Anne with the Virgin and Child, and Ottilia. The gray-blue sky is overcast. On the lower panel of the right wing, "poor souls" are depicted in purgatory. Two angels descend from above and draw two of the souls, represented as human figures, from the sea of flames. Quoted from: Christof Metzger: Hans Schäufelin as a Painter, German Publishing House for Art History, Berlin 2002, pp. 314–329 ___________________ The church's most precious furnishing is the large high altar, whose paintings were created in 1513 by Hans Schäufelin and his assistant Sebastian Daig. It is the only work by the artist to remain in its original location. With these panel paintings, which present their narratives rather calmly and without excessive drama, Schäufelin had achieved his mature style. The theological program likely originated with the patron, Abbot Georg: the main panel depicts the Coronation of Mary and the Lamb of God, surrounded by the heavenly hosts and the symbols of the Evangelists, with the Holy Spirit above and the representatives of the Old and New Testaments below, including a portrait of the donor. Movable wings, Inside: left, martyrs (Schäufelein's self-portrait in the background at the bottom left); right, popes, Church Fathers, bishops, and founders of religious orders, Purgatory; Outside: Passion of Christ. On the fixed wings, Saints George, Christopher, Jerome, and Benedict. Predella inside: Christ in Limbo, Pope Innocent II (?) with monastery and church in the background, Noli me tangere, Resurrection of Christ, Doubting Thomas; outside: Saints Anne with the Virgin and Child and Ottilia, Scholastica, and Barbara. Quoted from: Dehio, Swabia, edited by Bruno Bushart and Georg Paula Darmstadt, 1989, pp. 146–147
Location: Auhausen, former Benedictine monastery church
Design: Schäufelin, Hans
Realization: Schäufelin, Hans
Depicted: Schäufelin, Hans
photo 2018, Pablo de la Riestra
Auhauser All Saints Altar
1513
Coronation of the Virgin, detail view with three choirs of angels and scrolls: POTESTATES, VIRTVTES and ARCHANGELI (Powers, Mights and Archangels)
The central panel of the altarpiece depicts, in the lower section, which occupies less than half the height of the image, the Adoration of the Lamb by the Patriarchs, Prophets, and Apostles, and in the upper section, the Coronation of the Virgin surrounded by choirs of angels. The spatial division is achieved by means of narrow bands of clouds. Wherever the background is visible, it is blue. (...) On both sides, the nine choirs of angels are arranged one above the other, (...) Below, those adoring the Lamb are gathered on a bank of clouds. They are separated into two groups: on the left, the representatives of the Old Testament, i.e., the Patriarchs and Prophets, and on the right, those of the New Testament, the Apostles. The arrangement of the two groups is strictly symmetrical. Towards the center, there is a kneeling figure: on the left, Moses with the Tablets of the Law, and on the right, Paul with the sword. On either side, a smaller kneeling figure is placed alongside a standing figure. On the left are Abraham with Isaac, and on the right, Matthew with the donor, Georg Truchseß von Wetzhausen. (...) The left wing depicts the martyrs at the top, some carrying palm branches. They are predominantly represented by the Fourteen Holy Helpers, but fifteen saints are depicted, and Stephen, Lawrence, and Sebastian are not among the Fourteen Holy Helpers. (...) The panel at the top right depicts the Confessors, namely Church Fathers, bishops, and founders of religious orders. In the foreground, kneeling on clouds, are Jerome, Gregory, Francis, and Benedict. Nicholas and Wolfgang can be identified in the rear row. (...) The lower panel of the left wing shows Emperor Henry and Cunigunde, female saints, co-donors of the altarpiece (?), and a self-portrait of Schäufelin. In the foreground, kneeling on clouds, are the holy imperial couple and Saints Catherine and Barbara. Behind Henry follows Elizabeth of Thuringia. On the left appears a group of civic-dressed and clerical dignitaries, none of whom have halos – these are likely co-founders of the altarpiece. The group is led on the right by Schäufelin himself, depicted as a curly-haired, full-bearded man in a robe. In his left hand, he holds a small tablet with the monogram HS and a small shovel. To the right stand female saints, some carrying palm fronds. They can be identified as Apollonia, Anne with the Virgin and Child, and Ottilia. The gray-blue sky is overcast. On the lower panel of the right wing, "poor souls" are depicted in purgatory. Two angels descend from above and draw two of the souls, represented as human figures, from the sea of flames. Quoted from: Christof Metzger: Hans Schäufelin as a Painter, German Publishing House for Art History, Berlin 2002, pp. 314–329 ___________________ The church's most precious furnishing is the large high altar, whose paintings were created in 1513 by Hans Schäufelin and his assistant Sebastian Daig. It is the only work by the artist to remain in its original location. With these panel paintings, which present their narratives rather calmly and without excessive drama, Schäufelin had achieved his mature style. The theological program likely originated with the patron, Abbot Georg: the main panel depicts the Coronation of Mary and the Lamb of God, surrounded by the heavenly hosts and the symbols of the Evangelists, with the Holy Spirit above and the representatives of the Old and New Testaments below, including a portrait of the donor. Movable wings, Inside: left, martyrs (Schäufelein's self-portrait in the background at the bottom left); right, popes, Church Fathers, bishops, and founders of religious orders, Purgatory; Outside: Passion of Christ. On the fixed wings, Saints George, Christopher, Jerome, and Benedict. Predella inside: Christ in Limbo, Pope Innocent II (?) with monastery and church in the background, Noli me tangere, Resurrection of Christ, Doubting Thomas; outside: Saints Anne with the Virgin and Child and Ottilia, Scholastica, and Barbara. Quoted from: Dehio, Swabia, edited by Bruno Bushart and Georg Paula Darmstadt, 1989, pp. 146–147
Location: Auhausen, former Benedictine monastery church
Design: Schäufelin, Hans
Realization: Schäufelin, Hans
Depicted: Schäufelin, Hans
photo 2018, Theo Noll
Auhauser All Saints Altar
1513
Coronation of the Virgin, detail view with representatives of the Old Testament: in the front left, Abraham and Isaac; in the center, King David with the harp; and on the right, Moses with the tablets of the law.
The central panel of the altarpiece depicts, in the lower section, which occupies less than half the height of the image, the Adoration of the Lamb by the Patriarchs, Prophets, and Apostles, and in the upper section, the Coronation of the Virgin surrounded by choirs of angels. The spatial division is achieved by means of narrow bands of clouds. Wherever the background is visible, it is blue. (...) On both sides, the nine choirs of angels are arranged one above the other, (...) Below, those adoring the Lamb are gathered on a bank of clouds. They are separated into two groups: on the left, the representatives of the Old Testament, i.e., the Patriarchs and Prophets, and on the right, those of the New Testament, the Apostles. The arrangement of the two groups is strictly symmetrical. Towards the center, there is a kneeling figure: on the left, Moses with the Tablets of the Law, and on the right, Paul with the sword. On either side, a smaller kneeling figure is placed alongside a standing figure. On the left are Abraham with Isaac, and on the right, Matthew with the donor, Georg Truchseß von Wetzhausen. (...) The left wing depicts the martyrs at the top, some carrying palm branches. They are predominantly represented by the Fourteen Holy Helpers, but fifteen saints are depicted, and Stephen, Lawrence, and Sebastian are not among the Fourteen Holy Helpers. (...) The panel at the top right depicts the Confessors, namely Church Fathers, bishops, and founders of religious orders. In the foreground, kneeling on clouds, are Jerome, Gregory, Francis, and Benedict. Nicholas and Wolfgang can be identified in the rear row. (...) The lower panel of the left wing shows Emperor Henry and Cunigunde, female saints, co-donors of the altarpiece (?), and a self-portrait of Schäufelin. In the foreground, kneeling on clouds, are the holy imperial couple and Saints Catherine and Barbara. Behind Henry follows Elizabeth of Thuringia. On the left appears a group of civic-dressed and clerical dignitaries, none of whom have halos – these are likely co-founders of the altarpiece. The group is led on the right by Schäufelin himself, depicted as a curly-haired, full-bearded man in a robe. In his left hand, he holds a small tablet with the monogram HS and a small shovel. To the right stand female saints, some carrying palm fronds. They can be identified as Apollonia, Anne with the Virgin and Child, and Ottilia. The gray-blue sky is overcast. On the lower panel of the right wing, "poor souls" are depicted in purgatory. Two angels descend from above and draw two of the souls, represented as human figures, from the sea of flames. Quoted from: Christof Metzger: Hans Schäufelin as a Painter, German Publishing House for Art History, Berlin 2002, pp. 314–329 ___________________ The church's most precious furnishing is the large high altar, whose paintings were created in 1513 by Hans Schäufelin and his assistant Sebastian Daig. It is the only work by the artist to remain in its original location. With these panel paintings, which present their narratives rather calmly and without excessive drama, Schäufelin had achieved his mature style. The theological program likely originated with the patron, Abbot Georg: the main panel depicts the Coronation of Mary and the Lamb of God, surrounded by the heavenly hosts and the symbols of the Evangelists, with the Holy Spirit above and the representatives of the Old and New Testaments below, including a portrait of the donor. Movable wings, Inside: left, martyrs (Schäufelein's self-portrait in the background at the bottom left); right, popes, Church Fathers, bishops, and founders of religious orders, Purgatory; Outside: Passion of Christ. On the fixed wings, Saints George, Christopher, Jerome, and Benedict. Predella inside: Christ in Limbo, Pope Innocent II (?) with monastery and church in the background, Noli me tangere, Resurrection of Christ, Doubting Thomas; outside: Saints Anne with the Virgin and Child and Ottilia, Scholastica, and Barbara. Quoted from: Dehio, Swabia, edited by Bruno Bushart and Georg Paula Darmstadt, 1989, pp. 146–147
Location: Auhausen, former Benedictine monastery church
Design: Schäufelin, Hans
Realization: Schäufelin, Hans
Depicted: Schäufelin, Hans
photo 2018, Theo Noll
Auhauser All Saints Altar
1513
Coronation of the Virgin, detail view with representatives of the Old Testament: in the front left, Abraham and Isaac; in the center, King David with the harp; and on the right, Moses with the tablets of the law.
The central panel of the altarpiece depicts, in the lower section, which occupies less than half the height of the image, the Adoration of the Lamb by the Patriarchs, Prophets, and Apostles, and in the upper section, the Coronation of the Virgin surrounded by choirs of angels. The spatial division is achieved by means of narrow bands of clouds. Wherever the background is visible, it is blue. (...) On both sides, the nine choirs of angels are arranged one above the other, (...) Below, those adoring the Lamb are gathered on a bank of clouds. They are separated into two groups: on the left, the representatives of the Old Testament, i.e., the Patriarchs and Prophets, and on the right, those of the New Testament, the Apostles. The arrangement of the two groups is strictly symmetrical. Towards the center, there is a kneeling figure: on the left, Moses with the Tablets of the Law, and on the right, Paul with the sword. On either side, a smaller kneeling figure is placed alongside a standing figure. On the left are Abraham with Isaac, and on the right, Matthew with the donor, Georg Truchseß von Wetzhausen. (...) The left wing depicts the martyrs at the top, some carrying palm branches. They are predominantly represented by the Fourteen Holy Helpers, but fifteen saints are depicted, and Stephen, Lawrence, and Sebastian are not among the Fourteen Holy Helpers. (...) The panel at the top right depicts the Confessors, namely Church Fathers, bishops, and founders of religious orders. In the foreground, kneeling on clouds, are Jerome, Gregory, Francis, and Benedict. Nicholas and Wolfgang can be identified in the rear row. (...) The lower panel of the left wing shows Emperor Henry and Cunigunde, female saints, co-donors of the altarpiece (?), and a self-portrait of Schäufelin. In the foreground, kneeling on clouds, are the holy imperial couple and Saints Catherine and Barbara. Behind Henry follows Elizabeth of Thuringia. On the left appears a group of civic-dressed and clerical dignitaries, none of whom have halos – these are likely co-founders of the altarpiece. The group is led on the right by Schäufelin himself, depicted as a curly-haired, full-bearded man in a robe. In his left hand, he holds a small tablet with the monogram HS and a small shovel. To the right stand female saints, some carrying palm fronds. They can be identified as Apollonia, Anne with the Virgin and Child, and Ottilia. The gray-blue sky is overcast. On the lower panel of the right wing, "poor souls" are depicted in purgatory. Two angels descend from above and draw two of the souls, represented as human figures, from the sea of flames. Quoted from: Christof Metzger: Hans Schäufelin as a Painter, German Publishing House for Art History, Berlin 2002, pp. 314–329 ___________________ The church's most precious furnishing is the large high altar, whose paintings were created in 1513 by Hans Schäufelin and his assistant Sebastian Daig. It is the only work by the artist to remain in its original location. With these panel paintings, which present their narratives rather calmly and without excessive drama, Schäufelin had achieved his mature style. The theological program likely originated with the patron, Abbot Georg: the main panel depicts the Coronation of Mary and the Lamb of God, surrounded by the heavenly hosts and the symbols of the Evangelists, with the Holy Spirit above and the representatives of the Old and New Testaments below, including a portrait of the donor. Movable wings, Inside: left, martyrs (Schäufelein's self-portrait in the background at the bottom left); right, popes, Church Fathers, bishops, and founders of religious orders, Purgatory; Outside: Passion of Christ. On the fixed wings, Saints George, Christopher, Jerome, and Benedict. Predella inside: Christ in Limbo, Pope Innocent II (?) with monastery and church in the background, Noli me tangere, Resurrection of Christ, Doubting Thomas; outside: Saints Anne with the Virgin and Child and Ottilia, Scholastica, and Barbara. Quoted from: Dehio, Swabia, edited by Bruno Bushart and Georg Paula Darmstadt, 1989, pp. 146–147
Location: Auhausen, former Benedictine monastery church
Design: Schäufelin, Hans
Realization: Schäufelin, Hans
Depicted: Schäufelin, Hans
photo 2018, Pablo de la Riestra
Auhauser All Saints Altar
1513
Krönung Mariä, Detailansicht der rechten unteren Seite der Mitteltafel
The central panel of the altarpiece depicts, in the lower section, which occupies less than half the height of the image, the Adoration of the Lamb by the Patriarchs, Prophets, and Apostles, and in the upper section, the Coronation of the Virgin surrounded by choirs of angels. The spatial division is achieved by means of narrow bands of clouds. Wherever the background is visible, it is blue. (...) On both sides, the nine choirs of angels are arranged one above the other, (...) Below, those adoring the Lamb are gathered on a bank of clouds. They are separated into two groups: on the left, the representatives of the Old Testament, i.e., the Patriarchs and Prophets, and on the right, those of the New Testament, the Apostles. The arrangement of the two groups is strictly symmetrical. Towards the center, there is a kneeling figure: on the left, Moses with the Tablets of the Law, and on the right, Paul with the sword. On either side, a smaller kneeling figure is placed alongside a standing figure. On the left are Abraham with Isaac, and on the right, Matthew with the donor, Georg Truchseß von Wetzhausen. (...) The left wing depicts the martyrs at the top, some carrying palm branches. They are predominantly represented by the Fourteen Holy Helpers, but fifteen saints are depicted, and Stephen, Lawrence, and Sebastian are not among the Fourteen Holy Helpers. (...) The panel at the top right depicts the Confessors, namely Church Fathers, bishops, and founders of religious orders. In the foreground, kneeling on clouds, are Jerome, Gregory, Francis, and Benedict. Nicholas and Wolfgang can be identified in the rear row. (...) The lower panel of the left wing shows Emperor Henry and Cunigunde, female saints, co-donors of the altarpiece (?), and a self-portrait of Schäufelin. In the foreground, kneeling on clouds, are the holy imperial couple and Saints Catherine and Barbara. Behind Henry follows Elizabeth of Thuringia. On the left appears a group of civic-dressed and clerical dignitaries, none of whom have halos – these are likely co-founders of the altarpiece. The group is led on the right by Schäufelin himself, depicted as a curly-haired, full-bearded man in a robe. In his left hand, he holds a small tablet with the monogram HS and a small shovel. To the right stand female saints, some carrying palm fronds. They can be identified as Apollonia, Anne with the Virgin and Child, and Ottilia. The gray-blue sky is overcast. On the lower panel of the right wing, "poor souls" are depicted in purgatory. Two angels descend from above and draw two of the souls, represented as human figures, from the sea of flames. Quoted from: Christof Metzger: Hans Schäufelin as a Painter, German Publishing House for Art History, Berlin 2002, pp. 314–329 ___________________ The church's most precious furnishing is the large high altar, whose paintings were created in 1513 by Hans Schäufelin and his assistant Sebastian Daig. It is the only work by the artist to remain in its original location. With these panel paintings, which present their narratives rather calmly and without excessive drama, Schäufelin had achieved his mature style. The theological program likely originated with the patron, Abbot Georg: the main panel depicts the Coronation of Mary and the Lamb of God, surrounded by the heavenly hosts and the symbols of the Evangelists, with the Holy Spirit above and the representatives of the Old and New Testaments below, including a portrait of the donor. Movable wings, Inside: left, martyrs (Schäufelein's self-portrait in the background at the bottom left); right, popes, Church Fathers, bishops, and founders of religious orders, Purgatory; Outside: Passion of Christ. On the fixed wings, Saints George, Christopher, Jerome, and Benedict. Predella inside: Christ in Limbo, Pope Innocent II (?) with monastery and church in the background, Noli me tangere, Resurrection of Christ, Doubting Thomas; outside: Saints Anne with the Virgin and Child and Ottilia, Scholastica, and Barbara. Quoted from: Dehio, Swabia, edited by Bruno Bushart and Georg Paula Darmstadt, 1989, pp. 146–147
Location: Auhausen, former Benedictine monastery church
Design: Schäufelin, Hans
Realization: Schäufelin, Hans
Depicted: Schäufelin, Hans
photo 2018, Theo Noll
Auhauser All Saints Altar
1513
Coronation of the Virgin, detail view
The central panel of the altarpiece depicts, in the lower section, which occupies less than half the height of the image, the Adoration of the Lamb by the Patriarchs, Prophets, and Apostles, and in the upper section, the Coronation of the Virgin surrounded by choirs of angels. The spatial division is achieved by means of narrow bands of clouds. Wherever the background is visible, it is blue. (...) On both sides, the nine choirs of angels are arranged one above the other, (...) Below, those adoring the Lamb are gathered on a bank of clouds. They are separated into two groups: on the left, the representatives of the Old Testament, i.e., the Patriarchs and Prophets, and on the right, those of the New Testament, the Apostles. The arrangement of the two groups is strictly symmetrical. Towards the center, there is a kneeling figure: on the left, Moses with the Tablets of the Law, and on the right, Paul with the sword. On either side, a smaller kneeling figure is placed alongside a standing figure. On the left are Abraham with Isaac, and on the right, Matthew with the donor, Georg Truchseß von Wetzhausen. (...) The left wing depicts the martyrs at the top, some carrying palm branches. They are predominantly represented by the Fourteen Holy Helpers, but fifteen saints are depicted, and Stephen, Lawrence, and Sebastian are not among the Fourteen Holy Helpers. (...) The panel at the top right depicts the Confessors, namely Church Fathers, bishops, and founders of religious orders. In the foreground, kneeling on clouds, are Jerome, Gregory, Francis, and Benedict. Nicholas and Wolfgang can be identified in the rear row. (...) The lower panel of the left wing shows Emperor Henry and Cunigunde, female saints, co-donors of the altarpiece (?), and a self-portrait of Schäufelin. In the foreground, kneeling on clouds, are the holy imperial couple and Saints Catherine and Barbara. Behind Henry follows Elizabeth of Thuringia. On the left appears a group of civic-dressed and clerical dignitaries, none of whom have halos – these are likely co-founders of the altarpiece. The group is led on the right by Schäufelin himself, depicted as a curly-haired, full-bearded man in a robe. In his left hand, he holds a small tablet with the monogram HS and a small shovel. To the right stand female saints, some carrying palm fronds. They can be identified as Apollonia, Anne with the Virgin and Child, and Ottilia. The gray-blue sky is overcast. On the lower panel of the right wing, "poor souls" are depicted in purgatory. Two angels descend from above and draw two of the souls, represented as human figures, from the sea of flames. Quoted from: Christof Metzger: Hans Schäufelin as a Painter, German Publishing House for Art History, Berlin 2002, pp. 314–329 ___________________ The church's most precious furnishing is the large high altar, whose paintings were created in 1513 by Hans Schäufelin and his assistant Sebastian Daig. It is the only work by the artist to remain in its original location. With these panel paintings, which present their narratives rather calmly and without excessive drama, Schäufelin had achieved his mature style. The theological program likely originated with the patron, Abbot Georg: the main panel depicts the Coronation of Mary and the Lamb of God, surrounded by the heavenly hosts and the symbols of the Evangelists, with the Holy Spirit above and the representatives of the Old and New Testaments below, including a portrait of the donor. Movable wings, Inside: left, martyrs (Schäufelein's self-portrait in the background at the bottom left); right, popes, Church Fathers, bishops, and founders of religious orders, Purgatory; Outside: Passion of Christ. On the fixed wings, Saints George, Christopher, Jerome, and Benedict. Predella inside: Christ in Limbo, Pope Innocent II (?) with monastery and church in the background, Noli me tangere, Resurrection of Christ, Doubting Thomas; outside: Saints Anne with the Virgin and Child and Ottilia, Scholastica, and Barbara. Quoted from: Dehio, Swabia, edited by Bruno Bushart and Georg Paula Darmstadt, 1989, pp. 146–147
Location: Auhausen, former Benedictine monastery church
Design: Schäufelin, Hans
Realization: Schäufelin, Hans
Depicted: Schäufelin, Hans
photo 2018, Theo Noll
Auhauser All Saints Altar
1513
Coronation of the Virgin, detail view with three choirs of angels and scrolls (POTESTATES, VIRTVTES, ARCHANGELI and ANGELI) / in front, symbol of the Evangelists, St. Luke
The central panel of the altarpiece depicts, in the lower section, which occupies less than half the height of the image, the Adoration of the Lamb by the Patriarchs, Prophets, and Apostles, and in the upper section, the Coronation of the Virgin surrounded by choirs of angels. The spatial division is achieved by means of narrow bands of clouds. Wherever the background is visible, it is blue. (...) On both sides, the nine choirs of angels are arranged one above the other, (...) Below, those adoring the Lamb are gathered on a bank of clouds. They are separated into two groups: on the left, the representatives of the Old Testament, i.e., the Patriarchs and Prophets, and on the right, those of the New Testament, the Apostles. The arrangement of the two groups is strictly symmetrical. Towards the center, there is a kneeling figure: on the left, Moses with the Tablets of the Law, and on the right, Paul with the sword. On either side, a smaller kneeling figure is placed alongside a standing figure. On the left are Abraham with Isaac, and on the right, Matthew with the donor, Georg Truchseß von Wetzhausen. (...) The left wing depicts the martyrs at the top, some carrying palm branches. They are predominantly represented by the Fourteen Holy Helpers, but fifteen saints are depicted, and Stephen, Lawrence, and Sebastian are not among the Fourteen Holy Helpers. (...) The panel at the top right depicts the Confessors, namely Church Fathers, bishops, and founders of religious orders. In the foreground, kneeling on clouds, are Jerome, Gregory, Francis, and Benedict. Nicholas and Wolfgang can be identified in the rear row. (...) The lower panel of the left wing shows Emperor Henry and Cunigunde, female saints, co-donors of the altarpiece (?), and a self-portrait of Schäufelin. In the foreground, kneeling on clouds, are the holy imperial couple and Saints Catherine and Barbara. Behind Henry follows Elizabeth of Thuringia. On the left appears a group of civic-dressed and clerical dignitaries, none of whom have halos – these are likely co-founders of the altarpiece. The group is led on the right by Schäufelin himself, depicted as a curly-haired, full-bearded man in a robe. In his left hand, he holds a small tablet with the monogram HS and a small shovel. To the right stand female saints, some carrying palm fronds. They can be identified as Apollonia, Anne with the Virgin and Child, and Ottilia. The gray-blue sky is overcast. On the lower panel of the right wing, "poor souls" are depicted in purgatory. Two angels descend from above and draw two of the souls, represented as human figures, from the sea of flames. Quoted from: Christof Metzger: Hans Schäufelin as a Painter, German Publishing House for Art History, Berlin 2002, pp. 314–329 ___________________ The church's most precious furnishing is the large high altar, whose paintings were created in 1513 by Hans Schäufelin and his assistant Sebastian Daig. It is the only work by the artist to remain in its original location. With these panel paintings, which present their narratives rather calmly and without excessive drama, Schäufelin had achieved his mature style. The theological program likely originated with the patron, Abbot Georg: the main panel depicts the Coronation of Mary and the Lamb of God, surrounded by the heavenly hosts and the symbols of the Evangelists, with the Holy Spirit above and the representatives of the Old and New Testaments below, including a portrait of the donor. Movable wings, Inside: left, martyrs (Schäufelein's self-portrait in the background at the bottom left); right, popes, Church Fathers, bishops, and founders of religious orders, Purgatory; Outside: Passion of Christ. On the fixed wings, Saints George, Christopher, Jerome, and Benedict. Predella inside: Christ in Limbo, Pope Innocent II (?) with monastery and church in the background, Noli me tangere, Resurrection of Christ, Doubting Thomas; outside: Saints Anne with the Virgin and Child and Ottilia, Scholastica, and Barbara. Quoted from: Dehio, Swabia, edited by Bruno Bushart and Georg Paula Darmstadt, 1989, pp. 146–147
Location: Auhausen, former Benedictine monastery church
Design: Schäufelin, Hans
Realization: Schäufelin, Hans
Depicted: Schäufelin, Hans
photo 2018, Theo Noll
Auhauser All Saints Altar
1513
Coronation of the Virgin, detail view
The central panel of the altarpiece depicts, in the lower section, which occupies less than half the height of the image, the Adoration of the Lamb by the Patriarchs, Prophets, and Apostles, and in the upper section, the Coronation of the Virgin surrounded by choirs of angels. The spatial division is achieved by means of narrow bands of clouds. Wherever the background is visible, it is blue. (...) On both sides, the nine choirs of angels are arranged one above the other, (...) Below, those adoring the Lamb are gathered on a bank of clouds. They are separated into two groups: on the left, the representatives of the Old Testament, i.e., the Patriarchs and Prophets, and on the right, those of the New Testament, the Apostles. The arrangement of the two groups is strictly symmetrical. Towards the center, there is a kneeling figure: on the left, Moses with the Tablets of the Law, and on the right, Paul with the sword. On either side, a smaller kneeling figure is placed alongside a standing figure. On the left are Abraham with Isaac, and on the right, Matthew with the donor, Georg Truchseß von Wetzhausen. (...) The left wing depicts the martyrs at the top, some carrying palm branches. They are predominantly represented by the Fourteen Holy Helpers, but fifteen saints are depicted, and Stephen, Lawrence, and Sebastian are not among the Fourteen Holy Helpers. (...) The panel at the top right depicts the Confessors, namely Church Fathers, bishops, and founders of religious orders. In the foreground, kneeling on clouds, are Jerome, Gregory, Francis, and Benedict. Nicholas and Wolfgang can be identified in the rear row. (...) The lower panel of the left wing shows Emperor Henry and Cunigunde, female saints, co-donors of the altarpiece (?), and a self-portrait of Schäufelin. In the foreground, kneeling on clouds, are the holy imperial couple and Saints Catherine and Barbara. Behind Henry follows Elizabeth of Thuringia. On the left appears a group of civic-dressed and clerical dignitaries, none of whom have halos – these are likely co-founders of the altarpiece. The group is led on the right by Schäufelin himself, depicted as a curly-haired, full-bearded man in a robe. In his left hand, he holds a small tablet with the monogram HS and a small shovel. To the right stand female saints, some carrying palm fronds. They can be identified as Apollonia, Anne with the Virgin and Child, and Ottilia. The gray-blue sky is overcast. On the lower panel of the right wing, "poor souls" are depicted in purgatory. Two angels descend from above and draw two of the souls, represented as human figures, from the sea of flames. Quoted from: Christof Metzger: Hans Schäufelin as a Painter, German Publishing House for Art History, Berlin 2002, pp. 314–329 ___________________ The church's most precious furnishing is the large high altar, whose paintings were created in 1513 by Hans Schäufelin and his assistant Sebastian Daig. It is the only work by the artist to remain in its original location. With these panel paintings, which present their narratives rather calmly and without excessive drama, Schäufelin had achieved his mature style. The theological program likely originated with the patron, Abbot Georg: the main panel depicts the Coronation of Mary and the Lamb of God, surrounded by the heavenly hosts and the symbols of the Evangelists, with the Holy Spirit above and the representatives of the Old and New Testaments below, including a portrait of the donor. Movable wings, Inside: left, martyrs (Schäufelein's self-portrait in the background at the bottom left); right, popes, Church Fathers, bishops, and founders of religious orders, Purgatory; Outside: Passion of Christ. On the fixed wings, Saints George, Christopher, Jerome, and Benedict. Predella inside: Christ in Limbo, Pope Innocent II (?) with monastery and church in the background, Noli me tangere, Resurrection of Christ, Doubting Thomas; outside: Saints Anne with the Virgin and Child and Ottilia, Scholastica, and Barbara. Quoted from: Dehio, Swabia, edited by Bruno Bushart and Georg Paula Darmstadt, 1989, pp. 146–147
Location: Auhausen, former Benedictine monastery church
Design: Schäufelin, Hans
Realization: Schäufelin, Hans
Depicted: Schäufelin, Hans
photo 2018, Pablo de la Riestra
Auhauser All Saints Altar
1513
Martyrs, some carrying palm branches. They are predominantly represented by the Fourteen Holy Helpers, but fifteen saints are depicted, and Stephen, Lawrence, and Sebastian are not among the Fourteen Holy Helpers / in the foreground, left, Saint George; i
The central panel of the altarpiece depicts, in the lower section, which occupies less than half the height of the image, the Adoration of the Lamb by the Patriarchs, Prophets, and Apostles, and in the upper section, the Coronation of the Virgin surrounded by choirs of angels. The spatial division is achieved by means of narrow bands of clouds. Wherever the background is visible, it is blue. (...) On both sides, the nine choirs of angels are arranged one above the other, (...) Below, those adoring the Lamb are gathered on a bank of clouds. They are separated into two groups: on the left, the representatives of the Old Testament, i.e., the Patriarchs and Prophets, and on the right, those of the New Testament, the Apostles. The arrangement of the two groups is strictly symmetrical. Towards the center, there is a kneeling figure: on the left, Moses with the Tablets of the Law, and on the right, Paul with the sword. On either side, a smaller kneeling figure is placed alongside a standing figure. On the left are Abraham with Isaac, and on the right, Matthew with the donor, Georg Truchseß von Wetzhausen. (...) The left wing depicts the martyrs at the top, some carrying palm branches. They are predominantly represented by the Fourteen Holy Helpers, but fifteen saints are depicted, and Stephen, Lawrence, and Sebastian are not among the Fourteen Holy Helpers. (...) The panel at the top right depicts the Confessors, namely Church Fathers, bishops, and founders of religious orders. In the foreground, kneeling on clouds, are Jerome, Gregory, Francis, and Benedict. Nicholas and Wolfgang can be identified in the rear row. (...) The lower panel of the left wing shows Emperor Henry and Cunigunde, female saints, co-donors of the altarpiece (?), and a self-portrait of Schäufelin. In the foreground, kneeling on clouds, are the holy imperial couple and Saints Catherine and Barbara. Behind Henry follows Elizabeth of Thuringia. On the left appears a group of civic-dressed and clerical dignitaries, none of whom have halos – these are likely co-founders of the altarpiece. The group is led on the right by Schäufelin himself, depicted as a curly-haired, full-bearded man in a robe. In his left hand, he holds a small tablet with the monogram HS and a small shovel. To the right stand female saints, some carrying palm fronds. They can be identified as Apollonia, Anne with the Virgin and Child, and Ottilia. The gray-blue sky is overcast. On the lower panel of the right wing, "poor souls" are depicted in purgatory. Two angels descend from above and draw two of the souls, represented as human figures, from the sea of flames. Quoted from: Christof Metzger: Hans Schäufelin as a Painter, German Publishing House for Art History, Berlin 2002, pp. 314–329 ___________________ The church's most precious furnishing is the large high altar, whose paintings were created in 1513 by Hans Schäufelin and his assistant Sebastian Daig. It is the only work by the artist to remain in its original location. With these panel paintings, which present their narratives rather calmly and without excessive drama, Schäufelin had achieved his mature style. The theological program likely originated with the patron, Abbot Georg: the main panel depicts the Coronation of Mary and the Lamb of God, surrounded by the heavenly hosts and the symbols of the Evangelists, with the Holy Spirit above and the representatives of the Old and New Testaments below, including a portrait of the donor. Movable wings, Inside: left, martyrs (Schäufelein's self-portrait in the background at the bottom left); right, popes, Church Fathers, bishops, and founders of religious orders, Purgatory; Outside: Passion of Christ. On the fixed wings, Saints George, Christopher, Jerome, and Benedict. Predella inside: Christ in Limbo, Pope Innocent II (?) with monastery and church in the background, Noli me tangere, Resurrection of Christ, Doubting Thomas; outside: Saints Anne with the Virgin and Child and Ottilia, Scholastica, and Barbara. Quoted from: Dehio, Swabia, edited by Bruno Bushart and Georg Paula Darmstadt, 1989, pp. 146–147
Location: Auhausen, former Benedictine monastery church
Design: Schäufelin, Hans
Realization: Schäufelin, Hans
Depicted: Schäufelin, Hans
photo 2018, Theo Noll
Auhauser All Saints Altar
1513
Left wing with martyrs, detail view, in front Saints George, Stephen and Lawrence
The central panel of the altarpiece depicts, in the lower section, which occupies less than half the height of the image, the Adoration of the Lamb by the Patriarchs, Prophets, and Apostles, and in the upper section, the Coronation of the Virgin surrounded by choirs of angels. The spatial division is achieved by means of narrow bands of clouds. Wherever the background is visible, it is blue. (...) On both sides, the nine choirs of angels are arranged one above the other, (...) Below, those adoring the Lamb are gathered on a bank of clouds. They are separated into two groups: on the left, the representatives of the Old Testament, i.e., the Patriarchs and Prophets, and on the right, those of the New Testament, the Apostles. The arrangement of the two groups is strictly symmetrical. Towards the center, there is a kneeling figure: on the left, Moses with the Tablets of the Law, and on the right, Paul with the sword. On either side, a smaller kneeling figure is placed alongside a standing figure. On the left are Abraham with Isaac, and on the right, Matthew with the donor, Georg Truchseß von Wetzhausen. (...) The left wing depicts the martyrs at the top, some carrying palm branches. They are predominantly represented by the Fourteen Holy Helpers, but fifteen saints are depicted, and Stephen, Lawrence, and Sebastian are not among the Fourteen Holy Helpers. (...) The panel at the top right depicts the Confessors, namely Church Fathers, bishops, and founders of religious orders. In the foreground, kneeling on clouds, are Jerome, Gregory, Francis, and Benedict. Nicholas and Wolfgang can be identified in the rear row. (...) The lower panel of the left wing shows Emperor Henry and Cunigunde, female saints, co-donors of the altarpiece (?), and a self-portrait of Schäufelin. In the foreground, kneeling on clouds, are the holy imperial couple and Saints Catherine and Barbara. Behind Henry follows Elizabeth of Thuringia. On the left appears a group of civic-dressed and clerical dignitaries, none of whom have halos – these are likely co-founders of the altarpiece. The group is led on the right by Schäufelin himself, depicted as a curly-haired, full-bearded man in a robe. In his left hand, he holds a small tablet with the monogram HS and a small shovel. To the right stand female saints, some carrying palm fronds. They can be identified as Apollonia, Anne with the Virgin and Child, and Ottilia. The gray-blue sky is overcast. On the lower panel of the right wing, "poor souls" are depicted in purgatory. Two angels descend from above and draw two of the souls, represented as human figures, from the sea of flames. Quoted from: Christof Metzger: Hans Schäufelin as a Painter, German Publishing House for Art History, Berlin 2002, pp. 314–329 ___________________ The church's most precious furnishing is the large high altar, whose paintings were created in 1513 by Hans Schäufelin and his assistant Sebastian Daig. It is the only work by the artist to remain in its original location. With these panel paintings, which present their narratives rather calmly and without excessive drama, Schäufelin had achieved his mature style. The theological program likely originated with the patron, Abbot Georg: the main panel depicts the Coronation of Mary and the Lamb of God, surrounded by the heavenly hosts and the symbols of the Evangelists, with the Holy Spirit above and the representatives of the Old and New Testaments below, including a portrait of the donor. Movable wings, Inside: left, martyrs (Schäufelein's self-portrait in the background at the bottom left); right, popes, Church Fathers, bishops, and founders of religious orders, Purgatory; Outside: Passion of Christ. On the fixed wings, Saints George, Christopher, Jerome, and Benedict. Predella inside: Christ in Limbo, Pope Innocent II (?) with monastery and church in the background, Noli me tangere, Resurrection of Christ, Doubting Thomas; outside: Saints Anne with the Virgin and Child and Ottilia, Scholastica, and Barbara. Quoted from: Dehio, Swabia, edited by Bruno Bushart and Georg Paula Darmstadt, 1989, pp. 146–147
Location: Auhausen, former Benedictine monastery church
Design: Schäufelin, Hans
Realization: Schäufelin, Hans
Depicted: Schäufelin, Hans
photo 2018, Pablo de la Riestra
Auhauser All Saints Altar
1513
Left wing with martyrs, detail view of Saints George and Sebastian.
The central panel of the altarpiece depicts, in the lower section, which occupies less than half the height of the image, the Adoration of the Lamb by the Patriarchs, Prophets, and Apostles, and in the upper section, the Coronation of the Virgin surrounded by choirs of angels. The spatial division is achieved by means of narrow bands of clouds. Wherever the background is visible, it is blue. (...) On both sides, the nine choirs of angels are arranged one above the other, (...) Below, those adoring the Lamb are gathered on a bank of clouds. They are separated into two groups: on the left, the representatives of the Old Testament, i.e., the Patriarchs and Prophets, and on the right, those of the New Testament, the Apostles. The arrangement of the two groups is strictly symmetrical. Towards the center, there is a kneeling figure: on the left, Moses with the Tablets of the Law, and on the right, Paul with the sword. On either side, a smaller kneeling figure is placed alongside a standing figure. On the left are Abraham with Isaac, and on the right, Matthew with the donor, Georg Truchseß von Wetzhausen. (...) The left wing depicts the martyrs at the top, some carrying palm branches. They are predominantly represented by the Fourteen Holy Helpers, but fifteen saints are depicted, and Stephen, Lawrence, and Sebastian are not among the Fourteen Holy Helpers. (...) The panel at the top right depicts the Confessors, namely Church Fathers, bishops, and founders of religious orders. In the foreground, kneeling on clouds, are Jerome, Gregory, Francis, and Benedict. Nicholas and Wolfgang can be identified in the rear row. (...) The lower panel of the left wing shows Emperor Henry and Cunigunde, female saints, co-donors of the altarpiece (?), and a self-portrait of Schäufelin. In the foreground, kneeling on clouds, are the holy imperial couple and Saints Catherine and Barbara. Behind Henry follows Elizabeth of Thuringia. On the left appears a group of civic-dressed and clerical dignitaries, none of whom have halos – these are likely co-founders of the altarpiece. The group is led on the right by Schäufelin himself, depicted as a curly-haired, full-bearded man in a robe. In his left hand, he holds a small tablet with the monogram HS and a small shovel. To the right stand female saints, some carrying palm fronds. They can be identified as Apollonia, Anne with the Virgin and Child, and Ottilia. The gray-blue sky is overcast. On the lower panel of the right wing, "poor souls" are depicted in purgatory. Two angels descend from above and draw two of the souls, represented as human figures, from the sea of flames. Quoted from: Christof Metzger: Hans Schäufelin as a Painter, German Publishing House for Art History, Berlin 2002, pp. 314–329 ___________________ The church's most precious furnishing is the large high altar, whose paintings were created in 1513 by Hans Schäufelin and his assistant Sebastian Daig. It is the only work by the artist to remain in its original location. With these panel paintings, which present their narratives rather calmly and without excessive drama, Schäufelin had achieved his mature style. The theological program likely originated with the patron, Abbot Georg: the main panel depicts the Coronation of Mary and the Lamb of God, surrounded by the heavenly hosts and the symbols of the Evangelists, with the Holy Spirit above and the representatives of the Old and New Testaments below, including a portrait of the donor. Movable wings, Inside: left, martyrs (Schäufelein's self-portrait in the background at the bottom left); right, popes, Church Fathers, bishops, and founders of religious orders, Purgatory; Outside: Passion of Christ. On the fixed wings, Saints George, Christopher, Jerome, and Benedict. Predella inside: Christ in Limbo, Pope Innocent II (?) with monastery and church in the background, Noli me tangere, Resurrection of Christ, Doubting Thomas; outside: Saints Anne with the Virgin and Child and Ottilia, Scholastica, and Barbara. Quoted from: Dehio, Swabia, edited by Bruno Bushart and Georg Paula Darmstadt, 1989, pp. 146–147
Location: Auhausen, former Benedictine monastery church
Design: Schäufelin, Hans
Realization: Schäufelin, Hans
Depicted: Schäufelin, Hans
photo 2018, Pablo de la Riestra
Auhauser All Saints Altar
1513
Left wing with martyrs, detail view of Saint George.
The central panel of the altarpiece depicts, in the lower section, which occupies less than half the height of the image, the Adoration of the Lamb by the Patriarchs, Prophets, and Apostles, and in the upper section, the Coronation of the Virgin surrounded by choirs of angels. The spatial division is achieved by means of narrow bands of clouds. Wherever the background is visible, it is blue. (...) On both sides, the nine choirs of angels are arranged one above the other, (...) Below, those adoring the Lamb are gathered on a bank of clouds. They are separated into two groups: on the left, the representatives of the Old Testament, i.e., the Patriarchs and Prophets, and on the right, those of the New Testament, the Apostles. The arrangement of the two groups is strictly symmetrical. Towards the center, there is a kneeling figure: on the left, Moses with the Tablets of the Law, and on the right, Paul with the sword. On either side, a smaller kneeling figure is placed alongside a standing figure. On the left are Abraham with Isaac, and on the right, Matthew with the donor, Georg Truchseß von Wetzhausen. (...) The left wing depicts the martyrs at the top, some carrying palm branches. They are predominantly represented by the Fourteen Holy Helpers, but fifteen saints are depicted, and Stephen, Lawrence, and Sebastian are not among the Fourteen Holy Helpers. (...) The panel at the top right depicts the Confessors, namely Church Fathers, bishops, and founders of religious orders. In the foreground, kneeling on clouds, are Jerome, Gregory, Francis, and Benedict. Nicholas and Wolfgang can be identified in the rear row. (...) The lower panel of the left wing shows Emperor Henry and Cunigunde, female saints, co-donors of the altarpiece (?), and a self-portrait of Schäufelin. In the foreground, kneeling on clouds, are the holy imperial couple and Saints Catherine and Barbara. Behind Henry follows Elizabeth of Thuringia. On the left appears a group of civic-dressed and clerical dignitaries, none of whom have halos – these are likely co-founders of the altarpiece. The group is led on the right by Schäufelin himself, depicted as a curly-haired, full-bearded man in a robe. In his left hand, he holds a small tablet with the monogram HS and a small shovel. To the right stand female saints, some carrying palm fronds. They can be identified as Apollonia, Anne with the Virgin and Child, and Ottilia. The gray-blue sky is overcast. On the lower panel of the right wing, "poor souls" are depicted in purgatory. Two angels descend from above and draw two of the souls, represented as human figures, from the sea of flames. Quoted from: Christof Metzger: Hans Schäufelin as a Painter, German Publishing House for Art History, Berlin 2002, pp. 314–329 ___________________ The church's most precious furnishing is the large high altar, whose paintings were created in 1513 by Hans Schäufelin and his assistant Sebastian Daig. It is the only work by the artist to remain in its original location. With these panel paintings, which present their narratives rather calmly and without excessive drama, Schäufelin had achieved his mature style. The theological program likely originated with the patron, Abbot Georg: the main panel depicts the Coronation of Mary and the Lamb of God, surrounded by the heavenly hosts and the symbols of the Evangelists, with the Holy Spirit above and the representatives of the Old and New Testaments below, including a portrait of the donor. Movable wings, Inside: left, martyrs (Schäufelein's self-portrait in the background at the bottom left); right, popes, Church Fathers, bishops, and founders of religious orders, Purgatory; Outside: Passion of Christ. On the fixed wings, Saints George, Christopher, Jerome, and Benedict. Predella inside: Christ in Limbo, Pope Innocent II (?) with monastery and church in the background, Noli me tangere, Resurrection of Christ, Doubting Thomas; outside: Saints Anne with the Virgin and Child and Ottilia, Scholastica, and Barbara. Quoted from: Dehio, Swabia, edited by Bruno Bushart and Georg Paula Darmstadt, 1989, pp. 146–147
Location: Auhausen, former Benedictine monastery church
Design: Schäufelin, Hans
Realization: Schäufelin, Hans
Depicted: Schäufelin, Hans
photo 2018, Pablo de la Riestra
Auhauser All Saints Altar
1513
The lower panel of the left wing depicts, in the foreground, Saints Elizabeth, Emperor Henry and Cunigunde, Catherine and Barbara; behind them, to the right, Apollonia, Saint Anne with the Virgin and Child, and Saint Ottilia. In the rear left, without a h
The central panel of the altarpiece depicts, in the lower section, which occupies less than half the height of the image, the Adoration of the Lamb by the Patriarchs, Prophets, and Apostles, and in the upper section, the Coronation of the Virgin surrounded by choirs of angels. The spatial division is achieved by means of narrow bands of clouds. Wherever the background is visible, it is blue. (...) On both sides, the nine choirs of angels are arranged one above the other, (...) Below, those adoring the Lamb are gathered on a bank of clouds. They are separated into two groups: on the left, the representatives of the Old Testament, i.e., the Patriarchs and Prophets, and on the right, those of the New Testament, the Apostles. The arrangement of the two groups is strictly symmetrical. Towards the center, there is a kneeling figure: on the left, Moses with the Tablets of the Law, and on the right, Paul with the sword. On either side, a smaller kneeling figure is placed alongside a standing figure. On the left are Abraham with Isaac, and on the right, Matthew with the donor, Georg Truchseß von Wetzhausen. (...) The left wing depicts the martyrs at the top, some carrying palm branches. They are predominantly represented by the Fourteen Holy Helpers, but fifteen saints are depicted, and Stephen, Lawrence, and Sebastian are not among the Fourteen Holy Helpers. (...) The panel at the top right depicts the Confessors, namely Church Fathers, bishops, and founders of religious orders. In the foreground, kneeling on clouds, are Jerome, Gregory, Francis, and Benedict. Nicholas and Wolfgang can be identified in the rear row. (...) The lower panel of the left wing shows Emperor Henry and Cunigunde, female saints, co-donors of the altarpiece (?), and a self-portrait of Schäufelin. In the foreground, kneeling on clouds, are the holy imperial couple and Saints Catherine and Barbara. Behind Henry follows Elizabeth of Thuringia. On the left appears a group of civic-dressed and clerical dignitaries, none of whom have halos – these are likely co-founders of the altarpiece. The group is led on the right by Schäufelin himself, depicted as a curly-haired, full-bearded man in a robe. In his left hand, he holds a small tablet with the monogram HS and a small shovel. To the right stand female saints, some carrying palm fronds. They can be identified as Apollonia, Anne with the Virgin and Child, and Ottilia. The gray-blue sky is overcast. On the lower panel of the right wing, "poor souls" are depicted in purgatory. Two angels descend from above and draw two of the souls, represented as human figures, from the sea of flames. Quoted from: Christof Metzger: Hans Schäufelin as a Painter, German Publishing House for Art History, Berlin 2002, pp. 314–329 ___________________ The church's most precious furnishing is the large high altar, whose paintings were created in 1513 by Hans Schäufelin and his assistant Sebastian Daig. It is the only work by the artist to remain in its original location. With these panel paintings, which present their narratives rather calmly and without excessive drama, Schäufelin had achieved his mature style. The theological program likely originated with the patron, Abbot Georg: the main panel depicts the Coronation of Mary and the Lamb of God, surrounded by the heavenly hosts and the symbols of the Evangelists, with the Holy Spirit above and the representatives of the Old and New Testaments below, including a portrait of the donor. Movable wings, Inside: left, martyrs (Schäufelein's self-portrait in the background at the bottom left); right, popes, Church Fathers, bishops, and founders of religious orders, Purgatory; Outside: Passion of Christ. On the fixed wings, Saints George, Christopher, Jerome, and Benedict. Predella inside: Christ in Limbo, Pope Innocent II (?) with monastery and church in the background, Noli me tangere, Resurrection of Christ, Doubting Thomas; outside: Saints Anne with the Virgin and Child and Ottilia, Scholastica, and Barbara. Quoted from: Dehio, Swabia, edited by Bruno Bushart and Georg Paula Darmstadt, 1989, pp. 146–147
Location: Auhausen, former Benedictine monastery church
Design: Schäufelin, Hans
Realization: Schäufelin, Hans
Depicted: Schäufelin, Hans
photo 2018, Pablo de la Riestra
Auhauser All Saints Altar
1513
Lower panel of the left wing, detail view
The central panel of the altarpiece depicts, in the lower section, which occupies less than half the height of the image, the Adoration of the Lamb by the Patriarchs, Prophets, and Apostles, and in the upper section, the Coronation of the Virgin surrounded by choirs of angels. The spatial division is achieved by means of narrow bands of clouds. Wherever the background is visible, it is blue. (...) On both sides, the nine choirs of angels are arranged one above the other, (...) Below, those adoring the Lamb are gathered on a bank of clouds. They are separated into two groups: on the left, the representatives of the Old Testament, i.e., the Patriarchs and Prophets, and on the right, those of the New Testament, the Apostles. The arrangement of the two groups is strictly symmetrical. Towards the center, there is a kneeling figure: on the left, Moses with the Tablets of the Law, and on the right, Paul with the sword. On either side, a smaller kneeling figure is placed alongside a standing figure. On the left are Abraham with Isaac, and on the right, Matthew with the donor, Georg Truchseß von Wetzhausen. (...) The left wing depicts the martyrs at the top, some carrying palm branches. They are predominantly represented by the Fourteen Holy Helpers, but fifteen saints are depicted, and Stephen, Lawrence, and Sebastian are not among the Fourteen Holy Helpers. (...) The panel at the top right depicts the Confessors, namely Church Fathers, bishops, and founders of religious orders. In the foreground, kneeling on clouds, are Jerome, Gregory, Francis, and Benedict. Nicholas and Wolfgang can be identified in the rear row. (...) The lower panel of the left wing shows Emperor Henry and Cunigunde, female saints, co-donors of the altarpiece (?), and a self-portrait of Schäufelin. In the foreground, kneeling on clouds, are the holy imperial couple and Saints Catherine and Barbara. Behind Henry follows Elizabeth of Thuringia. On the left appears a group of civic-dressed and clerical dignitaries, none of whom have halos – these are likely co-founders of the altarpiece. The group is led on the right by Schäufelin himself, depicted as a curly-haired, full-bearded man in a robe. In his left hand, he holds a small tablet with the monogram HS and a small shovel. To the right stand female saints, some carrying palm fronds. They can be identified as Apollonia, Anne with the Virgin and Child, and Ottilia. The gray-blue sky is overcast. On the lower panel of the right wing, "poor souls" are depicted in purgatory. Two angels descend from above and draw two of the souls, represented as human figures, from the sea of flames. Quoted from: Christof Metzger: Hans Schäufelin as a Painter, German Publishing House for Art History, Berlin 2002, pp. 314–329 ___________________ The church's most precious furnishing is the large high altar, whose paintings were created in 1513 by Hans Schäufelin and his assistant Sebastian Daig. It is the only work by the artist to remain in its original location. With these panel paintings, which present their narratives rather calmly and without excessive drama, Schäufelin had achieved his mature style. The theological program likely originated with the patron, Abbot Georg: the main panel depicts the Coronation of Mary and the Lamb of God, surrounded by the heavenly hosts and the symbols of the Evangelists, with the Holy Spirit above and the representatives of the Old and New Testaments below, including a portrait of the donor. Movable wings, Inside: left, martyrs (Schäufelein's self-portrait in the background at the bottom left); right, popes, Church Fathers, bishops, and founders of religious orders, Purgatory; Outside: Passion of Christ. On the fixed wings, Saints George, Christopher, Jerome, and Benedict. Predella inside: Christ in Limbo, Pope Innocent II (?) with monastery and church in the background, Noli me tangere, Resurrection of Christ, Doubting Thomas; outside: Saints Anne with the Virgin and Child and Ottilia, Scholastica, and Barbara. Quoted from: Dehio, Swabia, edited by Bruno Bushart and Georg Paula Darmstadt, 1989, pp. 146–147
Location: Auhausen, former Benedictine monastery church
Design: Schäufelin, Hans
Realization: Schäufelin, Hans
Depicted: Schäufelin, Hans
photo 2018, Pablo de la Riestra
Auhauser All Saints Altar
1513
Lower panel of the left wing, detail view, Hans Schäufelein holds a tablet with his artist's signature
The central panel of the altarpiece depicts, in the lower section, which occupies less than half the height of the image, the Adoration of the Lamb by the Patriarchs, Prophets, and Apostles, and in the upper section, the Coronation of the Virgin surrounded by choirs of angels. The spatial division is achieved by means of narrow bands of clouds. Wherever the background is visible, it is blue. (...) On both sides, the nine choirs of angels are arranged one above the other, (...) Below, those adoring the Lamb are gathered on a bank of clouds. They are separated into two groups: on the left, the representatives of the Old Testament, i.e., the Patriarchs and Prophets, and on the right, those of the New Testament, the Apostles. The arrangement of the two groups is strictly symmetrical. Towards the center, there is a kneeling figure: on the left, Moses with the Tablets of the Law, and on the right, Paul with the sword. On either side, a smaller kneeling figure is placed alongside a standing figure. On the left are Abraham with Isaac, and on the right, Matthew with the donor, Georg Truchseß von Wetzhausen. (...) The left wing depicts the martyrs at the top, some carrying palm branches. They are predominantly represented by the Fourteen Holy Helpers, but fifteen saints are depicted, and Stephen, Lawrence, and Sebastian are not among the Fourteen Holy Helpers. (...) The panel at the top right depicts the Confessors, namely Church Fathers, bishops, and founders of religious orders. In the foreground, kneeling on clouds, are Jerome, Gregory, Francis, and Benedict. Nicholas and Wolfgang can be identified in the rear row. (...) The lower panel of the left wing shows Emperor Henry and Cunigunde, female saints, co-donors of the altarpiece (?), and a self-portrait of Schäufelin. In the foreground, kneeling on clouds, are the holy imperial couple and Saints Catherine and Barbara. Behind Henry follows Elizabeth of Thuringia. On the left appears a group of civic-dressed and clerical dignitaries, none of whom have halos – these are likely co-founders of the altarpiece. The group is led on the right by Schäufelin himself, depicted as a curly-haired, full-bearded man in a robe. In his left hand, he holds a small tablet with the monogram HS and a small shovel. To the right stand female saints, some carrying palm fronds. They can be identified as Apollonia, Anne with the Virgin and Child, and Ottilia. The gray-blue sky is overcast. On the lower panel of the right wing, "poor souls" are depicted in purgatory. Two angels descend from above and draw two of the souls, represented as human figures, from the sea of flames. Quoted from: Christof Metzger: Hans Schäufelin as a Painter, German Publishing House for Art History, Berlin 2002, pp. 314–329 ___________________ The church's most precious furnishing is the large high altar, whose paintings were created in 1513 by Hans Schäufelin and his assistant Sebastian Daig. It is the only work by the artist to remain in its original location. With these panel paintings, which present their narratives rather calmly and without excessive drama, Schäufelin had achieved his mature style. The theological program likely originated with the patron, Abbot Georg: the main panel depicts the Coronation of Mary and the Lamb of God, surrounded by the heavenly hosts and the symbols of the Evangelists, with the Holy Spirit above and the representatives of the Old and New Testaments below, including a portrait of the donor. Movable wings, Inside: left, martyrs (Schäufelein's self-portrait in the background at the bottom left); right, popes, Church Fathers, bishops, and founders of religious orders, Purgatory; Outside: Passion of Christ. On the fixed wings, Saints George, Christopher, Jerome, and Benedict. Predella inside: Christ in Limbo, Pope Innocent II (?) with monastery and church in the background, Noli me tangere, Resurrection of Christ, Doubting Thomas; outside: Saints Anne with the Virgin and Child and Ottilia, Scholastica, and Barbara. Quoted from: Dehio, Swabia, edited by Bruno Bushart and Georg Paula Darmstadt, 1989, pp. 146–147
Location: Auhausen, former Benedictine monastery church
Design: Schäufelin, Hans
Realization: Schäufelin, Hans
Depicted: Schäufelin, Hans
photo 2018, Pablo de la Riestra
Auhauser All Saints Altar
1513
obere Tafel des rechten Flügels mit Bekennern, das sind Kirchenväter, Bischöfe und Ordensstifter. Vorne knien auf Wolken Hieronymus, Gregor, Franziskus und Benedikt. Aus der hinteren Reihe sind Nikolaus und Wolfgang zu bestimmen.
The central panel of the altarpiece depicts, in the lower section, which occupies less than half the height of the image, the Adoration of the Lamb by the Patriarchs, Prophets, and Apostles, and in the upper section, the Coronation of the Virgin surrounded by choirs of angels. The spatial division is achieved by means of narrow bands of clouds. Wherever the background is visible, it is blue. (...) On both sides, the nine choirs of angels are arranged one above the other, (...) Below, those adoring the Lamb are gathered on a bank of clouds. They are separated into two groups: on the left, the representatives of the Old Testament, i.e., the Patriarchs and Prophets, and on the right, those of the New Testament, the Apostles. The arrangement of the two groups is strictly symmetrical. Towards the center, there is a kneeling figure: on the left, Moses with the Tablets of the Law, and on the right, Paul with the sword. On either side, a smaller kneeling figure is placed alongside a standing figure. On the left are Abraham with Isaac, and on the right, Matthew with the donor, Georg Truchseß von Wetzhausen. (...) The left wing depicts the martyrs at the top, some carrying palm branches. They are predominantly represented by the Fourteen Holy Helpers, but fifteen saints are depicted, and Stephen, Lawrence, and Sebastian are not among the Fourteen Holy Helpers. (...) The panel at the top right depicts the Confessors, namely Church Fathers, bishops, and founders of religious orders. In the foreground, kneeling on clouds, are Jerome, Gregory, Francis, and Benedict. Nicholas and Wolfgang can be identified in the rear row. (...) The lower panel of the left wing shows Emperor Henry and Cunigunde, female saints, co-donors of the altarpiece (?), and a self-portrait of Schäufelin. In the foreground, kneeling on clouds, are the holy imperial couple and Saints Catherine and Barbara. Behind Henry follows Elizabeth of Thuringia. On the left appears a group of civic-dressed and clerical dignitaries, none of whom have halos – these are likely co-founders of the altarpiece. The group is led on the right by Schäufelin himself, depicted as a curly-haired, full-bearded man in a robe. In his left hand, he holds a small tablet with the monogram HS and a small shovel. To the right stand female saints, some carrying palm fronds. They can be identified as Apollonia, Anne with the Virgin and Child, and Ottilia. The gray-blue sky is overcast. On the lower panel of the right wing, "poor souls" are depicted in purgatory. Two angels descend from above and draw two of the souls, represented as human figures, from the sea of flames. Quoted from: Christof Metzger: Hans Schäufelin as a Painter, German Publishing House for Art History, Berlin 2002, pp. 314–329 ___________________ The church's most precious furnishing is the large high altar, whose paintings were created in 1513 by Hans Schäufelin and his assistant Sebastian Daig. It is the only work by the artist to remain in its original location. With these panel paintings, which present their narratives rather calmly and without excessive drama, Schäufelin had achieved his mature style. The theological program likely originated with the patron, Abbot Georg: the main panel depicts the Coronation of Mary and the Lamb of God, surrounded by the heavenly hosts and the symbols of the Evangelists, with the Holy Spirit above and the representatives of the Old and New Testaments below, including a portrait of the donor. Movable wings, Inside: left, martyrs (Schäufelein's self-portrait in the background at the bottom left); right, popes, Church Fathers, bishops, and founders of religious orders, Purgatory; Outside: Passion of Christ. On the fixed wings, Saints George, Christopher, Jerome, and Benedict. Predella inside: Christ in Limbo, Pope Innocent II (?) with monastery and church in the background, Noli me tangere, Resurrection of Christ, Doubting Thomas; outside: Saints Anne with the Virgin and Child and Ottilia, Scholastica, and Barbara. Quoted from: Dehio, Swabia, edited by Bruno Bushart and Georg Paula Darmstadt, 1989, pp. 146–147
Location: Auhausen, former Benedictine monastery church
Design: Schäufelin, Hans
Realization: Schäufelin, Hans
Depicted: Schäufelin, Hans
photo 2018, Pablo de la Riestra
Auhauser All Saints Altar
1513
Upper panel of the right wing, detail view
The central panel of the altarpiece depicts, in the lower section, which occupies less than half the height of the image, the Adoration of the Lamb by the Patriarchs, Prophets, and Apostles, and in the upper section, the Coronation of the Virgin surrounded by choirs of angels. The spatial division is achieved by means of narrow bands of clouds. Wherever the background is visible, it is blue. (...) On both sides, the nine choirs of angels are arranged one above the other, (...) Below, those adoring the Lamb are gathered on a bank of clouds. They are separated into two groups: on the left, the representatives of the Old Testament, i.e., the Patriarchs and Prophets, and on the right, those of the New Testament, the Apostles. The arrangement of the two groups is strictly symmetrical. Towards the center, there is a kneeling figure: on the left, Moses with the Tablets of the Law, and on the right, Paul with the sword. On either side, a smaller kneeling figure is placed alongside a standing figure. On the left are Abraham with Isaac, and on the right, Matthew with the donor, Georg Truchseß von Wetzhausen. (...) The left wing depicts the martyrs at the top, some carrying palm branches. They are predominantly represented by the Fourteen Holy Helpers, but fifteen saints are depicted, and Stephen, Lawrence, and Sebastian are not among the Fourteen Holy Helpers. (...) The panel at the top right depicts the Confessors, namely Church Fathers, bishops, and founders of religious orders. In the foreground, kneeling on clouds, are Jerome, Gregory, Francis, and Benedict. Nicholas and Wolfgang can be identified in the rear row. (...) The lower panel of the left wing shows Emperor Henry and Cunigunde, female saints, co-donors of the altarpiece (?), and a self-portrait of Schäufelin. In the foreground, kneeling on clouds, are the holy imperial couple and Saints Catherine and Barbara. Behind Henry follows Elizabeth of Thuringia. On the left appears a group of civic-dressed and clerical dignitaries, none of whom have halos – these are likely co-founders of the altarpiece. The group is led on the right by Schäufelin himself, depicted as a curly-haired, full-bearded man in a robe. In his left hand, he holds a small tablet with the monogram HS and a small shovel. To the right stand female saints, some carrying palm fronds. They can be identified as Apollonia, Anne with the Virgin and Child, and Ottilia. The gray-blue sky is overcast. On the lower panel of the right wing, "poor souls" are depicted in purgatory. Two angels descend from above and draw two of the souls, represented as human figures, from the sea of flames. Quoted from: Christof Metzger: Hans Schäufelin as a Painter, German Publishing House for Art History, Berlin 2002, pp. 314–329 ___________________ The church's most precious furnishing is the large high altar, whose paintings were created in 1513 by Hans Schäufelin and his assistant Sebastian Daig. It is the only work by the artist to remain in its original location. With these panel paintings, which present their narratives rather calmly and without excessive drama, Schäufelin had achieved his mature style. The theological program likely originated with the patron, Abbot Georg: the main panel depicts the Coronation of Mary and the Lamb of God, surrounded by the heavenly hosts and the symbols of the Evangelists, with the Holy Spirit above and the representatives of the Old and New Testaments below, including a portrait of the donor. Movable wings, Inside: left, martyrs (Schäufelein's self-portrait in the background at the bottom left); right, popes, Church Fathers, bishops, and founders of religious orders, Purgatory; Outside: Passion of Christ. On the fixed wings, Saints George, Christopher, Jerome, and Benedict. Predella inside: Christ in Limbo, Pope Innocent II (?) with monastery and church in the background, Noli me tangere, Resurrection of Christ, Doubting Thomas; outside: Saints Anne with the Virgin and Child and Ottilia, Scholastica, and Barbara. Quoted from: Dehio, Swabia, edited by Bruno Bushart and Georg Paula Darmstadt, 1989, pp. 146–147
Location: Auhausen, former Benedictine monastery church
Design: Schäufelin, Hans
Realization: Schäufelin, Hans
Depicted: Schäufelin, Hans
photo 2018, Theo Noll
Auhauser All Saints Altar
1513
Lower right panel, The Rescue of the Blessed from Purgatory
The central panel of the altarpiece depicts, in the lower section, which occupies less than half the height of the image, the Adoration of the Lamb by the Patriarchs, Prophets, and Apostles, and in the upper section, the Coronation of the Virgin surrounded by choirs of angels. The spatial division is achieved by means of narrow bands of clouds. Wherever the background is visible, it is blue. (...) On both sides, the nine choirs of angels are arranged one above the other, (...) Below, those adoring the Lamb are gathered on a bank of clouds. They are separated into two groups: on the left, the representatives of the Old Testament, i.e., the Patriarchs and Prophets, and on the right, those of the New Testament, the Apostles. The arrangement of the two groups is strictly symmetrical. Towards the center, there is a kneeling figure: on the left, Moses with the Tablets of the Law, and on the right, Paul with the sword. On either side, a smaller kneeling figure is placed alongside a standing figure. On the left are Abraham with Isaac, and on the right, Matthew with the donor, Georg Truchseß von Wetzhausen. (...) The left wing depicts the martyrs at the top, some carrying palm branches. They are predominantly represented by the Fourteen Holy Helpers, but fifteen saints are depicted, and Stephen, Lawrence, and Sebastian are not among the Fourteen Holy Helpers. (...) The panel at the top right depicts the Confessors, namely Church Fathers, bishops, and founders of religious orders. In the foreground, kneeling on clouds, are Jerome, Gregory, Francis, and Benedict. Nicholas and Wolfgang can be identified in the rear row. (...) The lower panel of the left wing shows Emperor Henry and Cunigunde, female saints, co-donors of the altarpiece (?), and a self-portrait of Schäufelin. In the foreground, kneeling on clouds, are the holy imperial couple and Saints Catherine and Barbara. Behind Henry follows Elizabeth of Thuringia. On the left appears a group of civic-dressed and clerical dignitaries, none of whom have halos – these are likely co-founders of the altarpiece. The group is led on the right by Schäufelin himself, depicted as a curly-haired, full-bearded man in a robe. In his left hand, he holds a small tablet with the monogram HS and a small shovel. To the right stand female saints, some carrying palm fronds. They can be identified as Apollonia, Anne with the Virgin and Child, and Ottilia. The gray-blue sky is overcast. On the lower panel of the right wing, "poor souls" are depicted in purgatory. Two angels descend from above and draw two of the souls, represented as human figures, from the sea of flames. Quoted from: Christof Metzger: Hans Schäufelin as a Painter, German Publishing House for Art History, Berlin 2002, pp. 314–329 ___________________ The church's most precious furnishing is the large high altar, whose paintings were created in 1513 by Hans Schäufelin and his assistant Sebastian Daig. It is the only work by the artist to remain in its original location. With these panel paintings, which present their narratives rather calmly and without excessive drama, Schäufelin had achieved his mature style. The theological program likely originated with the patron, Abbot Georg: the main panel depicts the Coronation of Mary and the Lamb of God, surrounded by the heavenly hosts and the symbols of the Evangelists, with the Holy Spirit above and the representatives of the Old and New Testaments below, including a portrait of the donor. Movable wings, Inside: left, martyrs (Schäufelein's self-portrait in the background at the bottom left); right, popes, Church Fathers, bishops, and founders of religious orders, Purgatory; Outside: Passion of Christ. On the fixed wings, Saints George, Christopher, Jerome, and Benedict. Predella inside: Christ in Limbo, Pope Innocent II (?) with monastery and church in the background, Noli me tangere, Resurrection of Christ, Doubting Thomas; outside: Saints Anne with the Virgin and Child and Ottilia, Scholastica, and Barbara. Quoted from: Dehio, Swabia, edited by Bruno Bushart and Georg Paula Darmstadt, 1989, pp. 146–147
Location: Auhausen, former Benedictine monastery church
Design: Schäufelin, Hans
Realization: Schäufelin, Hans
Depicted: Schäufelin, Hans
photo 2018, Pablo de la Riestra
Auhauser All Saints Altar
1513
Lower right panel, The Rescue of the Blessed from Purgatory, detail view
The central panel of the altarpiece depicts, in the lower section, which occupies less than half the height of the image, the Adoration of the Lamb by the Patriarchs, Prophets, and Apostles, and in the upper section, the Coronation of the Virgin surrounded by choirs of angels. The spatial division is achieved by means of narrow bands of clouds. Wherever the background is visible, it is blue. (...) On both sides, the nine choirs of angels are arranged one above the other, (...) Below, those adoring the Lamb are gathered on a bank of clouds. They are separated into two groups: on the left, the representatives of the Old Testament, i.e., the Patriarchs and Prophets, and on the right, those of the New Testament, the Apostles. The arrangement of the two groups is strictly symmetrical. Towards the center, there is a kneeling figure: on the left, Moses with the Tablets of the Law, and on the right, Paul with the sword. On either side, a smaller kneeling figure is placed alongside a standing figure. On the left are Abraham with Isaac, and on the right, Matthew with the donor, Georg Truchseß von Wetzhausen. (...) The left wing depicts the martyrs at the top, some carrying palm branches. They are predominantly represented by the Fourteen Holy Helpers, but fifteen saints are depicted, and Stephen, Lawrence, and Sebastian are not among the Fourteen Holy Helpers. (...) The panel at the top right depicts the Confessors, namely Church Fathers, bishops, and founders of religious orders. In the foreground, kneeling on clouds, are Jerome, Gregory, Francis, and Benedict. Nicholas and Wolfgang can be identified in the rear row. (...) The lower panel of the left wing shows Emperor Henry and Cunigunde, female saints, co-donors of the altarpiece (?), and a self-portrait of Schäufelin. In the foreground, kneeling on clouds, are the holy imperial couple and Saints Catherine and Barbara. Behind Henry follows Elizabeth of Thuringia. On the left appears a group of civic-dressed and clerical dignitaries, none of whom have halos – these are likely co-founders of the altarpiece. The group is led on the right by Schäufelin himself, depicted as a curly-haired, full-bearded man in a robe. In his left hand, he holds a small tablet with the monogram HS and a small shovel. To the right stand female saints, some carrying palm fronds. They can be identified as Apollonia, Anne with the Virgin and Child, and Ottilia. The gray-blue sky is overcast. On the lower panel of the right wing, "poor souls" are depicted in purgatory. Two angels descend from above and draw two of the souls, represented as human figures, from the sea of flames. Quoted from: Christof Metzger: Hans Schäufelin as a Painter, German Publishing House for Art History, Berlin 2002, pp. 314–329 ___________________ The church's most precious furnishing is the large high altar, whose paintings were created in 1513 by Hans Schäufelin and his assistant Sebastian Daig. It is the only work by the artist to remain in its original location. With these panel paintings, which present their narratives rather calmly and without excessive drama, Schäufelin had achieved his mature style. The theological program likely originated with the patron, Abbot Georg: the main panel depicts the Coronation of Mary and the Lamb of God, surrounded by the heavenly hosts and the symbols of the Evangelists, with the Holy Spirit above and the representatives of the Old and New Testaments below, including a portrait of the donor. Movable wings, Inside: left, martyrs (Schäufelein's self-portrait in the background at the bottom left); right, popes, Church Fathers, bishops, and founders of religious orders, Purgatory; Outside: Passion of Christ. On the fixed wings, Saints George, Christopher, Jerome, and Benedict. Predella inside: Christ in Limbo, Pope Innocent II (?) with monastery and church in the background, Noli me tangere, Resurrection of Christ, Doubting Thomas; outside: Saints Anne with the Virgin and Child and Ottilia, Scholastica, and Barbara. Quoted from: Dehio, Swabia, edited by Bruno Bushart and Georg Paula Darmstadt, 1989, pp. 146–147
Location: Auhausen, former Benedictine monastery church
Design: Schäufelin, Hans
Realization: Schäufelin, Hans
Depicted: Schäufelin, Hans
photo 2018, Pablo de la Riestra
Auhauser All Saints Altar
1513
Predella, Christ in Limbo, Road to Emmaus (back scene)
The central panel of the altarpiece depicts, in the lower section, which occupies less than half the height of the image, the Adoration of the Lamb by the Patriarchs, Prophets, and Apostles, and in the upper section, the Coronation of the Virgin surrounded by choirs of angels. The spatial division is achieved by means of narrow bands of clouds. Wherever the background is visible, it is blue. (...) On both sides, the nine choirs of angels are arranged one above the other, (...) Below, those adoring the Lamb are gathered on a bank of clouds. They are separated into two groups: on the left, the representatives of the Old Testament, i.e., the Patriarchs and Prophets, and on the right, those of the New Testament, the Apostles. The arrangement of the two groups is strictly symmetrical. Towards the center, there is a kneeling figure: on the left, Moses with the Tablets of the Law, and on the right, Paul with the sword. On either side, a smaller kneeling figure is placed alongside a standing figure. On the left are Abraham with Isaac, and on the right, Matthew with the donor, Georg Truchseß von Wetzhausen. (...) The left wing depicts the martyrs at the top, some carrying palm branches. They are predominantly represented by the Fourteen Holy Helpers, but fifteen saints are depicted, and Stephen, Lawrence, and Sebastian are not among the Fourteen Holy Helpers. (...) The panel at the top right depicts the Confessors, namely Church Fathers, bishops, and founders of religious orders. In the foreground, kneeling on clouds, are Jerome, Gregory, Francis, and Benedict. Nicholas and Wolfgang can be identified in the rear row. (...) The lower panel of the left wing shows Emperor Henry and Cunigunde, female saints, co-donors of the altarpiece (?), and a self-portrait of Schäufelin. In the foreground, kneeling on clouds, are the holy imperial couple and Saints Catherine and Barbara. Behind Henry follows Elizabeth of Thuringia. On the left appears a group of civic-dressed and clerical dignitaries, none of whom have halos – these are likely co-founders of the altarpiece. The group is led on the right by Schäufelin himself, depicted as a curly-haired, full-bearded man in a robe. In his left hand, he holds a small tablet with the monogram HS and a small shovel. To the right stand female saints, some carrying palm fronds. They can be identified as Apollonia, Anne with the Virgin and Child, and Ottilia. The gray-blue sky is overcast. On the lower panel of the right wing, "poor souls" are depicted in purgatory. Two angels descend from above and draw two of the souls, represented as human figures, from the sea of flames. Quoted from: Christof Metzger: Hans Schäufelin as a Painter, German Publishing House for Art History, Berlin 2002, pp. 314–329 ___________________ The church's most precious furnishing is the large high altar, whose paintings were created in 1513 by Hans Schäufelin and his assistant Sebastian Daig. It is the only work by the artist to remain in its original location. With these panel paintings, which present their narratives rather calmly and without excessive drama, Schäufelin had achieved his mature style. The theological program likely originated with the patron, Abbot Georg: the main panel depicts the Coronation of Mary and the Lamb of God, surrounded by the heavenly hosts and the symbols of the Evangelists, with the Holy Spirit above and the representatives of the Old and New Testaments below, including a portrait of the donor. Movable wings, Inside: left, martyrs (Schäufelein's self-portrait in the background at the bottom left); right, popes, Church Fathers, bishops, and founders of religious orders, Purgatory; Outside: Passion of Christ. On the fixed wings, Saints George, Christopher, Jerome, and Benedict. Predella inside: Christ in Limbo, Pope Innocent II (?) with monastery and church in the background, Noli me tangere, Resurrection of Christ, Doubting Thomas; outside: Saints Anne with the Virgin and Child and Ottilia, Scholastica, and Barbara. Quoted from: Dehio, Swabia, edited by Bruno Bushart and Georg Paula Darmstadt, 1989, pp. 146–147
Location: Auhausen, former Benedictine monastery church
Design: Schäufelin, Hans
Realization: Schäufelin, Hans
Depicted: Schäufelin, Hans
photo 2018, Pablo de la Riestra
Auhauser All Saints Altar
1513
Predella, view of the monastery at Auhausen
The central panel of the altarpiece depicts, in the lower section, which occupies less than half the height of the image, the Adoration of the Lamb by the Patriarchs, Prophets, and Apostles, and in the upper section, the Coronation of the Virgin surrounded by choirs of angels. The spatial division is achieved by means of narrow bands of clouds. Wherever the background is visible, it is blue. (...) On both sides, the nine choirs of angels are arranged one above the other, (...) Below, those adoring the Lamb are gathered on a bank of clouds. They are separated into two groups: on the left, the representatives of the Old Testament, i.e., the Patriarchs and Prophets, and on the right, those of the New Testament, the Apostles. The arrangement of the two groups is strictly symmetrical. Towards the center, there is a kneeling figure: on the left, Moses with the Tablets of the Law, and on the right, Paul with the sword. On either side, a smaller kneeling figure is placed alongside a standing figure. On the left are Abraham with Isaac, and on the right, Matthew with the donor, Georg Truchseß von Wetzhausen. (...) The left wing depicts the martyrs at the top, some carrying palm branches. They are predominantly represented by the Fourteen Holy Helpers, but fifteen saints are depicted, and Stephen, Lawrence, and Sebastian are not among the Fourteen Holy Helpers. (...) The panel at the top right depicts the Confessors, namely Church Fathers, bishops, and founders of religious orders. In the foreground, kneeling on clouds, are Jerome, Gregory, Francis, and Benedict. Nicholas and Wolfgang can be identified in the rear row. (...) The lower panel of the left wing shows Emperor Henry and Cunigunde, female saints, co-donors of the altarpiece (?), and a self-portrait of Schäufelin. In the foreground, kneeling on clouds, are the holy imperial couple and Saints Catherine and Barbara. Behind Henry follows Elizabeth of Thuringia. On the left appears a group of civic-dressed and clerical dignitaries, none of whom have halos – these are likely co-founders of the altarpiece. The group is led on the right by Schäufelin himself, depicted as a curly-haired, full-bearded man in a robe. In his left hand, he holds a small tablet with the monogram HS and a small shovel. To the right stand female saints, some carrying palm fronds. They can be identified as Apollonia, Anne with the Virgin and Child, and Ottilia. The gray-blue sky is overcast. On the lower panel of the right wing, "poor souls" are depicted in purgatory. Two angels descend from above and draw two of the souls, represented as human figures, from the sea of flames. Quoted from: Christof Metzger: Hans Schäufelin as a Painter, German Publishing House for Art History, Berlin 2002, pp. 314–329 ___________________ The church's most precious furnishing is the large high altar, whose paintings were created in 1513 by Hans Schäufelin and his assistant Sebastian Daig. It is the only work by the artist to remain in its original location. With these panel paintings, which present their narratives rather calmly and without excessive drama, Schäufelin had achieved his mature style. The theological program likely originated with the patron, Abbot Georg: the main panel depicts the Coronation of Mary and the Lamb of God, surrounded by the heavenly hosts and the symbols of the Evangelists, with the Holy Spirit above and the representatives of the Old and New Testaments below, including a portrait of the donor. Movable wings, Inside: left, martyrs (Schäufelein's self-portrait in the background at the bottom left); right, popes, Church Fathers, bishops, and founders of religious orders, Purgatory; Outside: Passion of Christ. On the fixed wings, Saints George, Christopher, Jerome, and Benedict. Predella inside: Christ in Limbo, Pope Innocent II (?) with monastery and church in the background, Noli me tangere, Resurrection of Christ, Doubting Thomas; outside: Saints Anne with the Virgin and Child and Ottilia, Scholastica, and Barbara. Quoted from: Dehio, Swabia, edited by Bruno Bushart and Georg Paula Darmstadt, 1989, pp. 146–147
Location: Auhausen, former Benedictine monastery church
Design: Schäufelin, Hans
Realization: Schäufelin, Hans
Depicted: Schäufelin, Hans
photo 2018, Pablo de la Riestra
Auhauser All Saints Altar
1513
Predella, detail view: left, Appearance of Christ to Peter / right, Doubting Thomas
The central panel of the altarpiece depicts, in the lower section, which occupies less than half the height of the image, the Adoration of the Lamb by the Patriarchs, Prophets, and Apostles, and in the upper section, the Coronation of the Virgin surrounded by choirs of angels. The spatial division is achieved by means of narrow bands of clouds. Wherever the background is visible, it is blue. (...) On both sides, the nine choirs of angels are arranged one above the other, (...) Below, those adoring the Lamb are gathered on a bank of clouds. They are separated into two groups: on the left, the representatives of the Old Testament, i.e., the Patriarchs and Prophets, and on the right, those of the New Testament, the Apostles. The arrangement of the two groups is strictly symmetrical. Towards the center, there is a kneeling figure: on the left, Moses with the Tablets of the Law, and on the right, Paul with the sword. On either side, a smaller kneeling figure is placed alongside a standing figure. On the left are Abraham with Isaac, and on the right, Matthew with the donor, Georg Truchseß von Wetzhausen. (...) The left wing depicts the martyrs at the top, some carrying palm branches. They are predominantly represented by the Fourteen Holy Helpers, but fifteen saints are depicted, and Stephen, Lawrence, and Sebastian are not among the Fourteen Holy Helpers. (...) The panel at the top right depicts the Confessors, namely Church Fathers, bishops, and founders of religious orders. In the foreground, kneeling on clouds, are Jerome, Gregory, Francis, and Benedict. Nicholas and Wolfgang can be identified in the rear row. (...) The lower panel of the left wing shows Emperor Henry and Cunigunde, female saints, co-donors of the altarpiece (?), and a self-portrait of Schäufelin. In the foreground, kneeling on clouds, are the holy imperial couple and Saints Catherine and Barbara. Behind Henry follows Elizabeth of Thuringia. On the left appears a group of civic-dressed and clerical dignitaries, none of whom have halos – these are likely co-founders of the altarpiece. The group is led on the right by Schäufelin himself, depicted as a curly-haired, full-bearded man in a robe. In his left hand, he holds a small tablet with the monogram HS and a small shovel. To the right stand female saints, some carrying palm fronds. They can be identified as Apollonia, Anne with the Virgin and Child, and Ottilia. The gray-blue sky is overcast. On the lower panel of the right wing, "poor souls" are depicted in purgatory. Two angels descend from above and draw two of the souls, represented as human figures, from the sea of flames. Quoted from: Christof Metzger: Hans Schäufelin as a Painter, German Publishing House for Art History, Berlin 2002, pp. 314–329 ___________________ The church's most precious furnishing is the large high altar, whose paintings were created in 1513 by Hans Schäufelin and his assistant Sebastian Daig. It is the only work by the artist to remain in its original location. With these panel paintings, which present their narratives rather calmly and without excessive drama, Schäufelin had achieved his mature style. The theological program likely originated with the patron, Abbot Georg: the main panel depicts the Coronation of Mary and the Lamb of God, surrounded by the heavenly hosts and the symbols of the Evangelists, with the Holy Spirit above and the representatives of the Old and New Testaments below, including a portrait of the donor. Movable wings, Inside: left, martyrs (Schäufelein's self-portrait in the background at the bottom left); right, popes, Church Fathers, bishops, and founders of religious orders, Purgatory; Outside: Passion of Christ. On the fixed wings, Saints George, Christopher, Jerome, and Benedict. Predella inside: Christ in Limbo, Pope Innocent II (?) with monastery and church in the background, Noli me tangere, Resurrection of Christ, Doubting Thomas; outside: Saints Anne with the Virgin and Child and Ottilia, Scholastica, and Barbara. Quoted from: Dehio, Swabia, edited by Bruno Bushart and Georg Paula Darmstadt, 1989, pp. 146–147
Location: Auhausen, former Benedictine monastery church
Design: Schäufelin, Hans
Realization: Schäufelin, Hans
Depicted: Schäufelin, Hans
photo 2018, Pablo de la Riestra
