We only recently approached a late gothic, Austrian, winged altarpiece, that of Pfarrkirche Gampern, so one might naturally wonder why we would already approach yet another. The answer is that there is a potential relationship between these two altars as it is thought that they may have been produced by the same master.
You will perhaps recall that the other altar was tentatively attributed to Lienhart Astl. Well in this case, the case of the altar of Pfarrkirche Hallstatt (the Church of Assumption in Hallstatt, Austria), it can be definitively attributed to him as his name is inscribed right onto the altarpiece in question. If possible, this particular altarpiece is perhaps even more dramatic and impressive than that of Pfarrkirche Gampern, but we'll leave you to judge that for yourselves. (De gustibus non est disputandum.)
The fact is both are impressive, and to give you a sense of the broader setting in which the altarpiece is found, here is a view of it, showing some of the beautiful architecture that surrounds it (and yes, you aren't mistaken, that is yet another winged altarpiece you are seeing to the left; a true embarrassment of riches).
This particular altarpiece is noteworthy enough that it has been given its own designation as the "Hallstätter Marienaltar" and fortunately there is a large gothic window to the left of it which brings a wonderful illumination to the altar -- of benefit to the priest at the altar as much as it is to our secondary benefit in taking in this beautiful work of ecclesiastical art. While it's precise date is not known due to many of the parish church's historical archives having been lost in a fire, it is thought to date to circa 1510-1520.
The altarpiece follows a typical winged altar model with outer moveable doors form the outer panels. These panels can be closed during penitential seasons to conceal the more intricate art found within -- fasting for the eyes. But of course, the Catholic mentality is never minimalist and, like a good mother, she always intends to feed her children somehow, so what we find when the doors are closed are four beautiful painted scenes showing us scenes of Christ in the Temple, the Wedding at Cana, Christ and His Mother and the Resurrection.
As beautiful as these are in their own right, when these doors are opened, it reveals another series of works before we even hit the primary carvings of the altar. What this is revealing to us is that there is a very advanced sense of a hierarchical-liturgical purpose for what images are to be displayed when. We end up here with effectively three altarpieces in one.
Here then are the second tier of images, which show us now scenes from the life of the Virgin and the Child Jesus, specifically the Presentation of the Virgin in the Temple, Ss. Joachim and Anna, the Visitation of Mary, the Marriage of Mary and Joseph, St. Joseph's Dream, the Circumcision, Adoration of the Magi and the Flight into Egypt. (I suspect this is how the altar would have been presented in a season such as Advent.)
Finally, when we open this second tier of doors, we reach the spectacular polychromed wood carvings, which is a true feast for the eyes, and which would have been reserved for display on the greatest and most solemn liturgical times of the year -- times such as Christmas and Easter for example.
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| Detail of the Virgin and Child |
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| Annunciation |
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| Assumption |
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| Birth of Mary |
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| The Presentation |
At the foot of the altarpiece we see a space that effectively can house the altar cross and probably also serve as an exposition throne. To either side we see a carving of St. Peter and St. Paul. It is worth noting these components are not original to the altar, as originally there had been a depiction of the Nativity of Christ found here (regrettably now lost). This was removed later on in the altar's history, likely after the counter-reformation, to make way for a tabernacle (for recall that historically in this period the Sacrament would have either been reserved in a hanging pyx, a Sacrament Tower or, likely in this instance, an aumbry found built into the wall near the altar).
Looking upward to the crown of the altarpiece, we see beautiful, airy, gothic carved tracery and set within we find two tiers of images.
On the lower tier we find seven saints depicted. Centrally we find St. Christopher, to either side of him are St. Wolfgang of Regenburg, St, Dionysius, St. Philip, and then St. Stephen, St. Andrew and St. Simon.
Above this, we find a central image of the Christ as the Man of Sorrows, beside him, St. John and St. Nicholas.
Since I had mentioned earlier that yes, indeed, there is a second winged altarpiece in this parish, here it is for your consideration:
This is actually a fairly modern altar, coming out of the gothic revival and constructed in the period of 1888-1895 by the architect Herman von Riewel.
What can one say about altars such as these other than the fact that they are colourful, dramatic and simply spectacular? It is a true shame that the gothic revival movement did not make more such attempts to try to revive the altarpieces of this particular period and style.
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