Altarpiece of St Wolfgang's Church in Schneeberg, Erzgebirge [left fixed wing]

Altarpiece of St Wolfgang's Church in Schneeberg, Erzgebirge [left fixed wing]

Painting on limewood

Medium

Painting on limewood

[Böhlitz 2005, 28]

Front: Man is driven into the flames of hell by the devil. In the sky above Christ is depicted being enthrone. All motifs are part of the iconography of law and grace.

Back: Lot and his Daughters with the city of Sodom burning in the background.

Attributions
Lucas Cranach the Elder and workshop
Lucas Cranach the Elder

Attributions

Lucas Cranach the Elder and workshop

[Pöpper, Wegmann 2011]
[Böhlitz 2005, 28]
[Schuchardt 1851 A, 118-119]

Lucas Cranach the Elder

[Böhlitz 2005, 28]
[Schuchardt 1998 B, 13]
[Exhib. Cat. Berlin 1937, no 111]

Lucas Cranach the Younger

[Böhlitz 2005, 28]

Production date
1539

Production date

1539

[Böhlitz 2005, 28]

Dimensions
Dimensions of support: 285 x 98.8 cm

Dimensions

  • Dimensions of support: 285 x 98.8 cm

  • [Böhlitz 2005, 28]

  • Dimensions of support: 280 x 98 cm

  • [Thulin 1955, 34]

Signature / Dating

None

Inscriptions and Labels
  • recto, the lower edge:
    'Sie sind alle zumal sunder: und mangeln das sie sich Gottes nicht rhumen mu
    gen. …

Inscriptions and Labels

Inscriptions, Badges:

    • recto, the lower edge:
  • 'Sie sind alle zumal sunder: und mangeln das sie sich Gottes nicht rhumen mu

  • gen. Roma. III: Die sunde ist des todes spies: aber das gesetz ist der sunde krafft.

    1. Cor. 15.'
Owner
Ev.-Luth. Kirchgemeinde St. Wolfgang, Schneeberg
Repository
Ev.-Luth. Kirchgemeinde St. Wolfgang, Schneeberg
Location
Schneeberg
CDA ID
DE_WSCH_NONE-WSCH001D
FR (1978) Nr.
FR379
Persistent Link
https://lucascranach.org/en/DE_WSCH_NONE-WSCH001D/

Provenance

  • Easter Week 1539 installation on the main altar of St Wolfgang's church, Schneeberg
  • 1633 the paintings were stolen by imperial troops during the Thirty Years' War
  • 1637 in the collection of Count Colloredo, Prague
  • 1647 Strahov Monastery, Prague
  • 1650 remounted in the original frame (now lost) in St Wolfgang's church, Schneeberg
  • 1929 sale of two wings to the Staatliche Kunstsammlungen Dresden
  • 1972 return of all component parts and reassembly of the altarpiece in St Wolfgang's church, Schneeberg
    [Magirius, Kelm et al. 1992, 298]

Exhibitions

Berln 1937, no. 111 (only the outer wiing panels)
Berlin 1983, (just part of the altarpiece was lent)

Literature

Reference on page Catalogue Number Figure / Plate
Sandner 2021 78, 79-80 Fig. 9
AuthorIngo Sandner
TitleDie Werkstattpraxis Lucas Cranach des Älteren
Publicationin Dagmar Täube, ed., Lucas Cranach der Ältere und Hans Kemmer. Meistermaler zwischen Renaissance und Reformation [Lübeck, St. Annen-Museum]
Place of PublicationMunich
Year of Publication2021
Pages71-81
Cat. Coburg 2018 39, 73, 127 under no. 2
AuthorKlaus Weschenfelder
TitleCranach in Coburg. Gemälde von Lucas Cranach d.Ä., Lucas Cranach d.J., der Werkstatt und des Umkreises in den Kunstsammlungen der Veste Coburg
Place of PublicationRegensburg
Year of Publication2018
Heydenreich 2017 A 75 Figs. 2-3
AuthorGunnar Heydenreich
TitleCranach? Fragen der Zuschreibung im Lichte kunsttechnologischer Untersuchungen
Publicationin Gunnar Heydenreich, Daniel Görres, Beat Wismer, eds., Lucas Cranach der Ältere. Meister - Marke - Moderne. [Exhib. Cat. Düsseldorf 2017]
Place of PublicationMunich
Year of Publication2017
Link https://lucascranach.org/application/files/7316/7870/1704/Heydenreich_2017_Cranach_Fragen_der_Zuschreibung.pdf
Pages72-81
Price 2017 20, 21
AuthorDavid H. Price
TitleLucas Cranach e la Riforma
Publicationin Francesca de Luca, Giovanni Maria Fara, eds., I volti della Riforma. Lutero e Cranach nelle collezioni medicee , Exhib. Cat. Florence, 2017
Place of PublicationFlorence, Milan
Year of Publication2017
Pages12-27
Exhib. Cat. Gotha, Kassel 2015 288
EditorJulia Carrasco, Justus Lange, Stiftung Schloss Friedenstein, Gotha, Benjamin D. Spira, Timo Trümper
TitleBild und Botschaft. Cranach im Dienst von Hof und Reformation, [Gotha, Herzogliches Museum; Kassel, Gemäldegalerie Alte Meister, Schloss Wilhelmshöhe]
Place of PublicationHeidelberg
Year of Publication2015
Görres 2015 A 254
AuthorDaniel Görres
TitleVon Fürsten und Bürgern, Theologen und Malern. Repräsentation und Memoria in Bildprogrammen Cranachs des Jüngeren
Publicationin, Elke A. Werner, Anne Eusterschulte, Gunnar Heydenreich, eds., Lucas Cranach der Jüngere und die Reformation der Bilder
Place of PublicationMunich
Year of Publication2015
Link https://lucascranach.org/application/files/4615/6232/3882/Goerres_2015_-_Fuersten_und_Buerger.pdf
Pages141-151
Görres et al. 2015 254
AuthorDaniel Görres, Gunnar Heydenreich, Jana Herrschaft
TitleDie Werkstatt Cranachs des Jüngeren
Publicationin R. Enke, K. Schneider, J. Strehle, eds., Lucas Cranach der Jüngere. Entdeckung eines Meisters
Place of PublicationMunich
Year of Publication2015
Link https://lucascranach.org/application/files/7116/2097/3065/Heydenreich_Goerres_Herrschaft_2015_Die_Werkstatt_Cranachs_des_Juengeren.pdf
Pages64-77
Grebe 2015 323, 326, 328
AuthorAnja Grebe
TitleDas 'sprechende' Retabel. Neue Überlegungen zum Colditzer Altar Lucas Cranachs des Jüngeren
Publicationin Elke E. Werner, Anne Eusterschulte, Gunnar Heydenreich, eds., Lucas Cranach der Jüngere und die Reformation der Bilder
Place of PublicationMunich
Year of Publication2015
Pages318-329
Hennen 2015 A 69
AuthorInsa Christiane Hennen
TitleDie Wittenberger Reformationsaltar im Kontext der Umgestaltung der Stadtpfarrkirche zwischen 1520 und 1580
Publicationin Elke A. Werner, Anne Eusterschulte, Gunnar Heydenreich, eds., Lucas Cranach der Jüngere und die Reformation der Bilder
Place of PublicationMunich
Year of Publication2015
Pages62-71
Meinel 2015 238-242 Fig. 2
AuthorFrank Meinel
TitleZur Rezeption der Rechtfertigungslehre bei Lucas Cranach dem Jüngerem. Versuch einer theologischen Deutung des Gemäldes 'Elias und die Baalspriester' von 1545
Publicationin Elke A. Werner, Anne Eusterschulte, Gunnar Heydenreich, eds., Lucas Cranach der Jüngere und die Reformation der Bilder
Place of PublicationMunich
Year of Publication2015
Pages236-243
Sandner, Heydenreich, Smith-Contini 2015 136, Fn. 62
AuthorGunnar Heydenreich, Ingo Sandner, Helen Smith-Contini
TitleVeränderungen beim Unterzeichnen in Cranachs Werkstatt und die Arbeitsweise von Sohn Lucas
Publicationin Elke A. Werner, Anne Eusterschulte, Gunnar Heydenreich, eds., Lucas Cranach der Jüngere und die Reformation der Bilder
Place of PublicationMunich
Year of Publication2015
Link https://lucascranach.org/application/files/5215/6337/7366/Heydenreich_Sandner_Smith-Contini_2015_-_Unterzeichnung.pdf
Pages128-141
Schuchardt 2015 A 14, 17
AuthorGünter Schuchardt
TitleCranach und Luther-Aspekte einer Partnerschaft
Publicationin Günther Schuchardt, ed., Cranach, Luther und die Bildnisse, Exhib. Cat. Eisenach 2015
Place of PublicationRegensburg
Year of Publication2015
Pages10-23
Werner 2015 14
AuthorElke Anna Werner
TitleLucas Cranach der Jüngere und die Reformation der Bilder. Zur Einführung
Publicationin Elke A. Werner, Anne Eusterschulte, Gunnar Heydenreich, eds., Lucas Cranach der Jüngere und die Reformation der Bilder
Place of PublicationMunich
Year of Publication2015
Pages8-16
Pöpper, Pietsch 2013
AuthorThomas Pöpper
TitleDas Schneeberger Reformationsretabel von Lucas Cranach dem Älteren. Ein "bildgewordener Kirchentraum"
Place of PublicationSpröda
Year of Publication2013
Pöpper 2010
AuthorThomas Pöpper
TitleNeues zur Bau- und Ausstattungsgeschichte von St. Wolfgang in Schneeberg/Erzgebirge im 16. Jahrhundert
Publicationin Nadja Horsch, Zita Á. Pataki, Thomas Pöpper, eds., Kunst und Architektur in Mitteldeutschland. Thomas Topfstedt zum 65. Geburtstag
Place of PublicationLeipzig
Year of Publication2012
Pages54-63
Pöpper, Wegmann 2011
EditorThomas Pöpper, Susanne Wegmann
TitleDas Bild des neuen Glaubens. Das Cranach-Retabel in der Schneeberger St. Wolfgangkirche
Place of PublicationRegensburg
Year of Publication2011
Lagaude 2010
AuthorJenny Lagaude
TitleDer Cranach-Altar zu St. Wolfgang in Schneeberg
Place of PublicationLeipzig, Berlin
Year of Publication2010
Noble 2009
AuthorBonnie Noble
TitleLucas Cranach the Elder. Art and Devotion of the German Reformation
Place of PublicationLanham
Year of Publication2009
Böhlitz 2005 28-33, 36 Pl. 8, 9
AuthorMichael Böhlitz
TitleAltargemälde von Lucas Cranach dem Älteren, Lucas Cranach dem Jüngeren und ihren Schülern im Chemnitzer Raum
Publicationin Harald Marx, Ingrid Mössinger, Karin Kolb, ed., Cranach. Exhib. Cat. Chemnitz
Place of PublicationCologne
Year of Publication2005
Pages18-43
Magirius 2005
AuthorHeinrich Magirius
TitleSchneeberg. St. Wolfgang
Place of PublicationLandshut
Year of Publication2005
Noble 2003
AuthorBonnie Noble
Title"A work in which the angels are wont to rejoice": Lucas Cranach's Schneeberg Altarpiece
JournalThe Sixteenth Century Journal
Issue34/4
Year of Publication2003
Pages1011-1037
Noble 1999
AuthorBonnie Noble
TitleThe Lutheran Paintings of the Cranach Workshop, 1529-1555
Place of PublicationAnn Arbor
Year of Publication1999
Emmendörffer 1998 223
AuthorChristoph Emmendörffer
TitleDie selbständigen Cranachschüler
Publicationin Ingo Sandner, Wartburg-Stiftung Eisenach and Fachhochschule Köln, eds., Unsichtbare Meisterzeichnungen auf dem Malgrund. Cranach und seine Zeitgenossen, Exhib. Cat. Eisenach
Place of PublicationRegensburg
Year of Publication1998
Pages203-228
Schuchardt 1998 B 13
AuthorGünter Schuchardt
Title"Ich hätt euch viel zu schreiben, hab aber viel zu schaffen." Lucas Cranach d. Ä. und seine Wittenberger Werkstatt.
Publicationin Ingo Sandner, Wartburg-Stiftung Eisenach and Fachhochschule Köln, eds., Unsichtbare Meisterzeichnungen auf dem Malgrund. Cranach und seine Zeitgenossen, Exhib. Cat. Eisenach
Place of PublicationRegensburg
Year of Publication1998
Pages11-18
Kelm 1996
AuthorChristine Kelm
TitleDer Cranach-Altar in der St. Wolfgangkirche zu Schneeberg
Volume42
JournalSächsische Heimatblätter
Issue6
Year of Publication1996
Pages333-336
Meinel 1996
AuthorFrank Meinel
TitleDer Lukas Cranach Altar zu Schneeberg
Place of PublicationAue/Sachsen
Year of Publication1996
Kelm, Eisbein et. al. 1992
AuthorChristine Kelm, Manfred Eisbein, Lenard Mühlfriedel
TitleDer Cranachaltar in der St. Wolfgangkirche zu Schneeberg. Die Restaurierung der Seitenflügel des Cranachaltars - ein vorläufiger Bericht
JournalZeitschrift für Kunsttechnologie und Konservierung
Issue6/2
Year of Publication1992
Pages305-314
Magirius 1992
AuthorChristine Kelm, Manfred Eisbein, Lenard Mühlfriedel
TitleDer Cranachaltar in der St. Wolfgangkirche zu Schneeberg. Geschichte des Cranachaltares
JournalZeitschrift für Kunsttechnologie und Konservierung
Issue6/2
Year of Publication1992
Pages298-304
Exhib. Cat. Berlin 1983
EditorAltes Museum, Berlin
TitleKunst der Reformationzeit
Place of PublicationBerlin
Year of Publication1983
Exhib. Cat. Basel 1974/1976 566 under No. 458
AuthorDieter Koepplin, Tilman Falk
TitleLukas Cranach. Gemälde, Zeichnungen und Druckgraphik
Volume1, 2
Place of PublicationBasel, Stuttgart
Year of Publication1974
Link http://nbn-resolving.de/urn:nbn:de:bsz:16-diglit-104522
Hintzenstern 1972
AuthorHerbert von Hintzenstern
TitleLucas Cranach d. Ä. Altarbilder aus der Reformationszeit
Place of PublicationBerlin
Year of Publication1972
Thulin 1955
AuthorOskar Thulin
TitleCranach-Altäre der Reformation
Place of PublicationBerlin
Year of Publication1955
Exhib. Cat. Berlin 1937 40 111 Pl.. 94
EditorStaatliche Museen, Berlin
TitleLucas Cranach d. Ä. und Lucas Cranach d. J. Gemälde, Zeichnungen, Graphik
Place of PublicationBerlin
Year of Publication1937
Sommerfeldt 1930
AuthorGustav Sommerfeldt
TitleÜber Cranachs Anteil am Altarschmuck der Wolfgangskirche zu Schneeberg
JournalNeues Archiv für Sächsische Geschichte
Issue51
Year of Publication1930
Pages171-172
Schuchardt 1851 C 112-122 393
AuthorChristian Schuchardt
TitleLucas Cranach des Aeltern Leben und Werke. Zweiter Theil
Place of PublicationLeipzig
Year of Publication1851
Link http://digi.ub.uni-heidelberg.de/diglit/schuchardt1851bd2
Melzer 1716
AuthorChristian Melzer
TitleHistoria Schneebergensis Renovata. Das ist: Erneuerte Stadt-Berg-Chronica. Der im Ober-Ertz-Gebürge des belobten Meißens gelegenen Wohl-löbl. Freyen Berg-Stadt Schneeberg
Place of PublicationSchneeberg
Year of Publication1716
Melzer 1684
AuthorChristian Melzer
TitleBergkläufftige Beschreibung Der Churfürstl. Sächß. freyen und im Meißnischen Ober-Ertz-Geburge löbl. Bergk-Stadt Schneebergk
Place of PublicationSchneeberg
Year of Publication1684
Schindler 1650
AuthorChristoph Schindler
TitleRedintegratio arae chionurinae Erneuerung des Schneebergischen Altars am Tage der Siegreichen Himmelfahrt unsers Herrn und Heylandes Jesu Christej, dem 23. Maii 1650. In sehr volckreicher Versammlung mit Christlichen Ceremonien verrichtet
Place of PublicationZwickau
Year of Publication1650

Research History / Discussion

The Cranach Altarpiece in the Church of St Wolfgang, Schneeberg

(for a comprehensive evaluation of the altarpiece, its history and iconography see: Pöpper, Thomas [Text]/ Pietsch, Jürgen M. [Photos], Ein ›bildgewordener Kirchentraum‹. Das Reformationsretabel in St. Wolfgang, Schneeberg/Erzgebirge von Lucas Cranach dem Älteren. Introduction by Frank Meinel and a source edition by Dietrich Lücke [= Schätze Mitteldeutschlands, 5], Spröda 2012 [in print]).

Significance

The altarpiece commissioned from Lucas Cranach the Elder, which was installed in the Church of St Wolfgang in Schneeberg in 1539 is not only the most comprehensive and complex altarpiece produced in the Cranach workshop. It also represents the first decorative program in a protestant church in Saxony: the Schneeberg art work is the first Reformation altarpiece; here the theological concept of the Lutheran ‚new faith‘ was represented for the first time on an altarpiece. Thus its significance extends far beyond early and medieval German art. The altarpiece has a European dimension.

Program

Despite – or perhaps because of- its innovative, even momentous content the appearance and technical or liturgical function of the altarpiece refers to pre-reformation patterns. The present metal frame (argentan or nickel silver), which was made in the 1990s allows one transformation or two states, the so-called work day (‚Alltags-‘) and the so-called feast day presentation (‚Festtagsansicht‘). The Last Supper (predella) and the representation of Law and Mercy and a Passion Cycle with portraits of regional rulers are always visible. There is some indication that the original construction of the altarpiece allowed a further transformation and that the present fixed wings of the work day presentation could be closed over the inner wings and the central panel. Such a construction would have made the representation of two Old Testament judgments, namely ‘The Fire of Sodoma’ and ‘The Flood’ visible from the nave (today these scenes are on permanent display on the reverse of the altarpiece).

It is certain that the altarpiece could at all times be walked around and viewed from all sides, independent of its state of presentation. This is not only indicated by the elaborate depiction on the reverse of ‘The Enthroned Christ at the Last Judgement’ and ‘The Separation of the Blessed and the Damned’ and the additional sumptuous decoration. Also the fact, that in Schneeberg (officially Lutheran since 1534) the communion was celebrated by walking around the altarpiece (and still is) is a clear indication that it was intended to be freestanding. This means, that the congregation today, as always, walk around the altarpiece between receiving the bread and the wine and can view the admonishing and warning judgement scenes on the reverse from close proximity.

Today there is a panel with an inscription attached to the reverse on the predella beneath the ‚Last Judgement‘. It was added in 1996 and replaces a depiction of ‘The Resurrection of the Dead’, which was directly related to the ‘Last Judgement’. This panel was destroyed by fire on Schneeberg’s ‚Black Day‘ (Schwarzen Tag von Schneeberg), the 19th of April 1945 (a black and white photograph of it still exists).

History

During the Thirty years War (1616 to 1648) Schneeberg was looted twice by imperial troops. The altarpiece was taken apart as a result of the ravages and the panels were stolen. They were taken to Bohemia as a form of security (1633). However the altarpiece could be restored to its former owner (1649) and was soon returned to the Church of St Wolfgang where it was reconsecrated (1650). An inscription, numerous coats-of-arms and some portrait panels were added to complement the original state (two of these additional portraits are preserved in the Schneeberg Museum für bergmännische Volkskunst).

Later, in the 18th century, not only the panels of the altarpiece but also the frame were permanently dismantled. The wing panels and the other panels were sawn into more than a dozen pieces, both lengthwise and perpendicularly to the paint surface. Panels painted on both sides were split to view them side by side. They were hung on the supporting columns of the gallery located at the east end of the church like paintings in a museum. We can only roughly estimate the extent to which the size of single panels was adjusted and the edges trimmed. However these losses are probably negligible and can be discounted. Some of the fragmentary panels – the central Crucifixion and the predella depicting the Last Supper- were integrated into a baroque altarpiece (set up between 1709 and 1712; destroyed in 1945). A depiction of ‘The Miracle of Pentecost’, which is only documented in written sources appears to have been lost during this by no mean for the 18th century untypical modernization, and despite all reasonable care taken by the department of monument preservation. To date there is no trace of the painting.

Later the (temporary) transfer of two wing panels to the collection in Dresden (Dresdener Kunstsammlungen) proved to infringe less on the coherence of the program, and more on the inventory (1929); in Schneeberg the missing panels were replaced by copies (1933). The altarpiece suffered irreparable damage during the Second World War. On the above mentioned day in April in the year 1945 the town was bombed and St Wolfgang’s caught fire. Courageous citizens risked their lives to save almost all of the panels from the fire, which shortly after raised the church building to the ground. Among the Cranach paintings only the reverse of the predella depicting the ‘Resurrection of the Dead’ was destroyed.

It was not until 1996 that the restored altarpiece – including the wing panels from Dresden, in a modern metal frame and with a new sequence of transformation – could be reconsecrated in the reconstructed church. This is the condition in which the altarpiece is displayed today – located in the place it was created for over 470 years ago.

Contract

The attribution of the altarpiece to Lucas Cranach the Elder is without question, and not only for stylistic reasons as it is also supported by archival material. The church community’s account book (‚Kastenbuch‘) from the year 1538/1539 records ‚meister lucas maler, zu wittenpergk‘ as unequivocal payee. He acts here – also in legal terms- as the manager of the workshop. The altarpiece was probably produced on the basis of division of labour. Different workshop assistants who cannot be identified with certainty, but also – the most extensive sections- Lucas Cranach the Elder and his son, Lucas Cranach the Younger worked side by side on altarpiece.

In the above mentioned account book there are also grounds for concluding that not the Ernestine rulers portrayed on the altarpiece, but the citizens or the protestant church community commissioned Lucas Cranach the Elder and paid him the handsome sum of 357 Gulden and 3 Groschen.

Conclusion

Despite the recent increase in scholarly interest and published tributes as well as the discovery of important new archival material there remains considerable need for further research (on iconography, who actually commissioned the altarpiece, original presentation, the missing artist’s insignia, but above all the complex question of attribution). It has been established that the Schneeberg altarpiece, which on sight employs ‚catholic‘ visual conventions, first reveals the Lutheran dimensions of the overall concept in its detail, a concept which was later to be developed and radicalized in the altarpieces in Wittenberg and Weimar (1547/1555). As such the St Wolfgang altarpiece in Schneeberg can be viewed both as an experiment or »ein Testfall für die protestantische Bildkunst (a test case for protestant pictorial art) « (Michael Böhlitz 2005) and a record of »allmählichen Übergang[s] von einer katholischen zu einer lutherischen Identität Sachsens (Saxony’s gradual transition from a catholic to a Lutheran identity)« (Jenny Lagaude 2010)

However one inexplicable ‚miracle’ of Cranach’s artwork is that the ‚visualised dream of the church‘ (›bildgewordenen Kirchtraum‹) (described as such in a poem by Kurt Arnold Findeisen [1883 - 1963] ) not only created a pictorial reality for the ‚new faith‘, but was also a symbol of the miners‘ identity and the Erzgebirge homeland, and has still not lost its aesthetic appeal and –hopefully- its religious potency.

[Thomas Pöpper, 2012]

  • Altarpiece of St Wolfgang's Church in Schneeberg, Erzgebirge [left fixed wing], 1539

Images

Compare images
  • overall
  • overall
  • reverse

Technical studies

2016Technical examination / Scientific analysis

  • Infrared reflectography

Underdrawing

DESCRIPTION (verso)

Tools/Material:

- fluid, black medium, brush; drawn with light and dark media in two stages; the initial rough design was executed with a stylus

Type/Ductus:

- relatively freehand underdrawing

- thin (in the face) to broader lines

- occasional hatching-strokes in the draperies

Function:

- relatively binding for the final painted version; the lines delineate the main contours and describe essential details and facial features, occasional use of hatching strokes to represent volume

Deviations:

- minor corrections were made to forms during the painting process; almost no changes

INTERPRETATION

Attribution:

- Lucas Cranach the Elder or Younger

[Sandner, Smith-Contini, Heydenreich, cda 2018]

  • photographed by Gunnar Heydenreich
  • photographed by Ingo Sandner

2013Technical examination / Scientific analysis

Support

- limewood

- knots and damages were replaced or filled with wooden inserts and covered with a fibrus material

- butt joints were reinforced with dovetail inserts

- the use of a temporary frame is evident; on the wing panels it fixed over half the length

[Kelm, Eisbein et al. 1992, 307]

[Heydenreich 2013, 108-109]

Paint Layers and Gilding

- the luminosity of the paint results from simple admixtures applied alternately over white, grey and black underlayers in one or more layers.

- great variety of techniques and methods of application employed: e.g. the flesh paint on the predella and the central panel with its confident execution in light flesh tones and greyish brown shadows on a light ground is opposite the flesh paint on the inner side of the wing panels, which consists of grisaille underpaint and semi- to opaque dabbed flesh tones and suggests the participation of workshop members.

- on the central panel the final touches on the flesh paint were executed with confidence in black paint with a pointed brush, presumeably by Cranach the Elder

[Heydenreich 2013, 114-116]

Citing from the Cranach Digital Archive

Entry with author
<author's name>, 'Altarpiece of St Wolfgang's Church in Schneeberg, Erzgebirge [left fixed wing]', <title of document, data entry or image>. [<Date of document or image>], in: Cranach Digital Archive, https://lucascranach.org/en/DE_WSCH_NONE-WSCH001D/ (Accessed {{dateAccessed}})
Entry with no author
'Altarpiece of St Wolfgang's Church in Schneeberg, Erzgebirge [left fixed wing]', <title of document, data entry or image>. [<Date of document, entry or image>], in: Cranach Digital Archive, https://lucascranach.org/en/DE_WSCH_NONE-WSCH001D/ (Accessed {{dateAccessed}})

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