The Mass of St Gregory with Cardinal Albrecht of Brandenburg

The subject of Christ's apparition to Pope Gregory the Great (c. 540-604) is first depicted in art in the 15th century. The miracle of trans-substantiation during the Mass could thus also be proved in visual form [...] The famous Mosaic in the church of Santa Croce in Gerusalemme in Rome is the point of origin of the legend - which served to legitimize the worship of the icon -, according to which Pope Gregor saw the figure of Christ as a Man of Sorrows (Imago Pietatis) while celebrating the Mass [...]

The basic disposition of the composition is after a woodcut by Albrecht Dürer from 1511, but the execution is quite free. Idiosyncrasies in the perspective of the painting serve the legibility of all details [...]. Pope Gregor, a deacon and a sub-deacon kneel before the steps of the altarpiece on which the tiara, the papal triple crown (as a symbol of the imperial power of the bishops of Rome) and the utensils necessary for the celebration of the Mass: the missal, the chalice, the corporale and the paten are displayed. Above the altarpiece Christ appears as the Redeemer with outspread arms, a crown of thorns and wounds as if about to climb from the sarcophagus. Here it is important to understand that predella were sometimes referred to a 'coffins' ('Sarg') in contemporary literature. The double meaning is emphasized by the icon of Vera, Christ's true countenance, on the wall. The vision replaces the painting on the altarpiece. Depicted in a cloud formation enlivened by cherubs behind and above Christ are the Arma Christi, motifs symbolizing the Passion: a ladder, the flagellation column, a lance, details of Pilatus washing his hands, the trial of Christ, St Peter's denial etc.

The figures kneeling before the altarpiece do not appear to take notice of the miracle; Albrecht of Brandenburg has no chance to enjoy the vision either [...] the depiction of Albrecht appears, like so many other portraits, to be after the engraved prototype created by Cranach in 1520. Above the back wall of the renaissance style choir stalls is the spiritual ruler's coat-of-arms showing his dominion. In the background choir boys sing under the direction of a tonsured praeceptor.

A particular moment during the celebration of the Mass is not depicted nor was it intended.'

[Exhib. Cat. Aschaffenburg 2007, 271]