We conclude our survey of the reredos (Gothic, Renaissance and Baroque) by turning to perhaps the most popular master of the large altarpiece in Germany: Tilman Riemenschneider (1460-1531). He lived and worked in and around the city of Wuerzburg in the region of Franconia and brought the art of the German reredos to rare perfection. But his achievements were on the verge of the Reformation that extinguished in most of that country the theological basis for such masterpieces: belief in the Mass, the Eucharist, the intercession of the saints, the superiority of the contemplative life and the value of good works such as furnishing the house of God with splendid art.
The main church of Rothenburg-ob-der-Tauber (above)contains a number of altars and important works of medieval art. Among them is Riemenschneider’s altar of the Holy Blood which focuses on the Last Supper.
The crown (Gesprenge), canopy and side panels show Riemenschneider’s virtuosity.
The central scene of this altar illustrates Riemenschneider’s innovative style. He was one of the German carvers of altarpieces to leave the carvings in the natural wood and abandon the gilt and painted surfaces of tradition. The Last Supper is set against an openwork background instead of being enclosed in a case. The artist gave each of the apostles individual features and gestures.
Near Rothenburg lies the village of Creglingen. Here stands a chapel which was the focus of a major devotion in the latter Middle Ages. Among several altars commissioned at that time for this church is Riemenschneider’s masterpiece. In this reredos Riemenschneider achieved complete integration of all the traditional elements of the German altar. The ascent of the Virgin of the Assumption is continued by the canopy and flame-like crown. But despite the drama, the serene figure of Mary herself is completely absorbed in contemplative prayer.
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