All Saints’ Chapel

Saints and martyrs amid creatures from pagan mythology

We all know of All Saints' Day. But where does it come from? In the course of the first centuries of Christianity, it becomes increasingly difficult to dedicate a feast day to each saint because of the increasing number of them, mostly martyrs. That’s why it is decided to commemorate all the saints on a single day.

At the centre of All Saints’ Chapel, built in 1508 by the vicar, Sigmund Neunfelder, is the All Saints’ Altar. The group of saints in the shrine, the figures on the predella and superstructure date from the Late Gothic; this is recognisable by the pointed arches of the ribbed vaulting.

On the predella, the base of the altar, is written in Gothic script, "anno doi 1518" or "ANNO DOMINI 1518". The figure on the right, which depicts Saint Martina, is striking. According to tradition, the Christian Martina is forced to make a sacrifice in the temple of Apollo. She crosses herself in front of the statue of Apollo, whereupon the image of the deity shatters and the temple collapses.

In the centre of the altar is the shrine with a collection of saints, as it says at the bottom:
"HOC ALTARE COSECTU EST IN HONORE OMNIUM SANCTOR"

Translation from Latin:
"THIS ALTAR WAS ERECTED IN HONOR OF ALL THE SAINTS"

The letters of the inscription are no longer Gothic, but already written in Renaissance Antiqua. Typical of the architectural elements of the Renaissance is the recourse to antiquity. The pairs of columns on the left and right are entwined with vines and ivy and topped by capitals with acanthus leaves and snail-shaped ornament.

Dolphin-like mythical creatures crown the columns. In the space between the cornices there is a nereid, a companion of Poseidon, a hybrid creature with the upper body of a woman and the lower body of a fish.

Garlands of fruit hang over the saints and some are depicted with the instruments used to torture them. In the middle of the first row is Saint Barbara with a sword and on the right Dyonisius, bishop of Paris, with his head in hand; both were beheaded. On the left is Saint James with a pilgrim's shell on his hat and the laundryman’s pole, with which he was slain, also in his hand. Saint Peter with a key and two abbey founders with church models stand in the centre of the shrine.

On the figures on the altar you can see traces of paint beneath the current top coat. Red, gold and yellow - tones that matched the colourful paintwork within the chapel.

The top of the altar, the pinnacle – originally the transition to architecture on Gothic carved altarpieces – is formed by a crucifixion group with fantastical embellishments.

Rather unusual is also the expressive depiction of the prostitute and sinner Mary Magdalene, recognisable by her long, open hair. Jesus’s companion, she embraces the cross, overwhelmed with pain, while the Mother of Jesus and John look on rather distantly.

Up here, the sculptor's imagination unfolds once again. Dolphins hatching from calyxes pile up for a grand finale, connecting the altar to the Gothic cross ribs.