The late gothic altarpieces of Central Europe have always been one of my favourite types of altarpiece. They are generally filled with colour and life, they are ornamental (rather like gingerbread tracery on Victorian era home) and in many ways these qualities remind me of some of the appealing qualities of the Rococo in their colour and playfulness, albeit a much more controlled and stoical form.
The Church of St. James the Elder (Jakobskirche) in Rabenden located in Bavaria features just such a late gothic, winged altarpiece. The altar in question is referred to as the altar of the "Master of Rabenden." Of course this already tells you two things. The work is held in great esteem as one which is the work of an accomplished craftsmen, but unfortunately the identity of the craftsman in question has not come down to us. We do know, however, that the altarpiece dates from the period of approximately 1510-1515 (with the church itself being erected around the mid 1400's).
It is the altarpiece of the high altar though that is the main focal point of interest for us today. As you will see from a closer look, it includes the beautiful and airy carved tracery at its top that is so indicative and characteristic of this period and region. (Longtime readers from America will no doubt also recognize the similar look and feel here to what is sees at St. Mary's Oratory in Wausau.) Set within this delicate tracery is an image of the Crucifixion, with Christ, Our Lady and St. John to either side.
As one's gaze moves downward, we are presented with a central depiction of St. James the Greater, the church's patron, and to either side, Ss. Simon and Thaddeus, each of whom hold in their hands their respective symbolic attributes.
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| St. James (centre) with his pilgrim's staff and scallop shell, St. Simon with a saw, and St. Thaddeus with a club. |
To either side of this central carving are four painted panels depicting the Annunciation, Nativity, Dormition and Adoration of the Magi.
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| Nativity |
While not visible here, there are also paintings on the reverse side of these wings, visible when the doors of the triptych are closed, depicting the four Latin Doctors of the Church.
There are also two side altars of note in the church, one of which was partially constructed in the mid nineteenth century. The other, seen below, is from the same period as the high altar, and also a work of the Master of Ravenden. This particular altarpiece depicts St. Eustace and the Fourteen Holy Helpers and while not visible here, it also includes a beautiful carved spire, in which is set an image of Christ Resurrected.
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