6/internal/media/dispatcher/134502/fullPresentation of Mary in the Templec. 1510/1520[Meister der Oberfalkensteiner Altarflügel (Meister von Möllbrücke)]Meister der Oberfalkensteiner Altarflügel (Meister von Möllbrücke)Painting on spruce on a new wood supportPaintinghttps://sammlungtest.belvedere.at/objects/3632/rdf/internal/media/dispatcher/134472/fullVisitation of Mary1502 (?)[Marx Reichlich]Marx ReichlichPainting on spruce Paintinghttps://sammlungtest.belvedere.at/objects/3634/rdf/internal/media/dispatcher/125529/fullAdoration of the Magic. 1505/1508[Meister der Habsburger]Meister der HabsburgerPainting on fir (fragment)Paintinghttps://sammlungtest.belvedere.at/objects/3625/rdf/internal/media/dispatcher/134470/fullPresentation of Mary in the Temple1502 (?)[Marx Reichlich]Marx ReichlichPainting on spruce Paintinghttps://sammlungtest.belvedere.at/objects/3633/rdf/internal/media/dispatcher/160609/fullPortrait of Sigismund ("the Rich in Coin") of Tyrol, Archduke of Austriac. 1480/1490[Tiroler Maler]Tiroler MalerPainting on sprucePaintinghttps://sammlungtest.belvedere.at/objects/3645/rdf/internal/media/dispatcher/49601/fullPope Sixtus II Bids Farewell to St Lawrencec. 1465[Michael Pacher]Michael PacherPainting on Swiss stone pineThese four paintings once belonged to the high altarpiece in the parish church of San Lorenzo di Sebato in South Tyrol, which was Michael Pacher’s first documented altarpiece. The half-length images of the apostles Peter and Paul were intended for the predella, the base of the altarpiece. On the larger panels, the theme is from one of the saints’ lives during the period of persecution in the early Christian church. Pacher’s figures are imbued with expressive individuality and move freely in stage-like spaces that lead the eye into the pictorial depths. The accurately constructed central perspective and anatomically convincing poses suggest that the artist was trained in Italy.Paintinghttps://sammlungtest.belvedere.at/objects/3591/rdf