4/internal/media/dispatcher/5625/fullAdoration of the Magic. 1440/1450[Meister des Friedrichsaltars]Meister des FriedrichsaltarsPainting on sprucePaintinghttps://sammlungtest.belvedere.at/objects/3585/rdf/internal/media/dispatcher/5689/fullThe Last Supperc. 1440/1450[Meister des Friedrichsaltars]Meister des FriedrichsaltarsPainting on hardwood (probably limewood)Paintinghttps://sammlungtest.belvedere.at/objects/3644/rdf/internal/media/dispatcher/154509/fullThe Angel with the Imprisoned St Catherinec. 1440/1450[Meister des Friedrichsaltars]Meister des FriedrichsaltarsPainting on firPaintinghttps://sammlungtest.belvedere.at/objects/10447/rdf/internal/media/dispatcher/161276/fullThe 'Znojmo Altarpiece'c. 1440/1445[Meister des Friedrichsaltars]Meister des FriedrichsaltarsRelief in limewood on spruce planks, oak frame, largely original mounting, gold ground of right panel renewed c. 1500In the Late Gothic period, large-scale altarpieces usually had a very deep central shrine containing figures carved in the round. By contrast, the center of the Znaim Altarpiece is a relief representing a multifigured Crucifixion scene. At that time, narrative depictions of this kind are to be found more frequently in paintings, such as Conrad Laib’s Salzburg Crucifixion of 1449. The three-dimensional quality of the Znaim Altarpiece heightens the sense of realism and immediacy. This effect is further emphasized by the well-preserved polychromy. Sculpturehttps://sammlungtest.belvedere.at/objects/3602/rdf