The High Altar

The central panel depicts the Coronation of Mary. The Blessed Mother, wearing a long gown of gold brocade, is flanked by Christ and God the Father, who place an imperial crown on the Queen of Heaven. Christ's head is also adorned with a crown with intertwined branches reminiscent of the crown of thorns. The glass globe resting in his lap is seen as a symbol of his rule and sovereignty. The figure of Mary is reflected in the globe, a testimony to the painter’s finesse. Above the group, golden and divine light envelops the dove symbolising the Holy Spirit. The scene is accompanied by a multitude of musical cherubs that continue into the foliage and arabesques. Through the painting, the paradise of Heaven reveals itself to the beholder.

Only during the Christmas season, when the altarpiece is closed, can four additional scenes from the life of Mary be seen: the Annunciation, the Visitation, the Nativity of Christ and the Flight to Egypt. These four panels are wreathed in carved acanthus leaves that Hans Baldung Grien created together with Hans Wydyz, who also designed the Adoration of the Magi on the predella.

The Annunciation

"Do not be afraid," says the archangel Gabriel to the Holy Virgin. His golden hair is still tangled from his rapid flight. Mary, who has just been studying the Holy Scriptures, learns of Jesus' conception from the angel. The dove of the Holy Spirit and the Christ Child floating in with his cross on his shoulder can be recognised in the rays of heavenly light. The glass jars on the white table in the background symbolise Mary's virginity. The scent of the lily of the valley next to it is a lovely fragrance of virginity.

The Visitation

In the mountains near the city of Judea, Mary and her cousin, who is also pregnant, join hands. Elizabeth will give birth to John the Baptist.
The deep spiritual connection between the unborn children is reflected in that of the two women. Mary's face is characterised by youth and sweetness, her innocence and her role as the Mother of God are highlighted. Her hair falls gently over her heavy robe and the wind plays in the transparent veil that adorns her head: The artist's delicate painting style is unrivalled. Baldung concentrates on gestures, gazes and postures. Only the hares, a sign of fertility, are placed at the feet of the heavily pregnant women as a playful addition.

The Nativity of Christ

In the deep, holy night, the newborn Christ shines as a luminous source of light. A white cloth carried by putti forms the protective hollow in which the naked child floats rather than lies. Jesus stretches out his hands to Mary with affection, her tender gaze returning the sign of intimate love. Blinded by the unearthly glow of the child, Joseph closes his eyes. Fragments of a stable and the ruins of a temple can be seen, which probably symbolise the decline of the old, pre-Christian world. The head of the ox, symbolising the Jewish community, peers out from next to a marble column. The donkey representing paganism is almost completely swallowed up by the darkness.

The Flight to Egypt

Mary's head is encircled by a shining golden halo. She literally "holds the reins" while the child is nestled in her lap. The Holy Family on the run exudes a charming idyll. A palm tree leans over them like an archway, with four putti climbing around it. One of them is handing the baby Jesus dates from a branch that has been pulled down. The animals and plants on the desert floor have a variety of meanings: the butterfly and the snail are symbols of the resurrection. The red head feathers of the goldfinch and the strawberry are reminiscent of the blood of Christ.