The High altar
The High altar has paintings from historicism to the style of the Nazarenes.
By employing non-biblical images, the artist depicted here in a highly realistic and conspicuous fashion the biblical story of eternal life. In the picture on the left you see two angels: the one who is kneeling has laid his hand on an hour-glass. This can be seen as a counter-part to the turret clocks with their inscription “Tempus fugit” and is a symbol of time running out. The scythe and the open grave symbolize death. In a drastic manner, this picture depicts the transience of human existence. The story continues on the picture in the centre: A man whose body was buried and whose skull was well preserved appears to Christ as a pilgrim. The scallop-shell on his hat is a reference to his pilgrimage. He has laid his pilgrim’s cane and the bottle of water on the steps of Christ’s throne. He no longer needs them, as he has reached his goal. Christ’s accept the pilgrim, and the angel brings him a palm branch, the symbol of victory and of eternal life. However, Christ’s eyes and his open arms are not directed at the pilgrim but at the interior of the church: for each and everyone of us is invited to come to Christ. The picture on the right is entitled “The city of Vienna honours its dead.” It is Vindobona, the personification of the city of Vienna, that is depicted here. She kneels down and, in the picture in the centre, she holds up to Christ the newly built cemetery church. Next to her, in festive garb, is the mayor of Vienna at the time, Dr. Karl Lueger. We can see in the background an angel with folded hands. He looks upward, towards heaven – probably with the wish on his lips that God may receive this church with benevolence.
The High altar has paintings from historicism to the style of the Nazarenes.
By employing non-biblical images, the artist depicted here in a highly realistic and conspicuous fashion the biblical story of eternal life. In the picture on the left you see two angels: the one who is kneeling has laid his hand on an hour-glass. This can be seen as a counter-part to the turret clocks with their inscription “Tempus fugit” and is a symbol of time running out. The scythe and the open grave symbolize death. In a drastic manner, this picture depicts the transience of human existence. The story continues on the picture in the centre: A man whose body was buried and whose skull was well preserved appears to Christ as a pilgrim. The scallop-shell on his hat is a reference to his pilgrimage. He has laid his pilgrim’s cane and the bottle of water on the steps of Christ’s throne. He no longer needs them, as he has reached his goal. Christ’s accept the pilgrim, and the angel brings him a palm branch, the symbol of victory and of eternal life. However, Christ’s eyes and his open arms are not directed at the pilgrim but at the interior of the church: for each and everyone of us is invited to come to Christ. The picture on the right is entitled “The city of Vienna honours its dead.” It is Vindobona, the personification of the city of Vienna, that is depicted here. She kneels down and, in the picture in the centre, she holds up to Christ the newly built cemetery church. Next to her, in festive garb, is the mayor of Vienna at the time, Dr. Karl Lueger. We can see in the background an angel with folded hands. He looks upward, towards heaven – probably with the wish on his lips that God may receive this church with benevolence.