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Updated: May 16, 2025
They were evidently designed to fold in upon a central altar-piece with an arched top, thus making, when open, the usual triptych; but the central painting has vanished. This large work was a gift to the Carthusian monastery in Klein-Basel; and the arms of the donor, Hans Oberriedt, are displayed below the Nativity, as well as the portraits of himself and his six sons.
In both, too, the sacred scenes reveal themselves like visions unseen by the Oberriedt family, who face outward toward the altar and are supposed to be lighted by the actual lights of the church. The whole work must once have been a glorious creation, with its rich colours, its beautiful architectural forms, and its mingling of purest imagination with realism.
With the dominance of the anti-Catholic party, which unseated Meyer zum Hasen in 1521, his friend Oberriedt also fell into trouble. And soon after Erasmus and Bonifacius Amerbach, disgusted with the iconoclast fanaticism of 1528 and 1529, took refuge in Catholic Freiburg-in-the-Breisgau, Oberriedt also left Basel for that city.
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