Abstract
Summary The first part of this monographic study was published in vol. XLIV (2003) of Acta Historiae Artium. This part focuses mainly on the problems of artistic origin. The sculptor could be identified as a follower of the late style of Hans Multscher and therefore coming perhaps of the Ulm region. Concerning the relationship of the Leutschau retable to the shrine figures of the Benedictine Abbey Church in Garamszentbenedek (Sv. Beňadik nad Hronom) the Author argues for its higher artistic quality which seems to exclude that the latter was an earlier work of the same artist. The panel painting was perhaps mainly influenced by the art of the Master of the Schottenstift in Vienna. The architectural arrangement of the retable may also go back to Ulm constructions, such as the High altar of Ulm Münster, documented by his preparatory drawing.
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