Altarentwurf hinter Säulenbogen (Hochaltar in Andechs) c. 1751

Johann Baptist Zimmermann made this drawing, Altarentwurf hinter Säulenbogen, a high altar design in pen and brown ink with grey wash, probably in the first half of the 18th century. The drawing gives us insight into the highly ornamented and theatrical style of church design in Southern Germany during the late Baroque and Rococo periods. Notice the elaborate, almost cake-like decoration of the altar, with its swirling forms, angelic figures, and the ornate columns that frame the central space. This aesthetic reflected the wealth and power of the Catholic Church at the time, visually manifesting its dominance through architectural grandeur and the glorification of religious figures. Zimmermann’s design embodies the period’s tendency to merge architecture, sculpture, and painting into a unified, sensory experience. To understand Zimmermann’s work, we need to examine the patronage networks, the religious and political climate, and the artistic academies that shaped his practice. Studying architectural drawings, contracts, and the writings of contemporary art theorists can further illuminate the social and institutional context of this design.