File:Freiburger Nelkenmeister Hochaltar 02.png

The central depiction is the crucifixion of Christ. On the hem of the Virgin's cloak is an inscription in Gothic majuscules, which reproduces the text of the almost complete Salve Regina and Gloria Patri. The right-hand panel depicts St Bernardine of Siena and St Anthony of Padua. At the feet of St Bernardin are three mitres and three crosiers, which are a reminder of the ecclesiastical dignities that were denied. On the left panel is St Francis of Assisi with the coat of arms of the founder Jean Favre. Next to him is St Louis, Bishop of Toulouse, with the coat of arms of the founder's father and mother. The four saints are Franciscans, depicted standing and in three-quarter profile, with the exception of St Francis of Assisi, who stands frontally on a strip of flowery lawn against a golden background with a damask pattern. The officially commissioned painter Albrecht Nentz from Rottweil, who worked in Solothurn, died at the end of July 1479, when he had only just finished painting the base coat of the panels. The Basel artist Barthelemy Rutenzweig then took over the commission. He delegated part of the work to one or more journeymen, including Palus de Strasbourg, who may have been Paul Löwensprung. They signed with a red and a white carnation, hence the makeshift nickname of the Carnation Master for the artists of this work. The style corresponds to that of the High Rhine with more or less direct influence from Roger van der Weyden.

Marcel Strub describes this altarpiece as the masterpiece of Swiss painting in the second half of the 15th century. Together with the wings not reproduced here, it is the largest altarpiece from this period to have survived in Switzerland.

This is an image of a cultural property of national significance in Switzerland with KGS number 02074