The Cranach-Triegel Altarpiece, at the centre of a German controversy, arrives in Rome for two years

Starting from November 2, 2025, Rome will host a work that has become the subject of heated public and cultural debate in Germany: the Cranach-Triegel altarpiece, from the Naumburg Cathedral. The work, the result of the encounter between past and present, will be displayed in the chapel of the Campo Santo Teutonico, near St. Peter’s, and this temporary loan comes at a time when the controversy over its definitive placement is far from resolved.

The Cranach-Triegel altarpiece is made up of original side panels from the 15th–16th century, painted by Lucas Cranach the Elder between 1517 and 1519. These panels depict saints and sacred figures typical of late Gothic and Renaissance art, and they remain a testimony to the artistic quality of the Naumburg Cathedral. The central compartment, however, is a contemporary addition: created in 2022 by Michael Triegel, a German painter born in 1968, who interpreted and reimagined the theme of the Virgin Mary to fill a historical void. That central part had been destroyed in 1541 during the iconoclastic uprisings linked to the Protestant Reformation.

The contemporary section presents two elements that have sparked much discussion: on the one hand, the intention to revive ancient artistic models (technique, style, composition) to blend into a very traditional sacred context; on the other, the introduction of modern details, such as the figure of theologian Dietrich Bonhoeffer wearing a red baseball cap, symbolic presences that were not part of the original altarpieces. These additions are seen by some as a relevant innovation, and by others as a jarring element in relation to the architectural and spiritual context of the Cathedral.

The heart of the controversy concerns the placement of the work in the western choir (Westchor) of the Naumburg Cathedral, a location some believe to be compromised by the presence of the new central panel, which affects visibility, readability, and harmony with the donor statues of the 13th century that adorn the choir walls. These statues are considered medieval masterpieces of great artistic and symbolic value, and their view would be partially obscured or altered by the height and dimensions of the new altarpiece. Art historians and heritage organizations, including ICOMOS Germany, have expressed concerns that this situation could even jeopardize the Cathedral’s World Heritage status, conferred in 2018 precisely for its founder statues and overall architectural balance.

The community of believers, represented by the Cathedral’s Evangelical parish, has defended the current placement of the Cranach-Triegel: for them, this compositional system is not only a historical and liturgical recovery but also an act of reconciliation with memory. The central panel was in fact consecrated on July 2, 2022, in an ecumenical ceremony that brought together Catholics and Protestants. The community maintains that moving the work would constitute a liturgical and spiritual loss, diminishing the sacred value the piece has acquired in its current location.

The regional government of Saxony-Anhalt has stepped in to mediate, with UNESCO also becoming involved. In March 2025, international UNESCO experts visited Naumburg to assess the impact of the work on the visual experience of the choir. According to the pronouncement of the Land dated July 9, 2025, the Cranach-Triegel altarpiece may remain in the Cathedral, but not in the western choir. This ruling highlights that the location so far defended by the faith community is no longer compatible with heritage preservation requirements.

The loan to Rome is presented as part of the negotiation: the altarpiece will not be replaced in Naumburg Cathedral during the loan, but its display in the Campo Santo Teutonico chapel for two years is meant to provide time for dialogue, reflection, and potential consensual solutions.

The choice of the Roman venue is not accidental. The Campo Santo Teutonico chapel rarely hosts works as debated and historically significant as this. The opportunity to bring to Rome a piece that combines Gothic art, the history of the Reformation, Protestant memory, contemporary symbols, and issues tied to world heritage raises broader questions: how faith, art, memory, heritage protection, and innovation can be reconciled in a Europe with diverse roots. The exhibition will not only allow a different audience to view the work but also to reflect on the relationship between sacred art and sacred space, on the visibility of forms of devotion, and on the dialogue between different eras and sensibilities. It is an opportunity to observe how critics, religious communities, and heritage organizations can interact in complex cases.

From a technical perspective, the altarpiece reaches a considerable height, one of the contested aspects: its size, combined with its placement in the choir, reduces the visual space dedicated to the founder statues. These figures, sculpted in the 13th century, are essential to the aesthetic and historical value of the Cathedral; obscuring them or subordinating their presence increases the risk of disrupting the harmony between architecture, sculpture, and painting that is characteristic of the sacred building.

The Cranach-Triegel has thus become a symbol of tension between creative restoration, historical memory, liturgy, and heritage protection. The issue is not purely aesthetic but is deeply rooted in religious, cultural, and communal identities. Its display in Rome will be closely watched by those following the German debate: the loan may serve to ease tensions, but the final decision will concern the permanent placement and compliance with UNESCO’s requirements of integrity, authenticity, and visibility.