The premise of the presentation, realised in two temporary exhibition halls on just over 100 m2, was to refer to the original composition of the altarpiece. The triangular arrangement with the dominant figure of Christ and the groups of Abraham and Samson in the three apexes was fitted into the 5.90 cm high room. The dynamic form of the works and the brilliance of the gilding and polychromy hinted at the wall finish: a neutral background of matt velvet in two shades tightly covering the walls of both rooms and all the platforms and displays. The only exception was a section of wall in the 2nd hall, which was used for a large-format enlargement of a monochrome photograph showing a dramatic contemporary view of the church as a ruin, providing the backdrop for the display of the surviving elements of the cultured pulpit. The platforms and plinths on which the objects were presented were also used to discreetly illuminate the signatures printed on a semi-transparent medium from behind, allowing the texts to be made legible when the works themselves were brought out into the light. Variable lighting completed the effect. A palette of lighting scenes was programmed, bringing individual figures and altar groups out of the darkness to show the entire composition at the end. Presented in a subdued setting and accompanied by Baroque music, the performance was intended to emphasise the mastery, dynamism, and expressiveness - the mystical beauty of the works.