The fresco painter was Martino Altomonte’s son, Bartolomeo. Although he was a lesser artist, he directed the greatest attention to frescoing the ceilings. In a way it was Bartolomeo’s endeavour to create a perfect heavenly illusion, the desire to create a "new Heaven", according to Saint John's vision in the Book of Revelation. According to the abbot’s wish, the frescoes had to be similar to those of the abbey at Spital am Pyhrn, showing Mary being assumed into the glory of Heaven. The angels, the whole world, and the saints of Heaven were to take part in Our Lady’s triumph, assumption and coronation. Bartolomeo Altomonte succeeded in painting a fresco of more than 450 m2 (approximately 540 square yards). This extensive ceiling fresco is characteristic of the specific atmosphere in the church. The painting mainly shows saints related to the Cistercian Order, who are arranged in groups. The transition from fresco to plastic decoration is fluid. The richly gilded frames of stucco take up the liveliness of the picture and pass it on to the periphery of the vault. The transept shows frescoes praising the Virgin Mary in an allegorical manner. The idea is that grace will be heaped upon those who venerate Mary, and that all continents are united with her by the virtues of faith, hope, and charity.
