This beautiful and impressive figure is likely to represent Saint Barbara, as she appears to have held a chalice between her hands. Stylistic links can be made with Hans Leinberger, not only in the voluminous, crinkled drapery style but the round, fleshy face with small features, a type that is seen in Leinberger's Anna Selbdritt group (Niehoff, op. cit., pl. 3) and figures by his workshop, like the Virgin in a relief from the Rosenkranzmadonna in St Martin, Landshut (ibid., fig. 14). See also Leinberger's half-length Virgin in a private collection, ibid., no. 35. An origin of the present Saint within the Danube School of sculptors is further supported by a comparison of the drapery scheme with a Saint Andrew attributed to the Master IP, illustrated in Guillot de Suduiraut, op. cit., fig. 76.
S. Guillot de Suduiraut, Sculptures allemandes de la fin du Moyen Age dans les collections publiques françaises, 1400-1530, exh. cat. Musée du Louvre, Paris, 1991, pp. 261-265; F. Niehoff (ed.), Um Leinberger: Schüler und Zeitgenossen, exh. cat. Spitalkirche Heiliggeist, Landshut, 2006