According to the German art historian Cornelius Gurlitt, "the abbey church of Wilhering is the most brilliant achievement of the Rococo style in the German-speaking world." It gives the impression that more decoration, colour, sculptures, paintings and stuccowork could not be found in a single place. The Baroque dream that heavenly light-heartedness and timeless happiness can be brought down to earth, a dream which in the Rococo period reached its nearly unrestrained climax, has come true at Wilhering. Moreover, all the individual elements are in harmony and seem to be connected in some way: the altars, the pulpit, the two organs, the choir stalls, the putti and the frescoes with numerous saints, with clouds and blue sky. These artists had a uniform feeling for style and taste.

The ground-plan of the present church is the same as that of the old church from before 1733. Johann Haslinger, a little-known master mason from Linz, was entrusted with the building supervision by Abbot Hinterhölzl. This abbot engaged various freelance artists to carry out the programme for the decoration, which is recorded in a banderol in the ceiling fresco of the chancel: "Assumpta est Maria in caelum, gaudent angeli".

The well-known Baroque painter Martino Altomonte, who was over eighty during this commission, created the altar-pieces within six years.

Ceiling frescoes by Bartolomeo Altomonte
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 ascending to the glory of Heaven.