This panel, one of a series depicting Hebrew prophets, decorated the upper level (clerestory) of the monastic church in Braine near the cathedral town of Soissons. The large figure style was appropriate for the height. The strong saturated colors and linear modeling that enliven the presentation characterize painting from this region. Records of the abbey name Agnes of Braine (d. 1204), sister-in-law of King Louis VII, as its founder.
This artwork is meant to be viewed from right to left. Scroll left to view more.
Artwork Details
Use your arrow keys to navigate the tabs below, and your tab key to choose an item
Title:Abiud
Date:1195–1205
Geography:Made in Braine, France
Culture:French
Medium:Pot-metal glass, vitreous paint, and lead
Dimensions:Overall: 76 3/8 x 34 7/8 x 1 1/2 in. (194 x 88.6 x 3.8 cm) Overall (installation opening): 75 1/2 x 34 1/4 in. (191.8 x 87 cm) 47a: 25 11/16 x 34 15/16 in. (65.2 x 88.7 cm) 47b: 24 3/8 x 34 7/8 in. (61.9 x 88.6 cm) 47c: 26 5/16 x 34 11/16 in. (66.8 x 88.1 cm)
Classification:Glass-Stained
Credit Line:Rogers Fund, 1914
Accession Number:14.47a–c
From the south transcept of the Abbey Church of Saint-Yved, Braine; Bacri Frères, Paris (sold 1914)
The Metropolitan Museum of Art. "The Year 1200: A Centennial Exhibition at the Metropolitan Museum of Art," February 12–May 10, 1970.
Porter, Arthur Kingsley. "A Stained Glass Panel at the MMA." Art in America 7 (1918). pp. 39–43.
Breck, Joseph, and Meyric R. Rogers. The Pierpont Morgan Wing: A Handbook. 1st ed. New York: The Metropolitan Museum of Art, 1925. p. 116.
Breck, Joseph, and Meyric R. Rogers. The Pierpont Morgan Wing: A Handbook. 2nd ed. New York: The Metropolitan Museum of Art, 1929. p. 116.
Cary, Elisabeth Luther. "Stained Glass now in the Metropolitan Museum, New York." Stained Glass 27, no. 11 (November 1932). pp. 338–339.
Hoffmann, Konrad, ed. The Year 1200: A Centennial Exhibition at The Metropolitan Museum of Art. Vol. 1. New York: The Metropolitan Museum of Art, 1970. no. 202, pp. 195–196.
Hayward, Jane. "Stained-Glass Windows." The Metropolitan Museum of Art Bulletin, n.s., 30, no. 3 (December 1971-January 1972). pp. 112–113.
Grodecki, Louis. Le Vitrail Roman. Fribourg: Office du Livre, 1977. pp. 287–88.
Caviness, Madeline H., ed. Stained Glass Before 1700 in American Collections: New England and New York (Corpus Vitrearum Checklist I). Studies in the History of Art, Vol. 15. Washington, D.C.: National Art Gallery, 1985. p. 95.
Grodecki, Louis. Le Moyen Age Retrouvé: Volume 1, De l'an mil à l'an 1200. Paris: Flammarion, 1986. p. 276.
Caviness, Madeline H. Sumptuous Arts at the Royal Abbeys in Reims and Braine: Ornatus Elegantiae, Varietate Stupendes. Princeton, New Jersey: Princeton University, 1990. pp. 5, 86–88, 121–22, 124, 147.
Caviness, Madeline H. "Learning from Forest Lawn." Speculum 69, no. 4 (October 1994). p. 973.
Hayward, Jane. English and French Medieval Stained Glass in The Collection of The Metropolitan Museum of Art: Volume 1, edited by Mary B. Shepard, and Cynthia Clark. Corpus Vitrearum USA, Vol. 1. New York: The Metropolitan Museum of Art, 2003. no. 9–10, pp. 88–97, fig. 9–10.
Burnam, Renée K. Stained Glass Before 1700 in the Collection of the Philadelphia Museum of Art. Corpus Vitrearum USA, Vol. 6. London: Harvey Miller Publishers, 2012. pp. 76–77.
Stein, Wendy A. How to Read Medieval Art. New York: The Metropolitan Museum of Art, 2016. no. 9, pp. 11, 50–51.
The Met's Libraries and Research Centers provide unparalleled resources for research and welcome an international community of students and scholars.
The Met Collection API is where all makers, creators, researchers, and dreamers can connect to the most up-to-date data and public domain images for The Met collection. Open Access data and public domain images are available for unrestricted commercial and noncommercial use without permission or fee.
Feedback
We continue to research and examine historical and cultural context for objects in The Met collection. If you have comments or questions about this object record, please complete and submit this form. The Museum looks forward to receiving your comments.
The Museum's collection of medieval and Byzantine art is among the most comprehensive in the world, encompassing the art of the Mediterranean and Europe from the fall of Rome to the beginning of the Renaissance.
