Pot metal, white glass, vitreous paint, silver stain
Overall: 28 11/16 x 22 3/4 x 3/8 in. (72.9 x 57.8 x 1 cm)
Overall (installation opening): 28 1/8 x 22 1/8 in. (71.4 x 56.2 cm)
Bequest of George D. Pratt, 1935
Not on view
In fifteenth-century Cologne, glass painting began to be increasingly influenced by developments in panel painting. The inclusion of a landscape exemplifies this new attitude in stained-glass design, in which figures are now placed in natural settings instead of against patterned backdrops. The source for these landscapes was not nature itself but the work of printmakers.
Sir William Jerningham (1736–1809)and descendants, Costessey Hall, Norfolk (1913); [ Grosvenor Thomas (1856–1923), London (from 1913) or]; [ Roy Grosvenor Thomas, London and New York]; George D. Pratt, Glen Cove, NY (until 1935)
Cologne, Germany. Museum Schnütgen. "Glanz und Größe des Mittelalters: Kölner Meisterwerke aus den großen Sammlungen der Welt," November 4, 2011–February 26, 2012.
Hayward, Jane. "Stained-Glass Windows." The Metropolitan Museum of Art Bulletin, n.s., 30, no. 3 (December 1971-January 1972). p. 128.
Gómez-Moreno, Carmen. Medieval Images: A Glimpse into the Symbolism and Reality of the Middle Ages. Katonah: Katonah Museum of Art, 1978. no. 49, pp. 15, 23.
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. 126.
Täube, Dagmar, and Miriam Verena Fleck, ed. Glanz und Größe des Mittelalters: Kölner Meisterwerke aus den großen Sammlungen der Welt. Munich: Hirmer Verlag, 2011. no. 156, pp. 394–95.