Saint Anthony Abbot's test of faith at the hands of a clutch of demons is represented here in a charming, if somewhat naive, Late Gothic style. Dressed as an abbot, the saint holds a crosier, which terminates in a tau cross and a mendicant's bell; he is surrounded by fantastical beasts. The inscription suggests that the roundel was a donation by a local priest, who kneels before the saint next to his coat of arms.
This roundel is stylistically consistent with other works known to have originated in southern Germany. The inscription names the village of Kappel and its priest in 1532.
Inscription: [around the border] Martinus Widman Pfarrer Cappel 1532 (Martin Widman parish vicar at Kappel 1532); [dated bottom right] 1532
Bacri Frères, Paris ; Michel Acézat, Paris ; [ Hôtel Drouot, Paris (November 24-25, 1969, lot 39) ] ; [ Galerie für Glasmalerei, Munich (sold 1982)]
The Metropolitan Museum of Art. Notable Acquisitions, 1982-1983 (Metropolitan Museum of Art) (1983). p. 25.
Parker, Elizabeth C. "Recent Major Acquisitions of Medieval Art by American Museums." Gesta 23, no. 1 (1984). p. 71, fig. 12.
Husband, Timothy B., and Madeline H. Caviness, ed. Stained Glass Before 1700 in American Collections: Silver-Stained Roundels and Unipartite Panels (Corpus Vitrearum Checklist IV). Studies in the History of Art, Vol. 39. Washington, D.C.: National Art Gallery, 1991. p. 167.
Wixom, William D., ed. Mirror of the Medieval World. New York: The Metropolitan Museum of Art, 1999. no. 310, p. 241.
Stein, Wendy A. How to Read Medieval Art. New York: The Metropolitan Museum of Art, 2016. no. 20, pp. 16, 80–82.