In the center of this panel are the imperial arms of Austria. The scenes in the quatrefoil represent a variety of secular vignettes. These scenes may signify a tournament masquerade of the type held in Nuremberg before Lent, which would explain the presence of fools, feasts, and lovers. Such imagery was understood as social satire in late medieval art. The number of similar quatrefoil panels that have survived suggests considerable popularity. The origin of the designs is uncertain, but many copies and variations were made in several Nuremberg, workshops, including that of Albrecht Dürer.
Marking: Arms of Austria
Richard Zschille d. 1903(until about 1900) ; Otto von Falke(until 1911)
Katonah Museum of Art. "Love and Courtship in the Middle Ages," October 2, 2005–January 1, 2006.
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. 128.
The Metropolitan Museum of Art and Germanisches National Museum, Nürnberg. Gothic and Renaissance Art in Nuremberg 1300-1500. New York: The Metropolitan Museum of Art, 1986. no. 66, pp. 206-07.
Waldburg Wolfegg, Christoph, ed. Venus and Mars: the World of the Medieval Housebook. Washinton, D.C.: National Gallery of Art, 1998. pp. 56–57, fig. 31.
Barnet, Peter, and Nancy Y. Wu. The Cloisters: Medieval Art and Architecture. New York and New Haven: The Metropolitan Museum of Art, 2005. no. 116, pp. 159, 199.
Barnet, Peter, and Nancy Y. Wu. The Cloisters: Medieval Art and Architecture. 75th Anniversary ed. New York and New Haven: The Metropolitan Museum of Art, 2012. p. 168.