Abiud

1195–1205
On view at The Met Fifth Avenue in Gallery 304
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.

Artwork Details

Object Information
  • 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
  • Object Number: 14.47a–c
  • Curatorial Department: Medieval Art and The Cloisters

Audio

Cover Image for 2985. The Prophet Abiud

2985. The Prophet Abiud

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NARRATOR:
The large emphatic features of this enthroned prophet, Abiud, tell us something about the original location of this French stained glass window. Curator Timothy Husband.

TIMOTHY HUSBAND: Typically the clerestory was the uppermost zone of three zones of the architecture of the interior of the church. On the lowest level you had the nave. Above that, the tribune. Then above that, in the highest reaches, were these large clerestory windows.

Typically the more complicated narrative scenes would’ve been on the nave level because they’re closer to the floor and easier to read the detail. When you have large iconic figures they are typically in the clerestory or the higher levels of the church or cathedral. Again, because they can be in large scale and with their inscriptions readily identifiable.

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