This panel is one of many in the V&A that comes from the cloisters at Mariawald. These panels come from ten windows on the west and north sides of the cloister, plus one from the north end of the eastern part. The glazing of these cloisters began about 1510 and seem to have been completed in the 1530s.
Mariawald was a Cistercian abbey founded in 1480. The Cistercians were a monastic order established in 1098 in Burgundy at Citeaux. The founder of the Cistercians had broken away from the Benedictines which had been the first monastic order to be established in Europe, in the 6th century.
During the Revolutionary struggles in France and the subsequent religious upheavals under Napoleon, many monastic institutions on the continent were 'secularised' and their buildings destroyed. The abbey of Mariawald was closed down in 1802 but fortunately its buildings, including the cloisters, remain largely intact. However, the stained glass windows had been removed and it is believed that they were purchased by John Christopher Hampp of Norwich. Hampp sold the Mariawald panels to various churches and to private collectors. Many of these were purchased by the collector, Lord Brownlow who had them installed in his new chapel at Ashridge Park in Hertfordshire between 1811 and 1831.
In 1928 the contents of Ashridge Park were sold at auction and a private collector purchased the stained glass and gave it to the Victoria & Albert Museum.
W are able to reconstruct how the panels were placed in the cloister windows. Each window was composed of two openings ('lights'). Each light was composed of three large panels, plus one small tracery panel. So there would have been eight panels to each window.
From the surviving stained glass panels we can determine the theme of the cloister glazing. Each window had two panels depicting scenes from the Old Testament and two panels with scenes from the New Testament. Above the biblical story panels, were two smaller prophet (or 'messenger') panels. These contained half-images of Old Testament prophets holding scrolls with text relating to biblical passages connected with the scenes below. At the base of each window were donor and patron saint panels. These donors were the ones who contributed to the financing of the cloister glazing.
This type of narrative arrangement is known as 'typological'. Each Old Testament story was a 'type' or a prefigurement of a New Testament story ('antitype'). The prophets on each window would hold text from the Bible relating to the Old and New Testament stories. For example, this panel shows the Old Testament story of the triumphal greeting of David after he slayed the giant Goliath. When the young David returned from the battlefield with King Saul, the women of the town came to greet him, playing musical instruments and proclaiming his victory. This is seen as a prefigurement of the panel which appeared below in the window, that of the triumphal entry of Jesus Christ into Jerusalem on the day we now call 'Palm Sunday'. The prophet panels above, whereabouts unknown, would have borne scrolls with text relating to the coming of kings in triumph.
The typological arrangement was popular in the Middle Ages. The stories were reproduced in manuscripts and in engravings from woodcuts and collectively became known as 'Biblia Pauperum' ('Bibles of the Poor'). At the end of the 15th century the Biblia Pauperum were printed in book form and sold in their thousands. These books were used as design sources for artworks including stained glass panels.
Physical description
Within a town gate on the right, four young women in contemporary dress are making noises with bells and triangles. David comes towards them. He carries a sword and the head of Goliath. David wears a red tunic with purple sleeves. The maiden in front wears a red robe. The maiden immediately behind her wears a green robe. The sky is blue and the rest of the panel is decorated in grisaille and yellow stain on clear glass except the columns at the side which are of red glass with green and yellow capitals and bases.
Place of Origin
Lower Rhine, Germany (made)
Date
ca.1530 (made)
Materials and Techniques
Clear and coloured glass with painted details and silver stain.
Dimensions
Height: 74.6 cm in wood frame, Width: 71.4 cm in wood frame, Depth: 3.2 cm in wood frame, Height: 68.9 cm sight, Width: 65.7 cm sight, Weight: 5.3 kg in wood frame
Object history note
In the cloister of Mariawald until about 1802.
From about 1811 until 1928 it was installed in the Chapel at Ashridge Park, Hertfordshire.
(12 July 1928) Sold at Sotheby's.
The glazing of the Mariawald cloister, confined to ten windows on the west and north sides and one at the north end of the east walk, and made up entirely of two-light windows, seems to have started at the beginning of the second decade of the 16th century and probably continued until the early 1530s. From the surviving panels and the existing windows it can be seen that the programme was made up of paired Old and New Testament scenes arranged typologically one above the other (New Testament at the second level, Old Testament in the third), as in the Biblia Pauperum, with donor panels placed on the lowest level. A prophet with a scroll occupied the cusped head of each light.
Believed to be from the eighth window in the cloisters at Mariawald.
Historical context note
Mariawald was a Cistercian abbey founded in 1480. The Cistercians were a monastic order established in 1098 in Burgundy at Citeaux. The founder of the Cistercians had broken away from the Benedictines which had been the first monastic order to be established in Europe, in the 6th century.
During the Revolutionary struggles in France and the subsequent religious upheavals under Napoleon, many monastic institutions on the continent were 'secularised' and their buildings destroyed. The abbey of Mariawald was closed down in 1802 but fortunately its buildings, including the cloisters, remain largely intact. However, the stained glass windows had been removed and it is believed that they were purchased by John Christopher Hampp of Norwich. Hampp sold the Mariawald panels to various churches and to private collectors. Many of these were purchased by the collector, Lord Brownlow who had them installed in his new chapel at Ashridge Park in Hertfordshire between 1811 and 1831.
In 1928 the contents of Ashridge Park were sold at auction and a private collector purchased the stained glass and gave it to the Victoria & Albert Museum.
This panel is one of many in the V&A that comes from the cloisters at Mariawald. These panels come from ten windows on the west and north sides of the cloister, plus one from the north end of the eastern part. The glazing of these cloisters began about 1510 and seem to have been completed in the 1530s.
As the cloisters were never dismantled we can reconstruct how the panels were placed in the architectural structure. The window openings in the cloisters were each composed of two openings ('lights'). Each light was composed of three large panels, plus one tracery panel. So there would have been eight panels to each window.
From the surviving stained glass panels we can determine the theme of the cloister glazing. Each window had two panels depicting scenes from the Old Testament and two panels with scenes from the New Testament. Above the biblical story panels, were two smaller prophet (or 'messenger') panels. These contained half-images of Old Testament prophets holding scrolls with text relating to biblical passages connected with the scenes below. At the base of each window were donor and patron saint panels. These donors were the ones who contributed to the financing of the cloister glazing.
This type of narrative arrangement is known as 'typological'. Each Old Testament story was a 'type' or a prefigurement of a New Testament story ('antitype'). For example, the Old Testament story of 'The Sacrifice of Isaac by Abraham' was a prefigurement of the New Testament 'Sacrifice of Christ on the Cross'.
The typological arrangement was popular in the Middle Ages. The stories were reproduced in manuscripts and in engravings from woodcuts and collectively became known as 'Biblia Pauperum' ('Bibles of the Poor'). At the end of the 15th century the Biblia Pauperum were printed in book form and sold in their thousands. These books were used as design sources for artworks including stained glass panels.
Descriptive line
Panel of clear and coloured glass with painted details and yellow (silver) stain. Depicting The Triumph of David. From the cloisters of the abbey of Mariawald. German (Lower Rhine), c.1530
Bibliographic References (Citation, Note/Abstract, NAL no)
Rackham, Bernard, 'The Ashridge stained glass', Old Furniture, vol.5 (1928), pp.33-7
Wyatt, James, Description of the Stained Glass Panels at Ashridge Chapel, privately printed, 1906
Goerke, C., Das Zisterzienserkloster Mariawald, Mariawald, 1932
Clemen, Paul, Die Kunstdenkmaler der Rheinprovinz, Kreis Schleiden, XI, 2, Dusseldorf, 1932
Rackham, Bernard, 'The Mariawald-Ashridge Glass', Burlington Magazine, Nov. 1944, pp.266-73
Rackham, Bernard, 'The Mariawald-Ashridge Glass II', Burlington Magazine, April 1945, pp.90-4
Rackham, Bernard, 'The Ashridge Stained Glass', Journal of the British Archaeological Association, 3rd series, vol. X (1945-7), pp.1-22
Neuss, Wilhelm, ed., Die Glasmalereien aus dem Steinfelder Kreuzgang, Moenchengladbach, 1955
Wolff-Wintrich, Brigitte, 'Kolner Glasmaleriei sammlungen des 19. Jahrhunderts', in Lust und Verlust Kolner Sammler zwischen Trikolore und Preussenadler, Exhibition Catalogue (Kunsthalle Koln), Koln, 1995, pp.341-54
Kurthen, J., 'Die alten Kunstfenster', in Mariawald: Geschichte eines Klosters, Heimbach/Eifel, 1962
Conrad, M., 'Zur Geschichte der alten Glasgemalde aus dem Kreuzgang von Kloster Mariawald', Heimatkalender des Landkreises Schleiden, 1969, pp.95-102
Zakin, H., 'Mariawald:Cistercian Narrative', in Stained Glass as Monumental Painting (XIXth International Colloquium, CVMA, Krakow, 1998), Cracow, 2000, pp.273-80
Hermann Schmitz, Die Glasgemalde des Koniglichen Kunstgewerbemuseums in Berlin, Berlin, 1913
Quotes Karl van Mander re Lukas van Leyden painting - see curator's comments
Jakob Polius, 'Analecta sive collectanea antiquitatem', Duren, Stadtarchiv, A30, Hs. 2
MR James, Notes of Glass in Ashridge Chapel, Grantham, 1906
E. Wackenroder, Die Kunstdenkmaker des Kreoses Schleiden, Dusseldorf, 1932
William Cole, 'A Hitherto Unrecorded Panel of Stained Glass from the Abbey of Mariawald', Journal of the British Society of Master Glass Painters, XVII (1981-2). pp.21-4
Avril Henry, ed., Biblia Pauperum, Scolar Press, 1987
Raguin and Zakin, Stained Glass before 1700, part 2, pp.127-9, 170-6
Production Note
In the style of the Master of Saint Severin, Cologne.
Materials
Glass
Techniques
Painting; Silver staining; Pot metal
Subjects depicted
Triumph; Goliath; David and Goliath
Categories
Stained Glass
Collection code
CER
