Image of Gallery in South Kensington
On display at V&A South Kensington
Sculpture 1300-1600, Room 26

Raising of Lazarus, The

Panel
ca.1525 (made)
Artist/Maker
Place of origin

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 New Testament story of Jesus Christ raising Lazarus from the dead. This panel was located under a panel with the Old Testament scene of the prophet Elisha raising a small boy from the dead, the whereabouts of which is not known. The prophet panels for this window would have borne text relating to death and the restoration of life.

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.


Object details

Category
Object type
TitleRaising of Lazarus, The (generic title)
Materials and techniques
Clear and coloured glass with pained details and silver stain.
Brief description
Panel of clear and coloured glass with painted details and yellow (silver) stain. Depicting Christ and the Raising of Lazarus, left scene. From the cloisters of the abbey of Mariawald. German (Lower Rhine), c.1516-22
Physical description
Jesus Christ appears in the centre of the panel facing in profile to the right. He wears a dull blue cloak, stippled with brown enamel. In front of him are Mary and Martha kneeling with hands raised in prayer. To the left are three of the apostles and in the background are two male townsfol, one of whom covers his nose and mouth. The Apostle holding Lazarus has a blue robe and white cloak. The other figures are variously clad in red, green, maroon and purple. The sky and distant landscape painted on pale blue glass; the rest in grisaille and yellow stain on clear glass. The columns at each side of the whole composition have maroon capitals and bases.
Dimensions
  • Unframed height: 71.0cm
  • Unframed width: 67.5cm
  • Unframed weight: 4.3kg
Credit line
Given by E.E. Cook
Object history
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 seventh window in the cloisters at Mariawald.

Historical significance: The Raising of Lazarus was one of the earliest subjects depicted in Christian art. It is found in the catacombs outside Rome. It illustrates the triumph over death through the coming of Christ and foreshadows the General Resurrection of the Dead.
Historical context
Lazarus was from the town of Bethany and was brother to Martha and Mary Magdalene. Their parents were dead and Lazarus was the head of the family. His death caused hardship in the family and Martha approached Christ for His aid.

The story of the Raising of Lazarus is only recorded in the Gospel of John (John 11: 1-45). In this account, Mary and Martha, sisters of Lazarus, sent word to Jesus that their brother was ill. Jesus did not come to Bethany where they lived until the fourth day after Lazarus’ death. Jesus called Lazarus from the tomb and Lazarus arose from the dead.

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 ‘Elisha greeted by the Sons of the Prophet’ was a prefigurement of the New Testament ‘Entry of Christ into Jerusalem’ which occurred on what we now call ‘Palm Sunday’.

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.
Production
After a painting by the Master of St Severin in the Bowes Museum, Barnard Castle.
From the cloister of the abbey at Mariawald.
Subjects depicted
Literary references
  • New Testament
  • Biblia Pauperum
Summary
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 New Testament story of Jesus Christ raising Lazarus from the dead. This panel was located under a panel with the Old Testament scene of the prophet Elisha raising a small boy from the dead, the whereabouts of which is not known. The prophet panels for this window would have borne text relating to death and the restoration of life.

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.
Associated object
Bibliographic references
  • 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
  • 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
  • Mayer, August L, 'Die Gemaldesammlung des Bowes-Museum zu Barnard Castle', in Zeitschrift fur bildende Kunst, new series, XXIII (1911-12), p.3
  • Jakob Polius, 'Analecta sive collectanea antiquitatem', Duren, Stadtarchiv, A30, Hs. 2
  • MR James, Notes of Glass in Ashridge Chapel, Grantham, 1906
  • Hermann Schmitz, Die Glasgemalde des Koniglichen Kunstgewerbemuseums in Berlin, Berlin, 1913
  • 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
  • Brigitte Wolff-Wintrich, 'Kolner Glasmaleriel sammlungen des 19. Jahrhunderts', in Lust und Verlust Kolner Sammler zwischen Trikolore und Preussenadler, exhibition catalogue (Kunsthalle Koln), Koln, 1995, pp.341-54
  • Raguin and Zakin, Stained Glass before 1700, part 2, pp.127-9, 170-6
Collection
Accession number
C.238-1928

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Record createdJune 16, 2005
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