Virgin and Child thumbnail 1
Virgin and Child thumbnail 2
Image of Gallery in South Kensington
On display at V&A South Kensington
Sacred Silver & Stained Glass, Room 84, The Whiteley Galleries

Virgin and Child

Panel
ca. 1505-1510 (made)
Artist/Maker
Place of origin

The last book of the New Testament is known as either 'Apocalypse' or 'The Book of Revelation'. Throughout the Middle Ages it was believed that the Apocalypse sets out Saint John the Evangelist's vision of the end of the world and the establishment of Christ's kingdom on earth. St. John was considered to have written this book when he was in exile on the island of Patmos.

In Chapter 12 of the Apocalypse, John wrote that he saw a woman clothed with the sun, and the moon under her feet and she was with child. Since the 13th century, theologians considered this to be a reference to the Virgin Mary and the Second Coming of Christ.

This imagery was very popular in the late Middle Ages.

Quatrefoils (four-lobed panels) such as this one were a decorative alternative to roundels or square panels. They were quite popular in Nuremberg at the time this panel was made.


Object details

Categories
Object type
TitleVirgin and Child (generic title)
Materials and techniques
Painted and stained glass
Brief description
Panel of clear, coloured and flashed glass with painted details and yellow (silver) stain. Depicting the Virgin and Child. German (Nuremberg), workshop of Veit Hirschvogel the Elder, c.1505-10.
Dimensions
  • Sight, maximum height: 35.1cm
  • Sight, maximum width: 33.0cm
  • Unframed height: 361mm (Note: SE)
  • Unframed width: 341mm (Note: SE)
  • Framed (standard display frame) height: 389mm
  • Framed (standard display frame) width: 369mm
  • Framed (standard display frame) depth: 32mm
Gallery label
THE VIRGIN AND CHILD The Virgin is shown as the Woman of the Apocalypse, wearing 'the sun for her mantle, with the moon under her feet' (Apocalypse of St John, 12:1-2). Such quatrefoils, a decorative alternative to roundels or square panels, enjoyed some popularity in Nuremberg in the early 16th century. A related drawing in Basel has been attributed to Albrecht Dürer or one of his followers, Hans Süss von Kulmbach. Germany (Nuremberg), about 1505-10; possibly by Veit Hirsvogel the Elder Museum no. C.353-1937((PW) 2003)
Object history
Previously in the collection of F. E. Sidney, Hampstead.
Bought from the F.E. Sidney sale, Christie's, December 9, 1937, part of lot 54
The Kupferstichkabinett of the Kunstmuseum, Basel, has a drawing from the workshop of Veit Hirschvogel (Inv.1962.105) from which this panel was likely to have been made.
Historical context
The last book of the New Testament is known as either 'Apocalypse' or 'The Book of Revelation'. Throughout the Middle Ages it was believed that the Apocalypse sets out Saint John the Evangelist's vision of the end of the world and the establishment of Christ's kingdom on earth. St. John was considered to have written this book when he was in exile on the island of Patmos.

In Chapter 12 of the Apocalypse, John wrote that he saw a woman clothed with the sun, and the moon under her feet and she was with child. Since the 13th century, theologians of the medieval period considered this to be a reference to the Virgin Mary and the Second Coming of Christ.

This imagery was very popular in the late Middle Ages.

Quatrefoils, four-lobed panels, such as this one were a decorative alternative to roundels or square panels. They were quite popular in Nuremberg in the early 16th century.
Subjects depicted
Literary references
  • Book of Revelations
  • New Testament
Summary
The last book of the New Testament is known as either 'Apocalypse' or 'The Book of Revelation'. Throughout the Middle Ages it was believed that the Apocalypse sets out Saint John the Evangelist's vision of the end of the world and the establishment of Christ's kingdom on earth. St. John was considered to have written this book when he was in exile on the island of Patmos.

In Chapter 12 of the Apocalypse, John wrote that he saw a woman clothed with the sun, and the moon under her feet and she was with child. Since the 13th century, theologians considered this to be a reference to the Virgin Mary and the Second Coming of Christ.

This imagery was very popular in the late Middle Ages.

Quatrefoils (four-lobed panels) such as this one were a decorative alternative to roundels or square panels. They were quite popular in Nuremberg at the time this panel was made.
Bibliographic references
  • Williamson, Paul. Medieval and Renaissance Stained Glass in the Victoria and Albert Museum. London, 2003. ISBN 1851774041
  • Barbara Butts and Lee Hendrix, Painting on Light: Drawings and Stained Glass in the Age of Durer and Holbein, J.Paul Getty Trust, 2000
  • Bernard Rackham, 'Stained glass in the collection of Mr.s F.E. Sidney. II: Netherlandish and German medallions', Old Furniture, 8 (1929), pp.13-18
  • Gottfried Frenzel, 'Entwurf und Ausfuhrung in der Nurnberger Glasmalerei der Durerzeit', Zeitschrift fur Kunstwissenschaft, 15 (1961), pp.31-59
  • Meister um Albrecht Durer. Catalogue, with an introduction by Ludwig Grote, Nuremberg, Germanisches Nationalmuseum, 1961
  • Harmut Scholz, Entwurf und Ausfuhrung. Werkstattpraxis in der Nurnberger Glasmalerei der Durerzeit. Corpus Vitrearum Medii Aevi Deutschland, Studien Series, vol. I. Berlin, 1991
  • Eva Fitz, 'Eine Folge von vier Kabinettscheiben nach Kartons des Hans Suss von Kulmbach', Zeitschrift fur Kuntsgeschichte, 58, no.I (1995), pp.39-54
Collection
Accession number
C.353-1937

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Record createdNovember 29, 2000
Record URL
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