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On display

Virgin and Child

Panel
1618 (painted)
Artist/Maker
Place of origin

A scene at the top of the panel refers to the tale of the Jewish queen Esther and her husband King Ahaseurus from the Old Testament Book of Esther. Many historians believe that Ahasuerus was King Xerxes, who ruled Persia from 486 to 465 BC. Haman, a court favourite, believed himself slighted by the Jew Mordecai. Haman persuaded the king to execute Mordecai and to institute a pogrom against the Jews in his kingdom. Esther successfully negotiated on Mordecai’s behalf, thus saving both him and the Jewish people. This event is still celebrated today in the Jewish feast of Purim.

The Protestant Reformation in the 16th century had an adverse effect on the work of stained-glass artists, who mainly relied on ecclesiastical sponsors for their work. In mainland Europe artists turned to the burgeoning trade in decorated domestic glass windows. The Swiss workshops were especially prolific in their output.

Advances in technology, in window glass and in enamel paints, meant that highly decorated panels could be produced at a relatively low cost. Chemists had developed a wide range of enamel colours, so complicated arms could be painted without the need to introduce leaded pieces of coloured glass.

Object details

Categories
Object type
TitleVirgin and Child (generic title)
Materials and techniques
Clear and coloured glass painted in enamels and yellow (silver) stain
Brief description
Clear and flashed glass panel painted with enamels and yellow (silver) stain. Depicting the Virgin and Child above armorial bearings. The arms are of Hofmann von Baden, abbot of Einsiedeln. Attributed to the workshop of Paul Müller. Swiss (Zug), dated 1618.
Physical description
Clear and flashed glass panel painted with enamels and yellow (silver) stain. Depicting the Virgin and Child above armorial bearings. The arms are of Hofmann von Baden, abbot of Einsiedeln. Attributed to the workshop of Paul Müller. Swiss (Zug), dated 1618.
Dimensions
  • Sight height: 33.5cm
  • Sight width: 22.5cm
  • Framed height: 34.4cm
  • Framed width: 23.2cm
  • Framed depth: 3.2cm
  • Framed weight: 2.0kg
Marks and inscriptions
Augustin' von Gottes Gnaden Abbte des wirdigen Gotzhuss Einsedlen 1618
Gallery label
((PW) 2003)
ARMS OF THE ABBOT OF EINSIEDELN

The arms of Augustinus I Hofmann, abbot of the Benedictine abbey of Einsiedeln, 1600-29. Above is the Virgin and Child, and at the top Queen Esther is shown before King Ahasuerus (Book of Esther, 5).

Switzerland, dated 1618; attributed to the glass-painter Paul Müller of Zug
Museum no. 9057-1863
Credit line
Bought
Object history
Note in Register: Hans Lehmann identified the arms and attributed this panel to the workshop of Paul Muller of Zug.
The only pieces original to this panel are the coat of arms, the Virgin and Child clothed in the sun above and the inscription below. The remainder is made up from various fragments from other panels.
Historical context
The arms are of Abbot Augustin Hofmann of the Benedictine monastery at Ensiedeln. He was abbot between 1600 and 1629.
Subjects depicted
Summary
A scene at the top of the panel refers to the tale of the Jewish queen Esther and her husband King Ahaseurus from the Old Testament Book of Esther. Many historians believe that Ahasuerus was King Xerxes, who ruled Persia from 486 to 465 BC. Haman, a court favourite, believed himself slighted by the Jew Mordecai. Haman persuaded the king to execute Mordecai and to institute a pogrom against the Jews in his kingdom. Esther successfully negotiated on Mordecai’s behalf, thus saving both him and the Jewish people. This event is still celebrated today in the Jewish feast of Purim.

The Protestant Reformation in the 16th century had an adverse effect on the work of stained-glass artists, who mainly relied on ecclesiastical sponsors for their work. In mainland Europe artists turned to the burgeoning trade in decorated domestic glass windows. The Swiss workshops were especially prolific in their output.

Advances in technology, in window glass and in enamel paints, meant that highly decorated panels could be produced at a relatively low cost. Chemists had developed a wide range of enamel colours, so complicated arms could be painted without the need to introduce leaded pieces of coloured glass.
Bibliographic reference
Paul Boesch, Die Glasgemalde aus der Kapelle zu Haltikon (Schweizerirsches Archiv fur Heraldik, 1949)
Collection
Accession number
9057-1863

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Record createdSeptember 19, 2005
Record URL
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