Virgin and Child
Panel
1618 (painted)
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.
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 | |
| Title | Virgin 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 |
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| Marks and inscriptions | Augustin' von Gottes Gnaden Abbte des wirdigen Gotzhuss Einsedlen 1618 |
| Gallery label |
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| 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 created | September 19, 2005 |
| Record URL |
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