Panel
1629 (made)
| Artist/Maker | |
| Place of origin |
Object Type
This stained-glass panel shows an image of the Deposition (Christ taken down from the cross), based on a painting by the Netherlandish artist Rogier van der Weyden (born about 1399, died 1464). Commissions for ecclesiastical stained glass had declined drastically during England's Reformation in the 16th century. Protestants objected to these religious images on the grounds that they encouraged 'Papist' idolatry. The appointment of William Laud (1573-1645) as Archbishop of Canterbury in 1633 gave encouragement to the revival of traditional devotional practices and church decoration. The inscription on this panel seeks to defend it against criticism from Protestants, asserting 'The truth here of is historicall genuine and not superstitious'.
Materials & Making
This panel is characteristic of the stained-glass making techniques of the early 17th century. Good coloured glass was scarce owing to the destruction by French forces of glasshouses in Lorraine - the chief source of supply. In its place, white glass was cut into panes and painted with enamels in the manner of a translucent canvas. The lead strips formerly used to hold the mosaic of glass together and to accentuate the design were reduced to a simple grid holding the picture together. Both stained and painted glass have been used in this panel.
People
Nearly all the large-scale windows undertaken in England during this period seem to have been the work of foreign artists. The van Linge brothers came to England from Emden in Germany at this time. Examples of their work dating from about 1620-1640 survive in many Oxford colleges and in London. This window can be attributed to the younger brother, Abraham (active in England from about 1625 to 1641). His initials are painted on the top rung of the ladder leaning against Christ's cross.
This stained-glass panel shows an image of the Deposition (Christ taken down from the cross), based on a painting by the Netherlandish artist Rogier van der Weyden (born about 1399, died 1464). Commissions for ecclesiastical stained glass had declined drastically during England's Reformation in the 16th century. Protestants objected to these religious images on the grounds that they encouraged 'Papist' idolatry. The appointment of William Laud (1573-1645) as Archbishop of Canterbury in 1633 gave encouragement to the revival of traditional devotional practices and church decoration. The inscription on this panel seeks to defend it against criticism from Protestants, asserting 'The truth here of is historicall genuine and not superstitious'.
Materials & Making
This panel is characteristic of the stained-glass making techniques of the early 17th century. Good coloured glass was scarce owing to the destruction by French forces of glasshouses in Lorraine - the chief source of supply. In its place, white glass was cut into panes and painted with enamels in the manner of a translucent canvas. The lead strips formerly used to hold the mosaic of glass together and to accentuate the design were reduced to a simple grid holding the picture together. Both stained and painted glass have been used in this panel.
People
Nearly all the large-scale windows undertaken in England during this period seem to have been the work of foreign artists. The van Linge brothers came to England from Emden in Germany at this time. Examples of their work dating from about 1620-1640 survive in many Oxford colleges and in London. This window can be attributed to the younger brother, Abraham (active in England from about 1625 to 1641). His initials are painted on the top rung of the ladder leaning against Christ's cross.
Object details
| Categories | |
| Object type | |
| Materials and techniques | Coloured and clear glass, painted with coloured enamels |
| Brief description | Stained glass panel depicting the Deposition |
| Physical description | Panel. Double ogee topped. Descent from the Cross. The Virgin, St. John and St. Joseph of Arimathaea receive the body of Christ from the cross. Legend: "The truth hereof is historicall devine and not superstissious. Anno Domini 1629". Yellow stain. Blue, green, red. Signed AvL (on uppermost rung of ladder). After a painting by Rogier Van Der Weyden. |
| Dimensions |
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| Marks and inscriptions | Inscribed along the base 'The truth here of is historicall devine and not superstitious. Anno Domini 1629' |
| Gallery label | British Galleries:
The 'close-up' image of the Deposition (Christ taken from the cross) had been a popular pre-Reformation image. It appears here in intense colour, the result of new techniques introduced by the German brothers Abraham and Bernard van Linge. Stained glass was popular before the Civil War among the supporters of the Anglican Archbishop Laud (1573-1645) who attempted to revive traditional religious practices. The text underneath however emphasised that the image told a Biblical story and was not intended to be worshipped.(27/03/2003) |
| Credit line | Given by Wilfred Drake |
| Object history | From Hampton Court Chapel, Herefordshire Painted, probably in Herefordshire, by Abraham van Linge (originally from Emden, Germany, active in England 1625-1641) from a composition by Rogier van der Weyden (born in Tournai, Belgium, about 1399, died in Brussels, 1464) |
| Production | Dated 1629 |
| Summary | Object Type This stained-glass panel shows an image of the Deposition (Christ taken down from the cross), based on a painting by the Netherlandish artist Rogier van der Weyden (born about 1399, died 1464). Commissions for ecclesiastical stained glass had declined drastically during England's Reformation in the 16th century. Protestants objected to these religious images on the grounds that they encouraged 'Papist' idolatry. The appointment of William Laud (1573-1645) as Archbishop of Canterbury in 1633 gave encouragement to the revival of traditional devotional practices and church decoration. The inscription on this panel seeks to defend it against criticism from Protestants, asserting 'The truth here of is historicall genuine and not superstitious'. Materials & Making This panel is characteristic of the stained-glass making techniques of the early 17th century. Good coloured glass was scarce owing to the destruction by French forces of glasshouses in Lorraine - the chief source of supply. In its place, white glass was cut into panes and painted with enamels in the manner of a translucent canvas. The lead strips formerly used to hold the mosaic of glass together and to accentuate the design were reduced to a simple grid holding the picture together. Both stained and painted glass have been used in this panel. People Nearly all the large-scale windows undertaken in England during this period seem to have been the work of foreign artists. The van Linge brothers came to England from Emden in Germany at this time. Examples of their work dating from about 1620-1640 survive in many Oxford colleges and in London. This window can be attributed to the younger brother, Abraham (active in England from about 1625 to 1641). His initials are painted on the top rung of the ladder leaning against Christ's cross. |
| Collection | |
| Accession number | C.62-1927 |
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| Record created | June 16, 1998 |
| Record URL |
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