Panel of clear and coloured glass with painted details. Depicting Christ Feeding the Five Thousand. From Troyes, France, 12th and 13th centuries.

Christ is shown in the centre with a basket containing the fishes. The disciples are at each side of him and the people are seated on the ground before him. The background is of a blue chequer pattern.

Given by J. Pierpont Morgan, Jr

(1188) Romanesque cathedral at Troyes destroyed in a fire.
(1208) Bishop Hervé begins the rebuilding. By the time of his death in 1223 the choir was completed except for aisles and chapels.
(1849-1866) Renovations in the cathedral. Much of the glass was dispersed and those that survived were subsequently dispersed.

One view (see Grodecki, Lafond) is that these panels (C.105-108-1919) were made for the Romanesque Cathedral at Troyes; they survived the fire and were re-used in the new Cathedral, with additions of borders to make them fit the new window openings. They were put in the Lady Chapel sometime after 1223.

More recent opinion suggests that they could have come from another church in Troyes, perhaps from St-Etienne; still dating from c.1170-80 with 13th century additions.

The panels had been on loan from J. Pierpont Morgan Sr. from 24 January 1910.

(Little, Gesta, 1981) has identified what he feels to be four series of narrative glass originally from Troyes Cathedral. Two of these series relate to panels in the V&A. This information is taken from the descriptions recorded in the 19th century by Arnaud, Guilhermy and Fichot:

1) St Nicholas series:
- one panel in the V&A (C.106-1919) and one in the Musée de Cluny
- have borders added in 13th century to fit the new apertures
- were reused in the ambulatory chapels
- however, it is possible that the St Nicholas series may have come from another church in Troyes

2) Temptation series
- two panels in V&A (C.107-108-1919), one in Canadian private collection
- earliest known of this subject
- the story of the Temptations of Christ are recorded in some depth in the Gospels of Matthew and Luke and referred to in passing only in Mark.
- the traditional art historical understanding of the ordering of the temptations is as follows:
The command to turn stones into bread
The taking of Christ up to the top of the temple and challenging him to thrown himself down.
The taking of Christ up a mountain and offering him dominion over all the kingdoms of the world.
- however, the temptations as recorded in Matthew are as above but in Luke the order is as follows:
Stones, mountain, temple
Little makes reference to an illustrated psalter from Paris, dated to about 1200, which shows the temptations in an expanded format. Arnaud's descriptions of these panels in 1837 only record the usual scenes but with one addition - a scene of Christ with a vase full of gold and silver coins at his feet (the whereabouts of this panel is not known).
For this Temptation series, Little proposes a 6-scene window and suggests that the whole window would have been too small for the openings in the pre-fire Romanesque cathedral at Troyes and so believes that these panels were probably originally in a smaller church.

Like much other medieval stained glass, this window has been displayed in a number of locations during its history. It may have originally been produced for the Romanesque Cathedral of Troyes, which was destroyed by fire in 1188, but it is also possible that it could have been from another building nearby - the collegiate church of Saint-Etienne. By the nineteenth century the window had been installed in the Lady Chapel of Troyes Cathedral, which had only been built in the thirteenth century. The window is likely to have been removed from the Cathedral during renovations (1849-1866) when much of the glass was dispersed.

The window depicts the Feeding of the Five Thousand which is one of the miracles performed by Jesus Christ and is reported in all four gospels. The seated figure of Christ dominates the centre of the scene as he clutches the five loaves and two fishes and which he is to miraculously multiply to feed those who have gathered to hear him speak.

C.105-1919