Early Stained Glass in the Metropolitan Museum of Art

Jesus Healing the Lame Man, French, 1170

In October of 2014, I spent a day in the Metropolitan Museum of Art in New York. Although the Met’s primary collection of Medieval art is at the  Met Cloisters overlooking the Hudson River in northern Manhattan’s Fort Tryon Park, the 5th Avenue building offers visitors a wonderful selection of stained glass from France, England and Germany dating from around 1170 to the mid 1500’s. (Of course the Met also has a wonderful collection of newer stained glass from Europe and the United States, but we need to save that for another blog.)  I hope you enjoy seeing some of the photos I took that day and  learning about these amazing stained glass panels. So let’s take a walk together through the Met’s collection of early European stained glass.

 

The text in this blog post is based on material from English and French Medieval Stained Glass in the Collection of the Metropolitan Museum of Art by Jane Hayward: revised and edited by Mary B. Shepard and Cynthia Clark (2003), and from Stained Glass Windows in the Metropolitan Museum of Art, Bulletin, v 30. no 3, December 1971-January 1972, as well as from gallery labels and the museum’s excellent website . (If I were a more thorough scholar, I would certainly have mentioned the exact source and location of information I used from those excellent resources as I included it. Mea culpa, as they would have said in the 13th century.)

I created this blog to document stained glass in Kansas City’s religious institutions. But now and then I will include windows I have seen in other locations. I can’t stay away. I love them. So why not share them? Enjoy.

Fragments:

French, from the Cathedral of Saint-Etienne, Bourges, ca. 1200-1215

The red devil is probably from a panel depicting the Last Judgement. The final image is most likely from a depiction of the Crucifixion.

Glass fragment French 1200-1215

Glass fragment French 1200-1215

Glass fragment French 1200-1215

Glass fragment French 1200-1215

God (Incarnate as Jesus Christ) Closing the Door to Noah’s Ark

French, Poitiers, from The History of Noah window, the Cathedral of Saint-Pierre

Painted around 1190

In Medieval to late Gothic art, God is often represented as Christ, His Incarnation. Thus it is Christ who is shown closing the door of Noah’s ark.  It is thought that this fragment was originally part of a roundel, and may be the sole surviving piece from a large window depicting the whole story of Noah which had been in the Cathedral of Poitiers. It is typical of West-French glass from the late 12th century and recalls Romanesque frescoes from the nearby Church of St. Savin, painted about 60 years earlier in about 1130.

Much early glass in this cathedral and elsewhere was destroyed during the English wars of 1346, when Henry, Count of Derby, viciously attacked the churches in Poitiers and pillaged the Cathedral. The  Cathedral was also damaged by the Huguenots in the wars of 1562 and 1569. In addition to the destruction from wars, windows in the Cathedral have been moved or replaced in restoration efforts over the years.

A Panel with Censing Angels from a Dormition of the Virgin window

French, Troyes, Collegiate Church of Saint-Etienne, ca. 1170

Here two groups of angels swing golden censers.

Angels Swinging Censers, French, ca. 1170

Christ Healing the Paralytic Man (Fragment)

From The Public Life of Christ Window

French, Troyes, Collegiate Church of Saint-Etienne, ca. 1170

Jesus Healing the Lame Man, French, 1170

Scenes from the public life of Christ were common in the 12th century, but representation of his miracles is rare. This fragment, and the original window, was probably part of a larger iconographic program involving several windows. Scholars believe that this window was probably painted by a manuscript painter because the meticulous technique- the precision of line and fineness of detail- was not common in glass of this period. Noteworthy for this period also are the unusual colors of lemon yellow, light greenish blue, and deep wine pink.

 

 

 

The Prophet Abiud

(The bust of Abiud and the body of another ancestor of Christ)

French, Braine, from the Church of Saint-Yved, ca. 1195-1205

According to the Gospel of Matthew (1:13) Abiud is one of the ancestors of Christ.

Abiud, French, ca. 1195-1205

The upper portion of this figure is from the genealogy series of the clerestory windows in the Abbey of Saint-Remi in Rheims.  The lower section, Abiud’s torso and legs, is actually from a separate ancestor figure. By the end of the 12th century, large figures were commonly used for the upper windows of Gothic churches because the larger proportions made them more easily discernable from the nave.

 

 

 

 

 

 

Scenes from the Legend of Saint Vincent of Saragossa

French, originally from the chapel (now destroyed) of the Abbey of Saint Germain-des-Pres, Paris, ca. 1245-47

The legend of Saint Vincent of Saragossa was one of the most popular hagiographical subjects represented in stained glass in the 13th century.

Scenes from the Legend of St. Vincent of Saragossa, French, 1245-47

The monks of Saint Germain-des-Pres had special devotion for Saint Vincent (d.304) because their abbey was founded to receive a relic from the saint’s tunic. The relic was transported from Spain by the Merovingian King, Childbert, and his brother, Clothar, King of the Franks. King Childbert is shown in this window on horseback accompanied by his brother, King Clothar. In other scenes,  Valerius, the Bishop of Saragossa, and Vincent, his Dean, are seen confronting Dacian, the Roman Proconsul. Dacian is seen sitting on his throne with two guards ordering the arrest of Valerius  and Vincent, and condemning them for their faith. Bishop Valerius and Vincent are then seen in chains on their way to prison. Finally, we see Saint Vincent’s body being thrown into the sea, Bishop Valerius having been spared in respect of his age. Above we see a man in a tower blowing an oliphant and censing angels.

 

Legend of St Vincint French 1245

Scenes from the Legend of St Vincint of Saragossa

Scenes from the legend of St V of S French

St Vincent of Saragossa French1245-47

 

 Tree of Jesse Window

German, Swabia, ca. 1280-1300

Tree of Jesse window, German, 1280-1300

Jesse is understood to be an ancestor of Jesus (Isaiah xi.1). Here Jesse is depicted as the root of a great tree. As he lies asleep, a tree rises from his side in a dream. Prophets hold scrolls that foretell the coming of Christ. King David is prominent here, holding his harp. Upper roundels contain scenes from the life of Jesus. The window includes scenes of the Presentation, the Last Supper, the Crucifixion, and the Ascension. In the late 13th century, the treatment of the Jesse Tree in stained glass windows underwent a transformation. In general, the usual inclusion of Christ’s ancestors was replaced with scenes from his life, which were juxtaposed with Old Testament prototypes in adjacent lancets. This window includes scenes from Jesus’s life (infancy and Passion) but also the genealogical figure of King David. Also of note, the panels depicting the last Supper and the Ascension show all of the Apostles treated in one group-with several heads on one piece of glass.

David From Tree of Jesse window, German 1280-1300

Last Supper from Tree of Jesse, Swabia 1280-1300

Crucifixion from Tree of Jesse window, German 1280-1300

 

Scenes from The Life of the Virgin

German, from a former Carmelite church in Boppard-am-Rhein, ca. 1444

Two Scenes from The Life of the Virgin and Two from The Passion of Christ, German, 1444

The Nativity

The Nativity, from the Life of the Virgin, German, 1444

The Visitation

The Visitation, from The Life of the Virgin, German, 1444

Two Scenes From the Passion of Christ

The Deposition

The Deposition of Christ, German, 1444

 

From the Deposition of Christ, German,1444

From The Deposition of Christ, German, 1444

 

The Entombment

Entombment of Christ, German, 1444

 

These four panels are very likely from a lost Jesse Tree window. The church in Boppard-am-Rhein was dedicated to the Virgin, the patroness of the Carmelite order. Each of the windows depicted an aspect of her legend. The Virgin was given an unusual emphasis in this Jesse Tree window. Scenes from her life, including the Nativity and the Visitation, were placed in the central light, above the reclining Jesse, while side lancets contained scenes from Christ’s Passion. Symbolically, Mary was the trunk of the tree that bore the fruit of Christ’s sacrifice.

Head of John the Baptist

Probably painted by the Master of the Life of John the Baptist

French, Normandy, Rouen (?) ca.1500-1510

Head of St John the Baptist, French, ca. 1500-1510

The head, cut from another composition, has been inserted. Surrounds of various pieces of contemporaneous glass have been cut and arranged to complete the image.

Saint Gerard with His Protector, Gerard de Haraucourt, Bishop of Toul

French, 1529

Saint Gerard and Gerard de Haraucourt,  French, 1529

 Large Composite Window

English, 15th century

Standing Apostles and Saints

Gloucestershire, ca. 1475-80

Composite, English, ca. 1480

Each of the Apostles and saints is identified by his or her attribute and by inscriptions on the niches under which they stand: Saint Andrew by his X shaped cross, Saint Peter by his key, Saint James the Great by his pilgrim staff and hat, and by the scrip bearing a scallop shell, Saint Mathias (or Matthew). Below them are Saint Stephen, Saint Margaret of Antioch, Edward the Confessor, and Saint Catherine of Alexandria with her attributes of the sword and the wheel, and ??.

Saint James the Great, English, 1475-80 (detail)

 Saint Barbara

Norfolk , ca.1450

Saint Barbara is shown holding her attribute, the tower where she was imprisoned by her father. She is standing under an elaborate architectural element which includes the letter “B”.

Angel (Cherub),

English, East Anglia,  ca.1450

 

English glazing programs from this period often included representations of the nine orders of angels. Cherubim were usually shown wearing feathered cloaks like the one shown here.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Saint John the Evangelist with the Cup of Poison and Serpents

German, possibly from the Cathedral of Saint Peter, Trier, ca. 1520

St John the Evangelist, German, ca.1520

 

 

 

 

 

 

Saint Michael and Donor

French,  Normandy (or possibly Paris), ca. 1500

St Michael and Donor, French, ca. 1500

The donor who kneels before his patron saint is most likely of royal lineage since the  shield held by Saint Michael displays the royal fleurs-de-lis of France.

The donor and the heraldic device on his shield are unidentified. The small angels playing musical instruments are typical of late Norman windows.

The figures are enclosed in a superbly painted niche of grisaille and silver stain. The costumes reveal richly brocaded material. The extraordinary richness of background and architectural details is characteristic of Norman glass.

 

 

 

St. Michael and Donor. French, ca. 1500 (detail)

 

Architectural Niche Saint Michael and Donor, ca 1500 (detail)

 

 Saint Roch, the van Merle Family Arms, and a Donor

German, 1505-08

 

The woman depicted here as the donor may be a posthumous representation of Gudula van Merle, who died in the plague in 1502. Saint Roch, the pilgrim saint who was actively involved against the disease, stands behind her. It is thought that this window was part of the glazing of a private chapel.

 

 

 

 

A Knight and His Patron Saint, Saint Bernard, A Bishop and His Patron Saint, and a Lady and Her Patron Saint

All from a Cistercian church at Maria Wald SW of Cologne,

German, 1505-08

Saint Bernard and Donors ? German,  1505-08

A Bishop and his Patron Saint, German, 1505-08

A Lady and Her Patron Saint, German, 1505-08

A Lady and Her Patron Saint, German, 1505-08 (detail)

 

Joseph’s Brethren Discover Money in Their Grain Sacks

French, Normandy, Rouen (?) ca. 1530

Joseph’s Brethren Discover Money in their Sacks (Gen 42:1-28), French, ca. 1530

Joseph’s brothers traveled to Egypt to buy corn when famine plagued their homeland. They failed to realize that their brother Joseph, whom they had sold many years before, was now governor. In his attempt to evaluate his brothers, whom Joseph recognizes, he accuses them of spying and imprisons them. After three days he releases them and allows them to buy the much needed corn. On the way home from Egypt they discover the money they thought they had spent for the corn is now in their sacks of grain. (This image depicts the moment of their discovery.) They are afraid they will now be accused of theft. They return to Egypt and, leaving Simeon as surety, agree to return with their youngest brother Benjamin. They return with him and return the money. This time Joseph’s cup is found in Benjamin’s bag. Upon returning the cup, Joseph reveals his identity to them and the brothers are reunited and forgiven.

From Joseph’s Brethren Discover Money, French, ca. 1530

From Joseph’s Brethren Discovering Money, French, ca. 1530

From Joseph’s Brethren Discover Money, French, ca. 1530

The Annunciation

French (Paris), ca. 1550

Annunciation, French, ca. 1550

Kneeling in prayer, Mary raises her hand in surprise as Gabriel informs her that she will be the mother of the Messiah. Gabriel’s opening salutation “Hail Mary, Full of Grace” is partially inscribed in Latin on the scroll above her. The composition and the classicized figures were derived from a well known work by Raphael (1483-1520). The New York architect Stanford White (1853-1906) added the inscription on the bottom of the Gabriel panel.

From The Annunciation, French, ca. 1550

 

Metropolitan Museum of Art NY

The Metropolitan Museum of Art in New York is a wonderful museum, a treasury of works spanning over 5,000 years from cultures throughout the world. One can spend days there  awed and amazed at the scope and quality of their collection. In my time at the Fifth Avenue building, I focused on their collection of stained glass from Medieval Europe and later periods as well. (The American glass is for another blog.) Although I did not get to the Cloisters (the Met’s separate building devoted to Medieval art) the glass on display at Fifth Avenue, along with other wonderful objects and sculpture from the period, not to mention the paintings, provided me with several hours of wonder and delight. I love being able to share just some of what I saw with you. I learned a lot about these panels and I hope you have as well. When one realizes that the earliest glass fragments and intact panels we have are from around 1100, the objects I have shared with you must be appreciated as extremely rare and precious. We are very lucky to have them and to be able to see them preserved, restored and up close. I hope you enjoyed this walk through the Met’s early stained glass collection as much as I did.  (You can leave your admission sticker here.)