The conservator's eye: a stained glass Adoration of the Magi

Circle of Peter Hemmel von Andlau (Strassburger Werkstattgemeinschaft), Adoration of the Magi, 1507 or earlier (Munich), pot metal and colorless glass, vitreous paint, and silver stain, 72.4 x 45.7 x 1 cm (The Cloisters, The Metropolitan Museum of Art)
Speakers: Sarah Barack and Steven Zucker

[@alepartidav.7664]

This was so interesting and so well explained!

[@darklingeraeld-ridge7946]

A luminous and highly meticulous image, but it typifies the movement toward detail and decorative technique, away from the energy of earlier glass. When we look at 12th -13th century windows at, say, Canterbury Cathedral, there is a tremendous energy imparted by the underlying forms in the glass, and this is because the structuring, holding lead between the pieces had a much more active role in the design of the windows. Here, the leads merely define zones to be painted; in earlier stained glass the leads have a life of their own which is at once physical and drawn.

[@Sasha0927]

Rather than just listening to another amazing commentary, I decided to try and apply some of the skills I've learned so far with a little analysis of my own (and then listen to the informed people speak, lol): I'm immediately noticing the composition of this piece. There seems to be a balancing of forms: two figures on the left, two on the right, and one in the center. As if to punctuate that, there's a hat? on the floor right in line with the bottom-center of the image. Speaking of lines, there's a bold use of line, creating drastic distinctions between form - there's no blending or ambiguity of what stops where. Also noteworthy are the orthogonals: The Virgin, Christ, and that awkward star-plank thing all seem to incline one way (perhaps indicating their link to the celestial / divine?). The center and kneeling magi also create an orthogonal near the image's center while the guy on the right's doing his own thing, lol. But the combined effect is a triangular, symmetrical composition. Bold, rich colors draw attention to the foreground (where chiaroscuro creates the illusion of depth) while atmospheric perspective cools the smaller background forms. I look forward to listening and seeing what parallels exist in the video after my studies. :) Update: Just wow, lol.

[@smarthistory-art-history]

Glad you noted the compositional importance of the hat, since we also thought it was a worth lingering over.

[@Sasha0927]

@@smarthistory-art-history lol, thank you. I tried not to overlook anything - it's all there for a reason. :)

[@irenegarzongijon4285]

Hello, do any of you know what it says at the base of the window (5:13) and at the head of the Virgin (5:26)?

[@smarthistory-art-history]

The inscription says, "Hans Schwinli vō Münchē 1507" (Hans Schwinli of Munich) who The Met's curatorial staff believes is the patron who commissioned the window.

[@irenegarzongijon4285]

@@smarthistory-art-history Thank you very much for answering. I would also like to know if it is known why Baltasar is the only one who does not look at the child and who has armor and why only the mule appears in the window and not the donkey. And what does he put on the head of the Virgin?