14th Century Stained Glass Panels

*Panels can be purchased separately*

These two stained glass panels are exemplary artifacts from the late gothic period offer rich insight into the religious artistry and aesthetic values of medieval Germany. Their shape, iconography and inscriptions contribute to an over-arching narrative of Christian doctrine and devotional practice of this era. Both panels adopt a trefoil-isc arch shape, which is a strong motif characteristic of gothic architecture, with each being composed of three lobes which visually echo the theological doctrine of the Holy Trinity. These panels were once part of a much larger ensemble but have been unfortunately broken up.

Each panel is centered around a winding vine motif, branching out symmetrically. This particular motif is more then just decorative as it most likely carries some biblical symbolism, possibly referring to Christ’s words in John 15:5: “I am the vine; you are the branches.” The vine, complete with clusters of grapes and broad leaves. Which symbolizes spiritual nourishment, the Eucharist and the unity of the Church with Christ as its source.

Panel A: (Top panel)

Panel A displays a flowing scroll inscribed with Gothic script. The legible portion roughly translates to “hos this” and “ampel sunt in...” most likly referencing to the vine (ampel) and its significance in Christian faith. In context pairing this with other common medieval phrases this panel likely translates to “I am the true vine” referencing John 15:1. The visual density of grape clusters alongside the scrolling vine highlights the Eucharistic theme, Christ as the true vine whose blood is symbolized in the wine. This panel was once part of a larger piece that showed an Annunciation.

Exact size: (31 1/8 in x 22 in)

Panel B: (Bottom panel)

Panel B presents a similar vine-centered composition but includes a rough translation which might refer to the Latin phrase “dominus iustef...” which likely refers to Dominus iustificavit or Dominus iustitia meaning “The Lord justifies” or “The Lord is righteous.” It could also translate to Dominus tecum which translates to “The Lord is with you” This could point to a theological emphasis on divine justice or salvation through God’s righteousness, a subject central to late medieval spirituality, particularly as the Church approached the Reformation era. This panel was once part of a larger piece that showed a Visitation

Exact size: (31 1/4 in x 22 5/8 in)

There is a little debate on the exact origins on this particular piece with the Brooklyn Museum believing they were most likely to be Germania (Now present day Germany) between late 14th to early 16th century. Whereas the experts at Christie's believe it is most likely from the 15th century, incorporating various French elements, including the design of the gothic script, as well as details within the outlines.

While specific details about these panels are limited, similar works from the original piece provide context. For instance, a 15th-century German stained glass panel depicting the Visitation is part of The Metropolitan Museum of Art's collection. This piece was originally part of a window illustrating the ancestry of Christ in the form of a Tree of Jesse. The artist employed an angular style of drapery folds and subtle color juxtapositions, initiating a new style of glass painting in the Middle Rhine region.

Similarly, the Annunciation has been a popular subject in stained glass art. A notable example is an Austrian panel from around 1390, also housed in The Metropolitan Museum of Art. This piece features elongated figures with heavy drapery and a rich range of colors, characteristic of the court workshops in Vienna during that era. Although due to the technique and artistic style of these pieces hint to late 14th century to early 16th century.

The piece was originally in the hands of the Brooklyn museum as in 1943, the Museum received a generous donation from Mr. and Mrs. Frederic B. Pratt. Although these pieces have been deaccession from the Brooklyn museums data base, one can still find the original records with the Brooklyn museum’s database by reaching out to a representative. With there accession numbers being: 43.242a and 43.242b.

More Information about the donors:

Frederic Bayley Pratt (1865–1945) was a prominent American philanthropist and educational leader. Born in Brooklyn, New York, he was the son of Charles Pratt, a Standard Oil magnate, and Mary Helen Richardson. After graduating from Amherst College in 1887, Frederic dedicated much of his life to the Pratt Institute, an educational establishment founded by his father. He served as the president of the institute's board of trustees for 44 years, from 1893 to 1937, guiding it through its formative years and ensuring its growth and success. He was also the president of the United States Olympic Committee in 1910.

In 1889, Frederic married Caroline Ames Ladd (1861–1946), the daughter of William S. Ladd and Caroline Elliott. The couple had three children: Charles Pratt, who later became president of the Pratt Institute's board; Mary Caroline Pratt, who married Christian Herter, a future Governor of Massachusetts and U.S. Secretary of State; and Helen Ladd Pratt. The Pratts were known for their philanthropic endeavors, contributing to various cultural and educational causes.