The Crucifixion of Christ Cologne, c. 1490–1500 (Crucifixion) and 1497 (tracery panels) Stained glass 230 x 145 cm Transferred from the Kunstgewerbemuseum (Museum of Decorative Arts), Cologne, in 1930–1932 Cologne, Museum Schnütgen, inv. M 515 8 In the centre of this window, Christ has just been wounded in the side with a lance by the blind soldier Longinus and his helper. Christ’s head is slightly tilted to the side, his eyes are closed, and his mouth is slightly open. The straight and calm posture of his nailed body contrasts with the bent limbs of the two thieves to his left and right. An angel and a demon take hold of their souls, impressively visualising the reward and punishment of the faithful for following and disregarding the Christian faith. In the upper half of the image, the bodies of the three crucified figures, in white glass, stand out clearly against the blue background. In contrast, coloured glass and silver stain were used more frequently for the many figures in the lower half. Here, the group of mourners with Mary and John on the left, Mary Magdalene under the cross and the good centurion on the right, both dressed in sumptuous robes, are presented to the faithful. In the background, men are playing dice for Christ’s undivided seamless robe. The original location of this stained glass window cannot be determined. It was probably the central window of a chancel or late Gothic side chapel that was removed during secularisation (Lymant). In 1850, it was installed together with another window (cat. 6) in the sacristy of the Cologne Council Chapel. Not only were additions made, such as Christ’s renewed loincloth and the green sections, but new panels in the tracery were also added to crown the work. These stained-glass windows, with floral decorations and small angels, are very different in style and technique from the Crucifixion. The panes can be dated to 1497 from the year inscribed on them. The two coats of arms depicted are those of the parents of Philip II of Daun-Oberstein, Archbishop of Cologne from 1508 to 1515: Wirich IV, Count of Daun-Oberstein, and Margaretha, Countess of Leiningen (Lymant). At the end of the 19th century, the entire window was transferred to the Cologne Kunstgewerbemuseum (Museum of Decorative Arts) and from there to the Museum Schnütgen in 1930–1932. With its many figures, the Crucifixion shows the close connection between Cologne stained glass and painting on wood and canvas. Parallels can be found with various painting workshops such as the Master of the Holy Kinship and the Master of the Life of the Virgin. Rode and von Euw suggest a connection to the glass painting workshop of Johann von Düren, who is documented as a glass painter in Cologne around 1500. Renard 1907, 147–148. – von Falke/Creutz 1910, 23. – Oidtmann 1929, 299–300. – Cat. Herbst des Mittelalters 1970, 66 (Anton von Euw/Herbert Rode). – Lymant 1982, 152–155, no. 87. – Täube 1998, 56–59, no. 19. Jule Wölk 58
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