Roundel with John the Baptist Middle or Upper Rhine, Master of the House Book, c. 1480–1485 Stained glass Ø 18 cm Transferred from the Kunstgewerbemuseum (Museum of Decorative Arts), Cologne, in 1930–1932 Cologne, Museum Schnütgen, inv. M 550 9 The roundel depicts John the Baptist, the forerunner of Jesus, in a symbolically charged landscape. He is pointing to the Lamb of God with a cross nimbus and banner of victory, which is depicted on the Holy Scripture as a symbol of Christ. The saint is wearing a cloak, under which his fur coat in silver stain appears, identifying him as a penitent. He is standing in a rocky landscape, where a stream flows from a spring. Together with the drinking doe, the symbolism of baptism is taken up, referring to the water of life. Flowers and animals, such as the snail that awakens to new life in the spring, represent the resurrection of Christ and the salvation of humanity. The colour palette of the roundel is reduced to various shades of grey, accentuated by silver stain. The dark background is broken up by intricate tendrils that the glass painter carved into the brown vitreous paint with an etching needle. This particular technique of etching on glass, which resembles the work of a draughtsman or engraver, has led to the assumption that the roundel is the work of the Master of the House Book or his workshop. This master, who worked on the Middle or Upper Rhine, was named after the so-called Medieval Housebook (private collection), a manuscript dating from around 1475–1485. In addition to stained glass, panel paintings, woodcuts and drypoint etchings are also attributed to him and his workshop. His designs, however, were used as models for a large number of stained-glass roundels. Since glass painters also used etching tools for their designs, the St. John pane could just as well have been executed by an unknown member of this guild, based on a model by the Master of the House Book. The liberal use and combination of different models is clearly evident in this stained glass. For example, the figure of John is based on an engraving by Martin Schongauer, while the design of the head is based on an engraving by Master E. S. Based on the models and stylistic features, the roundel has been dated to around 1480–1485. A similarly styled and crafted pane of the same size depicting St. Peter is in the Victoria & Albert Museum, London (inv. C.1379-1924). Von Falke/Creutz 1910, 62. – Schmitz 1913, 107. – Behling 1959. – Schnitzler 1968, 91, no. 156. – Becksmann 1968, 360–361, fig. 9. – Lymant 1982, 140–142, no. 80. – Husband 1985, 139, 149f. – Hess 1994, 52–57, fig. 50. – Täube 1998, 46–47, no. 16. – Williamson 2003, 142. – Cat. Grünewald 2007, 197–199, no. 42 (Ariane Mensger). – Woelk/Beer 2018, 306, no. 202 (Karen Straub). Carola Hagnau 62
RkJQdWJsaXNoZXIy MTI5NTQ=