The Prophets Amos and Zechariah Cologne, c. 1510 Stained glass 60 x 59.3 cm On loan from the Peter und Irene Ludwig Stiftung 13 The stained glass depicts the prophets Amos and Zechariah, facing each other in conversation. They can only be identified as prophets by the banners they hold, which refer to passages from their scriptures: ‘They hate him who reproves in the gate’ (Odio habuerunt in porta corripientem; Amos 5:10) and ‘There will no longer be a merchant in the house of the Lord’ (Non erat ultra mercator in domo domini; Zechariah 14:21). These sayings are found in relation to each other in the so-called Biblia pauperum (Paupers‘ Bible), a popular late medieval illustrated Bible that associates Old Testament events with scenes from the New Testament. This typological juxtaposition of foreshadowing and fulfilment was illustrated and commented on by the sayings of the prophets. The prophets Amos and Zechariah refer in their sayings to the episode of Christ driving the merchants and moneylenders out of the Jerusalem Temple. This scene, in turn, could be linked to Old Testament scenes, such as the rebuilding of the Jerusalem Temple by Darius or Cyrus, and the cleansing of the Temple by Judas Maccabeus, who destroyed the pagan altar and rededicated the Temple. The single pane may therefore have originally formed part of a typological cycle of images in a cloister and may have been associated with the cleansing of the Temple by Christ and at least one other Old Testament scene. The ornate pointed arch suggested in the lower part of the image may indicate that this stained glass was used to crown such a scene. In the 1887 auction catalogue, the unusual way in which the prophets are depicted led to their being interpreted as monks in discussion. The posture of the prophets, the fall of their robes and the wide, curving scrolls of writing give the scene a very dynamic feel. This impression is reinforced by the busy network of lead cames, especially in the upper left half of the image. The two figures, who have individual facial features and hairstyles, also differ in the design and colouring of their robes. The part of the garment at the bottom right appears to be a later addition. The stylistic similarities, especially in the design of the faces and robes, with the stained glass from the Cistercian monastery of Altenberg from the first third of the 16th century suggest that the pane was made in Cologne during this period. Cat. Geisenheim 1887, 10, no. 114. – We are indebted to Hartmut Scholz (Freiburg) and Hiram Kümper (Mannheim) for kind advice on the dating and localisation of the panel and the interpretation of the inscription. Jule Wölk/Carola Hagnau 74
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