Object: Fall of the Egyptian Idol

Title:

Fall of the Egyptian Idol

Object name(s):

Panel

Brief description:

To the left the golden idol is depicted falling from a pedestal with four figures kneeling around it. On the right the Virgin is carrying the Christ Child and Joseph carries a sword and leads the ass. The Virgin wears a blue gown with a white and gold overmantle. Joseph wears a red cloak over a blue tunic.A bearded figure worshipping the idol has a pale green cloak; another a purple tunic; the rest in grisalle and yellow stain with details of the architecture painted in brown pigment. Columns at the side, the left hand one in clear glass painted in yellow stain and brown pigment; the right hand one in purple and pale green glass.

Collection:

Victoria and Albert Museum

Associated concept:

Stained Glass

Content - concept:

idolatry

Content - concept:

buildings

Content - concept:

architecture

Content - concept:

donkey

Content - concept:

idol

Content - concept:

statue

Content - concept:

columns (architectural elements)

Content - concept:

men

Content - concept:

women

Content - concept:

halo

Content - event name:

Fall of the Egyptian Idol

Content - other type:

New Testament

Content - other type:

Biblia Pauperum

Content - person:

The Virgin Mary

Content - person:

Joseph (of Nazareth)

Content - person:

Christ Child

Credit line:

Given by E.E. Cook

Current reproduction location:

https://framemark.vam.ac.uk/collections/2006AL0007/full/!100,100/0/default.jpg

Location type:

Thumbnail

Dimension:

Height

Dimension measured part:

framed

Dimension measurement unit:

cm

Dimension value:

73.9

Dimension:

Width

Dimension measured part:

framed

Dimension measurement unit:

cm

Dimension value:

69.4

Dimension:

Weight

Dimension measured part:

in metal frame with perspex backing

Dimension measurement unit:

kg

Dimension value:

9.5

Dimension:

Depth

Dimension measured part:

framed

Dimension measurement unit:

cm

Dimension value:

3.2

Dimension:

Height

Dimension measured part:

sight

Dimension measurement unit:

cm

Dimension value:

71.0

Dimension:

Width

Dimension measured part:

sight

Dimension measurement unit:

cm

Dimension value:

67.0

Material:

glass

Object history note:

In the cloister of Mariawald until about 1802. From about 1811 until 1928 it was installed in the Chapel at Ashridge Park, Hertfordshire. (12 July 1928) Sold at Sotheby's. The glazing of the Mariawald cloister, confined to ten windows on the west and north sides and one at the north end of the east walk, and made up entirely of two-light windows, seems to have started at the beginning of the second decade of the 16th century and probably continued until the early 1530s. From the surviving panels and the existing windows it can be seen that the programme was made up of paired Old and New Testament scenes arranged typologically one above the other (New Testament at the second level, Old Testament in the third), as in the Biblia Pauperum, with donor panels placed on the lowest level. A prophet with a scroll occupied the cusped head of each light. Believed to be from the fourth window in the cloisters at Mariawald.

Object history note:

Mariawald was a Cistercian abbey founded in 1480. The Cistercians were a monastic order established in 1098 in Burgundy at Citeaux. The founder of the Cistercians had broken away from the Benedictines which had been the first monastic order to be established in Europe, in the 6th century. During the Revolutionary struggles in France and the subsequent religious upheavals under Napoleon, many monastic institutions on the continent were 'secularised' and their buildings destroyed. The abbey of Mariawald was closed down in 1802 but fortunately its buildings, including the cloisters, remain largely intact. However, the stained glass windows had been removed and it is believed that they were purchased by John Christopher Hampp of Norwich. Hampp sold the Mariawald panels to various churches and to private collectors. Many of these were purchased by the collector, Lord Brownlow who had them installed in his new chapel at Ashridge Park in Hertfordshire between 1811 and 1831. In 1928 the contents of Ashridge Park were sold at auction and a private collector purchased the stained glass and gave it to the Victoria & Albert Museum. This panel is one of many in the V&A that comes from the cloisters at Mariawald. These panels come from ten windows on the west and north sides of the cloister, plus one from the north end of the eastern part. The glazing of these cloisters began about 1510 and seem to have been completed in the 1530s. As the cloisters were never dismantled we can reconstruct how the panels were placed in the architectural structure. The window openings in the cloisters were each composed of two openings ('lights'). Each light was composed of three large panels, plus one small tracery panel. So there would have been eight panels to each window. From the surviving stained glass panels we can determine the theme of the cloister glazing. Each window had two panels depicting scenes from the Old Testament and two panels with scenes from the New Testament. Above the biblical story panels, were two smaller prophet (or 'messenger') panels. These contained half-images of Old Testament prophets holding scrolls with text relating to biblical passages connected with the scenes below. At the base of each window were donor and patron saint panels. These donors were the ones who contributed to the financing of the cloister glazing. This type of narrative arrangement is known as 'typological'. Each Old Testament story was a 'type' or a prefigurement of a New Testament story ('antitype'). For example, the Old Testament story of 'Elisha greeted by the Sons of the Prophet' was a prefigurement of the New Testament 'Entry of Christ into Jerusalem' which occurred on what we now call 'Palm Sunday'. The typological arrangement was popular in the Middle Ages. The stories were reproduced in manuscripts and in engravings from woodcuts and collectively became known as 'Biblia Pauperum' ('Bibles of the Poor'). At the end of the 15th century the Biblia Pauperum were printed in book form and sold in their thousands. These books were used as design sources for artworks including stained glass panels.

Object name:

Panel

Object number:

C.244-1928

Object production date:

ca.1522 to 1526

Date - association:

made

Date - earliest / single:

1517-01-01

Date - latest:

1526-12-31

Object production note:

From the cloister of the abbey at Mariawald.

Object production person:

Rensig, Everhard

Person's association:

maker

Person's biographical note:

possibly

Object production person:

Remisch, Gerhard

Person's association:

maker

Person's biographical note:

possibly

Object production place:

Lower Rhine (Germany)

Place association:

made

Physical description:

To the left the golden idol is depicted falling from a pedestal with four figures kneeling around it. On the right the Virgin is carrying the Christ Child and Joseph carries a sword and leads the ass. The Virgin wears a blue gown with a white and gold overmantle. Joseph wears a red cloak over a blue tunic.A bearded figure worshipping the idol has a pale green cloak; another a purple tunic; the rest in grisalle and yellow stain with details of the architecture painted in brown pigment. Columns at the side, the left hand one in clear glass painted in yellow stain and brown pigment; the right hand one in purple and pale green glass.

Reproduction number:

2006AL0007

Reproduction number:

2017KA8519

Responsible department/section:

CER

Technique:

painting

Technique:

silver staining

Technique:

pot metal

Technique:

Clear and coloured glass with painted details and silver stain

Text:

https://collections.vam.ac.uk/item/O64896/

Text reason:

Collections online record

Text:

This panel is one of many in the V&A that comes from the cloisters at Mariawald. These panels come from ten windows on the west and north sides of the cloister, plus one from the north end of the eastern part. The glazing of these cloisters began about 1510 and seem to have been completed in the 1530s. Mariawald was a Cistercian abbey founded in 1480. The Cistercians were a monastic order established in 1098 in Burgundy at Citeaux. The founder of the Cistercians had broken away from the Benedictines which had been the first monastic order to be established in Europe, in the 6th century. During the Revolutionary struggles in France and the subsequent religious upheavals under Napoleon, many monastic institutions on the continent were 'secularised' and their buildings destroyed. The abbey of Mariawald was closed down in 1802 but fortunately its buildings, including the cloisters, remain largely intact. However, the stained glass windows had been removed and it is believed that they were purchased by John Christopher Hampp of Norwich. Hampp sold the Mariawald panels to various churches and to private collectors. Many of these were purchased by the collector, Lord Brownlow who had them installed in his new chapel at Ashridge Park in Hertfordshire between 1811 and 1831. In 1928 the contents of Ashridge Park were sold at auction and a private collector purchased the stained glass and gave it to the Victoria & Albert Museum. W are able to reconstruct how the panels were placed in the cloister windows. Each window was composed of two openings ('lights'). Each light was composed of three large panels, plus one small tracery panel. So there would have been eight panels to each window. From the surviving stained glass panels we can determine the theme of the cloister glazing. Each window had two panels depicting scenes from the Old Testament and two panels with scenes from the New Testament. Above the biblical story panels, were two smaller prophet (or 'messenger') panels. These contained half-images of Old Testament prophets holding scrolls with text relating to biblical passages connected with the scenes below. At the base of each window were donor and patron saint panels. These donors were the ones who contributed to the financing of the cloister glazing. This type of narrative arrangement is known as 'typological'. Each Old Testament story was a 'type' or a prefigurement of a New Testament story ('antitype'). The prophets on each window would hold text from the Bible relating to the Old and New Testament stories. For example, this panel shows the apocryphal Pseudo-Matthew gospel story of 'The Fall of the Egyptian Idol'. It was placed in the window just below that of the Old Testament story of 'The Worship of the Golden Calf' (Museum no.C.267-1928). It depicts an episode when the Holy Family were in Egypt in exile and a false idol fell and was destroyed when they walked past. This story was seen as an antitype of the Old Testament story of 'The Worship of the Golden Calf'. Moses returned from the mountain where God had given him the Ten Commandments to find that the Jewish people, newly freed from their exile in Egypt, were worshipping a false idol. He ordered its destruction. The typological arrangement was popular in the Middle Ages. The stories were reproduced in manuscripts and in engravings from woodcuts and collectively became known as 'Biblia Pauperum' ('Bibles of the Poor'). At the end of the 15th century the Biblia Pauperum were printed in book form and sold in their thousands. These books were used as design sources for artworks including stained glass panels.

Text reason:

Summary description

User's reference:

Reference:

Rackham, Bernard, 'The Ashridge stained glass', Old Furniture, vol.5 (1928), pp.33-7

User's reference:

Reference:

Wyatt, James, Description of the Stained Glass Panels at Ashridge Chapel, privately printed, 1906

User's reference:

Reference:

Goerke, C., Das Zisterzienserkloster Mariawald, Mariawald, 1932

User's reference:

Reference:

Clemen, Paul, Die Kunstdenkmaler der Rheinprovinz, Kreis Schleiden, XI, 2, Dusseldorf, 1932

User's reference:

Reference:

Rackham, Bernard, 'The Mariawald-Ashridge Glass', Burlington Magazine, Nov. 1944, pp.266-73

User's reference:

Reference:

Rackham, Bernard, 'The Mariawald-Ashridge Glass II', Burlington Magazine, April 1945, pp.90-4

User's reference:

Reference:

Rackham, Bernard, 'The Ashridge Stained Glass', Journal of the British Archaeological Association, 3rd series, vol. X (1945-7), pp.1-22

User's reference:

Reference:

Neuss, Wilhelm, ed., Die Glasmalereien aus dem Steinfelder Kreuzgang, Moenchengladbach, 1955

User's reference:

Reference:

Wolff-Wintrich, Brigitte, 'Kolner Glasmaleriei sammlungen des 19. Jahrhunderts', in Lust und Verlust Kolner Sammler zwischen Trikolore und Preussenadler, Exhibition Catalogue (Kunsthalle Koln), Koln, 1995, pp.341-54

User's reference:

Reference:

Kurthen, J., 'Die alten Kunstfenster', in Mariawald: Geschichte eines Klosters, Heimbach/Eifel, 1962

User's reference:

Reference:

Conrad, M., 'Zur Geschichte der alten Glasgemalde aus dem Kreuzgang von Kloster Mariawald', Heimatkalender des Landkreises Schleiden, 1969, pp.95-102

User's reference:

Reference:

Zakin, H., 'Mariawald:Cistercian Narrative', in Stained Glass as Monumental Painting (XIXth International Colloquium, CVMA, Krakow, 1998), Cracow, 2000, pp.273-80

User's reference:

Reference:

Jakob Polius, 'Analecta sive collectanea antiquitatem', Duren, Stadtarchiv, A30, Hs. 2

User's reference:

Reference:

MR James, Notes of Glass in Ashridge Chapel, Grantham, 1906

User's reference:

Reference:

Hermann Schmitz, Die Glasgemalde des Koniglichen Kunstgewerbemuseums in Berlin, Berlin, 1913

User's reference:

Reference:

William Cole, 'A Hitherto Unrecorded Panel of Stained Glass from the Abbey of Mariawald', Journal of the British Society of Master Glass Painters, XVII (1981-2). pp.21-4

User's reference:

Reference:

Avril Henry, ed., Biblia Pauperum, Scolar Press, 1987

User's reference:

Reference:

Raguin and Zakin, Stained Glass before 1700, part 2, pp.127-9, 170-6

Persistent shareable link for this record: https://museumdata.uk/objects/91fa4895-3ea0-3342-9700-ae60d4894a72

Use licence for this record: CC BY-NC

Attribution for this record: https://museumdata.uk/objects/91fa4895-3ea0-3342-9700-ae60d4894a72, Victoria and Albert Museum, CC BY-NC

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