The bright yellow background and the border of the inscription plate are balanced against the bold, dark red in the man’s breeches, the woman’s skirt, and the arch. Thus, the bright, light blue of the shield draws the eye. The blue of the columns glimpsed behind the figures serves to reinforce the importance of the central heraldic display. The panel consists of pot metal and uncolored glass with silver stain and enamel. Flashed and abraded red glass is used for the heraldic shield, the husband’s breeches, the wife’s skirt, and the arch above the couple. Backpainting is used sparingly, appearing on the husband’s beard, hat, and sleeve and the shadowed edges of the woman’s puffy white sleeves. The warm tonality of the oxen and parts of the flesh areas are achieved with sanguine. Vitreous paint is used throughout, and with precise rather than free application. The striation of the feathers in the wife’s hat, and parallel strokes defining the curls of the hair of the couple and the husband’s beard, as well as the outline of the edges of their garments, show a practiced hand.

Garland sale (1924). Rare and Beautiful Works of Art Inherited and Collected by the Late James A. Garland [sale cat., American Art Galleries, 17-19 January], New York.

Hayward, J. (1989). Stained Glass before 1700 in American Collections: Midwestern and Western States. Corpus Vitrearum Checklist III, ed. and intro. Madeline H. Caviness and Jane Hayward (Studies in the History of Art, 28), Washington, 1989.

Raguin, V. (2024). Stained Glass before 1700 in the Los Angeles County Museum of Art and the J. Paul Getty Museum, (Corpus Vitrearum United States IX). 2 vols. Turnhout, Belgium: Brepols.

Unpublished Sources: Hearst Inventory 1943, no. 244; Hayward Report 1978: Sibyll Kummer-Rothenhäusler, notes, suggesting Zurich area, CV USA; Rolf Hasler and Uta Bergmann, CV Switzerland, 2016-2020, consultation and research for author.