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The image is a standard format for a heraldic representation. The proud citizen/soldier demonstrates his readiness to take up his arms in defense of his city. The representation of amorous couples above may refer to the parable of the Prodigal Son (Luke 15:11–32), here being lured by prostitutes so that he spends all his inheritance.
Enamel paints are absent in the piece, an indication of an early date. The depiction of landscape exploits the effect of silver stain on blue glass to depict leaves and ground… Plus
The image is a standard format for a heraldic representation. The proud citizen/soldier demonstrates his readiness to take up his arms in defense of his city. The representation of amorous couples above may refer to the parable of the Prodigal Son (Luke 15:11–32), here being lured by prostitutes so that he spends all his inheritance.
Enamel paints are absent in the piece, an indication of an early date. The depiction of landscape exploits the effect of silver stain on blue glass to depict leaves and ground. Three-dimensional modeling relies predominantly on transition of light to dark through gradual tones blended to make a smooth transition. Stickwork is mainly used for outlines, as in the plumes of the hat. One may cite as comparison the Arms of Wilhelm Schupp, attributed to Lienhard Brun I and dated to around 1529 (Allerheiligen Museum, Schaffhausen, Mus Inv. 21072; Hasler, 2010, pp. 188–90). The landscape uses the same system of silver stain on blue and the modelling of the figures favors the same gradual transitions.
Cited in:
Record of the Art Museum, 1963, p. 19.
Raguin, & Morgan, 1987, p. 87.
Moins Datation
16th century (second quarter)
Période
1525 – 1550
Commanditaire / Donateur·trice
Localisation d'origine
Lieu de production
Propriétaire précédent·e
Stanley Mortimer, Princeton class of 1919
Numéro d'inventaire
y1961-51