The arms of the two donors are set within an elaborate baroque frame. Pilasters resting on blue bases are at the sides and between them are two green columns. A red and blue entablature supports a green boss at the apex of an arch. Above, volutes enhanced with leaves and fruit embellish the scene. Silhouetted against a white ground, the shields are surmounted by barred helms with rich mantling of the heraldic colors of yellow and black and blue and yellow. They rest on a black and white checkered floor. Below the floor, the lower part of the panel depicts an illusionistic platform framed by heavy bases in red with gold trim. A text on uncolored glass appears within a border embellished with green and blue scrollwork.

There are no replacements. A segment of modern yellow glass has been added at the bottom, presumably to fit an architectural setting desired by a former owner.

Jost Hermann (1600– c.1670) was the most important glass painter in Freiburg in the mid seventeenth century. Uta Bergmann profiles his career and that of his son Rudolf (Bergmann, 2014, vol. 1, pp. 301–310). The Princeton panel may be one of Jost’s earlier works, but he retains the same format and painting style in 1660 for the execution of the Arms of Hans Possart and Anna Graf (Freiburg, Burgergemeinde; FR_230; Bergmann, 2014, vol. 2, p. 735, cat. no. 230).
Hans Caspar (Kaspar) Heidegger was mayor (Vogt, Landvogt) of Grüningen between 1619 and 1624… Plus