KRSTG-600-1: Vintage, very large set of Sanctuary Windows that are 100% hand-painted-- No art glass here! Zettler was part of the Munich School of stained glass in Germany.
Dimensions: 18 1/2 feet in height, 6 1/2 feet in width
This window is:
The Crowning with Thorns
In Christianity, the crown of thorns, one of the instruments of the Passion, was woven of thorn branches and placed on Jesus Christ before his crucifixion. It is mentioned in the Canonical gospels of Matthew (27:29), Mark (15:17), and John (19:2, 5) and is often alluded to by the early Church Fathers, such as Clement of Alexandria, Origen, and others.
John the Evangelist describes it thus:
Then therefore, Pilate took Jesus, and scourged him. And the soldiers platting a crown of thorns, put it upon his head; and they put on him a purple garment. And they came to him, and said: Hail, king of the Jews; and they gave him blows. Pilate therefore went forth again, and saith to them: Behold, I bring him forth unto you, that you may know that I find no cause in him. (Jesus therefore came forth, bearing the crown of thorns and the purple garment.) And he saith to them: Behold the Man.
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Read more about F.X. Zettler.
In 1847 Joseph Gabriel Mayer (1808–1883), an academic artist and sculptor, founded the "Mayer Institute of Christian Art". His vision for the new Christian Art had been to revive the ideal of the Medieval "Bauhutten" (masons' lodges) – establishments of mutual collaboration and inspiration of fine arts, architecture, sculpture, stained glass and painting. Following his vision the manufacture of sculptures, statues and altars dominated the early years.
Of course, the great success of the Royal Stained Glass Establishment and the revival of this art form did inspire Joseph Gabriel Mayer. But it was the Arts and Crafts Movement in Great Britain which fascinated Mayer. The British movement and its pursuit of true quality in craftsmanship generated glass painters with great skills. Mayer recognized the opportunity to add stained glass windows of highest quality to his range of products. Locally trained and eventually British stained glass artists and glass painters were invited to his Munich studio. Stained glass windows by Peter Hemmel von Andlau or Hans Holbein the Elder set the standards for Mayer.
In approximately 1862 F. X. Zettler, Mayer's junior associate and son in law, became entrusted with the founding of the stained glass department within Mayer's "Institute of Christian Art". In 1870 he established an independent studio, which became very successful, too. The F. X. Zettler Studio was reunited with the Mayer Studio in 1939.
In 1865 the first branch was opened in London. In 1869 it was followed by a branch in Paris. In 1882 King Ludwig II awarded the company the title of "Royal Bavarian Art Establishment" ("Hofkunstanstalt").
The next generation, Joseph and especially Franz Borgias Mayer (1848–1926), brought the company to its highest international renown and success. By the turn of the century Mayer and Zettler employed some 600 artisans and glass painters.
In 1888 the new branch in New York City was opened and brought the company full international status. Furthermore, in 1892 Pope Leo XIII awarded the title "Pontifical Institute of Christian Art". The most outstanding ecclesiastical commission of that period had been the Holy Spirit Window above the main altar of St. Peter's Basilica in Rome (approx. 1905).
Stained glass windows for more than 50 Cathedral Churches in the United States and Canada and another 50 in other parts of the world were made by Mayer and Zettler. In addition, windows for thousands of regular parish churches, mostly Roman Catholic ones, were designed and supplied. Towards the end of the 19th century Franz Mayer of Munich and F.X. Zettler with some 600 glass painters and artisans became the most successful stained glass studios in Munich and worked worldwide.
Mayer and Zettler succeeded in the creation of a stained glass style, which eventually became world-renowned. This style was called the "Munich Style" and was clearly a phenomenon. Analyzing and researching the preconditions and the characteristics of the Munich Style reveals the following key words or explanations:
Characteristics and Features of the Munich Style
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