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The Raising of Lazarus, stained glass panel, after Abraham Bloemaert and Federico Zuccaro, Netherlandish, c.1600
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The Raising of Lazarus, stained glass panel, after Abraham Bloemaert and Federico Zuccaro, Netherlandish, c.1600
Clear glass with brown paint, yellow stain, blue, red, purple enamel
Height: 187mm
Width: 155mm
Width: 155mm
Museum number: SG117
On display: Shakespeare Recess
All spaces are in No. 13 Lincoln's Inn Fields unless identified as in No. 12, Soane's first house.
For tours https://www.soane.org/your-visit
Curatorial note
Christ stands at the centre of the composition, his right hand raised above Lazarus who lies on the ground partly supported by a woman. To the right the hooded figure of his mother kneels, her arm outstretched. Behind her is a man with a spade. Men and women crowd around, including a mother clasping her child, seated above and to the right of Christ. The scene is framed by a broken arch and a fluted column. The drawing of the scene is fluid, and the gestures of the elegant elongated figures give the impression of arrested movement. The glass painter has used enamel paints over much of the scene, delicate blues are modulated almost like water colour and placed over yellow stain to give varied greens of foliage and grasses. Brown painted architecture is given a variety of shadings and the modelling of exposed limbs is convincing. The whole composition is dominated by Christ’s radiant yellow and orange halo.
The panel is after Abraham Bloemaert or a similar version by Joachim Wtewael, both deriving from a fresco by Federico Zuccaro of 1561-64. The glass painting is in the same orientation as Bloemaert's original drawing of c.1590. The corresponding painting of this subject, and engravings by Jan Muller, c.1601-2, and Jacob Matham, are in reverse. About two-thirds of the scene is used in the glass painting, with cropping mainly from the left of the drawing; otherwise it closely approximates the original design. Popham gave a date c.1580, suggesting an attribution to Pieter Cornelisz?
The panel is after Abraham Bloemaert or a similar version by Joachim Wtewael, both deriving from a fresco by Federico Zuccaro of 1561-64. The glass painting is in the same orientation as Bloemaert's original drawing of c.1590. The corresponding painting of this subject, and engravings by Jan Muller, c.1601-2, and Jacob Matham, are in reverse. About two-thirds of the scene is used in the glass painting, with cropping mainly from the left of the drawing; otherwise it closely approximates the original design. Popham gave a date c.1580, suggesting an attribution to Pieter Cornelisz?
Literature
A Description of the Residence of Sir John Soane, Architect. Limited edition published privately, London 1835 p. 57: In the window [of the Shakespeare Recess] are ten compartments of ancient Painted Glass, among which are the Annunciation, the Prodigal Son, the Raising of Lazarus, the Last Supper, St Peter, St Paul, St Andrew and St Matthias. Plate XXXII
Walter L. Strauss, ed., The Illustrated Bartsch. New York: Abaris, 1980 IV, 27 (274)
F. W. H. Hollstein, Dutch and Flemish etchings, engravings and woodcuts ca. 1450-1700. Amsterdam: Rijksmusem, 1949– XIV; Jan Muller, 13.
Catalogue of the Stained Glass in Sir John Soane's Museum, Special Issue of the Journal of Stained Glass 2004, pp 256-257
Walter L. Strauss, ed., The Illustrated Bartsch. New York: Abaris, 1980 IV, 27 (274)
F. W. H. Hollstein, Dutch and Flemish etchings, engravings and woodcuts ca. 1450-1700. Amsterdam: Rijksmusem, 1949– XIV; Jan Muller, 13.
Catalogue of the Stained Glass in Sir John Soane's Museum, Special Issue of the Journal of Stained Glass 2004, pp 256-257
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