加布里埃尔·韦达彻（Gabriel Weydacher）和他的妻子朱莉安娜·韦米斯（Juliana Wemis）与圣巴巴拉（Barbara）和凯瑟琳（Catherine）的婚姻小组 - 美国大都会艺术博物馆展品查阅

品名（中）	加布里埃尔·韦达彻（Gabriel Weydacher）和他的妻子朱莉安娜·韦米斯（Juliana Wemis）与圣巴巴拉（Barbara）和凯瑟琳（Catherine）的婚姻小组
品名（英）	Marriage Panel of Gabriel Weydacher and his wife Juliana Wemis with the Virgin and Child and Saints Barbara and Catherine
入馆年号	2013年，2013.156
策展部门	修道院（The Cloisters）
创作者	Leonhard Beck【1480 至 1542】【德国人】
创作年份	公元 1519
创作地区	制造于: 德国, 奥格斯堡（Made in: Germany, Augsburg）
分类	玻璃染色（Glass-Stained）
尺寸	17 15/16 × 29 1/4 × 3/8 英寸 (45.6 × 74.3 × 1 厘米)
介绍（中）	这个纹章小组纪念加布里埃尔·韦达赫和朱莉安娜·韦米斯的婚姻。1514年，韦达彻成为庞大的施瓦兹（奥地利蒂罗尔）银矿的记录保持者，这些银矿由奥格斯堡的富格尔家族资助，是马克西米利安一世皇帝巨额财富的来源，韦达彻为了纪念他的结合，将这块纹章面板捐赠给了当地方济各会修道院的玻璃回廊，并安装在那里东北角的窗户上。窗户正对面是韦达彻委托创作的一幅大型壁画，韦达彻似乎是用手臂支撑盾牌的捐赠者。方济各会的背景进一步体现在新月上的圣母和圣子的中心图像上，新月上的光环被云中天使的荣耀所包围，象征着圣玛利亚·德格里·安吉利、阿西西外的教区教堂和方济各教团的诞生地。回廊的玻璃很早就被拆除了，尽管有其他类似的面板记录，但这似乎是唯一幸存的面板。该设计归功于奥格斯堡艺术家莱昂哈德·贝克。创作这些人物的艺术家只使用了一点画笔、轻洗和一支细尖的手写笔，以非凡的经济性和线性技巧定义了形式和体积。以天蓝色、深红色和银色斑点的金色色调为主的玻璃调色板为面板带来了充满活力的光彩，而构图巧妙地平衡了纹章盾牌、神圣人物和构成它们的建筑。这幅作品质量最高，极为罕见，基本上是世俗的，但来自修道院背景，是《回廊》系列的一个重要而恰当的补充。
介绍（英）	This heraldic panel memorializes the marriage of Gabriel Weydacher and Juliana Wemis. In 1514 Weydacher became record keeper of the vast Schwaz (Tirol, Austria) silver mines, which were financed by the Fugger family of Augsburg and were the source of great wealth for the Emperor Maximilian I. Like many other Schwaz families, whose wealth and social status derived from the silver mines, Weydacher commemorated his union by donating this armorial panel to the glazed cloister of the local Franciscan monastery, where it was installed in the window in the northeast corner. Directly opposite the window was a large wall painting commissioned by Weydacher who appears as donor supporting a shield with his arms. A Franciscan context is further indicated by the central image of the Virgin and Child on a crescent moon in an aureole surrounded by a glory of angels amidst clouds signifying Santa Maria degli Angeli, the parish church outside of Assisi and the birth place of the Franciscan Order. The glazing of the cloister was removed at an early date and although other analogous panels are recorded this appears to be the only one to survive. The design is attributed to Augsburg artist Leonhard Beck. The artist who executed the figures employed only a point of brush, light wash and a fine pointed stylus defining forms and volumes with remarkable economy and linear finesse. The palette of glass dominated by cerulean blue, deep red and golden hues of silver stain brings vibrant radiance to the panel while the composition skillfully balances the heraldic shields, the holy personages and the architecture that frames them. Of the highest quality and of great rarity, this panel, which is essentially secular but comes from a monastic context, constitutes a significant and appropriate addition to The Cloisters collection.