DOI Artikel:
Wais-Wolf, Christina: Research project Corpus Vitrearum – medieval and modern stained glass in Austria: investigations into Austrian stained glass after 1800 as part of a pilot project at the Austrian Academy of Sciences
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.51154#0098
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14. Tiroler Glasmalerei- und Mosaikanstalt, Presentation of the
Child, 1865, Schmirn, Pilgrimage chapel, choir window, east side.
Photo: Bundesdenkmalamt, B. Neubauer-Pregl
very different sizes and artistic quality - were employed.
In the library of the Tiroler Landesmuseum a lithograph
has been preserved [Fig. 12] showing the design for a win-
dow which is lost today with the depiction of the Visita-
tion for the parish church of Landeck (1863). Georg Ma-
der is named as the author of the drawing. A window in
the parish church of Wolkenstein in Vai Gardena (about
1871/1872) can be traced back to the same design [Fig. 13].
According to a note in a magazine from 1881,46 the six
windows in the pilgrimage chapel of Schmirn (1865) were
also created according to designs by Georg Mader, the ar-
tistic director of the Tyrolean Glass Painting and Mosaic
Institute and the most important representative of Naza-
rene painting in Tyrol. In a different way, however, as in
the case of Landeck and Wolkenstein, the scenic depic-
tions of the windows by Schmirn were not executed in
the sense of musiv stained glass, i.e. from differently col-
oured painted glass set in lead, but as miniature paintings
on glass. Only the decorative framings were leaded in the
sense of traditional glass painting [Fig. 14].
It is interesting to note that in the case of the ceiling
frescoes in the parish church of Bruneck in present-day
South Tyrol, the same design drawings were used as for
the windows in Schmirn.47 In the case of these murals,
Georg Mader is proven to be the author. His signature
is below the scene of the offering together with the date
i860 [Fig. 15]. The wall paintings testify to Maders artistic
education at the Munich Academy and the influence that
his teachers Wilhelm von Kaulbach and Johannes Schrau-
dolph had exerted on him. The works of Schraudolph,
46 Andreas Hofer, 1881, supplement to no. 31, p. 281.
47 E. Schober-Burzler, Georg Mader und die romantisch-religiöse
Malerei im 19. Jahrhundert, PhD diss., University of Innsbruck,
1989, pp. 188-189.
15. Georg Mader, Presentation of the Child, 1860, Bruneck, Parish
church. Photo: G. Fussenegger
with whom Mader worked on the artistic decoration of
Speyer Cathedral (executed between 1846 and 1853), were
particularly influential for his later work.48 In Speyer, he
also gained experience in transferring designs to cartons
and in the field of fresco painting, a knowledge that was
probably also of use to him in the field of stained glass
production. However, it is still unclear whether Mader
primarily supplied the designs for these windows, which
were subsequently implemented by employees of the
workshop, or whether he himself worked as a glass paint-
er. This question can only be answered by a thorough sty-
listic analysis in the future.
Thanks to recent restorations, the glass paintings of
Schmirn (2014/2015) and Sterzing (2018) have already
been documented in the workshop when they were dis-
mantled, thus yielding new insights into questions of
technique and style. In addition, in the summer of 2018,
the Austrian and Polish National Committees of the Cor-
pus Vitrearum cooperated to photographically document
the stained glass windows of Sterzing, Wolkenstein and
Sand in Täufers with a seven meter tripod.49
The archive of the Tyrolean Glass Painting and Mosaic
Institute in Innsbruck also preserves an extensive collec-
tion of design drawings and preliminary studies for the
stained glass windows of Linz Cathedral, which were cre-
ated in various stages between 1868 and 1924. A window of
special historical and cultural importance is the so-called
imperial window in the western transept [Fig. 16]. It leads
over to another important topic group, to which in the
course of the current project a focus was dedicated, the
so-called imperial Jubilee windows, which occur in many
places in the area of the former Habsburg monarchy.50 The
48 Ibidem, pp. 38-46.
49 The author thanks Dr Dobroslawa Horzela and Dr Daniel Po-
dosek, Cracow, for their support.
50 A. Ysabel Spengler, ‘Kaiserfenster. Stiftungen vom und für
das Kaiserhaus in der Regierungszeit Kaiser Franz Joseph
14. Tiroler Glasmalerei- und Mosaikanstalt, Presentation of the
Child, 1865, Schmirn, Pilgrimage chapel, choir window, east side.
Photo: Bundesdenkmalamt, B. Neubauer-Pregl
very different sizes and artistic quality - were employed.
In the library of the Tiroler Landesmuseum a lithograph
has been preserved [Fig. 12] showing the design for a win-
dow which is lost today with the depiction of the Visita-
tion for the parish church of Landeck (1863). Georg Ma-
der is named as the author of the drawing. A window in
the parish church of Wolkenstein in Vai Gardena (about
1871/1872) can be traced back to the same design [Fig. 13].
According to a note in a magazine from 1881,46 the six
windows in the pilgrimage chapel of Schmirn (1865) were
also created according to designs by Georg Mader, the ar-
tistic director of the Tyrolean Glass Painting and Mosaic
Institute and the most important representative of Naza-
rene painting in Tyrol. In a different way, however, as in
the case of Landeck and Wolkenstein, the scenic depic-
tions of the windows by Schmirn were not executed in
the sense of musiv stained glass, i.e. from differently col-
oured painted glass set in lead, but as miniature paintings
on glass. Only the decorative framings were leaded in the
sense of traditional glass painting [Fig. 14].
It is interesting to note that in the case of the ceiling
frescoes in the parish church of Bruneck in present-day
South Tyrol, the same design drawings were used as for
the windows in Schmirn.47 In the case of these murals,
Georg Mader is proven to be the author. His signature
is below the scene of the offering together with the date
i860 [Fig. 15]. The wall paintings testify to Maders artistic
education at the Munich Academy and the influence that
his teachers Wilhelm von Kaulbach and Johannes Schrau-
dolph had exerted on him. The works of Schraudolph,
46 Andreas Hofer, 1881, supplement to no. 31, p. 281.
47 E. Schober-Burzler, Georg Mader und die romantisch-religiöse
Malerei im 19. Jahrhundert, PhD diss., University of Innsbruck,
1989, pp. 188-189.
15. Georg Mader, Presentation of the Child, 1860, Bruneck, Parish
church. Photo: G. Fussenegger
with whom Mader worked on the artistic decoration of
Speyer Cathedral (executed between 1846 and 1853), were
particularly influential for his later work.48 In Speyer, he
also gained experience in transferring designs to cartons
and in the field of fresco painting, a knowledge that was
probably also of use to him in the field of stained glass
production. However, it is still unclear whether Mader
primarily supplied the designs for these windows, which
were subsequently implemented by employees of the
workshop, or whether he himself worked as a glass paint-
er. This question can only be answered by a thorough sty-
listic analysis in the future.
Thanks to recent restorations, the glass paintings of
Schmirn (2014/2015) and Sterzing (2018) have already
been documented in the workshop when they were dis-
mantled, thus yielding new insights into questions of
technique and style. In addition, in the summer of 2018,
the Austrian and Polish National Committees of the Cor-
pus Vitrearum cooperated to photographically document
the stained glass windows of Sterzing, Wolkenstein and
Sand in Täufers with a seven meter tripod.49
The archive of the Tyrolean Glass Painting and Mosaic
Institute in Innsbruck also preserves an extensive collec-
tion of design drawings and preliminary studies for the
stained glass windows of Linz Cathedral, which were cre-
ated in various stages between 1868 and 1924. A window of
special historical and cultural importance is the so-called
imperial window in the western transept [Fig. 16]. It leads
over to another important topic group, to which in the
course of the current project a focus was dedicated, the
so-called imperial Jubilee windows, which occur in many
places in the area of the former Habsburg monarchy.50 The
48 Ibidem, pp. 38-46.
49 The author thanks Dr Dobroslawa Horzela and Dr Daniel Po-
dosek, Cracow, for their support.
50 A. Ysabel Spengler, ‘Kaiserfenster. Stiftungen vom und für
das Kaiserhaus in der Regierungszeit Kaiser Franz Joseph