South Flanders, Tournai(?), c.1525 AD. An ogee-shaped glass panel in a lead-alloy frame, painted depiction of Saint Eligius of Noyon nimbate and seated on a throne reading a book on his lap, his crozier over one shoulder and his jeweller's hammer in his right hand; mitre on his head, wearing episcopal vestments; mounted in a carrier-frame. 568 grams, 22.5cm (9"). Ex central London gallery; acquired from Monastery Stained Glass, Northamptonshire, UK, in 2004; accompanied by a detailed previously researched and illustrated cataloguing sheet. Saint Eligius was born in c.590 in the village of Chaptelat, close to the city of Limoges, and died in c.669 in the city of Noyon. Together with Saint Remacle he founded the monastery of Solignac on his own estates and was appointed bishop of Noyon and Tournai in c. 640. During his life, he also worked as a goldsmith, mint-master and personal advisor to the Frankish king Chlotar II, and several remarkable treasures of goldsmith’s work have been attributed to his hand (the reliquaries of Saint Germanus of Auxerre and Saint Martin for example"). The legend of his life was, as with that of Saint Barbara (cat.no.16) disseminated primarily by the Golden Legend of Jacobus de Voragine. According to his hagiography he kept an apprentice who, when shoeing horses cut off their feet, changed the horseshoes, and put the feet back on the horses’ legs. The horses miraculously showed no injuries from such treatment, and it came to be believed that the apprentice had been none other than Christ Himself. This clearly embellished story nevertheless offered a parable for the work Eloy undertook during his time as bishop among the pagans: to remove the pagan elements, cleanse and improve the people, and implement the New Faith in society. As a result of his career and legend combined, he would later become the patron saint of metalworkers, carpenters, farriers, goldsmiths, and even miners, since each profession works with hammers. Although the present fragment has been cut down from a larger roundel it remains a remarkable and masterful piece of painting on some of the finest quality glass available to the Medieval craftsman, and its inclusion of a damascene-patterned background is of extreme rarity amongst surviving grisaille roundels. [No Reserve]

Fine condition.