The three left lancets were originally placed over the three right lancets to form one towering window. The upper and lower sections of each panel relate to one another visually and symbolically. St. Servatius, bishop of Tongres, holds a key presented to him by the pope in recognition of his fight against heresy, represented by the dragon he crushes underfoot. Below Servatius, St. Michael echoes this antiheretical reference as he weighs souls and tramples the devil. The Virgin appears here in the Ährenkleid, a robe adorned with representations of corn or wheat. This iconographic type originated in litanies to the Virgin likening her to a field of grain nourishing humankind with the bread of life - a reference to the Eucharist and the sacrifice of Mary's son. Beneath the Virgin are the arms of the bishop of Liège, whose diocese may have donated the window. St. Catherine appears with her attribute, the wheel of her martyrdom; below her are the arms of the coopers' guild of which she was patron saint. St. Dorothea appears with her attributes, the Christ Child and a basket of roses; below her is a representation of the Trinity, echoed in the three flowers held by the saint. St. Barbara appears with the tower of her martyrdom; below her are the arms of the city of Maastricht, the former capital of the diocese of Liège.
From the north nave of the former Carmelite church at Boppard-am-Rhein in Rheinland-Pfalz (Rhein-Hunsrück-Kreis), near Koblenz, Germany.; Count Hermann Pückler, Muskau (from 1818) ; [ Frédéric Spitzer d. 1890, Paris (from at least 1875-until 1893)] ; [ Jacques Seligmann(from at least 1933-1937)]
La Collection Spitzer: Antiquité, Moyen-Age, Renaissance. Vol. II. Mâcon: Imprimerie Protat Frères, 1890–1891. no. Vitraux 6, pp. 74–75.
Spitzer, Frédéric, ed. La Collection Spitzer: Antiquité -- Moyen-Age -- Renaissance. Vol. 3. Paris: Maison Quantin, 1890–1893. no. Vitraux 7, p. 124, ill. in text.
Catalogue des objets d'art et de haute curiosité: antiques, du moyen-âge & de la renaissance, composant l'importante et précieuse Collection Spitzer. Vol. 2. Paris: Chevallier and Mannheim, April 17–June 16, 1893. no. 1958, p. 66.
Rorimer, James J. "New Acquisitions for the Cloisters." The Metropolitan Museum of Art Bulletin, n.s., 33, no.5, Part 2 (May 1938). pp. 12–15.
Hayward, Jane. "Stained-Glass Windows from the Carmelite Church at Boppard-am-Rhein: A Reconstruction of the Glazing Program of the North Nave." Metropolitan Museum Journal 2 (1969). pp. 75–114, fig. 1, 23.
Rorimer, James J. Medieval Monuments at The Cloisters: As They Were and As They Are, edited by Katherine Serrell Rorimer. Revised ed. New York: The Metropolitan Museum of Art, 1972. pp. 73–75, fig. 94.
Hayward, Jane. Glass in the Collections of the Metropolitan Museum of Art (1982). p. 15.
Caviness, Madeline H., ed. Stained Glass Before 1700 in American Collections: New England and New York (Corpus Vitrearum Checklist I). Studies in the History of Art, Vol. 15. Washington, D.C.: National Art Gallery, 1985. pp. 118–19.
Husband, Timothy B., and Charles T. Little. Europe in the Middle Ages. New York: The Metropolitan Museum of Art, 1987. no. 130, pp. 140–42.
Caviness, Madeline H. "Learning from Forest Lawn." Speculum 69, no. 4 (October 1994). pp. 973, 977.
Barnet, Peter, and Nancy Y. Wu. The Cloisters: Medieval Art and Architecture. New York and New Haven: The Metropolitan Museum of Art, 2005. no. 91, pp. 128–29, 197.
Barnet, Peter, and Nancy Y. Wu. The Cloisters: Medieval Art and Architecture. 75th Anniversary ed. New York and New Haven: The Metropolitan Museum of Art, 2012. pp. 132–35.
Husband, Timothy B. "Creating the Cloisters." The Metropolitan Museum of Art Bulletin, n.s., 70, no. 4 (Spring 2013). p. 43.