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Iconographic sequenceThe donors of the choir windows were members of the family of the murdered King Albert I. Pictures of the donors make it possible to fix the dates when the windows were created, between 1325 and 1330. Despite of the considerable damage on the south side, none of the windows have been lost completely, and an iconographic sequence of rare unity has been preserved: at the apex of the choir the Passion of Christ, with the incarnationand his appearance after death on either side.Westwards adjoining, is a sequence of paired predecessors and followers of Christ: John the Baptist facing the apostle Paul (combined with the martyrdom of St Catherine and the death and glorification of the Virgin respectively). third pair of the windows with the Apostles (on whom the Franciscans modelled themselves) concludes the Gospel theme. The legends of the saints in the last two pairs of windows are matched diagonally: Francis, the founder of the Franciscan order corresponds with Clare, the founder of the Poor Clares, and St Anne on the north side (together with Mary, the Poor Clares’ favourite saint) matches St Nicholas on the south (patron saint of the territory of the donor, Rudolf of Lorraine). The programme with its multiple, sometimes joint references to the family who had founded the abbey and the orders must have been established by monastic theologians and scholars at the Habsburg court. With this cycle, reflecting the stylistic influence of the Upper Rhine/Strasbourg region and the area near Constance and Lake Constance, a leading workshop, of which there are no records, created a masterpiece of 14th-century European stained glass. The traditional skill is associated with extremely modern elements: picture medallions extending beyond the frames, a sense of spatial perspective, variety of colour. Except the clerestory (uncoloured diamond panes), the windows in the nave have ornamental glazing with the remains of panels depicting figures; in the tracery in particular the panes were filled with later ornamental motifs in coloured glass. The iconographic sequence in Königsfelden can be broken down into four phases: 
Click on a red dot in the outline to view the window in question!
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