  About the Artwork
  
  
  When Eustace refused to sacrifice to the Roman gods as commanded by the emperor Hadrian, the saint and his family were placed alive in a bronze bull heated by flames to be killed. The legend tells that after three days the family was removed from the bull, and their dead bodies were miraculously undamaged. 
By the early sixteenth century the color range of stained glass had expanded and compositions were increasingly influenced by approaches to pictorial space and narrative derived from Italian painting. The use of grisaille, a black and white drawing technique, on the glass, permitted delineation of facial features, hair, textile patterns, and architectural elements in great detail.
  
  
  Title
  Scene from the Life of Saint Eustace
  
  
  Artwork Date
  1543
  
  Artist
  Attributed to Jean Pinaigiers
  
  
  
  Life Dates
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  Nationality
  
  
  
  Please note:
  Definitions for nationality may vary significantly, depending on chronology and world events.
  Some definitions include:
  Belonging to a people having a common origin based on a geography and/or descent and/or tradition and/or culture and/or religion and/or language, or sharing membership in a legally defined nation.
  
  
  
  French
  
  
  
  Culture
  
  
  
  Please note:
  Cultures may be defined by the language, customs, religious beliefs, social norms, and material traits of a group.
  
  
  
  
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  Medium
  Stained glass: pot metal; uncolored glass with silver stain and paint
  
  
  Dimensions
  Overall (each panel): 84 1/4 × 34 1/4 × 1 5/8 inches (214 × 87 × 4.1 cm)
  
  
  Classification
  Stained Glass
  
  
  Department
  European Sculpture and Dec Arts
  
  
  Credit
  Gift of K. T. Keller
  
  
  
  Accession Number
  
  
  
  This unique number is assigned to an individual artwork as part of the cataloguing process at the time of entry into the permanent collection.
  Most frequently, accession numbers begin with the year in which the artwork entered the museum’s holdings.
  For example, 2008.3 refers to the year of acquisition and notes that it was the 3rd of that year. The DIA has a few additional systems—no longer assigned—that identify specific donors or museum patronage groups.
  
  
  
  58.113
  
  
  Copyright
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