HANS JAKOB NÜSCHELER I. (1583 Zürich 1654) Slg. / Coll. Hans Rohr, Zürich Christ as Saviour rescuing Eve chained to the 10 Commandments, surrounded by Love, Faith and Hope. Brush, black and grey wash. Design for a reverse painting on-glass. 36,2:27,5 cm. Fully formulated design, executed to the last detail, for a behind-glass painting. The fact that the architectural elements of the drawing are partially drawn with the ruler substantiates the assumption that it is the finished design for a behind-glass painting. Finished in its details, it reveals clearly the characteristics of the work of Hans Jakob Nüscheler I. Unfortunately, until recently, art historians were only marginally interested in the art works of the Nüscheler family. We know, however, of several signed or monogrammed designs for stained-glass windows, which show the same characteristics as our present drawing. There are several particularities with regard to preparatory studies for stained-glass windows, reverse paintings on-glass, oven-tiles or prints of the 16th and 17th century: The found of several drawings having served as designs for reverse paintings on glass before being cut in wood or metal before they were spread expansively in adaptations, proves that close and direct contacts existed between artists working with different mediums. Several artists competed with each other in finding the right formula for a subject matter be it for engraving, a reverse painting on glass, on tiles of a stove or for stained-glass windows. Other examples show that many glass painters ­ rather craftsmen than creating artists ­ used designs created by others for their own work and hence tried to get hold of as many designs as possible, marking them with their own name or signature. Glass painters frequently obtained their designs for stained glass windows from artists who were not themselves glass painters. Hans Jakob Nüscheler was taught by his father Heinrich and after his return from his years abroad, he became a master at the end of 1612. Unlike his father Heinrich ­ the oldest member of this important Zurich glass painter family ­ who did not achieve a dominating position next to the artists family Murer, his son Hans Jakob became after Josias MurerΉs death the leading artist of the craft of glass painting in Zurich. From that moment, the city of Zurich was totally marked by the influence and characteristics of this master, his descendants and pupils. Even the masters of the neighbouring cities were under his powerful influence. He drew 180 Heraldic panels only for the councellors of Zurich and between the years 1636 and 1644 even all of them. Slightly foxed, broken through centre fold and old mount.