A definitive identification of the Pope is not possible due to the lack of individual attributes. However, the figure was accompanied, at least in the right window panel (3c), by the figure of a bishop, whose mitre tip extends up into the crowning architectural element. Thus, the traditional depiction of the holy bishops Severus and Ulrich, on the left and right, possesses a degree of plausibility. The prevalence of the first name Ulrich among the donor family underscores the veracity of this statement on this point. _______________________________________________________

In the south transept window, which, like its counterpart (n III), consists of three panels and four rows, three standing figures beneath an architectural crown were originally depicted in the upper rows. However, the composition survives only in rudimentary form, as panels 3a and 3c are missing. Therefore, only the central panel b, with the figure of a holy pope, is shown. While the glass itself is entirely original, the painted decoration shows significant damage.

Source: Corpusvitrearum.de 
https://corpusvitrearum.de/glasmalerei-im-kontext.html 

- Corpus vitrearum medii aevi - Germany, Volume 10.1, Part 1: Berlin: Deutscher Verlag für Kunstwissenschaft, 2002

A definitive identification of the Pope is not possible due to the lack of individual attributes. However, the figure was accompanied, at least in the right window panel (3c), by the figure of a bishop, whose mitre tip extends up into the crowning architectural element. Thus, the traditional depiction of the holy bishops Severus and Ulrich, on the left and right, possesses a degree of plausibility. The prevalence of the first name Ulrich among the donor family underscores the veracity of this statement on this point. _______________________________________________________

In the south transept window, which, like its counterpart (n III), consists of three panels and four rows, three standing figures beneath an architectural crown were originally depicted in the upper rows. However, the composition survives only in rudimentary form, as panels 3a and 3c are missing. Therefore, only the central panel b, with the figure of a holy pope, is shown. While the glass itself is entirely original, the painted decoration shows significant damage.

Source: Corpusvitrearum.de 
https://corpusvitrearum.de/glasmalerei-im-kontext.html 

- Corpus vitrearum medii aevi - Germany, Volume 10.1, Part 1: Berlin: Deutscher Verlag für Kunstwissenschaft, 2002

A definitive identification of the Pope is not possible due to the lack of individual attributes. However, the figure was accompanied, at least in the right window panel (3c), by the figure of a bishop, whose mitre tip extends up into the crowning architectural element. Thus, the traditional depiction of the holy bishops Severus and Ulrich, on the left and right, possesses a degree of plausibility. The prevalence of the first name Ulrich among the donor family underscores the veracity of this statement on this point. _______________________________________________________

In the south transept window, which, like its counterpart (n III), consists of three panels and four rows, three standing figures beneath an architectural crown were originally depicted in the upper rows. However, the composition survives only in rudimentary form, as panels 3a and 3c are missing. Therefore, only the central panel b, with the figure of a holy pope, is shown. While the glass itself is entirely original, the painted decoration shows significant damage.

Source: Corpusvitrearum.de 
https://corpusvitrearum.de/glasmalerei-im-kontext.html 

- Corpus vitrearum medii aevi - Germany, Volume 10.1, Part 1: Berlin: Deutscher Verlag für Kunstwissenschaft, 2002

A definitive identification of the Pope is not possible due to the lack of individual attributes. However, the figure was accompanied, at least in the right window panel (3c), by the figure of a bishop, whose mitre tip extends up into the crowning architectural element. Thus, the traditional depiction of the holy bishops Severus and Ulrich, on the left and right, possesses a degree of plausibility. The prevalence of the first name Ulrich among the donor family underscores the veracity of this statement on this point. _______________________________________________________

In the south transept window, which, like its counterpart (n III), consists of three panels and four rows, three standing figures beneath an architectural crown were originally depicted in the upper rows. However, the composition survives only in rudimentary form, as panels 3a and 3c are missing. Therefore, only the central panel b, with the figure of a holy pope, is shown. While the glass itself is entirely original, the painted decoration shows significant damage.

Source: Corpusvitrearum.de 
https://corpusvitrearum.de/glasmalerei-im-kontext.html 

- Corpus vitrearum medii aevi - Germany, Volume 10.1, Part 1: Berlin: Deutscher Verlag für Kunstwissenschaft, 2002

A definitive identification of the Pope is not possible due to the lack of individual attributes. However, the figure was accompanied, at least in the right window panel (3c), by the figure of a bishop, whose mitre tip extends up into the crowning architectural element. Thus, the traditional depiction of the holy bishops Severus and Ulrich, on the left and right, possesses a degree of plausibility. The prevalence of the first name Ulrich among the donor family underscores the veracity of this statement on this point. _______________________________________________________

In the south transept window, which, like its counterpart (n III), consists of three panels and four rows, three standing figures beneath an architectural crown were originally depicted in the upper rows. However, the composition survives only in rudimentary form, as panels 3a and 3c are missing. Therefore, only the central panel b, with the figure of a holy pope, is shown. While the glass itself is entirely original, the painted decoration shows significant damage.

Source: Corpusvitrearum.de 
https://corpusvitrearum.de/glasmalerei-im-kontext.html 

- Corpus vitrearum medii aevi - Germany, Volume 10.1, Part 1: Berlin: Deutscher Verlag für Kunstwissenschaft, 2002