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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..d7b82bc --- /dev/null +++ b/.gitattributes @@ -0,0 +1,4 @@ +*.txt text eol=lf +*.htm text eol=lf +*.html text eol=lf +*.md text eol=lf diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..1e9349e --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #66766 (https://www.gutenberg.org/ebooks/66766) diff --git a/old/66766-0.txt b/old/66766-0.txt deleted file mode 100644 index 3a015bc..0000000 --- a/old/66766-0.txt +++ /dev/null @@ -1,1397 +0,0 @@ -The Project Gutenberg eBook of Stained Glass Windows, by William -Frederic Faber - -This eBook is for the use of anyone anywhere in the United States and -most other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms -of the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you -will have to check the laws of the country where you are located before -using this eBook. - -Title: Stained Glass Windows - An Essay: With a Report to the Vestry on Stained Glass Windows - for Grace Church Lockport New York - -Author: William Frederic Faber - -Release Date: November 18, 2021 [eBook #66766] - -Language: English - -Produced by: Donald Cummings and the Online Distributed Proofreading - Team at https://www.pgdp.net (This file was produced from - images generously made available by The Internet Archive) - -*** START OF THE PROJECT GUTENBERG EBOOK STAINED GLASS WINDOWS *** - - - - - - STAINED GLASS - WINDOWS - - AN ESSAY - - WITH A REPORT TO THE - VESTRY ON STAINED GLASS - WINDOWS FOR GRACE CHURCH - LOCKPORT NEW YORK [Illustration] BY - WILLIAM FREDERIC FABER [Illustration] - - [Illustration] - - LOCKPORT NEW YORK - - MCM - - - - - NOTE. - - -The first edition of the _Report on Stained Glass Windows for Grace -Church, Lockport_, which appeared in January, 1897, is now exhausted; -as there is a constant demand for it, a second is deemed necessary; and -the occasion seemed favorable for a little further talk about Windows -and Glass. Hence this pamphlet. - -The project of four years ago is no longer an insubstantial dream. -Since that time eleven windows and three mosaics have been placed in -Grace Church; in them all the adopted scheme has been followed, with -results more and more obviously satisfactory. - -Although intending this pamphlet, in the first instance, simply for -a guide to his own people, to lead them to a more discriminating -appreciation: the author is encouraged to hope, by many expressions -from the outside, that it will, even more than the earlier _Report_, be -of service beyond his parish; that it may perhaps stimulate elsewhere -also a study of Church Glass, and the erection of true Church Windows. - - W. F. F. - -Grace Church Rectory, Lockport, All Saints’, 1900. - - - - - STAINED GLASS WINDOWS. - - -The subject is certainly one of present interest. The advertisements of -firms who produce stained glass windows are numerous and conspicuous -in our Church weeklies; glowing accounts of memorials just erected in -this place and that make up a large part of our “Diocesan News.” To -say nothing of the fact that we are in danger of forgetting what the -real business of the Church is,――that it is not primarily to build and -beautify edifices, but to save men and to establish righteousness in -the earth; the uncomfortable question is forced upon us: For how much -of this “embellishment” of our churches will posterity thank us? - -A revival of religious art we welcome with profound gratitude. But when -for the moment it threatens to take the form of an epidemic of stained -glass, our joy may be turned to apprehension. Stained glass is simply -becoming fashionable; everybody is beginning to want some of it because -‘all the other churches are getting some;’ commercial enterprise -stimulates a well-meaning zeal, taking advantage, too, of a vulgar -spirit of rivalry; and the end thereof must be painful to contemplate. -Individuals are often given a free hand in God’s House on the ground -that thus several hundred or several thousand dollars will be secured -for “enrichment;” and so the work goes merrily on. - -And such things can be because there is a lack of knowledge. Persons -may have the best intention in the world; their experience in other, -different fields may have been very wide; in a general way they may -have good taste; moreover, they may possess a long purse and a liberal -disposition; perhaps they may think to save themselves from going wrong -by putting the whole matter into the hands of strongly advertised -window-makers. But none of these things will supply the lack of a -knowledge of stained glass. There is nothing for it but study and -education. The clergy first of all, and after them the vestries, must -inform themselves on the subject as thoroughly as possible. In the -meantime, let them be slow to lend themselves to anything which they -later, or those who come after them, might bitterly deplore and be -helpless to remedy. - -Nor is it to-day so forbidding a task to get this knowledge as it -was but a few years ago. Then one had to go to the libraries in our -largest cities, and laboriously gather from rare works the history -and principles of this art. Now there is fortunately at least one -single volume, easily obtainable, which may serve as a text-book to -all who desire to study the subject. Mr. Lewis F. Day has given us in -his _Windows: A Book about Stained and Painted Glass_, published in -London, 1897, by B. T. Batsford, imported by the Scribners, just that -information which is needed. No vestry that has the matter of Stained -Glass Memorials before it should permit its rector to be without this -book; he should read, mark, learn, and inwardly digest it; but not he -only; they also, at least the members of any committee responsible -for such work; and intending donors likewise, who desire to have a -controlling voice in regard to memorials to be erected. This is too -important a thing to enter upon recklessly or at the dictation of mere -fancy. - - * * * * * - -Meanwhile it may not be out of place to tell briefly and simply what -stained glass windows in a church ought to be; and what stained glass -itself is. - -Stained glass windows are still, after all, windows: and windows are -essential component parts of a building. If in a church, the axiom -applies the more inevitably: a church is a building presumed to conform -rigidly to a certain type; and therefore, the idea which the whole is -to exhibit and impress must not for a moment be hidden or dissipated by -any component part. - -Our dwelling houses may be often built in a haphazard way, with a -view simply to utility, regardless of style, laying no claim to -architectural art. But to build a church so is an offense, an offense -to art, and, we believe, an offense to religion also. A church building -is presumed and expected to have a certain character, technically -called “style,” dignifying and elevating God’s House above our common -houses, even though it be small and plain and not costly; small -and plain it may be, and not costly, but it must not be tawdry or -incongruous or mean. - -Now a window is, as we have said, a component part of the building. -In a church well conceived, the window is inevitable just as it is: -to make it larger or smaller, to close one up where now there is one -or to make one where there is none, is just so far to do violence to -the building. If such a change does not violate the integrity of the -building as a whole, the fact simply goes to show that the building had -no plan worthy of honor. - -The window-space is therefore always to be preserved for window -use――just such and just so much as the architect gave us. The use of a -window (barring for the moment the unscientific one of ventilation) is -to give light while still affording shelter. And this light-space is -also to serve artistically as a kind of balance to the dark space of -the solid wall; hence this light-space is to art sacred, and must be -permitted to the end to assert itself as just what it is and such as it -is, so much rightly apportioned and correctly proportioned translucent -wall-space. - -When this window-space has been first filled with a plain glass, which -is then to give way to stained glass, the new treatment must say, just -as obviously, only more beautifully, what the old said: it must still -be a window――letting in light, though now the light is colored――and in -its architectural value it must be just what it was before, asserting -the shape and the design of the structural window, plainly and -faithfully. - -In other words, the true stained glass window――in a church building -worthy of that name――is not now to give the beholder the impression -that he is looking out through an opening and seeing, of something -beyond, so much as the size of the opening will permit: in a word, the -spectacular impression of looking into some beautiful out-door world -through a hole in the wall. The beholder must be conscious still of -looking at the wall itself, the translucent part of it, which confines -him within the edifice as much as the stone or the brick. Nor yet is -the true stained glass window merely a colored glass picture covering -so much wall area: the outline form is to be so obvious, and the -treatment so non-realistic, that the architectural idea may never for a -moment be in danger of submersion under some other idea. - -For, as is true in general of decorative art as contrasted with -pictorial art, the true church window is to be designed without -perspective, without shadow, without attempt at realistic effect. It is -to be conventional, symbolical; with that intent it may utilize as it -will forms, colors, attitudes, postures, accessories, fearless of the -criticism that ‘this saint or that scene never in the world looked like -that.’ No intelligent person standing before decorative painting would -for a moment think of demanding a representation of the actual. That, -frankly, was not its object. - -And the stained glass church window will further fulfill its particular -end if all round the figure or group, or whatever be the subject matter -of the composition, there runs a clear line or border of differently -colored glass, making a clear demarcation from the stone wall; drawing -again, as it were, the architect’s line of his window construction. - -All of which is but to say that windows were made for the sake of the -building, and so must remain; not that a building was made for the -sake of windows,――for the sake of furnishing so much space for so -many square yards of somebody’s beautiful glass. Which ought to be -self-evident, though to many persons it is not. - - * * * * * - -So regarding it now, the further question naturally occurs as to the -treatment of the several windows of one particular church. For, each -individual window might be in itself correct according to the above -principles, and yet the total effect sadly lacking in unity and harmony. - -There is first of all the consideration of style: a difficult matter -to define, yet not, after all, so difficult to determine. What ought -certainly not to determine it is the chance ability of some wealthy -donor or donors to pay for the costliest work that could be produced; -nor, on the other hand, the limited ability of others who could give -only something inexpensive. The style of the building and its general -character must determine the degree of splendor and ornateness which -will be right for each and all the windows. If there be wealth to do -still more, then exercise sober self-restraint. If there be available -means only to do part of what the building demands, better do just so -much as can be rightly and adequately done, though the scheme should -wait many years for its entire completion. In building a new church, -let this also be thought of in advance. - -Then there is the question of a single scheme of subjects for all the -windows, so that all when completed shall tell, chapter by chapter, -one great story, or part by part, one great truth: say, the Christian -Faith, or the Redemption of Man, or the Sacramental Economy of Grace, -or the History of Religion, or the Mission of the Church in the -World. Thus again, as in old time, will the church windows instruct -the people, and the sum total of that instruction will be a unity, -with harmony and interrelation of parts, of the utmost value to sound -Christian thinking and feeling, and to symmetry of Christian character. -For it is just this which our modern religion so much lacks: the sad -result of sectarian thinking and teaching, where each hath a doctrine, -a truth, and few the whole doctrine and the wholeness of truth. - -Individualism, let us realize, is not what the Church should foster: -though individuality, in its rightful place, be precious and sacred. -The application here is not fanciful. Sadly absurd examples there are, -where ecclesiastical art has been pressed into service by sectarian -minds (not among the sects alone) to teach some one portion or fragment -of truth through the eye every time the eye gazed upon the interior of -the house of worship and fell upon the favorite symbol or picture. - -But not this alone. Individualism is rampant in our day in the -form of utterly arbitrary choice of subjects, as well as of their -mode of treatment in point of material, color, scale of drawing, -and――expensiveness. A Babel of confusion is the result, and that in -some of our foremost churches, which have become thereby rather picture -galleries or museums adapted to the study of all schools and all -tastes, than restful, devotional, solemnizing and uplifting temples for -the worship of Almighty God. A low motive ruled, and how can one help -feeling it as one looks upon the performance?――here the wealthy donor, -or the ambitious so-called artist, forgetting Whose this House was, -demanded worship for himself. “Verily, they have their reward.” - -Therefore let those who have such things in charge study first of all -what a church should be, and then what their particular church, such -as they have received it in trust, is. It will often be found that a -building very little esteemed has something to say for itself, and -is worthy of respect as originally conceived, in its own structural -character as designed by its architect. And if not, and if it must -be borne with, then all the more reason, in planning to do anything -further in it or upon it, to “abhor that which is evil, and cleave to -that which is good.” - -And after such careful study, determine (before the first enthusiast -has an opportunity to put into some one window chosen at random a “most -superb” production of the much advertised glass man) determine in -advance what should be your total result when every window shall have -been filled with stained glass: what story the whole shall tell, how -best its parts may be distributed, what each part shall be, in what -style, what design, what scale of drawing, scheme of color. - -And when this has been determined, in the fear of God, in soberness -of judgment, in conscientious fidelity to a sacred trust, with a -willingness to be judged by a wiser posterity,――then let such a plan -be adhered to as a law of the Medes and Persians which altereth not. -To sacrifice one window to the seductions of some alien grandeur is -to sacrifice the whole principle at stake. The plain glass patiently -awaiting its time to give way to the right thing is more eloquent -of a truly reverent and truly artistic intention than a medley of -incongruous splendors. - - * * * * * - -And now, what is stained glass? This simple question it is of the -utmost importance to answer, because a little familiarity with the -materials and the methods of workmanship will itself serve as a guide -to the choice of good windows and to the avoidance of bad. - -Stained glass, then, is simply glass which has been colored in the pot, -glass which has its color within itself: while painted glass――a term -sometimes used as synonymous with stained glass――is properly glass -which has had the color painted upon its surface, and has then been -fired so that the colored or enameled surface has been vitrified. Some -stained glass is of so deep a color,――red, for instance――that a thin -coating of it blown over the surface of a white (that is, colorless) -glass is sufficient to produce the desired color effect; if the entire -thickness of the pane were of the colored glass, the effect would be -much too dark: such glass is nevertheless true stained glass, and is -called “flashed.” - -In the early period of the art, beginning in the eleventh century and -running parallel with the development of Pointed (commonly called -Gothic) Architecture, only true stained glass was used. The use of -enamel paints applied to the surface to produce a different color -marks also the beginning of the decadence of the art; for the glory of -true glass is in its jewel-like quality, its color being within itself -and all absolutely translucent, while a painted glass will always be -necessarily dull in comparison. The temptation to paint color upon the -surface of glass is readily understood: it was an easier method, it -promised wider scope, greater variety, in a word, the opportunity to -make pictures somewhat as the painter may upon canvas. But glass is -not canvas, and church windows are not to be pictures. Retribution has -overtaken this work, and the latest and most ambitious more speedily -than all; the enamel-painted glass has not stood the test of time, -becoming muddy and perishing while the true ancient stained glass is -still the joy and wonder of all who gaze upon it. - -For, as we have said, the glory of true stained glass is in its rich, -jewel-like color. Its reds, which the makers called “ruby,” its blues -which they called “sapphire,” with its “emerald” greens, its “gold” and -its “pearl,” never entered the field to compete with the achievements -of the painter’s brush; to compare the delight they afford the beholder -with that derived from a painting would be in a sense as impossible as -a comparison between the fragrance of a flower and the cadence of a -song. - -The early makers of stained glass windows contended with great, to -moderns they would be intolerable, limitations. They were almost -absolutely restricted to the primary colors. They had not at first the -art of blowing glass, but cast their pieces in small panes of at most -four or five inches in diameter. The use of the diamond in cutting -was not known till the sixteenth century. Hence their work was simply -mosaic. For variety they depended upon an arrangement of geometrical -patterns, or patterns of familiar architectural form and of common -ecclesiastical symbols. To construct these they leaded together their -pieces and bits of glass, elaborating their treatment as time went on, -but always in the main upon the same lines. - -When they began to portray, in panels on their windows, the forms of -Our Lord, of His apostles, of saints and angels, sometimes in crude -settings of scenes or incidents from Holy Scripture or Church legend, -their color principle was still the same; and it was still the same -in the elaboration of the merely ornamental borders with forms of -leaf or flower or fruit, or of sacred emblems and inscriptions. The -brown pigment with which they produced faces and features, hands, -feet, outlines and ornamentations, was not a color, nor intended for -a color, but simply a means of definition or delineation when this -was too minute to be carried out with leads. And the stained glass -it was, still, which addressed the eye and compelled attention and -admiration. No more than in heraldry did the forms and emblems pretend -to be pictures of the actual, realistic representations of men, or of -scenes or incidents. The makers of early stained glass were, in one -word, simply makers of ornamental windows of rich color and religious -symbolism. - -We have said that their pieces of glass were small. This is but to say -that their windows were a network of leads. For there is but one way to -hold together such pieces of glass in a window, and that is by leads. -These leads are not a misfortune. A square yard of simple red stained -glass is artistically more beautiful if composed of a hundred pieces -leaded together than if it were in a single sheet. The differences -in texture themselves produce a better result, and the black leads, -scarcely discernible individually, contribute an additional element -of pleasure. And in arranging pieces of different color side by side, -intelligent leading design was itself the artist’s drawing, and -effected results altogether admirable. So far was this art of leading -carried in France, for instance, that windows mainly of white glass -were produced, of rare beauty by simple virtue of their structural -design. - -All this was changed by the men who in a later age ground up their -enamel pigments, glazed windows in large panes, and daubed upon them -their muddy colors, with a sublime contempt for the crude laborious -mosaic work of their predecessors. Would they have a representation -of the earth for their figure to stand upon? it must be carpeted -with grass, with green grass, and they can paint green grass upon a -colorless surface; red flowers also, upon the same, with red paint, if -such were desired. The Renaissance was coming; Gothic was barbarous -anyway; antiquated crudities must give place to refined work worthy -of the new enlightenment! Paint a picture on canvas, then paint that -picture on your glass. It can be done, certainly, if you will not allow -yourself to be bothered with the nuisance of leads, but just get an -ample pane of glass, unobstructed, and go at it with your brush and -paints! - -This miserable travesty did not long hold sway, it was scarcely -permitted to go its own theoretical length. There came great political -changes, great religious changes, and for a long time few churches -more were built, nor even those standing kept in repair. The course -of Ecclesiastical Architecture suffered an interruption for several -centuries, of which Mr. Ralph Adams Cram has told us feelingly in his -recent writings on that subject. - - * * * * * - -But within the memory of men now living there has also come the -beginning of a true revival. The awakening of the Catholic spirit -in the Anglican Communion has been accompanied by an eager desire to -recover lost treasures and to restore sound traditions to their former -honor. - -And naturally all this has shown itself in the cultivation of Stained -Glass also. As we have said, what is needed above all else is -knowledge, to guide us to what is really good and worthy. - -No sooner is any want of the public made evident than enterprising -trade springs up to supply that want. If you want colored church -windows, you can have them to-day at a trifle per square yard by -purchasing a beautifully printed paper, of genuine ecclesiastical -design, and pasting it upon your present windows. From this most -abysmal horror of vulgarity you may pass through various successive -gradations of so-called stained glass, all supplied by trade. If you -pass on to the costliest, you are not thereby sure to obtain what is -not horrible and vulgar, when regarded from the point of view of true -Stained Glass, of Architectural Art, and of Religion. - -There are at this moment three rather diverse schools of Stained -Glass most in evidence before those who seek and are willing to pay -for honest art work; the English, the German, and the American. Their -comparative merits are nowhere, to our knowledge, presented in a fair -minded way; the makers of each claim superior excellence for their -own, of course; if, indeed, they ever intimate to the public that there -is any other kind at all. It should be said, however, that there is -great merit in the best examples of each school; and that none of these -schools can fairly be judged by the inferior stuff which is put out -under its name, for each of them is defamed by such stuff. - -The English school naturally had, and still has, great prestige among -Churchmen. Taking it at its best, as for instance in the work of -Mr. Henry Holiday, it is simple and vigorous in drawing, varied and -harmonious in color, churchly in spirit, while free from mediævalism. -The English artist believes in stained glass, glass which has its color -within itself; and good glass, the best he can obtain. His glass is -flat, that is, of even surface and equal thickness. He believes in -painting upon this glass, and upon, one may say, every piece and bit -of it; but he does not paint a color upon it, he simply shades it, -draws folds of drapery, patterns of fabrics, details of ornamentations; -always, however, aiming to leave it, however much so painted, with -the color of the glass gleaming and glittering: that is, he does not -daub over the surface, but puts on mere lines, and picks out lights, -so that his painted piece of green glass, let us say, is still green -glass, only with design upon it, or texture, or light and shade. He -feels that only in this way has he done all which as an artist he is -conscientiously bound to do; and he accounts a piece of mere stained -glass which has not felt the brush at all, which has not had the touch -of the conscious art of the maker, a poor thing, in a sort, crude and -barbaric. - -In the hands of a master――and there have been great masters in the -English school――the results of this method have been very fine. But -even so the fact remains that every line and every particle of even -neutral pigment upon the surface of glass obscures so much light; which -is to say, it detracts so much from its brilliancy and splendor. The -fact is undeniable that the total effect of some great window of this -school will be charming, but withal just a little dull; the richness -which gleams and glitters from it is yet half hidden as by some -fluttering veil before it. Such work at its best is exquisite; it is -devotional; it is soothing; but hardly gives one a thrill of gladness. -In the hands of a master, it is a fit medium for strong individuality -of a good kind, as witness Burne-Jones’ windows executed at the works -of William Morris. In the hands of the common multitude of English -makers, it degenerates into a wearisome, conventional repetition of -stiff figures, draped in the same damask stuffs, with the same wooden -little flowers growing up around their feet, the whole surrounded by -the same easily managed conventional border. - -Of the German glass, commonly called Munich glass, it is sufficient for -our purpose to say that it is in principle the same as the English. -It relies much upon the brush. It is more in the mediæval spirit -than the English; its feeling is that of a simply traditional, not a -modern, devoutness. Its inspiration is Italian. Its colors are more -predominatingly the old primary colors. Its decorative features are -strictly conventional, and applied in a mechanical spirit. In warmth, -in splendor of color, German windows at their best are superior to the -English. - -American glass is not simply glass made in America. The term denotes a -new method, which yet is, in the main, a restoration of the very oldest -method, reinforced on its own lines by modern resources. Mr. John La -Farge is its distinguished pioneer. - -American glass is true stained glass; but it is not glass of even -surface and of equal thickness.[A] By its inequality of thickness -the American artist effects what the English artist accomplishes by -brushing dark lines upon his even glass; or he leads strips and pieces -of glass on the back of his window to intensify and deepen his color, -as in folds of drapery and the like. He paints nothing except faces, -hands and feet; all the rest he binds himself to obtain by the mosaic -method. He cannot obtain by the mosaic method everything that the -English artist obtains by the brush; but he feels that he obtains all -which in a window is necessary, and by patient, thoroughly artistic -work he obtains what upon study proves marvelous; and he has all his -glass free to exhibit the full glory of glass. His very necessities -compel him to compose in the true way, that is by lead lines; he is -back upon first principles in this respect. The lead lines mark the -structural lines of his drawing. But he has still to contend with the -necessity of painting his flesh parts; and of overcoming the break -between their flatness, between the dull hardness of painted faces, -hands and feet, and the splendid jewel-like strength of all the rest -of his window. The best he can do is to make this transition as little -abrupt as possible. - -[A] The earliest glass was not glass of even surface and equal -thickness. Therein lies one of its charms. - -Needless to say, the American school has its dangers. The ease with -which an ignorant eye may be imposed upon by great pieces of folded -glass instead of conscientiously selected and leaded strips and pieces, -is a snare, into which it is not necessary for an honest artist to -fall. When, however, a customer demands something cheap, he can obtain -it in so-called American glass, and it will be cheap enough. There has -been also a deplorable tendency among some prominent American glass -makers toward startling theatrical effects. Of unchurchly windows, -windows hopelessly and utterly unchurchly, the great majority doubtless -are of the American school; nor are they the windows which have cost -the least money. Novel and indescribable colors, as far removed as -possible from all sober, reverent, devotional feeling, have been -employed; effects have been sought which actually destroy all the value -of the window as what it was designed by its architect, a window in -a sacred edifice. And by the wide heralding of such performances, as -if American glass meant simply this sort of thing, American glass has -forfeited that just appreciation which in its essential principles it -so richly merits. Let the American school remember that a window in -a church is and forever must remain just a window, subservient that -is, to the architecture of the church; let it design in the spirit of -worshipful, reverent, dignified, sober devotion; let it compose with -technical conscientiousness and love its leads and spare no labor; -let it choose thoroughly good glass, and glass of predominantly the -glorious colors so long honorable, eschewing startling and meretricious -effects: and there will, to our mind, be no doubt of its being the -Stained Glass of the future. - -But, to our thinking, one thing cannot safely be done; and that is the -placing of English and American, or Munich and American glass side by -side in the same building. Let it be the one or the other; when you -have chosen which it shall be, adhere to that. To mingle the schools -in the same edifice will be sure to prove fatal to the best effects of -each. - -And before placing any permanent stained glass, again let us say, study -the subject; see all the windows you can; and make haste slowly. - -[Illustration] - - - - - STAINED GLASS WINDOWS - - For Grace Church, Lockport. - - A Report to the Vestry of the Parish by - its Rector, January 5, 1897. - - -After many months of inquiry, reflection, special study, and such -visits to churches as opportunity afforded, we are at last in a -position to bring together the facts bearing upon this important -project, and to submit the results for your consideration. - -Grace Church,[B] Lockport, is an edifice which though not striking or -ornate, is in point of architectural merit, of conspicuous importance -in the community, in probable permanence and enduring interest second -to none in our city. Erected more than forty years ago, of stone, its -interior chastely beautified and enriched at successive periods; its -nave alone over one hundred feet long, forty-six feet wide, fifty -feet high; its lofty chancel with a window twenty-two feet in height, -nearly ten feet in width: it impresses the educated eye on entering -it as beautiful and churchly, characterized by simple grace and -reverent dignity, and the exclusion of the tawdry and incongruous. We -may honestly admit some faults. What building, religious or other, -is without them? But it is a church which grows upon us the longer -we worship in it; it becomes homelike to us, and yet excites our -admiration the more as we become better acquainted with it. - -[B] The design was one of Richard Upjohn’s. - -This is the building which is committed to our care. Not only that -we keep it clean and in repair, warmed and lighted, not only that -we preserve the fabric as a valuable piece of property; but that -continuing to labor in the spirit of those who have preceded us, we -secure such further additions to it as will tend to make it complete in -its kind. - -We say, complete in its kind. And it is our sacred duty, therefore, -to understand what it is that we already have, as well as to ask what -further gifts and further embellishments might add thereto. For to -add, with the best intention and with lavish generosity, but without -an understanding of the conditions and limitations imposed by the -existing edifice, might easily result in such disastrous incongruity -as a future generation, if not ours, would deplore. The land is full -of warning examples, and one is at times appalled to think of the vast -sums embodied in worse than waste, from which our better educated -descendants after us will suffer in the years to come. Knowledge is -bound to grow; travel and study cannot fail to make an understanding of -these things the common property of intelligent Church people as time -goes on. And it is a grave responsibility to be at the head of a parish -in which permanent work is undertaken and executed, work on which the -future is to pronounce judgment. This responsibility, let me add, your -rector for one feels very seriously and deeply. - -A very common form of architectural enrichment in this day of growing -wealth and of increasing commemoration of the departed is that of -stained glass windows. No memorial can be more beautiful than this when -wisely planned and well executed. None can be much more painful or -incessantly offensive when inartistic, incongruous, or lacking in the -true devotional spirit. - -And as touching our own case, it is reasonably certain that offers will -be made to place such windows in Grace Church. It would be ungenerous -to decline them. Moreover, we cannot escape the moral obligation of -directing what such memorials shall be, so far as the building itself, -its style of architecture, its uses, and its history, shall impose the -conditions. It is not a question of dictating to intending donors: for -the vestry to decline to exercise such control would be for us to fail -of a sacred trust. - -Our church, we may be most thankful to bear in mind, is built in a -style pure and self-consistent, plain as it is. It is Early English, of -the first and simplest of the periods of Gothic. To treat it as if it -were of some other style, in any changes or additions we might see fit -to make hereafter, would be to do violence to the edifice, to wrong its -intelligent and loving builders in the days of good Bishop De Lancey, -and those who shall inherit it after we are gone. There is meaning and -purpose in it, as it is: in every line of it, in every arch, every -dimension, every grouping and distribution of parts. - -We are not at liberty, therefore, to change the window openings, in -size or form, unless indeed we wish to rebuild the church. We may at -our taste reconstruct the windows in the houses in which we live, but -we cannot alter the style of these windows without destroying the style -of the architecture. The series of long narrow lancets, no matter how -long or how narrow, are right; and with all their severe simplicity, -their beauty of outline and their grace and dignity grow upon one the -more they are studied. Mediæval builders had a meaning even in putting -such windows in pairs; it may seem to us a little fantastic, but as -they made everything symbolical, so in this grouping they symbolized -our Lord’s sending out His Apostles two and two. Apart from such a -consideration, there is a quiet grace in this long succession of -lancet pairs which may safely be left to speak for itself. - -The development of window forms is itself very interesting, and should -be understood before an attempt is made to treat any church windows -in particular. Mrs. Van Rensselaer, who has done so much to make the -English cathedrals known in this country, thus traces the successive -steps from style to style: “Fancy first a plain tall window with a -round-arched head; then the round exchanged for a pointed head; then -two, or three, or five perhaps, of these pointed windows set close -together; and then a projecting moulding in the shape of an arch drawn -around them, including them all and thus including, of necessity, a -plain piece of wall above their heads. Then fancy this piece of wall -pierced with a few small openings, and we have a group of connected -lights in which, as a plant in its embryo, lies the promise of all -after-development.... - -“The small lights in the upper field enlarge and multiply until they -form a connected pattern which fills its whole area, and the jambs of -the main lights diminish into narrow strips or very slender columns. -The great arch, which in the first place did but encircle the windows, -thus becomes itself the window――the ‘plate-traceried’ window which was -richly developed in early French Gothic, but less richly in English, -owing to the persistent local love for mere groups of lancets. Then -all the stone-work shrinks still farther――the columnar character of -the uprights is lost, and the flat surfaces between the upper openings -change into mouldings of complex section. Thus the original tall -lights and upper piercings surrender their last claim to independence; -the uprights are no longer jambs or bits of wall but mullions, the -arch-head is filled with genuine traceries, and all the elements of the -design are vitally fused together within the sweep of the great window -to form its multiple yet organic beauty.” - -The art of making stained glass windows went hand in hand with this -development of architectural forms through the eleventh, twelfth, -thirteenth and succeeding centuries. It has indeed been called -the “principal branch of Mediæval Art;” but was always treated as -absolutely subservient to the particular architecture itself. A most -eminent authority denies that the art of glass-staining has ever been -lost. Glass itself was used by Christians in their churches from the -earliest church-building times; the distinct art of painting on glass -emerges, one might say, with the springing up of pointed architecture, -though the beginnings show themselves in Norman architecture in the -eleventh century. Four centuries the two arts flourished side by -side; with the decadence of the greater came also the decline of the -subsidiary; a poorer taste in building was naturally accompanied -by a poorer taste in glass. With the revival of interest in those -long-neglected periods of noble achievement, the Oxford movement of -Church Restoration giving men the religious guiding principles for an -intelligent appreciation of the forms of Mediæval art, church building -and glass staining were brought back again, the one with the other. And -whether such restoration can leave us satisfied with the mere recovery -of the riches of by-gone ages, or must mean also, as I believe, the -development of what the present can contribute in a reverent but not -slavish spirit――certain it is that the first step is to understand the -past, to find out what was done in the great formative and classic -periods, why it was done as it was and not otherwise, in a word, to -master the models before we proceed on our own course; and, as I said -before, to remember to which period and style our own edifice belongs. - -It was my good fortune when recently in the city of Philadelphia, to -obtain access to a rare work over which I spent some very delightful -hours. Its author was a William Warrington, himself a designer and -producer of windows, and a reverent student of ancient examples, who -published his great folio in London, in 1848. From him I learned many -things about the beginnings and progress of the art. Great were the -difficulties of the eleventh century pioneers. They had to contend -with defective methods of manufacture; not understanding glass-blowing -they fused their glass in pots and crucibles, and cast it to about -the required shape, in pieces not more than four or five inches in -diameter. Cutting with the diamond was not known till the sixteenth -century. They designed and made and erected their own work. When -great orders were to be executed, artists were brought together from -the different countries, and by a sort of “free-masonry” they worked -together in perfect agreement as to styles, rules, and principles. - -In the course of time, different countries produced slightly differing -schools. - -As in heraldry, the colors of the glass were intended for colors of -precious stones; the representations of figures and objects were not -meant to be pictures, but being also strictly symbolical, the drawing -was conventional, with no intention to reproduce nature in color, or -form, or position and perspective. The figures which excite ridicule -on the part of one who is without the clue, justify themselves by this -principle; nor is it quite true to say the men of that time did not -know how to draw――their ability in this respect was not that of artists -to-day, but if their object had been to produce a figure or a scene for -the sole purpose of a picture, they might certainly and would certainly -have given us something very different from what they did. While the -small separate pieces are often very minutely pencilled, all such work -being afterward burned in――there is no “shadowing,” as in a picture, -supposing the light to fall from a certain direction; but a kind of -“relief” shading, making the view suitable to any aspect. In a word, -the drawing is the same as in MSS., tapestries and heraldic designs. -Ruby and sapphire were the ground colors. And in all the work the -primitive colors were adhered to. - -In York Minister there is to be found the largest and finest specimen -of thirteenth century glass in England in a group of lancets known -as the “Five Sisters.” The lancets are each six feet wide and fifty -feet high, and each divided into thirteen compartments or squares -of different patterns. Their designs being largely of an ornamental -character, they escaped destruction by the Puritans. - -It is a curious fact that English stained glass at no time had large -figures. In the thirteenth century Continental art in this respect -diverged from ancient and English, under Italian influence. - -In the Cathedral of Bourges there are one hundred and eighty-three -stained glass windows, executed from the thirteenth century downwards. -The early lancets have figures occupying the larger part of the window, -sometimes fifteen or twenty feet high; over each figure a sort of -canopy or tabernacle disproportionately small, and under it a kind of -pedestal or base about a foot high. Around the margin is the finest -work in the windows, in a broad band of mosaic. - -Cologne Cathedral has four lancets each eleven times its width in -height, filled with early glass of this period; the figures in the -windows are in height one-third the height of the lancet, with a canopy -above them. - -The developments of the centuries following are of less interest to our -present purpose. Suffice it to say that even in the rich Decorated -Style of Architecture the treatment of individual windows was not what -we might term ambitious: the effect was secured by not attempting -too much in a single window, but by producing a rich harmony with -subordination of each to the whole. In the Perpendicular Style which -followed, in the fifteenth century, while there was a very abundant -production of glass, its quality was inferior, and much white glass was -used. Figures with canopies were used when the single openings were -one foot wide and upward; panels, when they were considerably larger; -and to fill the extreme length, story upon story. And there begins to -appear a tendency to conform the glass less to the architecture itself. - -From the sixteenth century on there is marked decay. The attempts to -treat glass like canvas prove an entire failure. A voluptuous and -sensual school of painting came in, debasing a religious art, which -thus became secularized, and almost disappeared. The destruction of -fine ancient examples in the Puritan revolution left England very poor, -and the little that remained came to be less and less appreciated. - -Curiously enough, large importations of glass consequent on the French -Revolution with its destruction of churches, put into the hands of -English churchmen what the religious revival of the Church soon -taught them to appreciate once more, and so it is that to-day England -is enriching her cathedrals and churches with restorations and new -windows; and from her the impulse has naturally come to our own land -also. But the production of stained glass is in America of very recent -date. - -From facts like the foregoing we may conclude that the subject is one -of importance and involving so much that it is well that we should -proceed cautiously in the placing of stained glass in Grace Church. - -But shall we encourage such a movement at all? - -It seems to me that this is the moment supremely opportune for us to -inaugurate a scheme of window treatment such as shall glorify our house -of God more and more till it reaches completion. How long it may take -to reach completion is in a sense immaterial. That we should begin now, -and make every step a right one, is the great matter. - -The practical question is, Shall we choose to admit one or a few -striking windows into this edifice, windows which may have no relation -to each other, produced possibly by methods or on principles entirely -at variance, in color-schemes discordant, in scale of drawing entirely -dissimilar and unequal: or shall we guide intending donors to such -gifts as shall be a satisfaction and a delight forever, beautiful -each in itself, but more beautiful still when assembled? This I take -it is the question. For I believe windows will be placed, whether we -encourage it or not, within a decade, possibly much sooner. And when -I put the question thus, it appears to me there is but one answer -possible. - -Let us then get down to the practical details in the matter. Leaving -the great chancel window entirely out of consideration, we have five -pairs of lancets of equal size on either side of the nave, and a sixth, -smaller pair over the doors in continuation of the series up to the -chancel. We have further, the magnificent group of three lancets at the -foot of the nave, with a fourth lancet a little smaller, and still much -larger than those in the pairs already referred to. - -Here is a considerable number of windows――twenty-nine when we count -in the chancel window; what an opportunity for discord and artistic -anarchy! Let us say, rather, what a remarkable and rare opportunity for -the production of a rich and hallowed splendor, fitted not only to -express the consecration of man’s gifts to God, but to instruct the -minds and quicken the devotions of generations to come. - -The objection which most readily offers itself when stained glass is -proposed for Grace Church is that the twenty lancets at the sides are -so extremely narrow and so very high that nothing can be done with -them. If by ‘doing something’ is meant putting in scenes with several -or many figures, it is most true. The breadth of wall between the two -windows constituting the pair is so large that the scene could not be -carried from the one to the other. But surely that does not exhaust the -possibilities. The openings are wide enough to permit the treatment of -single figures in full life-size if desired; figures with canopies, -borders, and panels at the base, as in the best periods of ancient -glass. The breadth of these openings is twenty-one inches; six inches -more than that of the small pair erected All Saints, 1895, at the side -of the pulpit, in which the figures are certainly of dignified stature, -and by no means poor in back ground and accessories. If such results -are possible in a space fifteen inches wide and six feet high; how much -more in a space twenty-one inches wide and thirteen feet high. - -Single figures, therefore, are demanded by the conditions which govern -us, for the side lancets; unless we rest content with geometrical, -or flower windows, or windows bearing emblems, more or less ornately -bordered. I venture to say that at this stage of our history, when -we are not pressed to fill our window-openings with whatever may be -obtainable, we desire the best that can be had. This best, for the side -lancets is,――single figures, with canopy, border and base panel. - -Mr. F. S. Lamb of New York, who designed the beautiful work erected -a year ago, has prepared and sent me two pairs of colored sketches, -suggesting a noble and beautiful form which in the execution would, of -course, far surpass what appears in the drawings. They are submitted -for your careful study, and may be seen at any time in my library. - -What then shall the figures be? Shall they be chosen at random? -Artistically speaking, this might not be so disastrous, provided the -same artist drew all the designs and controlled the execution, so that -the scale of drawing and the scheme of color were kept in accord. And -that is a great deal more than can be said of some of the principal -churches in our greatest cities, where immense sums have been spent on -these works. No; there is something better still, open to us. It is a -serial treatment, with unity, and progress: so that the whole, when -complete, shall tell one great story, each part a chapter therein; -the whole impress one truth, each part contributing somewhat to the -cumulative force of the great lesson. - -And, not to detain you with all the processes of thought and long -reflection by which at last we reach our conclusion――the figures we -suggest are those which are conspicuous and representative in the -Old and New Testaments. Our Divine Lord Himself should be, as He is, -exalted in the great window over the altar. Beginning from the angle -of the chancel arch to pass around the church, we come first to the -pair of small windows next to the organ, from which now the light is -excluded by the parish building. They may be taken as in a sense going -with the organ, and scarcely a part of the general scheme. Let them -be treated, at some time, in mosaic, with SINGING ANGELS,[C] thus -corresponding to the Angels directly opposite in the corresponding -small windows. Then we pass to the first pair of lancets of uniform -size, MELCHIZEDEK and ABRAHAM: the latter the great father of the -faithful, the head of the covenant people; the former even superior -to him, a priest forever, without beginning or end of days, type of -our Lord’s own Highpriesthood. Melchizedek appears before Abraham, -bearing bread and wine, foreshadowing of the Holy Eucharist. What more -suitable, as we look up to the altar and see above it the figure of Our -Blessed Lord, than to turn to the head of the nave, and find here, at -the dawn of religious history, standing out as type of the Christ in -whom the course of the ages shall culminate, this King of Salem at the -very beginning? - -[C] Recently placed. - -We pass on. The next pair will be MOSES and SAMUEL: both conspicuous -as appointed of God to lead, to rule, to judge the people whom God had -chosen; Founders of Israel as a nation. Surely these, if any, we must -commemorate as among the greatest in the covenant history. - -This brings us to the third or middle pair. Woman, too, bears her -conspicuous part in the spiritual history of mankind. DEBORAH[D] judged -Israel for forty years in a period of disorder and confusion, and led -the way to victory: RUTH,[D] a very different type, beautiful and -gentle, became one of that line of whom David, and David’s Greater Son, -were born. Other women might have been chosen, as well as other men; -but on the whole, none more typical, none better fitted to instruct and -to impress. - -[D] Now in place. - -The fourth pair continues the narrative. DAVID and ELIJAH, each so -striking in his way, bring back the kingdom in its glory and the -kingdom in its disaster; religion sweetly ministrant with music, and -religion sternly denouncing national sin; the royal harp, and the -prophetic mantle. - -And finally, the fifth pair on this side, ISAIAH and MALACHI: the -greatest of all the prophets, called the Evangelist of the Old -Testament; and the last of seers, who most clearly foretold both -Messiah and Forerunner. - -Thus we arrive at one of the entrances, and turning the corner, we -stand before the first of the windows at the lower end. It is large -enough to admit more than one figure. It continues the story from -Malachi, to him who went before the face of the Lord: it presents to us -ST. JOHN THE BAPTIST,[E] baptizing at Jordan; and close by it stands -the Font with its summons, as of old, to the washing away of sins. - -[E] To be erected in the near future. - -A splendid opportunity is presented by the great group next in order, -the three associated windows piercing the end wall of the nave. -Majestic in their simple dignity of outline, what will they not be -when filled with stained glass as they should be? Here is space, -indeed――ample room for that scene treatment of which the side-wall -windows are incapable. - -Let the middle one, which is much the largest, be the NATIVITY;[F] -that on the right side (next to St. John Baptist) the PRESENTATION IN -THE TEMPLE,[F] with Simeon’s Nunc Dimittis; that on the left side, the -EPIPHANY,[F] with the Gifts of the Magi. Thus will this entire end-wall -set forth the Incarnation, up to which the Old Testament has led us, -and out of which proceeds the New, and all the history of the Christian -Church. - -[F] Now in place. - -Turning again, and passing on, back once more toward the chancel, -the first and second pairs of lancets on the Cottage Street side are -devoted to the four Evangelists, STS. MATTHEW, MARK, LUKE and JOHN. No -explanation is needed of the propriety of putting these figures here. -Not only as the biographers of the Lord Jesus Christ, but as chief -Founders of that Church which is builded upon Historic Facts――men of -deeds as well as writers――we commemorate them. - -The middle pair is again given to two great women of the New Testament, -mothers both and as mothers supremely great: ST. ELIZABETH[G] and ST. -MARY.[G] Of the son of the first one it was said, Among those born of -women there hath not appeared a greater than John. To the other the -Angel’s word was, Hail, thou that are highly favored: the Lord is with -thee; and blessed art thou among women. No two characters can lay more -claim to our gratitude and reverence than these two women to whom an -Allwise God entrusted the tender formative years of the Forerunner and -of the Messiah. - -There is indeed a glorious company of Apostles, and a noble army of -martyrs, whom one would gladly set forth, two and two, in goodly -succession. Two pairs must suffice us: first ST. ANDREW[G] and ST. -STEPHEN;[G] next ST. PETER[G] and ST. PAUL.[G] We begin with ST. -ANDREW, for he readily obeyed the calling of Christ and followed Him -without delay, bringing his brother also: type of self-devotion and -personal service, forever. ST. STEPHEN, set apart for the Church’s -charitable work, filled with the Holy Ghost and a mighty preacher,――he -was the first Deacon, and became the first Martyr. ST. PETER and ST. -PAUL bring us to a climax in the Church’s realization of the great -commission; prince apostles, the former first led to the Gentiles but -afterward distinctly charged with the Gospel to the Circumcision; the -latter sent out to the Uncircumcision, truest champion of a Catholic -Faith and uncompromising leader of a Catholic Church. He brings us, as -we pass the two Angel figures over the door, up to the pulpit,――who -fitter than he to be set always before the preacher?――and thence again -we see before us the altar and the figure of Our Blessed Lord from -which we started on our circuit; - -[G] Now in place. - - “Christ is the end, for Christ was the beginning: - Christ the beginning, and the end is Christ.” - -This is the scheme which is hereby recommended to your attentive -consideration, your criticism, and if worthy, your adoption. When -adopted, each opening will be available only for the subject assigned -to it, treated in the best style, under the direction and approval -of the vestry. Windows may be erected in any order, provided these -conditions are complied with; though it is highly desirable that not -less than a pair――where there are pairs――should be placed at a time. -It is immaterial how many persons join in donating a window. The use -of the windows for memorials is very beautiful and very desirable; but -there is no restriction to such use, by anything in the scheme. - -And in closing let it be added, that if――as undoubtedly they will――the -vestry and parish shall feel sincerely thankful to those who -participate in this pious work, it is not there that the gratitude -should chiefly lie. It is an unspeakable privilege to be permitted -to place a memorial like this in the house of God, bringing ever new -comfort and joy to hearts bereaved, and satisfaction to the donors; -yes, if there is need to say it, it is an honor to be permitted to do -it. Moreover, in the nature of the case, it is a privilege very limited -as to the number of those who can be so favored; and with every window -that is taken, the number remaining available becomes rapidly less. - - * * * * * - -The above Report with its Recommendations was adopted, entire, by -unanimous vote of the Vestry at the regular monthly meeting, January 5, -1897. - - - - - Transcriber’s Notes: - - ――Text in italics is enclosed by underscores (_italics_). - - ――Punctuation and spelling inaccuracies were silently corrected. - - ――Archaic and variable spelling has been preserved. - - ――Variations in hyphenation and compound words have been preserved. - -*** END OF THE PROJECT GUTENBERG EBOOK STAINED GLASS WINDOWS *** - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the -United States without permission and without paying copyright -royalties. 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You may copy it, give it away or re-use it under the terms -of the Project Gutenberg License included with this eBook or online -at <a href="https://www.gutenberg.org">www.gutenberg.org</a>. If you -are not located in the United States, you will have to check the laws of the -country where you are located before using this eBook. -</div> - -<p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em'>Title: Stained Glass Windows</p> -<p style='display:block; margin-left:2em; text-indent:0; margin-top:0; margin-bottom:1em;'>An Essay: With a Report to the Vestry on Stained Glass Windows for Grace Church Lockport New York</p> - <p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em'>Author: William Frederic Faber</p> -<p style='display:block; text-indent:0; margin:1em 0'>Release Date: November 18, 2021 [eBook #66766]</p> -<p style='display:block; text-indent:0; margin:1em 0'>Language: English</p> - <p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em; text-align:left'>Produced by: Donald Cummings and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive)</p> -<div style='margin-top:2em; margin-bottom:4em'>*** START OF THE PROJECT GUTENBERG EBOOK STAINED GLASS WINDOWS ***</div> - - -<div class="figcenter" id="cover"> - <img src="images/cover.jpg" alt="cover" title="cover" /> - <div class="caption"> - <p class="noic">Transcriber’s Note: The cover image was created from the title -page by the transcriber and is placed in the public domain.</p> - </div> -</div> - - - - -<hr class="chap x-ebookmaker-drop" /> - -<h1>STAINED GLASS<br /> -WINDOWS</h1> - -<p class="p2 noi subtitle">AN ESSAY</p> - -<p class="p2 noi author">WITH A REPORT TO THE<br /> -VESTRY ON STAINED GLASS<br /> -WINDOWS FOR GRACE CHURCH<br /> -LOCKPORT NEW YORK <img class="illowe25" src="images/i_deco1.jpg" alt="decoration 1" title="decoration 1" /> BY<br /> -WILLIAM FREDERIC FABER <img class="illowe25" src="images/i_deco1.jpg" alt="decoration 1" title="decoration 1" /></p> - -<div class="pad4"> -<div class="figcenter" id="i_deco2"> - <img class="illowe4" src="images/i_deco2.jpg" alt="decoration 2" title="decoration 2" /> -</div> -</div> - -<p class="noic">LOCKPORT NEW YORK</p> - -<p class="noic">MCM</p> - - - - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<p><span class="pagenum"><a id="Page_3"></a>[3]</span></p> - -<h2 class="nobreak" id="NOTE">NOTE.</h2> -</div> - - -<p>The first edition of the <a href="#SGW2"><cite>Report on Stained -Glass Windows for Grace Church, Lockport</cite></a>, -which appeared in January, 1897, is now -exhausted; as there is a constant demand -for it, a second is deemed necessary; and -the occasion seemed favorable for a little -further talk about Windows and Glass. -Hence this pamphlet.</p> - -<p>The project of four years ago is no -longer an insubstantial dream. Since that -time eleven windows and three mosaics -have been placed in Grace Church; in -them all the adopted scheme has been -followed, with results more and more -obviously satisfactory.</p> - -<p>Although intending this pamphlet, in -the first instance, simply for a guide to his -own people, to lead them to a more discriminating -appreciation: the author is -encouraged to hope, by many expressions -from the outside, that it will, even more -than the earlier <cite>Report</cite>, be of service beyond -his parish; that it may perhaps -stimulate elsewhere also a study of -Church Glass, and the erection of true -Church Windows.</p> - -<p class="right">W. F. F.</p> - -<p class="smfont">Grace Church Rectory, Lockport, All Saints’, -1900.</p> - -<p><span class="pagenum"><a id="Page_4"></a>[4]</span></p> - - - - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<p><span class="pagenum"><a id="Page_5"></a>[5]</span></p> - -<h2 class="nobreak" id="SGW">STAINED GLASS WINDOWS.</h2> -</div> - - -<p>The subject is certainly one of present -interest. The advertisements of firms -who produce stained glass windows are -numerous and conspicuous in our Church -weeklies; glowing accounts of memorials -just erected in this place and that make -up a large part of our “Diocesan News.” -To say nothing of the fact that we are in -danger of forgetting what the real business -of the Church is,—that it is not -primarily to build and beautify edifices, -but to save men and to establish righteousness -in the earth; the uncomfortable -question is forced upon us: For how -much of this “embellishment” of our -churches will posterity thank us?</p> - -<p>A revival of religious art we welcome -with profound gratitude. But when for -the moment it threatens to take the form -of an epidemic of stained glass, our joy -may be turned to apprehension. Stained -glass is simply becoming fashionable; -everybody is beginning to want some of it -because ‘all the other churches are getting -some;’ commercial enterprise stimulates -a well-meaning zeal, taking advantage, -too, of a vulgar spirit of rivalry; and the -end thereof must be painful to contemplate. -Individuals are often given a free<span class="pagenum"><a id="Page_6"></a>[6]</span> -hand in God’s House on the ground that -thus several hundred or several thousand -dollars will be secured for “enrichment;” -and so the work goes merrily on.</p> - -<p>And such things can be because there -is a lack of knowledge. Persons may -have the best intention in the world; -their experience in other, different fields -may have been very wide; in a general -way they may have good taste; moreover, -they may possess a long purse and a liberal -disposition; perhaps they may think -to save themselves from going wrong by -putting the whole matter into the hands -of strongly advertised window-makers. -But none of these things will supply the -lack of a knowledge of stained glass. -There is nothing for it but study and -education. The clergy first of all, and -after them the vestries, must inform themselves -on the subject as thoroughly as -possible. In the meantime, let them be -slow to lend themselves to anything which -they later, or those who come after them, -might bitterly deplore and be helpless to -remedy.</p> - -<p>Nor is it to-day so forbidding a task to -get this knowledge as it was but a few -years ago. Then one had to go to the -libraries in our largest cities, and laboriously -gather from rare works the history -and principles of this art. Now there is -fortunately at least one single volume, -easily obtainable, which may serve as a<span class="pagenum"><a id="Page_7"></a>[7]</span> -text-book to all who desire to study the -subject. Mr. Lewis F. Day has given us -in his <cite>Windows: A Book about Stained -and Painted Glass</cite>, published in London, -1897, by B. T. Batsford, imported by -the Scribners, just that information which -is needed. No vestry that has the matter -of Stained Glass Memorials before it -should permit its rector to be without -this book; he should read, mark, learn, -and inwardly digest it; but not he only; -they also, at least the members of any -committee responsible for such work; -and intending donors likewise, who desire -to have a controlling voice in regard to -memorials to be erected. This is too important -a thing to enter upon recklessly -or at the dictation of mere fancy.</p> - -<hr class="tb" /> - -<p>Meanwhile it may not be out of place -to tell briefly and simply what stained -glass windows in a church ought to be; -and what stained glass itself is.</p> - -<p>Stained glass windows are still, after -all, windows: and windows are essential -component parts of a building. If in a -church, the axiom applies the more inevitably: -a church is a building presumed -to conform rigidly to a certain type; and -therefore, the idea which the whole is to -exhibit and impress must not for a moment -be hidden or dissipated by any -component part.</p> - -<p><span class="pagenum"><a id="Page_8"></a>[8]</span></p> - -<p>Our dwelling houses may be often built -in a haphazard way, with a view simply -to utility, regardless of style, laying no -claim to architectural art. But to build -a church so is an offense, an offense to -art, and, we believe, an offense to religion -also. A church building is presumed -and expected to have a certain character, -technically called “style,” dignifying -and elevating God’s House above our -common houses, even though it be small -and plain and not costly; small and plain -it may be, and not costly, but it must not -be tawdry or incongruous or mean.</p> - -<p>Now a window is, as we have said, a -component part of the building. In a -church well conceived, the window is -inevitable just as it is: to make it larger -or smaller, to close one up where now -there is one or to make one where there -is none, is just so far to do violence to -the building. If such a change does not -violate the integrity of the building as a -whole, the fact simply goes to show that -the building had no plan worthy of honor.</p> - -<p>The window-space is therefore always -to be preserved for window use—just -such and just so much as the architect -gave us. The use of a window (barring -for the moment the unscientific one of -ventilation) is to give light while still -affording shelter. And this light-space -is also to serve artistically as a kind of -balance to the dark space of the solid<span class="pagenum"><a id="Page_9"></a>[9]</span> -wall; hence this light-space is to art sacred, -and must be permitted to the end to -assert itself as just what it is and such as -it is, so much rightly apportioned and -correctly proportioned translucent wall-space.</p> - -<p>When this window-space has been first -filled with a plain glass, which is then to -give way to stained glass, the new treatment -must say, just as obviously, only -more beautifully, what the old said: it -must still be a window—letting in light, -though now the light is colored—and in -its architectural value it must be just -what it was before, asserting the shape -and the design of the structural window, -plainly and faithfully.</p> - -<p>In other words, the true stained glass -window—in a church building worthy of -that name—is not now to give the beholder -the impression that he is looking -out through an opening and seeing, of -something beyond, so much as the size -of the opening will permit: in a word, -the spectacular impression of looking into -some beautiful out-door world through a -hole in the wall. The beholder must be -conscious still of looking at the wall itself, -the translucent part of it, which -confines him within the edifice as much -as the stone or the brick. Nor yet is -the true stained glass window merely a -colored glass picture covering so much -wall area: the outline form is to be so<span class="pagenum"><a id="Page_10"></a>[10]</span> -obvious, and the treatment so non-realistic, -that the architectural idea may never -for a moment be in danger of submersion -under some other idea.</p> - -<p>For, as is true in general of decorative -art as contrasted with pictorial art, the -true church window is to be designed -without perspective, without shadow, -without attempt at realistic effect. It is -to be conventional, symbolical; with that -intent it may utilize as it will forms, -colors, attitudes, postures, accessories, -fearless of the criticism that ‘this saint -or that scene never in the world looked -like that.’ No intelligent person standing -before decorative painting would for -a moment think of demanding a representation -of the actual. That, frankly, -was not its object.</p> - -<p>And the stained glass church window -will further fulfill its particular end if all -round the figure or group, or whatever -be the subject matter of the composition, -there runs a clear line or border of differently -colored glass, making a clear demarcation -from the stone wall; drawing again, -as it were, the architect’s line of his window -construction.</p> - -<p>All of which is but to say that windows -were made for the sake of the building, -and so must remain; not that a building -was made for the sake of windows,—for -the sake of furnishing so much space for<span class="pagenum"><a id="Page_11"></a>[11]</span> -so many square yards of somebody’s -beautiful glass. Which ought to be self-evident, -though to many persons it is not.</p> - -<hr class="tb" /> - -<p>So regarding it now, the further question -naturally occurs as to the treatment -of the several windows of one particular -church. For, each individual window -might be in itself correct according to the -above principles, and yet the total effect -sadly lacking in unity and harmony.</p> - -<p>There is first of all the consideration of -style: a difficult matter to define, yet not, -after all, so difficult to determine. What -ought certainly not to determine it is the -chance ability of some wealthy donor or -donors to pay for the costliest work that -could be produced; nor, on the other -hand, the limited ability of others who -could give only something inexpensive. -The style of the building and its general -character must determine the degree of -splendor and ornateness which will be -right for each and all the windows. If -there be wealth to do still more, then -exercise sober self-restraint. If there be -available means only to do part of what -the building demands, better do just so -much as can be rightly and adequately -done, though the scheme should wait -many years for its entire completion. In -building a new church, let this also be -thought of in advance.</p> - -<p><span class="pagenum"><a id="Page_12"></a>[12]</span></p> - -<p>Then there is the question of a single -scheme of subjects for all the windows, -so that all when completed shall tell, -chapter by chapter, one great story, or -part by part, one great truth: say, the -Christian Faith, or the Redemption of -Man, or the Sacramental Economy of -Grace, or the History of Religion, or the -Mission of the Church in the World. -Thus again, as in old time, will the church -windows instruct the people, and the sum -total of that instruction will be a unity, -with harmony and interrelation of parts, -of the utmost value to sound Christian -thinking and feeling, and to symmetry of -Christian character. For it is just this -which our modern religion so much lacks: -the sad result of sectarian thinking and -teaching, where each hath a doctrine, a -truth, and few the whole doctrine and -the wholeness of truth.</p> - -<p>Individualism, let us realize, is not -what the Church should foster: though -individuality, in its rightful place, be -precious and sacred. The application -here is not fanciful. Sadly absurd examples -there are, where ecclesiastical art -has been pressed into service by sectarian -minds (not among the sects alone) to -teach some one portion or fragment of -truth through the eye every time the eye -gazed upon the interior of the house of -worship and fell upon the favorite symbol -or picture.</p> - -<p><span class="pagenum"><a id="Page_13"></a>[13]</span></p> - -<p>But not this alone. Individualism is -rampant in our day in the form of utterly -arbitrary choice of subjects, as well as -of their mode of treatment in point of -material, color, scale of drawing, and—expensiveness. -A Babel of confusion is -the result, and that in some of our -foremost churches, which have become -thereby rather picture galleries or museums -adapted to the study of all schools -and all tastes, than restful, devotional, -solemnizing and uplifting temples for the -worship of Almighty God. A low motive -ruled, and how can one help feeling -it as one looks upon the performance?—here -the wealthy donor, or the ambitious -so-called artist, forgetting Whose this -House was, demanded worship for himself. -“Verily, they have their reward.”</p> - -<p>Therefore let those who have such -things in charge study first of all what a -church should be, and then what their -particular church, such as they have -received it in trust, is. It will often -be found that a building very little -esteemed has something to say for itself, -and is worthy of respect as originally -conceived, in its own structural character -as designed by its architect. And if not, -and if it must be borne with, then all the -more reason, in planning to do anything -further in it or upon it, to “abhor that -which is evil, and cleave to that which is -good.”</p> - -<p><span class="pagenum"><a id="Page_14"></a>[14]</span></p> - -<p>And after such careful study, determine -(before the first enthusiast has an -opportunity to put into some one window -chosen at random a “most superb” -production of the much advertised glass -man) determine in advance what should -be your total result when every window -shall have been filled with stained glass: -what story the whole shall tell, how best its -parts may be distributed, what each part -shall be, in what style, what design, -what scale of drawing, scheme of color.</p> - -<p>And when this has been determined, -in the fear of God, in soberness of judgment, -in conscientious fidelity to a sacred -trust, with a willingness to be judged by -a wiser posterity,—then let such a plan -be adhered to as a law of the Medes and -Persians which altereth not. To sacrifice -one window to the seductions of some -alien grandeur is to sacrifice the whole -principle at stake. The plain glass patiently -awaiting its time to give way to -the right thing is more eloquent of a -truly reverent and truly artistic intention -than a medley of incongruous splendors.</p> - -<hr class="tb" /> - -<p>And now, what is stained glass? This -simple question it is of the utmost importance -to answer, because a little familiarity -with the materials and the methods -of workmanship will itself serve as a<span class="pagenum"><a id="Page_15"></a>[15]</span> -guide to the choice of good windows and -to the avoidance of bad.</p> - -<p>Stained glass, then, is simply glass -which has been colored in the pot, glass -which has its color within itself: while -painted glass—a term sometimes used as -synonymous with stained glass—is properly -glass which has had the color painted -upon its surface, and has then been fired -so that the colored or enameled surface -has been vitrified. Some stained glass -is of so deep a color,—red, for instance—that -a thin coating of it blown over the -surface of a white (that is, colorless) -glass is sufficient to produce the desired -color effect; if the entire thickness of the -pane were of the colored glass, the effect -would be much too dark: such glass is -nevertheless true stained glass, and is -called “flashed.”</p> - -<p>In the early period of the art, beginning -in the eleventh century and running -parallel with the development of Pointed -(commonly called Gothic) Architecture, -only true stained glass was used. The -use of enamel paints applied to the surface -to produce a different color marks -also the beginning of the decadence of -the art; for the glory of true glass is in -its jewel-like quality, its color being -within itself and all absolutely translucent, -while a painted glass will always -be necessarily dull in comparison. The -temptation to paint color upon the surface<span class="pagenum"><a id="Page_16"></a>[16]</span> -of glass is readily understood: it was an -easier method, it promised wider scope, -greater variety, in a word, the opportunity -to make pictures somewhat as the -painter may upon canvas. But glass is -not canvas, and church windows are not -to be pictures. Retribution has overtaken -this work, and the latest and most ambitious -more speedily than all; the enamel-painted -glass has not stood the test of -time, becoming muddy and perishing -while the true ancient stained glass is -still the joy and wonder of all who gaze -upon it.</p> - -<p>For, as we have said, the glory of true -stained glass is in its rich, jewel-like -color. Its reds, which the makers called -“ruby,” its blues which they called -“sapphire,” with its “emerald” greens, -its “gold” and its “pearl,” never entered -the field to compete with the -achievements of the painter’s brush; to -compare the delight they afford the beholder -with that derived from a painting -would be in a sense as impossible as a -comparison between the fragrance of a -flower and the cadence of a song.</p> - -<p>The early makers of stained glass windows -contended with great, to moderns -they would be intolerable, limitations. -They were almost absolutely restricted -to the primary colors. They had not at -first the art of blowing glass, but cast -their pieces in small panes of at most four<span class="pagenum"><a id="Page_17"></a>[17]</span> -or five inches in diameter. The use of -the diamond in cutting was not known -till the sixteenth century. Hence their -work was simply mosaic. For variety -they depended upon an arrangement of -geometrical patterns, or patterns of familiar -architectural form and of common -ecclesiastical symbols. To construct these -they leaded together their pieces and bits -of glass, elaborating their treatment as -time went on, but always in the main -upon the same lines.</p> - -<p>When they began to portray, in panels -on their windows, the forms of Our Lord, -of His apostles, of saints and angels, -sometimes in crude settings of scenes or -incidents from Holy Scripture or Church -legend, their color principle was still the -same; and it was still the same in the -elaboration of the merely ornamental -borders with forms of leaf or flower or -fruit, or of sacred emblems and inscriptions. -The brown pigment with which -they produced faces and features, hands, -feet, outlines and ornamentations, was -not a color, nor intended for a color, but -simply a means of definition or delineation -when this was too minute to be carried -out with leads. And the stained -glass it was, still, which addressed the -eye and compelled attention and admiration. -No more than in heraldry did the -forms and emblems pretend to be pictures -of the actual, realistic representations of<span class="pagenum"><a id="Page_18"></a>[18]</span> -men, or of scenes or incidents. The -makers of early stained glass were, in -one word, simply makers of ornamental -windows of rich color and religious symbolism.</p> - -<p>We have said that their pieces of glass -were small. This is but to say that their -windows were a network of leads. For -there is but one way to hold together -such pieces of glass in a window, and -that is by leads. These leads are not a -misfortune. A square yard of simple red -stained glass is artistically more beautiful -if composed of a hundred pieces leaded -together than if it were in a single sheet. -The differences in texture themselves -produce a better result, and the black -leads, scarcely discernible individually, -contribute an additional element of pleasure. -And in arranging pieces of different -color side by side, intelligent leading -design was itself the artist’s drawing, -and effected results altogether admirable. -So far was this art of leading carried in -France, for instance, that windows mainly -of white glass were produced, of rare -beauty by simple virtue of their structural -design.</p> - -<p>All this was changed by the men who -in a later age ground up their enamel -pigments, glazed windows in large panes, -and daubed upon them their muddy -colors, with a sublime contempt for the -crude laborious mosaic work of their predecessors.<span class="pagenum"><a id="Page_19"></a>[19]</span> -Would they have a representation -of the earth for their figure to stand -upon? it must be carpeted with grass, -with green grass, and they can paint -green grass upon a colorless surface; red -flowers also, upon the same, with red paint, -if such were desired. The Renaissance -was coming; Gothic was barbarous anyway; -antiquated crudities must give place -to refined work worthy of the new enlightenment! -Paint a picture on canvas, -then paint that picture on your glass. It -can be done, certainly, if you will not -allow yourself to be bothered with the -nuisance of leads, but just get an ample -pane of glass, unobstructed, and go at it -with your brush and paints!</p> - -<p>This miserable travesty did not long -hold sway, it was scarcely permitted to -go its own theoretical length. There -came great political changes, great religious -changes, and for a long time few -churches more were built, nor even those -standing kept in repair. The course of -Ecclesiastical Architecture suffered an -interruption for several centuries, of -which Mr. Ralph Adams Cram has told -us feelingly in his recent writings on that -subject.</p> - -<hr class="tb" /> - -<p>But within the memory of men now -living there has also come the beginning -of a true revival. The awakening of the<span class="pagenum"><a id="Page_20"></a>[20]</span> -Catholic spirit in the Anglican Communion -has been accompanied by an eager desire -to recover lost treasures and to restore -sound traditions to their former -honor.</p> - -<p>And naturally all this has shown itself -in the cultivation of Stained Glass also. -As we have said, what is needed above -all else is knowledge, to guide us to what -is really good and worthy.</p> - -<p>No sooner is any want of the public -made evident than enterprising trade -springs up to supply that want. If you -want colored church windows, you can -have them to-day at a trifle per square -yard by purchasing a beautifully printed -paper, of genuine ecclesiastical design, -and pasting it upon your present windows. -From this most abysmal horror -of vulgarity you may pass through various -successive gradations of so-called -stained glass, all supplied by trade. If -you pass on to the costliest, you are not -thereby sure to obtain what is not horrible -and vulgar, when regarded from the -point of view of true Stained Glass, of -Architectural Art, and of Religion.</p> - -<p>There are at this moment three rather -diverse schools of Stained Glass most in -evidence before those who seek and are -willing to pay for honest art work; the -English, the German, and the American. -Their comparative merits are nowhere, to -our knowledge, presented in a fair minded<span class="pagenum"><a id="Page_21"></a>[21]</span> -way; the makers of each claim superior -excellence for their own, of course; if, -indeed, they ever intimate to the public -that there is any other kind at all. It -should be said, however, that there is -great merit in the best examples of each -school; and that none of these schools -can fairly be judged by the inferior stuff -which is put out under its name, for each -of them is defamed by such stuff.</p> - -<p>The English school naturally had, and -still has, great prestige among Churchmen. -Taking it at its best, as for instance -in the work of Mr. Henry Holiday, it is -simple and vigorous in drawing, varied -and harmonious in color, churchly in -spirit, while free from mediævalism. -The English artist believes in stained -glass, glass which has its color within -itself; and good glass, the best he can -obtain. His glass is flat, that is, of even -surface and equal thickness. He believes -in painting upon this glass, and upon, -one may say, every piece and bit of it; -but he does not paint a color upon it, he -simply shades it, draws folds of drapery, -patterns of fabrics, details of ornamentations; -always, however, aiming to leave -it, however much so painted, with the -color of the glass gleaming and glittering: -that is, he does not daub over the -surface, but puts on mere lines, and picks -out lights, so that his painted piece of -green glass, let us say, is still green glass,<span class="pagenum"><a id="Page_22"></a>[22]</span> -only with design upon it, or texture, or -light and shade. He feels that only in -this way has he done all which as an -artist he is conscientiously bound to do; -and he accounts a piece of mere stained -glass which has not felt the brush at all, -which has not had the touch of the conscious -art of the maker, a poor thing, in -a sort, crude and barbaric.</p> - -<p>In the hands of a master—and there -have been great masters in the English -school—the results of this method have -been very fine. But even so the fact remains -that every line and every particle -of even neutral pigment upon the surface -of glass obscures so much light; which is -to say, it detracts so much from its brilliancy -and splendor. The fact is undeniable -that the total effect of some great -window of this school will be charming, -but withal just a little dull; the richness -which gleams and glitters from it is yet -half hidden as by some fluttering veil before -it. Such work at its best is exquisite; -it is devotional; it is soothing; but hardly -gives one a thrill of gladness. In the -hands of a master, it is a fit medium for -strong individuality of a good kind, as -witness Burne-Jones’ windows executed -at the works of William Morris. In the -hands of the common multitude of English -makers, it degenerates into a wearisome, -conventional repetition of stiff -figures, draped in the same damask stuffs,<span class="pagenum"><a id="Page_23"></a>[23]</span> -with the same wooden little flowers growing -up around their feet, the whole surrounded -by the same easily managed -conventional border.</p> - -<p>Of the German glass, commonly called -Munich glass, it is sufficient for our purpose -to say that it is in principle the same -as the English. It relies much upon the -brush. It is more in the mediæval spirit -than the English; its feeling is that of a -simply traditional, not a modern, devoutness. -Its inspiration is Italian. Its colors -are more predominatingly the old primary -colors. Its decorative features are strictly -conventional, and applied in a mechanical -spirit. In warmth, in splendor of -color, German windows at their best are -superior to the English.</p> - -<p>American glass is not simply glass -made in America. The term denotes a -new method, which yet is, in the main, a -restoration of the very oldest method, reinforced -on its own lines by modern resources. -Mr. John La Farge is its distinguished -pioneer.</p> - -<p>American glass is true stained glass; -but it is not glass of even surface and of -equal thickness.<a id="FNanchor_1" href="#Footnote_1" class="fnanchor">[A]</a> By its inequality of -thickness the American artist effects -what the English artist accomplishes by -brushing dark lines upon his even glass; -or he leads strips and pieces of glass on<span class="pagenum"><a id="Page_24"></a>[24]</span> -the back of his window to intensify and -deepen his color, as in folds of drapery -and the like. He paints nothing except -faces, hands and feet; all the rest he -binds himself to obtain by the mosaic -method. He cannot obtain by the mosaic -method everything that the English artist -obtains by the brush; but he feels that -he obtains all which in a window is -necessary, and by patient, thoroughly -artistic work he obtains what upon study -proves marvelous; and he has all his -glass free to exhibit the full glory of -glass. His very necessities compel him -to compose in the true way, that is by -lead lines; he is back upon first principles -in this respect. The lead lines mark -the structural lines of his drawing. But -he has still to contend with the necessity -of painting his flesh parts; and of overcoming -the break between their flatness, -between the dull hardness of painted faces, -hands and feet, and the splendid jewel-like -strength of all the rest of his window. -The best he can do is to make this -transition as little abrupt as possible.</p> - -<div class="footnote"> - -<p class="noi"><a id="Footnote_1" href="#FNanchor_1" class="label">[A]</a> The earliest glass was not glass of even surface -and equal thickness. Therein lies one of its charms.</p> - -</div> - -<p>Needless to say, the American school -has its dangers. The ease with which an -ignorant eye may be imposed upon by -great pieces of folded glass instead of -conscientiously selected and leaded strips -and pieces, is a snare, into which it is not -necessary for an honest artist to fall. -When, however, a customer demands<span class="pagenum"><a id="Page_25"></a>[25]</span> -something cheap, he can obtain it in so-called -American glass, and it will be -cheap enough. There has been also a -deplorable tendency among some prominent -American glass makers toward startling -theatrical effects. Of unchurchly -windows, windows hopelessly and utterly -unchurchly, the great majority doubtless -are of the American school; nor are they -the windows which have cost the least -money. Novel and indescribable colors, -as far removed as possible from all sober, -reverent, devotional feeling, have been -employed; effects have been sought which -actually destroy all the value of the window -as what it was designed by its architect, -a window in a sacred edifice. And -by the wide heralding of such performances, -as if American glass meant simply -this sort of thing, American glass has -forfeited that just appreciation which in -its essential principles it so richly merits. -Let the American school remember that a -window in a church is and forever must -remain just a window, subservient that -is, to the architecture of the church; let -it design in the spirit of worshipful, reverent, -dignified, sober devotion; let it -compose with technical conscientiousness -and love its leads and spare no labor; let -it choose thoroughly good glass, and -glass of predominantly the glorious colors -so long honorable, eschewing startling -and meretricious effects: and there will,<span class="pagenum"><a id="Page_26"></a>[26]</span> -to our mind, be no doubt of its being the -Stained Glass of the future.</p> - -<p>But, to our thinking, one thing cannot -safely be done; and that is the placing of -English and American, or Munich and -American glass side by side in the same -building. Let it be the one or the other; -when you have chosen which it shall be, -adhere to that. To mingle the schools -in the same edifice will be sure to prove -fatal to the best effects of each.</p> - -<p>And before placing any permanent -stained glass, again let us say, study the -subject; see all the windows you can; -and make haste slowly.</p> - -<div class="pad4"> -<div class="figcenter" id="i_deco2b"> - <img class="illowe4" src="images/i_deco2.jpg" alt="decoration 2" title="decoration 2" /> -</div> -</div> - - - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<p><span class="pagenum"><a id="Page_27"></a>[27]</span></p> - -<h2 class="nobreak" id="SGW2"><a href="#NOTE">STAINED GLASS WINDOWS</a><br /> -<small>For Grace Church, Lockport.</small></h2> - -<p class="noi author">A Report to the Vestry of the Parish by -its Rector, January 5, 1897.</p> -</div> - - -<p class="p2">After many months of inquiry, reflection, -special study, and such visits to churches as opportunity -afforded, we are at last in a position -to bring together the facts bearing upon this -important project, and to submit the results for -your consideration.</p> - -<p>Grace Church,<a id="FNanchor_2" href="#Footnote_2" class="fnanchor">[B]</a> Lockport, is an edifice which -though not striking or ornate, is in point of -architectural merit, of conspicuous importance -in the community, in probable permanence and -enduring interest second to none in our city. -Erected more than forty years ago, of stone, its -interior chastely beautified and enriched at successive -periods; its nave alone over one hundred -feet long, forty-six feet wide, fifty feet high; its -lofty chancel with a window twenty-two feet in -height, nearly ten feet in width: it impresses the -educated eye on entering it as beautiful and -churchly, characterized by simple grace and -reverent dignity, and the exclusion of the tawdry -and incongruous. We may honestly admit some -faults. What building, religious or other, is -without them? But it is a church which grows -upon us the longer we worship in it; it becomes -homelike to us, and yet excites our admiration -the more as we become better acquainted with it.</p> - -<div class="footnote"> - -<p class="noi"><a id="Footnote_2" href="#FNanchor_2" class="label">[B]</a> The design was one of Richard Upjohn’s.</p> - -</div> - -<p><span class="pagenum"><a id="Page_28"></a>[28]</span></p> - -<p>This is the building which is committed to -our care. Not only that we keep it clean and -in repair, warmed and lighted, not only that we -preserve the fabric as a valuable piece of property; -but that continuing to labor in the spirit -of those who have preceded us, we secure such -further additions to it as will tend to make it -complete in its kind.</p> - -<p>We say, complete in its kind. And it is our -sacred duty, therefore, to understand what it is -that we already have, as well as to ask what -further gifts and further embellishments might -add thereto. For to add, with the best intention -and with lavish generosity, but without an understanding -of the conditions and limitations -imposed by the existing edifice, might easily -result in such disastrous incongruity as a future -generation, if not ours, would deplore. The -land is full of warning examples, and one is at -times appalled to think of the vast sums embodied -in worse than waste, from which our better -educated descendants after us will suffer in the -years to come. Knowledge is bound to grow; -travel and study cannot fail to make an understanding -of these things the common property -of intelligent Church people as time goes on. -And it is a grave responsibility to be at the head -of a parish in which permanent work is undertaken -and executed, work on which the future -is to pronounce judgment. This responsibility, -let me add, your rector for one feels very seriously -and deeply.</p> - -<p>A very common form of architectural enrichment -in this day of growing wealth and of -increasing commemoration of the departed is -that of stained glass windows. No memorial -can be more beautiful than this when wisely -planned and well executed. None can be much -more painful or incessantly offensive when -inartistic, incongruous, or lacking in the true -devotional spirit.</p> - -<p><span class="pagenum"><a id="Page_29"></a>[29]</span></p> - -<p>And as touching our own case, it is reasonably -certain that offers will be made to place such -windows in Grace Church. It would be ungenerous -to decline them. Moreover, we cannot -escape the moral obligation of directing what -such memorials shall be, so far as the building -itself, its style of architecture, its uses, and its -history, shall impose the conditions. It is not -a question of dictating to intending donors: for -the vestry to decline to exercise such control -would be for us to fail of a sacred trust.</p> - -<p>Our church, we may be most thankful to bear -in mind, is built in a style pure and self-consistent, -plain as it is. It is Early English, of -the first and simplest of the periods of Gothic. -To treat it as if it were of some other style, in any -changes or additions we might see fit to make -hereafter, would be to do violence to the edifice, -to wrong its intelligent and loving builders in -the days of good Bishop De Lancey, and those -who shall inherit it after we are gone. There is -meaning and purpose in it, as it is: in every line -of it, in every arch, every dimension, every -grouping and distribution of parts.</p> - -<p>We are not at liberty, therefore, to change the -window openings, in size or form, unless indeed -we wish to rebuild the church. We may at our -taste reconstruct the windows in the houses in -which we live, but we cannot alter the style of -these windows without destroying the style of the -architecture. The series of long narrow lancets, -no matter how long or how narrow, are right; -and with all their severe simplicity, their beauty -of outline and their grace and dignity grow upon -one the more they are studied. Mediæval builders -had a meaning even in putting such windows -in pairs; it may seem to us a little fantastic, but -as they made everything symbolical, so in this -grouping they symbolized our Lord’s sending -out His Apostles two and two. Apart from such -a consideration, there is a quiet grace in this<span class="pagenum"><a id="Page_30"></a>[30]</span> -long succession of lancet pairs which may safely -be left to speak for itself.</p> - -<p>The development of window forms is itself -very interesting, and should be understood before -an attempt is made to treat any church -windows in particular. Mrs. Van Rensselaer, -who has done so much to make the English -cathedrals known in this country, thus traces -the successive steps from style to style: “Fancy -first a plain tall window with a round-arched -head; then the round exchanged for a pointed -head; then two, or three, or five perhaps, of -these pointed windows set close together; and -then a projecting moulding in the shape of an -arch drawn around them, including them all -and thus including, of necessity, a plain piece -of wall above their heads. Then fancy this -piece of wall pierced with a few small openings, -and we have a group of connected lights in -which, as a plant in its embryo, lies the promise -of all after-development....</p> - -<p>“The small lights in the upper field enlarge -and multiply until they form a connected pattern -which fills its whole area, and the jambs of the -main lights diminish into narrow strips or very -slender columns. The great arch, which in the -first place did but encircle the windows, thus -becomes itself the window—the ‘plate-traceried’ -window which was richly developed in early -French Gothic, but less richly in English, owing -to the persistent local love for mere groups of -lancets. Then all the stone-work shrinks still -farther—the columnar character of the uprights -is lost, and the flat surfaces between the upper -openings change into mouldings of complex -section. Thus the original tall lights and upper -piercings surrender their last claim to independence; -the uprights are no longer jambs or bits -of wall but mullions, the arch-head is filled -with genuine traceries, and all the elements of -the design are vitally fused together within the<span class="pagenum"><a id="Page_31"></a>[31]</span> -sweep of the great window to form its multiple -yet organic beauty.”</p> - -<p>The art of making stained glass windows went -hand in hand with this development of architectural -forms through the eleventh, twelfth, thirteenth -and succeeding centuries. It has indeed -been called the “principal branch of Mediæval -Art;” but was always treated as absolutely subservient -to the particular architecture itself. A -most eminent authority denies that the art of -glass-staining has ever been lost. Glass itself -was used by Christians in their churches from -the earliest church-building times; the distinct -art of painting on glass emerges, one might say, -with the springing up of pointed architecture, -though the beginnings show themselves in Norman -architecture in the eleventh century. Four -centuries the two arts flourished side by side; -with the decadence of the greater came also the -decline of the subsidiary; a poorer taste in building -was naturally accompanied by a poorer taste -in glass. With the revival of interest in those -long-neglected periods of noble achievement, -the Oxford movement of Church Restoration -giving men the religious guiding principles for -an intelligent appreciation of the forms of -Mediæval art, church building and glass staining -were brought back again, the one with the -other. And whether such restoration can leave -us satisfied with the mere recovery of the riches -of by-gone ages, or must mean also, as I believe, -the development of what the present can contribute -in a reverent but not slavish spirit—certain -it is that the first step is to understand the -past, to find out what was done in the great -formative and classic periods, why it was done -as it was and not otherwise, in a word, to master -the models before we proceed on our own course; -and, as I said before, to remember to which -period and style our own edifice belongs.</p> - -<p>It was my good fortune when recently in the<span class="pagenum"><a id="Page_32"></a>[32]</span> -city of Philadelphia, to obtain access to a -rare work over which I spent some very -delightful hours. Its author was a William -Warrington, himself a designer and producer of -windows, and a reverent student of ancient examples, -who published his great folio in London, -in 1848. From him I learned many things about -the beginnings and progress of the art. Great -were the difficulties of the eleventh century -pioneers. They had to contend with defective -methods of manufacture; not understanding -glass-blowing they fused their glass in pots and -crucibles, and cast it to about the required shape, -in pieces not more than four or five inches in -diameter. Cutting with the diamond was not -known till the sixteenth century. They designed -and made and erected their own work. When -great orders were to be executed, artists were -brought together from the different countries, -and by a sort of “free-masonry” they worked -together in perfect agreement as to styles, rules, -and principles.</p> - -<p>In the course of time, different countries produced -slightly differing schools.</p> - -<p>As in heraldry, the colors of the glass were -intended for colors of precious stones; the representations -of figures and objects were not meant -to be pictures, but being also strictly symbolical, -the drawing was conventional, with no intention -to reproduce nature in color, or form, or position -and perspective. The figures which excite ridicule -on the part of one who is without the clue, -justify themselves by this principle; nor is it -quite true to say the men of that time did not -know how to draw—their ability in this respect -was not that of artists to-day, but if their object -had been to produce a figure or a scene for the -sole purpose of a picture, they might certainly -and would certainly have given us something -very different from what they did. While the -small separate pieces are often very minutely<span class="pagenum"><a id="Page_33"></a>[33]</span> -pencilled, all such work being afterward burned -in—there is no “shadowing,” as in a picture, -supposing the light to fall from a certain direction; -but a kind of “relief” shading, making -the view suitable to any aspect. In a word, the -drawing is the same as in MSS., tapestries and -heraldic designs. Ruby and sapphire were the -ground colors. And in all the work the primitive -colors were adhered to.</p> - -<p>In York Minister there is to be found the -largest and finest specimen of thirteenth century -glass in England in a group of lancets known as -the “Five Sisters.” The lancets are each six -feet wide and fifty feet high, and each divided -into thirteen compartments or squares of different -patterns. Their designs being largely of an -ornamental character, they escaped destruction -by the Puritans.</p> - -<p>It is a curious fact that English stained glass -at no time had large figures. In the thirteenth -century Continental art in this respect diverged -from ancient and English, under Italian influence.</p> - -<p>In the Cathedral of Bourges there are one -hundred and eighty-three stained glass windows, -executed from the thirteenth century downwards. -The early lancets have figures occupying -the larger part of the window, sometimes fifteen -or twenty feet high; over each figure a sort of -canopy or tabernacle disproportionately small, -and under it a kind of pedestal or base about a -foot high. Around the margin is the finest work -in the windows, in a broad band of mosaic.</p> - -<p>Cologne Cathedral has four lancets each eleven -times its width in height, filled with early glass -of this period; the figures in the windows are in -height one-third the height of the lancet, with a -canopy above them.</p> - -<p>The developments of the centuries following -are of less interest to our present purpose. Suffice -it to say that even in the rich Decorated<span class="pagenum"><a id="Page_34"></a>[34]</span> -Style of Architecture the treatment of individual -windows was not what we might term ambitious: -the effect was secured by not attempting too -much in a single window, but by producing a -rich harmony with subordination of each to the -whole. In the Perpendicular Style which followed, -in the fifteenth century, while there was -a very abundant production of glass, its quality -was inferior, and much white glass was used. -Figures with canopies were used when the single -openings were one foot wide and upward; panels, -when they were considerably larger; and to fill -the extreme length, story upon story. And -there begins to appear a tendency to conform -the glass less to the architecture itself.</p> - -<p>From the sixteenth century on there is marked -decay. The attempts to treat glass like canvas -prove an entire failure. A voluptuous and sensual -school of painting came in, debasing a -religious art, which thus became secularized, -and almost disappeared. The destruction of fine -ancient examples in the Puritan revolution left -England very poor, and the little that remained -came to be less and less appreciated.</p> - -<p>Curiously enough, large importations of glass -consequent on the French Revolution with its -destruction of churches, put into the hands of -English churchmen what the religious revival -of the Church soon taught them to appreciate -once more, and so it is that to-day England is -enriching her cathedrals and churches with restorations -and new windows; and from her the -impulse has naturally come to our own land also. -But the production of stained glass is in America -of very recent date.</p> - -<p>From facts like the foregoing we may conclude -that the subject is one of importance and involving -so much that it is well that we should proceed -cautiously in the placing of stained glass -in Grace Church.</p> - -<p><span class="pagenum"><a id="Page_35"></a>[35]</span></p> - -<p>But shall we encourage such a movement at -all?</p> - -<p>It seems to me that this is the moment supremely -opportune for us to inaugurate a scheme -of window treatment such as shall glorify our -house of God more and more till it reaches completion. -How long it may take to reach completion -is in a sense immaterial. That we should -begin now, and make every step a right one, is -the great matter.</p> - -<p>The practical question is, Shall we choose to -admit one or a few striking windows into this -edifice, windows which may have no relation to -each other, produced possibly by methods or on -principles entirely at variance, in color-schemes -discordant, in scale of drawing entirely dissimilar -and unequal: or shall we guide intending donors -to such gifts as shall be a satisfaction and a delight -forever, beautiful each in itself, but more -beautiful still when assembled? This I take it -is the question. For I believe windows will be -placed, whether we encourage it or not, within a -decade, possibly much sooner. And when I put -the question thus, it appears to me there is but -one answer possible.</p> - -<p>Let us then get down to the practical details in -the matter. Leaving the great chancel window -entirely out of consideration, we have five pairs -of lancets of equal size on either side of the nave, -and a sixth, smaller pair over the doors in continuation -of the series up to the chancel. We -have further, the magnificent group of three -lancets at the foot of the nave, with a fourth -lancet a little smaller, and still much larger than -those in the pairs already referred to.</p> - -<p>Here is a considerable number of windows—twenty-nine -when we count in the chancel window; -what an opportunity for discord and artistic -anarchy! Let us say, rather, what a remarkable -and rare opportunity for the production of -a rich and hallowed splendor, fitted not only to<span class="pagenum"><a id="Page_36"></a>[36]</span> -express the consecration of man’s gifts to God, -but to instruct the minds and quicken the devotions -of generations to come.</p> - -<p>The objection which most readily offers itself -when stained glass is proposed for Grace Church -is that the twenty lancets at the sides are so extremely -narrow and so very high that nothing -can be done with them. If by ‘doing something’ -is meant putting in scenes with several or many -figures, it is most true. The breadth of wall -between the two windows constituting the pair -is so large that the scene could not be carried -from the one to the other. But surely that does -not exhaust the possibilities. The openings are -wide enough to permit the treatment of single -figures in full life-size if desired; figures with -canopies, borders, and panels at the base, as in -the best periods of ancient glass. The breadth -of these openings is twenty-one inches; six -inches more than that of the small pair erected -All Saints, 1895, at the side of the pulpit, in -which the figures are certainly of dignified stature, -and by no means poor in back ground and -accessories. If such results are possible in a -space fifteen inches wide and six feet high; how -much more in a space twenty-one inches wide -and thirteen feet high.</p> - -<p>Single figures, therefore, are demanded by -the conditions which govern us, for the side -lancets; unless we rest content with geometrical, -or flower windows, or windows bearing emblems, -more or less ornately bordered. I venture to -say that at this stage of our history, when we -are not pressed to fill our window-openings with -whatever may be obtainable, we desire the best -that can be had. This best, for the side lancets -is,—single figures, with canopy, border and base -panel.</p> - -<p>Mr. F. S. Lamb of New York, who designed -the beautiful work erected a year ago, has prepared -and sent me two pairs of colored sketches,<span class="pagenum"><a id="Page_37"></a>[37]</span> -suggesting a noble and beautiful form which in -the execution would, of course, far surpass what -appears in the drawings. They are submitted -for your careful study, and may be seen at any -time in my library.</p> - -<p>What then shall the figures be? Shall they -be chosen at random? Artistically speaking, -this might not be so disastrous, provided the -same artist drew all the designs and controlled -the execution, so that the scale of drawing and -the scheme of color were kept in accord. And -that is a great deal more than can be said of -some of the principal churches in our greatest -cities, where immense sums have been spent on -these works. No; there is something better -still, open to us. It is a serial treatment, with -unity, and progress: so that the whole, when -complete, shall tell one great story, each part a -chapter therein; the whole impress one truth, -each part contributing somewhat to the cumulative -force of the great lesson.</p> - -<p>And, not to detain you with all the processes -of thought and long reflection by which at last -we reach our conclusion—the figures we suggest -are those which are conspicuous and representative -in the Old and New Testaments. Our -Divine Lord Himself should be, as He is, exalted -in the great window over the altar. Beginning -from the angle of the chancel arch to pass -around the church, we come first to the pair of -small windows next to the organ, from which -now the light is excluded by the parish building. -They may be taken as in a sense going with the -organ, and scarcely a part of the general scheme. -Let them be treated, at some time, in mosaic, -with <span class="smcap">Singing Angels</span>,<a id="FNanchor_3" href="#Footnote_3" class="fnanchor">[C]</a> thus corresponding to -the Angels directly opposite in the corresponding -small windows. Then we pass to the first -pair of lancets of uniform size, <span class="smcap">Melchizedek</span> -and <span class="smcap">Abraham</span>: the latter the great father of the<span class="pagenum"><a id="Page_38"></a>[38]</span> -faithful, the head of the covenant people; the -former even superior to him, a priest forever, -without beginning or end of days, type of our -Lord’s own Highpriesthood. Melchizedek appears -before Abraham, bearing bread and wine, -foreshadowing of the Holy Eucharist. What -more suitable, as we look up to the altar and see -above it the figure of Our Blessed Lord, than to -turn to the head of the nave, and find here, at -the dawn of religious history, standing out as -type of the Christ in whom the course of the -ages shall culminate, this King of Salem at the -very beginning?</p> - -<div class="footnote"> - -<p class="noi"><a id="Footnote_3" href="#FNanchor_3" class="label">[C]</a> Recently placed.</p> - -</div> - -<p>We pass on. The next pair will be <span class="smcap">Moses</span> -and <span class="smcap">Samuel</span>: both conspicuous as appointed of -God to lead, to rule, to judge the people whom -God had chosen; Founders of Israel as a nation. -Surely these, if any, we must commemorate as -among the greatest in the covenant history.</p> - -<p>This brings us to the third or middle pair. -Woman, too, bears her conspicuous part in the -spiritual history of mankind. <span class="smcap">Deborah</span><a id="FNanchor_4" href="#Footnote_4" class="fnanchor">[D]</a> -judged Israel for forty years in a period of disorder -and confusion, and led the way to victory: -<span class="smcap">Ruth</span>,<a href="#Footnote_4" class="fnanchor">[D]</a> a very different type, beautiful and -gentle, became one of that line of whom David, -and David’s Greater Son, were born. Other -women might have been chosen, as well as other -men; but on the whole, none more typical, none -better fitted to instruct and to impress.</p> - -<div class="footnote"> - -<p class="noi"><a id="Footnote_4" href="#FNanchor_4" class="label">[D]</a> Now in place.</p> - -</div> - -<p>The fourth pair continues the narrative. -<span class="smcap">David</span> and <span class="smcap">Elijah</span>, each so striking in his way, -bring back the kingdom in its glory and the -kingdom in its disaster; religion sweetly ministrant -with music, and religion sternly denouncing -national sin; the royal harp, and the prophetic -mantle.</p> - -<p>And finally, the fifth pair on this side, <span class="smcap">Isaiah</span> -and <span class="smcap">Malachi</span>: the greatest of all the prophets, -called the Evangelist of the Old Testament; and<span class="pagenum"><a id="Page_39"></a>[39]</span> -the last of seers, who most clearly foretold both -Messiah and Forerunner.</p> - -<p>Thus we arrive at one of the entrances, and -turning the corner, we stand before the first of -the windows at the lower end. It is large enough -to admit more than one figure. It continues -the story from Malachi, to him who went before -the face of the Lord: it presents to us <span class="smcap">St. John -The Baptist</span>,<a id="FNanchor_5" href="#Footnote_5" class="fnanchor">[E]</a> baptizing at Jordan; and close -by it stands the Font with its summons, as of -old, to the washing away of sins.</p> - -<div class="footnote"> - -<p class="noi"><a id="Footnote_5" href="#FNanchor_5" class="label">[E]</a> To be erected in the near future.</p> - -</div> - -<p>A splendid opportunity is presented by the -great group next in order, the three associated -windows piercing the end wall of the nave. -Majestic in their simple dignity of outline, what -will they not be when filled with stained glass as -they should be? Here is space, indeed—ample -room for that scene treatment of which the side-wall -windows are incapable.</p> - -<p>Let the middle one, which is much the largest, -be the <span class="smcap">Nativity</span>;<a id="FNanchor_6" href="#Footnote_6" class="fnanchor">[F]</a> that on the right side -(next to St. John Baptist) the <span class="smcap">Presentation -in the Temple</span>,<a href="#Footnote_6" class="fnanchor">[F]</a> with Simeon’s Nunc Dimittis; -that on the left side, the <span class="smcap">Epiphany</span>,<a href="#Footnote_6" class="fnanchor">[F]</a> with the -Gifts of the Magi. Thus will this entire end-wall -set forth the Incarnation, up to which the -Old Testament has led us, and out of which proceeds -the New, and all the history of the Christian -Church.</p> - -<div class="footnote"> - -<p class="noi"><a id="Footnote_6" href="#FNanchor_6" class="label">[F]</a> Now in place.</p> - -</div> - -<p>Turning again, and passing on, back once -more toward the chancel, the first and second -pairs of lancets on the Cottage Street side are -devoted to the four Evangelists, <span class="smcap">Sts. Matthew</span>, -<span class="smcap">Mark</span>, <span class="smcap">Luke</span> and <span class="smcap">John</span>. No explanation is -needed of the propriety of putting these figures -here. Not only as the biographers of the Lord -Jesus Christ, but as chief Founders of that -Church which is builded upon Historic Facts—men -of deeds as well as writers—we commemorate -them.</p> - -<p><span class="pagenum"><a id="Page_40"></a>[40]</span></p> - -<p>The middle pair is again given to two great -women of the New Testament, mothers both -and as mothers supremely great: <span class="smcap">St. Elizabeth</span><a id="FNanchor_7" href="#Footnote_7" class="fnanchor">[G]</a> -and <span class="smcap">St. Mary</span>.<a href="#Footnote_7" class="fnanchor">[G]</a> Of the son of the first -one it was said, Among those born of women -there hath not appeared a greater than John. To -the other the Angel’s word was, Hail, thou that -are highly favored: the Lord is with thee; and -blessed art thou among women. No two characters -can lay more claim to our gratitude and -reverence than these two women to whom an -Allwise God entrusted the tender formative -years of the Forerunner and of the Messiah.</p> - -<p>There is indeed a glorious company of -Apostles, and a noble army of martyrs, whom -one would gladly set forth, two and two, in -goodly succession. Two pairs must suffice us: -first <span class="smcap">St. Andrew</span><a href="#Footnote_7" class="fnanchor">[G]</a> and <span class="smcap">St. Stephen</span>;<a href="#Footnote_7" class="fnanchor">[G]</a> next <span class="smcap">St. -Peter</span><a href="#Footnote_7" class="fnanchor">[G]</a> and <span class="smcap">St. Paul</span>.<a href="#Footnote_7" class="fnanchor">[G]</a> We begin with <span class="smcap">St. -Andrew</span>, for he readily obeyed the calling of -Christ and followed Him without delay, bringing -his brother also: type of self-devotion and -personal service, forever. <span class="smcap">St. Stephen</span>, set -apart for the Church’s charitable work, filled -with the Holy Ghost and a mighty preacher,—he -was the first Deacon, and became the first -Martyr. <span class="smcap">St. Peter</span> and <span class="smcap">St. Paul</span> bring us to a -climax in the Church’s realization of the great -commission; prince apostles, the former first -led to the Gentiles but afterward distinctly -charged with the Gospel to the Circumcision; -the latter sent out to the Uncircumcision, truest -champion of a Catholic Faith and uncompromising -leader of a Catholic Church. He brings us, -as we pass the two Angel figures over the door, -up to the pulpit,—who fitter than he to be set -always before the preacher?—and thence again -we see before us the altar and the figure of Our -Blessed Lord from which we started on our circuit;</p> - -<div class="footnote"> - -<p class="noi"><a id="Footnote_7" href="#FNanchor_7" class="label">[G]</a> Now in place.</p> - -</div> - -<p><span class="pagenum"><a id="Page_41"></a>[41]</span></p> - -<div class="blockquot"> -<p class="noi">“Christ is the end, for Christ was the beginning:<br /> -Christ the beginning, and the end is Christ.”</p> -</div> - -<p>This is the scheme which is hereby recommended -to your attentive consideration, your -criticism, and if worthy, your adoption. When -adopted, each opening will be available only for -the subject assigned to it, treated in the best -style, under the direction and approval of the -vestry. Windows may be erected in any order, -provided these conditions are complied with; -though it is highly desirable that not less than a -pair—where there are pairs—should be placed at -a time. It is immaterial how many persons join -in donating a window. The use of the windows -for memorials is very beautiful and very desirable; -but there is no restriction to such use, by -anything in the scheme.</p> - -<p>And in closing let it be added, that if—as -undoubtedly they will—the vestry and -parish shall feel sincerely thankful to those -who participate in this pious work, it is not -there that the gratitude should chiefly lie. It is -an unspeakable privilege to be permitted to -place a memorial like this in the house of God, -bringing ever new comfort and joy to hearts -bereaved, and satisfaction to the donors; yes, if -there is need to say it, it is an honor to be permitted -to do it. Moreover, in the nature of the -case, it is a privilege very limited as to the number -of those who can be so favored; and with -every window that is taken, the number remaining -available becomes rapidly less.</p> - -<hr class="tb" /> - -<p>The above Report with its Recommendations -was adopted, entire, by unanimous vote of the -Vestry at the regular monthly meeting, January -5, 1897.</p> - - - - -<hr class="chap" /> -<div class="tnote"> -<p class="noi tntitle">Transcriber’s Notes:</p> - -<p class="smfont">Punctuation and spelling inaccuracies were silently corrected.</p> - -<p class="smfont">Archaic and variable spelling has been preserved.</p> - -<p class="smfont">Variations in hyphenation and compound words have been preserved.</p> -</div> - -<div style='display:block; margin-top:4em'>*** END OF THE PROJECT GUTENBERG EBOOK STAINED GLASS WINDOWS ***</div> -<div style='text-align:left'> - -<div style='display:block; margin:1em 0'> -Updated editions will replace the previous one—the old editions will -be renamed. -</div> - -<div style='display:block; margin:1em 0'> -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. 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