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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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