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Posts Tagged ‘stained glass windows’

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Dorcas is one of a set of two windows purchased by William Amory (1808-1888) in memory of his parents Thomas Coffin Amory (1767-1812) and Hannah Rowe Linzee Amory (1775-1845).

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Located in the north transept of Trinity Church in Copley Square, the window was installed between 1877-1878. According to the literature, both the Amory and Linzee families had long been associated with the parish which was found in 1733. Designed and executed by Burlison & Grylls of London, the window depicts the biblical figure of Dorcas, a woman of wealth, who aided those who were in need. In this case the artist shows Dorcas throwing a garment over someone beseeching her for aid.

 

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It is a beautifully rendered window full of drama and rich colorful detail. See for yourself when you have the chance: http://trinitychurchboston.org/visit/tours

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Today I was browsing the online archives of the Library of Congress and chanced upon this 1930s drawing by Katherine Lamb Tait. Though it is not labeled as such, I realized it was an early rendition of her design for the unique stained glass windows at Tuskegee University known as The Singing Window.

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About two years ago, I wrote an article describing the story behind the windows. You can read it online here in Deep South Magazine and learn how Tait collaborated with Robert Moton, President of Tuskegee, to produce what would be a visual expression of eleven spirituals.

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Installed in 1933, the original windows would only be in place for about twenty years before a fire destroyed the chapel where they were located. But because Tait’s final design survived …

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… when a new chapel was built in the 1960’s, architects were able to recreate and include the new Singing Window as well.

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I hope to see it in person one day. This photo of the window can be found on the Library of Congress website courtesy of photographer Carol M. Highsmith.

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The versatility of white: Postcards, t-shirt and ornament with details from David’s Charge to Solomon, a stained glass window by Edward Burne-Jones and William Morris paired with a silk chiffon scarf featuring swaying tree branches

It has been my pleasure over the past few years to work with Donna Stenwall, Manager of Visitor Services at Trinity Church in Boston. While I think I have a pretty good grasp of color, one of the things I continually learn from Donna is how to put those colors together to create “visual eye candy” on the shelves of the shop at Trinity. Having previously worked for Laura Ashley for 35 years, she has a command not only of color but of style. The vignettes that she puts together whether based on motif or, in these examples, on color, truly captivate the eye. As she says, “There is nothing worse than having a display that is so jarring to the eye that people don’t really know where to look!”

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Warm reds, pinks and gold: Boxed note cards featuring 19th century reproduction of a 15th century painting of the Madonna and Child paired with a ceramic ornament with dove motif from The Ascension stained glass window, with just a peek at the flowers from the window The Five Wise Virgins

Visit the shop at Trinity Church and you can see these colorful vignettes for yourself.

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Cool blues: A framed watercolor print of Trinity Church at night paired with an oval glass ornament of Jesus from the window The Resurrection by John La Farge and a blue-tinted card featuring an etching of Trinity Church by Henry Blaney

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It has become an ongoing project to capture the angels amidst the green vines of the Edward Burne-Jones & William Morris windows at Trinity Church in the City of Boston. I’ve fallen a bit behind but now I’m back at it!

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See for yourself at Trinity Church: http://trinitychurchboston.org/visit/tours

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… and that is what I feel Anulfo Baez of The Evolving Critic has done with #MuseumswithAnulfo, his commitment to bring … or in my case drag … friends to museums, to catch up, to take respite from the chaos of these times, to see and experience the beauty created in the past and in the present. In my case, I was delighted that Anulfo introduced me to the newly expanded McMullen Museum of Art at Boston College. He pushed me over the edge when he mentioned the museum has a LaFarge window. It’s the first thing you see as you make your entrance.

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Of course the piece has a story. It’s an 1889 triptych designed by John LaFarge for the All Souls Unitarian Church in Roxbury, Massachusetts. In the 1920s the church was sold to another denomination and the original donors asked that the window be given to another Unitarian church located in Amherst. In 2013 that church decided to sell the windows in part as part of a planned expansion of the building. The McMullen Museum with the aid of alum William Vareika was able to purchase the windows. Serpentino Stained Glass which restored the window before its installation at Boston College has a great page describing the window’s structure and their restoration efforts.

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Of the three figures – St. John, Christ Preaching and St. Paul, LaFarge’s rendering of Paul held my attention most but the whole of course is a masterpiece.

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Anulfo, who @evolvingcritic describes himself as a “Self-proclaimed nerd into art, architecture, design, culture and sneakers,” discussed the fact that LaFarge was well known for his experimentation. He understood the science behind the materials he used, whether paint or glass, and how to create the painterly effects he desired.

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One thing you always hear about LaFarge is that he painted the head, hands and feet. While the window was undoubtedly meant to be up high on a wall, it is a delight to be able to walk right up to the window in its specially lit display case and see LaFarge’s work up close.

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Thanks to Anulfo for making this visit happen!

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Learn more …

McMullen Museum of Art at Boston College

http://www.serpentinostainedglass.com/Serpentino_Stained_Glass/John_La_Farge_at_McMullen_Museum.html

 

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Installed between 1872 and 1957, the stained glass windows of First Church in Cambridge, Congregational “do not belong to a comprehensive scheme, nor to a single style, subject or studio. They are a melange. Each must be viewed in its own light.

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The Kimball/Rice Window by Horace J. Phipps and Company (1918) and The Willet Stained Glass Studios, Inc. (1960)

Those are the words of Pastor Allen Happe in the Foreword of the book, A Sympony of Color, by Patricia H. Rodgers. The book, published in 1990, provides a brief overview of the church’s 350 year history, and then focuses on the evolution of the physical building now present at 11 Garden Street, Cambridge, MA. It has been my pleasure to visit the building several times at night to attend concerts. Of course, I could not see the windows but  I was intrigued by their size and the lead outlines. Recently I made contact and was given permission to visit and photograph the windows. It was a cloudy day but there was just enough to light to illuminate the interior beauty.

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Detail from the Kimball/Rice Window by Horace J. Phipps and Company (1918) and The Willet Stained Glass Studios, Inc. (1960)

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Detail from the Kimball/Rice Window by Horace J. Phipps and Company (1918) and The Willet Stained Glass Studios, Inc. (1960)

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Detail from the Kimball/Rice Window by Horace J. Phipps and Company (1918) and The Willet Stained Glass Studios, Inc. (1960)

In her book, Rodgers identifies at least six studios whose work is represented including the Tiffany Glass & Decorating Company, The Willet Stained Glass Studios, Inc., Horace J. Phipps and Company, Reynolds, Francis and Rohnstock, Arthur Murray Dallin and Cummings Studios. There are several windows for which the studio is unknown. One of those windows is the Hart Window.

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Produced by an American glass company in 1901, it is composed of layers of opalescent glass. According to Rodger’s research, the windows was restored in 1987 and at that time it was discovered that there were up to three layers of glass in places.

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There are several striking windows by Tiffany Studios including St. Catherine of Alexander (1908). Catherine represents saintliness, beauty, and learning. This window, the last to be installed by Tiffany for First Church, was given in memory of young woman who was a noted scholar and dedicated to her missionary work.

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The Catherine window is situated between several non-figural grisaille windows.

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There are at least eight Tiffany Studios windows present.

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Detail from They Shall Be Mine, Saith the Lord, 1895

Perhaps one of the most captivating windows overall is Tiffany’s The Four Elements, 1895.

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Designed by W. Frederick Wilson for the Tiffany Studio. As Rodgers notes in her book from a period newspaper, the window apparently has over one hundred thousand separate pieces of glass and one half tone of lead and solder used to hold the pieces in position. They are the largest set of windows at First Church.

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The robes of the largest angels, representing earth, air, fire and water, are made from drapery glass.

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Tiffany Studios closed around 1928. Windows installed after this time reflect a different aesthetic as in the Bancroft Window, 1929, produced by the studio of Reynolds, Francis and Rohnstock.

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First Church in Cambridge, Congregational is quite the expansive space with a long history, and it is a welcoming place. I’m grateful for the opportunity to visit this lovely place and share the beauty of its windows.

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Learn more about this church online at http://www.firstchurchcambridge.org/

Sources & Additional Reading

https://www.amazon.com/symphony-color-Stained-glass-Church/dp/0962619604

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Detail from opalescent chancel window, Cummings Studios, 1954

 

 

 

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I recently visited First Church in Cambridge with my camera. Looking forward to sharing what I saw. Have a good Friday!

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