The San Francisco Call. Newspaper, April 10, 1898, Page 33

THE SAN FRANCISCO CALL, SUNDAY, APRIL 10, 189S8. 83 T ined purposes of ornamentation, practical use and the il- ligious thought, no portion of a sacred edifice Is more its windows. In them the art of the day finds expres- grace of the designer and the skill of the painter; the stained glass indus of the period is manifest, the o aiths and dogmas set forth so dis- ing to them, can discern at a glance the on of the in which the windows were nts of historical worth, church windows can By r mute yet eloquent agency, the mile- 4 ced from t h century to the pres- S ted at Constanti t that time and also d historians agree that they were in use as early 3 b een a window of the eleventh cen- ecimen of the stained glass art which has sur- d accident. The most superb window of the pres- be in the Parliament House, Edinburg. It is an L of glass painting. cal usage, for d by mosaics of colored glass, painted with an enamel made permanent by fire, and presenting pictures with the fidelity of an oil painting made transparent, had their origin in Chris- tian religion, although Egypt in ancient times used enamels to ornament the surface of glass. France and Germany claim the distinction of discover- ing the art, but it is prob- ably in Italy that It was conceived. During the thir- teenth century Italy gave the works of many masters trating the presentation by a native shepherd of the image of Guadalupe te the Bishop. The Frauen Vereln some years ago gave a costly window to St. Paul's Lutheran Church. Upon its left is S Paul with sword, to the right St. Pe- ter with keys; above, Bible, chalice and dove. The effect is striking, the color scheme and execution most excellent. “Christ Walking on the Water” is the theme of a very artistic piece of )work in St. Peter's on Alabama street. St. Francis is fortunate in its pos- session of “Our Lady of Lourdes” and “Sacred Heart.” A window of note in Westminster Presbyterian is the Greenwood memorial. St. Dominic’s has a beautiful window, delicate in coloring, yet charmingly distinct, representing St. Raymon. The window attracts by reason of its ad- mirable detail, rather than its size. Holman Hunt's celebrated picture, “Light of the World,” is repeated with fine effect in glass in St. John’s Episcopal Church. The chancel windows here are worthy of study. They are originals and represent the nativity, crueci- fixion and resurrection. Another notable window, a memorial, is the one ded- jcated to St. John, in St. John's Presbyterian Church. The figure is finely done and the coloring exceptionally pleasing. — . St. Joseph's ROUND has a sanctuary window ex- WINDOW, | tremely rich in ST. BRIGID'S | Its blended and contrasting CHURCH. | hues. “The Na- tivity” is the subject. Here also the eye rests with admiration upon two memorial works of stained glass art, the deli- cate tinting of which was chosen because of the posi- tion they hold in regard to light, “The Sacred Heart of Our Lord”and “Sacred Heart yple R/ [ U ey [ Vg Tl MEMORIAL WINDOW, TRINITY CHURCH. ed here. The next largest windows are the dow in the cathedral at Sacramento and windows in St. Francis de Sales, Oakland. memorial windows have been recently piscopal Church by Walter E. Dean, 1 George A. Pope. These represent al art, the subjects being “Christ e Children,” “The Resurrection” and “Ser- Mount.” A pretty window, though not large, s a pointe ne in the southeast transept, rep- the baptism of Jesus Christ by St. John. A hand- T ft is the Calef window in the west wall. A London window in Grace Church represents “Christ ing Little Children.” The same subject is carried 1 tenderness and skfll in the chapel of Maria Kip the only stained ss window placed there, iful piece of work. Ignatius, one of the finest structures of its kind in ed States and owning the mrgest and finest or- countr, only foreign windows in its mas- St. is ornamented by a handsome low some eight feet in diameter, exceedingly rich in coloring, the center space presenting a life-like portrait of the late Archbishop Alemany. Three win- dows in the Russian Church are of local origin. St. Mary’s Church of the Paulist Fathers, for many ars a landms ‘alifornia street, has fourteen win- 1 t. The two largest portray re- aching at Athens,” after Raphael’s "he Conv ion of St. Paul,” after 1 memorial is a notice- mon on t} in Trini painting, and The Frank window in St in Ness avenue, a splendid ive local figure-windows of much-admired workn hip, the majority of the others being European. An Eastern memorial window of original design is that in the Spanish Church on Broadway, illus- to the world, but with the passing of the centuries her achievements have ceased, and Germany now leads in this, one of the most noble of the arts. The windows of the mod- ern house of worship are the last subjects for con- sideration of the builders. They do not, as a rule, ever enter into the plans of the contractor, but are the gifts of wealthy members of the congregation The erection of memorial and decorative windows has long been a custom both appropriate and interest- ing, and fortunes innum- erable are yearly expend- ed in t way throughout the world. ancisco, though so distant from the art of the old world, 10t been deprived of these objects of beauty. In our churches may be found splendid specimens from Munich, a few of Eastern make, one or two from London, but—and this L well for local art and home industry—the majority were manufac- tured here. To enumerate all would be impossible, but several of the most nota- ble may be mentioned. Of these the greatest in size west of the Rocky Moun- tains is ' in St. Rose’s Church, 16x33 feet, a Gothic window beautifully executed, representing St. Rose of Lima in Dominican garments, with a halo of delicate golden tint. Near her s . the Angel of| Peace, bhear- | MEMORIAL ing a palm WINDOW, branch. L Rose 1Is the| ST.JOHN'S patron saint CHURCH of America, | and the only i i pis T i o s | e e = CHAPEL WINDOW, MARIA - KIP - ORPHANAGE of the Virgin.” The tweo ed- ifices now in course of con- struction, Holy Cross and the new St. Luke's, will doubtless be made the recip- ients of fine windows. The custom of giving win- dows to churches is charac- teristic of all countries. Gifts of superb masterpieces are a source of pride and pleasure to the donor, and no testimonial of regard for a dear one passed away or of interest in the perpetuation of religious thought. could be more satisfactory or en- during. A handsome church window is literally a thing of beauty and a joy forever, for unless wantonly destroy- ed by an act of vandalism it is capable of withstanding the forces of nature for cen- turies untold. Throughout the ages it may serve the manifold purposes of protec- tion from the elements, of demonstration that a re- markable branch of art may outlive nations themselves, and of providing an object lesson of singular historic in- terest. Thus the giver of a window knows that the deed is not one to last but a day or a lifetime, but for a pe- riod the length of which no prophet may determine. The chief peculiarity of church windows s the irreg- ular system of lines travers- ing their surface, sharply visible within as black divid- ing marks, but noticeable from without as merely a metallic means of connect- ing the colored panels. Opin- fon varies as to the desira- bility of these in point of beauty, and unsuccessful at- tempts have been made to do away with them, but their utility in fastening together the many pieces of mosaic ol T AT e i d B e Pt L A Y {/ THE NATIVITY, ST. IGNATIUS CHURCH. and the strength thus given to the whole make them indispensable. Ribbons of lead, soldered at every angle, furnish this required support. So much a component part of the art are these lines that t 0 eliminate them would destroy the entire character of it. The very ruggedness of the lines constitutes their value to him who has studied with feeling the subject of windows as offerings at the shrine of religion. In no way do they interfere with the pictured whole, if properly placed. Artists who paint on glass are confronted with condi- tions entirely absent from those in which the painter of canvases employs his skill. It will be readily understood that the methods of painting upon opaque and transpar- ent surfaces are essentially different. Outlines m be sufficiently sharp to be seen clearly at a_ distance, else the effect will be either wholly or partially lost upon the observer, when figures are reproduced. In short, it is a department of the painter’s art that is a law unto itself. The high lights are the natural color of the glass, known to the artistas “pure” or “local” color. To produce shadows or accentuated colors the enamel is laid on with corresponding thickness. The glass must previously be burnt very carefully in order tofix theenamel thereon. Dur- ing the last century England produced a number of not- able glass painters who have left us some fine specimens of their handiwork. Inseparable from the thought of church worship is the softened, prismatic light cast within by transparent pic- tures that are sermons in themselves. He who con- structs them leaves a niche for himself in history, but of those who see his achievements comparatively few realize or appreciate the Infinite pains he has taken to produce such results, or tke high order of talent and careful plan- ning necessary to accomplish them. The maker of win- dows must be in thorough accord with his work in order to be successful. He must be a student, a mechanic and an artist, his idea of the fitness of things unerring, his judgment thoroughly reliable. The slightest incongruity in the work is not only perceived by all who are capa- ble of criticizing its quality, but it will remain a lasting reproach to him. There is no more pitiless searcher for defects than the daylight, which, penetrating a window, reveals its imperfections, or, finding none, brings fortn for admiration of the observer the wonders that the maker has wrought. ‘When barrel organs, once the usual accompaniment of the magic lantern, came into use, a native of the prov- ince of Tende was one of the first who traveled about Europe with this instrument. In his peregrinations he collected money enough to enable him to purchase from the King of Sardinia the title of count of the country where he was born—for which, probably, in a time of war, he did not pay above a thousand guineas. ‘With - the remainder of his money he purchased an es- tate suitable to his rank, and settled himself peaceably for the remainder of his days in his mansion. In the entrance hall of his dwelling he hung up his magic lantern and his organ facing the door, there to be carefully preserved till they moldered to dust; and he ordered by his will that any one of his descendants who should cause them to be removed should forfeit his in- heritance, and his patrimony revert to the next heir, or, in failure of a successor, to the hospital of Tende. Only a few years ago the organ and lantern were still to be seen carefully preserved.