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  1. Houses of Worship

Louis Comfort Tiffany

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Saint Michael's Altar and Reredos by Louis Comfort Tiffany
<br><br>
From a pamphlet available in the narthex (entrance) of the church, “A Brief Tour and Description of St. Michael’s Church Interior and Windows,” by church Archivist Jean Ballard Terepka:
<br><br>
“Reredos is from two Latin-French words meaning rear and back. The reredos behind the High Altar is in the form of a mosaic set against and into the wall. It contains four medallions representing a winged man, a winged lion, a winged bull and an eagle; each holds a book. These are the four cherubim described in Ezekiel I & I ad the four beasts or creatures of Revelation IV and V. In Christian art, they also represent the four evangelists, Matthew, Mark, Luke and John, who proclaim to the world Jesus Christ as the revelation of God in the world. 
<br><br>
The High Altar is of white marble, framed in a rich yellow marble, set against a dark background in order to make it the most conspicuous object in the church. In the center is a square cross constructed of circles running into one another. In the fields at the angles of the cross are inscribed in Greek the first and last letter of Jesus and Christ , “IΣ” and “X Σ” (IS and XS) and the Greek acronym, “NI-KA” (i.e., Jesus Crhist conquers by the Cross). In the long panels at the corners of the altar, and on both ends, is depicted the victory of the cross by the cross standing on the world. Between the cross in the center and the crosses in the corners, is a triangle of smaller circles and combining with the Triangles of the Trinity.“
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Saint Michael's Altar and Reredos by Louis Comfort Tiffany

From a pamphlet available in the narthex (entrance) of the church, “A Brief Tour and Description of St. Michael’s Church Interior and Windows,” by church Archivist Jean Ballard Terepka:

“Reredos is from two Latin-French words meaning rear and back. The reredos behind the High Altar is in the form of a mosaic set against and into the wall. It contains four medallions representing a winged man, a winged lion, a winged bull and an eagle; each holds a book. These are the four cherubim described in Ezekiel I & I ad the four beasts or creatures of Revelation IV and V. In Christian art, they also represent the four evangelists, Matthew, Mark, Luke and John, who proclaim to the world Jesus Christ as the revelation of God in the world.

The High Altar is of white marble, framed in a rich yellow marble, set against a dark background in order to make it the most conspicuous object in the church. In the center is a square cross constructed of circles running into one another. In the fields at the angles of the cross are inscribed in Greek the first and last letter of Jesus and Christ , “IΣ” and “X Σ” (IS and XS) and the Greek acronym, “NI-KA” (i.e., Jesus Crhist conquers by the Cross). In the long panels at the corners of the altar, and on both ends, is depicted the victory of the cross by the cross standing on the world. Between the cross in the center and the crosses in the corners, is a triangle of smaller circles and combining with the Triangles of the Trinity.“

SaintMichaelsreredosaltarLouisComfortTiffany

  • The Second Reformed Church Goodness and Mercy Angels Window
<br><br>
From <a href="http://www.secondreformed.org/stainedglass">the church website:</a>
<br><br>
"Surely goodness and mercy shall follow me all the days of my life and I will dwell in the house of the Lord forever." Psalm 23:6 
<br><br>
“Tiffany incorporated the metal strips into the design as outlines... instead of using the cames, or frames, at regular intervals, as glass makers had done for centuries. Seen here, the lead cames follow the gradual lines of the angel's flowing robes and the clouds.”
<br><br>
Louis Comfort Tiffany (1848-1933) was one of America’s most acclaimed artists and is most associated with the Art Nouveau and Aesthetic movements according to <a href="http://en.wikipedia.org/wiki/Louis_Comfort_Tiffany">Wikipedia.</a> He focused in the decorative arts and is best known for his work in stained glass. He was the son of Charles Lewis Tiffany (1812-1902), founder of Tiffany & Company. Lewis chose to pursue his own artistic interests rather than joining the family business. 
<br><br>
He began his career as a painter and traveled extensively through Europe. In the late 1870s, Tiffany turned his attention to decorative arts and interiors. In 1881, he did the interior design of the Mark Twain House in Hartford Connecticut. His most notable work was in 1862 when President Chester Arthur refused to move into the White House until it had been resorted, according to Wikipedia. He commissioned Tiffany, who had begun to make a name for himself for interior design work, to redo the state rooms. Tiffany worked on the East Room, Blue Room, Red Room, the State Dining Room, and the Entrance Hall. 
<br><br>
From  <a href="http://www.metmuseum.org/toah/hd/tiff/hd_tiff.htm">The Metropolitan Museum website:</a> “By late 1892 or early 1893, Tiffany built a glasshouse in Corona, Queens, New York, and, with Arthur Nash, a skilled glassworker from Stourbridge, England, his furnaces developed a method whereby different colors were blended together in the molten state, achieving subtle effects of shading and texture. Recalling the Old English word fabrile (hand-wrought), Tiffany named the blown glass from his furnaces Favrile, a trademark that signified glass of hand-made and unique quality.”
<br><br>
“Of all of Tiffany's artistic endeavors, leaded-glass brought him the greatest recognition. Tiffany and his early rival, John La Farge, revolutionized the look of stained glass, which had remained essentially unchanged since medieval times when craftsmen utilized flat panes of white and colored glass with details painted with glass paints before firing and leading. Tiffany and La Farge experimented with new types of glass and achieved a more varied palette with richer hues and greater density. By 1881, each had patented an opalescent glass, a unique American phenomenon that featured a milky, opaque, and sometimes rainbow-hued appearance with the introduction of light. Internally colored with variegated shades of the same or different hues, Tiffany's Favrile glass enabled craftsmen to substitute random tonal gradations, lines, textures, and densities inherent in the material itself for pictorial details.”
<br><br>
At its peak, his factory employed over 300 artisans. He was appointed as art director at Tiffany & Company upon his father’s death in 1902.
<br><br>
Tiffany lived during the Gilded Age, a period of rapid church expansion; one source reports that there were 4,000 churches under contraction in the U.S. in the 1880s according to a recent <a href="http://www.nytimes.com/2013/01/01/arts/design/louis-c-tiffany-works-at-museum-of-biblical-art.html?ref=louiscomforttiffany">The New York Times article</a> on an exhibit of Tiffany’s ecclesiastical work. There was a great demand for artists that could create great and inspiring stained glass windows, mosaics, rederos, and altars. Many churches turned to Tiffany to create such beautiful works. His work in New York churches include Saint Michaels, Advent Lutheran, Saint Ignatius Loyola, Temple Emmanu-El, Church of the Incarnation, Holy Trinity Lutheran Church, Eldridge Street Synagogue; in New Jersey, numerous windows are in Second Reformed Church of Hackensack.
<br><br>
After fire destroyed their first church, The Second Reform Church in Hackensack, New Jersey contacted Tiffany requesting windows depicting events in the life of Christ and contracted Tiffany Studios for five windows, according to <a href="http://www.secondreformed.org/clientimages/42874/stainedglasswindows/stained%20glass%20window%20info.pdf">the church website.</a> The church also contracted Duffner & Kimberly Co. for one window.  The installation of these windows was competed before the dedication ceremony in 1909. 
<br><br>
From the church website:
<br><br>
“The New York Times (May 4, 1979) wrote: "Some of Tiffany's favorite windows are in the Second Reformed Church in Hackensack ,... Tiffany frequently visited there with clients in tow, using  the visit to help them select appropriate design for their purposes." For each installation, the design was customized as the client requested and reworked to fit the window's opening size and shape requirements. Colors were coordinated to harmonize with the surroundings in each location.”
  • The Second Reformed Church Goodness and Mercy Angels Window
<br><br>
From <a href="http://www.secondreformed.org/stainedglass">the church website:</a>
<br><br>
"Surely goodness and mercy shall follow me all the days of my life and I will dwell in the house of the Lord forever." Psalm 23:6 
<br><br>
“Tiffany incorporated the metal strips into the design as outlines... instead of using the cames, or frames, at regular intervals, as glass makers had done for centuries. Seen here, the lead cames follow the gradual lines of the angel's flowing robes and the clouds.”
<br><br>
Louis Comfort Tiffany (1848-1933) was one of America’s most acclaimed artists and is most associated with the Art Nouveau and Aesthetic movements according to <a href="http://en.wikipedia.org/wiki/Louis_Comfort_Tiffany">Wikipedia.</a> He focused in the decorative arts and is best known for his work in stained glass. He was the son of Charles Lewis Tiffany (1812-1902), founder of Tiffany & Company. Lewis chose to pursue his own artistic interests rather than joining the family business. 
<br><br>
He began his career as a painter and traveled extensively through Europe. In the late 1870s, Tiffany turned his attention to decorative arts and interiors. In 1881, he did the interior design of the Mark Twain House in Hartford Connecticut. His most notable work was in 1862 when President Chester Arthur refused to move into the White House until it had been resorted, according to Wikipedia. He commissioned Tiffany, who had begun to make a name for himself for interior design work, to redo the state rooms. Tiffany worked on the East Room, Blue Room, Red Room, the State Dining Room, and the Entrance Hall. 
<br><br>
From  <a href="http://www.metmuseum.org/toah/hd/tiff/hd_tiff.htm">The Metropolitan Museum website:</a> “By late 1892 or early 1893, Tiffany built a glasshouse in Corona, Queens, New York, and, with Arthur Nash, a skilled glassworker from Stourbridge, England, his furnaces developed a method whereby different colors were blended together in the molten state, achieving subtle effects of shading and texture. Recalling the Old English word fabrile (hand-wrought), Tiffany named the blown glass from his furnaces Favrile, a trademark that signified glass of hand-made and unique quality.”
<br><br>
“Of all of Tiffany's artistic endeavors, leaded-glass brought him the greatest recognition. Tiffany and his early rival, John La Farge, revolutionized the look of stained glass, which had remained essentially unchanged since medieval times when craftsmen utilized flat panes of white and colored glass with details painted with glass paints before firing and leading. Tiffany and La Farge experimented with new types of glass and achieved a more varied palette with richer hues and greater density. By 1881, each had patented an opalescent glass, a unique American phenomenon that featured a milky, opaque, and sometimes rainbow-hued appearance with the introduction of light. Internally colored with variegated shades of the same or different hues, Tiffany's Favrile glass enabled craftsmen to substitute random tonal gradations, lines, textures, and densities inherent in the material itself for pictorial details.”
<br><br>
At its peak, his factory employed over 300 artisans. He was appointed as art director at Tiffany & Company upon his father’s death in 1902.
<br><br>
Tiffany lived during the Gilded Age, a period of rapid church expansion; one source reports that there were 4,000 churches under contraction in the U.S. in the 1880s according to a recent <a href="http://www.nytimes.com/2013/01/01/arts/design/louis-c-tiffany-works-at-museum-of-biblical-art.html?ref=louiscomforttiffany">The New York Times article</a> on an exhibit of Tiffany’s ecclesiastical work. There was a great demand for artists that could create great and inspiring stained glass windows, mosaics, rederos, and altars. Many churches turned to Tiffany to create such beautiful works. His work in New York churches include Saint Michaels, Advent Lutheran, Saint Ignatius Loyola, Temple Emmanu-El, Church of the Incarnation, Holy Trinity Lutheran Church, Eldridge Street Synagogue; in New Jersey, numerous windows are in Second Reformed Church of Hackensack.
<br><br>
After fire destroyed their first church, The Second Reform Church in Hackensack, New Jersey contacted Tiffany requesting windows depicting events in the life of Christ and contracted Tiffany Studios for five windows, according to <a href="http://www.secondreformed.org/clientimages/42874/stainedglasswindows/stained%20glass%20window%20info.pdf">the church website.</a> The church also contracted Duffner & Kimberly Co. for one window.  The installation of these windows was competed before the dedication ceremony in 1909. 
<br><br>
From the church website:
<br><br>
“The New York Times (May 4, 1979) wrote: "Some of Tiffany's favorite windows are in the Second Reformed Church in Hackensack ,... Tiffany frequently visited there with clients in tow, using  the visit to help them select appropriate design for their purposes." For each installation, the design was customized as the client requested and reworked to fit the window's opening size and shape requirements. Colors were coordinated to harmonize with the surroundings in each location.”
  • The Second Reformed Church Goodness and Mercy Angels Window
<br><br>
From <a href="http://www.secondreformed.org/stainedglass">the church website:</a>
<br><br>
"Surely goodness and mercy shall follow me all the days of my life and I will dwell in the house of the Lord forever." Psalm 23:6 
<br><br>
“Tiffany incorporated the metal strips into the design as outlines... instead of using the cames, or frames, at regular intervals, as glass makers had done for centuries. Seen here, the lead cames follow the gradual lines of the angel's flowing robes and the clouds.”
<br><br>
Louis Comfort Tiffany (1848-1933) was one of America’s most acclaimed artists and is most associated with the Art Nouveau and Aesthetic movements according to <a href="http://en.wikipedia.org/wiki/Louis_Comfort_Tiffany">Wikipedia.</a> He focused in the decorative arts and is best known for his work in stained glass. He was the son of Charles Lewis Tiffany (1812-1902), founder of Tiffany & Company. Lewis chose to pursue his own artistic interests rather than joining the family business. 
<br><br>
He began his career as a painter and traveled extensively through Europe. In the late 1870s, Tiffany turned his attention to decorative arts and interiors. In 1881, he did the interior design of the Mark Twain House in Hartford Connecticut. His most notable work was in 1862 when President Chester Arthur refused to move into the White House until it had been resorted, according to Wikipedia. He commissioned Tiffany, who had begun to make a name for himself for interior design work, to redo the state rooms. Tiffany worked on the East Room, Blue Room, Red Room, the State Dining Room, and the Entrance Hall. 
<br><br>
From  <a href="http://www.metmuseum.org/toah/hd/tiff/hd_tiff.htm">The Metropolitan Museum website:</a> “By late 1892 or early 1893, Tiffany built a glasshouse in Corona, Queens, New York, and, with Arthur Nash, a skilled glassworker from Stourbridge, England, his furnaces developed a method whereby different colors were blended together in the molten state, achieving subtle effects of shading and texture. Recalling the Old English word fabrile (hand-wrought), Tiffany named the blown glass from his furnaces Favrile, a trademark that signified glass of hand-made and unique quality.”
<br><br>
“Of all of Tiffany's artistic endeavors, leaded-glass brought him the greatest recognition. Tiffany and his early rival, John La Farge, revolutionized the look of stained glass, which had remained essentially unchanged since medieval times when craftsmen utilized flat panes of white and colored glass with details painted with glass paints before firing and leading. Tiffany and La Farge experimented with new types of glass and achieved a more varied palette with richer hues and greater density. By 1881, each had patented an opalescent glass, a unique American phenomenon that featured a milky, opaque, and sometimes rainbow-hued appearance with the introduction of light. Internally colored with variegated shades of the same or different hues, Tiffany's Favrile glass enabled craftsmen to substitute random tonal gradations, lines, textures, and densities inherent in the material itself for pictorial details.”
<br><br>
At its peak, his factory employed over 300 artisans. He was appointed as art director at Tiffany & Company upon his father’s death in 1902.
<br><br>
Tiffany lived during the Gilded Age, a period of rapid church expansion; one source reports that there were 4,000 churches under contraction in the U.S. in the 1880s according to a recent <a href="http://www.nytimes.com/2013/01/01/arts/design/louis-c-tiffany-works-at-museum-of-biblical-art.html?ref=louiscomforttiffany">The New York Times article</a> on an exhibit of Tiffany’s ecclesiastical work. There was a great demand for artists that could create great and inspiring stained glass windows, mosaics, rederos, and altars. Many churches turned to Tiffany to create such beautiful works. His work in New York churches include Saint Michaels, Advent Lutheran, Saint Ignatius Loyola, Temple Emmanu-El, Church of the Incarnation, Holy Trinity Lutheran Church, Eldridge Street Synagogue; in New Jersey, numerous windows are in Second Reformed Church of Hackensack.
<br><br>
After fire destroyed their first church, The Second Reform Church in Hackensack, New Jersey contacted Tiffany requesting windows depicting events in the life of Christ and contracted Tiffany Studios for five windows, according to <a href="http://www.secondreformed.org/clientimages/42874/stainedglasswindows/stained%20glass%20window%20info.pdf">the church website.</a> The church also contracted Duffner & Kimberly Co. for one window.  The installation of these windows was competed before the dedication ceremony in 1909. 
<br><br>
From the church website:
<br><br>
“The New York Times (May 4, 1979) wrote: "Some of Tiffany's favorite windows are in the Second Reformed Church in Hackensack ,... Tiffany frequently visited there with clients in tow, using  the visit to help them select appropriate design for their purposes." For each installation, the design was customized as the client requested and reworked to fit the window's opening size and shape requirements. Colors were coordinated to harmonize with the surroundings in each location.”
  • The Second Reformed Church Goodness and Mercy Angels Window
<br><br>
From <a href="http://www.secondreformed.org/stainedglass">the church website:</a>
<br><br>
"Surely goodness and mercy shall follow me all the days of my life and I will dwell in the house of the Lord forever." Psalm 23:6 
<br><br>
“Tiffany incorporated the metal strips into the design as outlines... instead of using the cames, or frames, at regular intervals, as glass makers had done for centuries. Seen here, the lead cames follow the gradual lines of the angel's flowing robes and the clouds.”
<br><br>
Louis Comfort Tiffany (1848-1933) was one of America’s most acclaimed artists and is most associated with the Art Nouveau and Aesthetic movements according to <a href="http://en.wikipedia.org/wiki/Louis_Comfort_Tiffany">Wikipedia.</a> He focused in the decorative arts and is best known for his work in stained glass. He was the son of Charles Lewis Tiffany (1812-1902), founder of Tiffany & Company. Lewis chose to pursue his own artistic interests rather than joining the family business. 
<br><br>
He began his career as a painter and traveled extensively through Europe. In the late 1870s, Tiffany turned his attention to decorative arts and interiors. In 1881, he did the interior design of the Mark Twain House in Hartford Connecticut. His most notable work was in 1862 when President Chester Arthur refused to move into the White House until it had been resorted, according to Wikipedia. He commissioned Tiffany, who had begun to make a name for himself for interior design work, to redo the state rooms. Tiffany worked on the East Room, Blue Room, Red Room, the State Dining Room, and the Entrance Hall. 
<br><br>
From  <a href="http://www.metmuseum.org/toah/hd/tiff/hd_tiff.htm">The Metropolitan Museum website:</a> “By late 1892 or early 1893, Tiffany built a glasshouse in Corona, Queens, New York, and, with Arthur Nash, a skilled glassworker from Stourbridge, England, his furnaces developed a method whereby different colors were blended together in the molten state, achieving subtle effects of shading and texture. Recalling the Old English word fabrile (hand-wrought), Tiffany named the blown glass from his furnaces Favrile, a trademark that signified glass of hand-made and unique quality.”
<br><br>
“Of all of Tiffany's artistic endeavors, leaded-glass brought him the greatest recognition. Tiffany and his early rival, John La Farge, revolutionized the look of stained glass, which had remained essentially unchanged since medieval times when craftsmen utilized flat panes of white and colored glass with details painted with glass paints before firing and leading. Tiffany and La Farge experimented with new types of glass and achieved a more varied palette with richer hues and greater density. By 1881, each had patented an opalescent glass, a unique American phenomenon that featured a milky, opaque, and sometimes rainbow-hued appearance with the introduction of light. Internally colored with variegated shades of the same or different hues, Tiffany's Favrile glass enabled craftsmen to substitute random tonal gradations, lines, textures, and densities inherent in the material itself for pictorial details.”
<br><br>
At its peak, his factory employed over 300 artisans. He was appointed as art director at Tiffany & Company upon his father’s death in 1902.
<br><br>
Tiffany lived during the Gilded Age, a period of rapid church expansion; one source reports that there were 4,000 churches under contraction in the U.S. in the 1880s according to a recent <a href="http://www.nytimes.com/2013/01/01/arts/design/louis-c-tiffany-works-at-museum-of-biblical-art.html?ref=louiscomforttiffany">The New York Times article</a> on an exhibit of Tiffany’s ecclesiastical work. There was a great demand for artists that could create great and inspiring stained glass windows, mosaics, rederos, and altars. Many churches turned to Tiffany to create such beautiful works. His work in New York churches include Saint Michaels, Advent Lutheran, Saint Ignatius Loyola, Temple Emmanu-El, Church of the Incarnation, Holy Trinity Lutheran Church, Eldridge Street Synagogue; in New Jersey, numerous windows are in Second Reformed Church of Hackensack.
<br><br>
After fire destroyed their first church, The Second Reform Church in Hackensack, New Jersey contacted Tiffany requesting windows depicting events in the life of Christ and contracted Tiffany Studios for five windows, according to <a href="http://www.secondreformed.org/clientimages/42874/stainedglasswindows/stained%20glass%20window%20info.pdf">the church website.</a> The church also contracted Duffner & Kimberly Co. for one window.  The installation of these windows was competed before the dedication ceremony in 1909. 
<br><br>
From the church website:
<br><br>
“The New York Times (May 4, 1979) wrote: "Some of Tiffany's favorite windows are in the Second Reformed Church in Hackensack ,... Tiffany frequently visited there with clients in tow, using  the visit to help them select appropriate design for their purposes." For each installation, the design was customized as the client requested and reworked to fit the window's opening size and shape requirements. Colors were coordinated to harmonize with the surroundings in each location.”
  • The Second Reformed Church The Angels of Praise Window
<br><br>
From <a href="http://www.secondreformed.org/stainedglass">the church website:</a>
<br><br>
“This window is truly magnificent! It is our largest window. It was installed as the church was being built and was so listed in the dedication services booklet of September 19, 1909. Tiffany has created a feeling of upward flight. The colors graduate from deep blues at the bottom through lighter shades of color toward the top. Vertical lines are predominant. This window is also referred to as "The Four Elements".”
<br><br>
This window was exhibited at the 1893 International Exhibition in Chicago.
<br><br>
Louis Comfort Tiffany (1848-1933) was one of America’s most acclaimed artists and is most associated with the Art Nouveau and Aesthetic movements according to <a href="http://en.wikipedia.org/wiki/Louis_Comfort_Tiffany">Wikipedia.</a> He focused in the decorative arts and is best known for his work in stained glass. He was the son of Charles Lewis Tiffany (1812-1902), founder of Tiffany & Company. Lewis chose to pursue his own artistic interests rather than joining the family business. 
<br><br>
He began his career as a painter and traveled extensively through Europe. In the late 1870s, Tiffany turned his attention to decorative arts and interiors. In 1881, he did the interior design of the Mark Twain House in Hartford Connecticut. His most notable work was in 1862 when President Chester Arthur refused to move into the White House until it had been resorted, according to Wikipedia. He commissioned Tiffany, who had begun to make a name for himself for interior design work, to redo the state rooms. Tiffany worked on the East Room, Blue Room, Red Room, the State Dining Room, and the Entrance Hall. 
<br><br>
From  <a href="http://www.metmuseum.org/toah/hd/tiff/hd_tiff.htm">The Metropolitan Museum website:</a> “By late 1892 or early 1893, Tiffany built a glasshouse in Corona, Queens, New York, and, with Arthur Nash, a skilled glassworker from Stourbridge, England, his furnaces developed a method whereby different colors were blended together in the molten state, achieving subtle effects of shading and texture. Recalling the Old English word fabrile (hand-wrought), Tiffany named the blown glass from his furnaces Favrile, a trademark that signified glass of hand-made and unique quality.”
<br><br>
“Of all of Tiffany's artistic endeavors, leaded-glass brought him the greatest recognition. Tiffany and his early rival, John La Farge, revolutionized the look of stained glass, which had remained essentially unchanged since medieval times when craftsmen utilized flat panes of white and colored glass with details painted with glass paints before firing and leading. Tiffany and La Farge experimented with new types of glass and achieved a more varied palette with richer hues and greater density. By 1881, each had patented an opalescent glass, a unique American phenomenon that featured a milky, opaque, and sometimes rainbow-hued appearance with the introduction of light. Internally colored with variegated shades of the same or different hues, Tiffany's Favrile glass enabled craftsmen to substitute random tonal gradations, lines, textures, and densities inherent in the material itself for pictorial details.”
<br><br>
At its peak, his factory employed over 300 artisans. He was appointed as art director at Tiffany & Company upon his father’s death in 1902.
<br><br>
Tiffany lived during the Gilded Age, a period of rapid church expansion; one source reports that there were 4,000 churches under contraction in the U.S. in the 1880s according to a recent <a href="http://www.nytimes.com/2013/01/01/arts/design/louis-c-tiffany-works-at-museum-of-biblical-art.html?ref=louiscomforttiffany">The New York Times article</a> on an exhibit of Tiffany’s ecclesiastical work. There was a great demand for artists that could create great and inspiring stained glass windows, mosaics, rederos, and altars. Many churches turned to Tiffany to create such beautiful works. His work in New York churches include Saint Michaels, Advent Lutheran, Saint Ignatius Loyola, Temple Emmanu-El, Church of the Incarnation, Holy Trinity Lutheran Church, Eldridge Street Synagogue; in New Jersey, numerous windows are in Second Reformed Church of Hackensack.
<br><br>
After fire destroyed their first church, The Second Reform Church in Hackensack, New Jersey contacted Tiffany requesting windows depicting events in the life of Christ and contracted Tiffany Studios for five windows, according to <a href="http://www.secondreformed.org/clientimages/42874/stainedglasswindows/stained%20glass%20window%20info.pdf">the church website.</a> The church also contracted Duffner & Kimberly Co. for one window.  The installation of these windows was competed before the dedication ceremony in 1909. 
<br><br>
From the church website:
<br><br>
“The New York Times (May 4, 1979) wrote: "Some of Tiffany's favorite windows are in the Second Reformed Church in Hackensack ,... Tiffany frequently visited there with clients in tow, using  the visit to help them select appropriate design for their purposes." For each installation, the design was customized as the client requested and reworked to fit the window's opening size and shape requirements. Colors were coordinated to harmonize with the surroundings in each location.”
  • The Second Reformed Church Christ, Christ, Knocking at the Door Window
<br><br>
From <a href="http://www.secondreformed.org/stainedglass">the church website:</a>
<br><br>
“Our hearts need to be opened to let Jesus enter. The lantern Jesus carries is symbolic of His being the Light of the World. This lantern radiates its light on the darkest day! 
<br><br>
This was a very popular theme of the period and Tiffany Studios installed many windows similar to this one. The studios utilized this basic design concept and customized it for other churches. A variation was the addition of a crown to Jesus' head. Colors would have been coordinated to harmonize with the surroundings in each location.”
<br><br>
Louis Comfort Tiffany (1848-1933) was one of America’s most acclaimed artists and is most associated with the Art Nouveau and Aesthetic movements according to <a href="http://en.wikipedia.org/wiki/Louis_Comfort_Tiffany">Wikipedia.</a> He focused in the decorative arts and is best known for his work in stained glass. He was the son of Charles Lewis Tiffany (1812-1902), founder of Tiffany & Company. Lewis chose to pursue his own artistic interests rather than joining the family business. 
<br><br>
He began his career as a painter and traveled extensively through Europe. In the late 1870s, Tiffany turned his attention to decorative arts and interiors. In 1881, he did the interior design of the Mark Twain House in Hartford Connecticut. His most notable work was in 1862 when President Chester Arthur refused to move into the White House until it had been resorted, according to Wikipedia. He commissioned Tiffany, who had begun to make a name for himself for interior design work, to redo the state rooms. Tiffany worked on the East Room, Blue Room, Red Room, the State Dining Room, and the Entrance Hall. 
<br><br>
From  <a href="http://www.metmuseum.org/toah/hd/tiff/hd_tiff.htm">The Metropolitan Museum website:</a> “By late 1892 or early 1893, Tiffany built a glasshouse in Corona, Queens, New York, and, with Arthur Nash, a skilled glassworker from Stourbridge, England, his furnaces developed a method whereby different colors were blended together in the molten state, achieving subtle effects of shading and texture. Recalling the Old English word fabrile (hand-wrought), Tiffany named the blown glass from his furnaces Favrile, a trademark that signified glass of hand-made and unique quality.”
<br><br>
“Of all of Tiffany's artistic endeavors, leaded-glass brought him the greatest recognition. Tiffany and his early rival, John La Farge, revolutionized the look of stained glass, which had remained essentially unchanged since medieval times when craftsmen utilized flat panes of white and colored glass with details painted with glass paints before firing and leading. Tiffany and La Farge experimented with new types of glass and achieved a more varied palette with richer hues and greater density. By 1881, each had patented an opalescent glass, a unique American phenomenon that featured a milky, opaque, and sometimes rainbow-hued appearance with the introduction of light. Internally colored with variegated shades of the same or different hues, Tiffany's Favrile glass enabled craftsmen to substitute random tonal gradations, lines, textures, and densities inherent in the material itself for pictorial details.”
<br><br>
At its peak, his factory employed over 300 artisans. He was appointed as art director at Tiffany & Company upon his father’s death in 1902.
<br><br>
Tiffany lived during the Gilded Age, a period of rapid church expansion; one source reports that there were 4,000 churches under contraction in the U.S. in the 1880s according to a recent <a href="http://www.nytimes.com/2013/01/01/arts/design/louis-c-tiffany-works-at-museum-of-biblical-art.html?ref=louiscomforttiffany">The New York Times article</a> on an exhibit of Tiffany’s ecclesiastical work. There was a great demand for artists that could create great and inspiring stained glass windows, mosaics, rederos, and altars. Many churches turned to Tiffany to create such beautiful works. His work in New York churches include Saint Michaels, Advent Lutheran, Saint Ignatius Loyola, Temple Emmanu-El, Church of the Incarnation, Holy Trinity Lutheran Church, Eldridge Street Synagogue; in New Jersey, numerous windows are in Second Reformed Church of Hackensack.
<br><br>
After fire destroyed their first church, The Second Reform Church in Hackensack, New Jersey contacted Tiffany requesting windows depicting events in the life of Christ and contracted Tiffany Studios for five windows, according to <a href="http://www.secondreformed.org/clientimages/42874/stainedglasswindows/stained%20glass%20window%20info.pdf">the church website.</a> The church also contracted Duffner & Kimberly Co. for one window.  The installation of these windows was competed before the dedication ceremony in 1909. 
<br><br>
From the church website:
<br><br>
“The New York Times (May 4, 1979) wrote: "Some of Tiffany's favorite windows are in the Second Reformed Church in Hackensack ,... Tiffany frequently visited there with clients in tow, using  the visit to help them select appropriate design for their purposes." For each installation, the design was customized as the client requested and reworked to fit the window's opening size and shape requirements. Colors were coordinated to harmonize with the surroundings in each location.”
  • The Second Reformed Church Christ, Christ, Knocking at the Door Window
<br><br>
From <a href="http://www.secondreformed.org/stainedglass">the church website:</a>
<br><br>
“Our hearts need to be opened to let Jesus enter. The lantern Jesus carries is symbolic of His being the Light of the World. This lantern radiates its light on the darkest day! 
<br><br>
This was a very popular theme of the period and Tiffany Studios installed many windows similar to this one. The studios utilized this basic design concept and customized it for other churches. A variation was the addition of a crown to Jesus' head. Colors would have been coordinated to harmonize with the surroundings in each location.”
<br><br>
Louis Comfort Tiffany (1848-1933) was one of America’s most acclaimed artists and is most associated with the Art Nouveau and Aesthetic movements according to <a href="http://en.wikipedia.org/wiki/Louis_Comfort_Tiffany">Wikipedia.</a> He focused in the decorative arts and is best known for his work in stained glass. He was the son of Charles Lewis Tiffany (1812-1902), founder of Tiffany & Company. Lewis chose to pursue his own artistic interests rather than joining the family business. 
<br><br>
He began his career as a painter and traveled extensively through Europe. In the late 1870s, Tiffany turned his attention to decorative arts and interiors. In 1881, he did the interior design of the Mark Twain House in Hartford Connecticut. His most notable work was in 1862 when President Chester Arthur refused to move into the White House until it had been resorted, according to Wikipedia. He commissioned Tiffany, who had begun to make a name for himself for interior design work, to redo the state rooms. Tiffany worked on the East Room, Blue Room, Red Room, the State Dining Room, and the Entrance Hall. 
<br><br>
From  <a href="http://www.metmuseum.org/toah/hd/tiff/hd_tiff.htm">The Metropolitan Museum website:</a> “By late 1892 or early 1893, Tiffany built a glasshouse in Corona, Queens, New York, and, with Arthur Nash, a skilled glassworker from Stourbridge, England, his furnaces developed a method whereby different colors were blended together in the molten state, achieving subtle effects of shading and texture. Recalling the Old English word fabrile (hand-wrought), Tiffany named the blown glass from his furnaces Favrile, a trademark that signified glass of hand-made and unique quality.”
<br><br>
“Of all of Tiffany's artistic endeavors, leaded-glass brought him the greatest recognition. Tiffany and his early rival, John La Farge, revolutionized the look of stained glass, which had remained essentially unchanged since medieval times when craftsmen utilized flat panes of white and colored glass with details painted with glass paints before firing and leading. Tiffany and La Farge experimented with new types of glass and achieved a more varied palette with richer hues and greater density. By 1881, each had patented an opalescent glass, a unique American phenomenon that featured a milky, opaque, and sometimes rainbow-hued appearance with the introduction of light. Internally colored with variegated shades of the same or different hues, Tiffany's Favrile glass enabled craftsmen to substitute random tonal gradations, lines, textures, and densities inherent in the material itself for pictorial details.”
<br><br>
At its peak, his factory employed over 300 artisans. He was appointed as art director at Tiffany & Company upon his father’s death in 1902.
<br><br>
Tiffany lived during the Gilded Age, a period of rapid church expansion; one source reports that there were 4,000 churches under contraction in the U.S. in the 1880s according to a recent <a href="http://www.nytimes.com/2013/01/01/arts/design/louis-c-tiffany-works-at-museum-of-biblical-art.html?ref=louiscomforttiffany">The New York Times article</a> on an exhibit of Tiffany’s ecclesiastical work. There was a great demand for artists that could create great and inspiring stained glass windows, mosaics, rederos, and altars. Many churches turned to Tiffany to create such beautiful works. His work in New York churches include Saint Michaels, Advent Lutheran, Saint Ignatius Loyola, Temple Emmanu-El, Church of the Incarnation, Holy Trinity Lutheran Church, Eldridge Street Synagogue; in New Jersey, numerous windows are in Second Reformed Church of Hackensack.
<br><br>
After fire destroyed their first church, The Second Reform Church in Hackensack, New Jersey contacted Tiffany requesting windows depicting events in the life of Christ and contracted Tiffany Studios for five windows, according to <a href="http://www.secondreformed.org/clientimages/42874/stainedglasswindows/stained%20glass%20window%20info.pdf">the church website.</a> The church also contracted Duffner & Kimberly Co. for one window.  The installation of these windows was competed before the dedication ceremony in 1909. 
<br><br>
From the church website:
<br><br>
“The New York Times (May 4, 1979) wrote: "Some of Tiffany's favorite windows are in the Second Reformed Church in Hackensack ,... Tiffany frequently visited there with clients in tow, using  the visit to help them select appropriate design for their purposes." For each installation, the design was customized as the client requested and reworked to fit the window's opening size and shape requirements. Colors were coordinated to harmonize with the surroundings in each location.”
  • The Second Reformed Church Christ, Christ, Knocking at the Door Window
<br><br>
From <a href="http://www.secondreformed.org/stainedglass">the church website:</a>
<br><br>
“Our hearts need to be opened to let Jesus enter. The lantern Jesus carries is symbolic of His being the Light of the World. This lantern radiates its light on the darkest day! 
<br><br>
This was a very popular theme of the period and Tiffany Studios installed many windows similar to this one. The studios utilized this basic design concept and customized it for other churches. A variation was the addition of a crown to Jesus' head. Colors would have been coordinated to harmonize with the surroundings in each location.”
<br><br>
Louis Comfort Tiffany (1848-1933) was one of America’s most acclaimed artists and is most associated with the Art Nouveau and Aesthetic movements according to <a href="http://en.wikipedia.org/wiki/Louis_Comfort_Tiffany">Wikipedia.</a> He focused in the decorative arts and is best known for his work in stained glass. He was the son of Charles Lewis Tiffany (1812-1902), founder of Tiffany & Company. Lewis chose to pursue his own artistic interests rather than joining the family business. 
<br><br>
He began his career as a painter and traveled extensively through Europe. In the late 1870s, Tiffany turned his attention to decorative arts and interiors. In 1881, he did the interior design of the Mark Twain House in Hartford Connecticut. His most notable work was in 1862 when President Chester Arthur refused to move into the White House until it had been resorted, according to Wikipedia. He commissioned Tiffany, who had begun to make a name for himself for interior design work, to redo the state rooms. Tiffany worked on the East Room, Blue Room, Red Room, the State Dining Room, and the Entrance Hall. 
<br><br>
From  <a href="http://www.metmuseum.org/toah/hd/tiff/hd_tiff.htm">The Metropolitan Museum website:</a> “By late 1892 or early 1893, Tiffany built a glasshouse in Corona, Queens, New York, and, with Arthur Nash, a skilled glassworker from Stourbridge, England, his furnaces developed a method whereby different colors were blended together in the molten state, achieving subtle effects of shading and texture. Recalling the Old English word fabrile (hand-wrought), Tiffany named the blown glass from his furnaces Favrile, a trademark that signified glass of hand-made and unique quality.”
<br><br>
“Of all of Tiffany's artistic endeavors, leaded-glass brought him the greatest recognition. Tiffany and his early rival, John La Farge, revolutionized the look of stained glass, which had remained essentially unchanged since medieval times when craftsmen utilized flat panes of white and colored glass with details painted with glass paints before firing and leading. Tiffany and La Farge experimented with new types of glass and achieved a more varied palette with richer hues and greater density. By 1881, each had patented an opalescent glass, a unique American phenomenon that featured a milky, opaque, and sometimes rainbow-hued appearance with the introduction of light. Internally colored with variegated shades of the same or different hues, Tiffany's Favrile glass enabled craftsmen to substitute random tonal gradations, lines, textures, and densities inherent in the material itself for pictorial details.”
<br><br>
At its peak, his factory employed over 300 artisans. He was appointed as art director at Tiffany & Company upon his father’s death in 1902.
<br><br>
Tiffany lived during the Gilded Age, a period of rapid church expansion; one source reports that there were 4,000 churches under contraction in the U.S. in the 1880s according to a recent <a href="http://www.nytimes.com/2013/01/01/arts/design/louis-c-tiffany-works-at-museum-of-biblical-art.html?ref=louiscomforttiffany">The New York Times article</a> on an exhibit of Tiffany’s ecclesiastical work. There was a great demand for artists that could create great and inspiring stained glass windows, mosaics, rederos, and altars. Many churches turned to Tiffany to create such beautiful works. His work in New York churches include Saint Michaels, Advent Lutheran, Saint Ignatius Loyola, Temple Emmanu-El, Church of the Incarnation, Holy Trinity Lutheran Church, Eldridge Street Synagogue; in New Jersey, numerous windows are in Second Reformed Church of Hackensack.
<br><br>
After fire destroyed their first church, The Second Reform Church in Hackensack, New Jersey contacted Tiffany requesting windows depicting events in the life of Christ and contracted Tiffany Studios for five windows, according to <a href="http://www.secondreformed.org/clientimages/42874/stainedglasswindows/stained%20glass%20window%20info.pdf">the church website.</a> The church also contracted Duffner & Kimberly Co. for one window.  The installation of these windows was competed before the dedication ceremony in 1909. 
<br><br>
From the church website:
<br><br>
“The New York Times (May 4, 1979) wrote: "Some of Tiffany's favorite windows are in the Second Reformed Church in Hackensack ,... Tiffany frequently visited there with clients in tow, using  the visit to help them select appropriate design for their purposes." For each installation, the design was customized as the client requested and reworked to fit the window's opening size and shape requirements. Colors were coordinated to harmonize with the surroundings in each location.”
  • The Second Reformed Church Christ, The Three Marys at the Tomb Window
<br><br>
From <a href="http://www.secondreformed.org/stainedglass">the church website:</a>
<br><br>
“Observe how the angel radiates light that illuminates the scene. The artist captures effect of the light on the hair of the women. Artists strive to achieve this look on canvas with a brush and a variety of paints. Here there has been no application of paint.  The streaks of color within the glass give the appearance of strands of hair.  This utilization of Tiffany glass is particularly beautiful  on the kneeling women. Note the plated glass effects. Plating is a method of building layers to modulate the light coming through to achieve special effects and colors. A large piece of glass was layered over the top of leaded pieces that make up part of the rocks. Used here, the plating helps to diminish the importance of the rocks in the design.  The viewer instead focuses on the figures. A metal bar was designed to conform to the head of the angel, thus providing the necessary structural support and enhancing the overall design. Imagine how a straight support bar crossing the angel's head would have interfered with the beauty of this work.”
<br><br>
Louis Comfort Tiffany (1848-1933) was one of America’s most acclaimed artists and is most associated with the Art Nouveau and Aesthetic movements according to <a href="http://en.wikipedia.org/wiki/Louis_Comfort_Tiffany">Wikipedia.</a> He focused in the decorative arts and is best known for his work in stained glass. He was the son of Charles Lewis Tiffany (1812-1902), founder of Tiffany & Company. Lewis chose to pursue his own artistic interests rather than joining the family business. 
<br><br>
He began his career as a painter and traveled extensively through Europe. In the late 1870s, Tiffany turned his attention to decorative arts and interiors. In 1881, he did the interior design of the Mark Twain House in Hartford Connecticut. His most notable work was in 1862 when President Chester Arthur refused to move into the White House until it had been resorted, according to Wikipedia. He commissioned Tiffany, who had begun to make a name for himself for interior design work, to redo the state rooms. Tiffany worked on the East Room, Blue Room, Red Room, the State Dining Room, and the Entrance Hall. 
<br><br>
From  <a href="http://www.metmuseum.org/toah/hd/tiff/hd_tiff.htm">The Metropolitan Museum website:</a> “By late 1892 or early 1893, Tiffany built a glasshouse in Corona, Queens, New York, and, with Arthur Nash, a skilled glassworker from Stourbridge, England, his furnaces developed a method whereby different colors were blended together in the molten state, achieving subtle effects of shading and texture. Recalling the Old English word fabrile (hand-wrought), Tiffany named the blown glass from his furnaces Favrile, a trademark that signified glass of hand-made and unique quality.”
<br><br>
“Of all of Tiffany's artistic endeavors, leaded-glass brought him the greatest recognition. Tiffany and his early rival, John La Farge, revolutionized the look of stained glass, which had remained essentially unchanged since medieval times when craftsmen utilized flat panes of white and colored glass with details painted with glass paints before firing and leading. Tiffany and La Farge experimented with new types of glass and achieved a more varied palette with richer hues and greater density. By 1881, each had patented an opalescent glass, a unique American phenomenon that featured a milky, opaque, and sometimes rainbow-hued appearance with the introduction of light. Internally colored with variegated shades of the same or different hues, Tiffany's Favrile glass enabled craftsmen to substitute random tonal gradations, lines, textures, and densities inherent in the material itself for pictorial details.”
<br><br>
At its peak, his factory employed over 300 artisans. He was appointed as art director at Tiffany & Company upon his father’s death in 1902.
<br><br>
Tiffany lived during the Gilded Age, a period of rapid church expansion; one source reports that there were 4,000 churches under contraction in the U.S. in the 1880s according to a recent <a href="http://www.nytimes.com/2013/01/01/arts/design/louis-c-tiffany-works-at-museum-of-biblical-art.html?ref=louiscomforttiffany">The New York Times article</a> on an exhibit of Tiffany’s ecclesiastical work. There was a great demand for artists that could create great and inspiring stained glass windows, mosaics, rederos, and altars. Many churches turned to Tiffany to create such beautiful works. His work in New York churches include Saint Michaels, Advent Lutheran, Saint Ignatius Loyola, Temple Emmanu-El, Church of the Incarnation, Holy Trinity Lutheran Church, Eldridge Street Synagogue; in New Jersey, numerous windows are in Second Reformed Church of Hackensack.
<br><br>
After fire destroyed their first church, The Second Reform Church in Hackensack, New Jersey contacted Tiffany requesting windows depicting events in the life of Christ and contracted Tiffany Studios for five windows, according to <a href="http://www.secondreformed.org/clientimages/42874/stainedglasswindows/stained%20glass%20window%20info.pdf">the church website.</a> The church also contracted Duffner & Kimberly Co. for one window.  The installation of these windows was competed before the dedication ceremony in 1909. 
<br><br>
From the church website:
<br><br>
“The New York Times (May 4, 1979) wrote: "Some of Tiffany's favorite windows are in the Second Reformed Church in Hackensack ,... Tiffany frequently visited there with clients in tow, using  the visit to help them select appropriate design for their purposes." For each installation, the design was customized as the client requested and reworked to fit the window's opening size and shape requirements. Colors were coordinated to harmonize with the surroundings in each location.”
  • The Second Reformed Church Christ, The Annunciation Window
<br><br>
From <a href=" http://www.secondreformed.org/stainedglass">the church website</a>
<br><br>
“Notice how all the lines radiate from the Angel. This Angel has appeared to tell Mary that she is with Child. Look at the beautiful classical drapery of the Angel's robes. The glass is full of color in the folds. Lead lines follow the contours. There are lilies surrounding Mary. Note how the Angel's glowing form sheds light over Mary and illuminates her upper body.”
<br><br>
Louis Comfort Tiffany (1848-1933) was one of America’s most acclaimed artists and is most associated with the Art Nouveau and Aesthetic movements according to <a href="http://en.wikipedia.org/wiki/Louis_Comfort_Tiffany">Wikipedia.</a> He focused in the decorative arts and is best known for his work in stained glass. He was the son of Charles Lewis Tiffany (1812-1902), founder of Tiffany & Company. Lewis chose to pursue his own artistic interests rather than joining the family business. 
<br><br>
He began his career as a painter and traveled extensively through Europe. In the late 1870s, Tiffany turned his attention to decorative arts and interiors. In 1881, he did the interior design of the Mark Twain House in Hartford Connecticut. His most notable work was in 1862 when President Chester Arthur refused to move into the White House until it had been resorted, according to Wikipedia. He commissioned Tiffany, who had begun to make a name for himself for interior design work, to redo the state rooms. Tiffany worked on the East Room, Blue Room, Red Room, the State Dining Room, and the Entrance Hall. 
<br><br>
From  <a href="http://www.metmuseum.org/toah/hd/tiff/hd_tiff.htm">The Metropolitan Museum website:</a> “By late 1892 or early 1893, Tiffany built a glasshouse in Corona, Queens, New York, and, with Arthur Nash, a skilled glassworker from Stourbridge, England, his furnaces developed a method whereby different colors were blended together in the molten state, achieving subtle effects of shading and texture. Recalling the Old English word fabrile (hand-wrought), Tiffany named the blown glass from his furnaces Favrile, a trademark that signified glass of hand-made and unique quality.”
<br><br>
“Of all of Tiffany's artistic endeavors, leaded-glass brought him the greatest recognition. Tiffany and his early rival, John La Farge, revolutionized the look of stained glass, which had remained essentially unchanged since medieval times when craftsmen utilized flat panes of white and colored glass with details painted with glass paints before firing and leading. Tiffany and La Farge experimented with new types of glass and achieved a more varied palette with richer hues and greater density. By 1881, each had patented an opalescent glass, a unique American phenomenon that featured a milky, opaque, and sometimes rainbow-hued appearance with the introduction of light. Internally colored with variegated shades of the same or different hues, Tiffany's Favrile glass enabled craftsmen to substitute random tonal gradations, lines, textures, and densities inherent in the material itself for pictorial details.”
<br><br>
At its peak, his factory employed over 300 artisans. He was appointed as art director at Tiffany & Company upon his father’s death in 1902.
<br><br>
Tiffany lived during the Gilded Age, a period of rapid church expansion; one source reports that there were 4,000 churches under contraction in the U.S. in the 1880s according to a recent <a href="http://www.nytimes.com/2013/01/01/arts/design/louis-c-tiffany-works-at-museum-of-biblical-art.html?ref=louiscomforttiffany">The New York Times article</a> on an exhibit of Tiffany’s ecclesiastical work. There was a great demand for artists that could create great and inspiring stained glass windows, mosaics, rederos, and altars. Many churches turned to Tiffany to create such beautiful works. His work in New York churches include Saint Michaels, Advent Lutheran, Saint Ignatius Loyola, Temple Emmanu-El, Church of the Incarnation, Holy Trinity Lutheran Church, Eldridge Street Synagogue; in New Jersey, numerous windows are in Second Reformed Church of Hackensack.
<br><br>
After fire destroyed their first church, The Second Reform Church in Hackensack, New Jersey contacted Tiffany requesting windows depicting events in the life of Christ and contracted Tiffany Studios for five windows, according to <a href="http://www.secondreformed.org/clientimages/42874/stainedglasswindows/stained%20glass%20window%20info.pdf">the church website.</a> The church also contracted Duffner & Kimberly Co. for one window.  The installation of these windows was competed before the dedication ceremony in 1909. 
<br><br>
From the church website:
<br><br>
“The New York Times (May 4, 1979) wrote: "Some of Tiffany's favorite windows are in the Second Reformed Church in Hackensack ,... Tiffany frequently visited there with clients in tow, using  the visit to help them select appropriate design for their purposes." For each installation, the design was customized as the client requested and reworked to fit the window's opening size and shape requirements. Colors were coordinated to harmonize with the surroundings in each location.”
  • The Second Reformed Church Rose Window
<br><br>
From <a href="http://www.secondreformed.org/stainedglass">the church website</a>
<br><br>
“When our current building was built, Tiffany was commissioned to create this beautiful window which is very interactive during morning worship. Sometimes the deep olive green predominates. Some days a beautiful blue is seen at the outer edge. Other days when the sunlight strikes it directly, it is golden and so radiant that the star in the center is not able to be seen.
<br><br>
The Metropolitan Museum of Art noted at the time of the installation in 1909, "...under the personal supervision of Mr. Louis C. Tiffany, has been placed in the Church-'a magnificent Rose Window containing a jeweled cross, extending through many openings in the circle with an illuminated background representing the sky'"."
<br><br>
Louis Comfort Tiffany (1848-1933) was one of America’s most acclaimed artists and is most associated with the Art Nouveau and Aesthetic movements according to <a href="http://en.wikipedia.org/wiki/Louis_Comfort_Tiffany">Wikipedia.</a> He focused in the decorative arts and is best known for his work in stained glass. He was the son of Charles Lewis Tiffany (1812-1902), founder of Tiffany & Company. Lewis chose to pursue his own artistic interests rather than joining the family business. 
<br><br>
He began his career as a painter and traveled extensively through Europe. In the late 1870s, Tiffany turned his attention to decorative arts and interiors. In 1881, he did the interior design of the Mark Twain House in Hartford Connecticut. His most notable work was in 1862 when President Chester Arthur refused to move into the White House until it had been resorted, according to Wikipedia. He commissioned Tiffany, who had begun to make a name for himself for interior design work, to redo the state rooms. Tiffany worked on the East Room, Blue Room, Red Room, the State Dining Room, and the Entrance Hall. 
<br><br>
From  <a href="http://www.metmuseum.org/toah/hd/tiff/hd_tiff.htm">The Metropolitan Museum website:</a> “By late 1892 or early 1893, Tiffany built a glasshouse in Corona, Queens, New York, and, with Arthur Nash, a skilled glassworker from Stourbridge, England, his furnaces developed a method whereby different colors were blended together in the molten state, achieving subtle effects of shading and texture. Recalling the Old English word fabrile (hand-wrought), Tiffany named the blown glass from his furnaces Favrile, a trademark that signified glass of hand-made and unique quality.”
<br><br>
“Of all of Tiffany's artistic endeavors, leaded-glass brought him the greatest recognition. Tiffany and his early rival, John La Farge, revolutionized the look of stained glass, which had remained essentially unchanged since medieval times when craftsmen utilized flat panes of white and colored glass with details painted with glass paints before firing and leading. Tiffany and La Farge experimented with new types of glass and achieved a more varied palette with richer hues and greater density. By 1881, each had patented an opalescent glass, a unique American phenomenon that featured a milky, opaque, and sometimes rainbow-hued appearance with the introduction of light. Internally colored with variegated shades of the same or different hues, Tiffany's Favrile glass enabled craftsmen to substitute random tonal gradations, lines, textures, and densities inherent in the material itself for pictorial details.”
<br><br>
At its peak, his factory employed over 300 artisans. He was appointed as art director at Tiffany & Company upon his father’s death in 1902.
<br><br>
Tiffany lived during the Gilded Age, a period of rapid church expansion; one source reports that there were 4,000 churches under contraction in the U.S. in the 1880s according to a recent <a href="http://www.nytimes.com/2013/01/01/arts/design/louis-c-tiffany-works-at-museum-of-biblical-art.html?ref=louiscomforttiffany">The New York Times article</a> on an exhibit of Tiffany’s ecclesiastical work. There was a great demand for artists that could create great and inspiring stained glass windows, mosaics, rederos, and altars. Many churches turned to Tiffany to create such beautiful works. His work in New York churches include Saint Michaels, Advent Lutheran, Saint Ignatius Loyola, Temple Emmanu-El, Church of the Incarnation, Holy Trinity Lutheran Church, Eldridge Street Synagogue; in New Jersey, numerous windows are in Second Reformed Church of Hackensack.
<br><br>
After fire destroyed their first church, The Second Reform Church in Hackensack, New Jersey contacted Tiffany requesting windows depicting events in the life of Christ and contracted Tiffany Studios for five windows, according to <a href="http://www.secondreformed.org/clientimages/42874/stainedglasswindows/stained%20glass%20window%20info.pdf">the church website.</a> The church also contracted Duffner & Kimberly Co. for one window.  The installation of these windows was competed before the dedication ceremony in 1909. 
<br><br>
From the church website:
<br><br>
“The New York Times (May 4, 1979) wrote: "Some of Tiffany's favorite windows are in the Second Reformed Church in Hackensack ,... Tiffany frequently visited there with clients in tow, using  the visit to help them select appropriate design for their purposes." For each installation, the design was customized as the client requested and reworked to fit the window's opening size and shape requirements. Colors were coordinated to harmonize with the surroundings in each location.”
  • The Second Reformed Church Rose Window
<br><br>
From <a href="http://www.secondreformed.org/stainedglass">the church website</a>
<br><br>
“When our current building was built, Tiffany was commissioned to create this beautiful window which is very interactive during morning worship. Sometimes the deep olive green predominates. Some days a beautiful blue is seen at the outer edge. Other days when the sunlight strikes it directly, it is golden and so radiant that the star in the center is not able to be seen.
<br><br>
The Metropolitan Museum of Art noted at the time of the installation in 1909, "...under the personal supervision of Mr. Louis C. Tiffany, has been placed in the Church-'a magnificent Rose Window containing a jeweled cross, extending through many openings in the circle with an illuminated background representing the sky'"."
<br><br>
Below the window is the 38 rank Austin pipe organ, installed in 1978. 
<br><br>
Louis Comfort Tiffany (1848-1933) was one of America’s most acclaimed artists and is most associated with the Art Nouveau and Aesthetic movements according to <a href="http://en.wikipedia.org/wiki/Louis_Comfort_Tiffany">Wikipedia.</a> He focused in the decorative arts and is best known for his work in stained glass. He was the son of Charles Lewis Tiffany (1812-1902), founder of Tiffany & Company. Lewis chose to pursue his own artistic interests rather than joining the family business. 
<br><br>
He began his career as a painter and traveled extensively through Europe. In the late 1870s, Tiffany turned his attention to decorative arts and interiors. In 1881, he did the interior design of the Mark Twain House in Hartford Connecticut. His most notable work was in 1862 when President Chester Arthur refused to move into the White House until it had been resorted, according to Wikipedia. He commissioned Tiffany, who had begun to make a name for himself for interior design work, to redo the state rooms. Tiffany worked on the East Room, Blue Room, Red Room, the State Dining Room, and the Entrance Hall. 
<br><br>
From  <a href="http://www.metmuseum.org/toah/hd/tiff/hd_tiff.htm">The Metropolitan Museum website:</a> “By late 1892 or early 1893, Tiffany built a glasshouse in Corona, Queens, New York, and, with Arthur Nash, a skilled glassworker from Stourbridge, England, his furnaces developed a method whereby different colors were blended together in the molten state, achieving subtle effects of shading and texture. Recalling the Old English word fabrile (hand-wrought), Tiffany named the blown glass from his furnaces Favrile, a trademark that signified glass of hand-made and unique quality.”
<br><br>
“Of all of Tiffany's artistic endeavors, leaded-glass brought him the greatest recognition. Tiffany and his early rival, John La Farge, revolutionized the look of stained glass, which had remained essentially unchanged since medieval times when craftsmen utilized flat panes of white and colored glass with details painted with glass paints before firing and leading. Tiffany and La Farge experimented with new types of glass and achieved a more varied palette with richer hues and greater density. By 1881, each had patented an opalescent glass, a unique American phenomenon that featured a milky, opaque, and sometimes rainbow-hued appearance with the introduction of light. Internally colored with variegated shades of the same or different hues, Tiffany's Favrile glass enabled craftsmen to substitute random tonal gradations, lines, textures, and densities inherent in the material itself for pictorial details.”
<br><br>
At its peak, his factory employed over 300 artisans. He was appointed as art director at Tiffany & Company upon his father’s death in 1902.
<br><br>
Tiffany lived during the Gilded Age, a period of rapid church expansion; one source reports that there were 4,000 churches under contraction in the U.S. in the 1880s according to a recent <a href="http://www.nytimes.com/2013/01/01/arts/design/louis-c-tiffany-works-at-museum-of-biblical-art.html?ref=louiscomforttiffany">The New York Times article</a> on an exhibit of Tiffany’s ecclesiastical work. There was a great demand for artists that could create great and inspiring stained glass windows, mosaics, rederos, and altars. Many churches turned to Tiffany to create such beautiful works. His work in New York churches include Saint Michaels, Advent Lutheran, Saint Ignatius Loyola, Temple Emmanu-El, Church of the Incarnation, Holy Trinity Lutheran Church, Eldridge Street Synagogue; in New Jersey, numerous windows are in Second Reformed Church of Hackensack.
<br><br>
After fire destroyed their first church, The Second Reform Church in Hackensack, New Jersey contacted Tiffany requesting windows depicting events in the life of Christ and contracted Tiffany Studios for five windows, according to <a href="http://www.secondreformed.org/clientimages/42874/stainedglasswindows/stained%20glass%20window%20info.pdf">the church website.</a> The church also contracted Duffner & Kimberly Co. for one window.  The installation of these windows was competed before the dedication ceremony in 1909. 
<br><br>
From the church website:
<br><br>
“The New York Times (May 4, 1979) wrote: "Some of Tiffany's favorite windows are in the Second Reformed Church in Hackensack ,... Tiffany frequently visited there with clients in tow, using  the visit to help them select appropriate design for their purposes." For each installation, the design was customized as the client requested and reworked to fit the window's opening size and shape requirements. Colors were coordinated to harmonize with the surroundings in each location.”
  • The Second Reformed Church The Good Shepherd Window
<br><br>
From <a href="http://www.secondreformed.org/stainedglass">the church website:</a>
<br><br>
“Please look carefully at the grain in the wooden staff, the bark of the tree, the rich colors in the folds of the garments, as well as the thickness variations of the drapery  glass. Remember every piece of glass was planned for and created to be used in that specific place in this particular window. There is no lead separating the sky and mountain. This helps the mountain recede into the distance.”
<br><br>
Louis Comfort Tiffany (1848-1933) was one of America’s most acclaimed artists and is most associated with the Art Nouveau and Aesthetic movements according to <a href="http://en.wikipedia.org/wiki/Louis_Comfort_Tiffany">Wikipedia.</a> He focused in the decorative arts and is best known for his work in stained glass. He was the son of Charles Lewis Tiffany (1812-1902), founder of Tiffany & Company. Lewis chose to pursue his own artistic interests rather than joining the family business. 
<br><br>
He began his career as a painter and traveled extensively through Europe. In the late 1870s, Tiffany turned his attention to decorative arts and interiors. In 1881, he did the interior design of the Mark Twain House in Hartford Connecticut. His most notable work was in 1862 when President Chester Arthur refused to move into the White House until it had been resorted, according to Wikipedia. He commissioned Tiffany, who had begun to make a name for himself for interior design work, to redo the state rooms. Tiffany worked on the East Room, Blue Room, Red Room, the State Dining Room, and the Entrance Hall. 
<br><br>
From  <a href="http://www.metmuseum.org/toah/hd/tiff/hd_tiff.htm">The Metropolitan Museum website:</a> “By late 1892 or early 1893, Tiffany built a glasshouse in Corona, Queens, New York, and, with Arthur Nash, a skilled glassworker from Stourbridge, England, his furnaces developed a method whereby different colors were blended together in the molten state, achieving subtle effects of shading and texture. Recalling the Old English word fabrile (hand-wrought), Tiffany named the blown glass from his furnaces Favrile, a trademark that signified glass of hand-made and unique quality.”
<br><br>
“Of all of Tiffany's artistic endeavors, leaded-glass brought him the greatest recognition. Tiffany and his early rival, John La Farge, revolutionized the look of stained glass, which had remained essentially unchanged since medieval times when craftsmen utilized flat panes of white and colored glass with details painted with glass paints before firing and leading. Tiffany and La Farge experimented with new types of glass and achieved a more varied palette with richer hues and greater density. By 1881, each had patented an opalescent glass, a unique American phenomenon that featured a milky, opaque, and sometimes rainbow-hued appearance with the introduction of light. Internally colored with variegated shades of the same or different hues, Tiffany's Favrile glass enabled craftsmen to substitute random tonal gradations, lines, textures, and densities inherent in the material itself for pictorial details.”
<br><br>
At its peak, his factory employed over 300 artisans. He was appointed as art director at Tiffany & Company upon his father’s death in 1902.
<br><br>
Tiffany lived during the Gilded Age, a period of rapid church expansion; one source reports that there were 4,000 churches under contraction in the U.S. in the 1880s according to a recent <a href="http://www.nytimes.com/2013/01/01/arts/design/louis-c-tiffany-works-at-museum-of-biblical-art.html?ref=louiscomforttiffany">The New York Times article</a> on an exhibit of Tiffany’s ecclesiastical work. There was a great demand for artists that could create great and inspiring stained glass windows, mosaics, rederos, and altars. Many churches turned to Tiffany to create such beautiful works. His work in New York churches include Saint Michaels, Advent Lutheran, Saint Ignatius Loyola, Temple Emmanu-El, Church of the Incarnation, Holy Trinity Lutheran Church, Eldridge Street Synagogue; in New Jersey, numerous windows are in Second Reformed Church of Hackensack.
<br><br>
After fire destroyed their first church, The Second Reform Church in Hackensack, New Jersey contacted Tiffany requesting windows depicting events in the life of Christ and contracted Tiffany Studios for five windows, according to <a href="http://www.secondreformed.org/clientimages/42874/stainedglasswindows/stained%20glass%20window%20info.pdf">the church website.</a> The church also contracted Duffner & Kimberly Co. for one window.  The installation of these windows was competed before the dedication ceremony in 1909. 
<br><br>
From the church website:
<br><br>
“The New York Times (May 4, 1979) wrote: "Some of Tiffany's favorite windows are in the Second Reformed Church in Hackensack ,... Tiffany frequently visited there with clients in tow, using  the visit to help them select appropriate design for their purposes." For each installation, the design was customized as the client requested and reworked to fit the window's opening size and shape requirements. Colors were coordinated to harmonize with the surroundings in each location.”
  • The Second Reformed Church Rose Window
<br><br>
From <a href="http://www.secondreformed.org/stainedglass">the church website</a>
<br><br>
“When our current building was built, Tiffany was commissioned to create this beautiful window which is very interactive during morning worship. Sometimes the deep olive green predominates. Some days a beautiful blue is seen at the outer edge. Other days when the sunlight strikes it directly, it is golden and so radiant that the star in the center is not able to be seen.
<br><br>
The Metropolitan Museum of Art noted at the time of the installation in 1909, "...under the personal supervision of Mr. Louis C. Tiffany, has been placed in the Church-'a magnificent Rose Window containing a jeweled cross, extending through many openings in the circle with an illuminated background representing the sky'"."
<br><br>
Louis Comfort Tiffany (1848-1933) was one of America’s most acclaimed artists and is most associated with the Art Nouveau and Aesthetic movements according to <a href="http://en.wikipedia.org/wiki/Louis_Comfort_Tiffany">Wikipedia.</a> He focused in the decorative arts and is best known for his work in stained glass. He was the son of Charles Lewis Tiffany (1812-1902), founder of Tiffany & Company. Lewis chose to pursue his own artistic interests rather than joining the family business. 
<br><br>
He began his career as a painter and traveled extensively through Europe. In the late 1870s, Tiffany turned his attention to decorative arts and interiors. In 1881, he did the interior design of the Mark Twain House in Hartford Connecticut. His most notable work was in 1862 when President Chester Arthur refused to move into the White House until it had been resorted, according to Wikipedia. He commissioned Tiffany, who had begun to make a name for himself for interior design work, to redo the state rooms. Tiffany worked on the East Room, Blue Room, Red Room, the State Dining Room, and the Entrance Hall. 
<br><br>
From  <a href="http://www.metmuseum.org/toah/hd/tiff/hd_tiff.htm">The Metropolitan Museum website:</a> “By late 1892 or early 1893, Tiffany built a glasshouse in Corona, Queens, New York, and, with Arthur Nash, a skilled glassworker from Stourbridge, England, his furnaces developed a method whereby different colors were blended together in the molten state, achieving subtle effects of shading and texture. Recalling the Old English word fabrile (hand-wrought), Tiffany named the blown glass from his furnaces Favrile, a trademark that signified glass of hand-made and unique quality.”
<br><br>
“Of all of Tiffany's artistic endeavors, leaded-glass brought him the greatest recognition. Tiffany and his early rival, John La Farge, revolutionized the look of stained glass, which had remained essentially unchanged since medieval times when craftsmen utilized flat panes of white and colored glass with details painted with glass paints before firing and leading. Tiffany and La Farge experimented with new types of glass and achieved a more varied palette with richer hues and greater density. By 1881, each had patented an opalescent glass, a unique American phenomenon that featured a milky, opaque, and sometimes rainbow-hued appearance with the introduction of light. Internally colored with variegated shades of the same or different hues, Tiffany's Favrile glass enabled craftsmen to substitute random tonal gradations, lines, textures, and densities inherent in the material itself for pictorial details.”
<br><br>
At its peak, his factory employed over 300 artisans. He was appointed as art director at Tiffany & Company upon his father’s death in 1902.
<br><br>
Tiffany lived during the Gilded Age, a period of rapid church expansion; one source reports that there were 4,000 churches under contraction in the U.S. in the 1880s according to a recent <a href="http://www.nytimes.com/2013/01/01/arts/design/louis-c-tiffany-works-at-museum-of-biblical-art.html?ref=louiscomforttiffany">The New York Times article</a> on an exhibit of Tiffany’s ecclesiastical work. There was a great demand for artists that could create great and inspiring stained glass windows, mosaics, rederos, and altars. Many churches turned to Tiffany to create such beautiful works. His work in New York churches include Saint Michaels, Advent Lutheran, Saint Ignatius Loyola, Temple Emmanu-El, Church of the Incarnation, Holy Trinity Lutheran Church, Eldridge Street Synagogue; in New Jersey, numerous windows are in Second Reformed Church of Hackensack.
<br><br>
After fire destroyed their first church, The Second Reform Church in Hackensack, New Jersey contacted Tiffany requesting windows depicting events in the life of Christ and contracted Tiffany Studios for five windows, according to <a href="http://www.secondreformed.org/clientimages/42874/stainedglasswindows/stained%20glass%20window%20info.pdf">the church website.</a> The church also contracted Duffner & Kimberly Co. for one window.  The installation of these windows was competed before the dedication ceremony in 1909. 
<br><br>
From the church website:
<br><br>
“The New York Times (May 4, 1979) wrote: "Some of Tiffany's favorite windows are in the Second Reformed Church in Hackensack ,... Tiffany frequently visited there with clients in tow, using  the visit to help them select appropriate design for their purposes." For each installation, the design was customized as the client requested and reworked to fit the window's opening size and shape requirements. Colors were coordinated to harmonize with the surroundings in each location.”
  • Saint Michael's Victory in Heaven by Louis Comfort Tiffany
<br><br>
I summarized information on the Tiffany windows from a pamphlet available in the narthex (entrance) of the church, “A Brief Tour and Description of St. Michael’s Church Interior and Windows,” by church Archivist Jean Ballard Terepka. 
<br><br>
After completion of the building in 1891, Saint Michael’s rector, John Punnett Peters embarked on furnishing and decorating the church, turning to the Tiffany Glass and Decorating Company for much of the work. On Christmas Day 1895, the Tiffany windows “Saint Michael’s Victory in Heaven” were dedicated. 
<br><br>
Each of the windows is five by 25 feet. The seven panels depict the victor of Saint Micheal in heaven from Revelation 12:7-12 where Satin is expelled from heaven. Saint Michael “…the great archangel, stands on a globe among the clouds, is clothed in armor, and brandishes a sword in one hand. He bears a banner with a cross in the other hand, showing that he stands for Christ. The other archangels are Gabriel, Raphael, Uriel, Enogh, Barachiel, Jehudiel and Sealtahiel. They are surrounded by the angel hosts playing many musical instruments and singing praises to God. This window is considered the finest composition in American favrile glass,” and was designed by Louis Comfort Tiffany.  As described by Terepka, favrile glass is an American invention from the late 19th century. In this process only the face and hands are painted. Everything else constructed of pieces of colored glass fitted into and over one another to give the proper colors, shades, and forms. Wikipedia describes it as follows: “Favrile glass is a type of iridescent art glass designed by Louis Comfort Tiffany. It was patented in 1894 and first produced in 1896. It differs from most iridescent glasses because the color is ingrained in the glass itself, as well as having distinctive coloring. Favrile glass was used in Tiffany's stained-glass windows.”
  • Saint Michael's Altar and Reredos by Louis Comfort Tiffany
<br><br>
From a pamphlet available in the narthex (entrance) of the church, “A Brief Tour and Description of St. Michael’s Church Interior and Windows,” by church Archivist Jean Ballard Terepka:
<br><br>
“Reredos is from two Latin-French words meaning rear and back. The reredos behind the High Altar is in the form of a mosaic set against and into the wall. It contains four medallions representing a winged man, a winged lion, a winged bull and an eagle; each holds a book. These are the four cherubim described in Ezekiel I & I ad the four beasts or creatures of Revelation IV and V. In Christian art, they also represent the four evangelists, Matthew, Mark, Luke and John, who proclaim to the world Jesus Christ as the revelation of God in the world. 
<br><br>
The High Altar is of white marble, framed in a rich yellow marble, set against a dark background in order to make it the most conspicuous object in the church. In the center is a square cross constructed of circles running into one another. In the fields at the angles of the cross are inscribed in Greek the first and last letter of Jesus and Christ , “IΣ” and “X Σ” (IS and XS) and the Greek acronym, “NI-KA” (i.e., Jesus Crhist conquers by the Cross). In the long panels at the corners of the altar, and on both ends, is depicted the victory of the cross by the cross standing on the world. Between the cross in the center and the crosses in the corners, is a triangle of smaller circles and combining with the Triangles of the Trinity.“
  • Saint Michael's Nave
<br><br>
This photo, taken during the Christmas Season 2012, shows the white marble altar with the temporary manger scene below, the mosaic reredos above the altar, and the seven Tiffany stained glass windows. Other photos in this gallery provide more detail. 
<br><br>
I summarized information on the history of Saint Michael’s Church from a pamphlet available in the narthex (entrance) of the church, “St. Michael’s Church: Two Centuries and Onward,” by church Archivist Jean Ballard Terepka. 
<br><br>
Saint Michael’s is an Episcopal church at 99th and Amsterdam Avenue in Manhattan. The current church building is the third church on the site. Robert W. Gibson designed the current building, completed in 1891, in a Northern Italian renaissance or Romanesque-Byzantine style.  Works by Tiffany Glass Studios founded by Louis Comfort Tiffany are prominent throughout the church.
 <br><br>
The families that established Saint Michaels in 1807 were pew holders of Trinity Church seeking a more convenient place to worship near their summer homes overlooking the Hudson River. The location was in a village of Manhattan known as Bloomingdale and located on a hill on Bloomingdale Road, just east of what later became Broadway. The church served not only Trinity founders but also Bloomingdale farmers, shopkeepers, migrant, and temporary workers. 
<br><br>
In 1820, William Richmond became rector, beginning a century-long family leadership. Richmond served for 33 years and was followed by his assistant priest, Thomas McClure Peters, who married Richmond’s daughter. McClure Peters total service in the parish lasted 40 years, with his son taking over as rector. Under William Richmond, the size of the scope of the ministry was significant extending from 59th street to the northern tip of Manhattan and from the Hudson River to the East River. Saint Michaels founded at least six churches in New York City. 
<br><br>
Saint Michael’s was active in establishing ministries in the 19th century including the City Mission Society and numerous asylums for poor and homeless women and children, and foster care for destitute children. After the Civil War, the church provided space and financial support for the free Bloomingdale Clinic, District Nurse Association, Day Nursery, and Circulating Library. 
<br><br>
The first church was a simple white frame building. It burned to the ground in 1853 and was replaced by a swiftly build second church consecrated in 1854. 
<br><br>
Saint Michael’s grew rapidly during that time, welcoming many German immigrants. The second church now seemed inadequate in size and plans were put in place in the 1880s for a new building-the third and present building. Robert W. Gibson (1854-1927) created a church in Romanesque and Byzantine style and was dedicated in 1891. In 1895, Louis Comfort Tiffany (1854-1933) was commissioned to design the interior decorations for the building in addition to seven lancet windows representing Saint Michael’s Victory in Heaven. 
<br><br>
The church struggled during the First and Second World Wars, barely able to maintain its social ministries while meeting the wartime pastoral needs of the parish. For the first 60 years of the century, the number of members at Saint Michael’s decreased as the Upper West Side experienced economic decay with the area considered dangerous and undesirable. In the late 1950s and 1960s, it retained a small core of devoted parishioners in the decaying neighborhood. Church leaders struggled to keep the church solvent with meager revenue from pledges and plate collections. As a result of the precarious financial condition, the Bishop of New York considered closing the church. However, funds were raised to keep the church open and even to install a new organ. 
<br><br>
The Upper West Side experienced a revival in the 1970s as the neighborhood once again became desirable and Saint Michael’s welcomed a substantial number of new parishioners. Demographically, the church reflected the diversity of the Upper West Side with individuals and families of Caribbean, Hispanic, African, Indian Asian, and Caucasian descent. As a result of the growing numbers, the church’s finances improved and the church remerged as a leader in a renewed neighborhood. In 1997, Saint Michael’s Church became a Designated Historical Building on the National and State Registers of Historic Places.
  • Incarnation Door and Stained Glass Window by Louis Comfort Tiffany
  • Victory Over Death by Frederick Wilson of Tiffany Glass Company
<br><br>
This window depicts Martha, Mary, and Jesus at the tomb of Lazarus. Above them are angels heralding victory over death and a flock of doves in flight, symbolizing departed souls seeking God. The window was designed by Frederick Wilson, the leading designer (after Tiffany himself) at the Tiffany Glass Company, according to the <a href="http://www.churchoftheincarnation.org/about-incarnation/landmark-building/the-window-tour/victory-over-death-13/">Incarnation website.</a>
<br><br>
"Note that in the American-manufactured windows in this church, the faces and portraits are painted in oils onto the transparent glass. The English-manufactured windows in this church use an entirely different technique, where all aspects of the illustration are etched directly onto the colored glass and stained prior to assembly. The painted portraits have weathered over time, and are now protected from weather elements with a outer layer of plexiglass."
<br><br>
Louis Comfort Tiffany (1848-1933) was one of America’s most acclaimed artists and is most associated with the Art Nouveau and Aesthetic movements according to <a href="http://en.wikipedia.org/wiki/Louis_Comfort_Tiffany">Wikipedia.</a> He focused in the decorative arts and is best known for his work in stained glass. He was the son of Charles Lewis Tiffany (1812-1902), founder of Tiffany & Company. Lewis chose to pursue his own artistic interests rather than joining the family business. 
<br><br>
He began his career as a painter and traveled extensively through Europe. In the late 1870s, Tiffany turned his attention to decorative arts and interiors. In 1881, he did the interior design of the Mark Twain House in Hartford Connecticut. His most notable work was in 1862 when President Chester Arthur refused to move into the White House until it had been resorted, according to Wikipedia. He commissioned Tiffany, who had begun to make a name for himself for interior design work, to redo the state rooms. Tiffany worked on the East Room, Blue Room, Red Room, the State Dining Room, and the Entrance Hall. 
<br><br>
From  <a href="http://www.metmuseum.org/toah/hd/tiff/hd_tiff.htm">The Metropolitan Museum website:</a> “By late 1892 or early 1893, Tiffany built a glasshouse in Corona, Queens, New York, and, with Arthur Nash, a skilled glassworker from Stourbridge, England, his furnaces developed a method whereby different colors were blended together in the molten state, achieving subtle effects of shading and texture. Recalling the Old English word fabrile (hand-wrought), Tiffany named the blown glass from his furnaces Favrile, a trademark that signified glass of hand-made and unique quality.”
<br><br>
“Of all of Tiffany's artistic endeavors, leaded-glass brought him the greatest recognition. Tiffany and his early rival, John La Farge, revolutionized the look of stained glass, which had remained essentially unchanged since medieval times when craftsmen utilized flat panes of white and colored glass with details painted with glass paints before firing and leading. Tiffany and La Farge experimented with new types of glass and achieved a more varied palette with richer hues and greater density. By 1881, each had patented an opalescent glass, a unique American phenomenon that featured a milky, opaque, and sometimes rainbow-hued appearance with the introduction of light. Internally colored with variegated shades of the same or different hues, Tiffany's Favrile glass enabled craftsmen to substitute random tonal gradations, lines, textures, and densities inherent in the material itself for pictorial details.”
<br><br>
At its peak, his factory employed over 300 artisans. He was appointed as art director at Tiffany & Company upon his father’s death in 1902.
<br><br>
Tiffany lived during the Gilded Age, a period of rapid church expansion; one source reports that there were 4,000 churches under contraction in the U.S. in the 1880s according to a recent <a href="http://www.nytimes.com/2013/01/01/arts/design/louis-c-tiffany-works-at-museum-of-biblical-art.html?ref=louiscomforttiffany">The New York Times article</a> on an exhibit of Tiffany’s ecclesiastical work. There was a great demand for artists that could create great and inspiring stained glass windows, mosaics, rederos, and altars. Many churches turned to Tiffany to create such beautiful works. His work in New York churches include Saint Michaels, Advent Lutheran, Saint Ignatius Loyola, Temple Emmanu-El, Church of the Incarnation, Holy Trinity Lutheran Church, Eldridge Street Synagogue; in New Jersey, numerous windows are in Second Reformed Church of Hackensack.
  • Victory Over Death by Frederick Wilson of Tiffany Glass Company
<br><br>
This window depicts Martha, Mary, and Jesus at the tomb of Lazarus. Above them are angels heralding victory over death and a flock of doves in flight, symbolizing departed souls seeking God. The window was designed by Frederick Wilson, the leading designer (after Tiffany himself) at the Tiffany Glass Company, according to the <a href="http://www.churchoftheincarnation.org/about-incarnation/landmark-building/the-window-tour/victory-over-death-13/">Incarnation website.</a>
<br><br>
"Note that in the American-manufactured windows in this church, the faces and portraits are painted in oils onto the transparent glass. The English-manufactured windows in this church use an entirely different technique, where all aspects of the illustration are etched directly onto the colored glass and stained prior to assembly. The painted portraits have weathered over time, and are now protected from weather elements with a outer layer of plexiglass."
<br><br>
Louis Comfort Tiffany (1848-1933) was one of America’s most acclaimed artists and is most associated with the Art Nouveau and Aesthetic movements according to <a href="http://en.wikipedia.org/wiki/Louis_Comfort_Tiffany">Wikipedia.</a> He focused in the decorative arts and is best known for his work in stained glass. He was the son of Charles Lewis Tiffany (1812-1902), founder of Tiffany & Company. Lewis chose to pursue his own artistic interests rather than joining the family business. 
<br><br>
He began his career as a painter and traveled extensively through Europe. In the late 1870s, Tiffany turned his attention to decorative arts and interiors. In 1881, he did the interior design of the Mark Twain House in Hartford Connecticut. His most notable work was in 1862 when President Chester Arthur refused to move into the White House until it had been resorted, according to Wikipedia. He commissioned Tiffany, who had begun to make a name for himself for interior design work, to redo the state rooms. Tiffany worked on the East Room, Blue Room, Red Room, the State Dining Room, and the Entrance Hall. 
<br><br>
From  <a href="http://www.metmuseum.org/toah/hd/tiff/hd_tiff.htm">The Metropolitan Museum website:</a> “By late 1892 or early 1893, Tiffany built a glasshouse in Corona, Queens, New York, and, with Arthur Nash, a skilled glassworker from Stourbridge, England, his furnaces developed a method whereby different colors were blended together in the molten state, achieving subtle effects of shading and texture. Recalling the Old English word fabrile (hand-wrought), Tiffany named the blown glass from his furnaces Favrile, a trademark that signified glass of hand-made and unique quality.”
<br><br>
“Of all of Tiffany's artistic endeavors, leaded-glass brought him the greatest recognition. Tiffany and his early rival, John La Farge, revolutionized the look of stained glass, which had remained essentially unchanged since medieval times when craftsmen utilized flat panes of white and colored glass with details painted with glass paints before firing and leading. Tiffany and La Farge experimented with new types of glass and achieved a more varied palette with richer hues and greater density. By 1881, each had patented an opalescent glass, a unique American phenomenon that featured a milky, opaque, and sometimes rainbow-hued appearance with the introduction of light. Internally colored with variegated shades of the same or different hues, Tiffany's Favrile glass enabled craftsmen to substitute random tonal gradations, lines, textures, and densities inherent in the material itself for pictorial details.”
<br><br>
At its peak, his factory employed over 300 artisans. He was appointed as art director at Tiffany & Company upon his father’s death in 1902.
<br><br>
Tiffany lived during the Gilded Age, a period of rapid church expansion; one source reports that there were 4,000 churches under contraction in the U.S. in the 1880s according to a recent <a href="http://www.nytimes.com/2013/01/01/arts/design/louis-c-tiffany-works-at-museum-of-biblical-art.html?ref=louiscomforttiffany">The New York Times article</a> on an exhibit of Tiffany’s ecclesiastical work. There was a great demand for artists that could create great and inspiring stained glass windows, mosaics, rederos, and altars. Many churches turned to Tiffany to create such beautiful works. His work in New York churches include Saint Michaels, Advent Lutheran, Saint Ignatius Loyola, Temple Emmanu-El, Church of the Incarnation, Holy Trinity Lutheran Church, Eldridge Street Synagogue; in New Jersey, numerous windows are in Second Reformed Church of Hackensack.
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