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  2. Houses of Worship

Louis Comfort Tiffany

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The Church of Saint Ignatius Loyola Bapistery <br><br> At the left hand side of the church facing the altar is the baptistery (from Wikipedia: "In Christian architecture the baptistry or baptistery is the separate centrally-planned structure surrounding the baptismal font. The baptistry may be incorporated within the body of a church or cathedral and be provided with an altar as a chapel.") composed of a half-drum surmounted by a semi-dome. This was the first part of the church’s interior to be decorated and clearly no expense was spared in the creation of what is undoubtedly the most precious unit in the church according to <a href="http://www.stignatiusloyola.org/index.php/about_us/church_history_tour "> the Saint Ignatius Loyola website. </a> <br><br> “Because the baptistry is also the Chapel of John the Baptist, its ornamentation illustrates the saint’s ministry, his prophecies about Jesus, and Jesus’ pronouncements about John. For example, the three mosaics decorating the walls depict important moments in the Baptist’s earthly life: his sanctification at the time of the Visitation; the culmination of his ministry in baptizing Jesus in the River Jordan; and his martyrdom. These murals were also designed by Heaton, Butler and Bayne. The Venetian glass tesserae (one of the small squares of stone or glass used in making mosaic patterns) were cut and laid out by Salviati & Company of Venise. The expertise of the Gorham Company was called upon again to install this new mosaic program; the company also designed and executed the lectern with its inlaid brass images of the Lion of Juda and the Sacrificial Lamb.” <br><br> Caryl Colement of the Ecclesiastical Department of the Tiffany Glass and Decorating Company was designed and executed the baptistry’s altar. Like the curved walls surrounding it, is of Pavonazzo marble and is inlaid with mosaics. <br><br> Tiffany Glass and Decorating Company created the baptistry’s semi-dome. “Composed of irregularly faceted glass slags referred to as “jewel” glass in the Tiffany lexicon, the dome suffuses this special precinct of the church with brilliant and sparkling light. At the apex of the design is a dove representing the Holy Spirit; rising from the waters of the font under this image symbolizes God’s claiming the newly baptized as his beloved child in the same way that Jesus was publicly claimed by God as His beloved Son on whom His favor rests (Mt. 3:17).”
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The Church of Saint Ignatius Loyola Bapistery

At the left hand side of the church facing the altar is the baptistery (from Wikipedia: "In Christian architecture the baptistry or baptistery is the separate centrally-planned structure surrounding the baptismal font. The baptistry may be incorporated within the body of a church or cathedral and be provided with an altar as a chapel.") composed of a half-drum surmounted by a semi-dome. This was the first part of the church’s interior to be decorated and clearly no expense was spared in the creation of what is undoubtedly the most precious unit in the church according to the Saint Ignatius Loyola website.

“Because the baptistry is also the Chapel of John the Baptist, its ornamentation illustrates the saint’s ministry, his prophecies about Jesus, and Jesus’ pronouncements about John. For example, the three mosaics decorating the walls depict important moments in the Baptist’s earthly life: his sanctification at the time of the Visitation; the culmination of his ministry in baptizing Jesus in the River Jordan; and his martyrdom. These murals were also designed by Heaton, Butler and Bayne. The Venetian glass tesserae (one of the small squares of stone or glass used in making mosaic patterns) were cut and laid out by Salviati & Company of Venise. The expertise of the Gorham Company was called upon again to install this new mosaic program; the company also designed and executed the lectern with its inlaid brass images of the Lion of Juda and the Sacrificial Lamb.”

Caryl Colement of the Ecclesiastical Department of the Tiffany Glass and Decorating Company was designed and executed the baptistry’s altar. Like the curved walls surrounding it, is of Pavonazzo marble and is inlaid with mosaics.

Tiffany Glass and Decorating Company created the baptistry’s semi-dome. “Composed of irregularly faceted glass slags referred to as “jewel” glass in the Tiffany lexicon, the dome suffuses this special precinct of the church with brilliant and sparkling light. At the apex of the design is a dove representing the Holy Spirit; rising from the waters of the font under this image symbolizes God’s claiming the newly baptized as his beloved child in the same way that Jesus was publicly claimed by God as His beloved Son on whom His favor rests (Mt. 3:17).”

SaintIgnatiusLoyolaCatholicchurchbaptistrysemidomeTiffanystudios

  • 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.
  • The Twenty-Third Psalm Window by Frederick Wilson of Tiffany Glass Company <br><br> From the <a href="http://www.churchoftheincarnation.org/about-incarnation/landmark-building/the-window-tour/23rd-psalm-14/">Incarnation website:</a> "The Twenty-third Psalm window illustrates the text of this beautiful song. In the upper portion, angels bear torches and lilies. this window was also executed by Frederick Wilson of the Tiffany Glass Company. The long, flowing lines in the design of these two windows reflect the influence of the Art Nouveau style, of which Tiffany was very much a proponent." <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.
  • The Twenty-Third Psalm Window by Frederick Wilson of Tiffany Glass Company <br><br> From the <a href="http://www.churchoftheincarnation.org/about-incarnation/landmark-building/the-window-tour/23rd-psalm-14/">Incarnation website:</a> "The Twenty-third Psalm window illustrates the text of this beautiful song. In the upper portion, angels bear torches and lilies. this window was also executed by Frederick Wilson of the Tiffany Glass Company. The long, flowing lines in the design of these two windows reflect the influence of the Art Nouveau style, of which Tiffany was very much a proponent." <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.
  • The Pilgrim Window by Louis Comfort Tiffany <br><br> This window on the south wall shows a Christian pilgrim carrying his staff and scrip. It was commissioned by the parish in honor of the first Sunday school teacher at Incarnation, George N. Hale, and was designed by Louis Comfort Tiffany. <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.
  • The Church of Saint Ignatius Loyola Bapistery <br><br> At the left hand side of the church facing the altar is the baptistery (from Wikipedia: "In Christian architecture the baptistry or baptistery is the separate centrally-planned structure surrounding the baptismal font.") composed of a half-drum surmounted by a semi-dome. This was the first part of the church’s interior to be decorated and clearly no expense was spared in the creation of what is undoubtedly the most precious unit in the church according to <a href="http://www.stignatiusloyola.org/index.php/about_us/church_history_tour "> the Saint Ignatius Loyola website. </a> <br><br> Tiffany Glass and Decorating Company created the baptistry’s semi-dome. “Composed of irregularly faceted glass slags referred to as “jewel” glass in the Tiffany lexicon, the dome suffuses this special precinct of the church with brilliant and sparkling light. At the apex of the design is a dove representing the Holy Spirit; rising from the waters of the font under this image symbolizes God’s claiming the newly baptized as his beloved child in the same way that Jesus was publicly claimed by God as His beloved Son on whom His favor rests (Mt. 3:17).”
  • The Church of Saint Ignatius Loyola Bapistery <br><br> At the left hand side of the church facing the altar is the baptistery (from Wikipedia: "In Christian architecture the baptistry or baptistery is the separate centrally-planned structure surrounding the baptismal font. The baptistry may be incorporated within the body of a church or cathedral and be provided with an altar as a chapel.") composed of a half-drum surmounted by a semi-dome. This was the first part of the church’s interior to be decorated and clearly no expense was spared in the creation of what is undoubtedly the most precious unit in the church according to <a href="http://www.stignatiusloyola.org/index.php/about_us/church_history_tour "> the Saint Ignatius Loyola website. </a> <br><br> “Because the baptistry is also the Chapel of John the Baptist, its ornamentation illustrates the saint’s ministry, his prophecies about Jesus, and Jesus’ pronouncements about John. For example, the three mosaics decorating the walls depict important moments in the Baptist’s earthly life: his sanctification at the time of the Visitation; the culmination of his ministry in baptizing Jesus in the River Jordan; and his martyrdom. These murals were also designed by Heaton, Butler and Bayne. The Venetian glass tesserae (one of the small squares of stone or glass used in making mosaic patterns) were cut and laid out by Salviati & Company of Venise. The expertise of the Gorham Company was called upon again to install this new mosaic program; the company also designed and executed the lectern with its inlaid brass images of the Lion of Juda and the Sacrificial Lamb.” <br><br> Caryl Colement of the Ecclesiastical Department of the Tiffany Glass and Decorating Company was designed and executed the baptistry’s altar. Like the curved walls surrounding it, is of Pavonazzo marble and is inlaid with mosaics. <br><br> Tiffany Glass and Decorating Company created the baptistry’s semi-dome. “Composed of irregularly faceted glass slags referred to as “jewel” glass in the Tiffany lexicon, the dome suffuses this special precinct of the church with brilliant and sparkling light. At the apex of the design is a dove representing the Holy Spirit; rising from the waters of the font under this image symbolizes God’s claiming the newly baptized as his beloved child in the same way that Jesus was publicly claimed by God as His beloved Son on whom His favor rests (Mt. 3:17).”
  • Advent Lutheran
  • Advent Lutheran<br /> <br /> Window by Louis Comfort Tiffany and manufactured by his Tiffany Studios.
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