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Incarnation Episcopal

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Incarnation Altar by S. Klaber & Company, Central Mural by Henry Wynd Young, Side Murals by John LaFarge <br><br> S. Klaber & Company made the marble altar from a design by Heins and La Farge, architects according to the <a href="http://www.churchoftheincarnation.org/about-incarnation/landmark-building/the-window-tour/altar-and-chancel/">Incarnation website.</a> <br><br> “The design incorporates many types of marble from different areas of the world, including Vermont, Georgia, Belgium, Africa, Italy, and France. The altar cross is bronze covered with a dull rose gold. The cross is richly ornamented in Gothic style with grapevine motifs symbolizing the blood of Christ. It is studded with garnets and amethysts. The cross and candlesticks were made by Gorham & Company. <br><br> The reredos is made of caenstone. Its three cherubim hold a banner bearing the words And the Word was made flesh and dwelt among us. On either side of the scroll, four angels rejoice at this Incarnation message and play musical instruments in celebration. A central mural, above the reredos, continues the theme of an angel choir. They are singing Gloria in excelsis Deo. The mural is by Henry Wynd Young. On either side of the central mural are two murals by John La Farge, who painted them in situ. They depict the Adoration of the Magi at the manger in Bethlehem.”
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Incarnation Altar by S. Klaber & Company, Central Mural by Henry Wynd Young, Side Murals by John LaFarge

S. Klaber & Company made the marble altar from a design by Heins and La Farge, architects according to the Incarnation website.

“The design incorporates many types of marble from different areas of the world, including Vermont, Georgia, Belgium, Africa, Italy, and France. The altar cross is bronze covered with a dull rose gold. The cross is richly ornamented in Gothic style with grapevine motifs symbolizing the blood of Christ. It is studded with garnets and amethysts. The cross and candlesticks were made by Gorham & Company.

The reredos is made of caenstone. Its three cherubim hold a banner bearing the words And the Word was made flesh and dwelt among us. On either side of the scroll, four angels rejoice at this Incarnation message and play musical instruments in celebration. A central mural, above the reredos, continues the theme of an angel choir. They are singing Gloria in excelsis Deo. The mural is by Henry Wynd Young. On either side of the central mural are two murals by John La Farge, who painted them in situ. They depict the Adoration of the Magi at the manger in Bethlehem.”

ChurchIncarnationEpiscopalnaveapsereredoschancel

  • The Church of the Incarnation Chancel, Nave, and Reredos <br><br> The Church of the Incarnation is located at 35th and Madison Avenue in Manhattan. The stained glass windows are spectacular, produced by leading artists of the late 1800’s: American artists Louis Comfort Tiffany and John LaFarge and British artists William Morris, Henry Holiday, Clayton and Bell, Heaton, Butler & Bayne, and C.E. Kempe. “Art scholars and historians agree that this collection represents one of the finest existing examples of glassmaking during one of the craft’s richest and most prolific periods," according to the <a href="http://www.churchoftheincarnation.org/about-incarnation/landmark-building/the-history/">Incarnation website.</a> <br><br> The church was founded in 1850 as a mission chapel of Grace Church at 28th and Madison Avenue, providing free or low cost pew rentals. From the Incarnation website, during the 19th century, it was customary for Episcopal churches in New York to meet their expenses with a system of pew rentals, rather than through what has now become traditional weekly tithes. Certain pews were kept open for visitors and those who could not afford a pew, but some churches went a step further and built mission chapels where pews were either free or rented for very small amounts. In 1852, it became an independent church under the name of The Church of the Incarnation. <br><br> Land for the current church was purchased in 1863. Emlen T. Littell designed the building, which was consecrated in 1854. Littell described the architecture as “Early Decorated Church Gothic,” according to the Incarnation website. “Frequently referred to as “Neo-Gothic,” the architecture of the church is historically based on the so-called English 19th century Commissioners’ style, named for the Commission of the Church Building Society. This group built modest, attractive churches for the many new communities in England created during the industrial revolution. The churches feature a narthex, an open nave with side aisles, and a short chancel; Gothic Revival style added steeply pitched roofs, towers and a clerestory." <br><br> The church was severely damaged by fire in 1882, which left standing the western wall and tower. David Jardine was commissioned to oversee the rebuilding. Guided by Littell’s original design, the building reopened for services in 1882. <br><br> All of the current windows were completed and installed within a decade after the fire. The windows depict the religious narrative of events from Christ’s life in the New Testament, and with key figures and events from the Old Testament. <br><br> Admiral David Farragut (“Damn the torpedos! Full speed ahead!”), Eleanor Roosevelt (who was confirmed there) were parishioners. The funeral of Franklin Delano Roosevelt's mother was held at the church. The website mentions that many members of the Delano and Morgan families were members of the church. <br><br> The church fell on hard times before 1950 and the church rector recommended that it be closed and the property sold. However, the church survived. With the arrival of the current rector, cost-cutting measures and concerted efforts at fundraising were made, and Incarnation is currently enjoying a surge in membership according to the church website.
  • Incarnation Altar by S. Klaber & Company, Central Mural by Henry Wynd Young, Side Murals by John LaFarge <br><br> S. Klaber & Company made the marble altar from a design by Heins and La Farge, architects according to the <a href="http://www.churchoftheincarnation.org/about-incarnation/landmark-building/the-window-tour/altar-and-chancel/">Incarnation website.</a> <br><br> “The design incorporates many types of marble from different areas of the world, including Vermont, Georgia, Belgium, Africa, Italy, and France. The altar cross is bronze covered with a dull rose gold. The cross is richly ornamented in Gothic style with grapevine motifs symbolizing the blood of Christ. It is studded with garnets and amethysts. The cross and candlesticks were made by Gorham & Company. <br><br> The reredos is made of caenstone. Its three cherubim hold a banner bearing the words And the Word was made flesh and dwelt among us. On either side of the scroll, four angels rejoice at this Incarnation message and play musical instruments in celebration. A central mural, above the reredos, continues the theme of an angel choir. They are singing Gloria in excelsis Deo. The mural is by Henry Wynd Young. On either side of the central mural are two murals by John La Farge, who painted them in situ. They depict the Adoration of the Magi at the manger in Bethlehem.”
  • Incarnation Church Reredos<br /> <br /> The reredos is made of caenstone. Its three cherubim hold a banner bearing the words "And the Word was made flesh and dwelt among us."
  • Untitled photo
  • Incarnation Door and Stained Glass Window by Louis Comfort Tiffany
  • The Chapel of the Resurrection<br /> <br /> The Chapel was built in 1930. The reredos is a polychromed wood triptych (a work of art-usually a panel painting-that is divided into three sections, or three carved panels which are hinged together and can be folded shut or displayed open) in an early English style. Above the triptyck is a window portraying the Resurrection.
  • The Church of the Incarnation Great West Window by C.E. Kempe <br><br> From the <a href="http://www.churchoftheincarnation.org/about-incarnation/landmark-building/the-window-tour/great-west-window-17/">Incarnation website:</a> <br><br> "The great west window above the main entrance to the nave depicts the Adoration of the Lord as the Risen and Enthroned Christ in Heaven with a gathering of saints and angels. Around Christ we see the Virgin Mary, Saint Peter, Saint John, Saint John the baptist, Saint Paul, Isaiah, King David, Saint Jerome, Saint Basil, Saint Columba, Saint Hilda, Saint Helena, Saint Stephen, Saint George, Saint Agnes, and Saint Catherine. In the upper portion, there are angels with scrolls bearing the words of the Te Deum. Below them are angels singing and playing their hymns of praise. This window echoes the style of fifteenth-century English glass painters and was made by C.E. Kemp of England." Kemp also made the windows in the Chapel of the Nativity. <br><br> C.E. Kemp (1837-1907) came from a well-off family; his uncle was a successful property developer and politician in nearby Brighton, and his grandfather was Lord Mayor of London, according to <a href="http://www.britainexpress.com/History/bio/Kempe.htm">British Express. </a> <br><br> He considered the priesthood, but his severe stammer which was an impediment to preaching. Instead Kempe decided that "if I was not permitted to minister in the Sanctuary I would use my talents to adorn it", and subsequently went to study architecture with the firm of a leading ecclesiastical architect George Frederick Bodley, where he learned the aesthetic principles of medieval church art particularly stain glass, according to <a href="http://en.wikipedia.org/wiki/Charles_Eamer_Kempe">Wikipedia.</a> From Britain Express: “Kempe travelled around Britain and overseas, sketching medieval window designs. Kempe assisted Bodley on two major church projects in the 1860s; All Saints, Cambridge, and St John's, Liverpool. In 1866 the important stained glass makers Clayton and Bell asked Kempe to design a memorial window for Bishop Hooper in Gloucester Cathedral. <br><br> In 1866 he started his own business in London. Kempe Studios began by supplying vestments, stained glass, and church furnishings. The studio was a success, and enjoyed continual growth throughout the late Victorian period. You could say that he was fortunate, for Kempe Studios began in a period when church architecture and rebuilding was in vogue; the spiritual Renaissance of the Victorian period led to many medieval churches being rebuilt. So suppliers of materials and architectural knowledge were in great demand, and Kempe's work, particularly with stained glass, found a ready market of buyers. <br><br> Kempe decided early on that he needed to use a trademark, and he chose a wheatsheaf, which appears in the Kempe family coat of arms. Finding the wheatsheaf in a set of Kempe windows is a strangely enjoyable pastime for people who enjoy exploring Victorian churches! Kempe was especially active in his native Sussex, where fully 116 churches boast examples of his work. He did not just deal in stained glass, though it is for glass that Kempe is best known. Some of his most important work was with wall painting, such as that at Staplefield, outside Horsham, West Sussex. Aside from the wheatsheaf trademark, one of the characteristic features of a Kempe design is a strong predominence of yellow. <br><br> Kempe's designs - particularly those in stained glass - helped define the style of an age, closely associated with the artwork of the Pre-Raphaelites. When you see a Victorian stained glass window, with its clear, clean colours and romanticised figures, you may not be seeing a Kempe design, but you are almost certainly seeing a design influenced by Kempe. <br><br> Kempe died in 1907, and his company was taken over by WE Tower. But Tower did not enjoy the same success as Kempe, and the company folded in 1934. <br><br> Kempe never married; he was a shy man by nature, though he enjoyed entertaining guests at the house he purchased at Lindfield, West Sussex. He is buried in the churchyard at Ovingdean, the place of his birth.” <br><br> Kempe studios produced over 4,000 stained glass windows.
  • The Church of the Incarnation Great West Window by C.E. Kempe <br><br> The great west window above the main entrance to the nave depicts the Adoration of the Lord as the Risen and Enthroned Christ in Heaven with a gathering of saints and angels. This window echoes the style of fifteenth-century English glass painters and was made by C.E. Kemp of England. Kemp also made the windows in the Chapel of the Nativity. <br><br> C.E. Kemp (1837-1907) came from a well-off family; his uncle was a successful property developer and politician in nearby Brighton, and his grandfather was Lord Mayor of London, according to <a href="http://www.britainexpress.com/History/bio/Kempe.htm">British Express. </a> <br><br> He considered the priesthood, but his severe stammer which was an impediment to preaching. Instead Kempe decided that "if I was not permitted to minister in the Sanctuary I would use my talents to adorn it", and subsequently went to study architecture with the firm of a leading ecclesiastical architect George Frederick Bodley, where he learned the aesthetic principles of medieval church art particularly stain glass, according to <a href="http://en.wikipedia.org/wiki/Charles_Eamer_Kempe">Wikipedia.</a> From Britain Express: “Kempe travelled around Britain and overseas, sketching medieval window designs. Kempe assisted Bodley on two major church projects in the 1860s; All Saints, Cambridge, and St John's, Liverpool. In 1866 the important stained glass makers Clayton and Bell asked Kempe to design a memorial window for Bishop Hooper in Gloucester Cathedral. <br><br> In 1866 he started his own business in London. Kempe Studios began by supplying vestments, stained glass, and church furnishings. The studio was a success, and enjoyed continual growth throughout the late Victorian period. You could say that he was fortunate, for Kempe Studios began in a period when church architecture and rebuilding was in vogue; the spiritual Renaissance of the Victorian period led to many medieval churches being rebuilt. So suppliers of materials and architectural knowledge were in great demand, and Kempe's work, particularly with stained glass, found a ready market of buyers. <br><br> Kempe decided early on that he needed to use a trademark, and he chose a wheatsheaf, which appears in the Kempe family coat of arms. Finding the wheatsheaf in a set of Kempe windows is a strangely enjoyable pastime for people who enjoy exploring Victorian churches! Kempe was especially active in his native Sussex, where fully 116 churches boast examples of his work. He did not just deal in stained glass, though it is for glass that Kempe is best known. Some of his most important work was with wall painting, such as that at Staplefield, outside Horsham, West Sussex. Aside from the wheatsheaf trademark, one of the characteristic features of a Kempe design is a strong predominence of yellow. <br><br> Kempe's designs - particularly those in stained glass - helped define the style of an age, closely associated with the artwork of the Pre-Raphaelites. When you see a Victorian stained glass window, with its clear, clean colours and romanticised figures, you may not be seeing a Kempe design, but you are almost certainly seeing a design influenced by Kempe. <br><br> Kempe died in 1907, and his company was taken over by WE Tower. But Tower did not enjoy the same success as Kempe, and the company folded in 1934. Kempe never married; he was a shy man by nature, though he enjoyed entertaining guests at the house he purchased at Lindfield, West Sussex. He is buried in the churchyard at Ovingdean, the place of his birth.” <br><br> Kempe studios produced over 4,000 stained glass windows.
  • The Church of the Incarnation Chapel of the Nativity Window by C.E. Kempe <br><br> The Chapel of the Nativity was given by the Constable family, founders of the Arnold Constable department store. The windows and the altarpiece were purchased from a private family chapel in England. Kempe also made the Great West Window in the church. <br><br> C.E. Kemp (1837-1907) came from a well-off family; his uncle was a successful property developer and politician in nearby Brighton, and his grandfather was Lord Mayor of London, according to <a href="http://www.britainexpress.com/History/bio/Kempe.htm">British Express. </a> <br><br> He considered the priesthood, but his severe stammer which was an impediment to preaching. Instead Kempe decided that "if I was not permitted to minister in the Sanctuary I would use my talents to adorn it", and subsequently went to study architecture with the firm of a leading ecclesiastical architect George Frederick Bodley, where he learned the aesthetic principles of medieval church art particularly stain glass, according to <a href="http://en.wikipedia.org/wiki/Charles_Eamer_Kempe">Wikipedia.</a> From Britain Express: “Kempe travelled around Britain and overseas, sketching medieval window designs. Kempe assisted Bodley on two major church projects in the 1860s; All Saints, Cambridge, and St John's, Liverpool. In 1866 the important stained glass makers Clayton and Bell asked Kempe to design a memorial window for Bishop Hooper in Gloucester Cathedral. <br><br> In 1866 he started his own business in London. Kempe Studios began by supplying vestments, stained glass, and church furnishings. The studio was a success, and enjoyed continual growth throughout the late Victorian period. You could say that he was fortunate, for Kempe Studios began in a period when church architecture and rebuilding was in vogue; the spiritual Renaissance of the Victorian period led to many medieval churches being rebuilt. So suppliers of materials and architectural knowledge were in great demand, and Kempe's work, particularly with stained glass, found a ready market of buyers. <br><br> Kempe decided early on that he needed to use a trademark, and he chose a wheatsheaf, which appears in the Kempe family coat of arms. Finding the wheatsheaf in a set of Kempe windows is a strangely enjoyable pastime for people who enjoy exploring Victorian churches! Kempe was especially active in his native Sussex, where fully 116 churches boast examples of his work. He did not just deal in stained glass, though it is for glass that Kempe is best known. Some of his most important work was with wall painting, such as that at Staplefield, outside Horsham, West Sussex. Aside from the wheatsheaf trademark, one of the characteristic features of a Kempe design is a strong predominence of yellow. <br><br> Kempe's designs - particularly those in stained glass - helped define the style of an age, closely associated with the artwork of the Pre-Raphaelites. When you see a Victorian stained glass window, with its clear, clean colours and romanticised figures, you may not be seeing a Kempe design, but you are almost certainly seeing a design influenced by Kempe. <br><br> Kempe died in 1907, and his company was taken over by WE Tower. But Tower did not enjoy the same success as Kempe, and the company folded in 1934. <br><br> Kempe never married; he was a shy man by nature, though he enjoyed entertaining guests at the house he purchased at Lindfield, West Sussex. He is buried in the churchyard at Ovingdean, the place of his birth.” <br><br> Kempe studios produced over 4,000 stained glass windows.
  • The Church of the Incarnation Chapel of the Nativity Window by C.E. Kempe <br><br> The Chapel of the Nativity was given by the Constable family, founders of the Arnold Constable department store. The windows and the altarpiece were purchased from a private family chapel in England. Kempe also made the Great West Window in the church. <br><br> C.E. Kemp (1837-1907) came from a well-off family; his uncle was a successful property developer and politician in nearby Brighton, and his grandfather was Lord Mayor of London, according to <a href="http://www.britainexpress.com/History/bio/Kempe.htm">British Express. </a> <br><br> He considered the priesthood, but his severe stammer which was an impediment to preaching. Instead Kempe decided that "if I was not permitted to minister in the Sanctuary I would use my talents to adorn it", and subsequently went to study architecture with the firm of a leading ecclesiastical architect George Frederick Bodley, where he learned the aesthetic principles of medieval church art particularly stain glass, according to <a href="http://en.wikipedia.org/wiki/Charles_Eamer_Kempe">Wikipedia.</a> From Britain Express: “Kempe travelled around Britain and overseas, sketching medieval window designs. Kempe assisted Bodley on two major church projects in the 1860s; All Saints, Cambridge, and St John's, Liverpool. In 1866 the important stained glass makers Clayton and Bell asked Kempe to design a memorial window for Bishop Hooper in Gloucester Cathedral. <br><br> In 1866 he started his own business in London. Kempe Studios began by supplying vestments, stained glass, and church furnishings. The studio was a success, and enjoyed continual growth throughout the late Victorian period. You could say that he was fortunate, for Kempe Studios began in a period when church architecture and rebuilding was in vogue; the spiritual Renaissance of the Victorian period led to many medieval churches being rebuilt. So suppliers of materials and architectural knowledge were in great demand, and Kempe's work, particularly with stained glass, found a ready market of buyers. <br><br> Kempe decided early on that he needed to use a trademark, and he chose a wheatsheaf, which appears in the Kempe family coat of arms. Finding the wheatsheaf in a set of Kempe windows is a strangely enjoyable pastime for people who enjoy exploring Victorian churches! Kempe was especially active in his native Sussex, where fully 116 churches boast examples of his work. He did not just deal in stained glass, though it is for glass that Kempe is best known. Some of his most important work was with wall painting, such as that at Staplefield, outside Horsham, West Sussex. Aside from the wheatsheaf trademark, one of the characteristic features of a Kempe design is a strong predominence of yellow. <br><br> Kempe's designs - particularly those in stained glass - helped define the style of an age, closely associated with the artwork of the Pre-Raphaelites. When you see a Victorian stained glass window, with its clear, clean colours and romanticised figures, you may not be seeing a Kempe design, but you are almost certainly seeing a design influenced by Kempe. <br><br> Kempe died in 1907, and his company was taken over by WE Tower. But Tower did not enjoy the same success as Kempe, and the company folded in 1934. <br><br> Kempe never married; he was a shy man by nature, though he enjoyed entertaining guests at the house he purchased at Lindfield, West Sussex. He is buried in the churchyard at Ovingdean, the place of his birth.” <br><br> Kempe studios produced over 4,000 stained glass windows.
  • Christ’s Resurrection and Ascension Stained Glass Window by Henry Holiday <br><br> Henry Holiday (1839-1927) was an English historical genre and landscape painter, stained glass designer, illustrator, and sculptor. He is considered to be a member of the Pre-Raphaelite school of art, according to <a href="http://en.wikipedia.org/wiki/Henry_Holiday">Wikipedia.</a> <br><br> Holiday was born in London and at age 15 was admitted to the Royal Academy. Through his friendship with several artists there, he was introduced to artists of the "Pre-Raphaelite Brotherhood". This movement was to be pivotal in his future artistic and political life. From Wikipedia: “The group's intention was to reform art by rejecting what it considered the mechanistic approach first adopted by Mannerist artists who succeeded Raphael and Michelangelo. Its members believed the Classical poses and elegant compositions of Raphael in particular had been a corrupting influence on the academic teaching of art, hence the name "Pre-Raphaelite".” <br><br> In 1861, Holiday accepted the job of stained glass window designer for Powell's Glass Works. During his time there he fulfilled over 300 commissions, mostly for customers in the U.S. He left in 1891 to set up his own glass works in Hampstead, producing stained glass, mosaics, enamels and sacerdotal objects. <br><br> Holiday's stained glass work can be found all over Britain and some of his best is at Westminster Abbey according to Wikipedia. In addition to his stained glass work, Holiday was a painter; his works include The Burgess of Calais, The Rhine Maiders, Dante and Beatrice. He was commissioned by Lewis Carroll to illustrate The Hunting of the Snark. He remained friends with the author throughout his life.
  • Christ’s Resurrection and Ascension Stained Glass Window by Henry Holiday <br><br> Henry Holiday (1839-1927) was an English historical genre and landscape painter, stained glass designer, illustrator, and sculptor. He is considered to be a member of the Pre-Raphaelite school of art, according to <a href="http://en.wikipedia.org/wiki/Henry_Holiday">Wikipedia.</a> <br><br> Holiday was born in London and at age 15 was admitted to the Royal Academy. Through his friendship with several artists there, he was introduced to artists of the "Pre-Raphaelite Brotherhood". This movement was to be pivotal in his future artistic and political life. From Wikipedia: “The group's intention was to reform art by rejecting what it considered the mechanistic approach first adopted by Mannerist artists who succeeded Raphael and Michelangelo. Its members believed the Classical poses and elegant compositions of Raphael in particular had been a corrupting influence on the academic teaching of art, hence the name "Pre-Raphaelite".” <br><br> In 1861, Holiday accepted the job of stained glass window designer for Powell's Glass Works. During his time there he fulfilled over 300 commissions, mostly for customers in the U.S. He left in 1891 to set up his own glass works in Hampstead, producing stained glass, mosaics, enamels and sacerdotal objects. <br><br> Holiday's stained glass work can be found all over Britain and some of his best is at Westminster Abbey according to Wikipedia. In addition to his stained glass work, Holiday was a painter; his works include The Burgess of Calais, The Rhine Maiders, Dante and Beatrice. He was commissioned by Lewis Carroll to illustrate The Hunting of the Snark. He remained friends with the author throughout his life.
  • Moses and the Law by Heaton, Butler, and Bayne <br><br> This is an Old Testament window, the lower portion shows Moses giving the Law. <br><br> Clement Heaton originally founded his stained glass firm in 1852, joined by James Butler in 1855. Between 1859-61 they worked alongside Clayton and Bell and were joined by Robert Turnill Bayne, who became their sole designer and a full partner in the firm from 1862. His windows show strong design and color, and are often recognizable by the inclusion of at least one figure with Bayne's features and long beard to <a href="http://en.wikipedia.org/wiki/Heaton,_Butler_and_Bayne">Wikipedia.</a>. They established their studio in Covent Garden, London, and went on to become one of the leading firms of Gothic Revival stained glass manufacturers, whose work was commissioned by the principal Victorian architects. A change in direction came with their production of windows to the designs of Henry Holiday in 1868, which show a more classical influence at work. During a long career, the firm produced stained glass for numerous churches throughout the U.K. and the U.S. <br><br> During the Medieval period, from the Norman Conquest of England in 1066 until the 1530s, much stained glass was produced and installed in churches, monasteries and cathedrals. Two historic events had brought an end to this and the destruction of most of the glass-the Dissolution of the Monasteries under Henry VIII and the Puritan era under Oliver Cromwell in the 17th century. <br><br> The early 19th century was marked by a renewal of the Christian faith, a growth of Roman Catholicism, a planting of new churches, particularly in centers of industrial growth and the restoration of many ancient churches and cathedrals. In the 1850s a number of young designers worked in conjunction with the leading Gothic Revival architects in the provision of stained glass for new churches and for the restoration of old; the work of John Richard Clayton, Alfred Bell, Clement Heaton, James Butler, Robert Bayne, can be found in Incarnation.
  • Moses and the Law by Heaton, Butler and Bayne <br><br> This is an Old Testament window, the lower portion shows Moses giving the Law. <br><br> Clement Heaton originally founded his stained glass firm in 1852, joined by James Butler in 1855. Between 1859-61 they worked alongside Clayton and Bell and were joined by Robert Turnill Bayne, who became their sole designer and a full partner in the firm from 1862. His windows show strong design and color, and are often recognizable by the inclusion of at least one figure with Bayne's features and long beard to <a href="http://en.wikipedia.org/wiki/Heaton,_Butler_and_Bayne">Wikipedia.</a>. They established their studio in Covent Garden, London, and went on to become one of the leading firms of Gothic Revival stained glass manufacturers, whose work was commissioned by the principal Victorian architects. A change in direction came with their production of windows to the designs of Henry Holiday in 1868, which show a more classical influence at work. During a long career, the firm produced stained glass for numerous churches throughout the U.K. and the U.S. During the Medieval period, from the Norman Conquest of England in 1066 until the 1530s, much stained glass was produced and installed in churches, monasteries and cathedrals. Two historic events had brought an end to this and the destruction of most of the glass-the Dissolution of the Monasteries under Henry VIII and the Puritan era under Oliver Cromwell in the 17th century. <br><br> The early 19th century was marked by a renewal of the Christian faith, a growth of Roman Catholicism, a planting of new churches, particularly in centers of industrial growth and the restoration of many ancient churches and cathedrals. In the 1850s a number of young designers worked in conjunction with the leading Gothic Revival architects in the provision of stained glass for new churches and for the restoration of old; the work of John Richard Clayton, Alfred Bell, Clement Heaton, James Butler, Robert Bayne, can be found in Incarnation.
  • Moses and the Law by Heaton, Butler, and Bayne <br><br> This is an Old Testament window, the upper window depicts David and Isaiah, who represent the Psalms and the Prophets. <br><br> Clement Heaton originally founded his stained glass firm in 1852, joined by James Butler in 1855. Between 1859-61 they worked alongside Clayton and Bell and were joined by Robert Turnill Bayne, who became their sole designer and a full partner in the firm from 1862. His windows show strong design and color, and are often recognizable by the inclusion of at least one figure with Bayne's features and long beard to <a href="http://en.wikipedia.org/wiki/Heaton,_Butler_and_Bayne">Wikipedia.</a>. They established their studio in Covent Garden, London, and went on to become one of the leading firms of Gothic Revival stained glass manufacturers, whose work was commissioned by the principal Victorian architects. A change in direction came with their production of windows to the designs of Henry Holiday in 1868, which show a more classical influence at work. During a long career, the firm produced stained glass for numerous churches throughout the U.K. and the U.S. <br><br> During the Medieval period, from the Norman Conquest of England in 1066 until the 1530s, much stained glass was produced and installed in churches, monasteries and cathedrals. Two historic events had brought an end to this and the destruction of most of the glass-the Dissolution of the Monasteries under Henry VIII and the Puritan era under Oliver Cromwell in the 17th century. <br><br> The early 19th century was marked by a renewal of the Christian faith, a growth of Roman Catholicism, a planting of new churches, particularly in centers of industrial growth and the restoration of many ancient churches and cathedrals. In the 1850s a number of young designers worked in conjunction with the leading Gothic Revival architects in the provision of stained glass for new churches and for the restoration of old; the work of John Richard Clayton, Alfred Bell, Clement Heaton, James Butler, Robert Bayne, can be found in Incarnation.
  • Saint Paul on Mars Hill by Clayton & Bell, London <br><br> This is a New Testament window representing the spread of the Gospel. Saint Paul is seen preaching on Mars Hill. Shown above him are Saint Luke and Saint Barnabas, Paul’s companions. <br><br> Clayton and Bell was one of the most prolific and proficient workshops of English stained glass during the latter half of the 19th century, according to <a href="http://en.wikipedia.org/wiki/Clayton_and_Bell">Wikipedia.</a> The partners were John Richard Clayton (London, 1827–1913) and Alfred Bell (Silton, Dorset, 1832–95). The company was founded in 1855 and continued until 1993. Their windows are found throughout the U.K., U.S., Canada, Australia and New Zealand. <br><br> During the Medieval period, from the Norman Conquest of England in 1066 until the 1530s, much stained glass was produced and installed in churches, monasteries and cathedrals. Two historic events had brought an end to this and the destruction of most of the glass-the Dissolution of the Monasteries under Henry VIII and the Puritan era under Oliver Cromwell in the 17th century. <br><br> The early 19th century was marked by a renewal of the Christian faith, a growth of Roman Catholicism, a planting of new churches, particularly in centers of industrial growth and the restoration of many ancient churches and cathedrals. In the 1850s a number of young designers worked in conjunction with the leading Gothic Revival architects in the provision of stained glass for new churches and for the restoration of old; the work of John Richard Clayton, Alfred Bell, Clement Heaton, James Butler, Robert Bayne, can be found in Incarnation. Initially Clayton and Bell’s designs were manufactured by Heaton and Butler, with whom they shared a studio between 1859 and 1862, employing the very talented Robert Bayne as a designer as well. From 1861 Clayton and Bell commenced manufacturing their own glass. Robert Bayne became part of the partnership with Heaton and Butler, forming the firm Heaton, Butler and Bayne. There was a good deal of interaction and influence between Clayton and Bell, and Heaton, Butler and Bayne. The windows of both firms share several distinguishing features and characteristic color-combinations, which are uncommon in other designers. <br><br> Clayton and Bell moved into large premises in Regent Street, London, where they employed about 300 people. In the late 1860s and 1870s the firm was at its busiest, and employees worked night shifts in order to fulfill commissions. <br><br> After the deaths of Alfred Bell in 1895 and John Richard Clayton in 1913, the firm continued under Bell’s son, John Clement Bell (1860–1944), then under Reginald Otto Bell (1884–1950) and lastly Michael Farrar-Bell (1911–93) until his death <br><br> Clayton and Bell was awarded a Royal Warrant (Royal warrants of appointment have been issued for centuries to tradespeople who supply goods or services to a royal court or certain royal personages. The royal warrant enables the supplier to advertise the fact that they supply to the issuer of the royal warrant, so lending prestige to the supplier) by the Queen in 1883. <br><br> According to commentary in Wikipedia, Clayton and Bell windows are typified by their brilliant luminosity. In 1863 John Richard Clayton was among those who was experimenting with the manufacture of so-called pot metal or colored glass produced by simple ancient manufacturing techniques which brought about great variability in the texture and color of glass which is characteristic of ancient windows. <br><br> “Clayton and Bell were familiar with both ancient windows and with the various artistic movements of their time, such as the Pre-Raphaelite Brotherhood. Their work shows the influence, but not the dominance of either. It is, rather, an elegant synthesis of archaeologically sourced details, such as their characteristic brightly coloured canopies which are of a 14th century style, with figures who pay passing homage to the medieval in their sweeping robes of strong bright colours, a surety and refinement of the painted details and an excellence of design which never fails to integrate the structural lines of the lead into the overall picture.”
  • Saint Paul on Mars Hill by Clayton & Bell, London <br><br> This is a New Testament window representing the spread of the Gospel. Saint Paul is seen preaching on Mars Hill. Shown above him are Saint Luke and Saint Barnabas, Paul’s companions. <br><br> Clayton and Bell was one of the most prolific and proficient workshops of English stained glass during the latter half of the 19th century, according to <a href="http://en.wikipedia.org/wiki/Clayton_and_Bell">Wikipedia.</a> The partners were John Richard Clayton (London, 1827–1913) and Alfred Bell (Silton, Dorset, 1832–95). The company was founded in 1855 and continued until 1993. Their windows are found throughout the U.K., U.S., Canada, Australia and New Zealand. <br><br> During the Medieval period, from the Norman Conquest of England in 1066 until the 1530s, much stained glass was produced and installed in churches, monasteries and cathedrals. Two historic events had brought an end to this and the destruction of most of the glass-the Dissolution of the Monasteries under Henry VIII and the Puritan era under Oliver Cromwell in the 17th century. <br><br> The early 19th century was marked by a renewal of the Christian faith, a growth of Roman Catholicism, a planting of new churches, particularly in centers of industrial growth and the restoration of many ancient churches and cathedrals. In the 1850s a number of young designers worked in conjunction with the leading Gothic Revival architects in the provision of stained glass for new churches and for the restoration of old; the work of John Richard Clayton, Alfred Bell, Clement Heaton, James Butler, Robert Bayne, can be found in Incarnation. Initially Clayton and Bell’s designs were manufactured by Heaton and Butler, with whom they shared a studio between 1859 and 1862, employing the very talented Robert Bayne as a designer as well. From 1861 Clayton and Bell commenced manufacturing their own glass. Robert Bayne became part of the partnership with Heaton and Butler, forming the firm Heaton, Butler and Bayne. <br><br> There was a good deal of interaction and influence between Clayton and Bell, and Heaton, Butler and Bayne. The windows of both firms share several distinguishing features and characteristic color-combinations, which are uncommon in other designers. <br><br> Clayton and Bell moved into large premises in Regent Street, London, where they employed about 300 people. In the late 1860s and 1870s the firm was at its busiest, and employees worked night shifts in order to fulfill commissions. <br><br> After the deaths of Alfred Bell in 1895 and John Richard Clayton in 1913, the firm continued under Bell’s son, John Clement Bell (1860–1944), then under Reginald Otto Bell (1884–1950) and lastly Michael Farrar-Bell (1911–93) until his death <br><br> Clayton and Bell was awarded a Royal Warrant (Royal warrants of appointment have been issued for centuries to tradespeople who supply goods or services to a royal court or certain royal personages. The royal warrant enables the supplier to advertise the fact that they supply to the issuer of the royal warrant, so lending prestige to the supplier) by the Queen in 1883. <br><br> According to commentary in Wikipedia, Clayton and Bell windows are typified by their brilliant luminosity. In 1863 John Richard Clayton was among those who was experimenting with the manufacture of so-called pot metal or colored glass produced by simple ancient manufacturing techniques which brought about great variability in the texture and color of glass which is characteristic of ancient windows. <br><br> “Clayton and Bell were familiar with both ancient windows and with the various artistic movements of their time, such as the Pre-Raphaelite Brotherhood. Their work shows the influence, but not the dominance of either. It is, rather, an elegant synthesis of archaeologically sourced details, such as their characteristic brightly coloured canopies which are of a 14th century style, with figures who pay passing homage to the medieval in their sweeping robes of strong bright colours, a surety and refinement of the painted details and an excellence of design which never fails to integrate the structural lines of the lead into the overall picture.”
  • The Christian Discipleship by John LaFarge <br><br> This window represents Christ calling the apostles at the Sea of Galilee. "The lower portraits depict Saint Peter and Saint Paul. 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," according to the <a href="http://www.churchoftheincarnation.org/about-incarnation/landmark-building/the-window-tour/christ-calling-peter-and-paul-4/ ">Incarnation website.</a> <br><br> LaFarge (1835-1910) was an American painter, muralist, and stained glass window maker. He was born in New York City. Initially intending to study law, he changed his mind after visiting Paris in 1856. He studied with Thomas Couture. Another of Couture’s students was Edouard Manet. See Couture’s frescoes of the Virgin Mary in my gallery on Saint-Eustache. According to to <a href="http://en.wikipedia.org/wiki/John_LaFarge">Wikipedia, </a> LaFarge's earliest drawings and landscapes in Newport, Rhode Island (where he studied with painter William Morris Hunt) show originality, especially in the handling of color values. <br><br> His first work in mural painting was in the Trinity Church in Boston in 1873. Aside from Saint Paul the Apostle, his other church works include the large altarpiece at the Church of the Ascension and Saint Paul’s Chapel at Columbia University. He created four great lunettes (a half-moon shaped space) representing the history of law at the Minnesota State Capital and a similar series based on the theme of Justice for the State Supreme Court building in Baltimore, Maryland. <br><br> He was a pioneer in the study of Japanese art. “LaFarge made extensive travels in Asia and the South Pacific, which inspired his painting. He visited Japan in 1886, and the South Seas in 1890 and 1891, in particular spending time and absorbing the culture of Tahiti. Henry Adams accompanied him on these trips as a travel companion. He visited Hawaii in September of 1890, where he painted scenic spots on Oahu and traveled to the Island of Hawaii to paint an active volcano. He learned several languages (ancient and modern), and was erudite in literature and art; by his cultured personality and reflective conversation, he influenced many other people. Though naturally a questioner, he venerated the traditions of religious art, and preserved his Catholic faith,” according to Wikipedia. Also from Wikipedia, “LaFarge experimented with color problems, especially in the medium of stained glass. He rivaled the beauty of medieval windows and added new resources by inventing opalescent glass and by his original methods of superimposing and welding his materials.” <br><br> LaFarge received the Cross of the Legion of Honor from the French Government.
  • Christian Nurturing by Henry Holiday <br><br> This window embodies the ideals of parental and Christian nurturing. In the lower portion, Jacob blesses his children. In the upper portion of the window, Christ gives His commission to Saint Peter. <br><br> Henry Holiday (1839-1927) was an English historical genre and landscape painter, stained glass designer, illustrator, and sculptor. He is considered to be a member of the Pre-Raphaelite school of art, according to <a href="http://en.wikipedia.org/wiki/Henry_Holiday">Wikipedia.</a> <br><br> Holiday was born in London and at age 15 was admitted to the Royal Academy. Through his friendship with several artists there, he was introduced to artists of the "Pre-Raphaelite Brotherhood". This movement was to be pivotal in his future artistic and political life. From Wikipedia: “The group's intention was to reform art by rejecting what it considered the mechanistic approach first adopted by Mannerist artists who succeeded Raphael and Michelangelo. Its members believed the Classical poses and elegant compositions of Raphael in particular had been a corrupting influence on the academic teaching of art, hence the name "Pre-Raphaelite".” <br><br> In 1861, Holiday accepted the job of stained glass window designer for Powell's Glass Works. During his time there he fulfilled over 300 commissions, mostly for customers in the U.S. He left in 1891 to set up his own glass works in Hampstead, producing stained glass, mosaics, enamels and sacerdotal objects. Holiday's stained glass work can be found all over Britain and some of his best is at Westminster Abbey according to Wikipedia. <br><br> In addition to his stained glass work, Holiday was a painter; his works include The Burgess of Calais, The Rhine Maiders, Dante and Beatrice. He was commissioned by Lewis Carroll to illustrate The Hunting of the Snark. He remained friends with the author throughout his life.
  • Christian Nurturing by Henry Holiday <br><br> This window embodies the ideals of parental and Christian nurturing. In the lower portion, Jacob blesses his children. In the upper portion of the window, Christ gives His commission to Saint Peter. <br><br> Henry Holiday (1839-1927) was an English historical genre and landscape painter, stained glass designer, illustrator, and sculptor. He is considered to be a member of the Pre-Raphaelite school of art, according to <a href="http://en.wikipedia.org/wiki/Henry_Holiday">Wikipedia.</a> <br><br> Holiday was born in London and at age 15 was admitted to the Royal Academy. Through his friendship with several artists there, he was introduced to artists of the "Pre-Raphaelite Brotherhood". This movement was to be pivotal in his future artistic and political life. From Wikipedia: “The group's intention was to reform art by rejecting what it considered the mechanistic approach first adopted by Mannerist artists who succeeded Raphael and Michelangelo. Its members believed the Classical poses and elegant compositions of Raphael in particular had been a corrupting influence on the academic teaching of art, hence the name "Pre-Raphaelite".” <br><br> In 1861, Holiday accepted the job of stained glass window designer for Powell's Glass Works. During his time there he fulfilled over 300 commissions, mostly for customers in the U.S. He left in 1891 to set up his own glass works in Hampstead, producing stained glass, mosaics, enamels and sacerdotal objects. <br><br> Holiday's stained glass work can be found all over Britain and some of his best is at Westminster Abbey according to Wikipedia. In addition to his stained glass work, Holiday was a painter; his works include The Burgess of Calais, The Rhine Maiders, Dante and Beatrice. He was commissioned by Lewis Carroll to illustrate The Hunting of the Snark. He remained friends with the author throughout his life.
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