Stained Glass Windows: An Essay: With a Report to the Vestry on Stained Glass Windows for Grace Church Lockport New YorkFaber, William Frederic
Religion
Stained Glass Windows: An Essay: With a Report to the Vestry on Stained Glass Windows for Grace Church Lockport New York
Faber, William Frederic
Glass painting and staining; Grace Episcopal Church (Lockport, N.Y.)
This miserable travesty did not long hold sway, it was scarcely
permitted to go its own theoretical length. There came great political
changes, great religious changes, and for a long time few churches
more were built, nor even those standing kept in repair. The course
of Ecclesiastical Architecture suffered an interruption for several
centuries, of which Mr. Ralph Adams Cram has told us feelingly in his
recent writings on that subject.
* * * * *
But within the memory of men now living there has also come the
beginning of a true revival. The awakening of the Catholic spirit
in the Anglican Communion has been accompanied by an eager desire to
recover lost treasures and to restore sound traditions to their former
honor.
And naturally all this has shown itself in the cultivation of Stained
Glass also. As we have said, what is needed above all else is
knowledge, to guide us to what is really good and worthy.
No sooner is any want of the public made evident than enterprising
trade springs up to supply that want. If you want colored church
windows, you can have them to-day at a trifle per square yard by
purchasing a beautifully printed paper, of genuine ecclesiastical
design, and pasting it upon your present windows. From this most
abysmal horror of vulgarity you may pass through various successive
gradations of so-called stained glass, all supplied by trade. If you
pass on to the costliest, you are not thereby sure to obtain what is
not horrible and vulgar, when regarded from the point of view of true
Stained Glass, of Architectural Art, and of Religion.
There are at this moment three rather diverse schools of Stained
Glass most in evidence before those who seek and are willing to pay
for honest art work; the English, the German, and the American. Their
comparative merits are nowhere, to our knowledge, presented in a fair
minded way; the makers of each claim superior excellence for their
own, of course; if, indeed, they ever intimate to the public that there
is any other kind at all. It should be said, however, that there is
great merit in the best examples of each school; and that none of these
schools can fairly be judged by the inferior stuff which is put out
under its name, for each of them is defamed by such stuff.
Public-domain text, read in full here on John Shaqi.
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