#4: Angel of Purity
Matthew 5:8 “Blessed are the pure in heart.” Above this quote is an angel in a red robe. The persons memorialized are Samuel R. Bates (1819 – 1886) and his wife Hannah Grandin Bates (1823 – 1890) by their three daughters, Alice, Florence and Fannie.
This is the oldest of the 5 Tiffany windows, the other 4 belonging to the 1920’s. The flourishing period of Tiffany pictorial opalescent glass production was 1875-1928. Louis C. Tiffany, son of the founder of Tiffany & Co., after a period of art study which was gaining him a reputation as a painter, turned to applying art to the articles of every day life—something akin to his father’s idea of refinement, which was to replace tin and crockery with silver, for instance. During this decorative career, he experimented with glass, aiming for deep infiltration and texturing of many colors and patterning them pictorially in partially pacified glass with no surface painting. By 1885 the development of this lyric naturalism in glass by Tiffany and by one of his contemporaries, John LaFange, had become a successful and distinctly American contribution. It integrated well with other forms of Art Nouveau.
Tiffany windows at the Advent portray central persons, or Angels, with related objects to identify the Biblical subject. There are arbored and floral additions with background sky, landscape, masonry, all in a soft diffused glow. Symbolic, abstract or geometric designs are not commonly used.
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#6: Angel of the Resurrection
As in the Angel of Purity Window (4) there is the central Angel, but now white-robed, and without a biblical quote its usual concept as messenger of God may be assumed. The person memorialized is Alice Grandin Bates (1850-1920) and given by her two sisters Florence Bates McFadden and Fannie G. Bates. Note that these three sisters had been the donors of the Angel of Purity window, so similar to this window around 25 years earlier.
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7, 8, 13: The Holy Family Series
In the account of Anna Louise Baldwin, noted under description of window (3), these three windows are described in positions 7,8,9, that is, together on the south side of the apse. The carpenter (7) and the Shepherd Boy with the Lamb (8) have not moved, but the Spinner now number (13) was moved to the north side of the apse. In their original sequence (as represented above), it was more apparent that they represented Joseph, the Carpenter; Jesus and loving care, and Mother Mary.
The theme of the central window is the Christ Child in contemplation of His Life’s Mission. He carries a lantern and a wounded lamb, symbolizing the nature of the work he was about to take up. His mother stops in her weaving and, gazing upon the child, wonders at what manner of child this shall be. Joseph also ceases his labor to look at Jesus and is evidently puzzled by what the child is doing.
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