The aegis & intelligencer. [volume] (Bel Air, Md.) 1864-1923, 1892-12-23

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| the benches merely what would serve
the purpose of seats the walls rough
ly covered with a first coat of plaster,
this happily was not laid ON the stone,
but was furred off the windows were
glazed with plain glass, with wood at
the arch to mark that something bet
ter was hoped for. This better thing
was slow in coming. After a long
time interior adornment was begun
| and continued from time to time as
money was offered. More than two
years ago a defect that had been dis
covered long before was remedied by
increasing the thickness of hewestend
wall. The doing this gave a needed
| depth of framing to the chief window.
Before this the most marked change
had been the gradual introduction of a
series of stained glass windows, six
teen in number, including one in the
porch where st. Michael treads I'M
der foot the dragon. The subjects in
the church are scenes from the life of
our Lord, in which the Blessed Mother
naturally appears, beginning with the
Annunciation and ending with the
Ascension. The west window, which
contains the crucifiXion, is seventeen
feet high, giving ample room for the
of life-size Fews pal jtings on glass
produce better impression than does
this CruciiXion. PLY ical agony is
not depicted but Gifted up" as from
a throne of glory, the Son of Man COM
mits His Church to the care of His
Ministry. All this glass was executed
by the late Mr.. Gibbs, Of London, I'M
der the supervision of the well-known
church architect, Mr.. Butterfield.
The effect of the glass is much en-
HANGED by the fact that the subjects
are in series and the treatment uni
form. When this glass was all in place
it was seen that the altar was too
plain. 1t is now in Christ Church, of
this county, and there has been SUBJ
stituted for it a handsome altar of
marble, with a reredos, and a foot
pace of marble and tiles. The six
pillars of this tomb-altar are of the
beautiful green serpentine of Hartford
county. almost as hard as porphyry, |
and taking as fine a polish. They |
were the first-used product of the |
quarry.
During the summer of 1891 another
step was taken toward completion.
The east end of the chancel had been
unfortunately plastered OH the stone.
The consequence was continual dis
Indignation. Something hal to be
done, and one thing led to another.
Now the chancel is approached from
the nave on marble instead of wooden
steps the floor is covered with en-
caustic tile and marble the side walls, |
instead of furred-otf plaster, are lined
with a cream-colored lime stone, with
mouldings to all the openings of II fine
red sand stone ; Il double window has
been cut in the south wall, and is fill
ed with remarkably fine glass by Bell
& Beck khan, of London. picturing the
Salutation, the only subject that in
the series could come, as it does, be-
tween the Annuuciation and the
Christmas scene, which is given in
three lights over the altar. This win
dow, which brightens up the whole
inner chancel, was cut for the purpose
of giving light to an oil painting on
canvas opposite to it, on the northern
wall The subject of this painting is
the Lord known in the breaking of
bread at Emmaus. There are but
three figures these are of life-siZ
One of the sciples, the figure nearest
the spectator in every feature and
muscle shows amaZement the other
evinces only adoring love, and to any
one who can realize what is represent
ed, imparts like emotion. The express
sion of the chief figure is simply one
Of dignity-what should characterize
the Lord He is not now the strang-
er who drew near and went with |
Cleopas and his companion us they |
talked of all the things which had /
happened. 1t is the risen Lord. cloth |
ed upon with the glorified body who !
is recognized in the breaking of bread. |
The three spreading rays that be- |
token the Holy Trinity are seen and |
the aureole that surrounds the sacred |
head is like to the rainbow that is /
around the throne like unto an emer- |
aid. An effulgence from the whole |
body. not glare, is the light of the |
picture The artist is the Rev. johann !
mes A. Oertel, who may feel assured
that his work shall preach for him
when his tongue shall speak no more.
This painting was put in place, be-
cause it was finished when the rector
had accomplished the fiftieth year of
his ministry, but it is intended to be
a thank offering, should he end the
Jubilee year of his priesthood, or to be a
legacy to his people should he be tax
Ell from them before that time.
The east end of the chancel above |
the reredos is covered with mosaic,
the work OF MeSSrS. LalnD, or New
York. On either side of the central |
lancet stands an adoring angel be- |
tween the side lancet and the south
and north walls are panels filled with |
wheat and vines bearing grapes.
There are ornamental bands connect |
ing the different features of the gen.
eral design and high up, in the solid |
body of the palmer mosaic is seen the |
monogram of Him who here imparts |.
His Flesh and Blood to the faithful. |
The soffits of all the openings are also
lined with MOSAIC frit.
Painted windows are often spoken
of as memorial windows" as if the |
terms were equivalent. There are in
st. Mary's two windows, placed there
as memorials of moth rs. The mosaic |
panels also commemorate a mothers
love for son who has gone before.
But in no one of these three instances
has the giver chosen to make the fact
known by an inscription. Human
love has prompted an Offering to the
glory Of God.
What has been done in the interior
is not all that is purposed, God will
| ing-although what has been done has
taken longer than the building of