The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1895-04-14
An ARTISTIC WINDOW.


An artistic building of rough stone I'm
| Richmond. Ind. known as the home of the
| aforrisson-Reeves library, attracts the at
tention OF all visitors. The library was
founded by Robert Morrison. the great
| grandfather of the present generation OF
Morrissons, a native OF North Carolina. who
removed to Richmond in 1910. the new home
being then an unbrokcn wilderness. Robert
Morrisson's residence In Richmond remained
unchanged, and both in his private and his
public life was bis career marked by its
uprightness. His devotion TO business re-
suited in tine amusement OF fortune which
he put to wise advantage when he founded
public library and dedicated 1t to the peo-
pie of Richmond forever.
The spirit of benevolence and the desire
to improve the intellectual and aesthetic
tastes OF their fellow-citlzens seems to have
been an inheritance in the Morrison family.
The grandfather, James Lindley Morrison,
had bay window made in portion OF the
northern wall of the reading room. Later
the father. Robert MORRISON. In company
with Mr. Reeves, had the entire building
remodeled, so that the exterior appearance
of the building to-day has improved con-
siderably when compared with its primitive
style OF architecture. On Monday morning
March 4, 1895 the eliminating work OF love,
the result of the impetus OF individual eff
fort was added when in the bay window OF
the reading room, receiving the softened
northern rays cf light beautiful memorial
window was unveiled, having been erected
to the memory OF Robert Morrison. 1885,
1865; James Lindley Morrison, 1s17-1ssS; Rob-
ert Morrison. 1s42-1sSs. This magnificent
production of art was donated to the lib
rary by Miss Bertha L. MORRISON and Mr..
James Morrison, the daughter and son
of the late Robert Morrison. and ii is
located in the bay window, which is still
an ornamental feature of the original Nor
risson section of the library building.
1t is not only memorial, but also an
educating window, wonderfully instructive,
and epitomizing in glass the value of the
printers art as promoter of civilization.
One is filed with awe at witnessing the
greatness of human power in producing d
work of such ideal beauty. How wonderful
is that divine skill of the human hand and
eye which can connect one period of time
ent and by the r Vadness Of @ se
realize the sympathy of mind with mind
What more fitting than that the reader
printed page TO the representation of the
act which made the book and the newspaper
greatest achievement when it bears the
tidings of truth Here we have historic
picture in glass of the Introductory step
signed by Frederick Wilson and Joseph
Lauben, who studied very carefully lao
subject of costume, not having sacrificed
Genealogical idea The artistic value OF
these coiored glass windows lies in the pc
light is transmitted through the medium
employed Just as the architect or
from his rough material, so the glazier. by
his study, of transmitted light, softens the
harmonies. How bouniifui the hand which
surrounds one with such divine colors. The
softened golden light may stream richly
within, or the dusky, shadowy colors. mys-
ferrous with meaning, may please the far
reaching fancy as they glide in almost in
distinguishable hues into the soul Of the
Owing to the peculiar construction of
glass we fail to notice that some slight
employed, as we contemplate the beauty
of color and the artistic arrangements OF
sists of four lights; in the central up
right panel. which is the largest one, is
Gutenberg demonstrating to John Faust.
Peter Schoeffer and one other, the posi-
biiity of printing with movable type lmme-
panels whose heraldic devices
ing those Inscriptions that directly relate
to books in their relation to- the souls.
minds and hearts of men. In the first
small horizontal panel are represented the
who were the orignators of the art in their
countries-of William Caxton,
the Englishman; of Aldus Manutius. the
italian; of Simon Rostre. the Frenchman,
and of Plantn, the Flemish printer. These
coats of arms are woven together with
lowers and ribbons which bear this motto:
Labor ct Constantia."
In the second horizontal panel are rep
lie Vaga and the armorai bearings OF
Frances greatest dramatist Moliere. Here
nppears. also the respective dates 49, , 1s2l
Haslett Books let us into the souls Of
men and lay open to us the secrets OF
pears the names of Shakespeare, Milton.
-haucer and Bacon and upon the ribbons
IS If You We're to live forever and live
IS if you were to die tomorrow. Besides
he of these ,ss authors ,s,s are the @
From every standpoint the window is ex-
1uisitely harmonious the Gothic style OF
Gothic suggestions of architecture beyond.
This window shows the great progress
he briliiancy and beauty of color of the
windows of the middle ages combined with
IN accuracy. OF drawing There Is ALMOST
theory upon which the window is built Is
hat governing mosaics. All effects of
light and shade result from the inequality
md varying thickness of glass. so that
he deepest shades of color of the glass
transmit the light. which would not be
.namels
AS whole the window consists of light
he newly invented printing press resting
lpon the table. Here also are the figures
II John Gutenberg and Peter Schoeffer
lis pupil Gutenberg stands Immediately
n the foreground arrayed almost entirely
Il clothes of the. lightest tones except for
he coverings of the flower limbs, the
andals and the cap. with one hand out
to receive the first printed page
rom Schoeffer, who is bending over the
printing press, paper in hand, taking. the
rst impression from. movable type. lie ia
clothed in light garments and the paper
+ dazzling peariy wilderness rests in fine
elief against the dark outlines OF the ma
hine. Among the shadows beneath the
able Is q large portfolio of dusky purple
nd violet tints. In the rSar of the fore
round are John Faust and another patron
Gutenberg, one standing, the other sit
ing, both observing with great interest
he taking of the first impression from
novable type. Naturally the tones of color
these ngures darker, they
cling more toward the background.
n their costumes we may see the crimson,
live. green, and mahogany tints prevailing.
n the four figures the old Gerrnanic style
dress is prominent. Quantities of the
ew Farriie glass were used in ma king the
and clothing In the background,
4 weather-stained greys, sugges-
ions of the old heavy Gothic architecture