The sun. [volume] (New York [N.Y.]) 1833-1916, 1901-10-16
ANEW WINDOW III JOHN LAFARGE

For the Ames Memorial Church At North
Easton. Mass John la farge has Just COM
pleted q nov window. which for a short time
viii be on view In the gallery OF the National
Arts Club. ~ West Thirty-fourih street
! Executed in memory OF Mr. Oakes Ames
! and his two sons. the window consists Of a
sin gle arched opening. some seventeen feet
high by twelve feet vide. and embodie- in the
design tho conception Of Wisdom.
A. tho back Of the space there runs from
eide 10 side an cntablature supported by
columns. beyond which il a lusirous back
ground OF green and blue. set In minute
mosaic In the centre l. a canopy or baida-
eh,ao upon columns. over the vaIlted roof
Of which rises a gable With central cartouohe
bearing the date held up by winged angels
Beneath this and raised upon a pedestal -'ts
n figure Of Wisdom With an urb upon Ter
knee on which rests the elbow 81 tho arm
that lightly supports the head Nearer the
front upon the ,ss-ellatei pavement. which
l. bordcfed by smooth lawns. stand the hgntr-
Of an old man and Of a youth with a sword
The pedestal hears tho artists autograph
and also the words -ESecuted IN glass by
Thomas Wright. n graceful acknowledgement
Of the ~lattcr's long and faithful service and
Of his far more than ordinary skill aud taste.
which have contributed - largely TO ih'
superiority 81 Ia Flrge's window Their.
has been a remarkable companionship ~
labor. the one - ieftlle w ibfA-' w. 'NHFI
In expedients. the craftsman 80 iu'nitiVclr
d%iyininR tho artist desire and posscsa"d
himself ~ = rare discernment ana -ubtlety
In the sense Of color II Il a characteristic 81
Ia farge's design that e j. conceived In color
and with close relation 10 the medium m
which Il IL o. be executed. and In this gifted
craftsman he has found one who was much
more than an assistant. who could. in fact
collaborate
~ -. - L. .NsaA I'LL NaR.NNa
a cool hight. and II IL probably with this IN
view that the color scheme il one o. more
than usual glitter. a margin having been al
lowed for the subduing effect % it, permanent
environ iuent A. IL Is, seen In the bright
southern light 81 the studio In Washington
Square. where IL has been temporarily eN-
posed. the effect j. a. first amazing In its
b-wildeTment Of sparkle some little tim"
IL needed until N. eye becomes ga a measure
habituat.d to the radiance before the essential
richness Of tn. color scheme t. realized The
chief drapery Of the central ngut" 3. a rosy
gcrauium. it, folds disposed with a marvellous
feeling for decurrtive lines ne well "a for m"
structure II the figure. offering r. labyrinth
Of softly.futed curve. the raised ana chan
nellcd parts Of which reflect 10 infinite d.
y.rsity n. hide-and-scek ~ NJ" "uiorrd / ghi
Above this glowing centre the canopy l~ pale.
translucent gold. those two main color mo-
tives beng balanced IN the larger spaces
~ a ground OF deep blue ard warm green
The blue !. echoed IN hRht tones 10 The draucry
Of tho old man. and the costume ~ the youth
responds 20 the rcd IN notes ot stronger scarlet
and 60 the gold with emhr"vued yellow
while throughout Oh" composition are nu't'r-
ius cofrcSpondercas and opuoslt"ns m pr
mary or Complementary hu"s 1h"~' inca gie
words may possibly suggest What 70 brilliant
fantasy Of color the windnw presents II H.,
indeed. al EFFORT Of splendid imaFirrtion
though. probably. lacking in hat quality ~
elemental control exhibited IN many 81 MS
artists other window lu studio !arsou
T. - not - simple lrcAtf'otouI"ilIv and I'r-
llps for tbs reason j. not -1 tnlcr'ui,y -ig-
uircaH'
But II there b. any lack ~ structural sic
nIncarc~ y BE- In a ueasur" rer ediri hv ~"
solemn weanirsfuluo., ct IN" three principal
figure the youth go strongly passive. waiting
on the trunk pfllfc. ~ Il wer". f'r N" moving
Of the water- IA" I'D man patiently In--iv".
aware alike of the power aud NJ "a" iuiIi'F ~
wisdom. and Wl-dnW herself. pt--iy" "l~N
with something of th" Budihi-uc iup"r
trabiluN 81 calm Tor - I- iut'ro-tiug q nv
andtrace the source OF the VARIOUS ucmHr'-
c,6rduutcd iu th'. ind Il' general
scheme - that of an Italian ult4r-i,y'" and
the architecture &C. R"uai-sau,- iu -ugcr.-
ton Hut IN the %~p'tn's~ ot - utflu"- ana
tho lRuguotou- f"ryor - movement aud color
iNen more OF hNfhN'lf f'Alis NN'' 1900
Ella borstion 81 the angels az m" top j. not %
n,tl. reminiscent of Riropue The df1rery
OF the central figure O.. purely Dr'"A iu chhrat-
~. and again tho head OF 'h" odd UHr i-H' '."
SORT that Rembrandt painted such dFrrst-
ties nf interest. whether OF N.f their ...
r,aares he corrcr,v tfuocd. ar" .irrI,ter-
i-uc ~ Ia Fnrs"', work. Tor from 90 "'nd
stored with memories b" -r.ro's consciously
or uncon~riDu~ly whatever VII ~u'-,gNr ht-
,.,Y ,yA.E.rA.tt tr.4ffNF tuItIUiss