Waterbury evening Democrat., 1908-07-17
HANDSOME MEMORIAL.
Thirteenth Century Medallion Win- dow Exhibition at Tiffany Studios.


 dow Exhibition at Tiffany Studios.
 There has been on exhibition at the Tiffany studios for short time memorial window which will later I be placed in the First church of Christ at Fairfield, Conn. It. is a representative example of the best type of mediaeyal glass work, the medallioned windows of the twelfth and thirteenth centuries, the golden age of the early glaziers. Some of the most notable works of this type are still at Bourges, Chartres and others of the cathedrals of continen- tai Europe and England.
 The primal motive os design of that period was the division of the entire field of the light opening int1 panels or medallions cf circular, oval, square or other geometrical form. running vertically through the windows. In one window there would be series of alternating large and small medallions, the larger ones being used for figure grolps, illus 1 trating scenes from the old or new ! testament, the smaller carrying sym l bolic ornaments, or designs of tte character of the architecture of the edifice. The figure medallions might l Illustrate the lives of the prophets or saints, or different periods in the life of the Saviour, the scenes of his antivity and childhood, early man- hood, ministry, crucifixion, resurrec- 1 ton and ascension.
 The medallion window was often a comprehensive recital Of some p3r- tion of the old or new law, and Of all forms of windows, they were the most forceful examples of scrip tural teaching through pictorial illus 1 tration. The early medallion wiz dows were constructed on mosaic lines, and following the mthod of all | midiaeval windows, the light and shade, gradation of color and detail of general design and ornament were effected by painting on the surface of the glass. This was necessary by reason of the limitation of the ma terial, the glass of the time being only in solid bodies of even color. The modern medallion window is constructed on mosaic principles, and the motive of design follows the lines of the earlier period, but by reason of a material of higher development better results have been obtained. The glass of the present time, with its limitless range of gradation of color and tone, and its depth of bril- liancy, presents possibilities for greater works in this type of win dows. In the modern medallion win dow there are embodied the ideas of the, mediaeyal school, but with stronger design and detail, and by the elimination of surface paints and pigments in the structural body, ani the consequent retention of the in- herent qualities of the glass, rich CT effect is secured.
 1 The window now or exhibition consists of three panels divided into series of large and small medallions There are nine large medallions con- taining three series of scenes in the ! life of Christ. The three upper me- dallions refer to childhood and illus trate ''The Blessing of Little ChiI- dren (St Luke, 1S-16), "The Nativi- ty' (St Luke, 2-S). "TEe Child in the Kingdom" (St Mark. 9-36). .. The central .medallioI.s represent personal incident in the life of Christ. "The Baptism by John (St Matthew, 3-16). '"The Disputation in the Tenn pie" est Luke, 2-46), The Trans figuration" (St Matthew, 17-I. The three lower medallions refer to tho Lords ministry and his work among men and women. The subjects are eThe Woman of Samaria" (St John. 4-4), The Sermon on the Mount" (St Matthew, 5-D. Healing the Blind" (St Matthew, 9-27).
 Each of the interesting medallions carries a symbolic ornament for its design and the large and small divis- ions are joined by interlacing orna. mental bands in harmony with the general character of the entire work. The coloring of the window is in rich dark tones of red, blues and greens, with jeweled effects. The glass of which the window is composed was made especially for the work. It has been used with infinite care in ex- pressing the full spirit and intent ot the subject, and the requirements of the design.