DOI article:
Raguin, Virginia Chieffo: Old imagery for a new century
DOI Page / Citation link:https://doi.org/10.11588/diglit.51154#0019
18
7. R.T. Giles and Co., Light of the World, Minneapolis (Minne-
sota), 1905, after William Holman Hunt, Salt Lake City, Utah,
First Presbyterian Church. Photo: M.M. Raguin
on glass painting by authors such as Merson, Westlake,
Drake, Delaporte and Houvet, Magne, Arnold and Saint
are found.* * * * 22 The iconographie references are even more
impressive: numerous versions of the Bible, prayer books,
missals, indexes to saints’ lives, and church symbolism
such as Anna Jamesons Sacred and Legendary Art, Butlers
Lives of the Saints, Adolphe Napoléon Didrons Christian
Iconography or the History of Christian Art in the Middle
Ages (London, 1863), William Caxtons The Golden Lives of
the Saints (London, 1900) and Durandus’ The Symbolism
New York, 1937, pp. 378-391. See also the records of the d’Ascenso
studios in the Philadelphia Athenaeum, the Willet archives in the
Corning Museum of Glass, and the Burnham archives in the Ar-
chives of American Art.
22 O. Merson, Les Vitraux, Paris, 1895; N. Westlake, A History of
Design in Painted Glass, London, 1881-1894; M. Drake, A History
of English Glass-Painting with Some Remarks upon the Swiss Min-
iatures of the Sixteenth and Seventeenth Centuries, London, 1912;
Y. Delaporte, E. Houvet, Les Vitraux de la cathédrale de Char-
tres, 4 vols, Chartres, 1926; L. Magne, Décor du verre, Paris, 1913;
H. Arnold, L. Saint, Stained Glass in England and France, Lon-
don, 1913.
8. J & R Lamb Studios, The Finding of Boy Jesus in the Temple (af-
ter Stanford University cartoon), 1908-1910, after William Holman
Hunt, Orange (Texas), First Presbyterian Church, Photo: J & R Lamb
of Churches (translated by the prominent Ecclesiologists,
Neale and Webb). Most revealing, however, are the nine-
teenth-century publications of collections of religious im-
ages similar to the kinds that formed the basis for the im-
agery produced by Lamb for Jane Stanford. Frederic Far-
rar’s Story of a Beautiful Life Illustrated (London, 1900),
and (anonymous) The Light of the World or Our Savior
in Art (London, 1899), as well as the Old and New Testa-
ment collections after Tissot, were well used and marked
by Connick.
An inventory of such works in glass would extend into
the many thousands. Just a few examples may hint at the
variety of sources and of execution. Gustave Dore’s en-
graving published in 1877 formed the basis of Tiffany Stu-
dios’ Christ Leaving the Praetorium (Kemper Memorial)
of 1888 in St. Paul’s Episcopal Church, Milwaukee, Min-
nesota.23 J & R Lamb used Holman Hunt’s Finding of the
Boy Jesus in the Temple (Birmingham Museum and Art
Gallery) of i860 for a window installed 1908-1910 in the
First Presbyterian Church, Orange, Texas [Fig. 8]. Hein-
rich Hofmann’s version of the theme proved even more
23 A. Duncan, Tiffany Windows, pp. 21-22, fig. 7 (as in note 9).
7. R.T. Giles and Co., Light of the World, Minneapolis (Minne-
sota), 1905, after William Holman Hunt, Salt Lake City, Utah,
First Presbyterian Church. Photo: M.M. Raguin
on glass painting by authors such as Merson, Westlake,
Drake, Delaporte and Houvet, Magne, Arnold and Saint
are found.* * * * 22 The iconographie references are even more
impressive: numerous versions of the Bible, prayer books,
missals, indexes to saints’ lives, and church symbolism
such as Anna Jamesons Sacred and Legendary Art, Butlers
Lives of the Saints, Adolphe Napoléon Didrons Christian
Iconography or the History of Christian Art in the Middle
Ages (London, 1863), William Caxtons The Golden Lives of
the Saints (London, 1900) and Durandus’ The Symbolism
New York, 1937, pp. 378-391. See also the records of the d’Ascenso
studios in the Philadelphia Athenaeum, the Willet archives in the
Corning Museum of Glass, and the Burnham archives in the Ar-
chives of American Art.
22 O. Merson, Les Vitraux, Paris, 1895; N. Westlake, A History of
Design in Painted Glass, London, 1881-1894; M. Drake, A History
of English Glass-Painting with Some Remarks upon the Swiss Min-
iatures of the Sixteenth and Seventeenth Centuries, London, 1912;
Y. Delaporte, E. Houvet, Les Vitraux de la cathédrale de Char-
tres, 4 vols, Chartres, 1926; L. Magne, Décor du verre, Paris, 1913;
H. Arnold, L. Saint, Stained Glass in England and France, Lon-
don, 1913.
8. J & R Lamb Studios, The Finding of Boy Jesus in the Temple (af-
ter Stanford University cartoon), 1908-1910, after William Holman
Hunt, Orange (Texas), First Presbyterian Church, Photo: J & R Lamb
of Churches (translated by the prominent Ecclesiologists,
Neale and Webb). Most revealing, however, are the nine-
teenth-century publications of collections of religious im-
ages similar to the kinds that formed the basis for the im-
agery produced by Lamb for Jane Stanford. Frederic Far-
rar’s Story of a Beautiful Life Illustrated (London, 1900),
and (anonymous) The Light of the World or Our Savior
in Art (London, 1899), as well as the Old and New Testa-
ment collections after Tissot, were well used and marked
by Connick.
An inventory of such works in glass would extend into
the many thousands. Just a few examples may hint at the
variety of sources and of execution. Gustave Dore’s en-
graving published in 1877 formed the basis of Tiffany Stu-
dios’ Christ Leaving the Praetorium (Kemper Memorial)
of 1888 in St. Paul’s Episcopal Church, Milwaukee, Min-
nesota.23 J & R Lamb used Holman Hunt’s Finding of the
Boy Jesus in the Temple (Birmingham Museum and Art
Gallery) of i860 for a window installed 1908-1910 in the
First Presbyterian Church, Orange, Texas [Fig. 8]. Hein-
rich Hofmann’s version of the theme proved even more
23 A. Duncan, Tiffany Windows, pp. 21-22, fig. 7 (as in note 9).