The Rededication of The Windows of The Second Reformed Church of Hackensack, New Jersey

Sunday, September 26, 2010

Windows by Louis Comfort Tiffany and others

as Researched by Elizabeth Pfeiffer

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he Second Reformed Church of Hack- n the early hours of April 15, 1907, Tensack is rich in its heritage of exquisite “Ihigh winds spread the fire that started stained glass windows, in the beauty of those in the neighboring barn... The Second designed by Louis Comfort Tiffany and oth- Reformed Church and its five barns were ers. destroyed...”

t falls, therefore, upon us to protect and mmediately the congregation resolved Iconserve these windows, “Ito rebuild... The building commit- given to the Glory tee recommending ‘that the windows be of God, and in devoted to depicting events in the life of memory of Christ’... contracted the Tiffany Stu- members past. dios... for 5 windows. A contract was To this end, also made with the Duffner & Kimberly your Property Co. for... 1” and “a contract made with... Committee Tiffany for an additional... instal- researched and lation The installation of these ultimately found a 7 windows was completed company to restore before the Dedication and protect them, and it Ceremony, on September is on this date that we can celebrate their 19, 1909.” Our windows rededication. were installed between 1908 -1936. he Second Reformed Church “THackensack, New Jersey (sic) was n a news clipping organized on October 31, 1855 with 14 “Ifrom September 23, members. The corner stone for its first 1909 entitled ‘Dedication building was set in place in 1856. The of the Second Church’ this building was located on the east side of window was described as State Street.” As membership increased, one of the features ‘which the building was expanded. combine to form an unusually attractive interior’ iffany & Co. was asked to submit hen our current building was built, “Tplans for the redecoration of the WTiffany was commissioned to create church, early in 1905” and “a contract was this beautiful window which is very interac- awarded... May 12, 1905... (a) later photo- tive during morning worship. Sometimes the graph shows redecorated interior and the deep olive green predominates. Some days new organ.” a beautiful blur is seen at the outer edge. 2

Other days when thee sun strikes it directly, memory of Walter Whitfield Johnson, Who it is golden and so radiant that the star in the died March 16, 1891, Aged sixteen years. center is not able to be seen. ‘It is not the will of your Father which is in heaven that the little ones should perish’ r. Alvah Brown installed two win- “Mdows in memory of his wife... also pproved by consistory on February 14, of Tiffany design... They represent Christ A1896, “Peter Bogart placed in the south and womanhood, and illustrate the scripture, side a double window as a memorial to his ‘Thy word is Truth’ ‘In memory of Martha daughter Rachel... These... represented Anderson Brown’” Plockhurst’s Resurrection, and were most These two windows, installed by July24, beautiful in color and conception... among 1898 were “Lost in the fire... insurance pay- the choicest works of the Tiffany Studios. ments provided the funds to commission” ‘In loving memory of Rachel E. Bogart Day. the “window referred to as Praise the Lord Born Nov. 6, 1855, Died June 19, 1895’” in the consistory minutes and as The Angels of Praise in the Services in Dedication of window in memory of The Rev. Dr. the Second Reformed Church booklet of “A George H. Fisher, D.D., was given... by September 19, 1909... is truly magnificent! It his children. It was placed in the north wall is our largest window. It was installed as the and showed Christ among the Doctors in the church was being built and was so listed in Temple.” Also from J. & R. Lamb Studios, it the booklet... Tiffany has created a feeling of read: “In memory of George H. Fisher, D. upward flight. The colors graduate from deep D., Pastor of this Church from 1863 to 1871 - blues at the bottom through lighter shades of An ambassador of Christ.’” color at the top. “Lost in the fire...” insurance “The story of the window’s connection to the payments, in addition to Columbian Exposition in 1893. L.C. Tiffany “funds given by Miss Ame- did show his work at the Columbian Exposi- lia V. W. Fisher”, provided tion in 1893. His work did earn awards... the funds to create” the but books and accounts ... do not include window, Christ’s Farewell our window at the Columbian Exposition in Interview with His Disciples by 1893.” J. Gordon Guthrie. “Ac- cording to Linda Papnico- n the primary school classroom on State laou”, doing research on IStreet, “Two stained glass windows gave a Guthrie, he and Tiffany softened light from the east end. A beautiful had an argument, and he memorial window was placed on the north went to work for the Duffner & Kimberly side. The center panel of the triple window Studios. Its gold borders differ from Tif- from the J. & R. Lamb Studios contained the fany’s windows, but Guthrie’s use of drapery inscription: This room was erected in loving glass, limited enamel and plated glass show 3

similarities perhaps due to years.” his previous employment. “Note the delicate faceted “This window is referred work in the wings and the to as An Ambassador of circular composition; no Christ in Consistory min- matter where one looks utes (Sept. 17, 1908) first, the design moves the viewer’s eye around and window in memory through both panels of the “A of Joseph G. Banta long vertical space.” was presented by his par- ents Mr. & Mrs. Henry . Terhune Linn... Banta... also the work of J. & R. Lamb Stu- E‘Christ the Teacher on the dios... ‘In memory of Joseph G. Banta. Died Shores of Galilee’, June 16, 1929, March 5, 1888, aged 20 years, 4 months, 2 days. His last words ‘Christ is coming.’ taib - Trowbridge... “Lost in the fire...” The Insurance payment... S‘The Singing Angels’, provided for this Tiffany window, The An- 1930, nunciation. “Notice how all of the lines radiate ev. Arthur Johnson... from the Angel. This Angel has appeared R ‘Jesus Blessing the Little to tell Mary that she is with Child. Look at Children’, 1030 the beautiful classical drapery of the Angel’s “Inscription: ‘A grateful robes. The glass if full of color in the folds. tribute to the memory of There are lilies surrounding Mary. Note how Rev. Arthur Johnson, D.D. the Angel’s glowing form sheds light over 1848 - 1930 and his wife Mary and illuminates her upper body.” “In Florence Adele Johnson Memory of Joseph G. Banta. Born Nov. 3, 1860 - 1926’ 1867 Died March 5, 1888” ‘Installed in recognition of ater additional (Memorial) windows the long and faithful servic- were commissioned from Tiffany. es rendered by them to this “L church and community.’ illiam Johnson... the ‘Goodness & Mercy’ This window is glorious WAngels, April 21, 1929, Inscription: toward the end of the day. “Surely goodness and mercy shall follow me When the sun is lower in all the days of my life; and I will dwell in the the western sky and its house of the Lord forever. Psalm 23:6. In warm colored light en- loving memory of William Mindeed John- ergizes the scene. All the son. Born Dec 2, 1848 - Died Sept. 11,1928 pieces of Favrile glass that A consistoryman of this church for over fifty contains shades of peach, 4

rose, lavender, purple and red and (sic) en- cation would not have given riched by the light and those colors become as pleasing an effect as this” more brilliant than they are in the morning “The technique used to cre- light. The brilliant sky is symbolic of heav- ate the moon and the stars is enly grandeur.” called acid etching of flashed glass. When flashed glass llen... ‘Christ Knocking at the Door’, October is fabricated a thin layer of A18, 1936 “Inscription: “In loving mem- color is fused to the surface ory of Nelly Byers Allen - Wife of Lauros of another piece of colored H. Allen” “Our hearts need to be opened or clear glass (in thus [sic] to let Jesus enter. The lantern Jesus carries is case blue and white). The symbolic of His being the Light of the World. piece flashed (sic) glass is masked to protect This lantern radiates its light on the darkest the areas not to be etched (the blue sky). day.” Hydrofluoric acid is applied to remove one “This was a very popular theme of the period of the layers... and reveal the remaining color and the Tiffany Studios installed many win- (the white of the moon).” dows similar to this one... customized... for other churches.” Other windows: Sunrise, Sunset, Chapel, World War II till later, additional ur early leaders had the opportunity “Swindows were “Oto compare the work of two studios” commissioned from other and “chose to commission Tiffany to create studios: the majority of the sanctuary’s windows.” onklin - Foster... “Their images have taught us, comforted us C‘Gethsemane’ Made in and inspired us. God’s Light shines though the style of Tiffany, Signed them. His Light wakens the colors in the John Berrian 1953... In- Favrile Glass as it shines through the win- scriptions (one per panel): dows. The Light interacts with the artists’ ‘In loving memory of Edna designs and energizes them and flows through B. Conklin and Charles S. them to enrich our hearts and minds.” Conklin’ ‘In loving memory of Rebecca Claredon Foster and W. Edward raditionally church windows illustrate Foster’ “News clippings from the dedication “Tstories in pictures - church windows in 1953 stated: ‘the window was ‘an inter- depict scenes to the common man who often pretation of (the ) ‘Christ Praying in the could not read the , Benefactors chose Garden’” “Notice the moon and the stars in significant passages to be illuminated or a the Gethesame’ (sic) window. They have no favorite to be depicted.” lead surrounding them! Lead lines in this lo- 5

Louis Comfort Tiffany ect. Tiffany Studios created a vast variety of colors and textures in the glass.” he son of a New York jeweler and sil- “Tversmith, whose shop is still a byword “Tiffany obtained patents for opalescent tech- for elegance. Louis Comfort Tiffany was a niques in 1880. Tiffany called the opalescent many talented man whose wide ranging ar- glass which he created Favrile Glass. The tistical achievements wee matched by equally Museum of in New York City brilliant entrepreneurial skills. He was first a wrote, ‘Favrile: a name he (Tiffany) derived painter and then an interior designer before from Old English fabrile meaning belonging turning his full attention to the art of stained to a craftsman or his craft. By selecting the glass which was to bring him his greatest name Favrile, he honored the skilled crafts- fame. The seed was sown when, as a young men who strive to perfect their craft.” man, he visited Europe, North Africa and the “The New York Times wrote ‘Some of Tif- Middle East and fell under the twin spells of fany’s favorite windows are in Hackensack in windows in Europe’s the Second Reformed Church, at Anderson, cathedrals and churches and the long buried Ward and Union Streets. Tiffany frequently ancient iridescent glass which archaeologists visited there with clients in tow, using the visit were unearthing.” Tiffany by Norman Potter & Douglas Jackson, page 7 co. to help them select appropriate design for 1988 Pyramid their purposes.’ from an article: Touring the Town for Tiffany Windows by “In 1878 Tiffany established a glass work- Rita Reif May 4, 1979 “Tiffany windows are paint- shop, since other manufacturers were not ings made of glass. The effects of rippling producing the type of glass he desired.” water, tree leaves, and sunset skies are created Stained Glass by Lawrence Lee, George Sedon & Francis by the glass itself. Texture, gradation of color Stphens Crown Publishers, Inc. NY page 156 in a single piece of glass, and illumination Tiffany sought to replicate the iridescent Ro- and shadows are all part man glass. He experimented with weathering of the masterful work of and firing conditions, as well as glazing and the Tiffany Studios, The aging glass in an acid-charged atmosphere.” crafts people created the Inksmith part of DANIEL SMITH: A CATALOG OF ART- endless variety of glass IST’S MATERIALS Spring 1992 colors, patterns and tex- “Tiffany wanted to cretae of tures to the specific need stained glass and minimize the use of enamel of the design staff. The paint which reduced the amount of light glaziers carefully selected which could enter through the glass. Tiffany each individual piece of Studios employed many men and women as glass to fit thecartoon designers, glaziers and craftsmen who worked (the full scale working as a team on the development of each proj- drawing) of each window. “Tiffany strove to minimize the use of late afternoon light. The de- enamel paints. The windows of the signers used this light quality Second Reformed Church have only a small to their advantage by plac- amount of enamel paint (the faces and hair, ing sunrise/sunset scenes hands and feet of the figures; and in the palm in this location. Weather fronds). He felt the enamel paints blocked the conditions also color the passage of light through the window. light that passes through the glass. As the sun moves in “Look closely at any piece of Favrile Glass relationship to the windows (Tiffany’s registered trade name). You will see (higher/lower in the sky or more than one color in each piece. There are at different times of the day or year), its light rainbows of color in other pieces. strikes the windows at different angeles and “The crafts people developed drapery changes the appearance of the glass. glass for use in garments... manipulated the sheets of glass as they were cooling. They lifted the glass with tongs, creating ridges All quoted information in this brochure, and folds in the cooling glass. Small pieces of unless otherwise noted, was the work of drapery glass were also used in flower petals. Elizabeth Pfeiffer, to whom we should be ever grateful. Her detailed and comprehensive Another feature to look for is plating, a information is priceless. technique of building layers of stained glass to modulate the light coming through (to achieve a spcial effect or color).

Observe the many different textures in the glass. Ripples in water, leaves on the plants, and bark on tree trunks.

Notice how the design... is complemented by utilizing a curved structural support bar at the head of the angel in The Three Marys at the Tomb.

Each window’s location was also considred at the design stage. The colors of the glass are effected (sic) by the lighting at ifferent times of the day. The westerly facing windows are energized by the warm, reddish quality of the