The Chapel Windows The various windows used in the chapel are marked examples of Tiffany glasswork, all featuring the latest improvements and discoveries in glass, leads, and methods of construction. They are built using the mosaic technique. In one window alone, The CHAPEL there are more than ten thousand individual pieces of glass. No paints or enamels have been used in these windows except in the fl esh of various fi gures. The win- dows are as follows: Field of Lilies, Christ Blessing the In 1893, Louis Comfort Tiffany c. 1892–1916 Evangelists, c. 1892 (1848–1933) created a chapel interior for Leaded glass Leaded glass the Tiffany Glass and Decorating (U-071) Gift of Adelphi College, Garden City, Company exhibit at the Chicago world’s Adoration, c. 1900–1916 New York fair, which was offi cially called the Leaded glass, iron (74-019) World’s Columbian Exposition. A tour Gift of Adelphi College, Garden City, The Story of the Cross, de force of design and a virtuoso New York c. 1892 performance in the arts of mosaic and (74-020) Leaded glass Gift of Adelphi glass, the chapel was a sensation and College, Garden City, brought the already successful designer New York to even greater heights of popularity (62-037) both in America and abroad. After the fair, Tiffany reinstalled the Laurelton Hall. In the years following, chapel at his studios in New York they reassembled virtually all of the City. Then it was installed in a sub- furnishings and windows that had been stantially different form in 1898 in dispersed when the estate was sold. the crypt of New York’s Cathedral With the exception of two of the Church of Saint John the Divine, four benches, all of the elements which was still under construction. in the Museum’s chapel exhibit are Though used for services for about original to Tiffany and most date ten years, the chapel eventually fell from Chicago, 1893. These include into disrepair, its very existence the decorative moldings, altar fl oor, threatened. In 1916, Tiffany reac- carved plaster arches, marble and quired the chapel, restored it, and glass-mosaic furnishings, four leaded- installed it in a small building at his glass windows, sixteen glass-mosaic Long Island estate, Laurelton Hall. In encrusted columns, and a ten-foot by 1959, twenty-six years after Tiffany’s eight-foot electrifi ed chandelier. The death, Jeannette and Hugh McKean nonhistorical parts of the chapel— acquired the remains of the chapel at walls, nave fl oor, and ceilings—are 445 north park avenue, winter park, florida 32789 407-645-5311 www.morsemuseum.org based on available knowledge of Above: View of 1893 Tiffany chapel interior reassembled Tiffany’s installations at Laurelton Hall at the Morse Museum of American Art. Photograph by Jimmy Cohrssen. and Chicago. ©2014 Charles Hosmer Morse Foundation, Inc. “The chapel was his favorite among The Chapel Elements all his works, not least because it was a trial run, a proving ground for nearly everything he made later.” Hugh F. McKean Ciborium Window Arch Latin Translation: Electrolier Holy, holy, holy, Lord God Almighty, who was, who is, and who always will be Reredos Altar Cross Canonical Candlesticks Retables Latin Translations: Baptismal Font Left: I am the bread of life descended from Heaven Right: Who eats this Steps bread will live eternally Latin Translations: Tabernacle Top : I will go to the altar of God, to God who gives joy to my youth Predella Middle: Our help is in the name of the Lord, who made heaven and Altar earth Bottom: Holy, holy, holy, holy, holy Lectern Note to visitors: An automated lighting system in the chapel cycles through four two- to three-minute settings, each a new visual interpretation of the space. The lowest light setting shows the chapel at its most mystical, suggesting the experience of the million or more visitors who saw it at the 1893 Chicago world’s fair. tiffany chapel tiffany chapel.