KING’S COLLEGE CHAPEL.

Otago Daily Times, Issue 19700, 29 January 1926, Page 4

KING’S COLLEGE CHAPEL.

FURTHER GROUP OF .WINDOWS. FOUR MORE FOR DOMINION, OLD METHODS REVIVED. (From Otm Own Correspondent.) LONDON, December 18. Already the public of Auckland have had an opportunity of studying the work of Mr A. L. Ward, who is responsible for the windows of the Kings College Memorial Chapel. Four other lights are now ready to forward to New Zealand. The one completes the chancel group and the three others constitute the window of the south transept. Those who take an interest in this art of coloured glass will find a still greater significance in the new windows if they first have some explanation of the symbolism involved. It may be said first of all that the general effect of these windows is most pleasing, and Auckland City may well be congratulated in taking a lead in this particular branch of art. _ It should not be forgotten that there is a world of difference betweep what might be called commercial windows and those produced by the artist himself. In the former case there are several designers, there are specialists in various colours, and tradesmen carry out the glass-cutting and the baking. The result is far different from that which is taken through _ practically all the processes by the artist himself. In the latter case we are getting back to the methods of the old monks whose whole life was spent in the work, and who put something of their individuality and spiritual fervour into pictures produced. The windows of King s College Chapel have been produced by one man and an assistant for the more mechanical tasks, and in that respect they are unique. , . , The one light completing chance! windows has for its subject ‘'Christs coming to judge the quick and the dead. The Master is shown crowned with an Imperial Crown, and holding in His left hand the Orb of Power. Wounds are shown in the hands and feet, the intention being a reproach to those who pierced Him. Christ is seated on a rainbow, a sign of mercy. “The bow shall be in the cloud and I will remember My covenant. I will look upon it, that I may remember the everlasting covenant between God and every living creature. Above is the glory of Heaven streaming down from God, Whose name written on high in Hebrew characters. The Holy Spirit in the form of a dove hovers over our Lord. Angels hold the Cross, and accompanying angels are shown above and form the oval frame used only around the form of Christ. The Virgin Mary, clothed in a blue robe, is kneeling on a cloud below, in an attitude of supplication for the sinful. The single star above her is an allusion to her Jewish name “Miriam,” “Star of the Sea,” and the 12 stars of her nimbus allude to the text of the Apocalypse. St. John the Baptist, the Harbinger, kneels on the left hand side of the Master. He carries in his hand his reed and the usual scroll, “Ecce Agnus Dei.” The Dragon, symbolical of sin and death, lies dead at the foot of the Cross. It lies among plants signifying the vices—the nettle, slander; bramble, envy; mushroom, suspicion; bazil, hatred. In its mouth is a branch of quince, symbolical of temptation. Below in the base is an inscription: “To all the others.” On other windows of the chancel are the names of a number killed in the war. “To all the others” is in reference to those whose names are not on the other windows, but on the brass plate below the windows. In the . tracery is a Latin inscription chosen by the Rev. H. D. A. Major, D.D., of Ripon Hall: “He shall reign for ever and ever” (Rev. xi, 15). THE TRANSFIGURATION. If one would make a study of the art of the glass painter, there is ample opportunity in the group of “The Transfiguration.” Here may be seen the blending of colour, the continuity in the use of colour and shade throughout the whole picture, the proper balance of tints, the use of the richest rubies in juxtaposition with the white lights, the perfect treatment of the human form, and the economic use of every figure. Every colour, every figure, every line has a meaning. It is a devotional picture, not painted to represent a scene so much as to inspire religious feeling. It is a glorified appearance of our Lord with Moses and Elias talking to Him, as He was manifested to His three most trusted disciples. Christ stands upon the topmost of three summits of a mountain. He has His feet upon the ground to show that He is still of this earth. The right hand is raised in blessing. His garments are glistening white, the outer one being embroidered with the passion flower, the emblem of His suffering to come. From a star above radiates a glory enclosed by a cloud, which is the “veil of the glory of God.” On His right hand stands Moses holding the tables of the old law. He stands upon a cloud to show that he is not of this earth, and below flames of the Divine power are shown to call to remembrance that he was given permission to draw fire from Heaven. Elijah stands upon the Lord’s left hand. He represents the prophets, as Moses represents the law. He holds a partiallyopened scroll, a symbol of truth partially revealed. He shows in his face inflexibility of character. Like Moses, he stands on a cloud, and flames beneath suggest that he, too, was permitted to draw fire from Heaven. Below, in rich coloured robes, and reclining, are Peter, John, and James. The scene recalls Peter’s declaration: “Lord! it is good for us to be here; if Thou wilt, let fis make here three tabernacles; one for Thee, and one for Moses, and one for Elias.” It was then that the brightest cloud overshadowed them, and the voice from Heaven was heard saying: “This is My beloved Son, in whom I am well pleased; hear ye Him.” This is written in Latin upon the scroll held by the angels in the four pieces of tracery above. The tabernacles are suggested by those in the three bases. St. Peter hero represents firm faith, courage, and constancy. His yellow nimbus means faith; his ruby robe Divine love, but also his quick, fiery temper; the purple underdress suggests his suffering for his faith. St. John, the beloved disciple, in the middle light, is clothed in a wonderfully rich yellow robe, the colour of faithfulness and faith and of the goodness of God. St. Janies represents lofty hope, and those who uproot arid conquer viciousness. His robe of purple is the colour of the martyrs. He was killed by the sword. His red underdress means Divine love. The flowers amongst which the disciples recline have all symbolic meanings. There are the hyssop, the plant used to sprinkle the blood of the Paschal lamb; the harebell, submission; the speedwell' fidelity; and the cranesbill, steadfast piety. The yew tree behind Moses means sorrow; the willow by Elias means mourning; the meadow saffron, on the second mount of the hill, is the (lower associated with the festival of the Transfiguration. In the topmost piece of tracery are shown the Cross with the Pails, the inscription which was placed over our Lord’s head, the crown of thorns, and two dice used for casting lots for His clothing—all emblems of passion. The white garments of the principal figures are, of course, obligatory. Our Lord in the text is described as weariii" white, and as Moses and Elias are both living in the presence of God their garments must suggest the virtues of purity, faith, joy, humility. The background of blue expresses Heaven, the firmament, truth, and fidelity. This south transept window has been presented by Mr V. J. Lamer, of Auckland. in memory of his son. Gordon Harrison Lamer, who was killed on October 7, 1016.