The Righteous Shall Receive A Crown of Glory

Title: 
The Righteous Shall Receive A Crown of Glory

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Object Name: 
Stained Glass Window
Title: 
The Righteous Shall Receive A Crown of Glory
Accession Number: 
96.4.230
Dimensions: 
Overall H: 383.5 cm, W: 233.7 cm; Frame H: 406.4 cm, W: 252.7 cm, D: 7.6 cm; Light Box H: 391 cm, W: 246 cm
Location: 
On Display
Date: 
about 1901
Credit Line: 
Gift of Mr. and Mrs. Bruce Randall
Photo by Richard Goodbody
Web Description: 
Over the course of its 50-year history, Tiffany Studios produced an estimated 5,000 windows, many of them with religious subjects, like this memorial window. The designer, Frederick Wilson, was Louis C. Tiffany’s most prolific religious stained glass window designer, and he served as the head of the ecclesiastical department at Tiffany Studios. Although Tiffany began making stained glass windows in the late 1870s, he did not hire a fulltime ecclesiastical designer until Wilson, who began working at the Studios in the early 1890s. Prior to Wilson, Tiffany did not use in-house designers, but instead hired outside muralists and painters to produce window designs. Some designs were original, while others incorporated elements from famous paintings by Botticelli, Leonardo, and Raphael, in addition to the work of later painters, such as Bougereau and Millet. Wilson gave the religious stained glass windows produced by Tiffany Studios a more cohesive look and identifiable style. For its religious windows, Tiffany Studios offered a catalogue of stock subjects that clients could choose from, and the designs could be ordered with additional decorative elements. This is the case with this window, in which a banner with words from Scripture—which appears in one of Wilson’s preparatory drawings—has been replaced with a large glass jewel-studded cross. The theme of the window celebrates victory over death, and the joyous hope of resurrection. Tiffany’s outlook was more optimistic than that depicted in most 19th-century stained glass memorials, in which the subjects of mourning and death— illustrated by weeping angels or the crucifixion—predominated. This memorial window is dedicated to the memory of Charles Green (1811–1901). It was commissioned by Ira Dewayne Brainard (1846–1914) and his wife, Mary Genevie Green Brainard (1847–1931), for the United Methodist Church in Waterville, New York. Built in 1860, the Waterville United Methodist Church was renovated in 1902 and during the 1950s. The church was in use until a new church was built in 1967, at which time the old church was sold. Like many 19th-century churches in the small towns of New York State, the building was adapted for other uses. The former church has served as an auction house, a store, and it is now a private residence. The Tiffany window was removed at the time of its sale in 1967, or soon after. The window was bought by the donors, Mr. and Mrs. Bruce Randall, in the late 1960s, and they gave the window to the Museum in 1996. When the window arrived, it was disassembled. It needed cleaning and restoration of its support structure, and it was too tall to fit into the Museum’s galleries. The window was preserved in crates in Museum storage until 2012, when it was requested on loan for an exhibition by the Museum of Biblical Art (MOBiA) in New York City. The window was conserved and exhibited at MOBiA, and then returned to the Museum and installed—without its memorial panel—in this gallery. The window’s memorial panel was added to the bottom of the window, beneath and separate from the main scene. A photograph of it appears next to this label, and it is because of this panel that we know the history of this window. The memorial panel is inscribed: [“The Righteovs Shall Receive a Crown of Glory” / To The Glory of God / In Memoriam / 1811 Charles Green 1901] It references the biblical passage in Peter 5:4: “And when the chief Shepherd shall appear, ye shall receive a crown of glory that fadeth not away.” In the window, two angels escort the deceased into the light of heaven, up marble stairs toward a large cross supported by three angels.
Department: 
Provenance: 
Randall, Bruce, Former Collection
1996
Randall, Adele, Former Collection
1996
Primary Description: 
Stained Glass Window, "The Righteous Shall Receive A Crown of Glory". Handmade colored and opalescent sheet glass, textured glass, cut and assembled, painted; lead came. Arched rectangular stained glass window in 12 sections. Scene of central figure flanked by two angels, turned and looking up at other angels holding cross and crown; geometric border design on sides and over the arch. Central base panel with etched inscription. Lower left panel with signature"Tiffany Studios/New York" etched on clear pane of glass placed over the colored glass panel. Opalescent and colored glass panes, some textured, held by lead cames and foil. Panes of the angel's wings, figures' robes and some border panels highly textured; those with faces, hands and feet painted. Glass chunks as jewel-work in cross, on crown, and on headband of one angel. Brainard Memorial Window commissioned for the United Methodist Church, Waterville, New York.
Louis C. Tiffany and the Art of Devotion
Venue(s)
Museum of Biblical Art 2012-10-12 through 2013-01-20
Louis C. Tiffany and the Art of Devotion will consider the array of church decorations and memorials that Louis C. Tiffany (1848-1933) produced beginning in the early 1880s. For 50 years, working under a variety of company names, Tiffany oversaw production and marketing of a vast assortment of decorative elements for many of America’s leading congregations—Protestant, Catholic and Jewish. Tiffany employed designers, draftsmen, and craftspeople who produced decorative wall treatments, mosaic floors, lighting, furniture, altarpieces, pulpits, candlesticks, and liturgical vestments. A large component of the business of religious art also consisted of funerary memorials that ranged from simple bronze tablets and single headstones to leaded-glass windows and fully decorated mausolea. Works in many media—marble, glass, wood, metal, and fabric—could be had “off the rack” with minimal personalization or as one-of-a-kind commissions, designed exclusively for a particular patron. The success of Tiffany’s vision—measured in part by his prodigious output through his long career—was due not only to the quality and variety of the work, but to his ambitious advertising campaigns. Through a combination of showroom displays, sales catalogues, press releases, luxurious illustrated pamphlets, and installations made for national and international expositions, Tiffany ably marketed his designs to the public and clients alike. Through these various outlets, high-quality church and memorial designs became synonymous with his signature brand, Tiffany Studios. Louis C. Tiffany and the Art of Devotion will consider the breadth and depth of the firm’s oeuvre, and the place Tiffany Studios created for itself in American religious art. Featuring the leaded-glass windows most often associated with Tiffany, as well as mosaics, watercolor sketches of windows, interiors and ecclesiastic furniture, and archival photographs, the exhibition will show how Tiffany continued the grand tradition of religious art, transforming it to suit an American audience. The exhibition will be accompanied by a fully illustrated catalog published by D. Giles LTD of London.
Museum News (2013) illustrated, p. 3, top; BIB# AI93998
Escort Guide to the Galleries [V4/2013] (2013) illustrated, p. 38; BIB# 134856
Corning Museum of Glass Calendar (2013) illustrated, p. 4, left; BIB# AI93428
Louis C. Tiffany and the Art of Devotion (2012) illustrated, cover; pp. 128-129 Cat. 44; BIB# 131479
Recent Important Acquisitions, 39 (1997) illustrated, p. 179, #42; BIB# AI5243
The Corning Museum of Glass Annual Report 1996 (1997) illustrated, p. 6;