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THE BULLETIN 6F THE CATHOLIC LAYMEN’S ASSOCIATION OF GEORGIA
DECEMBER 8, 1956.
Best Wishes
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BAKERY
!
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TR, 6-3783
ATLANTA, GA.
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GENERAL PLUMBING
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ATLANTA, GA.
DESCRIPTION OF THE STAINED
GLASS WINDOWS OF CATHEDRAL
(By Henry Lee Willei)
(From The Cathedral’s
Dedication Program)
The guiding principle in design
ing and executing the windows
for this church was to procure
windows which would be a com
plement to the architecture which
surrounds them and an integral
part of the wall space in which
they are placed. So often churches
have disregarded the true pur
pose of stained glass and thought
of it as mere picture painting with
the result that the house of wor
ship has been turned into a pic
ture gallery. Stained glass is an
entirely different medium and has
an entirely different purpose in
the decoration of a church. There
fore, for the inspiration of our
windows we have gone back to
the stained glass in the cathed
rals of Europe where, in the elev
enth, twelfth, and the thirteenth
centuries, stained glass was car
ried out by devout craftsmen
who .made windows that exempli
fied the full glory of stained glass
because they realized the possibi
lities as well as the limitations of
their medium.
The iconography for the entire
fenestration of the windows has
been carefully worked out so that
when all the glass is in situ there
will be worked out chronological
ly a most complete and instruc
tive exposition of the great doc
trines of the church.
The sanctuary rose and the
side chancel windows are devot
ed to the Apocalyptic Vision of
St.- John on the Isle of Patmos.
Best Wishes, Bishop Hyland
W. A. Strickland
Roofing Company
HOOFING AND SHEET METAL
CONTRACTOR
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ATLANTA, GEORGIA
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East Point
In the rose itself is shown Christ
the King enthroned in glory sur
rounded by the Seven Candles
and the Four and Twenty Elders.
At His feet is the world, and be
fore the Throne is the Lamb and
the Open Book with the Seven
Seals. In the four lower foils are
winged creatures of the Man, the
Lion, the Bull, and the Eagle,
symbolizing the Four Evangelists,
This window is carried out in
the deepest and richest colors of
all because it is in the chancel
over the high altar. To preserve
the true liturgical effect, it is
kept deep and vibrant in feeling
with no attempt to detract from
the focal point of the sanctuary
which is the altar and tabernacle.
The window in the facade is a
modified Jesse Tree treatment
taking figures from the geneolo-
gical line of Christ, depicted by
the various kings, and culminat
ing in the glorious rose at the top
showing Our Lady holding on
Her lap Christ the Babe. Around
the Virgin are Seven Figures of
the Holy Spirit and in the foils
are Angels of Adoration. This
window ' being at the end
of the church is seen only as
the congregation leaves and is
treated entirely differently from
the chancel rose, being not only
lighter in color but also having a
very striking and attention-drawr
ing effect in the stirring ruby
background surrounding the Vir
gin. It is the desire of the artist
to inspire in the beholder a feel
ing of triumphant and courageous
well-being as he carries into the
world that deep religious convic
tion fortified by the knowledge
that Our Blessed Mother is ever
ready to intervene for us before
the throne of Christ.
The transept window depicts
the Holy Childhood. Beginning at
the left on the bottom and going
up to the circle, we have the An
gels and the Shepherds, Adora
tion of the Magi, Massacre of the
Innocents, Jesus in St. Joseph’s
Carpenter Shop, and Mary and
the Holy Child at Nazareth. In the
right lancet, we have the Birth
of Jesus in Bethlehem, the Pres
entation of Jesus in the Temple,
the Flight into Egypt, the Boy
Christ among the Doctors, and
the Temptation of Christ in the
Desert. In the circle above is the
Baptism of Jesus by St. John the
Baptist.
The window in the nave is the
Miracle window. In the left lan
cet, we have, reading from the
bottom to the top, Christ Raising
the Daughter of Jairus, the Noble
man’s Son, Christ Healing the
Centurion’s Servant, the Miracu
lous Draft of Fishes, and the
Tempest Stilled. In the right lan
cet, in the same order, we have
Uhrist Walking on the Water, the
Blind Man, Lazarus Raised, the
Feeding of the Five Thousand,
and Christ Healing the Man with
Palsy.
These side windows are carried
out in a rich jewel-like medallion
treatment. It_is the plan for each
one of these aisle windows to be
not only different in subject ma
terial but different in design so
that when the entire cathedral is
finished the windows will have
the glorious^ effect found in the
medieval cathedrals of Europe
where each and every window is
an individual work of art and not
a meaningless repetition of re
peating forms as so often happens
nowadays when workers in glass
attempt the glories of the mediev
al.
All windows are carried out in
the finest hand blown pot metal
glasses and Norman slabs, the
color being in the glass itself. No
effects nave been attained by the
use of enamels as employed by
the makers of the opalescent pic
torial type of window. The same
process has been carried out as
was employed by the craftsmen
of the middle ages, whose work
has stood the test of time. Until
more of the windows are installed,
most of the vibrant and jewel-
like quality of the stained glass
is lost due to the cold surface light
coming from the plain glass open
ings.
The windows are from the stu
dios of Henry Lee Willet of Phi
ladelphia.
Rent at the White House is free
—the big cost comes in getting a
chance to move in.
C^ongratufationS ^Jrorn
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ALDERMAN — 8TH WARD
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