In the center window, an angel in opalescent robes shimmering like mother of pearl emerges from a field of lilies. Two are here, and a sketch of the third.Ĭorinthian columns frame each scene. They are attributed to Louis Comfort Tiffany, but probably designed by Frederick Wilson, a leader in ecclesiastical window design who worked for the company. In this exhibition, the Tiffany Company’s “Angel of the Resurrection” windows are sweetly lambent but stiff. That may have compelled them to seek permission from each other for using the material. The history here is murky, but we know this: between 18, each artist applied for and was granted a patent for manufacturing the latest rage in stained glass window design, milky opalescent glass. Both relentlessly experimented with their craft.

Amanda Lett, a PhD candidate in History of Art & Architecture at Boston University, unveils the newly conserved windows, bright and twinkling as they were a century ago. It took more than a year for conservators to take them apart, clean them, and restore them. The rest were packed up and sent to Worcester, where they sat in storage for decades.

The church donated three Tiffany windows and two by La Farge to the museum.īefore they were shipped, one of the Tiffany windows went missing. Mount Vernon Congregational closed in 1975 and moved to worship in fellowship at Old South Church. Tiffany’s “Resurrection” (1899) Worcester Art Museum

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