STAINED GLASS AT ST. SAVIOUR'S Although the first section of St. Saviour's Church was erected in 1877, the first stained glass window, the three-panelled "Risen Christ" by the Tiffany Glass Company (at the end of the right transcept or wing), was not added until 1886. A new church's need for furniture, linens, vessels and other basics, made windows secondary. Furthermore, the church had been built with attractive diamond-shaped clear glass panes. Leaded and framed by lancet panes of colored glass, they had provided graceful lighting. The presence of many New Yorkers in the Summer Colony made it logical that the first group of memorial windows should come from the New York studios of Louis Comfort Tiffany, one of the founders of an American School of Stained Glass. One of the quintessential features of this emerging school was the use of the then newly invented "opalescent" glass, which was combined with overlays and sculptured forms. Examples of this craft tradition may be seen in the thirteen Tiffany windows, the largest group in Maine. of these, "Angel in Flight", is the largest. This rose window with its opalescent glass is particularly striking in the early morning sun. Two lancet windows at the right of the Altar bring Giotto to mind. These were the only two executed from the ten cartoons commissioned in 1893 for the apse of the 1885-1886 enlargement. A "Fra Angelica Angel" may be seen in the Reed Window in the left transcept. In the nave the most notable of these windows is "The Christ Child". On the opposite side is the Wellman Window, reflecting the optimism of the Edwardians in a personified "Generosity." The use of art to assuage grief is as old as humanity; thus, behind several of these windows are tragedies committed to God's healing. Five windows memorialize children. "The Christ Child" designed by Tiffany's Frederick Wilson in Favrile glass, is one. Louise Todd Joy was widowed after eight months of marriage. Frederick Joy was born a few months after his father's death and died at age 13. His mother and her husband of three years, Christian Hauge, the Norweigian Ambassado:, ordered this window shortly afterwards, in November, 1907. Hauge died snow-shoeing near Oslo just over a month later. Mme. Hauge died at Vichy twenty years later. Other stories are equally sad. Heaton, Butler and Banque of London, executed the "Four Evangelists" window above the Altar and also did all the windows in the Chapel. All are in memory of Charles Carroll Jackson of New York and were part of the enlargement of 1901-1902 given by Mrs. Jackson. The Altar window (1. to r.) depicts St. Matthew, St. Luke, Our Lord, St. John, and St. Mark. Symbolism is employed in all these windows. The 20th Century revival of the medieval technique of using small pieces of glass, heavily leaded, may be seen in the Thorndike Window as well as the Masterman and Colket Windows. Most of the windows on the left side of the nave are English and are from the first third of this century. A comparison of the various techniques is interesting. The medieval use of clear tinted glass is illustrated by the "Sevenfold Gifts of the Spirit, in the tower and the Russell and Little Windows. The Little Window contains symbols of the interests of Dr. Clarence C. Little, famous Director of the Jackson Laboratory. All were done by Susan P. Dunlap of Bar Harbor. The four lancet windows at the rear are Tiffany, contemporary French and Contemporary American. The Rev. E. A. Garrett, III, Honorary Assistant