From the Western Daily Mercury, Monday 2nd November 1896.
Although not a part of the work of the restoration of the ancient church of St. Germans at Port Eliot the substitution of an exquisitely-coloured window for the plain glass which previously filled the huge eastern light was a really very important matter. It differed from the other work mainly in that it was a gift, while the £7,000 odd that were devoted to the renovations were publicly subscribed and largely augmented by purely local effort. Quite recently an extraordinary bazaar was held in the lovely grounds of Port Eliot, but the work had by this time been largely completed and paid for, the ostensible object of the bazaar being to relieve the Restoration Committee of a debt on the work of £280. This was done, and £100 or more realised in excess, so that a nucleus for a fresh fund was easily formed. Marble paving to the church is much needed, and probably the question of reseating will be considered at a comparatively early date. The work so far has been most expeditiously carried out, for the huge new window was only decided on about nine months since; and yet in that time the design has been realised, the glass prepared, and placed in ornamental stonework, while the latter has been necessarily restored.
When it is remembered that the window is as near as possible 30 feet high and about 16 feet wide it will readily be seen that this was a big undertaking. Mr. E. Sedding has effectively worked out the delicate tracery, and the whole of the rest of the work has been accomplished by Mr. Lang, of Liskeard. Beare stone has been used in this, and it has cost in all about £200, an expense which has largely been met by the Earl of St. Germans. That the work has been admirably carried out no one can gainsay, and unusual interest will attach itself to the work, as being the very last specimen of stained glass turned out by that master hand, the late Mr. William Morris. The design is by Sir Edward Burne-Jones, and differs from the majority of large church windows in that it does not seek to present one or more scenes or incidents, but merely gives clever imaginary portraits of ten persons. There are two rows of five large lights, each about 8 feet high by 2 feet 3 inches wide; while above them tapers the Gothic-shaped capping, with its intricate tracery and pretty coloured effects. The top is really designed to convey an idea of angels and cherubims, and very harmoniously indeed the colours blend. The central figure of the top five—and it is as near as can be in the very centre of the whole window—is one representing Jesus Christ. The figure is clad in a rosy-hued robe, splendidly draped and very rich in colour. On the left is a rude cross, round which the Saviour’s right arm circles; while at His feet on the other side is a silver chalice. The palm of the left hand is exposed, showing the nail-print, while the beautiful face has an expression of sad sympathy. On the right of Him stands in a studious, longing attitude, Mary, the sister of Lazarus, whilst the other, the Blessed Virgin Mary, stands prayerfully, yet joyous, on the left hand. St. Paul is a somewhat youthful figure, and one likely to upset many theories as to the personality of that sturdy apostle. He stands also on the left, while the other extreme is occupied by the converted centurion, who relinquishes hold on his spear in order to clasp his hands in entreaty for salvation. Below these are the four evangelists, supporting the first martyr, St. Stephen. The latter has his hands outstretched as if pleading his own innocence with fervent, though unavailing eloquence. On his right hand are St. Matthew and St. Mark, while on the left are St. Luke and St. John. Each of the four holds an inscribed, and partially unrolled, scroll in his hand, and they are in various attitudes as of preaching. Over the heads of most of the figures are angels, as if whispering hopeful and inspiring words. THE PREDOMINATING COLOURS are red (of a peculiarly rosy tint), azure blue, and olive or rich sage green. A tint of the latter floods the whole and gives a subdued tone, which adds an indescribable charm and effectiveness. At the base is the simple inscription: “To the glory of God this window is dedicated by the donor, Alfred Burton, in the year 1896.” All the colours blend well, are rich though not obtrusive, and certainly relieve the subjects from anything like a sombre or dull appearance. One remarkable fact is the unusually youthful appearance of the whole of the figures, though thought and depth of expression are not wanting in any of them. This glass work alone cost £500. With the brilliant sunshine streaming through the lights yesterday morning, all these and other wondrous details were brought out with astounding clearness of definition, and the large congregation who attended the service could not but be greatly impressed by the striking conception of the artist. Although finished early in the past week the window has been kept screened, and was not publicly revealed until the Bishop of Truro read the usual prayers at an unveiling yesterday morning. That portion of the service was completed in a very few minutes, but the fully choral service which followed occupied some time.
The Bishop selected as his text Malachi ⅲ., 10th verse, “The windows of heaven.” They would notice that these words occurred at the close of the darkness of the Old Testament, at the dawn of the New Testament, as the streaks of the light of the Sun of Righteousness, about to rise with healing in His wings, were beginning to flood over the old world. God put this text into the mouth of one of His servants, foreseeing the blessings and uses which would be made of it. The use they were making of it that morning was in the mind of God, and the purposes of God, when he told Malachi to write the words. Christ was the only window of Heaven. But, they would say, the text speaks of windows and not a window. That was God’s way of emphasising it, of writing the words in capital letters, as it were calling with a loud voice, clearer and more emphatic than usual. They would remember in the case of Pharaoh, when the seven years’ plenty and seven years’ famine were predicted by dreams, two dreams were employed, though they were practically the same. That was because the matter was great and urgent. And so Malachi spoke of windows because the matter was great and urgent. Or they might put it another way. Only turning over a page, they found following the four Gospels, the four windows which revealed Christ to men. Christ brought to them the light of heaven. Through their new window there streamed in the daylight, and through Christ, and only through Him, poured into that dark world of theirs THE LIGHT OF HEAVEN. He let in the light which made all things beautiful. Till that light poured in at sunrise that day, their beautiful altar cloth was not beautiful, the pillars and carvings in their church were not beautiful, but directly the light was admitted, the beauty of all became apparent. Christ made the innocence of a little child beautiful because He smiled upon it, and claimed that innocence as His own, as part of Himself, part of the external spotlessness of God. Christ’s light shone upon that daily life of theirs which seemed so commonplace, so humdrum, so monotonous, and at once it ceased to be monotonous. Christ’s light made things useful which were not useful before. Their Bible would have been as useless to them there a few hours previously, as if written in a language unintelligible to them, but now the light shone on it it was useful. When Christ shone on them He made them useful where they were useless before, or perhaps worse than useless. His light also showed them dangerous places; where they could walk with safety, and avoid the ambushes of the enemy, the pitfalls and traps which surround them. Not only that, but the light shone on the narrow way, and showed the provisions, the refuges, the comforts, the strengths, and the means of grace which God had prepared for those seeking Him. And they seemed in that light to hear his His voice saying “Arise, shine, for thy light is come.” What was that light? It was the light of the fairest life that ever was lived, a life of love; that life of beautiful love which seemed to shed new light into human nature and make it more lovable. It was a beautiful light, not that of white glass, but that of coloured glass, illuminated with pictures worth looking at, pictures which admitted the light of Heaven, and revealed the thoughts in the painter’s mind. It was a light so unselfish it turned away from nobody who sought it. It was indeed the light of Heaven that came down upon that dark world, revealing an unselfishness which the world had not dreamed of before, which the world had perpetuated in many a thousand hearts ever since. And so pure that it purified the world; so true that it made men true; so contagious in all its beauties of love and self-sacrifice. The world had ever since seen Christ’s life re-acted. Did He speak too strongly? He thought not, for if there was anything in Christianity Christ’s life was reflected in them. And so the window was Christ, and through that window they saw Heaven, and enough of it to make them long to be there. They saw THE ATTRACTIVE BEAUTY OF GOD, the beauty which drew them to it as a magnet drew steel. If they wanted to desire Heaven they must look at it though Christ; if they desired to be there it was easy to reach it; but they could not reach it unless they desired it. Christ was indeed the window, but they who were Christians were the panes. In that new window there were many panes of different sizes, different colours, for different purposes; and they, as Christians, were similarly panes, with different purposes to serve. If they looked at the window they would see halos around the heads of the saints; that was the fancy of painters, but it was a true fancy, for the glory of God was reflected in men, circled like a crown of glory on every true Christian. They became illuminated and transfigured with the light of Christ. They received that light to spread and diffuse. Just as each pane of that window received the light from the sky and transmitted it to the church, transfigured light, so the light of Christ coming unto them, passed out of them marked and shaped and noted with the colours of their own lives and character, shining upon their home life, and making it brighter and purer than it would have been, and kinder even as Christ was kinder. They saw how each pane of that window gave to the others a meaning, helped complete a whole, and how the removal of one would spoil the whole. So they found many things in their character, conduct, and personal life which fitted into one another and became a whole, without one part of which the rest would lose their beauty. As a single pane was of little use except as a part of a whole, each pane giving its shape, colour, and beauty to the beauty of the window, so they each—by contributing what they had received from God—made the world a lighter and a better one.
The Rev. W. Westmacott (vicar) read the lessons and intoned the service. There was a very large congregation, among them being a party from Port Eliot, which included the Earl and Countess of St. Germans, Lord and Lady Robartes, Colonel the Hon. C.G.C., Mrs., and Miss Eliot, and Mr. and Mrs. A.R. Boucher. This was the first time since his recent illness that the hon. and gallant colonel has attended church service, while the guests arrived on Saturday evening on purpose to attend the service. Offertories were taken in aid of the East Window Fund. Mr. R.R. Glendinning, A.R.C.O., the newly-appointed organist, was at the organ.
The Bishop of Southwark was to have preached in the evening, but was unable to reach Port Eliot.