![]() For more than 10 years (1899–1911) it functioned as a chapel at St. Never placed as it was intended, the chapel was relegated to a basement crypt where its arches were cut to fit under a low, broadly vaulted ceiling. John the Divine, under construction at the time in New York City. Celia Whipple Wallace bought the chapel for the Cathedral Church of St. From Chicago to New YorkĪfter the Tiffany Chapel won many medals-including one for the imaginative adaptation of its imposing chandelier for electricity-it was dismantled at the closing of the world’s fair. It included six ornately carved plaster arches, 16 mosaic columns, a 1,000-pound, 10-by-8-foot electrified chandelier, or “electrolier,’’ in the shape of a cross, a marble and white glass mosaic altar, a dome-shaped baptismal font, and several windows. Visitors entered another world of intricate, reflective glass mosaic surfaces and light filtered through the intense colors of stained-glass windows-a world that enveloped them and at the same time dwarfed them through its massive architectural forms. ![]() The chapel’s rich, Byzantine-inspired interior was built up from simple classical forms, columns, and arches, which are huge in size relative to the chapel’s intimate space (1,082 square feet, including the baptistery). The chapel, it was reported at the time, so moved visitors that men doffed their hats in response. Created by Tiffany’s newly founded firm, Tiffany Glass and Decorating Company, the chapel demonstrated the firm’s artistry and craftsmanship in producing ecclesiastical goods ranging from clerical vestments and furnishings to mosaics and leaded-glass windows.
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