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Knowles Memorial Chapel
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Dominating the west wall of the chapel, framed by the organ pipes in the balcony, is the stained-glass Rose Window designed and installed in 1934 by Wilbur Herbert Burnham, the renowned glassmaker of Boston. The banner across the top panel of the window reads "Wisdom is Better Than Strength" - appropriate for the religious center of a college.
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Wilbur Burnham
Wilbur Herbert Burnham, nacido en Boston en 1887, fue artista y maestro artesano especialista en vitrales. Reconocido como una destacada autoridad en la materia, Burnham fue contratado para diseñar ventanas de iglesias y catedrales en los Estados Unidos y Europa. Entre sus trabajos más notables se encuentran las ventanas de la Catedral de San Pedro y San Pablo, Washington DC, la Cathedral de San Juan el Divino y la Riverside Church en la Ciudad de Nueva York, la Capilla de la Universidad de Princeton, y la Iglesia Americana en París. Pese a su fallecimiento en 1974, el studio que fundó en 1922 sigue funcionando actualmente. Ubicado en Rowley, MA, el estudio es administrado por su nieto, Wilbur C. Burnham. He secured his first commission from Ralph Adams Cram. On tour with his family in Europe prior to the first World War, Burnham sketched famous stained glass windows in many cathedrals. As an advocate of the medieval stained glass tradition, Burnham's philosophical compatibilities with those of the enormously successful Cram led to commissions to provide windows for Cram's churches in many of the major cities in North America. (Temme, 1982-1983) Burnham's son, Wilbur Herbert Burnham, Jr.(1913?-1984), joined the studios in the late 1930s. His education began as a child on tour with his parents in Europe and was formalized at Yale University, where he received a BFA. The Burnhams were awarded the Metal D'Argent at the Paris Exposition of 1937. Each served as President of the Stained Glass Association of America. Burnham, Sr. was elected in 1939 and during World War II lobbied in Washington to obtain supplies of lead and tin for stained glass artists instead of the cigarette industry, where considerable supplies were directed. Burnham, Jr. served during 1959-1961. Because of failing health, the younger Burnham put the studio up for sale in 1982. When the studio closed, the Smithsonian Institution designated it as one of the four major studios (along with the Charles J. Connick Associates, Nicola D'Ascenzo, and Reynolds, Francis, and Rohnstock Studios) most deserving of having their works preserved. Today, the studio's records are in the Smithsonian's Archives of American Art (Temme, 1982-1983). W.H. Burnham, Sr.'s philosophy of the design and crafting of stained glass windows are expressed in a 1935 article in the journal Stained Glass. In this article, he expresses his views about the importance of the medieval tradition in the harmony of the primary colors, red, blue, and yellow, with the complementary orange, green, and violet typical of his windows. His studies of medieval windows demonstrated that reds and blues should predominate and be in good balance. People not as knowledgeable overused the color blue. Burnham also noted that windows should maintain high luminosity under all light conditions, with depth of color and amount of pigment useful in controlling glare in variably intense light. Burnham agreed with the concept of unity in multiple windows, which are most easily created when there has been an early, consistent policy by church leaders in collaboration with the designer. Burnham Studio windows in Trinity Cathedral exemplify these qualities.
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Tuan Nguyen, el escultor de siete esculturas figurativas en la Plaza en Orange y Church Street fue prisionero en un campo de concentración vietnamita.
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