On Sunday, October 5, 1919, a formal dedication service was held in Bryn Athyn Cathedral. It took place during the tenth assembly of the General Church of the New Jerusalem (Swedenborgian Christian), giving members of the church from around the globe the opportunity to attend. More than 2,000 people took part in three separate services during the day: a morning dedication service (attendance 900), an afternoon Holy Supper service (attendance 500), and an evening "service of praise" (attendance 720). Photographs and other documentation of this remarkable day are preserved at the Bryn Athyn Historic District Archives at Glencairn Museum and the Academy of the New Church Archives at Bryn Athyn College.
Relatively little is known about Frank Jeck (1884-1965), a woodcarver who emigrated from Hungary in 1903 and made his home in Philadelphia. We will explore five remarkable examples of his craftsmanship in two consecutive issues of Glencairn Museum News. In part two we will explore four medallions on the first floor stairway and two inglenook benches.
Relatively little is known about Frank Jeck (1884-1965), a woodcarver who emigrated from Hungary in 1903 and made his home in Philadelphia. We will explore five remarkable examples of his craftsmanship in two consecutive issues of Glencairn Museum News. In part one we will look at three of them: a Bible cabinet, infant’s crib, and master bed.
On November 11, 1965, the Raymond and Mildred Pitcairn family received a special visitor at Glencairn, their castle-like home in Bryn Athyn: James Rorimer—medieval art historian, former “Monuments Man,” and then-director of the Metropolitan Museum of Art.
Don't panic if you hear that a number of ferocious-looking lions recently left Bryn Athyn and made a cross-country journey to the West Coast. From May 14 to August 18, 2019, two of Glencairn’s medieval “lion” capitals are on loan to the J. Paul Getty Museum’s new exhibition, Book of Beasts: The Bestiary in the Medieval World.
In this essay for Glencairn Museum News, Dr. Jennifer Houser Wegner, Associate Curator in the Egyptian Section of the Penn Museum (University of Pennsylvania), explores art and artifacts in Glencairn’s Egyptian Gallery that were made to prepare the deceased for a happy afterlife.
The beams and trusses on the ceiling of Glencairn’s Great Hall are covered with thousands of individual tesserae, hand cut from mosaic glass made in the Bryn Athyn glassworks. The intricate mosaic designs for the beams and trusses were inspired by the Book of Kells, a medieval Celtic manuscript produced around 800 AD containing the four New Testament Gospels.
In this essay for Glencairn Museum News, Dr. Michael Cothren, Glencairn’s longtime Consultative Curator of Medieval Stained Glass, presents the results of his research into several panels of thirteenth-century glass from Rouen Cathedral in France.
Glencairn’s current exhibition, Hex Signs: Sacred and Celestial Symbolism in Pennsylvania Dutch Barn Stars, explores themes of sacred and celestial imagery in the traditional arts of the Pennsylvania Dutch, with special emphasis on the decorated barns of Southeastern Pennsylvania. The full text of the exhibition catalog is available online in this special issue of Glencairn Museum News (in both html and pdf formats).
This year’s World Nativities exhibition features Nativity Maker’s Workshop, an extremely detailed miniature diorama created by R. Michael Palan. In this issue of Glencairn Museum News, Michael talks to us about his work, and we interview both Michael and Karen on video in the living room of their home in Bridgewater, New Jersey.
This issue of Glencairn Museum News features five artists whose works are included in this year's World Nativities exhibition: Christina Orthwein (Bryn Athyn, Pennsylvania), Nancy Schnarr-Bruell (Bryn Athyn, Pennsylvania), Jeronimo Lozano (Peeru/Salt Lake City, Utah), Sabinita López Ortiz (Córdova, New Mexico), and Carmen Gutierrez Vazquez (San Miguel Aguasuelos, Veracruz-Mexico).
In this essay for Glencairn Museum News, Dr. Jonathan Kline, Assistant Professor of Art History at Bryn Athyn College, explores the original contexts, functions, and meanings of the late thirteenth-century Annunciation and Second Coming frescoes in Glencairn’s Great Hall.
In this essay for Glencairn Museum News, Dr. Eva Miller, Teaching Fellow for the Ancient Middle East, University College London, will explore the religious, archaeological, and architectural contexts of Glencairn’s remarkable Cylinder of Nebuchadnezzer.
Raymond Pitcairn’s Bryn Athyn Studios created a three-story tall glass mosaic version of the Academy of the New Church seal for Glencairn’s Great Hall. This article will explore the history of the Academy seal, where the emblem appears in Glencairn, and why it was so important to the Pitcairn family.
Glencairn Museum’s Egyptian collection features several objects related to the weres, or headrest, an ancient Egyptian pillow made of wood. Headrests were believed to magically protect the sleeper at night, and also eternally after death. In this essay for Glencairn Museum News, Egyptologist Dr. Jennifer Houser Wegner explains both the practical and magical functions of the ancient Egyptian headrest.
Whether we prefer to dream about the adventures of legendary medieval kings and queens, ponder the deeds of historical sovereigns, or invent rulers of fantasy worlds based on the medieval past, the art of the Middle Ages offers much to inspire our imaginations. In this essay for Glencairn Museum News, art historian Julia Perratore explores Glencairn’s collection in pursuit of the images fueling modern visions of medieval monarchs.
A series of historic photos taken at the June 8, 1934 wedding reception of Raymond and Mildred Pitcairn’s eldest daughter, Gabriele, offers a rare visual insight into the design process employed by the Bryn Athyn Studios. For this special June wedding full-scale plaster models as well as actual works of art created for Glencairn in stone, metal, and stained glass were transported from the construction site to the wedding reception venue and repurposed as “garden sculptures.”
Bryn Athyn artist and arts instructor Nishan Yardumian (1947-1986) taught painting in Bryn Athyn for many years. He was an artist as well as a teacher, and was passionate about both professions. According to Yardumian, “Painting aims at the universal with the hopes that each individual can find his identification with it. Teaching aims at the individual with the hope of developing the universal.”
There is so much artwork to appreciate at Glencairn that visitors often pass by a certain elaborately-carved oak chair on the first floor without giving it a second glance. The chair was inspired by a twelfth-century Norwegian chair that was rediscovered in the late nineteenth century in a church in the village of Tyldal. The nineteenth century saw a revival of interest in woodcarving influenced by Norwegian Viking art, which became known as “dragon style.” Glencairn’s chair, hand carved in the Bryn Athyn woodworking shop in the 1920s, is significant—not only for the high quality of its workmanship, but for the story it tells about the circumstances that led to its creation.
The Last Judgment, when the dead rise from their graves to be consigned either to salvation in Heaven or damnation in Hell, was arguably the most important theological concept for medieval Christians. In this essay for Glencairn Museum News, Dr. Sean Lawing, Assistant Professor of History at Bryn Athyn College, considers the ways in which the human body held significance for medieval Christians in the theological framework of the Last Judgment, with special reference to art in Glencairn Museum’s medieval collection.
Glencairn Museum’s collection of ancient Egyptian jewelry, assembled by Raymond Pitcairn in the 1920s and early 1930s, includes strung beaded necklaces, amulets, and rings dating from at least as early as the First Intermediate Period (2130-1980 BCE) through the Greco-Roman Period (332 BCE- 323 CE). Individual elements include figures of gods, goddesses, and other magical and protective images, providing ample opportunity to study ancient Egyptian religious beliefs and magical practices.
During the holiday season a life-size oil painting by Bryn Athyn artist Edwin Herder depicting the Adoration of the Shepherds (Luke 2:15-20) hangs above the fireplace in Glencairn’s Upper Hall. The painting is based on an illustration in The Christ Child, a 1931 children’s book by Maud and Miska Petersham.
This year Glencairn Museum is featuring two exhibitions during the holiday season. Our ninth annual World Nativities exhibition presents 40 three-dimensional Nativity scenes, collected from 20 countries around the world. Another exhibition, Do You See What I See? Imagery in Nativity Scenes, explores the origins of the various elements that make up a Nativity scene. And Glencairn’s guided “Christmas in the Castle” tour answers the question, “How do you celebrate Christmas in a 20th-century castle?”
In this essay for Glencairn Museum News, Michael Cothren, Glencairn’s Consultative Curator of Medieval Stained Glass, traces the history of our 13th-century “Visitation” panel, which depicts the visit of Mary (pregnant with Jesus) with Elizabeth (pregnant with John the Baptist). This stained glass panel is from the church of Sainte-Radegonde outside the city of Poitiers, France—the church that inspired the creation of the remarkable Christmas window in Glencairn’s chapel.
Recently Glencairn Museum News interviewed Jason Klein of Historical Glassworks, located in Manheim, Pennsylvania. We asked Jason about the history of glassblowing in Bryn Athyn and his ongoing effort to recreate the famous “striated ruby” glass, made in Bryn Athyn’s glassworks for Bryn Athyn Cathedral and Glencairn.
In this essay for Glencairn Museum News, Jack Hinton, Associate Curator of European Decorative Arts and Sculpture at the Philadelphia Museum of Art, traces the early history and importance of Raymond Pitcairn’s loans of medieval objects to the PMA, which “have allowed the visiting public to gain a more complete understanding of the spiritual and devotional purpose surrounding their creation.”
In this essay for Glencairn Museum News, Egyptologist Dr. Jennifer Houser Wegner examines the remarkable ancient Egyptian libation bowl in Glencairn’s Bird Room. According to Dr. Wegner, “liquid offerings were an essential part of Egyptian cult practices, both in tomb and temple settings.” Purchased by Raymond Pitcairn in the 1920s, the bowl was originally installed in the entrance hall of Cairnwood. In 1939 it became the only Egyptian object permanently installed inside Glencairn.
This issue of Glencairn Museum News explores the work of five artists who were influenced by the theological writings of Emanuel Swedenborg (1688-1772). Glencairn’s New Church (Swedenborgian) art collection includes examples of works produced by some of the most prominent artists known to have been inspired by Swedenborg’s writings, as well as a number by lesser-known artists. Swedenborgian themes, such as heaven and hell, the spiritual relationship of married couples, and the nature of the human soul, have become the subject matter of many of their paintings and sculptures.
In this essay for Glencairn Museum News, art historian Dr. Julia Perratore explores evidence of protective imagery in a group of sculptures from Glencairn’s medieval collection. These images of fierce beasts originally decorated buildings, particularly churches, built in the Romanesque style of the eleventh and twelfth centuries.