Inscribed in capital letters below the representation: Sechster Schoepfungstag und Gott sprach: lasset uns Menschen machen. Und Gott schuf den Menschen ihm zum Bilde. Zum Bilde Gottes schuf er ihn. Und er schuf sie ein Maennlein und ein Fraeulein.(Genesis I: 27-28, with diminutive forms of 'man' and 'woman'.) Executed by Adolf von der Heydt, in 1913, at the Franz Mayer'schen Hofkunstanstalt in Munich (Germany’s leading glass mosaic and stained glass window manufacturers). This Sixth Day of Creation window is a recently discovered and unique version of the final stained glass panel, derived from the Burne-Jones’s series, The Six Days of Creation; one of his most important and beautiful compositions. Inspired by the first chapter of Genesis, the windows were originally made in grisaille and gold by Morris & Co for Middleton Cheney in 1870 and then in colour for St. Editha's Church in Tamworth, Staffordshire in 1874. Subsequently larger versions were made for Manchester College, Oxford in 1895.(1) Burne-Jones’s finished gouaches (1872-78) were derived from the original stained glass designs and were exhibited at the Grosvenor Gallery in 1877. They are now in the Fogg Art Museum, Harvard University. Bill Waters states: “The Six Days of Creation”, together with “Merlin and Vivien”, “Laus Veneris” and “Love Amongst the Ruins” are the great works of his middle period.(2) Burne-Jones exhibited at the two International Exhibitions at the Museum of Decorative Art in Berlin in 1886 and 1893. This ensured his popularity in Germany as a painter and stained-glass designer and demonstrates the exceptionally strong influence that Burne-Jones made on the European Symbolist movement. The makers of the window, Mayer & Co of Munich (the Franz Mayer'schen Hofkunstanstalt) had a direct connection with the Pre-Raphaelites. They employed an English designer, William Francis Dixon (1848-1928), who had trained at Clayton & Bell, the English Stained-glass manufacturers. John Robert Clayton (1827-1913), a close friend of Dante Gabriel Rossetti and Alfred Bell (1832-95), had founded their firm in London in 1855. Dixon’s designs were often heavily influenced by Burne-Jones. The Sixth Day of Creation window was commissioned in 1913 from the Franz Mayer'schen Hofkunstanstalt in Munich (Germany’s leading glass mosaic and stained glass window manufacturers) and painted by Adolf von der Heydt. It is unique in the fact that the image has been taken directly from Burne-Jones’s finished goache, whereas the windows in English churches were taken from the earlier designs Burne-Jones made for Morris & Co. In this last window of the series, six angelic figures hold a globe, each symbolising one of the previous days of creation. Jenny Morris, William Morris' daughter was the model for the angels. The left globe depicts the fifth day (”¦fowl that may fly above the earth in the open firmament of heaven”¦) and the right globe depicts the sixth day, the figures of Adam and Eve (So God created man”¦). In the foreground a seraph sits in a peony garden strumming a stringed instrument. Music in art became an allegory for the aesthetic movement and ”˜art for art’s sake’, echoing the importance of harmonies in colour and form over narrative. 1. A. Charles Sewter, The Stained Glass of William Morris and His Circle - A Catalogue, Yale University Press, 1975, page 289 2. Martin Harrison & Bill Waters, Burne-Jones, London 1973, page 110