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The Windows of Riverside
Riverside Presbyterian Church
- Jacksonville, Florida
The Memorial Windows of Riverside
Church
Across the street from the
bustling Five Points business center and overlooking a quiet park stands the Riverside
Presbyterian Church. Open every day for those who desire to worship, it offers an
atmosphere of serenity in its dimly lighted interior. It is softly lighted because
sunlight comes filtered, rainbow-hued, through stained glass windows, as beautiful as may
be found in any church in America. In this Gothic type church the sheer beauty of pictures
and symbols, fashioned in translucent glass, provide an atmosphere in which prayer comes
naturally.
About Stained
Glass Windows
The Eleventh Century saw the
birth of the art-craft of stained glassmaking for use in windows of cathedrals and
churches in France and England. The same methods of fabrication, perfected more than eight
centuries ago, still are used, followed in both the handcraft and the symbolism. The art
in the Middle Ages was a means of instruction, since few people could read in that early
day. In the windows one could learn the Old and New Testament stories and the application
of their truths. In these scenes there is more symbolism than realism, the work never
losing its true decorative quality, but always remaining a great composition in colored
light, full of meaning and never merely pictorial.
Stained glass windows are
mosaics of thousands of small pieces of colored jeweled glass, connected by lead and
cement joints which are so durably constructed that the entire window will last for
centuries, as European work has demonstrated. The fabrication begins with a small-scale
design showing color and light values. Next is the full-sized drawing indicating space for
the connecting lead strips, which is used for a pattern to cut paper pieces, showing the
exact shape of each morsel of glass to be used. From these the glass itself is cut by a
diamond or a steel wheel.
The beauty of the work lies in
its translucency, each window being built up in a mosaic of colors fused in the glass
while it is still molten instead of being painted on after the glass has cooled. This,
except for the yellow stain, which requires an even more delicate process, is the story of
every wondrous color in our stained glass windows.
The panels forming the windows,
when seen without light, are colorless and almost dead black. But when the light streams
through the glass, the optical laws of light turn them into the singing colors. They look
like shining jewels. Man's art and Man's devotion: God's Light; His radiancy of Glory.
Two things are to be noted
immediately in studying the windows of Riverside Church: the uniformity of the
fabrication, and the unity of the Biblical story. This rarely seen harmony is the result
of careful planning by one group of designers, and one fabricator, Henry Willet of the
Willet Studios in Philadelphia. To he appreciated also is the fact that the windows are of
Medieval type, in material, handcraft, and artistry. They are made of genuine imported
stained glass leaded in small mosaic designs to depict events and people in symbols and
decorative beauty.
Medieval churches were built
over centuries, each generation providing its own creativity. The windows of this church
were installed over a number of years, each representing the effort and faith of different
members and groups of the church.
Window
Placement Within the Sanctuary
Click on the
corresponding number in the floorplan below to read about a particular window
1. The Chancel Window
Coming into the sanctuary of Riverside Church the first
window to meet the eye is the Chancel Window at the far end of the church. In the early
morning the light illumines its deep blues and greens, giving a mystical quality. It was
the first window to be installed in 1943, and represents the Passion of our Lord, the
events surrounding his crucifixion.
The Chancel or Passion Window
The central panel or lancet of this window portrays the
crucifixion of Christ. It is not a defeated or even a suffering Christ, but victorious,
with his face turned upward to God, symbolized by the hand of God above the cross. The
cross itself is more of a symbol, caught in the rainbow of God's everlasting love. Two
angels above signify that God's love was with Christ on the cross.
Directly below this is Christ being nailed to the cross.
A band with three dice is introduced, fulfilling the prophecy that they gambled for his
robe. Below is Christ bending under the load of the cross as he toiled up to Calvary. The
final lower panel shows the centurion looking up to the three crosses of Calvary, saying,
"Truly this man is the Son of God".
In the flanking panels are shown incidents which complete
the story of the Passion of our Lord. On each side of our Lord on the cross you see those
who love him, men offering gifts on the right and, on the left women who were at the cross
and first at the tomb. Below the women is the scene of the Garden of Gethsemane with Jesus
praying and his disciples asleep. Below this is the last supper of our Lord with his
disciples, eleven at the table and Judas leaving to betray his Lord. Appropriately the
scene at the bottom of this lancet portrays the sheep leaving their stricken shepherd.
Beginning at the bottom of the far panel on the left you
see Judas bargaining with the leaders for the betrayal of Jesus. Above is the entrance of
our Lord into Jerusalem on Palm Sunday with the children crying "Hosanna". A
woman anoints the feet of Jesus and is commended for her love in the next scene, and at
the top is Christ bathing his disciples' feet at the last supper.
In the lancet just to the right of the center, beneath
the men at the cross, Judas is attempting to return the money for betrayal. A little devil
is seen catching the money cast away. Beneath is the actual betrayal with Judas kissing
his Lord, and at the bottom the writers of the Old Testament.
2. THE CHILDREN'S WINDOW
The Children's Window in the north transept portrays the
operation of the Spirit of Christ in and through children. In the center of the tracery in
the upper part is a little child, under which is the inscription which is the text of this
window, "and a little child shall lead them." The window was given by the
children of the church and their families. In the upper tracery are two angelic figures
holding in their hands the symbols of Truth and Honesty. These qualities are the
foundation stones of genuine Christianity. Throughout the tracery are seen the hosts of
angels, symbolical of the truth Christ spoke: "Take heed that ye despise not one of
these little ones; for I say unto you, That in heaven their angels do always behold the
face of my Father which is in heaven." So, too, the coming of Jesus Christ was
heralded by the angels.
The central figure of the window presents Christ as the
Savior of little children. Standing before him is a little girl looking up wistfully into
his face, while the children of all nations and races gather round his blessed figure, and
anxious parents look on with joy. The theme of these three central panels are in the
words, "Suffer the little children to come unto me."
Below this central figure of the Christ and little
children, is the picture of. the young Christ sitting in the temple and "in the midst
of the doctors, both hearing them and asking them questions." His own mother and
father return to find him and he answers them by saying, and the inscription is placed in
glass, "Wist ye not that I be about my Father's business." Immediately below
this are other events in the child life of Christ. The left bottom panel shows Mary and
Joseph going with the young lad to the synagogue. Thus is shown the place of worship in
the life of the young Christ. The central lower picture shows Joseph instructing the young
lad in useful manual labor, indicating the importance of work in life. The third scene
reveals Jesus lifting a water jug for his mother at the well in Nazareth. The artist
portrays a very human Christ child, "increasing in wisdom and in stature and in favor
with God and man," as he grows from a natural boyhood through his youth into the holy
man of God who becomes a blessing to all little children.
The two outer lancets carry as their major motif the
application of the spirit of Christ in the life of boys and girls. The lower panel in the
extreme right lancet carries the title "Cooperates" and shows two boys assisting
in the work of the home. One wields a broom and the other washes the dishes. The panel
immediately above carries the caption "Kind" and gives a picture of two boys
binding up the broken leg of their dog. In the upper panel, carrying the caption
"Shares" a boy is sharing his apple with his little sister. Perched on the boy's
shoulder is a monkey, looking most approvingly on the act. The lower panel of the left
lancet carries the title "Helpful" and shows a Girl Scout helping an aged lady
across the street. The panel above carries the caption "Clean" and reveals big
sister washing the car of little sister, as little sister pets the head of her dog. The
upper panel "Fair" shows two boys with tennis rackets congratulating each other
on the good play of the game. In these two outer lancets are also carried the major
symbols of Jesus Christ. The shepherd's crook, the fish, I X, and the five-pointed star
are all cryptic signs of the Christ.
A special feature of this window is its attention to the
interest of children. Six different kinds of animals are shown in the window: a monkey, a
sheep, a donkey, a squirrel, three birds, and seven dogs, all clasped affectionately in
the arms of the little children.
The window seeks to capture and hold the interest of
children and through the portrayal of the boyhood of Jesus to draw their loyalty to him
who said, "Suffer the little children to come unto me and forbid them not for of such
is the kingdom of heaven."
2A. THE NATIVITY
Below this great children's window is a typical scene in
three panels of the birth of Jesus with the father, mother, babe and animals in the
center, flanked by the wise men from the East and the shepherds from the field paying
obeisance to their infant Lord. A reproduction of these windows has been used for a
Christmas card for members of the church.
3. The Resurrection Window
The Resurrection Window in the south transept was given
in memory of men and women who offered themselves in the service of their country in the
second World War. It symbolizes the profound fact of the resurrection of our Lord.
The Resurrection Window
At the top of the central lancet is the figure of the
risen Lord, with the hand of God outstretched from the clouds above to the Christ.
Above our Lord is the rainbow, symbol of the hope of new
life, and on either side and above are adoring angels and the gleaming domes of the New
Jerusalem. Below the angels are the prostrate forms of the soldiers at the tomb at his
resurrection. Beneath the Christ is a soldier with his hand upraised, being lifted by his
Lord above the horror and hatred of war. On each side of the soldier are men and women in
uniform representing the various branches of the service. Beneath the soldier are two
faces looking up in wonder. At the bottom of the central lancet there is a soldier with
his hand upraised, the Bible being opened above him. Beneath him are laborers and a woman
holding the church in their hands. The inscription over the whole of the central lancet is
"By the resurrection of Jesus Christ God hath begotten us again unto a lively
hope." On either side at the bottom are the four dread Horsemen of the Apocalypse
signifying the ravages of war, and beneath them figures holding globes representing the
Western and Eastern hemispheres, threatened by a world war, brought together in unity.
The side lancets have scenes portraying the Resurrection
of our Lord. On the left at the top is Christ with Mary, who had mistaken him for a
gardener in the center is Christ with the disciples at Emmaus when he was known in the
breaking of the bread, and at the bottom with the disciples in the upper room as he tells
them to behold his hands. At the right top he is seen with Peter at the tomb. Below, he is
by the sea of Galilee preparing breakfast for the disciples and at the bottom right the
centurion is. overwhelmed at his resurrection.
In the tracery at the top of the window are many angel
faces, the host of heaven, beholding the Resurrection. On each side in the tracery are
faces of disciples looking up and in the center are seen the feet of Christ, disappearing
into a cloud at his ascension. Rainbow colors of triumphant praise radiate throughout this
inspiring window.
3A. SOUTH TRANSEPT DAY
The three panels depict the Resurrection of our Lord in
Joseph's lovely garden. The tomb is empty, the angels announce "He is not here. He is
risen." One side panel depicts faithful women coming to the tomb with their gifts of
love and hearts of faith. The other panel depicts John and Peter who were the first of the
disciples to rush to the tomb.
4. THE GREAT WEST WINDOW
Leaving the church after a service, the most impressive
sight is the great west window above the balcony. Seen in the late afternoon it appears in
all its glory.' the predominant color a glowing red. It has been variously called the
Witnessing or Gospel Window. It sets forth the present and prophetic operation of the
living Spirit of Christ, and the agencies and object of the coming of his kingdom on
earth.
Two large figures of Christ, the Alpha and the Omega, are
the focal points in the center lancets. In the left lancet he is pictured as sitting on
the Mount, proclaiming the Beatitudes, ministering to individuals. "Blessed are they
. . . the merciful, the pure in heart." On the right he stands, sending out his
disciples to proclaim the gospel to all the world.
"Go ye unto all the world . . . peacemakers."
To the left of the Alpha figure Scribes and Pharisees hold a scroll representing the
justice of the law, superseded by the law of love. "Rejoice and be exceedingly
glad," is the word given. On the right of the Omega figure Paul is pictured as the
great missionary, beneath him others displaying the word of God as "fishers of
men."
On the extreme left, at the top, you see the Four
Horsemen of the Apocalypse, representing conquest, war, famine and death, halted and put
to flight by the symbols of peace. At the top of the lancet to the extreme right are
symbols of the peace resulting from the adopted word and applied way of Christ. Man beats
his sword into implements of production. He builds houses, pursues happiness freely. The
earth yields her increase and the horn of plenty pours out prosperity to man on his knees.
The dove of peace hovers over the happy and united human family.
Beneath the two figures of Christ are the bestowing and
helping hands of God, extended from the rainbows of hope to up reaching humanity. The sun
and moon indicate God's omnipresence. Those bound by the chains of oppression, injustices,
immoralities are lifted into freedom. Those entangled in the thorns and snares of
superstition, ignorance, sin are raised into the liberty of the sons of God. The
Sodom's and Gomorrah's of yesterday and today are engulfed in flames and destroyed. In this new
life with the Father of all men "North meets South" and "East meets
West," establishing one world-wide church for Christ. This is portrayed in the
medallions beneath. On each side are two small medallions with figures bearing torches by
which the light of the Gospel is spread to the world. On the left, in
"Parenthood" a mother is teaching a child. "Education" in Christian
schools and colleges makes Christ known. On the right "Transportation" by
airplane, ship and train speeds the way of Christ. "Communication" by pulpit,
radio, books hastens the coming of Christ's kingdom.
The sources of this light for all the world are seen in
the four large panels, second from the bottom, which depict the four writers of the
Gospels. To the left Matthew is depicted as one who announces the rising of the "Star
of Bethlehem," followed by the wise men to the stable. Mark gives the baptism of
Christ, with the commendation of God: "Thou art my beloved son." Luke reveals
the gracious forgiveness of God to every penitent man as the thief on the cross receives
forgiveness. John's testimony produces faith as Thomas sees and believes the risen Lord
who points to the wound of the spear in his side.
The six lowest panels symbolize the types of the
resulting transformations of applied Christianity. "Improved working conditions"
come to make healthful the work shops and case the burden of labor and eliminate archaic
sweat shop squalor. "Better housing" with its comforts takes the place of sordid
congestion and misery. "Equal opportunity" for all races and nations comes with
the recognition of "The inalienable rights of man." A black man is shown being
employed. "Government of, by and for the people" will bring freedom of speech
and religion and freedom from fear and want. A black man is shown voting. The new and
scientific conditions of "Community health" bring healing and prevention of
disease to all people. "Recreational centers" and character building
organizations such as the Boy and Girl Scouts take the place of lawless alley gangs.
In the three upper quatrefoils in the tracery at the top
are the great seals of the Presbyterian Church, U.S. (center), the United States of
America, and the State of Florida. Transformations are possible as we fulfill our duties
and obligations to the Church and State. The decorative traceries accentuate the splendor
of the whole window as it sings the abounding emotion of triumphant hope and faith,
realized in human life.
The two balcony windows adjacent to the Great West Window
in the sanctuary, depict the two great apostles, St. Peter and St. Paul, as witnesses of
Christ. These two apostles of Christ were the great witnesses of the Faith, Peter at
Pentecost and Paul throughout a long missionary life.
30. PETER
The life sized figure of Peter stands erect, the index
finger of his right hand points heavenward, as a symbol of perpetual witness. Men must
look up to the God of Christ. In his left hand he holds, the keys, the symbol of the
authority of the truth to which he witnesses. In the medallion insert at the bottom is the
"crowing cock," the symbol of Peter's failure, and the reminder that all of us
must be warned by Peter's denial of his Lord. In the borders of the window, crowning the
artist's figure is "the roof of vision," the symbol of Peter's experience at
Joppa, when by inspired vision the apostle learned that God h 'ad made of all nations one
blood. No longer were the man-made divisions of Jew and Gentile, clean and unclean, to be
continued. In the gospel of Christ Peter had discovered the true interpretation of man's
value.
29. PAUL
The central figure in this window is Paul, the dynamic
missionary of the first century. Both hands hold firmly the sword of the spirit,
symbolizing the fearlessness of Paul as he faced every adversity for the sake of Christ.
The lower medallion shows the Open Book, into whose pages Paul put his life, thirteen of
the epistles in the New Testament being ascribed to him. Wherever the witness of Paul had
established a struggling missionary church, these epistles were read and studied. The
upper medallion holds a ship, symbolic of the great missionary journeys of Paul, and the
St. Andrew's cross on the sail symbolizes the spirit of a strong missionary church. The
border of boats and sea are symbols of the missionary spirit of Paul as the gospel has
been carried around the world.
THE
NORTH CLERESTORY WINDOWS
On the north side of the Nave at the top are three
"clerestory" windows, so called because the light comes directly through them to
illuminate the church. These three portray the miracles of Christ. Each follows a
different theme. Medieval church windows told the biblical story to people unable to read.
These windows, as all the windows of the church, are rich in symbol, adding to the word we
read the fruit of the artist's imagination and insight.
5. THE WATER INTO WINE
The first window toward the transept depicts the joy of
the marriage feast at Canae where our Lord performed the first miracle. The central panel
shows Christ manifesting his power and love as a servant pours wine out of a jar which had
contained only water. On the left of Christ the bride and bridegroom are rejoicing that
their feast has not been marred. An angel plays on a harp at their feet. On the right the
guests wonder at the quality of the wine produced, while another angel sounds the cymbals
in praise.
The panels at the bottom of the window portray scenes of
joy. In the' center is the manger scene with Mary and the child and above them an angel
chorus sings "Joy to the world." To the left Mary brings the glad news to her
cousin, Elizabeth, "My soul doth magnify the Lord." On the right Jesus is
presented in the temple to the old priest, Simeon, who proclaims him "a light to
lighten." At the top two scenes describing Old Testament events are given. David
restores the ark to Jerusalem, dancing before the ark. Solomon dedicates the temple to the
sound of many musical instruments. Above all the angels sound their trumpets and cry out
"Halleluah" to the Lord God of heaven and earth. The theme throughout is the joy
which comes to humanity through the proclamation of the Gospel.
6. THE RAISING OF JABIRUS'
DAUGHTER
The middle "miracle" window deals with tragedy
turned into triumph in Christ's bringing back to life the daughter of Jabirus.
The Raising of Jabirus' Daughter
In the center is the radiant little girl arising from her
sick bed, restored to life. In getting out of bed she has knocked to the floor the flowers
laid on her bed by the sorrowing multitude, who a short time before had been weeping and
wailing outside the home of the ruler of the synagogue. In the left hand panel is shown
our Lord as he calls to the young maiden, "Damsel, I say unto thee, arise." On
the right hand are the astonished but joyful parents who had come with Jesus to their
child's bed. The radiant, crystal-like quality of the colors given to the young girl
depict the surging of new life.
In the lancet head and in the traceries above are adoring
angels bearing to the Holy City the souls of. the innocent children of all ages.
In the central panel at the bottom is shown the scene
where Christ took a little child and set him in the midst of his hearers, saying,
"Whosoever shall receive one of these little ones in my name receiveth me." The
left panel depicts the prophet Elijah raising the son of the widow of Zarephath. In the
right panel the great test of faith is shown in the healing of the nobleman's son in
Galilee. The nobleman believed the promise of Jesus that his son would be cured, and
before he arrived home his servants came to him saying, "Thy son liveth."
The theme of the entire window is faith, rising above
disaster, bringing life.
7. FEEDING THE MULTITUDE
This miracle window depicts our Lord feeding the five
thousand and indicates the very real and great work that youth can perform when dedicated
to the service of Christ. The central lancet shows Christ bless ing and breaking the broad
before giving it to the disciples that the multitude may be fed. At the right of Christ is
the figure of a lad who provided the bread and the fish. Not the abundance of our gifts
but our willingness to give all makes miracles possible. The face is an actual
reproduction of a young student, George Simons, Jr., to whom the window is dedicated. He
was a fine musician and student and his musical skill is remembered at the top of the
window with the cymbal and trumpet and angels rejoicing. The harp and singing angels are
also seen at the top of the separate bands.
On the left of our Lord is seen the multitude who were
fed including the father and mother of the lad who realize their son is used in the mighty
working of the Savior.
Symbolism in this window reminds us that this miracle is
the only one recorded in all four Gospels. In the left lancet, below the people, is the
winged man, for St. Matthew,, and the winged lion for St. Mark; in the right the winged
bull for St. Luke, and the eagle for St. John. Between these are seen the twelve baskets,
filled with fragments, symbolic of the fact that God provides for all mankind as we
dedicate ourselves to the principles of Christ.
The lower panels are devoted to scenes of youth as
exemplified by the youth of Jesus. At the left is the Christ child receiving instruction
at his mother's knee, not only in the Scriptures but in nature as she points to a bird
feeding her young. The right hand panels shows Joseph instructing his, son in the
carpenter shop. In the center is Jesus at the age of twelve in the midst of the learned
men of the temple, hearing them and asking them questions.
THE SOUTH CLERESTORY WINDOWS
The upper windows on the south of the nave represent
three of the parables of Jesus, all of which depict aspects of the work of our Savior.
8. THE GOOD SHEPHERD
The Good Shepherd window portrays Jesus Christ giving his
life for his sheep. Christ is here portrayed as a majestic Savior standing upon the wine
press, which symbolizes his blood shed for us. In sharp outline behind his figure is the
emblem of his cross and in his arms he tenderly holds a lamb. In the lower central panel
Christ the seeking Shepherd reaches down to rescue the wandering' sheep lost upon the rocky
hillside. At the top of the lancet to the left there is shown Joseph with his father,
Jacob, signifying family love and loyalty. Below, 'the family of father, mother and child
look adoringly toward Christ the Lord. In the bottom panel the Good Shepherd tenderly
watches over his sheep as they go out to pasture; the inscription: "I am the door; by
me if any man enter he shall be saved and shall go in and out and find pasture." The
right lancet has at the top a portrayal of David and Jonathan symbolic of friendship.
Below, two men, the artisan and the farmer, symbolic of men in all walks of life, face
courageously and hopefully the Good Shepherd. Below, the Good Shepherd protects his sheep
against the world even as the hireling flees for safety. In the traceries at the top of
the window Jesus confronts Peter with the question, "Do you love me more than
these?" and the instruction, "Feed my sheep." So the Shepherd in this.
window entrusts to his followers the loving care of all men.
9. THE GOOD PHYSICIAN
The central clerestory window in the south side of the
nave is devoted to the subject of Christ as the Good Physician. In the center lancet the
Master heals the lame man, whose crutch is beside him. Behind Jesus is seen the cross.
Healing comes through sacrifice. On the right a mother offers an afflicted child
& and
on the left a wounded soldier is held by a. nurse who looks to Christ for help. At the top
of the left lancet the woman who had an infirmity receives help from her Lord and at the
top right a blind man receives his sight.
The window memorializes Dr. Oliver H. Pinney, an
assistant pastor of the church who was chairman of the committee to install the stained
glass windows. He was an Army doctor and a medical missionary and the scenes in the lower
panels symbolize his life. To the left is Cornelius, the devoted soldier who had a vision
from heaven to send for Peter in order that he and his family might hear the gospel. In
the center panel friendship is symbolized in King David and Mephibosheth, the crippled son
of Jonathan, who was treated kindly by the king because of a promise to his friend. At the
right the missionary aspect of Dr. Pinney's life is symbolized in the vision of Paul, who
saw a man from Macedonia asking that he come over and help. This window was given by a
devoted friend of Dr. Pinney, John Pastor who was a heating engineer. A small part of the
lower right panel remembers him with a figure stoking a furnace. Humorously the figure
wears a hat, worn by ministers in Europe, called a "pastor's hat," and he has
the devil's horned feet and a tail!
In the upper traceries Mary and Martha are seen rejoicing
as Christ raises Lazarus from. the dead, reinforcing the theme of the window that Christ is
the conqueror of disease and death itself.
10. THE GOOD SAMARITAN
Neighborliness is the theme of the last of the clerestory
windows on the south. In the central lancet is seen the Good Samaritan as he
compassionately binds up the wounds of the stripped and beaten traveler from Jerusalem.
The Samaritan has taken his own cloak to cover the nakedness of the injured man, a coat of
ruby color, symbolic of sacrifice.
The
Good Samaritan
To the left are the thieves with bludgeons under their
arms, greedily pouring the gold and silver of the money bag into the stolen raiment of
their victim. To the right is shown the priest, passing by on the other side, with his
head thrown up in a superior manner as he clutches tightly to his bosom the scrolls of the
Law. Following him is the Levite, who looks at the stricken man, but pulls his coat about
him and heartlessly goes his own way.
In the traceries at the top the Samaritan continues his
good work by taking the half-dead man to the inn and arranging for his care, agreeing to
pay more if necessary. Kindness to animals also is shown in the care for the beast that
brought the man to the inn.
The other panels of the window illustrate the words of
the Master from his parable of the Last Judgment in Matthew 25, where the King says
"Come, 0 blessed of my Father, inherit the kingdom prepared for you." At the
upper left, "I was sick and you visited me"; at the upper right, "I was in
prison and you visited me;" at the lower left, "I was a stranger and you took me
in;" at the lower right, "Naked and you clothed me; " and in the lower
middle panel, "I was hungry and you gave me food, I was thirsty and you gave me
drink." Social service as the vocation of the Christian is the inspiring subject of
this entire window.
THE NORTH AISLE
WINDOWS
The nine aisle windows on the north of the nave symbolize
the virtues of womanhood, portrayed from the lives of Old Testament women, revealing the
presence of God's Spirit through the ages. The windows may be seen at close range, so that
the texture and workmanship are evident. Colors are used with loving care and profound
understanding.
11. Beginning with the windows next to
the transept. Faith is symnbolized by Sarah, the wife of Abraham who believed that she
would bear a child in her old age.
12. Hope is symbolized by Hagar, the servant of Sarah,
who bore a child to Abraham, and was exiled to the desert by her mistress. She was
promised by an angel she would be the mother of multitudes.
13. Motherhood is represented by Eve, the wife of Adam,
mother of the race.
14. Love is seen in Ruth, who loved her
mother-in-law and went with her to a strange land.
15. joy is represented by Elizabeth, wife of Zechariah,
cousin of Mary, the mother of Jesus. She was the mother of John the Baptist.
16. Courage is represented by Esther, the brave woman who
defended her people in Persia against those who would have destroyed them.
1 7. Prayer is found in Hannah, the
mother of Samuel, who prayed that she might have a child.
18. Patriotism is seen in Deborah, the sole woman Judge
of Israel in the time of Judges.
19. Hospitality is represented by Rebekah, wife of Isaac,
who welcomed into her home the representative of her husband to be.
THE SOUTH AISLE WINDOWS
The memorial windows on the south aisle were so planned
that they typify nine Christian virtues presented by Paul as "fruit of the
Spirit." (Galatians 5.22, 23). These are portrayed through the lives of Old Testament
men. These lancets show from front to back:
20. Faith represented by Abraham and
Isaac. Abraham had faith to sacrifice Isaac if necessary in obedience to God.
21. Gentleness symbolized by Joseph and his brethren.
Joseph was kind to the brothers who sold him into slavery.
22. Patience is typified by Job, who is seen here in
discussion with his so-called "friends."
23. Joy is typified in David as the
sweet singer of Israel who charmed King Saul.
24. Temperance is seen in Daniel, who refused to indulge
himself in the court of a foreign king.
25. Peace is symbolized by Melchizidek, the mysterious
king to whom Abraham paid tithes.
26. Love is found in Jonathan, the son
of Saul and dear friend of David. Ir
27. Meekness is typified in Moses who was described as a
meek man who became a great leader.
28. Goodness is symbolized by Samuel, who is seen in the
temple serving the priest, Eli, preparing for his role as leader of Israel.
THE NARTHEX WINDOWS
When one enters the foyer of the church he sees a group
of windows which must he observed from inside the sanctuary for the full effect. The
windows symbolize the unity of the Church of Christ by portraying leaders of the various
branches of the Church through the ages.
1. Beginning with the window farthest north, Chrysostom,
the great preacher of the early church, is pictured. He represents the Eastern Orthodox
churches. There is an inscription: "When two or three are gathered together, thou
wilt grant them their request."
2. Martin Luther, representing the Lutheran Church, is
next, with his great statement from the trial at Worms, "Here I stand, I cannot do
otherwise."
3. John Knox, father of the Presbyterian Church in
Scotland, represents the Presbyterian churches. !!is statement, "In matters of
conscience and religion I have never feared the face of clay," is a bold declaration
of his faith.
4. John Wesley stands for the Methodist Church. He is
pictured with the clock at Aldersgate in London, stopped at the time of his great
experience which he described, "I felt my heart strangely warmed." An Indian
figure represents his missionary service in America.
5. Jane Adams, great social pioneer who founded Hull
House in Chicago, represents the Congregational Church. Appropriately the text is given,
"Suffer little children to come unto me."
6. Augustine of Canterbury, apostle to the English and
first Archbishop of Canterbury, brought Christianity to England in 596. He represents the
Episcopal Church. There is a quotation from the historian, Bede, "These ministers of'
the word brought all things necessary for divine worship."
7. Dwight L. Moody, the well-known evangelist, represents
the Bible evangelists who have made their contribution to the church. There is a statement
from him about his purpose, "I would have workers trained in everything that will
give them access practically to the souls of people."
8. Alexander and Thomas Campbell were the founders in the
early 19th century of the Christian Churches, the Disciples of Christ. Concerning their
work they believed in this principle, "in essentials unity, in non-essentials
liberty, in all things love."
9. John Calvin, the reformer of Geneva, whose influence
extended throughout Europe in the 19th century, represents the Reformed Churches of the
world, really another name for Presbyterian. The text symbolizes his spirit, "if God
be for us, who can be against us."
10. Francis of Assissi is given as representative of the
Roman Catholic Church. Through his loving service in the 13th century he revived the
church of his time. He is shown with the animals and birds he loved, and the quotation
from his famous prayer, "Lord make me an instrument of your peace."
11. William Booth, founder of the Salvation Army,
represents that part of the church. His preaching to the outcasts of society and. social
service have endured in the organization he began. He said, "'We believe that the
Scriptures constitute the divine rule of Christian faith and practice."
12. Jonathan Edwards, great preacher of the colonial
period in America, is shown at his pulpit, proclaiming the word of God. His statement,
"Trust in God and we need not fear," helps us to envisage his message. He
represents the congregational tradition.
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