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. | 