A GUIDE TO THE STAINED  GLASS   WINDOWS OF ALL SAINTS EPISCOPAL CHURCH

All Saints’ windows show the rich heritage of the church in history, the Book of Common Prayer, the Psalms, and the Gospels. There are, when complete, 20 windows: the arch-shaped altar window that dominates the nave, three rose windows and eight aisle windows in the nave, six triangular clerestory windows in the dormer, and two windows in the west entry or narthex.

The window above the altar beautifully illustrates the name of “All Saints.” Many saints, ancient to modern, encircle the Christ, who is enthroned on a rainbow, with the earth His footstool, the Holy Spirit dove hovering above.

The book of The Revelation to St. John inspired the appearance of the central figure, the crowned Christ. His garments are jeweled; His crown has a three-rayed halo, and streams of glory surround Him. He holds a book inscribed with the first and last letters of the Greek alphabet, identifying Him as the Alpha and Omega, the beginning and the end. (Rev. 22:13) But amid the magnificence, He shows the wounds of crucifixion on His hands and feet.

Because medieval congregations could not read, priests developed a system of symbols, called attributes, to enable the people to identify the traditional saints. The same symbols are used in the All Saints’ window.

Winged creatures to represent the four evangelists, Matthew, Mark, Luke, and John, are in the four circular medallions in the sections above the Christ figure. The winged man at the left is a symbol of St. Matthew, whose gospel described the human nature of Jesus. The lion is for St. Mark, who begins his book with “the voice of one crying in the wilderness.” St. Luke, whose gospel focuses on the sacrificial nature of Jesus, is represented by an ox of sacrifice. The eagle, with his mighty wings, symbolizes St. John, whose gospel is considered the most inspirational.

Archangels fill the next tier around the Christ. St. Michael holds scales to weigh souls on the day of judgment. St Gabriel, the messenger, blows a trumpet to announce that day. On the right, St. Jophiel, the truth seeker, “The Beauty of God,” holds the flaming sword he used to drive Adam and Eve from Eden and guard its gate. St. Zadkiel, who halted Abraham’s sacrifice of Isaac (Gen. 22), holds the sacrificial knife. St. Chamael, “One who seeks God,” kneels below Christ to offer Him the cup of suffering from Gethsemane.

At Christ’s feet are two angels from books of the Apocrypha: St. Uriel, “God is my light,” and St. Raphael, “The Health of God.” The angel Uriel is shown holding a scroll for prophecy, because he appeared to Esdras in a vision. The fish that the angel Raphael holds comes from the story of Tobit, in which Raphael explains to Tobit’s son Tobias how to use its parts for healing.

The lower portion of the window features saints and doctors of the church. St. Peter holds the keys to heaven and hell; St. Andrew holds the X-shaped cross on which he was martyred; St. Paul holds a scroll and “the sword of the spirit;” the communion cup in St. John’s hand holds a snake, to recall his miraculous escape from death at the hands of an enemy who poisoned the communion wine. St. George is shown slaying the dragon; St. Cecilia, patron of music, carries a harp; St. Alban, kneels by a cathedral bearing his name. St. Stephen, kneeling on the right, was the first Christian martyr. St. Lydia, the “dealer in purple” from Acts 16, stands beside her vat of dye. A sheep on his shoulder identifies St. Cuthbert, an abbot and mystic who was a shepherd when young.

Doctors of the church appear at the center bottom. St. Jerome’s identifying mark is a cardinal’s red hat. St. Augustine, bishop of Hippo, has a dove on his shoulder to commemorate his defense of the doctrine of Inspiration. St. Ambrose, bishop of Milan, holds a scourge to recall that he withheld absolution to the Emperor Theodosius until the emperor had done penance. (The beehive at his feet is a symbol of his eloquence.) St. Gregory holds a music score for Gregorian chant.

Modern-day saints complete the roster. The early American black pastor Absalom Jones stands on the extreme left with a black child, above a contemporary family group of father, mother, daughter, and skate-boarding son in Superman costume. Cheyenne “Peace Chief” David Pendleton Oakerhater, is on the far right, above a child who could be one of his tribe, and a workman and apprentice. These are the saints of song who are “folk like me.” (Hymnal #293.)

The three round, or rose, windows are taken from services in the Book of Common Prayer. To the south as you face the altar, is the window representing the Eucharistic sacrament, with the wafer and chalice along with the wheat and grapes that yield the sacramental feast. The north rose window depicts the sacrament of baptism, with the dove of the Holy Spirit and the baptismal shell pouring three streams of water, for the Father, Son and Holy Spirit, in whose name we are baptized.

Acolytes, choir and clergy have the best view of the third rose window, high in the west wall.. Taken from the “Benedicite” or “Song of Creation” canticle, the first in the service of Morning Prayer, this window signifies praise to God by all creation: sun, moon and stars at the top, then (clockwise) beasts and birds, lightning, clouds, ice and snow; trees, flowers and growing things; mountains, hills and streams; whales and fish; showers and a rainbow. The Dove of the Holy Spirit is at the center, circled by seven flames to symbolize blessing, glory, wisdom, thanksgiving, honor, power and might. The center halo extends four rays to the corners of the earth and the works of creation represented in the eight outer circles.

Around the outer walls of the nave, along the aisles, are the Gospel windows, depicting major events in the life of Christ. The Nativity is to the right front as you face the altar, followed clockwise by: Jesus’ baptism, His calling of the fishermen disciples, space for a proposed window showing the healing of the afflicted woman in Luke’s Gospel, the parable of the prodigal son, Jesus’ Transfiguration, His Crucifixion, and Resurrection.

Above these windows are triangular clerestory windows, each of which illustrates one of Jesus’ “I AM” statements from the book of John: the Light of the World, the Resurrection and the Life, the True Vine, the Good Shepherd, the Bread of Life, and the Door.

In the west wall of the narthex are the final two windows, which picture two of the most beloved psalms: Psalm 23 (“The Lord Is My Shepherd), and Psalm 121 (I Will Lift Up My Eyes Unto the Hills).

*Based on All Saints’ correspondence in 1991 with the designer, Willet Stained Glass Studios.

The windows of All Saints’ Church were designed at the Willet Stained Glass Studios, inc., of Philadelphia, PA, in 1990-1991, during the tenure of F. Alan Sutherland at All Saints’, when the church building on Phoenix was constructed. The committee for the windows was led by parishioner Mrs. David (Mary Lu) Garrett.

.Donors:
Altar Window: Given in memory of the Trigg and Garrett families by David & Mary Lu Garrett
Communion Window: To the glory of God by the Richard Mobley Family
Baptismal Window: In loving memory of Alfred T. Gray
Creation Window: In loving memory of Gladys Lyle Hanke By Dorothy and Eldon Lucas and by other All Saints members

Gospel Windows:
Nativity: To the glory of God and in appreciation for my family (by) Celia Diemer
Jesus’ Baptism: In Thanksgiving for our sons, family & friends by Demetrios & Ernestine Meletiou
Calling of the Fishermen: To the glory of God and in loving memory of Katherine Embry Shoemaker
Prodigal Son Parable: In loving memory of Sue Ramey Gray
Transfiguration: To the glory of God and in thanksgiving for the ministry of the Rev. D. John E. & Embry Shoemaker, 1967-1976 vicar, l976-l978 rector
Crucifixion: In grateful thanksgiving for God’s many blessings: Capt. & Mrs. Richard N. Johannes, U.S. Navy (Retired)
Resurrection: In thanksgiving for my son, Eldon Lucas & his family – Celia Diemer

“I AM” windows:
The Light of the World: In memory of & in thanksgiving for Lambert G. Gore
The Resurrection & the Life: In loving memory of Herbert O. Moore
The True Vine: In memory of & in thanksgiving for Kenneth P. Sloan
The Good Shepherd: In loving memory of Ellen Clark
The Bread of Life: In loving memory of Augustine George Donnangelo
The Door: In memory of Esther and Catherine Armstrong

Psalm windows:
Psalm 23: In loving memory of Jack Hurry and Delbert & Louvna Standridge
Psalm 121: In thanksgiving for our family: Jim, Carolyn, Kerry & Erin McWilliams

* Derived from All Saints’ correspondence in 1991 with the designer, Willet Stained Glass Studios, inc., of Philadelphia, PA.