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1. Starting with this window in the middle of the church over the altar.


Christ in Gethsemane Window


They went to a place called Gethsemane; and he said to his disciples, “Sit here while

I pray.” He took with him Peter and James and John, and began to be distressed and agitated.

And he said to them, “I am deeply grieved, even to death; remain here, and keep awake.”

And going a little farther, he threw himself on the ground and prayed that, if it were possible,

The hour might pass from him. He said, “Abba, Father, for you all things are possible; remove

this cup from me; yet, not what I want, but what you want.”

Mark 14:32–36

The reproduction of Hofmann’s “Christ in Gethsemane” above the altar foreshadows the tragedy yet to come. The king makes a simple request of his lords: “stay with me while I pray.” Yet, all of them fall asleep while he prays—first for deliverance (escape), then for strength. Later that night, one of his lords would betray him with a kiss of 30 pieces of silver. Another would deny him three times.

On Friday they killed the king in galling loneliness. They made him walk through the streets, the rough, heavy cross his throne, borne not by four strong men, but by himself. His face streamed with blood from the twisted bramble of thorns jammed on his head tearing his scalp. A crown they called it; all the more to mock him. The Christ didn’t look like a king.

This window sums up in a most poignant way the meaning and purpose of His life. It is likewise a fitting introduction to the messages of the windows.



2. Looking from the back of the church on the left side.


Nativity Window


For unto you is born this day in the city of David a Savior, which is Christ the Lord.

Luke 2:11


The next window at the left front of the sanctuary, flanking the representation of the Christ Child’s birth, are the symbols of the two tablets of the Law and the Star of David.


The beginning…the birth of God coming down to earth, the Word made flesh. The star indicates that we are witnessing the birth of a king, the descendant of David. Yet, if this is a king, why do swaddling clothes replace colorful robes and a bejeweled crown? Why is his regal throne a manger in a stable? And look back there, over the door. Instead of a procession of subjects waving and bowing, this king’sfirst visitors were shepherds, not at all the kind of folk a king would grant an audience. The star indicates the fulfillment of the Old Testament promise—and points toward the future. For, even as his mother and father look adoringly at their son, the light streaming from the radiant cross made of rays from the star, fore-shadows His death for the saving of the world. The symbols of the two tablets of the Law and the Star of David represent the fulfillment of the Law in the coming of Christ.


The symbol at the top of the window stands for St. Matthias, the apostle chosen in the casting of a lot by the remaining apostles to fill the vacancy caused in their ranks by the defection of Judas Iscariot.  Little is known of his apostolic life and service historically, but tradition notes his ardent missionary labors and the manner of his martyrdom by the stroke of an axe.  Hence, the open Bible with a two-bladed axe imposed upon it.  St. Matthias’s surname, Justus, likely indicates his character


In memory of our aunt, Nora R. Ohl,

Mrs. Emma E. Ohl and Helen R. Ohl, presented by the family.

In memory of our grandmother, Olivia Schwabe Bruegel


3. Left side.


Mary and Martha Window


But the Lord answered and said to her, “Martha, Martha, you are worried and bothered

about so many things, but only one thing is necessary, for Mary has chosen the good part which

shall not be taken away for her.”

Luke 10:41–42


The second window from the front on the left (Hofmann) pictures Jesus in the home of Lazarus talking with Mary. At the right is the symbol of the lamp, which represents the Word of God shining forth in Christ’s instruction, and at the left is the descending dove which indicates the spirit of wisdom being imparted from above.


The symbol of the ship at the top is intended to characterize St. Jude. Tradition speaks of him as a tireless traveler for the Gospel in other lands. The ship represents his reported journeys into Arabia, Syria, and Mesopotamia. The spreading sail is supposed to outline the mast and spars as a cross.


The Lenten gospels tell of this king and his emissaries going on a royal journey with but their feet for transportation and the ground and a chance house for their lodging. They went not to the royal and privileged, but to the lowly and destitute. Here, they rest at the home where Jesus brought Lazarus back to life.


Here Mary sits at the feet of this teacher king. He taught them about the kind of people he wanted, the subjects of his realm: the poor, the meek, the hungry, the merciful, the pure in heart, the peacemakers.


The symbols remind us to take time from our busy lives and listen to the Lord’s teaching. The lamp represents the Word of God and the dove indicates the spirit of wisdom imparted from above.


In memory of Robley A. Warner, presented by his wife.

In loving remembrance of our father, C. Anderson Warner, from his children, Emily, Charles and Robley.

In memory of Mrs. Emily Warner Guss, presented by Mrs. Robley A.


4. Left side


Good Shepherd Window


I am the good shepherd. I know my own and my own know me, just as the Father knows

me and I know the Father. And I lay down my life for the sheep.

John 10:14–16


The third window from the front on the left (Plockhorst) depicts “Christ, the Good Shepherd.”


If God ever seems far away, this scene reminds us that God sent his son to earth for each of us. Christ loves us not from a throne, but from the roads and fields and streams, as a shepherd loves his flock. He goes to the lost sheep—to lift them up, to forgive others no matter what, to cultivate the vineyard, to heal. Yes, this shepherd brings back lost sheep; binds up injured and crippled sheep; strengthens the fearful and weak ones; and watches over the fat and strong sheep to make sure they do not take advantage of the lean and weak ones.


The symbol at the top of the window is that of St. Peter, the first apostle. “Come, follow me,” Jesus said, “and I will make you fishers of men.” Matthew 4: 19 Christ gave the power of the keys (to loose and to bind on earth and in heaven) to Peter alone.



In loving memory of Robert Greenwalt Mulvaney, presented by Mr. & Mrs. Wm. H. Mulvaney.

In loving memory of our daughter, Sabina Knox Green, by her parents Edmund and Margaret C. Green, October 1915.

In loving memory of Mr. & Mrs. J. Witmer Wolf, presented by Emma A. and Wm. McCoy Wolf.


5. Left side


Woman at the Well Window

Jesus answered, “Everyone who drinks this water will be thirsty again, but whoever

drinks the water I have given him will never thirst. Indeed, the water I give him will become

in him a spring of water welling up to eternal life.”

John 4:13–14


In the next window, the second from the rear on the left, Christ is shown talking by a well in Samaria to a woman who has come to draw water. The bound palm branches to the right denote Christ’s gentle victory over the hostile prejudices of the Samaritans, while at the left is the anchor expressing the hope restored to the sinful woman and to those to whom she told her tale of meeting the Master.


It’s a simple message: Come as you are. He shows us how to love not only our neighbors, but also our enemies, to love the prostitutes and other sinners. Here, Jesus went to the woman of Samaria because nobody else would go to there. This king went to whomever needed him, whether the need was from loyal subject or not. He never turned anyone down.


He ate with sinners—went into their homes and called them friends. One time he was eating in a Pharisee’s house and some woman of the streets got in and began to wash his feet with her tears and dry them with her hair. The king said her faith was strong and that her devotion and love warmed him.

At the top is the symbol of St. Bartholomew, first known as Nathanael. The open Bible indicates his earnest labors as a messenger of the Gospel. The knife imposed upon its pages represents his martyrdom. Tradition says he was put to death in Armenia, where he was seized in a sudden outburst of pagan fury and opposition to his preaching of the Gospel. It is reported that he was flayed alive, then crucified and beheaded.



In loving memory of Rebecca Warner Arthur, presented in His name and by Elizabeth Goodman in her 92nd year – November 1908.

In loving memory of Rebecca Warner Arthur.



6. Left side


Winthrop Memorial Window


And they reported to the angel of the LORD, who was standing among the myrtle trees,

“We have gone throughout the earth and found the whole world at rest and in peace.”

Zechariah 1:10–12


Peace I leave with you; my peace I give you. I do not give to you as the world gives. Do not let your hearts be troubled and do not be afraid.

John 14:27


The last window at the left of the sanctuary is a memorial to one of the sons of St. Paul’s who perished in World War I. The poppies recall the message of “Flanders Field:” the sheaf of wheat and the sickle represent the harvest of the Lord.


Untimely as it was in this instance, it nevertheless represents the harvest of the Lord.



To the glory of God and in memory of Sgt. Tom Winthrop, AEF, born 1-4-1894,

killed in action in France, September 6, 1918, by the Winthrop Family.


7. At the back of the church over the double doors.


Three Wise Men Window


The smaller window appearing above the door to the right rear of the sanctuary is abbreviated because it crowns a rear exit from the building. The little panel depicts the journey of the “Three Wise Men” to Bethlehem as they follow the Star to the Manager.


There are no flanking symbols, but the symbol at the top represents St. Philip. The basket in the symbol refers to St. Philip’s prominent part (John 6:5-13) in the feeding of the multitude under Christ’s direction. “The T-cross” above the basket signifies the nature of his martyrdom in Ethiopia. He died on a cross of that shape.


In memory of our parents.


8. Right side looking from the back of the church


Christ and Children Window


People were bringing little children to Jesus to have him touch them, but the disciples rebuked them.

When Jesus saw this, he was indignant. He said to them, “Let the little children come to me, and

do not hinder them, for the kingdom of God belongs to such as these. I tell you the truth; anyone who

will not receive the kingdom of God like a little child will never enter it.” And he took the children in

his arms, put his hands on them and blessed them.

Mark 10:13-16



The first large window at the right rear pictures Jesus with the children gathered around Him. The posing of the children speaks for itself and the loving heart of Jesus. He always

welcomed children in a world that didn’t place much value on them. This world also didn’t value the lowly and the destitute, the prostitutes and other sinners, yet Jesus did. The symbols of grapes and the goblet with the wafer represent Holy Communion, literally means “eating and drinking together.” In the pagan world to which Christ had come, “stranger” and “enemy” were expressed by the same word. When men sat down to eat and drink together, it indicated a measure of trust and friendship. Here it presents, in the cup and wafer, the intimate relation of human and divine. The children gathered around the Savior sweetly express this trusting relation.


The night before he was killed, this king celebrated the Passover Seder with his lords. At the end of the meal he took bread and wine, blessed them, said they were his body and blood, and therein promised his presence to his subjects of all times.


The symbol of the windmill at the top stands for St. James the Less; his apostolic record is quite obscure. The same may be said of the symbol, for the Dutch-type windmill suggests nothing of what is known of the character of labors of James the Less.


In memory of Theobald Harsch.

In loving memory of Helen A. Harsch; 1895 – 1908.

In memory of Johanna Maier Harsch.


9. Right side


Christ and His Mother Window


The second window from the rear at the right represents Jesus saying goodbye to his mother before setting out on his last journey. He rides into Jerusalem on a donkey, the same way his mother rode into Bethlehem. The crowd cheered and waved palm branches, and for the first time in his life, treated him with royal regard. But his subjects would turn their backs on the king, and he became a pawn to be sacrificed in the game of politics, his trial and death sentence an expedient move to placate the masses.


The picture is flanked by symbols that cast the shadows of coming events—the crown of thorns, a foreboding of His suffering; the cross, the fate He was moving steadfastly forward to meet.


The symbol at the top is that of James the Greater. The wallet and the staff are the emblems of a pilgrim in the world, but at the same time indicate the apostle’s ceaseless labors. The initials are his, but have at times mistakenly given rise to the suspicion that they stand for the society of Jesus—the Catholic Order of Jesuits.



In loving memory of our Mother, presented by Mrs. W. H. Walters and Mrs. O. C. McIntosh.

To the glory of God and in loving memory of our Mother, Ida G. Lyons, by her children,

Emma L. Pugh & S. A. Douglas Lyons.

In loving memory of Elizabeth Vaughan Super, presented by her daughter.


10. Right side


Jesus and Mary Magdalene Window


The second window from the front on the right presents the Resurrection. The scene depicts the Saviour in the garden of His sepulcher as He stands before the wondering eyes of Mary Magdalene, who draws near in tearful worship. His words of warning to her—“Touch me not” (John 20:11-17)—are suggested by His attitude. To the right, as a symbol of His resurrection, are the Easter lilies; to the left, the radiant cross, the mark of His triumph.


At the top is the symbol of St. John, the goblet with a serpent rearing above it. This presents the legend that a priestess of Diana sought to poison him, but John made the sign of the cross over the cup. The poison was said to have fled from the cup in the form of the serpent to his enemy’s terror and his own deliverance.

Presented by Mr. & Mrs. George Taylor.

In loving memory of our mother, Mary Taylor, by her children,

Cecelia, Mary and George – October 1915.

In loving memory of our parents.


11. Right side


Angel at the Tomb Window

But the angel said to the women, “Do not be afraid; I know that you are looking for Jesus who was crucified. He is not here; for he has been raised, as he said, Come, see the place where he lay. Then go quickly and tell his disciples, ‘He has been raised from the dead, and indeed he is going ahead of you to Galilee; there you will see him.’ This is my message for you.” So they left the tomb quickly with fear and great joy, and ran to tell his disciples. Matthew 28:5–8

In the front window, at the right of the Resurrection (the first Easter morning), the theme appears again. Jesus is greeted by Mary Magdalene-here-in the garden. And there was this angel before the empty tomb, there to assure his sorrowing friends of the reality of his resurrection. He conquered the grave with his army of faith and trust. To the left is the symbol of completion, the A enclosed in the Greek O, the beginning and the ending of the Greek alphabet. It is the favorite New Testament symbol of final achievement. To the right is the representation of the Church, indicating that which is the inevitable outcome of the empty tomb.


At the top is the symbol of St. Andrew. The cross in that shape bears his name in religious art because, tradition says, he asked to be crucified on a cross different from that used for his Master; he did not feel worthy of such an honor. Again the anchor that accompanies the cross is there to represent St. Andrew’s assured and undying hope.


In loving memory of James Lindsay, presented by his wife, Mrs. Margaret Lindsay.

To the glory of God, in loving memory of Margaret and Mary Hoffman,

by their sister, Henrietta Hoffman.

In loving memory of Mrs. R. I. Heim, Sr., presented by Mr. & Mrs. R. I. Heim, Jr.





Many of the scenes presented are reproduced from Hofmann, Flockhorst,

and others of the great school of religious art of the 19th century. These are

flanked by symbols that call attention to the deeper meanings in the scenes

to which they are attached. The symbols at the top designate certain of the

apostles. These symbols have no mystic value or sacredness in themselves.

Like John, the Baptist’s heraldic testimony to Jesus at His coming to be

baptized, they are intended to throw light on some phase of what the pictured window presents of our Master.