TIFFANY WINDOWS

The church has been greatly enhanced by a series of beautiful windows, especially designed by and executed under the supervision of Louis C. Tiffany in his studios in New York City.

Mr. Tiffany is foremost in the American School of art glass and has endeavored, at all times, to preserve the best of the old Thirteenth Century type of work, while at the same time increasing the range of color and shading as well as the power of expression in glass making. The result has been the production of a glass which varies sufficiently in the process of making, to produce an increase in the color blendings which in turn give the designer a range that is boundless.

The glass in these windows is not only opalescent, deriving its play of colors by transmitted light, but it is iridescent with a permanent metallic luster, emitting rainbow effects by light reflected from the surfaces. The result is that the windows stand out like a painting, and also look substantially the same in reflected artificial light as in transmitted sunlight.

These windows are equal in quality and artistry to the finest examples found anywhere in America.

Upon entering the vestibule, one is impresses with the figure of our Saviour in the attitude of "The Good Shepherd," which brings to mind His statement, "Other sheep I have, which are not of this fold."

On the opposite window is the figure of St. John, who has been alluded to in the scriptures as the "Disciple whom Jesus loved," and who was, at times, His constant companion.

The linking together of these two figure windows in the entrance to the church in a lesson in itself, for we read in the Scriptures that it was John who witnessed the glory of the transfiguration; who leaned on Jesus' breast at the Last Supper; who stood at the cross in the agonizing hour; who assisted in laying his Master's body in the tomb; who went about preaching the gospel; and who was finally banished to the Island of Patmos, where he received the wonderful vision that is our heritage in the Book of Revelation.

In the sanctuary, the two ornamental windows nearest the entrance bear cartouches (scroll-like ornaments or tablets). In the window on the left are the cartouches bearing the Font, which symbolizes baptism, and the Chalice which is emblematic of the Lord's Supper. On the ribbons beneath these cartouches appear the words "Faith' and "Sacrifice."

In the companion window on the opposite side of the room are the cartouches bearing the Torch and the Wreath, which symbolize Life and Peace, and Victory over Death through Jesus Christ. The erect burning torch is emblematic of life, and the wreath, of peace. The inverted flameless torch represents death, and the laurel, victory. On one of the ribbons appears "Life and Peace," and on the other the simple statement "Victory over Death."

Next on the left appears the figure window symbolizing the Resurrection Scene, portraying Mary Magdaline, and Mary, wife of Cleophas, who were amazed to find the empty tomb. The scene shows their meeting with the angel who says, "He is not here; he is risen." The expressions on the faces of the two Marys have been carried out very effectively, and the picture as a whole portrays one of the most important events in our religion.

The companion window on the opposite side is taken from the text found in Psalm 121:1 which is "I will lift up mine eyes unto the hills, from whence cometh my help." A solitary figure appears in this picture, gazing out unto the distant hills that are bathed in the shining rays of the setting sun. In the foreground is the winding brook that carries in its ripples the reflected splendor of the sky. The clouds and sunrays have been beautifully wrought into the picture, and a view of this window in the light of a setting sun is one that can never be forgotten. Both of these windows are excellent examples of Tiffany's drapery glass, with great depth of glass and color.

Next will be found two more ornamental windows, one on either side of the church, and each one bearing cartouches of the Four Evangelists, Matthew, Mark, Luke and John. On the ribbons at the bases of these cartouches appear the texts which refer to each of the evangelists. Under St. Matthew is the call "Follow Me." St. Mark begins his Gospel with the reference to John, when he says "Prepare ye the way of the Lord." "The Physician" is, of course, the proper reference made to St. Luke, while "Disciple whom Jesus loved" can be found applicable only to St. John the Evangelist.

In addition to the ornamental windows already referred to, there are four other single lancet windows which are in perfect harmony with all the other windows. These were a gift to Baker Church in memory of former pastor Chauncey Steele Baker from his daughter.

Over the archway leading to the Chapel appears the beautiful Rose Window, named for the deeply colored rose motto repeated in each window. Hidden behind the pipes to the organ is a small double arched window which harmonizes very effectively with the Rose Window.

In the tower over the main entrance is a large three-paneled window depicting the text "Well done thou good and faithful servant." In this picture we see the servant on bended knee receiving the blessing of our Lord and Master. The scene is laid out in God's great open spaces, and on all sides appear the fields and woodlands. The perspective in this window is exceptionally fine, and the coloring and beauty of the picture is a great inspiration to all who look upon it.

The crowning feature of all the windows is found in the east transept where a scene in the boyhood life of Christ is depicted. It is taken from the world famed Hoffman painting entitled "Christ in the Temple." The allusion is to the period in the life of Jesus, when at the age of twelve, he accompanied his parents to the Feast of the Passover at Jerusalem. The travel was made in caravans, and the large number of people in a caravan made it possible for one of its members to be missing without their absence being noticed. Thus upon the return homeward, the parents of Jesus did not notice his absence until after a day's journey had been completed. This caused great alarm and a hurried return was made to Jerusalem. After a three day search, his parents found Him in the temple surrounded by the learned doctors and teachers, "Both hearing them, and asking them questions. And all that heard Him were astonished at his understanding and answers." This is the narrative as given by Luke.

The artist has chosen this particular episode for the scene depicted, and the expressions of amazement and astonishment on the faces of the learned men have been successfully portrayed.

The outstanding figure of the boy Jesus, his youthful countenance aglow with the realization of his satisfactory handling of a difficult situation, occupies the center of the picture. In contrast with His pure white robe, are the gorgeously colored gowns of the doctors and teachers. In the window, as all of the other windows, a beautiful canopy effect has a tendency to carry the glorious colors into the very atmosphere of the room.