THE STAINED GLASS WINDOWS

Over the years many articles have appeared describing in detail the church's stained glass windows.  Written by Marion Hutchcroft, they reflect a level of study and scholarship the publication can be proud of. 

ELIJAH and ELISHA

      Clerestory” is the descriptive name for the upper level windows in the wall of the church nave, “clere” meaning “giving light”, and “story” meaning “rising above the aisles”.

Upon entering the Nave from the Narthex southeast door, you can view the clerestory pair of stained glass windows of Elijah, a 9th century B.C. prophet of Israel, and Elisha, the young prophet ordained by Elijah as his successor.

The standing figure with arms raised to heaven is the prophet Elijah ("Jehovah is God") being taken up to heaven by a horse- driven chariot engulfed in flames of fire.

There is accelerated, action in this window. The lower section of the windows shows the spinning chariot wheel covered in flames—galloping horse seems to be in “high speed”—raised arms of Elijah as he excitedly ascends to heaven in his flaming chariot. (Note: His whirlwind journey was accomplished as his voice and that of Moses were heard by Peter, James and John when Christ took them to the Mountain of Transfiguration according to the three  Gospels: Matt.17,1-8; Mark 9:2-8; and Luke 9:28-36.)

If Elijah were sitting here on earth to-day watching the TV News and space ships were blasting off for outer space, he no doubt would say, "Been there, done that".

Elijah followed The Lord’s Commands in performing many miracles. You will find the Ministry of Elijah most interesting when you read Kings 17-22; and 2 Kings 1: & 2:2.

This beautiful Window of Elijah was given to St. Luke's IM of Albert “Bud” Miller.

The second window in this clerestory pair of stained glass windows shows the Prophet Elisha reaching for Elijah's mantle as it falls from his fiery chariot as he is taken to heaven.

­            As Elijah's mission on earth is coming to an end. The Lord commands him to ordain or anoint Elisha to be his successor.  Elisha immediately follows Elijah in every movement he makes, even though Elijah tells him to “stay back” (2 Kings 2:6).  The Lord commands Elijah to go to the Jordan River.   Elisha follows as other interested prophets do, and witness as Elijah remove his cloak (mantle), rolls it up and strikes the water with it,  so that Elijah and Elisha can pass over on dry land.

­      They continued their walking together when Elijah asked Elisha what he wanted him to do for him before he was taken away by The Lord­.. "Let me receive the share of your power that will make me your successor," Elisha answered.  All of a sudden a horse-drawn chariot engulfed in flames came between them and Elijah was taken up to heaven by the whirlwind of fire.­

Elisha picked up the fallen Mantle and returned to the Jordan River.  He rolled up the Mantle as Elijah had, struck the water and passed over on dry land, to the amazement of the other prophets that followed and exclaimed "Elisha has received the power of Elijah!"  Elisha felt rewarded that he did receive a double share of Elijah's spirits (2Kings_2:9)­.

Elisha (the name means "God is Salvation") continued his ministry for fifty years as The Lord commanded him.  His many miracles were deeds of love (2 Kings1-9) in contrast to Elijah's ministry of judgement and law.

Stained glass is always fascinating because of its bright and vivid colors, illuminated by the ever-changing sunlight. The colors in these two windows compliment each other.  The white in The Mantle is holiness of life;  the gold in Elisha’s garment is for royalty; green tones are for spring;  red is fire.  The blue in Elijah's garment is heavenly blue.  the Horse’s body is of beige shades with dark brown hooves.

If one is interested in reading about Biblical characters, the ministries of these two Old Testament Prophets, Elijah and Elisha, can be found-in 1 & 2 Kings­.

This 24"  x 89" colorful stained glass window was a gift to St. Luke's in memory of Bruce W. Miller­.

                  THE HOLY COMMUNION WINDOW

Where in the church is the St. Luke’s Holy Communion Stained Glass Window?

It occupies a very special place in one of St. Luke’s many interesting areas, in the south transept tower area where plaques in memory and thanksgiving for loved ones adorn the surrounding walls.  A beautiful Memorial Book is encased in a protective cabinet for all to view, and to reflect on the various names of departed saints.

Whether you stand or kneel on the Prie-Dieu (Lord Pray Bench) in front of the votive candle stand, you look up and there you see, on the south tower wall, this partially recessed awesome Holy Communion Stained Glass Window, with the incarnate Christ standing there holding a chalice, symbolic of the Cup He shared with his Apostles at His Last Supper on the night he was betrayed.

At the very top of the window is a beautiful white descending dove.  The presence of the Holy Spirit at the Baptism of Jesus became evident by the appearance of a dove descending upon him (Matthew 3:16; Mark 1:10; Luke 3:22).

The large three-rayed gold-colored Nimbus (“cloud”—O/T “Shekinah Glory”) surrounds His head, signifying the Divine Trinity.  The background of varying soft, quiet delicate pastel colored pieces of stained glass accents the beauty of the total window, dedicated in memory of Amory B. Miller and Charles C. Bagnall.

CHI-RHO is the monogram in the center of Christ’s white garment.  The pattern is formed by taking the first two Greek letters of the name of Christ, “Chi” (X) and “Rho” (P) entwined as a monogram.  Since A.D. 312, the PX is known as the Constantine Cross.

A large red oval-shaped robe, with gold lining, is worn over the shoulders of Christ.  It reminds one of the robe the Roman soldiers placed on Jesus after they had scourged him (John 19:2).  Today, our St. Luke’s celebrant wears a special Eucharistic Vestment, or Chasuble, in the appropriate color for the season of  the church year.

The institution of the Holy Communion, the Lord’s Supper, comes directly from the word of God as told in Matthew 26, Mark 14, and Luke 22.  The familiar words bear repeating:

“Now as they were eating, Jesus took bread and blessed and broke it, and gave it to the Disciples and said, ‘Take, eat, this is my body’. . .  And he took the cup, and when he had given thanks, he gave it to them, saying, ‘Drink of it, all of you, for this is the blood of the Covenant, which is poured out for many for the forgiveness of sins.”

Today, in our Book of Common Prayer, we celebrate the Holy Eucharistic Rite as instructed by our Savior Jesus Christ.  Thanks be to God!

Now that we know where this very special Holy Communion Window is located, pause.  Meditate. 

And enjoy.

THE CREATION WINDOW

This past Lenten Season Fr Gary’s Monday Evening Forum Class has studied many of St Luke’s stained glass windows.  Each window expresses a specific message and the symbols direct us to the Bible.  In listing the fifteen windows that tell of the life of Christ on earth, we started with Creation.  Why creation, when Christ’s life on earth was lived according to the New Testament?  The Gospel of John 1:1-5 tells of the Deity of Christ.  Before the world was created, the Word already existed, He was with God, and He was the same as God.  From the very beginning the Word was with God.  Through Him God made all things; not one thing is all creation was made without him.  The Word was the source of life, and this life brought light to mankind.  The light shines in the darkness, and the darkness has never put it out.

An overview of the story of Creation is from the Good News Bible, Genesis 1:1-31 and 2:1-4:  “In the beginning when God created the universe, the earth was formless and desolate.  The raging ocean that covered everything was engulfed in total darkness, and the power of God was moving over the water.”  At the beginning of each day, “God Commanded”.  At the end of each day, “Evening passed and morning came”.  And God was pleased.

On the first day, Light appeared, so He separated light from darkness and named light “day” and darkness “night”.

On the second day, He created a dome to divide the waters, and the dome was named “sky”.

On the third day, dry land appears and is named “earth”, and the water “sea”.  He then commanded the earth to produce all kinds of plants.

On the fourth day, lights appeared in the sky.  The sun was to rule over the day and the moon over night.  He also made the stars in the sky.

On the fifth day, God commanded the air to be filled with birds and the sea with sea creatures, and He told them to reproduce in numbers.

On the sixth day, He commanded the earth to produce all kinds of animals.  Then God said, “And now we will make human beings to be like us to rule over the fish, birds and all animal life.”

By the seventh day, God finished what He had been doing and stopped working.  He blessed the seventh day and set it apart as special, as He had completed His creation.

On the south side of the church are six pairs of windows: twelve single Old Testament characters in the Clere-story (upper level).  Clere-story is the wall of the church above the nave and contains windows for lighting.  The Creation Window is the very first window.  In the top center is the symbol of God’s open hand, the most common symbol representing God the Father’s power, protection and fellowship—”Thy right hand, O Lord, glorious in power”  (Ex.15:6).  From the Book of Wisdom, “The souls of the righteous are in the hand of God.”  When shown at the top of the scene of Jesus’ baptism by John the Baptist, the hand with the fingers extended downward indicates the presence of God the Father and His blessing on the event: “Thou art my beloved Son, with thee I am well pleased.”

In the top left corner of the window is the sun, and on the right side the moon.  These are the two great luminaries of heaven that divide day from night and influence the times and seasons.  The “greater light” is a type of Christ.  The moon is referred to as “the lesser light” in contrast to the sun, and with the stars is to rule the night.

I look at the Person seated with a child on His lap as Jesus Christ, because of the three-rayed nimbus around His head.  A nimbus is a cloudy radiance said to surround a deity when on earth.  Whittemore’s book of symbols states the nimbus has come to be emblematic of sanctity and denote a person recognized for unusual piety.  There are many types; the three-rayed nimbus signifies divinity and is used only with a person of the Trinity.

The Lamb of God at the bottom of the window is a symbol of the sacrificial nature of Christ: “Behind the Lamb of God, who taketh away the sin of the world” (John 1:29).  In the Old Testament the sacrifice of the lamb without blemish was the one way for the Israelites to be freed from guilt.  Jesus became that sacrifice for the freedom of all mankind.  The symbolism is stated in Isaiah 53:4: “Like a lamb that is led to the slaughter.”

The varying shades of blues, greens, yellows and earth shades on the glass all come to life when the sun comes up.  The brighter the light, the more brilliant the colors become, and the many pieces of choice glass look like jewels. 

We thank you, Almighty God, for creating everything in the air, in and on the water, and in and on the earth.  You have created everything to sustain us.  Now make us mindful of your creation that we may use it wisely, and always to the Glory of Your Name.

                      THE C.S. LEWIS WINDOW

Several years ago, while attending a seminar at Center West at the Church of the Angels, Pasadena, the instructor was discussing Christian authors, and introduced C. S. Lewis by stating that the “one and only stained glass window of him was in St. Luke’s Episcopal Church in Monrovia.”  The rest of the evening I kept thinking, “St. Luke’s Monrovia—why, that’s my church, and I don’t know the window he’s talking about!

I had enjoyed and felt the beauty of all the windows, especially at 7:15 A.M., when I entered the church to serve on Altar Guild duty.  The sunlight coming through brought out all the colors, particularly the heavenly blues.  I felt like I was walking into the Lord’s jewel box.  But which window was C.S. Lewis?

At the very next Wednesday night healing service, I apologetically asked Tim Webber, my confirmation class spiritual friend, to show me the “one-and -only-one-in-the-world window.”  In minutes we were standing right under the very unique stained glass window of C.S. Lewis.  Tim pointed out that he was the only character in all the windows—over forty of them—wearing shoes and holding a smoking pipe.  This truly ignited my curiosity.  Why C.S. Lewis in St. Luke’s?

I began searching the available (I’m sure there must be more) files in the office, and learned that on October 21^st, 1984, the world’s first C.S. Lewis memorial stained glass window was dedicated here during a Festival Eucharist culminating a weekend conference entitled “Introduction to C.S. Lewis”, sponsored jointly by St. Luke’s parish and the Southern California C.S. Lewis Society.  In 1984 I wasn’t an active member, and so was not there.  Were you?

The eight-foot-tall clerestory window weighs about 120 pounds and contains over 400 pieces of hand-blown stained (painted) glass, each piece being handled fourteen time in processing—INCREDIBLE! 

The window is located twenty feet above the pavement in the central nave.  At the very top you find a young girl, a lion and a lamppost, symbolic of the first book of the seven-volume children’s series, The Chronicles of Narnia.  Lewis is pictured in an academic gown with a man on his right shoulder; could this be the devil, as suggested in a scene in The Screwtape Letters”?  Lewis is reading a book, and according to artisan Walter Judson, this is the first time his studio has ever depicted anyone in a stained glass window smoking a pipe; but then, this was a form of relaxation Lewis enjoyed.  Then there is his typewriter, ready for action (although Lewis always wrote in longhand), and his unlaced shoes.

According to an article published in the Los Angeles Times on October 20, 1984, and the Episcopal News, September, 1984, the Rev. Everett Simson, then rector of St Luke’s, said that he had been trying for six years to get funding for a C.S. Lewis window, ever since he arrived at the parish in 1979.  Finally, on October 21, 1984, the C.S. Lewis Memorial Window was dedicated to the glory of God and given in thanksgiving for the parish life and ministry that started in 1891.

Just as St. Luke’s is a living example of dedication to the glory of God and His Son, Jesus Christ, so was Clive Staples Lewis in his writing and teachings performing a similar on-going ministry.  Many people consider C.S. “Jack” Lewis to be a contemporary saint; he was a defender of the faith, a celebrated spiritual guide, a novelist, a writer of children’s books, and a Christian apologist.  What’s remarkable is that he was once an atheist, but turned Christian in a magnificent way and today is considered one of the greatest Anglican teachers.

John Hart, the L.A. Times religion writer, quoted Rev. Simson as saying, “I think the Episcopal Church is indebted to Lewis for interesting many people in the Anglican Communion, and in the Church generally.”  Simson went on to say that he had talked to many people who have said their first introduction to thoughtful faith was the reading of a Lewis book (I personalty know two people who say they were brought to faith by the book, Mere Christianity—ed).

St. Luke’s and C.S. Lewis bring to me living answers on “the Faith Desired”.  Yes, it is quite logical for there to be a C.S. Lewis window here in Monrovia.

We give everlasting thanks to you, Rev. Ev, for installing this window in the very last stained glass window space; and to you, Bill Baeresen, for funding the impossible made possible.  We know where you are, Ev, but I don’t know where you are, Bill.  Does anyone else?  If you do, please let us know!

THE LATIN CROSS WINDOW

“WORSHIP THE LORD IN THE BEAUTY OF HOLINESS”. —These words cut in stone, over the west or main entrance to St. Luke’s Church, welcomes you as you enter the Narthex.  To your left, on the north inside wall, a beautiful Latin Cross Stained Glass Window is in full view—a symbol of our faith in the crucified Christ.

When it was first announced that St. Luke’s was to be the recipient of a stained glass window in the narthex, I struggled with that idea, as we already have three stained glass windows installed in the outside walls with excellent exposure for the sunlight to penetrate through,  revealing their beauty and messages bright and clear.  I soon learned, NO PROBLEM!!   Fr. Gary London and Amy Page consulted the Judson Art Studios, designers and installers of all our other memorial stained glass windows, and—the results were fantastic!

After the conversion of Constantine the Great, A.D.313, the cross first came into use as an emblem of Christianity. The historian Eusebius, in his “Life of Constantine”, tells how that emperor ordered the erection of a complex of buildings in Jerusalem ". . . on a scale of imperial magnificence."  The overall supervision of the work was carried out by Constantine's mother, Empress Helena.

It was during the excavations for these buildings that a relic was discovered and believed to be that of the true Cross of our "crucified and risen Lord”. The dedication of the buildings was completed on September 14, 335 A.D.  As described in Lesser Feasts and Fasts, Christians observe this date as Holy Cross Day.

This large memorial stained glass window is encased in a flaw­less grain oak frame, with a matching cabinet that holds and protects the lighting mechanism. What is so unique about this special window is that when the sun goes down and darkness prevails, with a gentle turn of a switch the light comes on inside the window and illuminates the multiple pieces of choice stained glass from top to bottom, rain or shine, day or night.

At the top of the window is a beautiful expressive dove, the most appropriate traditional symbol of the Holy Spirit.  A dove was sent from the Ark by Noah, and it brought back a twig showing the ending of the flood and anticipation of new life.  When Jesus was being baptized, the heavens opened and The Holy Spirit descended upon him in bodily form as a dove. Then a voice came from heaven: "Thou art my beloved Son - with thee I am well pleased."  (Matt.3:16)

On the right (east) side of the large Latin cross is an anchor.  In Hebrews 6:18-19, the word “anchor” is used for that which supports or keeps one steadfast in time of trial and doubt.  "This hope is like an anchor for our souls."  The anchor is a special visible symbol.   The inference is that our faith in Christ is like a sure anchor, holding us steady in the time of a storm.

On the opposite side of the cross from the anchor are two keys. They are the symbol of the spiritual power given to Peter by Jesus:  "I will give you the keys of the Kingdom of Heaven, and whatsoever you bind on earth shall be bound in Heaven, and whatsoever you loose on earth shall be loosed in Heaven."  (Matt.16:19)  The rope gently entwined about the Cross is a symbol of Passion Week, when Jesus was scourged before his crucifixion:  "Then Pilate therefore took Jesus and scourged him."  (John 19:1) The cord or rope represents the bindings that held Jesus to a pillar where he was bound at the time of scourging.

The traditional Latin Cross is symmetrically placed in the center of this very special window. The lines in the Cross resembles the grain in the oak frame surrounding the window and assures one that this is a “Wooden Latin Cross”, the kind our Savior was crucified on. The unusual narrow border around the Cross has the appearance of a woven or braided fabric.  Only The Judson Art Studios makes glass look like a distinctive and rare piece of material.  This artistry is also reflected in St. Luke’s other memorial stained glass windows. On the outside of the window is a “Gem Studded” border of precious pieces of perfectly selected colored stained glass: red, green, violet, gold, and HEAV­ENLY Blue—all good Liturgical colors. Maple leaves and squares of white glass with “snowflake” designs add to the overall back ground. 

This specific stained glass window has a significant and timely message to share at this 1999 Lenten Season. By following the scriptures in the four Gospels, we find Christ, the Messiah, instructing his followers that he was on his way to Jerusalem, to be executed—to die and then resurrected on the third day.  Jesus speaks to his disciples of cross-bearing in Mt.16:24, Mk.8:34 and Luke 9:23:  "If any man will come after me, let him deny himself and take up his cross and follow me." 

This empty (victorious) Latin Cross Stained Glass Window was given to St. Luke's in Memory of Gerald William Page and Edythe Monteith Page by The Page Family and Friends.

THE EARTHLY FAMILY OF JESUS CHRIST

SAINT JOSEPH AND BLESSED MOTHER MARY

We have just experienced the very special and first season of our Christian Calendar called Advent—the coming, or arrival, of someone momentous: the birth of our Savior Jesus Christ. 

St Luke’s is blessed with two stained glass windows of our Savior’s earthly parents—St Joseph and St Mary.  As you walk down the chapel aisle to the altar, you come to the fourth floor window, of the Blessed Mother Mary, and then the third window, of St Joseph.  When I first looked at these two windows, I saw color, forms and texture that gave me a feeling of sameness, like bookends that held many miraculous happenings between them.  Then when I took time to study them I discovered numerous intricate details and symbols that truly pertained to each individual.

MOTHER MARY

At the top of the Mother Mary window is a descending dove that denotes peace, forgiveness, and anticipation of new life.  The next symbol, coming down the window toward Mary, is the unicorn—a horse’s head with a single horn projecting from its forehead.  In ancient times the unicorn was accepted as a symbol of purity, especially related to Mary and the Virgin Birth of Jesus, the anticipated Messiah.  Circled around Mary’s head is a beautiful jeweled three-rayed nimbus, signifying a holy person.  The Blessed Mother stands so saintly and appears to be looking toward Joseph, her spouse, in the window to the right.  The texture that first caught my eye is the sky-blue cape lined with gold around her shoulders.  The intricate welding of many small pieces of glass gave me a feeling of viewing a perfectly spun piece of material.

Mother Mary is holding a stem of lilies “symbolic of immortality and Easter . . . the bulb decays in the ground, yet from it new life is released”  (Pg 19, Whittemore’s Symbols of the Church).  Excited doves are flying toward the Virgin Mary.  The lower section of this window has the Fluor De Lis flower in the center, indicating royalty.  On either side of this symbol are two sheaves of wheat, symbolizing the “Bread of Life”.  The Carnelian (reddish) stones make an effective background.  Squares in the upper and lower sections and the center have “cobble” shaped stones.

“Honor paid to Mary, the Virgin Mother of Jesus Christ, goes back to the earliest days of the church.  Two Gospels tell of the manner of Christ’s birth, and the familiar Christmas story testifies to the church’s conviction that He was born of a Virgin.  In Luke’s Gospel we catch a glimpse of Jesus’s upbringing at Nazareth, when the child was wholly in the care of his mother and foster-father Joseph” (from Pg 304 of Lesser Feasts and Fasts on Saint Mary the Virgin.)

SAINT JOSEPH

The St Joseph stained glass window is the third floor window on the north wall of the chapel, right next to the Blessed Mother Mary, his spouse.  I have a sincere feeling of appreciation for the Judson Studios, what placed the St Joseph window, the carpenter, next to Mother Mary.  It is a beautiful and exacting pair with symbols related to each individual.  We have reviewed the significance of the symbols around the Virgin Mother Mary; now let’s examine the symbols in this expressive window of St Joseph, depicting him as a carpenter and a “just man”. 

The shield art the top of this window shows a saw with a thin metal blade and sharp-toothed edges used for cutting wood as well as a small axe, or hatchet—necessary tools for a carpenter.  As your eyes travel down the window, you find a carpenter’s square for making perfect corners; also a special type of hammer.  St  Joseph is also adorned with a three-rayed nimbus around his head.  He is in a standing position, wearing a blue-and-white sleeveless garment and holding a long-handled hammer, giving the impression of a man ready to practice his trade.  He appears to be looking left to his spouse, Mother Mary. 

At the bottom of this window you see him leading a donkey with Mary and her baby Jesus.  The donkey depicts humility and devotion because of its part in the story of the Nativity and Flight into Egypt.  “Arise, and take the young child and his Mother, and flee into Egypt and be thou there until I bring thee word”  (Matthew 2:16).

“In the face of circumstances even a man of such tenderness and obedience to God as Joseph, he accepted the vocation of protecting Mary and being a father to Jesus.  He is honored in Christian tradition for the nurturing care and protection he provided for the infant Jesus and his Mother in taking them to Egypt to escape Herod’s slaughter of the innocents, and in returning them to Nazareth.  Joseph was a pious Jew, a descendent of David, and a carpenter by trade.  He is considered the patron saint of the working man, one who not only worked with his hands, but taught his trade to Jesus” (excerpts, Lesser Feasts and Fasts).

The colorful pieces of glass used in these two windows could be described as those precious twelve stones used as a breastplate for Aaron, the High Priest— Ruby, topaz, sapphire, carnelian, and the other twelve, as described in Exodus 28:15.

This window was given to St Luke’s in memory of David Daniel Moser.

SAINT MICHAEL  THE ARCHANGEL

Have you been touched by an angel lately?

St. Luke's is not only touched but is blessed by the beautiful Stained Glass Window of the Archangel St. Michael, "Who is like unto God."

As you enter the Nave from the Narthex, pause and look up to your left (north side of church) and you will see this 2411x8911 clerestory window of St. Michael holding balance scales with his left hand and a large sword in his right hand (note: the other figure in window is St. James). The sword is a symbol of strength—a messenger of God that protects and defends the Church against its enemies.  C.  E.  Whittmore's book on symbols of the church states “the balance scales are for justice, and (this) is the designated symbol of St.  Michael, who is to weigh the souls of men on the final day of judgement”.

The predominate colors in this angel window are red for sovereign power (Pentecost).  Blue is a heavenly color.  Purple, or scarlet, denotes royalty & imperial power.  And gold is for wealth and royalty, as was the gift of the Magi for the Christ Child.

A floor-length cape of deep gold color is held in place by an emerald Rosette, and partially covers the undergarment of purple (royalty). ­In observing the St. Michael Window, I felt it had a different type of message from the other stained glass windows in the church.  His facial features and serious stance of towering strength, holding the balance scales and sword (primary symbols of this window) assured me that St. Michael is a protective angel and is ready for God's orders.  Therefore, the message in this window is different because Angels are different.  They were created above man.  God and His Angels are spirits; human beings are flesh and spirit.

The scriptural word "Angel" means messenger from God that can be visible or invisible, and may assume human or non-human form.

Of the myriad of angels spoken of in the Bible, only four are called by name: Michael, Gabriel, Raphael and Uriel.  The Book of Daniel (10:1-14) refers to Michael as "Prince", meaning the Prince of Israel.

The name of Michael is a Greek form of the Hebrew name that means “One Who is Like God”.  Michael is God's general, the leader of His heavenly armies to be used against the forces of evil.  “And there was war in heaven.  Michael and his angels fought against the Dragon (Devil) and the Dragon fought with his angels and prevailed NOT—neither was their place found any more in heaven. .” Rev. 12:7-9.

An almost unbelievable rise in interest in angels has occurred in all forms of Art, Ornaments in varying sizes and shapes, books, booklets, TV Programs and in the secular and Christian media.  “Angel of The Lord" . . .

—Appears to Hagar in the wilderness (Gen.16:7-13),

—Puts words in the mouth of the Ass Balaam was riding on (Nos.22:21-35),

—Appears to Moses in a flame of fire out of a burning bush (Ex.  3:2),

—“Joseph, descendant of David, do not be afraid to take Mary as your wife.”  (Matt.  1:20).

To further augment your interest in angels, consult your Bible Concor­dance.  It will direct you to Genesis through Revelation for AUTHENTIC angel encounters.

"Michaelmas", as his feast is called in England, has long been one of the popular celebrations of the Christian year in many parts of the world.  On September 29, our Church celebrates Saint Michael and All Angels Day.  The proper prayer may be found on page 244 in our Book of Common Prayer. 

In Memory of E.  Bruce Jensen, St.  Luke's is blessed with this beautiful and expressive Saint Michael (Archangel) Stained Glass Window.

ST. PETER and ST. PAUL

In following the Lection­ary in our B.C.P. (Year One) for this Pente­costal seas­on our church is presently exper­iencing, we find the Book of Acts as one of the daily/week­ly New Testament readings.  Peter and Paul, the two greatest leaders of the early Church, are the pivotal persons in this informative book.

   SAINT PETER

As you enter the Church through the northwest door to the chapel area, the very first stained glass window you see to your left is that of Saint Pet­er.  This is a 24"x84" multicol­ored window with spec­ific sym­bols related only to Peter. 

Starting at the bottom of the window are two beautifully detail­ed roosters, poised and ready to remind Peter of the night of Christ’s betrayal, when he said, “Lord, I am ready to go to prison with you and to die for you.”  “I tell you, Peter,” Jesus replied, “the rooster will not crow tonight until you have said three times that you do not know me.”  (Lk.22:34).  The crow­ing of the cock is a warn­ing to Peter as to his steadfast­ness of faith and as a rebuke to his weakness (Mk.14:72).

Between the two roosters is a diamond-shaped light glass frame with a Canterbury Cross underneath the title “Saint Pet­er”.  In the center of the window stands an image of Saint Peter.  He appears to be “looking the church over” and eager to say, “Repent and be saved.”  A bible is in his left hand, and his right hand holds a large set of keys indicating authority (Mt.16:19): “I will give you the keys to the King­dom of Heav­en, what you prohibit on earth will be prohibit­ed in Heaven, and what you permit on earth will be permit­ted in Heaven.”

Facing the window and to the left of Peter is a church built high on a rock (Mt.22:18): “...And so I tell you, Peter, you are a rock, and on this rock founda­tion I will build my church and not even death will ever be able to overcome it.” 

Over Pet­er’s shoulder is a blue cape (chasu­ble) that part­ly cov­ers an undergarment (alb) of white trimmed in gold.  Accentu­ated by blue around the outside of a three-ray nim­bus that is worn on the head of Saint Peter.  Above his head is another diamond-shap­ed frame of light glass, with a gold-colored Latin Cross in the center.  This spec­ial cross is an early sym­bol of Christ’s crucifixion by Roman soldiers outside Jerusa­lem (Mt.10:38): “Whoso­ever does not take up his cross and follow in my steps is not worthy to be my disciple.”  The cross has been the sacred sign of the Christ­ian’s’ faith of all generations and nationalities since that time.

Centered at the top of this multicolored window is a set of keys and an inverted cross.  Tradition tells us that Peter did not feel worthy to die in the same manner as his Lord, so he requested to be cruci­fied head down (Bk. Of Church Symbols, Pg 39).  There are over four hundred different crosses; however, Peter’s cross is the exact oppo­site to the Latin cross.

Red is used in the back­ground as the predominate color, but it does not over­power the many shades of pastels that help to bring in the light needed to enhance a north window.

Saint Peter, the unedu­cated fisherman, is an interest­ing per­son we can all relate to.  “As we watch Peter struggle with him­self, often stumble, love his Lord and deny him, speak rashly and act impetuously, his life re­minds us that our Lord did not come to save the godly and the strong, but to save the weak and the sinful” (The Church Hymnal Corp., Lesser Feasts and Fasts). 

This window was given in mem­ory of James Arthur Dan­forth.

SAINT PAUL

In some very old files of Saint Luke’s (date unknown), the follow­ing information was found:

“Saint Luke’s is a beauti­ful church, but unfin­ished, as it needs color, a chancel and it needs windows made from the finest glass and construct­ed in ac­cord with the best tradi­tion of the craft.  From the view­point of the amount of light in the church and its ef­fect on the Rose Win­dow already in place on the high west side of the church, it is desir­able that the south win­dows be the first to have stained glass windows instal­led. 

Accordingly we have adopted a plan for the south side of the church.  There are six pairs of windows (twelve single ones) in the clerestory (upper level).  Under each pair is a single aisle win­dow (lower or floor level).  The clerestory windows are to depict great charac­ters and events from the Old Testa­ment.  The sin­gle windows (un­der each pair in the clere-story) will depict some heroic character in the New Testament or Christian history that fulfills or typi­fies the fig­ure or event in the win­dow above.  Thus, a clerestory with its aisle win­dow below will make a complete bay.”

The first bay is Creation and Ruth in the clerestory win­dow, and Saint Paul in the floor win­dow below.  Stained glass win­dows are rarely instal­led by congrega­tions; rather, they are gifts of famil­ies, individ­uals and organiza­tions and are present­ed in gratitude for God’s bless­ings or as a memor­ial for de­parted ones.

 So year by year Saint Luke’s has grown in beauty and col­or, in teaching, in sacred memor­ies and is now evi­denced by the generosity of its people.  Today we have forty-seven stain­ed glass win­dows — all gifts!

The south window (near the tower door) of Saint Paul start­ed the progressive installa­tion of our beautifully constructed stain­ed glass win­dows by the craftsmen of the Judson Stu­dios.

In the center of this New Testa­ment window stands the well-educated Paul of Tarsus.  He is facing east with his eyes directed to the altar—the “Lord’s table”.)  A radiant rose-colored nimbus sur­rounds his head, denoting piety.  The luxurious-looking cape of gold lined with purple is draped over his shoulders and is held in place in the cen­ter with a large rosette. 

His right hand is on the hilt of a long-bladed sword.  Invert­ed at the top of the window is another sword with the words, “Fight the good fight”.  The only symbol in the window is the sword— but what a power­ful message it gives in spirit­ual strength.  Paul said, “Take unto you the helmet of salva­tion and the sword of the Spir­it which is the Word of God” (Ephes.6:17).  The sword is also used in refer­ence to Paul’s death as a mar­tyr, as well as many early Christians who died at the edge of the sword, defending the church against its ene­mies.

Blue is the dominating lumin­ous color that gives value to all the other colors that sur­round Paul.  Red bor­ders the outside of the picture frame and around each square and the other shapes of glass in the window.  Snowflake-like designs ap­pear in the lower and upper sections of the window.  The beauty of this New Testament stained glass window is seen and enjoyed as the light changes, influenced by the time of day, weather condi­tions and the angle of view­ing.

For informative and interest­ing reading, follow Paul’s journeys as chronicled by Saint Luke, his physician and fellow traveler in the Book of Acts (Ch.  13-28).  Also, a quick overview of Saint Paul can be found in Lesser Feasts and Fasts (the Church Hym­nal Corp.)  on the page dated Janu­ary 25: “Conver­sion of Paul”.  In the same book on the page dated June 29: “Saint Peter and Saint Paul the Apos­tles” is a comparative writing on these two great lead­ers of the early Church.

This window was given in mem­ory of Reeve and Mary Hobbie.

THE MEMORIAL WINDOW

Recently I was driving down Myrtle Avenue here in Monrovia and quickly became aware that the fluttering of our National Flags from their designated posts was calling attention to the Memorial Day week-end coming up .

Remember the men and women in the Armed Services that sacrificed their lives in combat for us all.   I was reminded of the Memorial Stained Glass Window in St. Luke's Church with two different flags beautifully shown in stained glass—our Episcopal Christian Flag and the United States National Flag, and decided to review this unusual window again.  Unusual, yes, because it is the only stained glass window in the church that does not show a person in it.

As you walk down the aisle towards the Chapel Altar, on the north wall are six stained glass windows at floor level.  The window second from the Altar (easy to view, study and enjoy) is the Memorial window, showing our Episcopal Christian Flag and cross, as well as the American Flag and Eagle.

Appropriately placed at the top of this Memorial Window is the Descend­ing Dove.  It signifies the Holy Spirit and the presence of God as hovering over the water at Creation, and above Jesus at His baptism: “ . . . And Jesus, when he was baptized, went up straightway out of the water.  Lo, the heavens were opened unto him, and he saw the Spirit of God descending like a dove."  (Matt43:,16-17).

A multi-blue waterfall flowing into a turbulent sea; below is the back­ground and predominant color in this window.  "Ye must be born of water and spirit." (John 3:5).  Centered over the waterfall is a Latin Cross with the letters ‘IHC”, a symbol of Christ that was taken from the first three letters of the Greek word for Jesus.  Later the Greek “C" was changed to “S", an additional meaning is accepted in our American usage, "In His Service."

On the left (west) side of the Cross stands the U. S. National Flag that was commemorated June 14, 1777, now known as Flag Day, which is equivalent to Our All Saints Day.  On a white background, you see the red stripes with white stars on blue in the upper left corner of the flag, representing the number of states in the Union.  A bald eagle, as used on The Great Seal of the United States, sits on top of the flag pole.

At the right (east) side of the large cross is the Episcopal Christian Flag adopted during the General Convention in 1940.  When it is unfurled, you see a cross of red on a field of white with nine small white crosses in a field of blue in the upper left hand corner.  The nine crosses represent the nine original dioceses at the first General Convention in 1789.

Inscribed on white glass (with  a sandy brownish backing) is the following: “O Eternal Lord Who Alone Spreadest out the Heavens and Rulest the Raging of the Sea . . ."  The Holy Bible is on the left side and The Book of Common Prayer on the right of this bottom panel of the Memorial window.  Water is the most frequently mentioned natural resource in the Bible.  John 3:5 tells us”  "Except a man be born of water and of the Spirit, he cannot enter into the Kingdom of God."  Jesus calms the stormy sea (Matt. 8:22).  Jesus meets the Samaritan woman at Jacob's well and tells her "But whosoever drinks of the water that I shall give him shall never thirst.”  

After Paul's Conversion (Acts 9. l-20), he traveled by sea on many of his journeys.  It is interesting to think of the Memorial Window  expressing our Navy, as the area of our church from the south wall to the Chapel is called Nave (Navy-Ship).  Visualize ships in Biblical times with ship benches and sailors navigating with hand oars, and our pews as benches and the Saints of St. Luke Is pulling our oars in unison.

The Book of Common Prayer came in to use on the Day of Pentecost, June 9, 1549.  The Book became a manual of common worship for Anglicans and a primary source for their personal spirituality.  Note; A prayer for those in the Armed Forces of our country may be found on page 823. (B.C.P.)

Scanning the red border around this unusual window, you will find several Navy Emblems using anchors in their structure.  The anchor is one of the oldest Christian symbols.  The image of the anchor is attributed To Saint Paul.  In Heb. 6:19, he said, “Which hope we have as an anchor of the soul, both sure and steadfast." 

Starting at the top left there is a Navy Emblem using the Navy wings with a globe like figure and an anchor.  Second down is a small Latin Cross, representing a Christian Chaplain.  Then another Navy Emblem using the Anchor and the initials “U.S.N.”  Near the bottom is the oak leaf with an acorn in the center.  Another oak leaf with an acorn is on opposite side representing The Medical Corps.

The next Navy Emblem on the right shows two Dolphins.  That is the Submarine Corps.  Then the Star is a Line Officer and at the top are  the Navy Wings with Shield and Anchor worn by a Naval Aviator.  

Someone in the Armed Services died to protect us.  Jesus died (and rose again) for our Salvation.  We are assured that Jesus Christ will come again, and then all wars will be ended.  Be fascinated and reflect on the jewel-tone beauty of this stained glass window given to St. Luke’s In Memory of Robert E. Wright.

THE SAINT CECILIA WINDOW

Behind and to the right of St. Luke's Beautiful organ (on the south wall of the nave) is the 'saintly' stained glass window readily recognized by several musical symbols. Pictured in this jewel-toned window. playing the harp, is the Patron Saint of Music, Saint Cecilia.  This Roman lady, educated as a Christian, converted her husband and shared martyrdom with him. Tradition says she wrote hymns and sang beautifully so she is regarded as the Patroness of Music.

At the top of this 'musical' stained glass window is a small Lyre or Harp.  Below the smaller Harp is a Crown of pastel shades of glass on a blue background—a symbol of victory. "The faithful believer will receive the Crown of life at death” (Rev. 2:10). 

On the top of the large harp is shown a wing.  Wings symbolize a divine mission and can mean renewal of strength. "But they that wait upon the Lord shall renew their strength, they shall mount up with Wings as an eagle” (Isa.40:31).

First mentioned in Gen.4:21, at that time in history, the Harp was considered the national instrument of the Hebrews. Saint Cecilia, martyred virgin, stands poised at this beautiful Harp, ready to accompany herself in songs of cheerfulness as well as praises to God. The Harp not only represents joy on earth, but also of the infinite joy in heaven. The church in heaven is described as celebrating the triumph of the Redeemer. The KJV Bible confirms this: "and I heard a voice from heaven, as the voice of many waters, and as the voice of a great thunder; and I heard the voice of harpers harping with their harps" (Rev.14:2). The gold-colored groups of musical pipes in the left and right lower panel of the window are of the same beautiful gold glass used in St. Cecilia's Nimbus around her saintly head. These three areas appear to be the most brilliant and dominate the colors, especially when the south light is at its brightest coming thru this multi-colored window, expressing music as the highlight in the life of St. Cecilia and also in the life of St. Luke’s.

This St. Cecilia Stained Glass Window was given in memory of Lillian Cecilia Mosser.

Saint Cecilia - Patroness of Musicians

Cecilia was a Roman martyr of the 3rd century, of whom almost nothing is known for certain. Her great popularity is largely due to the late 5th-century Legend. According to this, she was a young Christian Patrician, betrothed to a pagan called Valerian. She had already vowed her virginity to God and refused to consummate the marriage. 

Both her husband and his brother, Tiburtius, became Christians, were arrested and martyred. Soon afterwards Cecilia buried the two martyrs and were brought before the prefect. She refused to sacrifice, converted her persecutors, and was sentenced to be suffocated in her bathroom. This plan failed, and a soldier was sent to behead her. Three blows failed to kill her and she survived half-dead for three days. Later her house was dedicated as a church by Pope Urban who had encouraged her in her resolve. Unfortunately this story is unsupported by any near-­contemporary evidence.

Many similar Legends embellish the memory of some historic persons, but in the case of Cecilia a Church in the Trastevere, Rome, founded by a certain Roman matron called Cecilia, is at the basis of this story. It does seem, however, that the martyrs associated with Cecilia were indeed historical persons.

Her relics, with those of her companions, were translated by Pope Paschal 1 c.820 to her church. When it was rebuilt in 1599, the tomb of Cecilia was opened and the body was found incorrupt.  It quickly disintegrated through contact with air.  The sculptor, Maderna, however, made a life-size marble statue of the body (lying on the right side) as a maiden in her bed, her knees drawn together and seeming to be asleep. A replica of this statue occupies Cecilia's supposed original tomb in the cemetery of Callistus.

Cecilia has been most famous as the patron of musicians since the 16th century. The origin of this seems to be found in the anti­phon taken from her Acts.   As the organ (at her wedding feast) was playing, Cecilia sung (in her heart) to the Lord saying; “May my heart remain unsullied so that I be not confounded.”  At the foundation of the Academy of Music in Rome in 1584, she was chosen as its Patroness.  Dryden wrote a song for St. Cecilia’s Day, and Pope an “Ode~for Music on St. Cecilia's Day.”  The traditional account of her life is famous as the Second Nun's Tale in Chaucer's Can­terbury Tales.  Cecilia is the Patron of Albi Cathedral and a few of English churches and convents.  Her principal emblem since the 16th century is an organ (as in Raphael's painting in Bologna), or some other instrument such as the Harp, the first musical instrument mentioned in the Bible (Gen.4:21), but she does appear without emblem in ancient representations such as the mosaic in S. Apoll­inare Nuovo, Ravenna (6th century), and in Roman frescoes in the catacomb of Callixtus and in the church of S-Maria Antiqua.  There are also cycles of her life in stained glass windows at Bourges (13th century) and in frescoes at the Carmine church in Florence

                —The 0xford Dictionary of Saints, Oxford, New York