Stained Glass windows are magical paintings with light, light which is colored, refracted, obscured and fragmented, constantly changing over the course of a day. Bounded by the limits of the medium of glass and the architecture in which the glass is set, natural light is treated to an endless progression of transformations as it is experienced through the vision of the creative artist. Orientation to the sun by virtue of architectural placement in conjuction with the earth's rotation and revolution determine the particular presentation to which the human psyche will react. Added to the dynamic physical phenomenon is the dynamic organic phenomenon of human vision, constantly at work adapting and orienting the individual to whatever the luminous environment. At sunrise the window facing the east will be the first alive as "rainbows of light" or "colored gems". The others must wait for awakening . By midday, the south windows will be aglow from the direct rays of the sun, with the north windows somewhat muted by the overall interior light level. On a cloudy day the north facing windows recover their brilliance. On a late sunny afternoon, the direct rays of the sun through the west windows enhance the intense blues which are supplanted by the fiery warm colors, particularly the reds, which are caught by the rays of the setting sun.
In our little community church in the garden in the city, as Jackson Heights was originally known, we are indeed blessed with a magical treasure, a storehouse of beauty which we want to share with our whole community in this seventy-fifth anniversary. These windows where not here from the very beginning. The congregation was graeful for this simple but elegant Tudor-revival country church which would complement the varied revival styles of the garden apartment complexes and the English garden homes of the neighboring streets. As the congregation grew in numbers and stature, it was felt that the sanctuary should take on a more elegant and imposing posture. By the 1950's, the community was no longer a remote retreat but was now very much a part of the city at large. It was felt that a city church should look like a city church. With all the trappings, including a full set of stained glass windows and damask-covered altar panels. The Rev. Karl F. Moore motivated the congregation to raise the necessary funds to carry out the artistic interpretation of the teological core of the Christian message: The Great Invitation and the Great Commission, as revealed in the life of Christ, the phe prophets and other great human beings through the ages. These themes of "Welcome" and "Outreach" have greatly influenced the ministry, the spiritual and social consciousness which their eternally current and relevant message. As we observe the seventy-fifth anniversary of the founding of Community United Methodist Church, we pause and pay tribute to Dr. Moore to serve the Lord through this church for 24 years 1950-1974. We gratefully acknowledge the leadership of the church and the donors who made possible these beautiful windows. We thank God for the artists of the Payne-Spiers Studio in Patterson, New Jersey through whom Dr. Moore's vision became a glorious reality.
Church bulletins from the installation period of the 1950's make clear the intention to create a legacy of lasting beauty and inspiration for generations to come, building upon the finest traditions of the past. Altough the church architecture was a combination of Gothic Revival and Tudor Revival, the intent for the new windows appears to have benn a return to the methodology of the early medieval masterpieces exemplified by the 12th-13th century masterpieces in France. This includes production of glass using the "pot metal" technique wereby sand, soda and lime are fused together in a pot , or crucible at a very high temperature, at which time chemicals, metals or metalic oxides are added to the molten mixture to produce a full range of colors. The product is known as "pot metal" or "pot metal glass". The glass blower gathers up the required amount of molten metal on his long rotating pipe and blows a bubble or blows the shape in a mold. The ends are cut off the bubble and the sides of the resulting cylinder are split. Oven treatment produces flat sheets approximately 15"x17". Contemporary glass produced in this manner is called "antique glass" Variation in color and thickness even within a single sheet of glass contribute to the infinite possibilities available to the creative team. This process which was succesfully reproduced in 1863 in England contributed to the Gothic Revival movement. Gothic Revival Style became popular in the United States with stained glass in the style of the 15th and 16th centuries often imported from England. In the 1880's opalescent glass with its vast landscape paintings on glass became fashionable, particularly the work of Louis Comfort Tiffany. By the turn of the century, interest once again was renewed in the principles and processes of the 12th and 13th century. Artists desired to create pictures from glass, rather than pictures on glass. However the influences of the artistic styles through which the medium has passed over the centuries, could not be totally ignored. Thus, our windows produced in the 1950's are grounded in the materials and methods of the 12th-13th centuries but show the influence of the heritage of subsequent movements.
The subject of our windows were probably selected by Dr. Moore and approved by a church committee and the most generous potential donors. The Payne-Spiers studio of Paterson, New Jersey was commisioned to produce a small, scale design incorporating these subjects. Once approved, a full scale design, would probably have been executed in watercolor to simulate somewhat the translucence of light. This design would be translated into full-size working drawing, the "cartoon", showing the exact dimensions of the completed window. A tracing from the cartoon is cut up to make templates for each piece of glass, minus the shapes are cut and filled, reassembled by the glazier on a large piece of clear glass to ascertain whether the color, tonal value and type of glass follow the original design. With light from behind, the artist now uses black or brown vitreous paint with a variety of brushes for shading, matting, stippling and line work. Silver nitrate "stain" may be used to affect the colors. To permanently fuse the paint and stain with the glass the pieces are fired in a kiln. Given the fact that stained glass windows are pictures FROM pieces of glass, the method and material of joining the pieces is an equal component in the creative process. The shaped pieces are inserted into H-shaped lead stripes called "cames" and joints are soldered. The final union is "cemented" together to prevent leakage in the rain.
The Community Church windows were designed and executed in the Payne-Spiers Studio located in Paterson, New Jersey. The principals in this very long partnership were George Payne and George Spiers. At this some point they separated and George Spiers continued the business under the dual name. George Spiers and/or one or more of the eighteen workers in his studio probably were the designers, given the similarity of style to that seen in windows located in the Church Of The Epiphany in Allendale, New Jersey. That church building originally housing an Episcopal congregation is now home to a Presbyterian body. From the turn of the century, Paterson was the hub of stained glass activity in the Northeast. Many studios were located here, employing numerous workers. Further research is underway to locate other examples of the work of the artists from this studio. Only the windows along the west wall of the nave carry the studio signature, although all of the windows are attributed to the single studio.
The totality of the windows represent a coherent expression of the Christian message. "The Great Invitation" with its text from Matthew 11:28, "Come to me. All who labor and are heavy laden and I will give you rest. Take my yoke upon you and learn from me; for I am gentle and lowly in heart, and you will find rest for your souls. For my yoke is easy, and my burden light.", is the theme of the great clerestery window over the altar in the front of the sanctuary. Dedicated on January 27th, 1957 in memory of Myron B. Steward who had been an officer of the church for many years prior to his death in 1955, the southerly facing, four-lancet group is composed of some 8,000 pieces of antique glass in the style of the 13th century cathedral windows. The eye of the worshipper is drawn aloft to the central figure of Christ with outstreched hands in the center left lancet reaching out as he calls to the family of God's children in the adjoining lancet. Narrow red bands outline each of the large medallions as well as the smaller medallions which fill each light. The cherubs "do always behold the face of my Father". One holds the yoke which takes the burden of life easy. In the various smaller medallions beginning at the upper left, reading down and across, are others whom he calls: the little children, the rich young ruler, the fishermen; at the bottom of the second lancet is the prodigal son; to the right, the lame and the sick. In the lancet at the right from the top, the calling of Jude the obscure, Christ at the door, the disconsolate: the beraved, the broken in heart the forsaken. In the tracery windows above, we have the familiar symbols of the Cross and the open Bible, the Cross and the Chalice , the Chi Rho, and HIS and Crown. These symbols are repeated many times in the various other windows . (This window was named "THE WELCOME WINDOW" by members of the Confirmation class, who added, "You feel right at home, you feel welcome when you come to church.")
The corresponding clerestory window facing the north, having the theme, "The Great Commission" was dedicated on December 15th, 1957. The gift of 265 members and friends of the church, it symbolizes the intent of Community Church, that jointly, we serve as "ministers" (witnesses) of our faith and belief in Jesus Christ as our Lord and Savior. It portrays our need to carry out the message given by Jesus to his first disciples and to each of us as we share the Gospel with people everywhere. This window is also composed of four lancets headed by two tiers of tracery windows showing angels and a series of Christian symbols. In contrast to the outlined medallions of the Invitation window, the artist has chosen to have the central picture flow across the window lights, ignoring the stone mullions in the manner of Reformation windows of the early 16th century in England. The central figure is Jesus on the mountain, again reaching out, teaching his disciples, urging them to "Go therefore and make disciples of all nations, baptizing them in the name of the Father and of the Son and of the Holy Spirit, teaching them to observe all that I have commanded you; and lo, I am with you always to the close of the age."(Matthew 28:1920).
In all of these windows we see subtle influences of the Arts and crafts movement of the 1890's which fostered a more natural look with fluid lead lines and brightening with the use of white glass. The artists of the Art Nouveau Movement contributed an attempt to achieve greater naturalism in their subjects which were combined with scenic backgrounds with perspective and depth, using softer more subtle colors. We see evidence of this influence in the scenic details in each vignette. The emphasis on making quality widespread available and the reaction to mats production Inherent in this movement fostered the development of studios such as that of George Payne and George Spiers in Paterson.
Those who have accepted the Great Commission through the ages are represented in a series of events and persons surrounding the central figure of Christ. Beginning in the extreme left lancet, we see the conversion of Saul, later called Paul (Acts 9:1922. To Paul, as to many of like temperament, Christ came not as a long educational process, but as in a thunderstorm.
Below, we see Stephen. His zeal ("faith and power" Acts 6:5) led to his becoming the first Christian martyr. He was one of "the seven", usually regarded as the first deacons, appointed to distribute food and other necessities to the poor of the growing Christian community in Jerusalem, in order to give the Apostles more time for the spiritual activities of their ministry. But "the seven" were apparently expected not only to "serve tables" but to teach and preach, as Stephen did in the synagogue. His martyrdom touched off a persecution which scattered Christians to Samaria and probably as far as Damascus. Paul, the Apostle chiefly responsible for the mission to the Gentiles, experienced a Christian conversion that is closely related to Stephen's martyrdom.
To the lower left, we see David Livingstone, a Scottish explorer and medical missionary, interested and sympathetic to the African peoples, who was an inspiration to many in Europe, and who was responsible for much of the interest in missions of his time. in 1865 he discovered the Victoria Falls. Stanley then joined him on a journey to the north end of Tamganyika.
Also in the same panel we find Dr. Albert Schweitzer, Alsatian theologian, musician and medical missionary. A doctor, he established a hospital at Lambarene, Gaban, which received broad international support and at which he lived most of his life. An organist and expert on the music of Bach, he wrote a biography of the composer and co-edited his music. His ethical philosophy, developed in his phylosophy of civilization, rested on his concept of "reverenece for life". He was awarded the 1952 Nobel Prize.
Continuing to the right below the central grouping, we find Roger Williams, American colonial clergyperson, advocate of religious freedom, founder of Rhode island. Born in England, he was banished from Massachusetts by the Puritans. He established Providence, Rhode Island and welcomed religious dissenters. He was a trusted friend of the Indians. In the ame group we see William Carey a well known missionary
Below Christ we see Mary Smith, a Sunday School teacher who symbolizes the spirit of dedication and devotion of the volunteers in the education and mission movement of the Christian church, and particularly in this church. She is joined by Sir Wilfred T. Grenfell, an English physician and missionary, who, after serving a missionary to North Sea fishermen, spent over 40 years in Labrador and Newfoundland building hospitals and nursing stations, establishing cooperative stores, agricultural centers, schools libraries and orphanages.
At the top of the right lancet, we find Peter Cornelius,a centurion (captain) of an "Italian band" stationed in Cesaria , who was considered an outsider on synagogue worship by the Christians of Jewish background inspite of his being reverent, generous, just and otherwise acceptable. Simultaneous visions coming to Peter at Joppa dn to Cornelius at Cesarea led to Peter's acceptance of God's breaking down the barriers between Jew and Gentile believers in Jesus Christ. The baptism of Cornelius and others marked the first Gentile converts through Peter.
Just below we discover Peter, the evangelist and the Ethiopian, a eunuch of the staff of Queen Candace (Acts 8:26-39) who had been a convert to Judaism, through the ethiopian convert, Philip contributed to bringing Christ message to N.E. Africa.
In the lower right hand corner, we find St Francis of Assisi the son of a wealthy merchant who underwent a conversion at age 22 and became markedly devout. He exemplified humility, love of poverty and joyous religious fervor. He is associated with simple love of nature and people and is often depicted preaching to birds. Sharing the corner is John Wycliff, an English reformer who believed that Christ is humankind's overlord and who championed the people against the abuses of the church. He produced the Wycliff Bible.
The tracery windows depict a parade of four historical figures who have carried out the commission in their work: Leonardo da Vinci, Galileo, J.S. Bach, and Abraham Lincoln. Interspersed with these are Christian symbols: the cross and crown, the lamp, the ten commandments and the butterfly of eternal life. A pair of angels crown the assemblage and lift our eyes to heaven.
The eye level story windows in the Sanctuary depict episodes in the life of Jesus and some of his teaching parables. Beginning at the left front on the East wall, we see the appearance of the shepherds, (Luke 2: 8020), the Holy Family (Luke 2: 1-20), and the Wise Men bringing gifts (Matthew 2: 1-12). In the borders surrounding each medallion we see Christian symbols of the lamb, the candle , fleur de lis, cross. The beads of the Epiphany gift are repeated framing each of the first floor windows. Painting and shading are particularly beautiful in this group. Below each medallion is a small medallion carrying a larger symbol of the concept above. This arrangement is repeated in each of the windows.
As we proceed to the left around,the church we see the boy Jesus in the carpenter shop, the Baptism of Jesus by John The Baptist (Matthew 3), the Temptation (Matthew 4: 111), the Mount of Transfiguration (Matthew 17). Jesus, the teacher is seen in ' the Sermon on the Mount (Matthew 5,6,7), the home of Mary and Martha (Luke 10:3842), the Parable of the Bower (Matthew 13), the Parable of the Good Samaritan (Luke 10:2537), and the Parable of the Prodigal Son (Luke 15:1132). Jesus is seen weeping over Jerusalem (Matthew 23:3739), the Last Supper (Matthew 26: 1735) and the Triumphal Entry into Jerusalem (Matthew 21:111). The final window portrays Jesus praying in the Garden of Gethsemane (Matthew 26:3646), the Crucifixion (Matthew 27: 3254) and the Resurrection (Matthew 28).
High above the Sanctuary the rafter windows bear different forms of the cross: the Celtic, Latin and Jerusalem.
In the narthex we find two windows depicting Martin Luther, the tower of the Reformation, and John Wesley, the founder of Methodism. A darkly clad figure based in city buildings is shown with a distant waiting horse, ready to carry him off as he fulfills his mission: "The world is my parish." The delicate shading and juxtaposition of light and dark make this a particularly beautiful window.
The Library holds two windows, one facing East portraying the parable of the Lost Sheep, the Good Shepherd, and the Anointment of Jesus; the other showing the prophets Jeremiah, Amos and Hosea, and Isaiah.
This Anniversary celebration has given us a new opportunity to look at our "Sermons in Glass" with a fresh eye. Newcomers to our church, as well as those attending for many years are developing an appreciation the wealth of messages packed into a small space by the use of rich symbolic imagery. There is always something new to discover. The magic of "the rainbows at light" experienced at different times of the day create an atmosphere for worship second to none. We hope you will stop in often to sit for a quiet moment and enjoy their beauty. Accept the Great Invitation, "Come to Me, all who labor and are heavy laden and I will give you rest." Then, quoting John Wesley, "If your heart is as my heart, then give me your hand." Let us go together from this place into the community, ready to do our part to make the world a better place and help to build God's Kingdom here on earth.
May, 1994
Jackson Heights, New York
Doris DerwikWurgler
Rev. Austin H. Armitstead
Barbara Nelson
