There is now a html rendition of this article which looks better and has a table of contents. It's at https://davylawyer.appspot.com/uu/throop/stained-glass.html SONGS in LIGHT by Charles Clare Blauvelt, 1956 revision 0.01 THE STAINED GLASS WINDOWS & CHANCEL Throop Memorial Universalist Church Pasadena, California (see Glossary at the end of this document) DEDICATION To the church family of Throop Memorial in sincere gratitude for their innumerable expressions of kindness, friendship, and good will during the years it was my privilege to be their minister. FOREWORD Throop Memorial's present church building, of which Frederick Kennedy, Jr., is the architect, was dedicated on November 18, 1923---a worthy expression of the sacrificial loyalty of those whose gifts and labors helped make it possible, and a fitting monument to Dr. Carl F. Henry, the minister during its erection, whose unfaltering faith and devoted leadership contributed immeasurably to the successful outcome. This church edifice honors the memory of Amos G. Throop, a Universalist layman whose zealous devotion to the cause of liberal religion led in 1886 to the formation of a Universalist group in Pasadena. With a gift of more than $100,000 he also founded Throop College of Technology, now world-famous as the California Institute of Technology. Throop Memorial has the good fortune and distinction of being among the half dozen churches on the entire Pacific coast to have stained glass windows created by Charles J. Connick, a master craftsman in this medium. It is singularly fitting that the windows in this church of the free mind and spirit should have come from the Studio of Brother Sun as this "magician with light" called his workshop in Boston. Throughout Mr. Connick's career he fought to liberate his craft from the cheap commercialism, the shallow ostentation, the inane sentimentality, and the downright ugliness too often seen in the familiar picture windows, reminiscent of the late Nineties, made of heavy opalescent glass which attempt to rival painting by portraying with photographic realism events from the Bible, pastoral scenes from nature, or have as their subject huge figures of winged angels in flowing robes, and upon occasion even the likeness of those to whom the windows are dedicated---the whole effect one of murky, depressing gloom. With the free spirit of the pioneer and the daring of the experimenter, Mr. Connick waged unrelenting warfare against this expression of bad taste until, at the time of his death in 1945, he was one of the most eminent stained glass artists in the world, "a singer in light" whose windows reveal the ecstatic brilliance, the luminous color, the eloquent significance of symbolism, and the superb craftsmanship found in the windows of the twelfth end thirteenth centuries, the Golden Age of stained glass. Like all superb windows, those in Throop Memorial express the moods of the passing hours and the changing seasons. In full sunlight they have the radiant splendor of jewels, with the reds and the yellows, the greens and the purples, most brilliant; on dark days of clouded skies or rain, and in rise gathering twilight, there are rich depths of quiet, subdued beauty in them, with their blue tones shining forth like a benediction of serenity and peace. Charles Clare Blauvelt December, 1956 THE STAINED GLASS WINDOWS The description of the windows begins with those on the south side, to the left when facing the chancel, continues down that aisle toward the chancel, then along the north aisle to the rear of the church, and ends with the Great West Window. The South Aisle Windows The FIRST of these is the Monroe memorial, created by Henry Wynd Young in 1923 before Mr. Connick was commissioned to complete the remaining windows in this aisle. Though different in conception and design from this latter group, it contains several significant symbols, such as the crown that denotes the victory of the life eternal; the Anchor Cross of the catacombs, which recalls the fidelity of the early Christians under persecution and is expressive of hope that holds the soul "both sure and steadfast" amid the storms of life; the open Bible symbolizing the freedom of mind and spirit in the quest for truth and the liberty of individual interpretation which are distinctive qualities of liberal religion; the five-branched candlestick that suggests the synagogue and temple worship of the Old Testament; and the six-pointed star, traditionally known to the Jews as "the Star of David" or "the Shield of David," which is often found in the decoration of modern Jewish temples, and is sometimes employed in Christian usage to signify six attributes of God: power, wisdom, majesty, love, mercy, and justice. This window was given in memory of Mary Ella Monroe by her husband, Frank C. Monroe. The other four windows in this aisle were created by Mr. Connick in 1941, and while each is a unit in itself, together they record in vivid form the Beatitudes of Jesus---the eightfold way to a life of blessedness and joy which he set forth at the beginning of his Sermon on the Mount. The simplicity of the diamond pattern is in distinct contrast to the foliated geometric grisaille windows with their delicate leaf-like design. In the upper part of each panel is a colorful subject medallion which portrays a significant event from the life of Jesus expressive of the Beatitude represented. In the central tracery members are little red-winged seraphim and blue-winged cherubim, the traditional symbols of divine love and heavenly contemplation. The left panel in the SECOND window (first Beatitude window) inscribed "Blessed are the poor in spirit," has the Nativity scene in the medallion, with shepherds kneeling in adoration at either side of the Mother and Child. Above is the radiant five-pointed Epiphany star, the Old Testament "Star of Jacob" (Numbers 24:17) which finds fulfillment in the Epiphany or "manifestation" of the child Jesus to the Gentile world in the coming of "wise men from the East" now celebrated by the Festival of the Epiphany on January 6th. In the diamond field of this panel are the animals of the lowly cattle shed, and two doves in a cage which were brought as gifts for the presentation of the Child in the Temple. The two Miss Lincoln sisters, Myrtie and Emma, gave this window in honor of their friends, Mr. and Mrs. Fred K. Rexford, who, previous to the death of Mrs. Rexford in 1952 and of Mr. Rexford in 1954, were among those who arranged the chancel floral decorations. Their service to the church through many years is recalled in this panel by an altar bearing two candles and a vase of flowers. The other section of this window illustrates the Beatitude, "Blessed are they that mourn: for they shall be comforted." In the medallion Jesus stands weeping as he beheld the walled city of Jerusalem from the Mount of Olives. "When he drew near and saw the city, he wept over it, saying, 'Would that even today you knew the things that make for peace! But now they are hid from your eyes. For the days shall come upon you when your enemies . . . will not leave one stone upon another in you'." (Luke 19:41-44) In the diamond field is the figure of a kneeling woman who holds an inverted torch, the traditional symbol of mourning, while flowers complete the composition of this panel. The THIRD window represents the two Beatitudes, "Blessed are the meek: for they shall inherit the earth," and "Blessed are they which do hunger and thirst after righteousness: for they shall be filled." Humility of spirit is suggested by the figure of Jesus washing the feet of Simon Peter at the Last Supper, while man's quest for enlightenment of mind and uprightness of heart is represented by Nicodemus and Jesus in conversation regarding the latter's teachings. The lighted lantern on the floor between the two figures recalls the fact that Nicodemus, a prominent member of the Sanhedrin, the supreme judicial body of the Jews at that time, sought to keep his visit to Jesus secret by coming under the cover of darkness. The representation in this medallion of a rod with a serpent entwined around it has reference to Exodus 4:1-4 which records that a rod cast upon the ground by Moses became a serpent, a story which Jesus applied to himself in his conversation with Nicodemus, saying, "As Moses lifted up the serpent in the wilderness, so must the Son of Man be lifted up, that whoever believes in him may have eternal life." (John 3: 14-15) This window was given by the late Justine Bernice Parker in memory of her husband, Dr. Warren D. Parker, for many years the President of the Wisconsin State Normal School. The FORTH window, which was given by Mrs. Theresa Homet Patterson, symbolizes "Blessed are the merciful: for they shall obtain mercy," and "Blessed are the pure in heart: for they shall see God." The spirit of compassion and charity of judgment enjoined by the first of these Beatitudes is represented by the attitude of Jesus toward a woman scorned by others as sinful but above whom he raises his hand in forgiveness and blessing as she anoints his feet with costly ointment. In the diamond field of this panel are the Cross Potent, known also as the Jerusalem or Crusader's Cross, symbol of spiritual healing, and the broken sword, the traditional sign of mercy. The blue hepatica flowers were included in the design at the donor's request because from her childhood they have meant to her the resurrection of the earth to newness of life in the springtime. The second medallion pictures Jesus blessing little children, the prototype of the pure in heart. The lily in this panel below is the symbol of purity, while the iris is the source of the conventionalized fleur-de-lys, a Christian emblem used by the former royal family of France. The iris here is in memory of the donor's great grandparents who were associated with the court of Louis XVI and Marie Antoinette and came to the United States during the French Revolution. Mrs. Patterson, a lover of birds, asked that there be a flight of robins and bluebirds in this window, which make the more appropriate its dedication "to the birds and their music." The LAST window at the west end of this aisle is devoted to the Beatitudes, "Blessed are the peacemakers: for they shall be called the children of God," and "Blessed are they which are persecuted for righteousness' sake: for theirs is the kingdom of heaven." The figure of Jesus entering Jerusalem on a humble beast of burden amid the glad hosannas of the palm-waving throng, not as a military conqueror but as the servant of all, is the type of the peacemakers for whom the centuries have looked with longing eyes. The second medallion, which pictures Jesus being mocked by the Roman soldiers after they had scourged him, crowned him with thorns, and put a sceptre of fragile reeds in his hand, is significant of the treatment which the world accords its prophets of righteousness who attack its evil ways and call upon it to pioneer in new paths that will lead to justice, humaneness, brotherhood, goodwill, and peace. This window was the gift of Miss Eleanor Bissell and the late Miss Flora Harper. The North Aisle Windows This group of windows, on the right when facing the chancel, were all created by Mr. Connick in 1923 and are devoted to the parables of Jesus through which he sought to make clear his teachings as a way of life. "This is why I speak to them in parables, because seeing, they do not see; and hearing, they do not hear, nor do they understand." (Matthew 13:13) As in the windows of the south aisle, interesting variety is achieved in the entire plan of enrichment by the alternating diamond leaded patterns, with their significant details, and the foliated grisaille design. Again each panel supports its colorful subject medallion emphasizing the parable presented. Repeated suggestions of a checkerboard pattern introduced in the diamond paned windows were once explained by Mr. Connick while visiting this church as "touches of humor." The FIRST window at the west end of this aisle, the Conner memorial, has as its theme the Parable of the Soils, represented by the Sower and the Reaper, which sets forth the need for hospitality and responsiveness to the teachings of Jesus if they are to produce a fruitful harvest in human lives. "A sower went our to sow his seed; and as he sowed, some fell along the path, and was trodden under foot, and the birds of the air devoured it. And some fell into good soil and grew, and brought forth fruit a hundredfold." (Luke 8:5, 8) In the quatrefoil at the peak of this window is a sheaf of wheat, symbol of the bounty of God, while across the base is the text: "And it grew and brought forth fruit a hundredfold." Friends in North Attleboro, Massachusetts, and Pasadena gave this window in memory of the Reverend Ralph Everett Conner, minister of this church from 1900 to 1902. The SECOND window presents the Parables of the Good Samaritan and of the Lost Sheep. The first of these illustrates the meaning of true neighborliness. "A certain man was going down from Jerusalem to Jericho, and he fell among robbers who stripped him and beat him, and departed, leaving him half-dead. But a certain Samaritan, as he journeyed, came to where he was; and when he saw him, he had compassion, and went to him and bound up his wounds." (Luke 10:30, 33) The diamond field is enriched with occasional flower patterns that suggest the beauty of nature. These include two examples of the stylized form of a rose, which recalls Isaiah's prophecy that the desert will bloom as a rose at the coming of the Kingdom of Righteousness. There are also symbols related to the central theme of this panel, such as the grape, emblem of united and sacrificial human service; the red rose of divine love; and the flaming heart of ardent devotion. The subject of the companion medallion suggests God as the Good Shepherd who will not cease His search for "the lost sheep" of humanity until He finds them: "What man of you, having a hundred sheep, if he has lost one of them, does not leave the ninety-nine in the wilderness, and go after the one which is lost, until he finds it? And when he has found it, he lays it on his shoulders, rejoicing." (Luke 15:4, 5) Again in the background are portrayed the rose of love, the fruitful vine, and Jesus calling little children unto him. In the tracery at the top of the window is a horn of plenty, representing the harvest of good deeds. Inscribed on the glass at the base is Proverbs 17:17---"A friend loveth at all times, and a brother is born for adversity." Harvey and Wallace L. Hardison gave this window in memory of their mother, Dorcas Hardison. The THIRD window, the Throop memorial, portrays the Parables of the Ten Maidens and of the Lost Coin, the first a plea for spiritual preparation in meeting life's varied experiences and unexpected demands, the other an emphasis upon the value of one life lost and the joy that follows it recovery, as in the twin Parable of the Lost Sheep. "Then the kingdom of heaven shall be compared to ten maidens who took their lamps and went to meet the bridegroom. Five of them were foolish, and five were wise. For when the foolish took their lamps, they took no oil with them; but the wise took flasks of oil with their lamps." (Matthew 25:1-5) "What woman, having ten silver coins, if she loses one coin, does not light a lamp and sweep the house diligently until she finds it? And when she has found it, she calls together her friends and neighbors, saying, 'Rejoice with me, for I have found the coin which I had lost'." (Luke 15:8, 9) At the top of the window is a lamp, symbol of intelligence and wisdom, of the light of learning, knowledge, and truth. The inscription at the bottom reads: "Follow after righteousness, godliness, faith, love, patience, and meekness." (I Timothy 6:11) This window was the gift of Martha Throop Vaughn in memory of her mother, Eliza Wait Throop, wife of Amos G. Throop to whose memory the church is dedicated. The FOURTH window, the Gilmore memorial, portrays the Parables of the Talents and of the Good Shepherd. The first story teaches that despite the inequality of human endowment every one is given some talent, that in the same measure to which one is gifted, one is accountable, and that one's gifts are increased only by their faithful use. "The kingdom of heaven will be as when a man, going on a journey, called his servants and entrusted to them his property. Now after a long time the master of those servants came and settled accounts with them. And he who had received the five talents came forward, bringing five talents more, saying, 'Master, you delivered to me five talents; here I have made five talents more'." (Matthew 25:14, 19, 20) Below are designs of the acorn, denoting latent greatness, and the oak tree, indicating stalwart growth from small beginnings; the cross, symbol of the sacrificial spirit; the laurel of victory; and the open bag of money, signifying charitable beneficence. In the companion medallion a shepherd leads his flock. "I am the good shepherd: I know my own and my own know me." (John 10:14) Among the patterns in the diamond paned field are the Christmas Rose, symbol of the nativity; the radiant Epiphany Star that recalls the visit of the Magi to the Christ Child; the lily, symbol of purity; and the ship, representative of the Church in her progress over the sea of life despite stormy waves of indifference and divisions within and of hostility from the world without. In the tracery at the top is a strong castle of secure refuge, and at the base is the text: "Whether we live therefore, or die, we are the Lord's." (Roman's 14:8) Dr. Marcia Gilmore, one of the first women in the United States to be graduated from a medical school, gave this window in memory of her father, Quincy Adams Gilmore. The LAST window, at the east end of the aisle, represents the Parables of the Wheat and the Tares, and of the Pharisee and the Publican. "The kingdom of heaven may be compared to a man who sowed good seed in his field; but while he slept, his enemy came and sowed weeds among the wheat, and went away." (Matthew 13:24, 25) This Parable concerns the reality and the riddle of evil in a God-created world, the good wheat and the false wheat growing up together and warring against each other, with the tares often crowding out and supplanting the wheat---a problem which the parable does not solve except to emphasize the need of ridding the world of evil. The second medallion illustrates the sin of self-righteous pride and the beauty of a penitent, humble spirit. "Two men went up to the temple to pray, one a Pharisee and the other a tax collector. The Pharisee stood and prayed thus with himself, 'God, I thank thee that I am not like other men.' But the tax collector would not even lift up his eyes to heaven, but beat his breast, saying, 'God, be merciful to me, a sinner.' I tell you, this man went down to his house justified rather than the other; for every one who exalts himself will be humbled, but he who humbles himself will be exalted." (Luke 18:10-15) The scales of justice appear in the tracery at the top of this window, and the text at the bottom reads: "The memory of the just is blessed." This window was given in memory of George W. White by his wife, Dr. Nancy N. White, who was among the earliest women physicians to be licensed in this country. The Great West Window This window, richest in color and symbolism, brings to glorious climax the beauty and pictorial thought in those of the north and south aisles. Its principal theme, the triumphant Jesus, is announced by his figure which dominates the center lancet and is given emphasis by the upturned faces of the figures on either side: to the left, Mary, his mother, and Michael, traditional captain of the heavenly host; to the right, John the Evangelist, author of the Fourth Gospel, and Gabriel, "messenger of God." Throughout the window, especially with reference to these figures, the traditional language of color inherited from the Middle Ages proclaims its lofty message in setting forth the noblest ethical, moral, end spiritual qualities of mankind. For example, it is voiced by the red robe of Jesus, the color which symbolizes love and its related virtues of courage, endurance, fervor, compassion, self-sacrifice; also by his undergarment, white for faith, purity, serenity, peace, and joy. Likewise the contemplative color, blue, in the mantles of Mary and John, speaks of wisdom, fidelity, steadfastness, and truth; Michael's purple tunic, a color which unites the red of love and the blue of wisdom, is the symbol of mercy and justice; while green, the color of nature, seen in Michael's armor, in John's undergarment, and in the cloak of Gabriel, stands for hope, spiritual growth, the soul's victory, and the life everlasting. The other parts of the window were designed to complement and reflect this color scheme, as in the radiant areas of yellow, the color of gold, indicative of good works and the treasures of the spirit; also in the deep blues and cool greens of the luminous foliated grisaille pattern in the lower panels of the window which temper the brilliant sunshine---the whole a symphony of jeweled light that sings of "what rainbows teach and sunsets show." Beginning with the outer lancet on the left, note some of the details in each section of the window. The figure of Michael (means "like unto God"), one of the seven legendary princes of the heavenly host and considered by the ancient Hebrews as the guardian archangel of Israel, later by the Christians as protector of the Church Militant, represents the power of God. With red tongues of fire about his head, he stands clad in full armor, which is indicative of protection and security amid the battles of life; his helmet denotes courage; his golden shield, with the red cross of sacrificial service upon it, signifies trust; and his spear---with its point resting upon the head of a winged dragon, breathing forth flames, beneath his feet---is prophetic of the ultimate victory of good over evil. Below, in the medallion, are a flaming sword, sign of zealous devotion, and a pair of golden scales which represent divine recompense and justice. In the quatrefoil above the figure of Mary are three white Christmas roses, symbolic of the Nativity and of human love expressed by the universal trinity of father, mother, child. In the medallion are three Madonna lilies, signifying purity and symbol of the Annunciation. On. the blue vessel containing these lilies is Mary's monogram which weaves together the five letters of MARIA, the Latin form of her name. The Hebrew form, MIRIAM, may likewise be found in this monogram; and the letters A. M. R. are also in it, which the churchmen of medieval days interpreted as Aye, Maria, Regina, or Hail, Mary, Queen. Crowning the peak of the entire window in the quatrefoil above the figure of Jesus is a ruby-red Greek cross, the sign of his crucifixion, called also the Cross Fleurie (French: "flowery") because each arm terminates in three petals which suggest the effect of a flower. This cross is in a circle, the emblem of eternity because it is without beginning or end. In the two narrow traceries just above his figure are the monograms IHC and XPC, the ancient Greek letters signifying Jesus and Christ. The tri-radiant nimbus encircling his head is the symbol of his spiritual divinity. In the medallion below is the Nativity scene, the star shedding its light upon a domed temple with towers on either side, and at the bottom the figures of Mary in blue and of Joseph in red, kneeling by the manger-crib of the Christ Child. In the quatrefoil above the figure of John the Evangelist is a golden chalice from which issues a serpent, recalling the tradition that the priest of Diana attempted to slay John with a poisoned drink. The golden book that he holds is the emblem of perfect knowledge, while the pen in his hand is indicative of the New Testament Gospel which bears his name. In the medallion beneath is the high-soaring eagle, the traditional symbol of John because of the exalted heights to which he rises in his account of Jesus' spiritual grandeur and divine nature. In the outer lancet on the right is the figure of Gabriel, who represents the royal dignity of God and is, like Michael, one of the seven legendary princes of the heavenly host. As the traditional messenger of God, Gabriel is always pictured as the annunciator to Mary of the coming birth of Jesus and to the disciples the proclaimer of the glad tidings of Jesus' victory over death. About his head are tongues of red flame, and in his right hand is the sceptre of lilies, indicative of the Annunciation, a symbol repeated in the medallion beneath his figure. where three lilies are encircled by a golden crown, the emblem of eternal life. It is of interest to remember that Gabriel is believed by the followers of Mohammed to have dictated the Koran to their prophet. On the glass at the foot of the window are inscribed the words of the Golden Rule announced by Jesus: "As ye would that men should do to you, do ye also to them likewise." (Luke 6:31) At the time of its placement in 1923 this window was dedicated to the memory of Dr. Norman Bridge, physician, author, and philanthropist, who was a generous benefactor of the California Institute of Technology, of the University of Southern California, and an esteemed member of Throop Memorial. THE CHANCEL The original plans for Throop Memorial included a chancel, elevated above the floor of the nave, but not until the summer of 1950 was its construction made possible through the generous bequest of Herbert and Martha Arletta Jenks, in whose memory the chancel is dedicated. The carved oak reredos behind the altar, however, was placed when the church was built. This reredos was designed by Mr. Kennedy, architect of the church, and wrought by H. H. Gates, builder of the church. The altar and the pulpit were designed by Fitch H. Haskell of Mr. Kennedy's office, and carved by Charles Pechanec, formerly of Austria. The pulpit symbolizes the teaching and prophetic functions of the Church in setting forth truth. Its five sides represent Jesus and the Four Evangelists: Matthew, Mark, Luke, and John. The hymn board on the wall to the right of the chancel was presented to Throop Memorial in 1923 by Mrs. A. E. H. Clark, the one on the left wall by Mrs. Mildred Irvine in 1951. The three manual organ, built by E. A. Spencer, is a memorial to Dr. and Mrs. Everett L. Conger. It was during the pastorate of Dr. Conger (1887-94) that the former Universalist church was built at the southeast corner of Raymond Avenue and Chestnut Street. In 1951 a set of pipes was added to this organ and dedicated in recognition of the twenty-six years which Professor Willard G. Smith had at that time served as organist of Throop Memorial, also as its choir director during twenty of those years. [In olden days a cross was present on the altar (removed in the 1970's).] The cross upon the altar of a liberal church speaks of no doctrine of vicarious atonement but of the power of the sacrificial spirit to overcome all evil and contribute to the moral progress of mankind. [More discussion of the cross omitted.] GLOSSARY of WORDS annunciation = the announcement by Gabriel to Mary of her conception catacombs = underground burial chambers in Rome for early Christians cherubim = angels of second order: a rosy-cheeked child with wings fleur-de-lys = a heraldic symbol resembling 3 petals of an iris foliated = leaf-like grisaille = monochrome art work in various shades of grey (or other color). Only a small sector is the same color. Throop's are also overlaid with large blue X's and red circles. hepatica = the buttercup family of flowers hosanna = a shout of praise or adoration lancet = a high narrow window section with a lancet arch at the top. The Great West Window consists of 5 lancets. mantle = a loose, sleveless cape or cloak medallion = (like a medal) a large circle, etc. enclosing artwork nimbus = a radiant cloud surrounding a deity Pharisee = a member of a strict Jewish sect Publican = a tax collector in Roman times quatrefoil = a leaf/ornament with 4 leaflets/lobes reredos = the decorated wall behind the altar of a church sceptre = a wand as a symbol of royal power tare = a biblical weed seraphim = angels of the highest order: a child's head with wings tracery = curved ribs of exterior cement dividing glass into sections (near the top). Best viewed from outside. CREDITS The original booklet (in fine print and short supply) was computer =scanned (with manual corrections) in 1999 by Rev. Dr. Daniel O'Connell (UU Parish Minister) of West Redding, Connecticut. It was then edited by David Lawyer (member of Throop Church): Ordered windows in all =caps (such as "THIRD"). In the CHANCEL section removed most references to the cross and other furnishings no longer present. Added short Glossary.