The information found here was originally compiled and published in 1994 by a committee led by Jean Oast.
Introduction
Welcome to the Willet windows of Churchland Baptist Church! We hope to convey to you at least a little of our enthusiasm for the powerful ability these windows have to tell us the ancient and ongoing story of God's love. And, of course, that's why stained-glass windows came into being in the first place - to present church teaching in pictorial form to those who couldn't read (and, at the time, that was just about everybody). Gothic French, German, and English cathedrals were the first homes of such windows, which not only enhanced the soaring, light-filled atmosphere sought by cathedral builders but also transformed cathedrals themselves into "theological encyclopedias" able both to inspire and educate. One of the first statements concerning stained-glass windows comes from Abbot Suger of St. Denis, France, who pioneered the Gothic style when, in 1140, he rebuilt the choir of his royal church: "We caused to be painted, by the exquisite hands of many masters from different regions, a splendid variety of new windows." At a time when few could afford clear glass for their own houses, groups like guilds of cobblers, tanners, and furriers vied to donate what Suger called "splendid" stained-glass windows to God's House.
The process for creating a stained-glass window is as follows:
In a very real way, the windows of Churchland Baptist Church are a gift in perpetuity from John L. Moran to both this congregation and to all others who will see them. We look back in gratitude to the windows' donors as well, but it was John who first dreamed the dream. He not only worked closely on the design of the windows with Dr. Henry Willet of the Willet Stained Glass Studios in Philadelphia but also nurtured their installation as if they were his own children.
In 1969, John urged me to undertake research of the symbolism in these windows with the idea of my teaching the congregation about it. He probably chose me because he knew I love art and God and Jesus! This 25-year journey of study and meditation has led me into many byways; it has been my labor of love to God and this beloved church, and I have had a blast! John kept prodding me to put the results of my research into book form, and I kept demurring, "Maybe next year, John." Now, I feel like he's looking down from Heaven and saying, "Jean Oast, it's about time you got this into writing!"
Before we begin our walk around the windows, I need to issue a couple of caveats. First, since there is no universal set of Christian symbolism, you may be familiar with symbols other than those the Willet artists chose. Second, since even 25 years of research and discussion doesn't guarantee infallibility, please don't accept anything written here as the final word. Also, please know that I'll miss the more personal give-and-take inherent in our classes on the windows - but with that behind us, let us press on!
Some background on the use of symbols might also be helpful here. Whereas a sign only points to something, a symbol goes a step farther and actually embodies that something; it's a visual metaphor, in other words. The thrust of much Western symbolic art is strongly tied to Christian symbolism, many of whose symbols were borrowed from Greek, Roman, Egyptian, and Chinese symbolism. In fact, the only way many ancient symbols have survived is by way of this incorporation into Christian symbolism. Some symbols, however, come directly from scripture: a serpent, for instance, symbolizes evil, a rainbow, God's promise, and a dove, the Holy Spirit. Most symbols, though, were amassed during the Gothic and Renaissance periods. Just as the wonderful Negro spiritual tells us that "All God's Chillun Got Shoes," so too do we need to understand that just about "All God's Chillun Got Symbols": the higher the figure in the pecking order of church teaching, the more symbols he or she received. And, to even further confuse us, each symbol also has multiple meanings; but, with knowledge of only a few, we can begin to "read" not just the art in museums, but also that in churches - also that in our church.
Each of the eight windows in the Churchland Baptist Church sanctuary portrays an event in the life of Christ. Each window is comprised of a main scene; one or more vignettes - or "little pictures" - that flesh out the subject of the main scene; an upper and lower roundel, within each of which a symbol is featured; and eight diamonds, which surround the outer edge of the main scene. As we discuss each window, we will look first at the scripture upon which it is based, then at the main scene, the vignettes, the roundels, and, finally, at the eight diamonds.
The process for creating a stained-glass window is as follows:
- A patron selects a subject and examines an artist's plan for its depiction.
- The artist creates a cartoon – a full-scale drawing of the subject divided into individual numbered sections.
- Workers, using diamond or hardened-steel wheels, cut pieces of stained glass - which, when manufactured, were colored throughout by chemicals or dyes - to correspond to the numbered sections of the cartoon.
- On a sheet of glass placed atop the cartoon, workers piece together the "jigsaw puzzle" that results and pour melted wax between the individual pieces.
- In opaque enamels, the artist paints details on the glass.
- Workers separate and bake the pieces at a temperature of 2,000 degrees Fahrenheit to affix the enamel to the glass' surface.
- The artist reassembles the pieces and, to allow more light through certain sections, may use acid to etch away parts of the surface.
- Workers fit the individual pieces together with H-shaped strips of lead called calms, then waterproof the window by filling cracks between lead and glass with putty. They then solder the joints between the lead strips and fit the window into place.
In a very real way, the windows of Churchland Baptist Church are a gift in perpetuity from John L. Moran to both this congregation and to all others who will see them. We look back in gratitude to the windows' donors as well, but it was John who first dreamed the dream. He not only worked closely on the design of the windows with Dr. Henry Willet of the Willet Stained Glass Studios in Philadelphia but also nurtured their installation as if they were his own children.
In 1969, John urged me to undertake research of the symbolism in these windows with the idea of my teaching the congregation about it. He probably chose me because he knew I love art and God and Jesus! This 25-year journey of study and meditation has led me into many byways; it has been my labor of love to God and this beloved church, and I have had a blast! John kept prodding me to put the results of my research into book form, and I kept demurring, "Maybe next year, John." Now, I feel like he's looking down from Heaven and saying, "Jean Oast, it's about time you got this into writing!"
Before we begin our walk around the windows, I need to issue a couple of caveats. First, since there is no universal set of Christian symbolism, you may be familiar with symbols other than those the Willet artists chose. Second, since even 25 years of research and discussion doesn't guarantee infallibility, please don't accept anything written here as the final word. Also, please know that I'll miss the more personal give-and-take inherent in our classes on the windows - but with that behind us, let us press on!
Some background on the use of symbols might also be helpful here. Whereas a sign only points to something, a symbol goes a step farther and actually embodies that something; it's a visual metaphor, in other words. The thrust of much Western symbolic art is strongly tied to Christian symbolism, many of whose symbols were borrowed from Greek, Roman, Egyptian, and Chinese symbolism. In fact, the only way many ancient symbols have survived is by way of this incorporation into Christian symbolism. Some symbols, however, come directly from scripture: a serpent, for instance, symbolizes evil, a rainbow, God's promise, and a dove, the Holy Spirit. Most symbols, though, were amassed during the Gothic and Renaissance periods. Just as the wonderful Negro spiritual tells us that "All God's Chillun Got Shoes," so too do we need to understand that just about "All God's Chillun Got Symbols": the higher the figure in the pecking order of church teaching, the more symbols he or she received. And, to even further confuse us, each symbol also has multiple meanings; but, with knowledge of only a few, we can begin to "read" not just the art in museums, but also that in churches - also that in our church.
Each of the eight windows in the Churchland Baptist Church sanctuary portrays an event in the life of Christ. Each window is comprised of a main scene; one or more vignettes - or "little pictures" - that flesh out the subject of the main scene; an upper and lower roundel, within each of which a symbol is featured; and eight diamonds, which surround the outer edge of the main scene. As we discuss each window, we will look first at the scripture upon which it is based, then at the main scene, the vignettes, the roundels, and, finally, at the eight diamonds.
- Jean Oast
