The following
article, written by Sharron A. Schaefer, was first published
in the March 8, 2000 edition of the Sewickley Herald and is
reproduced here by permission. by, Sharron A.
Schaefer From the silence of
Sewickley United Methodist Church The ambiance of a
worship place has always fascinated me.
Before one word is spoken or one note struck at the
organ, there is a silence that speaks directly to
the inner being. For me, that spoken
silence has always come through the
windows. Most
people walk into a church for the first time and
find their eyes immediately drawn to the
windows. They look different than they did
from the outside.... They are supposed
to. On the
inside, they help to set the mood for worship,
evoke an emotional response, embellish the
atmosphere. They speak of the history of
religion and perhaps, of the history of that
particular worship space. But how old are they,
where were they crafted, what do they
represent? I look at them and want to know
more. I
experienced a "crash course" in Stained Glass 101
at Pittsburgh Stained Glass, located on Warden
Street in the West End, and could have spent the
entire day in that studio. Established as a
corporation in 1909, the company has always been
the business of the Weaver family The
building they have occupied since the late 1800s
was once a stable for fire horses, but the space
has been adapted for their artistic
work. John
Weaver, owner/administrative head, has worked here
with his father since he was 16. Jay "Mike" Holtz,
general manager and craftsman, also has worked with
stained glass most of his life. Any knowledge I now
have of stained glass is due to these gracious and
knowledgeable men, artists who obviously love what
they do. With a
little knowledge from my "mentors," I embarked on a
personal journey of the church windows of Sewickley
with as much factual history as I could gather from
church historians and records. Sewickley United
Methodist Church, where I have worked as director
of music since 1986, was my first stop. (My thanks to Paul Collier
and his wife, Judy. Paul is the church's
historian and is well-versed on the story of this
church and the people involved in its
growth.) In the Simpson Room, which
was in 1881, the third worship structure built on
this corner by the United Methodists, there are two
stained glass windows, at either end of the room
(which would have been front and back of the
church). The outer window (driveway
side) features the Holy Bible as the focus and is
rich in vibrant color. A sheaf of wheat and a
crown grace the side portions or this half-circle
window. The inner window (sanctuary
side) depicts the Dove of Peace and is worked in
the same rich style. Since the existing
sanctuary was added to this room two years later,
this window is rarely noticed by visitors because
it became part of the wall of the Grand Hallway,
which connects the two sections of the building.
These windows, which are the oldest in the church,
originally cost $254.65. In the sanctuary, which was
finished in 1883 and attached to the Simpson Room
by the hallway, tall geometric windows, 12 on each
side of the church, are paired in various
colors. Each window stands 15 feet tall and
35 inches wide and is held in by a thick wooden
frame. These windows, representing the Twelve
Disciples, are American-made and were purchasedfor
$960.14. These windows are constructed of cathedral
glass with stenciled designs. Stencils are designed on a
sheet of brass and then coated with tar or wax.
After the sheet of glass is painted with a paste of
iron oxide and water, the stencil is placed on it
and the iron oxide is allowed to dry.
Whatever is not covered by the stencil is then
brushed off, and the entire piece is placed in a
tray of acid. The acid won't eat what is
covered with the tar or wax and thus the design is
formed. The process ensures uniformity since
the stencil can be used over and over. (Click here
to enlarge) The windows above the
sanctuary entrance were donated, or bequeathed
windows, American-made and installed in 1883.
The outer geometric windows are similar in style to
the larger ones, but they represent the bread and
wine by depicting wheat and grapes in their top
portions. They were bequeathed in loving memory of
members Martha L. Porter (died November 25, 1879)
and Nancy Way (died May 30, 1867). The central "artistic"
windows above the sanctuary entrance were donated
by the Reverend Charles E. Thorn and Judge J.W.F.
White. These windows appear to be made of cathedral
glass and also may contain a little opalescent
glass, which was created around the turn of the
century (late 1800s-early 1900s). The right figure, pictured
with a large anchor, seems to have a lamb or
lambskin over his shoulders. He is clad in a
red robe, blue undergarments, wears no hat, is
unbearded and has a halo around his
head. The anchor is the most
ancient symbol of the cross or Christian Church,
dating back from the 1st through 3rd centuries,
when the church had to remain underground.
The lamb symbolizes the sacrifice Christ made for
Christians. The figure on the left is
dressed in similar clothing, and the head wears a
white hood-like covering. The halo is
smaller. This figure is pictured with a large
staff-like cross in one hand and a blue book in the
other. A crown and cross, symbols of Christ
the King, are at the top of this window. (Click here
to enlarge) The cross became the symbol
of Christianity around the 4th century. The
book's symbolism could be the Bible, but this is
unclear. It is not known if the figures represent
any particular saints, whether they are both male,
or if the one with the head covering is female.
It is possible that Paul is
the one with the anchor, and Peter is the one with
the cross. The reference book, "Symbolism in
Liturgical Art" by Appleton & Bridges,
contained no definitive answers, and church records
hold no clues to the mystery. It is also possible
that the figures are generic and that the symbolism
of the items was the main message. The narthex and library
windows of the church are outlined with colored
cathedral-style stained glass, but largely composed
of pot white opal, which is a cathedral glass that
has been dimpled with rollers. A memorable candlelight
wedding was once held here where the bride and
groom set spotlights under the windows outside the
church. The sanctuary was blushed with a soft
warmth of colors. Combined with candlelight,
it was a feast for the eyes, and made a lovely,
intimate setting for Mary Beth and Michael Johnson's
wedding vows. The windows made for God added a
special blessing to their
ceremony. ©
2003 Sewickley United Methodist Church
Stained
Glass Windows
Windows for
God
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