huguenot memorial church booklet

8/8/2019 Huguenot Memorial Church Booklet

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A STORY OF THE WINDOW

In Memoriam George Alexander Phelps,November 16, 1873 October 30, 1916

The Chancel window is a picture composed of hundreds of little pieces of colored glass, held

together by thin strips of lead. The window, given in memory of George Alexander Phelps,

consists of five panels of which the center panel is approximately 20 feet in height.

It was the aim of the Committee to whom the details were entrusted to combine beauty of

thought and appropriateness of design. In the execution of its ideals, Mr. Clement Heaton,

artist and craftsman, was singularly successful. Not only in point of architectural period but

also in the actual manual processes - incident to the transfer of the design to the glass, and inthe firing, cutting and leading of the many component parts, Mr. Heaton followed historic

methods and has obtained a result which harmonizes admirably with the fifteenth-century,

English-Gothic setting.

A summary of the elements of the design is as follows: In the center, beneath the tracery

wherein are shown Angels bearing scrolls with the text, Holy, holy, Lord God Almighty, is

the figure of Christ as Lord, while on either side are the great figures of the New Testament,

Matthew, Mark, Luke and John. Forming the lower third of the design on either side of the

figure of Christ as Teacher of the People are the Old Testament Prophets, Isaiah, Jeremiah,

Ezekiel and Daniel.


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PHELPS WINDOW

Photos by Robert Fertitta

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SAN CTUARY - EAST ELEVATION

Lancets 8 & 9:

Lancets 10 & 11:

Lancets 12 & 13:

Lancets 14 & 15:

Lancets 16 & 17:

Lancets 18 & 19:

Given in memory of Charlotte E. Cowles, shows two angels. The inscription on the left panel is

"The Lord is my Sheperd" and on the right "He restoreth my Soul".

Given in memory of Merton Covey Robbins, shows David on the left and St. Francis on the

right.

Given in memory of Kenneth Hart Muir, consists of two panels. The left panel cites I Samuel

16.19 and 17.40 and the right panel cites I Samuel 20.11 and II Samuel 9.6.

The left panel, given in memory of Charles Ripley Gillet and Katherine Van Kirk Gillet,

depicts Cyrus and Ezra, and Joseph and the Pharaoh. The right panel given in memory of

William Kendall Gillet, shows St. Peter and St. Mark and St. Mark preaching in Alexandria.

Given in memory of Frederick Abelman and Catherine Weber Abelman, consists of twopanels. This left panel cites Ruth 1.16 and the 23rd and 121st Psalms. The right panel cites John

9.5, 14.2 and 14.6.

Given in memory of John Henry Dey and Emeline Matilda Cowles, consists of two panels: St.

John on the left and Mary on the right.

Huguenot Church from Lancet # 11


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SANCTUARY EAST

10 11 12 13

14 15 16 17 18 19

8 9

The windows in the Sanctuary are composed of twelve double panels with six on each side.

The windows shown above are the first six on the East side of the Sanctuary.

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SANCTUARY WEST

27 28 29 30 31 32

33 34 35 36 37 38

The windows shown above are the six on the West side of the Sanctuary.

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Lancet # 8 Lancet # 9

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In Memoriam Charlotte E. Cowles, b. Dec. 1850 d. May 1920.


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# 8 & # 9: Shows two angels. The inscription on the left panel is The Lord is my Sheperd and on the

right He restoreth my Soul.

The Lord is my Sheperd. He Restoreth my Soul.

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To the Glory of God and Loving Memory of Merton Covey Robbins, 1875-1937.


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# 10 & # 11: This window shows David on the right and St. Francis on the left. Also an image of the

Huguenot Memorial Church appears at the lower right.

St. Francis David

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Seal of General Assembly of Presbyterian Church U. S. A. Huguenot Church


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21

In Loving Memory -- Lt. Kenneth Hart Muir, 1916 - 1942.

Having Fulfilled His Course in a Short Time, He Fulfilled Many Years Wisdom of Soloman 3-9


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# 12: I Samuel 16.19: So Saul sent messengers to Jesse and said, Send me your son David who

is with the flock.I Samuel 17.40: He took his stick in his hand and chose for himself five smooth stones

from the brook, and put them in the sheperds bag which he had, even in his pouch, and

his sling was in his hand; and he approached the Philistine.

# 13: I Samuel 20.11: Jonathan said to David, Come, and let us go out into the field. So both of

them went out to the field.

II Samuel 9.6: Mephibosheth, the son of Jonathan the son of Saul, came to David and fell on

his face and prostrated himself. And David said, Mephibosheth. And he said, Here is your

servant!

I Samuel.17.40 I Samuel.9.6

I Samuel.16.19 I Samuel.20.11

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23

In Memory of Rev. Charles Ripley Gillet, 1855-1948,

and his wife Katherine Van Kirk Gillet, 1857-1942, William Kendall Gillet, 1860-1914.


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# 14 & # 15: The left panel, depicts Cyrus and Ezra and St. Mark preaching in Alexandria. The right

panel shows St. Peter, St. Mark and The Pharaoh and Joseph.

Cyrvs and Ezra

Solomans Temple

St. Peter, St. Mark

The Pharaoh and JosephSt. Mark Preaches in Alexandria

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In Loving Memory of Frederick Abelmann and His Wife, Catherine Weber Abelmann.


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# 16: Ruth 1.16: But Ruth said, Do not urge me to leave you or turn back from following you; for

where you go, I will go, and whre you lodge, I will lodge. Your people shall be my people, and

your God, my God.

# 17: John 9.5: While I am in the world I am the Light of the world.

John 14.2: In My Fathers house are many dwelling places; if it were not so, I would have

told you; for I go to prepare a place for you.

John 14.6: Jesus said to him, I am the way, and the truth, and the life; no one comes to the

Father but through Me.

John 14.2, John 9.5Ruth.1.16, Psalm.23

John 14.6Psalm.121

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27

To the Glory of God and in Loving Memory of John Henry Dey

and Emeline Matilda Cowles, Wife of John Henry Dey.


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John Mary the Mother of Jesus

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FLOOR PLAN

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HEYLMAN-WHITE

WINDOW

PHELPS

WINDOW


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Photos by Robert Fertitta

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HEYLMAN-WHITE WINDOW


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In designing the Great Front window for the Huguenot Memorial Church the artist was

presented with both with an unusual opportunity and with certain problems and limitations.

This great seven lancet, traceried window, filling the whole facade of the Church, called for a

treatment that would produce in these magnificent openings one of the truly glorious

windows in the United States. If there had been no other stained glass in the Church there

would have been several possible approaches towards achieving this purpose. As it was, there

already existed in the Chancel of the Church one of the finest examples of 15th Century

stained glass in the country, and it therefore seemed fitting and proper that the new window

should be carried out in the same manner and tradition, bearing in mind, however, that its

northern exposure and its position in the reat of the Church called for a fuller palette and a

more vibrant effect.

15th Century glass, or canopied windows as they are often called because of the stained

glass architectural canopy and base which frames the subjects and figures, was used in medi-eval times to produce some of the loveliest glass in the Cathedrals and Churches of both Eng-

land and France. In modern times, however, this type of treatment for stained glass has fallen

into disrepute due to commercial handling of both the design and the glass itself. Instead of

the architectural canopies and bases being carried out entirely free hand, with every pinnacle

and arch varying and having its own artistic charm and merit, painted on so-called "stained

glass whites" (really glasses of varying light tints of ambers, blues, greens and pinks, giving a

glorious, shimmering glassy effect) -- of late this has been accomplished in a highly commer-

cial manner. The canopies are bases in each lancet have been made from a single drawing in

a vain, repetitious way. Very often only half the canopy was drawn up, and the same drawing

reversed to obtain the other half, and all was painted on thin, white glass, usually all from one

pot, with no variation of tint or texture. The paint was laid on in a hard, slick manner, killingall the vibrant quality of the glass.

A close study of the new window will reveal the fact that every square inch has been care-

fully and prayerfully to achieve one harmonious whole. Figures, bits of symbolism and other

points of interest will gradually unfold themselves, but it should not be forgotten that the first

purpose of a stained glass window is to create a perfect liturgical effect aand a true ministry

of color. However, just as the Bible itself is at the same time beautiful literature while being

filled with great spiritual truths for those that seek them, so also in this window will be found

portrayed the history of the Passion and Resurrection of our Lord.

Beginning with the left panel, the first scene portrayed is the Triumphal Entry into Jerusa-lem on Palm Sunday. In the next lancet, Mary Magdalene is shown anointing the feet of our

Lord. In the niche directly above, clutching a money bag are the Dissenting Disciples to whom

our Lord replied when they complained of Marys waste of the precious ointment: She hath

wrought a good work upon me. (Mat:26:10) At the top of this lancet our Lord is shown

teaching the Disciples that most difficult of all lessons, the lesson of humility. He is shown as

a servant, His ruby Kings robe laid aside, washing the feet of Peter.

A Story of the Window

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The three central lancets are devoted to The Last Supper. Our Lord is shown with the

Twelve Disciples in the act of consecrating the Elements. This do in remembrance of Me.

The figure of Christ dominates the scene, as it does the entire window. The Disciples are gath-

ered around the horeshoe shaped table (similar to tables actually used in those days, and

greatly enhancing the vertical effect so necessary in all fine stained glass). The various disciples

are shown in characteristic attitudes as they listen to the words of their Master. John is about

to go to his Saviours side. Peter with difficulty restains himself from making some comment.

Some are in prayer, some in rapt devotion. Matthew is shown in the bottom right hand panel,

making notes of this historic occasion, later so growingly transcribed in his glorious Gospel

account. The psychopathic Judas is shown fleeing the Glory from which he may longer derive

benefit.

In the niche in the lower central lancet formed by the horseshoe table is a symbolic treat-

ment of the First Passover which our Lord and His Disciples were commemorating, andwhich from His time on was to acquire new significance. The family group is shown in prayer

before partaking of the First Passover Feast. The staffs in their hands are symbolic of their

readiness to depart out of the land of their bondage. The angle of Jehovah is passing over

their home because the blood of the lamb without Blemish sprinkled on the lintel, while the

Hand of God reaches down to arrest the Angels sword. In the niches beneath the chairs of

James and Matthew are shown: to the left, the figure of Moses with the Ten Commandments

and the Brazen Serpent, symbolic of the Old Dispensation of the Law; amd to the right, the

Lamb of God and the Book, symbolic of the New Dispensation of Grace through Christs

Sacrifice.

At the very top of the central lancet is the Cross, symbolic of the Vicarious Sacrifice thatChrist suffered that we might have salvation.

The lancets to the right contain our Lords Agony in the Garden of Gethsemane, and

below that Christ before Pilate. At the extreme right is the Victory over Death; the Women

shown at the empty Tomb, for as the Apostle Paul said, If Christ be not raised from the dead

our faith is vain.

In the traceries above the Angelic Host of Angels proclaims for all mankind that Christ is

truly King of Kings, Lord of Lords and Prince of Peace.

Mr. Henry Lee Willet,

Dedication Publication,

April 12, 1946

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A photo of Henry Lee Willet & his

son Crosby is shown to your left.

The window was conceived throughthe work of Henry Lee Willet who,

working with the church, developed

the iconography or theme.

A photo of George Gugert, Willet Designer is

shown here to your right.

Born in Philadelphia in 1876, George Gugert was

the son of Theordore Gugert, who worked with the

George H. Gibson Studios in Philadelphia. George

joined the Willet Studios in 1912 after graduating

from the Philadelphia College of Art. He worked

continuously at Willet until his death in 1958.

Besides his stained glass work, he was a sculptor of

some note.

Mr. Henry B. Heylman united with Huguenot Memorial Church on certificate, September 6, 1925.

He served as a Trustee one year until he was elected Ruling Elder in 1930. From then until his death,

February 17, 1944, he was a member of the Session. Through the years he was devoted servant of

Christ and the Church. In 1943, Mr. and Mrs. Heylman gave to the Church the very fine Skinner

organ, in loving memory of their son, Henry Patterson Heylman.

Mr. Wm. Wallace White united with Huguenot Memorial Church on certificate, January 5, 1913.

He was a Trustee twenty-two years and a Ruling Elder from 1938 until his death, November 29,

1944. He was in succession, treasurer of the Church Building Fund, the Church House Building

Fund and the Mortgage Reduction Fund. In various capacities, Mr. White served the Church long

and well.

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The artistic rendering of the window by Willet Staff artist

George Gugert, working under the direction of Mr. Willet.

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STORIES OF THE HEYLMAN-WHITE WINDOW

Lancet # 20:

Lancet # 21D:

Lancet # 21E:

Lancet # 21F:

Lancets #'s 22,

23 & 24:

Lancet # 22G:

Lancet # 23C:

Lancet # 23E:

Lancet # 24F:

Lance # 24G:

Lancet # 25D:

Lancet # 25E:

Lancet # 26A:

Lancet # 26D:

Triumphal Entry into Jerusalem on Palm Sunday.

Our Lord is shown teaching the Disciples that most difficult of all lessons, the lesson of humility.

He is shown as a servant, His ruby King's robe laid aside, washing the feet of Peter.

Clutching a money bag are the Dissenting Disciples to whom our Lord replied when they com-

plained of Mary's waste of the precious ointment: "She hath wrought a good work upon me."

(Matt: 26:10)

Mary Magdalene is shown anointing the feet of our Lord.

"The Last Supper"; Our Lord is shown with the Twelve Disciples in the act of consecrating the

Elements. "This do in rememberance of Me." The figure of Christ dominates the scene, as it

does the entire window. The Disciples are gathered around the horseshoe shaped table (similar

to tables actually used in those days, and greatly enhancing the vertical effect so necessary in all

fine stained glass). The various disciples are shown in characteristic attitudes as they listen to thewords of their Master. John is about to go to his Savior's side. Peter with difficulty restrains

himself from making some comment. Some are in prayer, some in rapt devotion.

The figure of Moses with the Ten Commandments and the Brazen Serpent, symbolic of the

Old Dispensation of the Law.

The Cross is symbolic of the Vicarious Sacrifice that Christ suffered that we might have salva-

tion.

The horseshoe table is a symbolic treatment of the First Passover which our Lord and His

Disciples were commemorating, and which from His time in was to acquire new significance.The family group is shown in prayer before partaking of the First Passover Feast. The staffs in

their hands are symbolic of their readiness to depart out of the land for their bondage. The

Angel of Jehovah is passing overf their home because of the blood of the lamb without blemish

sprinkled on the lintel, while the Hand of God reaches down to arrest the Angel's sword.

The psychopathic Judas is fleeing the Glory from which he may no longer derive benefit.

Matthew is making notes of this historic occasion, later so glowingly transcribed in his glorious

Gospel account. The Lamb of God and the Book, symbolic of the New Dispensation of Grace

though Christ's Sacrifice.

This contain our Lord's Agony in the Garden of Gethsemane.

Christ is shown here before Pilate.

The traceries above the Angelic Host of Angels proclaims for all mankind that Christ is truly

King of Kings, Lord of Lords and Prince of Peace.

The Victory over Death; the Women shown at the empty Tomb, for as the Apostle Paul said,

"If Christ be not raised from the dead our faith is vain."

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SAN CTUARY - WES T E LEVATIO N

From Lancet # 31

Lancets 27 & 28:

Lancets 29 & 30:

Lancets 31 & 32:

Lancets 33 & 34:

Lancets 35 & 36:

Lancets 37 & 38:

Given in memory of David Hale Carson, is a geometric pattern without figures.

Given in memory of Konrad and Sophia Knoop, cites John 1.29, Matthew 5.8, and John 3.16

in the left panel and John 15.3, 11.23 and 14.27 in the right.

Given in memory of Dr. Harold C. Ingraham, shows Christ ministering to the sick, St. Luke

and Hippocrates.

Given in memory of Dorothy Joyce Wilcox, shows a choir on the left, citing Galatians 5.13 and

i Corinthians 13.13. The right panel cites Samuel 1.16-23 and James 1.17.

Given in memory of R. Clifford Black, shows scenes of agriculture, commerce and industry

and a scene with the Good Samaritan.

The Hammett window, shows Christ on the right and children on the left with an inscription

Suffer little children to come unto me.


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In Memoriam, David Hale Carson, 1882-1901.


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In Loving Memory of Dr. Harold C. Ingraham, 1889-1950.


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# 31 & # 32: Shows Christ ministering to the sick, Luke and Hippocrates.

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51

Dorothy Joyce Wilcox 1927-1943. Given in Loving Memory by her Family and Friends.


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Galatians 5:13 James 1:17

Samuel 1.16-23

# 33: Galatians 5.13: For you were called to freedom, brethren; only do not turn your freedom

into an opportunity for the flesh, but through love serve one another.

# 34: I Samuel 1.16.23: So it came about whenever the evit spirit from God came to Saul, David

would take the harp and play it with his hand; and Saul would be refreshed and be well, and

the evil spirit would depart from him.

James 1:17: Every good thing given and every perfect gift is from above, coming down from

the Father of lights, with whom there is no variation or shifting shadow.

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# 35 & # 36: This window shows scenes of agriculture, commerce and industry and a scene with Good

Samaritan.

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Alfred Lawton Hammett, August 11, 1850 - August 20, 1937.

Elizabeth Burdick Hammett, Nov. 8, 1854 -- Dec. 12, 1938.


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# 37 & # 38: This window shows Christ on the right and children on the left with an inscription Suffer

little children to come unto me.

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CHANCEL WEST


In Memory of John Howard Redding and Eric David Redding.


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