East Wall

The Parables of the Wheat and Tares, the Pearl of Great Price, and the Lost Sheep

C. J. Connick Associates, 1959
​Donated in memory of Rev. Rolland and Edith Schloerb

At the bottom of this window is the text from the second and third verses of Psalm 78, "And I will open my mouth in a parable--which we have heard and known."

The left-hand panel of the first window at the north end shows the pearl of great price, and the man who gives up all he has in order to obtain it (Matthew 13:45-46). Matthew also uses pearls to signify the word of God, "Neither cast ye your pearls before swine, lest they trample them under their feet" (Matthew 7:6). The right-hand panel depicts the parable of the good shepherd and the lost sheep tangled in brambles; the shepherd is reaching out to free him (Matthew 18:12-13). The central figure in each, though clad in red and green, resembles traditional representations of Jesus and dominates the composition by both size (in relation to the man who wishes to purchase the pearl, for example) and placement.

The lower halves of these two windows show a stylized flowering plant, a motif repeated in all the windows on this wall. Three-part leaves represent the Trinity. The flowers, though round, are superimposed with five-pointed stars. As noted in connection with the evangelist windows on the north wall, stars in religious art generally connote divine favor or guidance. Stylized bunches of grapes appear in the lower windows; grapes are a rich symbol for the relationship between God and his people, as in the words of John 15, "I am the vine, ye are the branches. He that abideth in me... bringeth forth much fruit." The medallion in the ocular window depicts three sheaves of wheat and tares, or weeds, foreshadowing the apocalyptic separation of good from evil in Matthew 13:24. Wheat represents the bounty of the earth (again evoking the word of God) and, when depicted with grapes, of the bread and wine of Communion.

The Parable of the Sower and the Parable of the Wise and Foolish Maidens

C. J. Connick Associates, 1956
Donated in memory of Rev. Charles Gilkey and Geraldine Gilkey

This window’s left-hand panel depicts the sower who liberally sowed without regard for the receptivity or fertility of the ground (Mark 4:3-8). The symbolic plants and flowers are repeated in the lower half of the window. The right-hand panel of this window illustrates the parable of the wise and foolish maidens, as told in Matthew 25:1; one is holding her lighted lamp high, and another is letting her empty lamp droop in her hand. The bridegroom (again, a dominant figure robed in blue and white, resembling the traditional depictions of Christ) stands before them, ready to admit those who were prepared for his coming. The medallion above contains ten lamps, the top five facing upright and flaming brightly, the lower five facing downward and obviously empty.
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Rev. Gilkey was pastor of the Hyde Park Baptist Church from 1910 until 1928, when he resigned to become Dean of Rockefeller Memorial Chapel at the University of Chicago. His predecessor as pastor here, the Rev. J. L. Jackson, departed in May 1909, and the pulpit supply committee set about finding "a man of years and experience and established reputation" to succeed him. After several unfruitful months of a search, Ernest DeWitt Burton (see Luke and John window) called attention to Gilkey, then a young man of 28, unmarried, and a graduate of Harvard University and Union Theological Seminary, who was being sought for teaching positions. The young man, however, felt much more inclined to preaching and so the committee invited him to preach in a Sunday morning service, after which he was called to the pastorate. 
In 1915, Dr. Gilkey married Geraldine Gunsaulus Brown, a feminist activist and YWCA leader. She immediately began an active participation in the life of this church, but was not admitted to full membership until 1926, when the church made the landmark decision to open its membership to those baptized in traditions other than immersion. It was also in that era, a few years earlier, that this church adopted the practice of "open communion," that is, open to "all whose hearts moved them."

The Parables of the Lamp Under a Bushel, the Good Samaritan, and the Prodigal Son

C.J. Connick Associates, 1955
Donated in Memory of Arthur Crandell Green

The left-hand panel depicts the Good Samaritan offering succor to the man who had been attacked by robbers (Luke 10:30-35). Two figures representing the passersby who lacked compassion flee in the background. In all of these windows, the relative sizes of the figures have a symbolic rather than realistic relation to one another. The man who seeks the pearl of great price in window one, the maidens in window two, and the injured man are all depicted in a secondary, worshipful role in relationship to the central figure whose appearance consistently resembles traditional depictions of Jesus. The right-hand panel in this window depicts the story of the prodigal son (Luke 15:11-32). A lighted lamp in the medallion of the third window represents the light of God which is not to be hidden under a bushel by us but set on a stand to give light to the whole house (Mark 4:21).

​Arthur Crandell Green held executive positions in Goodman Manufacturing (then headed by the sons of Herbert Goodman, who is honored by the Joshua and Moses window). He also served as treasurer of the church for fifteen years. At that time he also became heavily involved in denominational fundraising at the national level. He died in 1950, and his wife donated this window in his memory five years later.

The Parables of the House Built upon the Rock and The House Built upon Sand, the Lost Coin, and the Pharisee and the Publican

C.J. Connick Associates
Donated in memory of John Merlin Powis Smith and Catherine McKlveen Smith

The left-hand panel of the fourth window depicts the parable of the lost coin and the woman who swept her entire house to find it (Luke 15:8-9). The right-hand panel shows the parable of the Pharisee and the publican (Luke 18:10-13) in which the self-righteous prayer of the Pharisee is contrasted with the humble piety of the publican. In the medallion, we see the stylized vulnerability of the house built upon the sand and the permanence of the house built upon the rock (Matthew 7:24-27).

This window was given in memory of the Smiths’ daughter, Grace, and her husband Harold E. Gates. Dr. Smith was a scholar of Semitic languages in the Divinity School of the University of Chicago. With four other scholars, he provided an "American" translation of the Old Testament in 1927. He also shared with Edgar J. Goodspeed (a member of this church who donated the window to the right) in editing a 1933 volume called The Short Bible. He served the church in a wide variety of volunteer leadership positions for over thirty years. Mrs. Smith joined this church in 1900, and gave active support to the Women's Society and other phases in the life of the congregation throughout her 54 years of membership.

The Parables of the Mustard Seed, the Drawn Net, and the Banquet

C.J. Connick Associates, 1961
Donated in memory of Thomas Wakefield Goodspeed, Mary Ellen Ten Broeke Goodspeed, and Charles T. B. Goodspeed
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The left-hand panel depicts the parable of the drawn net (Matthew 13:47-48); the right-hand panel depicts the parable of the rich man's banquet (Luke 16:19-31). In the medallion at the top, we see the growth of a small mustard seed into a flourishing tree, a parable of the coming of the kingdom of God (Mark 4:30-32).

​This window was the gift of Edgar J. Goodspeed, in memory of his parents, Thomas and Mary Ellen, and of his brother, Charles.
Thomas, an historian and one of the founders of the University of Chicago, joined the church in 1893. He was instrumental in raising the funds for the construction of this sanctuary at the turn of the century, including a sizable donation from John D. Rockefeller. He also wrote a history of the church’s first 50 years.
Charles was an attorney whose practice included considerable work for the Northern Baptist Convention (later American Baptist Churches USA) and who served as chairman of this church's finance committee for thirty years. 
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Edgar was a New Testament scholar in the Divinity School of the University. He is perhaps best known for his 1923 translation of the New Testament and his work on the Revised Standard Version of the Bible. Dr. Edgar Goodspeed and his wife moved to California in 1939 to spend the rest of their lives. There, he had a profound influence on the life of David L. Bartlett, who would go on to become minister of Hyde Park Union Church 1976-1979.

The Alternation Between Adoration and Activity

C.J. Connick Associates, 1955

The two single-panel windows which are smaller and higher on the east wall illustrate the balance between worship and service in Christian life. The figures shown in the window to the north (Adoration) are in an attitude of prayer and praise, while the figure in the window to the south is reaching out in service to the world (Activity). 

Adoration was given to the church by George Damon Fuller and Louise M. M. Fuller, who were active members of this church from 1925 to their deaths in the 1960s. Starting as a teacher of botany in the Laboratory High School, Dr. Fuller later became Professor of Botany at the University. Mrs. Fuller was active in the Women's Society and in many other activities in support of this church. 

Activity was donated by family members in memory of Abraham and Elizabeth Bowers, and Martin and Martha Bowers. Abraham and Elizabeth joined Hyde Park Baptist Church in 1905 and served the church in many ways. One of their sons, Matthew Adonijah (better known as Nije") is also well remembered for his services, especially for setting up special lighting effects for the Eva Steinhaus dramatic productions in the 1930's and '40's. George and Louise Fuller’s daughter, Janet, was also involved with makeup and costuming.

North Wall

Paul on Mars Hill

Unsigned but attributed to Louis Comfort Tiffany Studios, 1907
Donated in memory of Rev. John B. Jackson

This episode in the ministry of Paul, described in Acts 17:16-34, is a common theme in Protestant religious art. Paul addresses the assembled Areopagus (Mars Hill in Greek), the judicial council of Athens, whose functions included hearing religious cases. Once a persecutor of Christians, Paul became a believer after God appeared to him on the road to Damascus. Here, he is telling other scholars of the Unknown God in whom "we live and move and have our being.” On this occasion, Dionysius (St. Denis) was converted to Christianity and, according to some sources, became the first bishop of Athens; he may be the figure seated at Paul's feet in the foreground, wearing a crown of leaves. In 1 Corinthians 9:24-27, Paul contrasts the laurel wreath, with which victorious Greek athletes and soldiers were crowned, with the imperishable wreath of the victorious Christian. The temple of Mars, seen in the background, is realistically depicted as a classical building, as are the columns near which Paul stands to preach.

Rev. John B. Jackson served as pastor of the church from 1878 to 1883. Jackson was a professor in the Divinity School of the University of Chicago until poor health forced him to leave that position. He then went into the real estate business for a time; but, as he regained health, he served as a supply preacher on two successive Sundays at this church (then called Hyde Park Baptist Church), and was then hired as its minister at $300 per year. Again ill health forced him to give up his ministry in 1883, although he continued to be a loyal supporting member of the church until his death in 1907.

Joshua and Moses

Louis Comfort Tiffany Studios, 1918
​Donated in memory of Herbert E. Goodman and his father, Edward

The left half depicts Joshua, the war leader of the Israelites; the right half depicts Moses, the lawgiver. Joshua holds a sword and two spears, weapons appropriate for a general but which also have special associations in Christian art. Spears, the weapon of the footsoldier, are attributes of several warrior saints; the sword also represents authority and the administration of justice. After the death of Moses, Joshua led the Israelites into the land of milk and honey.
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Herbert Goodman studied at the University of Chicago before becoming an inventor and manufacturer, with Elmer A. Sperry, of mining and electrical equipment. He was highly regarded as an executive who showed great concern for the welfare of miners and was himself injured in a mining accident while attending to a safety concern.

Amos and Hosea

Louis Comfort Tiffany Studios, 1907
​Dedicated to the memory of Dr. William Rainey Harper

Amos and Hosea represent two different aspects of the Old Testament God. The inscription on the Amos window,"Let judgment roll down like waters, and righteousness like a mighty stream" (Amos 5:24), reflects the God of justice. The quotation from Hosea, "Ye are the sons of the living God" (Hosea 1:10), is taken from a broader promise of God to forgive and redeem his straying people when they turned away from error. Amos, who was "a shepherd and a dresser of sycamore trees," holds a shepherd's crook in his right hand and is flanked by a sycamore on his left. Hosea, his hand lifted in exhortation and blessing, calls the children of Israel to return to the Lord.

This window was given in 1907 by family and friends of Dr. William Rainey Harper (1856-1906), an Old Testament scholar who organized and launched the University of Chicago as its first president in 1892. Harper was also an active leader in this church, serving as Sunday school superintendent and starting the drive to replace the frame structure at 54th Street and what is now Dorchester Ave. with the current sanctuary.

​The subject of this window is closely associated with President Harper, whose last published work was a commentary on Amos and Hosea, two eighth century B.C. prophets. Although most other Tiffany windows were made from cartoons used in churches across the country, the Amos and Hosea window is the only one of its kind.

​The Apostles Luke and John

C. J. Connick Associates, 1956
Donated in memory of Ernest DeWitt and Frances Mary Burton

Luke is traditionally known as both a physician and a painter, because of the legend that he did several portraits of the Virgin Mary; his artist's palette is depicted in the upper right quadrant of the window. His role as a physician is reflected in the caduceus, or staff with two entwined serpents, in the lower right quadrant of the window. The caduceus, originally a symbol of the messenger god Hermes, was used to suggest eloquence, reason, and peace. The winged ox on the book in his hand is associated with Luke because his gospel emphasizes the priesthood of Christ; the ox is a symbol of sacrifice, and wings generally are a sign of divine mission.

John is usually depicted as a long-haired, beardless youth. The eagle is the symbol of highest aspiration, and the gospel of John focuses particularly on contemplating the divine nature of Jesus. The chalice reminds us of a legendary encounter with the Emperor Domitian, who ordered John to drink a cup of poisoned wine; when he drank it the poison became a serpent and slithered away. The relative size of these figures denotes not a literal portrait but an emotional state, a good example of the difference between Tiffany's and Connick's approach to telling a story.

The Burtons joined Hyde Park Baptist Church in 1893. Dr. Burton, along with William Rainey Harper and Shailer Mathews, played a key role in developing the church’s Sunday School, and he was pivotal in the development of the Northern Baptist Convention (now American Baptist Churches USA). In the lower left quadrant of Luke’s window, a depiction of Rockefeller Chapel reminds the viewer that the building was completed during Burton's tenure as president of the University of Chicago (1923-1925). The lower left quadrant of John’s window depicts Mrs. Burton's legendary hospitality to students. 

Because Dr. Burton was a renowned New Testament scholar and active churchman, this window depicts the evangelists Luke and John with writing plumes, as authors of the gospels. The medallion in the ocular window above the two evangelists depicts a lamp, traditionally a symbol of wisdom and piety, the word of God (described as "a lamp unto the faithful"), and, in the context of a university, the light of knowledge. Inscribed on scrolls above the heads of the figures is one of Dr. Burton’s favorite texts from the Gospel of John, "Ye shall know the truth, and the truth shall set you free." On either side are stars, generally a symbol of divine guidance or favor.

The Apostles Matthew and Mark

C. J. Connick Associates, 1959
Donated in memory of Rev. Rolland and Edith Schloerb

The medallion in the ocular window holds a Greek cross surrounded by four smaller crosses. The Greek cross generally suggests the Church of Christ rather than the sacrifice represented by the Roman cross. Matthew, too, holds the book and pen associated with all the evangelists. Over his head is the phrase, "Let your light so shine before men" (Matthew 5:16). The axe in the upper right quadrant of the window represents the instrument of Matthew's martyrdom; the winged man in the lower right quadrant is the traditional attribute of Matthew; and the small portrait in the lower left quadrant shows him as a tax collector. The blue glass background is rich with symbols. The bunch of grapes between the axe and the angel reminds us of references to God's people as a vineyard and is also often a symbol of the close relationship between Christ and the church, "I am the vine; ye are the branches" (John 15:5).
Mark is also surmounted with a scriptural quotation: "Prepare ye the way of the Lord" (Mark 1:3). The lower right quadrant of this window depicts an oak tree, the emblem of faith and virtue and of endurance in the face of adversity. At the left is an inset of the winged lion, the attribute of Mark. The four symbols of the evangelists (the angel, the lion, the eagle, and the ox) were originally derived from the Book of Ezekiel.

This window, along with one on the east wall, honors Rolland Walter Schloerb, the church’s longest-serving minister, and his wife Edith Gransden Schloerb. Rev. Schloerb came to Hyde Park Baptist Church in 1928, after Rev. Charles Gilkey left to become Dean of Rockefeller Chapel. Educated at North Central College and Seminary, Union Theological Seminary, and at Northwestern University, Schloerb joined Norris Tibbetts in what an editor of the Christian Century called one of the most notable "team" ministries in America. Although Dr. Schloerb did most of the preaching, he also shared with Mr. Tibbetts in pastoral activities. Rev. Schloerb led the congregation for 30 years until his sudden death in May 1958.

South Wall

Worship And Service

C.J. Connick Associates, 1959
​Donated in memory of Ira Maurice Price and his wife Elizabeth M. Price

Two allegorical figures are shown in the left and right panels of the window: Worship, holding the cross and bearing the text, "Let us worship and bow down" (Psalm 95); and Service, holding a pitcher of fresh water and bearing the text, "By love, serve one another" (Galatians 5:13). At the feet of both figures are patterns of vines and flowers suggesting the tree of life, while architectural forms above the heads of each suggest the promise of mansions in heaven. In the ocular above is the crown which represents the eternal reward of earthly devotion and service.
Dr. Ira Maurice Price was Professor of Semitic Languages and Literature at the University of Chicago. He joined the Hyde Park Baptist Church in 1906 and continued his membership until his death in 1939. Mrs. Price, formerly Elizabeth McDonald, joined the church in 1919. Following her husband's death in 1939, Mrs. Price began to set aside money for this window. She remained a member until her death in 1962.

David and Jonathan

C.J. Connick Associates, 1954
Donated in memory of Donald James Gallagher

The medallion in the ocular window depicts the friendship of Jonathan, son of King Saul, and David, who slayed the giant Goliath and would later become the next king. The scroll that surmounts the heads of the two figures says, "Because he loved him . . . . For he loved him as his own soul" (1 Samuel 20:17). This window shows the influence of the pre-Raphaelite movement. Its central figures, elongated and idealized, face outward. 

​David, on the left-hand side, is depicted playing the harp, not as a shepherd or warrior, though the giant Goliath gazes up at him from his left foot, and the spear with which Saul menaced him in his madness is depicted to his right. 

Jonathan is a more conventionally princely figure, wearing a helmet and holding the bow that allowed him to send David out of danger. He is flanked by a crown at his right and, in the upper right quadrant of the window, a shield that depicts a wolf, the emblem of the tribe of Benjamin. Kneeling near Jonathan's feet is a small figure of himself in his war helmet, with his sword on the ground before him, tasting wild honey in ignorance of his father Saul's vow that none of the Israelite soldiers should eat before sunset.

The window was given to the church in 1954 by the late Mrs. Olive Gallagher, in memory of her son Donald James Gallagher whose death in 1927, at the age of 19, was the indirect result of injuries suffered in an accident a year or so earlier.

The story of the close friendship of David and Jonathan is especially appropriate for this memorial. Donald had formed close friendships with a group of young men who were his school contemporaries, most of them fellow members of this church, which Donald had joined by baptism in 1920. For a number of years after his death, Mrs. Gallagher followed a practice of entertaining that group of friends at dinner in a well-known restaurant every year on or near the anniversary of Donald's birth, until the group became too widely scattered to continue.

Angels Raphael and Uriel

C.J. Connick Associates, 1951
World War II Memorial

On the south wall of the column opposite the window is a bronze plaque listing the names of nine church members who lost their lives: Irving Changstrom, Hale Dickson, Robert B. Hillman, Charles M. Holman, Robert Kraybill, Kenneth L. Miller, Donald Richardson, Joseph H. Stephan Jr., and Jon Clarence Walters.

The inscription below the window says that it is given "In grateful recognition of all who served our country in World War II," and the legend adds, "They might not reach the fulfillment of their hopes except with us." 
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The winged figures are Raphael and Uriel, two of the four major archangels. The medallion in the ocular window represents a pelican with its young, a traditional symbol of self-sacrifice (and hence of Christ), since pelicans were thought to pierce their own bosoms to feed their young with their blood.

The figure of Raphael, the guardian angel, in the left-hand panel is surrounded with attributes appropriate to him. Raphael's name means "the Medicine of God," and the caduceus in the lower left-hand corner is the traditional emblem of physicians. Raphael is often represented as the protector of Tobias on his journey to Gabael in Media, represented by the boy holding the fish. From this story, Raphael is seen as the protector of pilgrims and of the young and innocent. In this depiction, the wallet and scallop shell are also emblematic of pilgrimage. The central figure in this window holds a bottle of water, as befits a pilgrim, and a shepherd's crook, reflecting the tradition that Raphael was the archangel who appeared to the shepherds on Christmas night with the message, "Fear not, for behold I bring you good tidings of great joy which shall be to all people" (Luke 2:10).

The right-hand panel depicts the archangel Uriel, who, though less frequently depicted in religious art, also has a traditional set of symbols represented in this window. The name Uriel means "the Light of God." In John Milton's Paradise Lost Uriel is the regent of the sun, and here he carries the sun. This association with divine light is also conveyed in the inscription, "The light is still shining in the darkness for the darkness has never been put out." The bishop's chair at the left also suggests Milton's Uriel, who dwelled "in sight of God's high throne, gloriously bright." The anchor and rope at the right are traditionally associated with steadfastness of faith.

​The Angels Michael and Gabriel

C.J. Connick Associates, 1921
Great War (World War I) Memorial
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The window, installed in 1921, remembers five church members who died in the first world war: Harrison Foster, Laurens Shull, Rowland McLaughlin, Augustus Bell, and Roy Pace. ​

The medallion in the ocular window depicts the lamb of God, haloed and sceptered, traditionally a symbol of innocent sacrifice. The left-hand panel depicts the winged figure of Michael, with the motto, "They loved not their lives even unto death." The right-hand panel's winged figure represents Gabriel, and its legend expresses hope for the future, "On earth peace good will toward men" (Luke 2:14).

The depiction of Michael, the guardian angel of the Hebrew nation, later adopted as the symbol of the Church militant, is surrounded by emblems. He is attended by traditional, six-winged seraphim, as befits the commander of the heavenly host. The scales of justice, also frequently associated with Michael, remind us that his task at the last judgment is to weigh the souls of the dead and identify those who were just. The red cross on his shield became the symbol of the militant crusaders. His figure shows a strong influence of the British painter Edward Burne-Jones and the pre-Raphaelites in its elongated lines and classically chiseled face. His sword blade is aflame. The right-hand panel depicts the archangel Gabriel, whose name means "God is my strength." Gabriel is the angel of redemption and the chief messenger of God, often represented, as here, holding a lily as a reminder that he was the angel of the Annunciation. He is richly robed, with large and many-colored wings. (George Ferguson notes in Signs and Symbols in Christian Art that earlier depictions of the Annunciation usually showed Gabriel as a majestic figure with multicolored wings. Annunciation scenes in which the Virgin is the central figure, with a white-robed angel often kneeling before her, only came about with the rise of Mariology in the fourteenth century and later.) At Gabriel's feet is a flock of doves, also traditional messengers of God, from Noah to Mary, and symbols of purity and peace.

Although it shows images of St. Michael and St. Gabriel, it is described as frankly decorative rather than pictorial, the color scheme suggesting a "quiet jeweled splendor" in colors ranging "from silvery and pearly whites to cool blues and flaming rubies and golds.” In the circle at the top of the window is a symbol of the "triumphant Lamb of God;" and the large figures are of Michael, Captain of the Host of Heaven, and of Gabriel, the Angel of the Annunciation.

Jesus Welcomes the children

F.X. Zettler Studios of Munich, 1918
​Donated in memory of Alma Chapman Parker

This window renders Jesus welcoming the children (Matthew 19:13-15) and comes out of a tradition of German glass, the Nazarene style that began in the early 1800s when a group of artists moved to Rome to escape Napoleon. They founded a quasi-monastic order devoted to art and revived the making of stained glass, among other crafts. The Nazarenes also inspired the pre-Raphaelite Brotherhood in England, whose influence, in turn, is seen in the Connick windows to the left. This window from F. X. Zettler Studios of Munich shows many characteristics that are strikingly different from those of the Connick and Tiffany studios. It contains individual people rather than idealized types, for example. Their attitudes and postures suggest movement, and for the most part they are grouped naturally, unlike the static, symbolic groupings in Connick's windows. Beyond the iconography of Christian art, the window invokes other notable art historical themes.
The woman holding a baby and facing us is modeled on Raphael's famous Dresden Madonna. Zettler incorporated this image into all his windows of Jesus with children. In the background is a medieval building with the figures of some men walking through a gate, an image also borrowed from an actual Renaissance painting. The fruit and foliage represent real plants, not just undifferentiated foliage (as in the Tiffany windows) or symbolic, stylized plants (as in the Connick windows).
This 1918 window, dedicated to the memory of Alma C. Parker, was given by her husband, Illinois State Senator Francis Warner Parker, after her death in 1912. The Parkers, along with their son Francis Jr., joined this church in November 1900. Before serving in the Illinois Senate (1902-05), Senator Parker had previously served in the Illinois House of Representatives (1885-87). The woman depicted in profile in the front left-hand side of the window is a likeness of Mrs. Parker, probably taken from a photograph. Her features are more individual than those of the other adults, and she wears earrings.

The Good Shepherd

Louis Comfort Tiffany Studios, 1906
​Donated in memory of John Mason Jackson

This window depicts the figure of the Good Shepherd, a symbol appearing in both the Old and New Testaments, a reminder of one who cares about individuals as well as for the entire flock. The foliage in the tree is beautifully and elaborately done, a fine example of a difficult and expensive process known as "confetti glass." In this technique, chips of colored glass are embedded in a larger sheet of glass to achieve shaded and variegated color. In contrast, not only the hands and face of the shepherd but all the detail in the sheep was painted onto the glass, probably as a cost-saving measure. The paint and colors in this window appear in much greater detail since it was recently cleaned and restored.

This window honors John Mason Jackson, son of Rev. John B. Jackson (see Paul on Mars Hill). John Mason Jackson was an active member of the church who died suddenly at the age of 39.