Memorial Narthex Window by
Chris Nack
The narthex window's 10 sections work together to tell a story.
The major concept of the window is "Go ye into all the world."
The doors themselves act symbolically as part of the total design.
Design and Installation
Robert Durham (1912-1998),
noted architect and a member of Fauntleroy Church, developed the concept
and the detail design. Herbert
Taylor, a builder and also a member was responsible for the installation.
Interpretation of the stained glass panels as viewed from the inside.
| Panel No. 1 |
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The lower left panel features the grapes and wheat at the communion table. |
| Panel No. 2 |
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The open Bible and the lamp are both symbols of knowledge. |
| Panel No. 3 |
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Praying hands and a cross are silhouetted against a Fauntleroy scene, looking toward the Olympic Mountains. |
| Panel No. 4 |
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The jet air plane symbolizes the livelihood of many members and friends of the church. |
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The symbols for Alpha and Omega remind us of the unfaltering love of God and the dove symbolizes the Holy Spirit. |
| Panel No. 7 |
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The sailing ship recalls the landing of white settlers at Alki in 1851. |
| Panel No. 8 |
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The rich heritage of Congregational missionaries includes the work of New England Congregationalists in the Hawaiian Islands. |
| Panel No. 9 |
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The church and YMCA are linked with the triangle and fishing net, both of which symbolizes "Service." |
| Panel No 10 |
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Bare arches against the sky, a square, and a saw symbolize the contributions of a great number of people during the three stages of construction that resulted in today's church facility. |
Fabrication
The panels were made by Willet Stained Glass Studios in Philadelphia. In 1965 architect Robert Durham explained that the craftsperson who created the panels used "dalles" glass, a type of glass that was like imported from France in pieces roughly 9" square and 1" thick. He would hold a square of glass over a sharp-pointed anvil and break it into any size with a chisel. He would lay properly sized chips of glass on a smooth table and chisel away until he had each chip faceted as called for in the design. He would then pour epoxy around the chips which when dry resulted in a very hard, durable panel transmitting light. Before the epoxy hardened, the craftsman sprinkled a final mineral aggregate over the inside surface. The surface that that feels smooth to the touch (the exterior) is the side that was down against the table.
Taken from The Congregator,
January 27, 1965