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 it’s 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 in
the 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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 SA N C T UA RY - E A ST E L E VAT I O N

Lancets 8 & 9: 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".

Lancets 10 & 11: Given in memory of Merton Covey Robbins, shows David on the left and St. Francis on the
right.

Lancets 12 & 13: 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.

Lancets 14 & 15: 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.

Lancets 16 & 17: Given in memory of Frederick Abelman and Catherine Weber Abelman, consists of two
panels. 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.

Lancets 18 & 19: 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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 8 9 10 11 12 13

14 15 16 17 18 19

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.

SANCTUARY EAST

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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.

SANCTUARY WEST

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 Lancet # 8 Lancet # 9

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

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 The Lord is my Sheperd. He Restoreth my Soul.

# 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”.

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 Lancet # 10 Lancet # 11

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

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 St. Francis David

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

# 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.

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 Lancet # 12 Lancet # 13

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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 I Samuel.16.19 I Samuel.20.11

I Samuel.17.40 I Samuel.9.6

# 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 sheperd’s 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!”

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 Lancet # 14 Lancet # 15

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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 Cyrvs and Ezra St. Peter, St. Mark
Soloman’s Temple

St. Mark Preaches in Alexandria The Pharaoh and Joseph

# 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.

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 Lancet # 16 Lancet # 17

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

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

Psalm.121 John 14.6

# 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 Father’s 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.”

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 Lancet # 18 Lancet # 19

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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 HEYLMAN-WHITE
WINDOW

PHELPS
WINDOW

FLOOR PLAN

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HEYLMAN-WHITE WINDOW

Photos by Robert Fertitta

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 A Story of the Window

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, killing
all 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 Mary’s 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 King’s robe laid aside, washing the feet of Peter.

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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 Saviour’s 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, and
which 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 Angel’s 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 Christ’s
Sacrifice.

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

The lancets to the right contain our Lord’s 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 through

the 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: Triumphal Entry into Jerusalem on Palm Sunday.

Lancet # 21D: 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.

Lancet # 21E: 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)

Lancet # 21F: Mary Magdalene is shown anointing the feet of our Lord.

Lancets #'s 22, "The Last Supper"; Our Lord is shown with the Twelve Disciples in the act of consecrating the
23 & 24: 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 the
words 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.

Lancet # 22G: The figure of Moses with the Ten Commandments and the Brazen Serpent, symbolic of the
Old Dispensation of the Law.

Lancet # 23C: The Cross is symbolic of the Vicarious Sacrifice that Christ suffered that we might have salva-
tion.

Lancet # 23E: 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.

Lancet # 24F: The psychopathic Judas is fleeing the Glory from which he may no longer derive benefit.

Lance # 24G: 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.

Lancet # 25D: This contain our Lord's Agony in the Garden of Gethsemane.

Lancet # 25E: Christ is shown here before Pilate.

Lancet # 26A: 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.

Lancet # 26D: 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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 SA N C T UA RY - W E ST E L E VAT I O N

Lancets 27 & 28: Given in memory of David Hale Carson, is a geometric pattern without figures.

Lancets 29 & 30: 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.

Lancets 31 & 32: Given in memory of Dr. Harold C. Ingraham, shows Christ ministering to the sick, St. Luke
and Hippocrates.

Lancets 33 & 34: 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.

Lancets 35 & 36: Given in memory of R. Clifford Black, shows scenes of agriculture, commerce and industry
and a scene with the Good Samaritan.

Lancets 37 & 38: The Hammett window, shows Christ on the right and children on the left with an inscription
“Suffer little children to come unto me.”

From Lancet # 31

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Lancet # 27 Lancet # 28

In Memoriam, David Hale Carson, 1882-1901.

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 Lancet # 29 Lancet # 30

In Loving Memory of Conrad Knoop and His Wife, Sophia Hinners Knoop.

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 John.1.29 John.15.13

(C. K.) Matthew 5.8 (S. A. K.) John.11.23

John.3.16 John.14.27
# 29: John 1.29: The next day he saw Jesus coming to him and said, “Behold, the Lamb of God
who takes away the sin of the world!”
Matthew 5.8: “Blessed are the pure in heart, for they shall see God!”
John 3.16: “For God so loved the world, that He gave His only begotten Son, that whoever
believes in Him shall not perish, but have eternal life.”
# 30: John 15.13: “Greater love has no one than this, that one lay down his life for his friends.”
John 11.23: “Jesus said to her, “Your brother will rise again.”
John 14.27: “Peace I leave with you; My peace I give to you; not as the world gives do I give
you. Do not let your heart be troubled, nor let it be fearful.”

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 Lancet # 31 Lancet # 32

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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 Lancet # 33 Lancet # 34

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

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 Samuel 1.16-23

Galatians 5:13 James 1:17

# 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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 Lancet # 35 Lancet # 36

To the Glory of God and in Loving Memory of R. Clifford Black, 1877-1931.

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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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 Lancet # 37 Lancet # 38

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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 C H A N C E L W E ST

Lancet # 39 Lancet # 40

In Memory of John Howard Redding and Eric David Redding.

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# 39 & # 40: The upper left shows The Young Christ, upper right - Saul at the feel of Gamaliel, lower left -
Jonathan’s Son and lower right - Young Saul.

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