St. George’s windows in 1849 were originally filled with diamond shaped clear glass.
In 1885, the three windows in the east end of the church were filled with stained glass as a memorial to Rev. Edward McGuire, who served the church for 45 years. In 1906, the church had just been renovated, and stained-glass windows by Louis Tiffany and other makers were changing the insides of sanctuaries in America. Between 1907 and 1917, most of the rest of our church was reglazed with new stained-glass. The creators the windows were Louis Tiffany and a number of other artists displaying various styles within the Arts and Crafts Movement. These windows brought a different light and color into the church.
The plan above shows the numbering of the windows. The tour features the lower ones.
The windows are important for three reasons: 1. They were memorials to the donors and church members of the time 2. They teach Old and New Testament scripture. The windows often include the scriptures depicted. 3. They are art objects in themselves and use religious symbolism throughout.
To begin the tour go to the front of the church and to the right which is the south side. The tour will proceed down this side until the Cross with Thurible window. Then to reach the St. Paul window you would go to the front of the church and to the left which is the north side.
Finally, you would go back to the front to observe the Ascension window. When you leave, go outside the church and across William Street and you can review font/ark window which is only visible from the outside and is lit at night.
Thanks for touring our stained glass windows and we hope you enjoy your tour. Take any pictures you like! More information on all of these windows with other articles are found on this app.
Deborah and Barack
The window is in memory of Mary Ball Washington, Mother of George Washington, by the Daughters of the American Revolution.
It was designed by the Colgate Art Glass Company in NY and dedicated in 1907.
The subject of the window is the defeat of Canaanites under the prophetic leadership of Deborah and the military leadership of Barak, and is related in the Book of Judges. The window depicts Deborah pleading with Barak to lead the Israelites against the Canaanites. It is the only window with an Old Testament theme in our church.
Angel of the Resurrection
This is one of three Tiffanies at St. George’s. It was dedicated in 1914 to Alexander Phillips and his wife. He became the first president of the National Bank of Fredericksburg in 1865 and had been previously involved in many businesses, including grain and mercantile.
In this window, the angel is sitting in field of snow white lilies, clad in robes of pink. The windows show Tiffany’s work in drapery glass for the angel’s robes that are close to fabric folds. Tiffany’s use of glass plays well with the sun which strikes the window in the morning hours. It accentuates the paint and enamel in the face and hands. The yellow-streaked, sun-dappled clouds depict a dawn-sky, a common metaphor for rebirth and resurrection.
Three Women at the Empty Tomb
The window is dedicated to Judge R.G.L. Moncure, “a man in whom was no guile.” Moncure was a prominent lawyer, reaching the rank of president of the Va. Court of Appeals. Based on a similar work in Front Royal, we think this window was made by George Hardy Payne in 1908.
It is based on an earlier painting of the same subject by the German artist Bernhard Plockhorst. The window depicts the shock of the open and Jesus not being there.
Artistically, the drama of the event is conveyed by the angel pointing to the empty tomb and Mary Magdalene recoiling from the news. The action shifts from top right to bottom left with the two other figures remaining somewhat calm, but comforting each other, providing a contrast to the other characters. This story of the Resurrection is taken from Mark. Mark lists the women in the window as Mary Magdalene, Mary the mother of James and Salome, follower of Jesus and possibly Mary’s sister.
Angel of Victory
This window was placed by Nannie Green, the widow of Lawrence Ashton, M.D. Green was the daughter of Duff Green, Falmouth merchant. Dr. Ashton was one of the most prominent doctors of his day in Virginia.
As vice-president of the Virginia Medical Society for 8 years and president for one he was the originator of the law to regulate the practice of medicine.
The window is our last Tiffany, 1917. The angel is wearing a breastplate over armor and holding a sword and buckler which symbolize victory of the triumphant march into Jerusalem. The palms also symbolize in the Resurrection victory over death. The angel is surrounded by a collage of opalescent glass of green, blues and purples.
This window was created by Wilbur Burnham of Boston and is our latest window in 1943. The window was in memory of the Lallande family. Their relative John J. Young had served on the Vestry periodically from 1847 until 1901 and was a prominent businessman.
The star and the Baby Jesus neatly divide the scene with a touch of the rose for new life just above Jesus. Mary and Joseph on the right are clearly separated from the visitors on the left. It is very iconic, inclusive and balanced – the two shepherds, one King and the angel strumming a lute on the left against the other characters.
Cross with Thurible
This was one of the windows given by Victoria S. Wallace in 1908. The window was made by Charles Hogeman. The scripture is from Psalm 141:2: “Let my prayer be set forth before thee as incense.”
A cross shines forth out of a dark blue background. Different rows are filled with different shapes of stones. In the center of the cross we find a thurible, surrounded by two concentric circles.
A thurible is a censer suspended from chains, in which incense is burned during worship services. There are numerous Biblical references to censers from Leviticus to Revelation. It was used to freshen the air as well as the smoke going to heaven as well as our prayers.
Paul Before Agrippa
This window was given by Charles W. Wallace in honor of his parents, John and Mary Wallace. His four sons, Charles, Howson, Wellington and Wistar became presidents of the National Bank of Fredericksburg just across the street as did two grandsons. Wellington also became a prominent judge.
His wife Victoria gave many of our windows in 1908 and 1909. This window was made by Charles Hogeman in 1908. This window depicts a hearing of the argument of Paul on the resurrection of the dead, as told in Acts, chapters 25 and 26.
The picture itself represents Paul in chains before Festus, the prosecutor of Judea, on the right. Agrippa, a small time king, is found in the middle. Bernice, the wife of the governor, is placed on the left. Paul’s accusers, guards, chief priests, and other people are pictured around him. Below we find the following quotation: “And now I stand and am judged for the hope of the promise made of God unto our fathers.”
Jesus with Children
The window was made by the Colgate Art Glass Co in 1907 in memory of Marshall Hall.
Hall (1843-1903) was a Superintendent of Sunday Schools for 38 years. The window was donated by the St. George’s Sunday School. He was a druggist at J.B. Hall Sons on the corner of Caroline Street and Williams Streets, established by his father John Byrd Hall.
There are at least 3 scriptural references linking Jesus with Children in the gospels of Matthew, Mark and Luke. In Matthew, Jesus said, ” …Suffer little children, and forbid them not, to come unto me: for of such is the kingdom of heaven.”
Road to Emmaus
The window was given by Mary Ann Downman, who was 90 years old in 1923, living in the same home that she was married. She was the oldest person in Fredericksburg at the time. The window was given in memory of two sons who predeceased her.
The story of this window is from Luke, chapter 24, verses 13 to 35.
In the image, Cleopas and an unnamed companion encounter the risen Christ on the road to Emmaus about seven miles from Jerusalem. The men are shocked that anyone could have been in Jerusalem and not known of the events that have happened there. “Abide with us,” they ask the unrecognized stranger, “for it is toward evening, and the day is far spent.” It was not until they offered Him hospitality and He blessed and broke the bread that they recognized Him. He soon disappeared. They got up and returned at once to Jerusalem. There they found the Eleven and those with them, assembled together and saying, “It is true! The Lord has risen and has appeared to Simon.”
The look of incredulity and awe on the faces of the men stands in contrast to the dignity and still expression of Christ. As in most figural windows by Tiffany Studios, the faces and arms are painted with enamel.
This window shows off Tiffany’s techniques with glass. Drapery glass creates ripples of undulating fabric, as well as areas of shading, realistically depicting the figures’ forms. Plated spotted and confetti glass are used to portray the dappled leaves on the trees in the background. To make confetti glass, small, irregularly shaped pieces of glass are embedded into the reverse side of a sheet of glass.
Cross with Lamp
This window was one of those given by Virginia S. Wallace in 1908 and was made by Charles Hogeman. The verse (“The entrance of thy word giveth light…”) comes from Psalm 119:130.
A cross shines forth out of a dark blue background. Different rows are filled with different shapes of stones. In the center of the cross we find an oil lamp, surrounded by two concentric circles.
The lamp is used as a symbol of wisdom and piety. The Bible describes the Word of God as a lamp unto the faithful. In the parable of the wise and foolish virgins, a lighted lamp is used to indicate the wise ones.
Cross with Chi Rho
This window was given by Virginia S. Wallace in 1909. She was the wife A. W. Wallace who was a local judge and served as a vestryman here for many years. The window was made by Charles Hogeman. The window’s verse (“…Thou art the Christ, the Son of the living God”) comes from Matthew 16:16. Jesus had taken the disciples out of Galilee, away from the crowds and Herod. There he asked them to confess their faith.
A cross shines forth out of a dark blue and green background. Different rows are filled with different shapes of stones. In the center of the cross we find a Chi Rho, surrounded by two concentric circles.
The Chi Rho, is one of the earliest cruciform symbols used by Christians. It is formed by superimposing the first two letters of the word “Christ” in Greek, chi and rho. Although not technically a cross, the Chi Rho points to the crucifixion of Jesus. It also symbolizes his status as the Christ.
Cross with Sun
This was one of the windows given by Victoria S. Wallace in 1908. It was made by Charles Hogeman. The verse is from Psalm 122:1.
“I was glad when they said unto me, Let us go into the house of the Lord.” David wrote it for the people to sing at the time when they travelled to the holy feasts in Jerusalem. It appears to be suitable to be sung when the people had entered the gates and their feet stood within the city.
A cross shines forth out of a dark blue and green background. Different rows are filled with different shapes of stones. In the center of the cross we find a sun, surrounded by two concentric circles.
The sun is symbolic of Christ. It is also a symbol of truth.
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These are the earliest stained glass window in our church. They were installed in 1885 and dedicated to Rev. Edward McGuire who served as rector her for 45 years from 1813-1858. He was in fact the rector when the current Church was built. This window was produced in Germany, but we do not know the maker.
The right image is probably that of John, the beloved who was always with him. John is always depicted as a young, smooth-faced disciple. The other 8 disciples are present – three in the bottom right of St. Peter, three in the middle, 2 in the John window. Judas was not there since he had hanged himself and neither was Thomas.
This window is hidden behind the door leading into the Belfry. You can see it from the outside on Princess Anne Street. At night it is lit!
It was one of the windows given by Victoria S. Wallace in 1908 The window was made by Charles Hogeman. The Wallace windows use similar glass around a center symbols arranged in five rows of stone with the central theme in the middle. Surrounding the symbol are two concentric circles of stones. Within each row are different shapes of glass. The effect is traditional without any special treatment of the glass or painting. This is the only window of this type that you can see without the inside gallery dividing the top and bottom.
The Ark window at the top has the inscription, “Be Received Into The Ark Of Christ’s Church,” This verse is from the 1789 Prayer book. The Ark was the sign of God that God would be with man until the establishment of the new covenant.
The font towards the bottom is used during baptism. Baptism can be performed either by immersion or non-immersion. The verse is from John 3:5, “Truly, truly, I say to you, unless one is born of water and the Spirit, he cannot enter into the kingdom of God.”