Windows Gallery
The windows of Pilgrim Lutheran Church are traditional leaded stained-glass windows. They were fabricated using American Cathedral glass (which is transparent colored glass with a mechanical finish imparted by a roller) and handmade, mouthblown antique glass.
The painting on the glasses was executed in the traditional Trace and Matte Technique of glass painting. Some of the antique glass is “flashed” which means that the base glass color (usually clear) is fused to another thin layer of color. This enables the glass artist to sandblast or acid etch one of the layers to create special color shading and effects in a single piece of glass. There is also extensive use of silver stain in creating the ornate gold background glasses.
Because of the way it is made, by hand and by utilizing mouth-blowing techniques, there are faults (streaks, bubbles and striations) in the glasses. Just as Christ heals our human imperfection, the windows are made beautiful by light shining through.
Almost 70 years later the beautiful windows of Pilgrim have stood the test of time enduring earthquakes, riots, and a worldwide pandemic.
All of the windows at Pilgrim Lutheran relate to the theme of Sacrifice, ours to God, but most especially His to us! Please come visit us and learn about our artistic windows and God’s Gospel message. We welcome you.
“The Good Samaritan,” flanked by the Law to love God and your neighbor, and the scale of testing.
The Good Samaritan
The Good Samaritan (center)
One day an expert in religious law stood up to test Jesus by asking him this question: “Teacher, what should I do to inherit eternal life?” Jesus replied, “What does the law of Moses say? How do you read it?” The man answered, “’You must love the Lord your God with all your heart, all your soul, all your strength, and all your mind.’ And, “Love your neighbor as yourself.’” “Right!” Jesus told him. “Do this and you will live!” The man wanted to justify his actions, so he asked Jesus, “And who is my neighbor?” Jesus replied with a story: “A Jewish man was traveling from Jerusalem down to Jericho, and he was attacked by bandits. They stripped him of his clothes, beat him up, and left him half dead beside the road. “By chance a priest came along. But when he saw the man lying there, he crossed to the other side of the road and passed him by. A Temple assistant walked over and looked at him lying there, but he also passed by on the other side. “Then a despised Samaritan came along, and when he saw the man, he felt compassion for him. Going over to him, the Samaritan soothed his wounds with olive oil and wine and bandaged them. Then he put the man on his own donkey and took him to an inn, where he took care of him. The next day he handed the innkeeper two silver coins, telling him, ‘Take care of this man. If his bill runs higher than this, I’ll pay you the next time I’m here.’ “Now which of these three would you say was a neighbor to the man who was attached by bandits?” Jesus asked. The man replied, “The one who showed him mercy.”
Luke 10: 25-37
See the distressed look on the man’s face, he is injured and helpless. Note also the determined expression of the Good Samaritan who comes do his aid. The parable reminds us that Jesus is our Good Samaritan. He is the one who binds up our wounds of sin and provides for our healing and saving our life from spiritual death. The beaten man may also remind us of Jesus who was beaten before going to the cross. His words come to mind from Mathew 25: 40 “…I tell you the truth, whatever you did for one of the least of these brothers of mine, you did for Me.”
As the parable is a lesson of loving others, one might well ask ourselves if we see the face of Jesus in the face of our neighbor? Apparently, the Levite and the Priest, seen off in the distance, did not. They passed by the fallen man even though one would think that “godly temple workers would be a first to lend aide.
The window is appropriately flanked by the cross of charity with the heart of love, as well as the scroll of the law and the scales of justice. They are a reminder of God’s command to love our neighbor and the results of doing so or not.
The Scroll (left)
Represents learning and knowledge, but this particular image is that of the Torah or Pentateuch, the first 5 Books of the Bible, also known as the Books of Moses, which comprise Jewish Holy Scripture. Truly it is God’s Word alone that grants real learning and knowledge.
The actual scroll is handwritten in original Hebrew from right to left with special calligraphic without punctuations, commas, periods, chapter or verse numbers. It is written on parchment and rolled up around two ornate wooden shifts called the Atzel Chayim, which extend above and below the parchment so that the scroll can be handled.
The scroll is the quintessential, core representation of Judaism itself. It was first dictated by God directly to Moses and embodies the connection of God’s wisdom and guidance to the heart, mind and soul of His people.
Scales of Justice (right)
Representing the balance between the fair interest of one individual and those of another, and the weighing out of justice. The double-edged sword is the active force and a symbol of power, as well as the protection of the innocent. The shield also signifies this defense and may remind us of the “Shield of Faith” in the Christian armor described by St. Paul in Ephesians 6: 16 “…with which you can extinguish all the flaming arrows of the evil one.”
As the image flanks the practice of the Good Samaritan, it may well call us to reflect on the two parts of the law by which we will be judged, mainly our love for God, and for our neighbor.
“The Boy Christ in the Temple,” flanked by the burning lamp of faith and the symbol of confirmation.
Boy Jesus in the Temple
Boy Jesus in the Temple (center)
Every year (Jesus) parents went to Jerusalem for the Feast of the Passover. When He was 12 years old, they went to the Feast, according to the custom After the Feast was over, while His parents were returning home, the boy Jesus stayed behind in Jerusalem, but they were unaware of it. Thinking He was in their company, they traveled on for a day. Then they began looking for Him among their relatives and friends. When they did not find Him, they went back to Jerusalem to look for Him. After three days they found Him in the Temple courts, sitting among the teachers, listening to them and asking them questions. Everyone who heard Him were amazed at His understanding and His answers. When His parents saw Him, they were astonished. His mother said to Him, “Son why have you treated us like this? Your father and I have been anxiously searching for you! ‘Why were you searching for me?’ He asked. ‘Didn’t you know I had to be in My Father’s House?”
Luke 2: 41-49
The stained-glass window captures this moment in time. Mary is obviously distraught; her face is in a worried expression and her arms are raised in question. Jesus however is calm, answering His moth as He points to Himself while mentioning upward to His Father.
Notice the Scribe nearby, identified by his cap and scrolls. Also identifiable is the High Priest marked by his unique dress of robes, turban, and breast plate with the twelve precious stones symbolizing the twelve tribe of Israel.
Jesus is in the “Seat of Moses,” as it is called. A simple chair set specifically where a Rabbi would sit while giving commentary on a portion of Scripture. Behind him is the curtain that separates the Holy, place from the Holy of Holies in the Temple. It was there, behind the curtain, where the Ark of the Covenant was kept, as seen above the head of Jesus.
While a beautiful picture, the artist of the window took some liberties in depicting this scene, the Ark would not have actually been present as recorded in Luke’s Gospel.
It is appropriately flanked by the Lamp of Knowledge and a young boy being confirmed. In the Lutheran Church, young people confirm their faith at around twelve years of age, the same age as Jesus in the window.
Lamp (left)
To the ancients, a lamp was not merely a light for darkness but also a symbol of intelligence and learning. Even today, a lamp stands for wisdom and knowledge, as a symbol of enlightenment and religious fervor that comes through Holy Scripture.
Confirmation (right)
The window depicts a young man being confirmed with a blessing from the Pastor. Above him, a dove with Holy Glory is descending. The dove is a symbol of the Holy Spirit to whom we attribute the giving, growing and expressing of Faith.
“The Widow’s Mite,” flanked by Abraham’s sacrifice and the altar of the Old Covenant.
The Widow’s Mite
The Widow’s Mite (center)
As He looked up, Jesus saw the rich putting their gifts into the Temple treasury. He also saw a poor widow put in two very small copper coins. “I tell you the truth,” He said, “this poor widow has put in more than all the others. All these people gave their gifts out of their wealth; but she out of here poverty put in all she had to live on.”
Luke 21: 1-4
Notice the expression of concern of the widow’s face. As she puts in her offering, she is trusting in God to provide. The expression on Jesus’ face shows that He also is concerned for her. The man in line behind her is obviously one of the wealthy givers, as shown by the sack of money he is reaching into, as well as the heavy sack of money tied about his waist, and his fine robes. The window causes us to reflect on our own giving of time, talent and treasure.
Abraham’s Sacrifice (left)
When the sun had set and darkness had fallen, a smoking firepot with a blazing torch appeared and passed between the pieces (of the sacrifice). On that day the Lord made a covenant with Abram and said, “To your descendants I give this land, from the river of Egypt to the great river, the Euphrates.”
Genesis 15: 17-18
The fire was a symbol of the presence of God. As these items passed between the cut and divided pieces of the sacrifice, it solemnized God’s covenant with Abram as a self-maledictory oath that God made or literally “cut” – “…may it be done to me if I do not keep my oath and pledge.” Ultimately, God was giving Abram encouragement that His oath was good and true.
The Altar of Burnt offering (right)
Build an altar of acacia wood, three cubits high; it is to square, five cubits long and five cubits wide. Make a horn at each of the four corners, so that the horns and altar are of one piece, and overlay the altar with bronze.
Exodus 27: 1-2
The altar was used for sacrifice to atone for the sins of the people. The horns on each corner were symbols of help and refuge. When Jesus died on the cross, He became “the Lamb of God who takes away the sin of the world.” As the ultimate and final sacrifice for sin, such practices of altar sacrifice were no longer necessary.
“…we have been made holy through the sacrifice of the body of Jesus Christ once for all.”
Hebrews 10: 10
“Christ Walking on the Water,” flanked by the anchor cross and the cross on the rock.
Christ Walking on the Water
Christ Walking on the Sea (inspired by Mathew 14: 22-36) (center)
The window depicts the moment when Peter began to sink in fear after walking on the water. The storm around him overcame Peter, but Jesus immediately reached out to save him. Notice that Jesus is calm, even upholding His hand in a peaceful gesture while Peter is fearfully distressed. Jesus still rescues us from the storms of the life granting us peace.
The Anchor of Hope (left)
“We have this hope as an anchor for the soul, firm and secure.”
Hebrews 6:19a
In the early years of Christian persecution, believers recognized the sign of the cross in an ordinary anchor. One can’t help but notice that the anchor is in the shape of a cross, reminding us that the cross of Jesus gives us hope. The storms of life may try to toss us about, but our hope in Christs’ work on the cross holds us firm and sure.
The Cross on the Rock (right)
“Turn your ear to me, come quickly to my rescue; be my Rock of refuge, a strong fortress to save me.”
Psalm 31:2
The window displays the unmovable strength of the cross of Jesus. Perhaps it reminds us of the Classic Hymn;
“My hope is built on nothing less than
Jesus blood and righteousness;
I dare not trust the sweetest frame,
But wholly lean on Jesus Name.
On Christ, this solid Rock, I stand.”
All other ground is sinking sand.”
“My Hope is Built on Nothing Less”
by Edward Mote
“The Good Shepherd,” flanked by the light of the world ant he folded hands.
The Good Shepherd
The Good Shepherd (center)
What do you think? If a man has a hundred sheep, and one of them goes astray, does he not leave the ninety-nine and go to the mountains to seek the one that is straying? And if he should find it, assuredly, I say to you, he rejoices more over that sheep than over the ninety-nine that did not go astray. Even so, it is not the will of your Father who is in heaven that one of these little ones should perish.
Matthew 18: 12-14
This is our God’s favorite image of Himself in both the Old and New Testaments. Israel’s kings were often referred to as shepherds of the people. Jesus refers to Himself as the “Good Shepherd.” Appropriate to its metaphor also is the image of us as sheep. We, too, are spiritually defenseless like sheep and easily go astray. Without a Good Shepherd leading us, guiding us, protecting, and providing for us, we would be doomed. For the devil, like a roaring lion, is always seeking to devour us.
In this window, we see a little lamb, obviously fallen onto a desperately precarious spot on the edge of a cliff. Notice also the bird of prey right above the lamb’s head, just waiting for it to fall to its death. But, the Good Shepherd, Jesus, is there. He is tenderly reaching down to save the lamb. His face calm and assuring. Truly, the Lord is our Shepherd, and because He is, we “shall not want.”
If you look closely at the little lamb’s face, you may recognize it. It’s your face. You are Jesus’ little lamb!
Candle (left)
Jesus said, “I am the Light of the World.”
John 8: 12
Appropriately the lit candle is a reminder of the presence of God among His people. As physical life relies on light, so our spiritual life relies on the light of Christ.
The candles may also remind us of early Christian who gathered in catacombs secretly to avoid persecution and worshipped by candle light.
The number of candles used corresponds to the symbolic meaning of each number. Often it is the number 7, which represents the perfection or completion of God. The flame serves as a constant reminder of the power of the Holy Spirit.
The Praying Hands (right)
Also known as “Study of the Hands of an Apostle,” is a pen and ink drawing by the German printmaker, painter and theorist Albrecht Dürer. He lived from May 21, 1471 – April 6, 1528, and was said to be sympathetic to the reformation of Martin Luther. Dürer originally used the white heightening technique and black ink on (self-made) blue-colored paper. Today, it remains the most often reproduced and widely known work of the artist and has generally been referred to as “The Praying Hands.”
The legend behind the painting goes back to the fifteenth century in a tiny village near Nuremberg, where the Dürer family lived with their eighteen children. Despite being a poor family, two of the children, Albrecht and Albert, had a dream to become artists but finances made it difficult to pursue. After a long discussion one night, the two boys made a pact. They would toss a coin, and the loser would go down to work the nearby mines, and with the earnings would support the other to study art at the academy. Then, after the other had become successful, he would support the other brother to then go to the academy. They tossed the coin one Sunday morning after church, and Albrecht won the toss. Financed by his brother’s labor, he went to the academy and became an immediate success, even more superior than his professors.
The young artist returned to his tiny village, and the Dürer family held a celebration dinner in honor of his triumphant return. Albrecht rose up at the celebration to honor the sacrifice of his brother, who had made it all possible. After raising his glass of wine, Albrecht closed with the words, “And now, Albert, blessed brother of mine, now it is your turn. Now you can go to the Nuremberg academy to pursue your dream, and I will take care of you.”
Everyone turned to look at Albert, who surprisingly was crying and repeating the words, “no, no, no.” After wiping the tears from his face, Albert spoke to those in attendance: “No, brother, I cannot go to Nuremberg. It is too late for me. Look…look what four years have done to my hands! The bones in every finger have been smashed at least once, and lately, I have been suffering so badly in my right hand that I cannot even hold a glass, much less make delicate lines on parchment or canvas with a pen or a brush. No, brother…for me, it is too late.”
It is said that this most famous work of Dürer is a drawing of his brother’s mangled hands folded in prayer, an homage to his sacrifice.
“Christ Preaching the Gospel to the Woman of Samaria,” flanked by the pitcher of living water and I H S (Jesus, Savior of men).
Christ Preaching the Gospel to the Woman of Samaria
The Samaritan Woman by the Well (center)
As Jesus and His Disciples were traveling between Samaria and Galilee, Jesus stopped by a well to get a drink. There He met a Samaritan Woman.
When a Samaritan woman come to draw water, Jesus said to her, “Will you give Me a drink?’ (His Disciples had gone into town to buy food.) The Samaritan woman said to Him, “You are a Jew and I am a Samaritan woman. How can You ask me for a drink?” (For Jews did not associate with Samaritans.) Jesus answered her, “If you knew the gift of God and who it is Who ask you for a drink, you would have asked Him and He would have given you living water.”
John 4: 7-10
The window shows their interaction at the well. The woman’s face is astonished by Jesus’ knowledge as she listens intently. Jesus is seen pointing to Himself and up toward heaven at the same time.
The city of Samaria is in the background, and perhaps it is Mount Gerizim that is depicted in the distance. The Temple mount, according to Samaritans. Please notice the grouping of the three-leafed clovers in the bottom left-hand corner, a symbol of the Holy Trinity. Also, notice that the window is flanked by a ewer or pitcher, often used to transport water to and from a baptismal font. The connection between the two pictures is very appropriate as baptism grants the true “living water.”
The Pitcher or Ewer (left)
Is an instrument used to hold or transport water. Often it carries water to and from a baptismal font. As it flanks the depiction of the Samaritan women by the well, it reminds us as the “living water” Jesus offered to here. From John 4: 10: “Jesus said to her, ‘if you knew the gift of God and Who it is that asks you for a drink, you would have asked him and He would have given you living water!’”
The rays of light above the pitcher suggest that it contains this living water, displayed most prominently in the waters of Holy Baptism.
In relation to Jesus’ passion, a pitcher may remind us of when He washed His Disciples’ feet as an example of servanthood, or when Pilot washed his hands of Jesus’ death before sentencing Him to the cross.
I H S or IhS (right)
This monogram, set in the beautiful glowing color of gold, is the first letters of the Greek word for Jesus (ΙΗΣΟΥΣ or IHCOYC). It has also been understood as each of the first letters of the Latin words in the phrase Iesus Hominum Salvator (Jesus, Savior of Men). A popular interpretation is the German: Iesus, Heiland, Seligmacher (Jesus, Lord, Savior). The English sometimes interprets it as “I, Jesus, Have Suffered.” Others find in the symbol the Latin reference In Hoc Signo (Vinces) (In this sign [shalt Thou conquer]) said to be placed on the shields of Constantine’s army after a dream he had that he would gain military victory under the insignia. After he did so, the Emperor declared it the sign of the Roman Catholic Church. Still, others have said it to signify In Hac Salus (In this [cross] is salvation).
As knowledge of Greek became rarer, the Greek ‘C’ was changed to a Latin ‘S,’ so that often one sees the symbol written either as IHC or IHS. In any way it is interpreted, it should remind us of Jesus.
“Jesus turns and Looks at Peter,” flanked by the nails and crown of thorns, the cross and the winding sheet.
Jesus turns and Looks at Peter
Jesus Turns and Looks at Peter (center)
The window captures the moment during Jesus’ trail just after Perter had denied knowing Jesus for the third time.
Peter replied, “Man, I don’t know what you’re talking about!” Just as he was speaking, the rooster crowed. The Lord turned and looked straight at Peter. Then Peter remembered the word the Lord had spoken to him: “Before the rooster crows today, you will disown Me three times! And (Peter) went outside and wept bitterly.”
Luke 22: 60-62
Crown of Thorn and Nails (left)
The crown of thorns was placed upon Jesus’ head before His crucifixion by soldiers who mocked Jesus as the “King of the Jews.” The three nails were the spikes that pierced each of Jesus’ hands and one held His two feet together, suspending Him upon the cross. The center “I.N.R.I .” stand for the first letters of the Latin words Iesus Nazarenus Rex Iudaeorum (Jesus of Nazareth, the King of the Jews). This was the superscription written on the cross placed over Jesus’s head by order of Pontius Pilate. Typically, the sign was to informs those who passed by the crime they had committed. He had it written in Greek, Latin and Hebrew so that all who passed by, from any of these languages’ world be able to read it. When the Jewish leaders heard of this they petitioned Pilate to change the superscription…
The Chief Priest of the Jews protested to Pilate, “Do not write ‘the King of the Jews,’ but that this man claimed to be king of the Jews. Pilate answered, ‘What I have written, I have written.’”
John19: 21-22
The Cross with Shroud (right)
The right panel of the triptych shows an empty cross with Jesus’ burial cloth draped over its arms. It is a depiction of resurrection victory, the cross without the corpus and Jesus’ body free of his death shroud. Notice the superscription I.N.R.I. at the top.
“The Ascension of Jesus,” flanked by the fiery chariot and the phoenix bird.
The Ascension of Jesus
The Ascension of Jesus (center)
The Book of Acts begins with Jesus speaking to His Disciples:
But you will receive power when the Holy Spirit comes on you; and you will be my witness in Jerusalem, and in all Judea and Samaria and to the ends of the earth. After He said this He was taken up before their very eyes and a cloud hid Him from their sight. They were looking intently up into the sky as He was going, when suddenly two men dressed in white stood beside them. “Man, of Galilee,” they said, “Why do you stand here looking into the sky? This same Jesus, who has been taken from you into heaven, will come back in the same way you have seen Him go into heaven!”
Acts 1: 8-11
The stained-glass window shows Jesus ascending into heaven 40 days after His resurrection, and yet, because of the billowing of His robes, one could argue that it looks more like Jesus descending. Both images are appropriate reflection as Jesus will one day return from the clouds at His Second Coming, in the same way He left.
The Fiery Chariot (left)
“As (Elijah and Elisha) were walking along and talking together, suddenly a chariot of fire and horses of fire appeared and separated the two of them, and Elijah went up to heaven in a whirlwind.”
II Kings 2:11
The stained-glass window depicts the chariot aflame, and yet it is not consumed as it rides over the clouds of heaven. This is an appropriate window to connect to Jesus’ own ascension into heaven. Elijah, like Enoch, are the only Biblical characters who were said to never have died but were taken directly to heaven.
The Phoenix Bird (right)
Is an image the early Christian Church adopted as a symbol of the resurrection. The Phoenix is a fictitious bird resembling an eagle, which is said to live five hundred years in the Arabian desert, after which it is consumed in fire, but rises again, fresh and beautiful from its own ashes, to live another five hundred years as the process continues. It has been incorporated as a symbol of resurrection and new life. Ashes are used on Ash Wednesday to begin the season of renewal by repentance.
“Rock of Ages,” flanked by baptismal font and chalice and host.
Rock of Ages
Rock of Ages (center)
“The Lord is my Rock, my Fortress and Deliverer; my God is my Rock, in Whom I take refuge…”
Psalm 18:2
Of all of Pilgrim’s stained-glass windows, this is one of the few that does not depict a story from scripture, and yet, it emphasizes a strong message of faith. The woman shown is rightfully distraught. Whatever vessel on which she was traveling appears to have been smashed on the rocks leaving only broken boards behind. The white water and storm clouds intensify her precarious position. But, she is able to cling to a strong, immovable rock cross. The sunbeams breaking through above her are very promising that if she holds to the cross, she will survive. The beautiful picture reminds us of the lines from the classic hymn:
“So I’ll cherish the old rugged cross.
Till my trophies at last I lay down;
I will cling to the old rugged cross,
And exchange it some day for a crown.”
“The Old Rugged Cross” by George Bennard
Baptismal Font (left)
The octagonal font shown replicates Pilgrim’s own. The dove above it is the symbol of the Holy Spirit who bestows Faith on those being baptized.
It has eight sides because the number eight is symbolic of rebirth, an appropriate Baptismal theme. It also reminds us of the eight souls saved in Noah’s ark, another symbol of Baptism. Also, as the 7 days were occupied by creation and rest, the eight day was significant of the “new creation” regeneration — a divine octave.
Chalice and Host (right)
The cup for the wine/blood and the host for the bread/body. These symbols of communion are appropriately placed under the “Pelican in Her Deity” (window not shown in this gallery) as they relay to us the gift of the Sacrament of the Altar. The Greek letters IHS on the host stand for Jesus.
“Jesus Knocking at the Door,” flanked by the fleur-de-lis and the symbol of the Trinity.
Jesus Knocking at the Door
Christ Knocking at the Door (center)
“Here I am! I stand at the door and knock. If anyone hears My voice and opens the door, I will come in and eat with him, and he with Me.”
Revelation 3:20
Jesus knocks on the door of the human hearts! He has come a long way to do so as shown by His walking stick. He left the glories of heaven, took on humble human flesh, suffered and died that He may be with us. Notice there is no handle on the outside of the door, it must be opened from within and while the granting of faith is all God’s doing, we must heed His call, hear the knock of faith and open the door. Look for the three-leafed clovers at the bottom left of the window as a symbol of the Trinity.
Fleur-de-lis (left)
From the French meaning “Flower of the Lily” or the iris, its three dimensions have made it a widely used symbol of the Trinity despite the fact that it has also been used as a symbol for the Virgin Mary. The symbol has been embroidered into the clothing and articles of French Monarchs and it has been included at the end of the cross arms, not to mention as a decorative symbol in many different ways. It symbolizes Threeness in the “standards,” in the bands below them, in the “falls” below the bands, and in the anthems which are in the form of a three-leafed clover, also a symbol of the Trinity.
Three Interwoven Circles connected to a Triangle (right)
Two prominent symbols of the Holy Trinity are combined to create a single unified symbol. The circle represents the eternal qualities of each Person of the Holy Trinity, with no beginning or end, all equal in every way. The fact that they are all connected emphasizes the unity of the Godhead and its inseparability.
Perhaps the most common symbol of the Holy Trinity is the equilateral triangle. It reminds us that the three Persons are co-equal as stated so eloquently in the Athanasian Creed, and intimately connected with three equal corners and three equal sides to create a single shape. Having these two symbols placed one over the other emphasizes even more the profound symbolism embedded in each.
Shamrocks — The inclusion of this symbol in many of our windows, displays its’ wide usage in Christianity. It is attributed to St. Patrick who was said to have seen its three leaves and said in effect: “God is like this flower; this flower has three petals, and theses petals form this shamrock. So, God consists of three Persons, and yet is one God.”
The Chancel Triptych
The Chancel Triptych
The Chancel Triptych — Is the most prominent of all the windows in the church, beautifully proclaiming the message of the Gospel and the core truths of our Christian Faith. It is a wonderful display of the work of the Holy Trinity – Father, Son, and Holy Spirit. It is appropriately placed above the altar for all to see and contemplate.
The main chancel window (above the altar) depicts the three most momentous events in Christianity: Christmas, Good Friday and Easter. Epiphany (January 6, commemorating the coming of the Magi to the Christ Child) is depicted below the Nativity scene. The Last Supper is shown below the crucifixion and Pentecost (the 7th Sunday after Easter, commemorating the descent of the Holy Spirit on the Apostles) below the resurrection. In the canopies above these windows are the hand of the Father, the Son as a Lamb, and the Dove as the Biblical symbol of the Holy Ghost. This window is the Walter A. Maier memorial Window and was placed by the Pilgrims Women’s Guild.
Dedication Section
The glorious windows of Pilgrim were dedicated to the following members, who have been called home to be with our Lord:
Walter and Amanda Amling; Oscar F. Mayer; K. Iwasa, MD; Louis T. Troeger; Louise C. Mayer; Walter, Lydia and June Fischer; John T. and Tabitha Bolz; A. John Troegger; August Rode; Julian Floyd Reither; William Dudley Plont; Cynthia Jeanne Lofquist; Henry and Lena Hillman; Casper and Elizabeth Huber; Mr. and Mrs. P.H. Hinrichsen; Christina Fritz; George Wiederrich; Harry H. Seidenstucker; Henry Kohls; Dr. Arno J. Kuehnert; Ida Tiedeman; Mr. and Mrs. Fred Reimers; Rev. Dr. Roloff Johnsen; William and Mary Freudenberg; John Berg; Marie Fischer Wiederrich; Glenn L. Raasch; Wilhelm and Emilie Rietz; Augusta Peters; John Dumph; J. Monroe; M. Elizabeth Geary; Emma H. Gruner; Anna Kornemann Johnsen; Dr. Walter A. Maier by Pilgrim’s Women’s Guild.
The Rose Window was dedicated to Pilgrim by the children of the Church, Jr. Choir, Parish School, and Sunday School.
