Covenant’s collection of nineteen stained glass windows includes the work of renowned artists Louis Comfort Tiffany, John La Farge, Henry Lee Willet, and Nicola D’Ascenzo. During the last century, the beauty and inspirational effect of the cathedral that houses Covenant Presbyterian Church has been enhanced by the addition of stained glass windows. It took sixty years to complete the stained glass windows around the nave as a panorama of the earthly life of Jesus. The life of Jesus windows generally followed realistic renditions of figures in the Renaissance manner. However, the D’Ascenzo transept window returned to a 13th century use of medallion style, known not only for beauty of coloring and decorative effect, but also as a medium of religious instruction.

Seeing these differences in style presents an opportunity to observe the changes in content, technique and imagery in the art of stained glass, as well as an opportunity to compare windows of 1908 with windows of 1968, of Tiffany in 1910 with D’Ascenzo in 1929. Most importantly, it allows visitors to see how the designs successfully combine ancient symbolism with more modern imagery to portray, in an inspiring way, some of the outstanding characters and incidents of the Bible.

As You Enter . . . The six windows noted on this sketch are the easiest to view up close. They are located under the balconies.

S t a i n e d G l a ss a t C o ve n a nt C h u r c h

The Art of

Stained Glass

Windows

C o v e n a n t

P r e s b y t e r i a n

C h u r c h

550 Madison Ave.

Scranton, PA 18510

570-346-6400

www.covenantchscr.org

Olive St.

Entrance

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16. The Scranton Window or Medallion Window

1929 Nicola D’Ascenzo Given in memory of his forebears by

William W. Scranton This window was designed and built in

an antique manner, the rich deep toned palette and mosaic like quality of

the glass being its principal feature. The “Covenanter” is in the lower right

medallion.

Madison Ave.

Entrance

17. Christ and the Woman at the Well or The Woman of Samaria

1910 John LaFarge In memory of William R. Storrs

and Harriet Whiton Storrs The inscription reads: “God is a Spirit,

and they that worship him must worship him in spirit and in truth”.

John 4: 1-40

Tile Mosaic

“The Descent of the Holy Ghost

at Pentecost”

In memory of Nathan Grier Parke

Founder and First Pastor of the

First Presbyterian Church of Scranton

1844-1849

2. Jesus and Disciples at Emmaus 1915 Tiffany Studios

In memory of Alexander Hunt (1835-1914) and Frances E. Hunt (1837-1911)

Luke 24: 13-53 Now on that same day two of them were going to a

village called Emmaus, about seven miles from Jerusalem, and talking with each other about all these things that had happened. While they were talking and

discussing, Jesus himself came near and went with them, but their eyes were kept from recognizing him.

1. Jesus Knocking at the Door 1910 Louise Comfort Tiffany (signed)

In memory of Sarah Griffin (1834-1910) Revelation 3:20

“Behold, I stand at the door and knock: if any man hear my voice and open the door I will come in to

him and will sup with him and he with me.” Based on a painting by William Holman Hunt, “Light of the World”. The door represents the heart of the person and the handle is on the

inside. Jesus knocks at the door, but only the person can let him in.

13. The Sermon on the Mount 1938 Henry Lee Willet

In memory of William W. Inglis (1871-1953) and Gertrude K. Inglis (1874-1937)

Matthew, Chapters 5, 6,7 The last verse of chapter 5 is considered to be a focal

point that summarizes the teaching of the sermon: “be perfect, as your heavenly Father is perfect”,

advising his disciples and followers to seek the path towards perfection and the Kingdom of God.

14. The Nativity 1938 Henry Lee Willet

In memory of Frederick J. Platt (1871-1959) and Jessie Blair Platt (1871-1951)

The Nativity refers to the birth of Jesus, primarily based on the two accounts in the

gospels of Luke and Matthew.

15. The Annunciation 1967 Baut Studios

In memory of James Harris Dunham (1866-1942) and Margaret Gibson Dunham (1877-1964) Given by Mr. & Mrs. James H. Dunham, Jr.

and Mr. & Mrs. William L. Connell, Jr. The Annunciation is the celebration of the

announcement by the angel Gabriel to the Virgin Mary that she would conceive and become the

mother of Jesus, the Son of God.

3. The Boy Jesus in the Temple

1938 Henry Lee Willet In memory of George T. Schautz

Luke 2: 41-52 “Why were you searching for me?” he

asked. “Didn’t you know I had to be in my

Father’s house?” But they did not

understand what he was saying to them.

11. The Ascension 1912 Tiffany Studios

In memory of F. Curtis Platt (1816-1887) His wife, Catherine Serena Scranton (1822-1887)

Acts 1: 9-11 The Ascension of Jesus is professed in the Nicene

Creed and the Apostles’ Creed. The ascension implies Jesus’ humanity being taken into Heaven.

4. The Good Shepherd 1911 Tiffany Studios

In memory of William A. Manness (1816-1893) and Elvira C. Manness (1826-1893)

John 10: 1-21 The image of the Good Shepherd is the most common of the symbolic representations of Christ found in Early

Christian art in the Catacombs of Rome. Images of the Good Shepherd often include a sheep

on his shoulders.

5. Jesus Blessing the Children 1915 Tiffany Studios

In memory of Charles Fuller (1797-1881) and Maria S. Fuller (1799-1874)

Mark 10: 13-16 “Let the little children come to me; do not stop them;

for it is to such as these that the kingdom of God belongs. Truly I tell you, whoever does not receive the kingdom of God as a little child will never enter it.” And he took them up in his arms, laid his hands

on them, and blessed them.

12. The Resurrection 1911 Tiffany Studios

“The Hallstead Memorial” given by Mrs. William F. Hallstead.

After the Romans crucify Jesus, he is anointed

and buried in a new tomb by Joseph of

Arimathea, but God raises him from the dead

and he appears to many people over a span of

forty days before his ascension to Heaven.

10. The Last Supper 1930 Tiffany Studios

In memory of Simon Jones (1821-1875) and Ellen Lazarus Jones (1818-1904)

The Last Supper is the final meal that Jesus shard with his Apostles in Jerusalem

before his crucifixion. The Last Supper provides the scriptural basis for the Eucharist, also known as

“Holy Communion” or “The Lord’s Supper”.

6. The Good Samaritan 1915 Tiffany Studios

In memory of Alexander W. Dickson (1843-1912) Luke 10: 29-37

Jesus is described as telling the parable in response to a question regarding the identity of the “neighbor”,

who Leviticus 19:18 says should be loved.

7. The Healing Ministry of Jesus 1964 Baut Studios

The “Zeidler Window” in memory of Margaret Anne Zeidler (1901-1967)

The window shows the figures of Jesus Christ and the two sisters, Martha and Mary.

The window presents the setting of Jesus raising Lazarus, as it is recorded in John 11.

8. The Garden of Gethsemane 1966 Baut Studios

Given by Mr. & Mrs. A. Blair Platt (1900-1981) Dorothy L. Platt (1904-1981)

Luke 22: 39-43 He came out and went, as was his custom, to the

Mount of Olives; and the disciples followed him. When he reached the place, he said to them, “Pray that you may not come into the time of trial.” Then he withdrew

from them about a stone’s throw, knelt down, and prayed, “Father, if you are willing, remove this cup from me; yet, not my will but yours be done.” Then an angel from heaven appeared to him and gave him strength.

The windows of the nave represent major themes in the life and ministry

of Jesus Christ.

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9. Triumphal Entry to Jerusalem 1925 Tiffany Studios

In memory of James W. Fowler (1838-1903) and Achsah D. Fowler (1837-1925)

In the accounts of the four canonical Gospels, Jesus’ triumphal entry into Jerusalem takes place in the days before the Last Supper,

marking the beginning of his Passion.

The furniture and trim is solid oak stained light while the walls are lined with kasota stone. All floors are flagstone with color

and pattern to blend with the other materials. The lighting fixtures are

wrought iron and built into the architecture of the wood coffered ceilings.

The wood carving both in the Chancel and the pews is by Mr. Shorten,

Bryn Athyn, PA.

The Schautz Memorial Chapel was dedicated in 1948, a gift by the

Schautz family. It is of modified English design, modeled

after the low roof chapels of the eighteenth century. The plan embodies a

center aisle and divided chancel with a stone alter and a triptych as the center motif. The designer of the Chapel was

Hensel Fink of Philadelphia, PA.

The Wurlitzer organ and chimes were installed by Mr. George F. Keller, Scranton, PA. The windows, designed by Mr. George

Willet of Philadelphia, PA, are leaded glass of early design consisting of deep rich coloring

which gives a very pleasing effect to the entire interior.

A Mother and Child in Prayer

Go Preach, Christ and the Children of the Nations

The Boy Christ and his Mother, Christ among the Lowly

The furniture and trim is solid oak stained light while the walls are lined with kasota stone. All floors are flagstone with color

and pattern to blend with the other materials. The lighting fixtures are

wrought iron and built into the architecture of the wood coffered ceilings.

The wood carving both in the Chancel and the pews is by Mr. Shorten,

Bryn Athyn, PA.

The Schautz Memorial Chapel was dedicated in 1948, a gift by the

Schautz family. It is of modified English design, modeled

after the low roof chapels of the eighteenth century. The plan embodies a

center aisle and divided chancel with a stone alter and a triptych as the center motif. The designer of the Chapel was

Hensel Fink of Philadelphia, PA.

The Wurlitzer organ and chimes were installed by Mr. George F. Keller, Scranton, PA. The windows, designed by Mr. George

Willet of Philadelphia, PA, are leaded glass of early design consisting of deep rich coloring

which gives a very pleasing effect to the entire interior.

A Mother and Child in Prayer

Go Preach, Christ and the Children of the Nations

The Boy Christ and his Mother, Christ among the Lowly