To view the stained glass
windows of The Church of St. Paul in the Desert
click on a window name below. The chart to the right
denotes the location of the windows throughout the
Church.
The Church of St. Paul in
the desert is known for its breathtakingly beautiful
and unique faceted glass windows. The glass was
created in one of the oldest techniques of the art
from the Middle Ages with metals and metallic oxides,
thrown together to produce mystically significant
colors.
Copper
produces the blue, green and ruby;
Iron
gives birth to green;
Table
sugar adds amber tones;
Cobalt
makes blue;
Chrome
gives yellow tones; and
Metallic
gold produces pink.
Each color used has a religious meaning also dating
from the Middle Ages; and this, too, relates to
the color used in the story of each window. A brief
chart follows:
BLUE
- heavenly strength and faithfulness
WHITE
- purity, innocence, and joy
GOLD
- purity and splendor
RUBY
or RED - the blood
of life, sacrifice, and therefore, love
GREEN
- Spring, hope, eternal life, and the Holy
Trinity
YELLOW
- the revealed truth, as the sun breaking
through clouds after a storm
BROWN
- the earthly, or the mundane
GRAY
- the earthly, or mundane, and humility
PURPLE
and VIOLET - royalty,
or penance
When the pieces of glass are complete and in position
on the workbench, they are then fixed in epoxy with
sand. The background in each window, thereby, becomes
opaque, bringing the color and beauty of each piece
of glass more into prominence.
The average faceted glass window is only 40% to
50% glass. The windows weigh about eight pounds
per square foot, and the maximum size that can be
used is nine square feet. The medium is one of strength
and massiveness, not daintiness and over subtlety.
A special word of appreciation is indicated to the
Judson Studio of Pasadena, California, where the
windows were manufactured; especially is the gratitude
of the Parish expressed to Donald D. Dibble of Los
Angeles, who donated his time and professional efforts
for the photography, which is herein presented.
Acknowledgment is also given to the Reverend George
King, the Reverend Kenneth Whitney, and Mrs. Carolyn
Appleby - not only for their interest, but for their
editorial assistance throughout the preparation
of this material. Thanks is also due to Estelle
Kirkham of Los Angeles, for her consultation and
help in preparation for printing; and to Randolph
B. Kimmler for the art work on the front and back
covers.
