The Stained Glass of St. Paul's
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CREATION WINDOWS
Upon entering the narthex (also referred to as vestry or vestibule) of St. Paul’s, immediately to the right are three modern windows in copper foil technique of leading which minimizes the amount of painting. The windows represent the first three days of Creation. They were designed and constructed by Alice Johnson of the Lyn Hovey Studio in Cambridge, Massachusetts in 1986.
Upon entering the narthex (also referred to as vestry or vestibule) of St. Paul’s, immediately to the right are three modern windows in copper foil technique of leading which minimizes the amount of painting. The windows represent the first three days of Creation. They were designed and constructed by Alice Johnson of the Lyn Hovey Studio in Cambridge, Massachusetts in 1986.
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PSALM 107 AND PSALM 121
Two balanced windows at the back of the nave (the name of the main body of the church) are located to the left and right of the front inner door, featuring praise of God through nature. The one on the left, or Gospel, side of the church is from Psalm 107 and depicts the closeness to God of those who work in the sea. The one on the right, or Epistle, side of the church is from Psalm 121 and depicts the response to God of those who seek Him in the deep forest and wonders of the earth. Both windows were designed and created by Herman Verbinnen of Pawcatuck, Conn., in 1982, and were given in memory of Pauline Noyes and her mother Charlotte Luce Noyes. |
ST. FRANCIS OF ASSISI
Continuing down the aisle on the right, or Epistle, side of the nave is a window of St. Francis of Assisi (pictured left). In it are brother sun, sister moon, carp, birds, and, of course, a child. The man in whose memory the window was given, Zeke Harris, loved to worship in St. Paul’s so much that a medallion of the church is placed in the lower panel. This window was also done by Herman Verbinnen in 1984. ST. ELIZABETH OF HUNGARY The next window on the Epistle side is of St. Elizabeth of Hungary (pictured right). Designed by a Wickford native, Francis Reynolds, and made at the Rohnstock Studio in Boston, it represents one of the two patron saints of the third order of St. Francis. Betrothed at four, married at 14, bearer of three children, dead at 24, St. Elizabeth was a great patron of the poor. The roses in her hand represent the miracle that occurred when she was carrying the King’s bread to feed the poor. When discovered, she found the bread turned to roses and she continued her mission unhindered. |
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MOSES AND FAITH WINDOWS
These windows date from the 1890s, with designer and studio unknown. A young Moses receives the Ten Commandments on Mt. Sinai, taking caution not to look upon the face of God. In Exodus 33:20, God tells Moses, "You cannot see my face, for no one may see me and live." Similarly, the commandment against making images reflects a central tenet of monotheism and the belief in God's transcendence. The face of God is represented by his name YHWH, for, in Biblical thought, one cannot look upon the face of God and live, nor can one make any image to represent God. The matching window on the opposite side of the church is of “Faith,” represented by a woman, the cross, Easter lilies, and the dove. This would have been considered a very modern window in the 1890s. Every aspect of the symbolization is of that era and is of a highly emotional content to us, though to the people of St. Paul’s at that time, it would have appeared very rational and objective. |
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CHARITY AND HEALING WINDOWS
The next window, Christ receiving and healing the sick, is one of the three Munich glass windows made in Germany in the 1880s. Though these windows are made of stock themes, and are identical to ones found throughout Europe, they have a richness of color and texture that fits them perfectly to this building. The next window, of “Charity”, like the one of “Faith” on the opposite side of the church, is purely symbolic. It has a Pre-Raphaelite quality and uses the type of glass made popular by Tiffany and LaFarge. It dates from the first decade of the 20th century. Its designer and studio of origin are unknown. |
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WINDOWS OF ST. CECILIA AND ST. PAUL
The last window on the right side of the nave, closest to the sacristy door, honors St. Cecilia. This and the window of St. Paul, which overlooks the altar, are the earliest in the church, dating before 1880. They are mostly painted glass, very fragile, with a simplicity and naïveté, especially of composition, that is reminiscent of American Primitive painting. The style is of a generation earlier and they are the windows closest in concept to this church as designed by Thomas Tefft.
At the top of the altar window, superimposed upon crosses, the Greek letters Alpha and Omega recall Christ’s declaration of divine and eternal authority in the Book of Revelation (22:13): “I am the Alpha and Omega, the First and the Last, the Beginning and the End.”
Below this appear symbols of the four Evangelists that align with distinctive themes reflected in their Gospel content. St. Matthew is represented by divine man (how he describes Jesus); St. Mark, a winged lion; St. Luke, a winged ox; and St. John, a rising eagle. These symbols are taken from the Old and New Testaments – Ezekiel (1:1-21) and Revelation (4:6-8).
St. Paul, a citizen of Rome, and a highly learned man, is featured holding two objects – a sword, which symbolizes his martyrdom, and a book, representing his tireless mission of spreading the Word of God. “For the Word of God is living and powerful, and sharper than any two-edged sword” (Hebrews 4:12).
The last window on the right side of the nave, closest to the sacristy door, honors St. Cecilia. This and the window of St. Paul, which overlooks the altar, are the earliest in the church, dating before 1880. They are mostly painted glass, very fragile, with a simplicity and naïveté, especially of composition, that is reminiscent of American Primitive painting. The style is of a generation earlier and they are the windows closest in concept to this church as designed by Thomas Tefft.
At the top of the altar window, superimposed upon crosses, the Greek letters Alpha and Omega recall Christ’s declaration of divine and eternal authority in the Book of Revelation (22:13): “I am the Alpha and Omega, the First and the Last, the Beginning and the End.”
Below this appear symbols of the four Evangelists that align with distinctive themes reflected in their Gospel content. St. Matthew is represented by divine man (how he describes Jesus); St. Mark, a winged lion; St. Luke, a winged ox; and St. John, a rising eagle. These symbols are taken from the Old and New Testaments – Ezekiel (1:1-21) and Revelation (4:6-8).
St. Paul, a citizen of Rome, and a highly learned man, is featured holding two objects – a sword, which symbolizes his martyrdom, and a book, representing his tireless mission of spreading the Word of God. “For the Word of God is living and powerful, and sharper than any two-edged sword” (Hebrews 4:12).
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MUNICH GLASS WINDOWS: BAPTISM OF JESUS AND THE RISEN CHRIST
Beginning down the Gospel side of the nave at the Pulpit; the first window is of the Baptism of Jesus done in Munich glass in a German studio in the 1880s. The window is placed there as a background to the Font, making the corner a baptistry. The Pulpit replaced the Font in that location in the early 1900s. The next window, also of Munich glass, is of Jesus appearing to Mary Magdalene on Easter morning. Note the tremendous use of classical architectural motifs to frame all the windows and the representation of stone columns and arches in the 19th century ones. Also note that stained glass windows do not use perspective. All the figures seem jammed into the front of the window. These traditions in stained glass go back to the Middle Ages. Only the creation windows in the narthex are free from these constraints. |
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ENGLISH GLASS: ST. CECELIA WINDOW
The next window, again of St. Cecelia, is our only window of English glass. The studio is Heaton, Bayne, and Butler of London. The artist is unknown. It is of original design and considered to be the finest window in the church. St. Cecelia was a Roman martyr of the 3rd century about whom almost nothing is known. She is, however, the patron of musicians and her symbols are either the Organ or the Lute. Two kinds of organs are represented in this church’s two portrayals of her. 
STENCILED PAINTED GLASS
Above, a sample of the original stencil-painted windows, which were originally installed. In the nineteenth century combinations of grisaille and figural glass were as important as they were in the Middle Ages. For many congregations opposed to imagery, non-figural grisaille was a popular style for glazing in the 19th century. Grisaille windows were often installed as temporary measures, to be used until a church could afford stained-glass, or until stained-glass window memorials were donated. |
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ST. NICKOLAS AND ST. MARGARET OF SCOTLAND WINDOWS
The window of St. Nickolas, given in memory of the wife of a naval officer, represents his miracles associated with the sea. It was done by Marchese Studios of New Jersey. St. Nickolas is not only associated with the giving of gifts to children, but he is the Patron of Russia, sailors, unmarried girls, merchants, pharmacists, and the makers of perfume. He is wearing the vestments of an Eastern Orthodox Bishop. The seal in the lower panel is of the Episcopal Diocese of Rhode Island. The last window in the nave outside the balcony is of St. Margaret of Scotland. Designed and crafted in 1982 by Herman Verbinnen of Connecticut, it is in memory of the Rt. Reverend Frederick Belden, who, before becoming Bishop of Rhode Island, had been Rector of St. Paul’s for 25 years. It is a very Scottish window in its symbols and represents the person who reformed the Church and Society in that country in the 11th Century. The Patron of Scotland, Margaret’s children began the separate royal lines in England and Europe. |
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ROSE WINDOW The circular shape of a rose window is representative of the divine and eternal God, as the circle has no beginning and no end. When the organ was moved from the front of the nave (to the right of the altar) to the loft above the narthex, the window was obscured from view. At left, a mirror image helps us imagine how it may have appeared on a sunny morning, from within the nave, looking upward. The letters IHS in the center, common in much of Christian tradition, refer to an experience of the Emperor Constantine in 312 AD upon battlefields near Rome, where he received a vision of the cross of Jesus Christ, below which were inscribed the words "In hoc signo vinces" -- "By this sign you will conquer." The victory that followed this inspired his conversion, marking an end to an era of Christian persecution, and the beginning of the rapid spread of Christianity in the wider world. |
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The 12 sections within the circle point to the twelve tribes of Israel, the twelve apostles, and the fullness of God’s people. Within the inner circle, individual sections include three symbols (reflecting the Trinity): a head of wheat, a cross, or a f fleur-de-lis, French for lily. Jesus’ parables often mention wheat, a metaphor for the product of our labor, fruitfulness, and the abundant provision of God. The lily is often taken to represent purity, its three petals signifying the Holy Trinity of Father, Son, and Holy Spirit. The outer circle of flowers roses suggest the beauty of faith. The five petals sometimes interpreted as signifying the five wounds Christ suffered on the cross. As a flower known for its lovely fragrance and delicate petals, the rose also serves as a powerful metaphor for the relationship between God and humanity.
Original text prepared by Lynn Fairweather, 1999.
Revised and edited in 2025 by Barbara Nicholson, Will and Meg Geoghegan, and Jeff Manickas.
Photo Credits: Jeff Manickas, 2020.
Revised and edited in 2025 by Barbara Nicholson, Will and Meg Geoghegan, and Jeff Manickas.
Photo Credits: Jeff Manickas, 2020.