ALL SAINTS` MEMORIAL CHURCH
Our Stained Glass WIndows

Stained glass through the ages has had a close and symbolic relationship to religion. In Medieval times, with many people unable to read, stained glass windows were used to teach people about the stories of the Bible and the tradition and history of the church.
The original windows installed in the church since it was first dedicated in 1875 are the work of the Henry E. Sharpe Company of New York. These include the sanctuary window at the south end of the church, the window at the back of the nave at the north end of the church, two large rose windows near the front of the nave on the east and west walls of the church, a “Trinity” window set high in the east wall of the church, another “Trinity” window in the shape of a cloverleaf set high in the west wall of the church and the fifty clerestory windows high above the nave and to either side of the altar.
The lead used in stained glass maintains its strength for some eighty to one hundred years. After that age it starts to become brittle and the sections of window begin to sag. When this happens there is danger that individual pieces of glass can snap and break. In order to fix this problem the windows need to be removed and the brittle lead separated from the individual panes of glass. The glass is then cleaned, the pieces are re-leaded and caulked and the window is then reinstalled. This restoration was done by New England Stained Glass of North Attleboro, Massachusetts (telephone 508-699-6965).
The sanctuary window over the altar is thirty-eight feet high and is the largest in the church. It was the gift to the church from Bishop and Mrs. Theodore Benedict Lyman of North Carolina in memory of Bishop John Prentiss Kewley Henshaw, fourth Bishop of Rhode Island, in whose memory All Saints` Memorial Church was built. It is based on a passage from the Revelation to John, chapter 4: "At once I was with the Spirit, and lo, a throne stood in heaven, with one seated on the throne! … And round the throne, on each side of the throne, are four living creatures…the first living creature like a lion, the second living creature like an ox, the third living creature with the face of a man, and the fourth living creature like a flying eagle." The inscription at the bottom of the window reads, "Behold He Cometh!"
The frame of the window at the back of the nave, the "Bishop`s Window", is thirty-five feet high. It contains three lancet sections at the bottom of the window and five round circular medallions of glass at the top. The center lancet is twenty feet high and fifty-three inches wide. The side lancets are sixteen feet high and thirty-five inches wide. The large circular medallion at the top of the window contains a cross. The medallion below and to the right contains a miter. The medallion below and to the left contains a crozier. The miter and the crozier are symbols of a bishop. There are two circular medallions inside each of the side lancets. The medallion in the left lancet bears the inscription "To the glory of God and in memory of the Right Rev. J.P.K. Henshaw." The medallion in the right lancet bears the inscription "From James H. Eames, D.D. § and Jane A. Eames § In Reverent Love". The center lancet contains an anchor, which is the symbol of hope, and a crozier and miter. It bears the inscription "For Christ and the Church".
The frames of the two large rose windows are sixteen feet in diameter.
The theme of the rose window on the east wall is the "Arms of Christ"—heraldic devices representing the crucifixion and constituting a coat of arms for Christ. Beginning at the top of the window and processing clockwise, there are eight circles of glass. Seven of these consist of:
  1. The Seamless Tunic — This very common Passion symbol shows a seamless tunic, with arms outspread. As Jesus hung from the cross soldiers sat beneath the cross casting lots for His seamless coat.
  2. The Hammer and Pincers — These represent the hammer used to drive the nails into the cross and the pincers used to draw out the nails.
  3. Two Sponges, in Saltire — As Jesus cried out on the cross a bystander soaked a sponge in vinegar, put it on a reed and gave it to Jesus to drink.
  4. The Crown of Thorns — A crown of thorns was placed upon Jesus head in mockery of his kingship.
  5. The Pillar and Two Scourges, in Saltire — It is supposed that Jesus was tied to a pillar when he was scourged by Pontius Pilate. Two scourges, in saltire, are shown in front of the pillar.
  6. The Three Nails — It is supposed that three nails held Jesus to the cross, one in each hand and one through his feet which were placed over each other.
  7. The Scroll and The Spears, in Saltire — According to John’s Gospel, as Jesus died a soldier pierced his side with a spear and blood and water flowed from the wound. Two spears are shown, in saltire. In front of the spears is a scroll bearing the charge for which Jesus was crucified. It contains the letters “INRI” representing the first letters of the Latin words "Iesus Nazarenus Rex Iudaeorum" meaning "Jesus of Nazareth, King of the Jews".
For years the eighth and last circle of glass contained a plain, generic floral design that did not fit in with the other symbols. We believe that at some point the original piece of glass fell out and broke and that the piece inserted in place of it was meant as a temporary replacement. During the restoration, it was decided to replace this with the symbol of "The Crowing Cock". It represents Peter`s three denials of Jesus, after the last of which the cock crowed. This medallion has been signed and dated by the studio artist to show that it is not part of the original window.
In the center of the window is another larger circle of glass depicting the three crosses on Calvary. All three crosses are empty, and there is a ladder standing against the central cross upon which Jesus was crucified. This signifies the descent from the cross.
The rose window on the west wall also honors Christ. The design in the center circle consists of the letters, IHS which are the first three letters of the name of Jesus in Greek. The lion symbolizes Christ as the Lion of Judah. The crown represents Christ as king.
The Trinity window on the east wall is a smaller triangular window. The inscription is in Latin. In the center is a circle containing the word "Deus" or "God". This is surrounded at the points of the triangle by circles that contain the words "Pater" or "Father", "Filius" or "Son" and "Spiritus" or "(Holy) Spirit". From the center circle to each of the surrounding circles are lines of glass containing the word "est" which means "is". In other words, God is Father, God is Son and God is Holy Spirit. Connecting the outside circles are lines of glass containing the words "non est" which means "is not". In other words, the Son is not the Father, the Father is not the Holy Spirit and the Holy Spirit is not the Son. The window is a statement of what the Trinity is and is not.
There are eighteen lancet windows of various sizes along the sides and rear of the nave. When the original glass in these windows, which was meant to be temporary, began to deteriorate, the spaces became available for memorials. A company in England, known for the beauty of its work in stained glass, Heaton, Butler and Bayne, was contacted to replace these windows. The first of the memorial windows, “Christ the Consoler,” was set in place in 1899. A window honoring St. Martin was installed in 1899. However, the next lancet window, which honors St. Paul, was designed and constructed in the United States. The artist and designer of these windows, T. W. Bladen, had left England and come to work for the Gorham Company of New York. In 1917 this company submitted a plan to the church to design a comprehensive series of windows depicting "The Life of Christ and His Ministry". Accordingly, in the great medieval tradition of using the church windows to narrate the Bible, the next eleven windows illustrate Christ’s life from the Annunciation to the Ascension and the Feast of Pentecost. The Gorham plan also included four smaller windows, which were dedicated on All Saints` Day in 1919, picturing the four evangelists, Matthew, Mark, Luke and John.
It is interesting to note that while the artistic unity and integrity of the series is maintained because T.W. Bladen prepared the sketches, two of these w indows were executed by Heaton, Butler and Bayne, probably during a strike affecting the Gorham plan in New York. They are the Christ with Mary Magdalene, installed in 1921, and the Ascension installed in 1923. A close study of these two windows reveal many similarities to the first two lancet windows, Christ the Consoler and St. Martin, which were fashioned by the English company.
The lancet windows, beginning on the southwest corner at the front of the nave and proceeding to the right around the perimeter of the church are as follows:
The Annunciation, fourteen feet high and forty-four inches wide, is based on Luke 1:26-31: "In the sixth month the angel Gabriel was sent from God to a city of Galilee named Nazareth, to a virgin betrothed to a man whose name was Joseph, of the house of David; and the virgin`s name was Mary. And he came to her and said, ‘Hail O favored one, the Lord is with you!’ But she was greatly troubled at the saying, and considered in her mind what sort of greeting this might be. And the angel said to her, ‘Do not be afraid, Mary, for you have found favor with God. And behold you will conceive in your womb and bear a son, and you shall call his name Jesus.’" The inscription on this window reads, "To the glory of God and in loving memory of Louise Foster Waterman 1879-1909".
The Nativity, fourteen feet high and forty-four inches wide, is based on Luke 2:4-7: “And Joseph also went up from Galilee, from the city of Nazareth, to Judea, to the city of David, which is called Bethlehem, because he was of the house and lineage of David, to be enrolled with Mary, his betrothed, who was with child. And while they were there, the time came for her to be delivered. And she gave birth to her first-born son and wrapped him in swaddling cloths and laid him a manger, because there was no place for them in the inn.” The inscription on this window reads, “To the glory of God and in loving memory of Charles Allen Wilkinson 1852-1909 § Vestryman of this church 1906-1909”.
The Young Christ in the Temple, fourteen feet high and forty-four inches wide, is based on Luke 2:41-47: “Now his parents went to Jerusalem every year at the feast of the Passover. And when he was twelve years old, they went up according to custom; and when the feast was ended, as they were returning, the boy Jesus stayed behind in Jerusalem. His parents did not know it, but supposing him to be in the company they went a day’s journey, and they sought him among their kinsfolk and acquaintances; and when they did not find him, they returned to Jerusalem, seeking him. After three days they found him in the temple, sitting among the teachers, listening to them and asking them questions; and all who heard him were amazed at his understanding and his answers.” The inscription on this window reads, “To the glory of God and in loving memory of Hubert Hausenstein, Jr. Oct 11 1852-June 12 1908 § Erected by his wife Wilhelmina A. Hausenstein”.
The Baptism of Jesus, fourteen feet high and forty-four inches wide, is based on Matthew 3:13-17 (also Mark 1:9-11 and Luke 3:21, 22): “Then Jesus came from Galilee to the Jordan to John, to be baptized by him. … And when Jesus was baptized, he went up immediately from the water, and behold, the heavens were opened and he saw the Spirit of God descending like a dove, and alighting on him; and lo, a voice from heaven, saying, ‘This is my beloved Son, with whom I am well pleased’”. The inscription on this window reads, “To the glory of God and in loving memory of Elizabeth More 1857-1915 § Wife of John P. Erickson § and their son Walter Franklin 1890-1908 § Erected by John P. Erickson”.
Christ Blessing the Children, fourteen feet high and forty-four inches wide, is based on Matthew 9: 13-15 (also Mark 10:13-16 and Luke 18:15-17): “Then children were brought to him that he might lay his hands on them and pray. The disciples rebuked the people; but Jesus said, ‘Let the children come to me, and do not hinder them; for to such belongs the kingdom of heaven.’ And he laid his hands on them and went away”. The inscription on this window reads, “To the glory of God and in loving memory of Samuel Anthony Hazard 1839-1916 § Erected by his sister Mary Hazard”.
Christ Healing the Blind Man, fourteen feet high and forty-four inches wide, is based on Mark 8:22-25 “And they came to Bethsaida. And some people brought to him a blind man, and begged him to touch him. And he took the blind man by the hand, and led him out of the village; and when he had spit on his eyes and laid his hands upon him, he asked him, ‘Do you see anything?’ And he looked up and said, ‘I see men; but they look like trees, walking.’ Then again he laid his hands upon his eyes; and he looked intently and was restored, and saw everything clearly.” The inscription on this window reads, “To the glory of God and in loving memory of Robert Banford Little 1833-1906 § Mary Alice Little 1833-1914 § Vestryman of this church 1900-1906”.
The Crucifixion, fourteen feet high and forty-eight inches wide, is based on Matthew 27: 35-37 (also Mark 15: 24-26, Luke 23:33 and John 19:18-21): “And when they had crucified him, they divided his garments among them by casting lots, then they sat down and kept watch over him there. And over his head they put the charge against him, which read, ‘This is Jesus the King of the Jews’”. The inscription on this window reads, “To the glory of God and in loving memory of Those Who Died in the Service of Their Country in the World War 1914-1919 § Erected by St. Andrew’s Chapter” Those men from All Saints’ who died in World War I are Major Frank Ronald Simmons, Captain Joseph Carlton Davis, Captain Frederick Eames Cooper, Private Edgar Howard Greenhalgh, Private William Joseph Brailsford, Private Walter Adams Bennett and Seaman Charles Beckwith Lincoln.
The Resurrection, fifteen feet high and 76 inches wide, is based on Matthew 28:1-3a, 5-6: “Now after the Sabbath, toward the dawn of the first day of the week, Mary Magdalene and the other Mary went to see the sepulchre. And behold, there was a great earthquake; for an angel of the Lord descended from heaven and came and rolled back the stone… But the angel said to the women, ‘Do not be afraid; for I know that you seek Jesus who was crucified. He is not here; for he has risen, as he said’”. The inscription on this window reads, “To the glory of God and in loving memory of The Reverend Daniel Henshaw S.T.D. § By Whose Efforts this Church was Built § Rector of St. Andrews and All Saints Memorial Churches from 1854-1898 § Rector Emeritus from 1898-1908 § Born in Baltimore, Maryland December 9, 1822 § Died in Thomasville, Georgia December 10, 1908”.
Christ Appearing to Mary, fourteen feet high and forty-four inches wide, is based on John 20:11-17: “But Mary stood weeping outside the tomb, and as she wept she stopped to look into the tomb; and she saw two angels in white, sitting where the body of Jesus had lain, one at the head and one at the feet. They said to her, ‘Woman, why are you weeping?’ She said to them, ‘Because they have taken away my Lord, and I do not know where they have lain him.’ Saying this, she turned round and saw Jesus standing, but she did not know that it was Jesus. Jesus said to her, ‘Woman, why are you weeping? Whom do you seek?’ Supposing him to be the gardener, she said to him, ‘Sir, if you have carried him away, tell me where you have laid him, and I will take him away.’ Jesus said to her, ‘Mary.’ She turned and said to him in Hebrew, ‘Rabboni!’ (which means Teacher). Jesus said to her, ‘Do not hold me, for I have not yet ascended to the Father; but go to my brethren and say to them, I am ascending to my Father and your Father, to my God and your God’”. The inscription on this window reads, “Touch me not for I am not yet ascended to my Father § Rebecca Pitman Henshaw § Wife of Daniel Henshaw § 1830-1919”.
The Ascension, fourteen feet high and forty-four inches wide, is based on Luke 24:50-51: “Then he led them out as far as Bethany, and lifting up his hands he blessed them. While he blessed them, he parted from them, and was carried up into heaven.” The inscription on this window reads, “To the glory of God and in loving memory of George Bridge Mary E. Bridge and A. Alice Bridge”.
The Descent of the Holy Spirit, fourteen feet high and forty-four inches wide, is based on Acts 2:2-4: “And suddenly a sound came from heaven like the rush of a mighty wind, and it filled all the house where they were sitting. And there appeared to them tongues as of fire, distributed and resting on each one of them. And they were filled with the Holy Spirit and began to speak in other tongues, as the Spirit gave them utterance”. The inscription on this window reads, “Erected By The Congregation Of All Saints Memorial Church § To The Glory Of God And In Grateful Recognition Of Seventy Five Years Under The Rectorships Of §The Rev. Daniel Henshaw S.T.D. § and § The Reverend Arthur Morgan Aucock, S.T.D.-1854-1929”.
The Conversion of St. Paul, fourteen feet high and forty-four inches wide, is based on Acts 9:3-6: “Now as he journeyed he approached Damascus, and suddenly a light from heaven flashed about him. And he fell to the ground and heard a voice saying to him, ‘Saul, Saul, why do you persecute me’? And he said, ‘Who are you Lord?’ And he said, ‘I am Jesus, whom you are persecuting; but rise and enter the city, and you will be told what you are to do.’” The inscription on this window reads, “To the glory of God and in loving memory of Gilbert Harris Hagan 1839-1919 § Vestryman 1879-1919 § Senior Warden 1907-1919 § Erected by his children”.
St. Martin Dividing His Cloak with a Beggar, fourteen feet high and forty-four inches wide, is based on a legend of St. Martin. Martin was Bishop of Tours and patron saint of France, who established monasticism in Gaul. Many miracles are attributed to him. According to tradition, he offered half of his cloak to a beggar at Amiens and afterward experienced a vision of Christ relating the charitable act to the angels. His feast day is November 11 (Martinmas). This window is unique in that Martin’s horse is shown straight on rather than sideways and almost seems to be jumping out of the window. The inscription on this window reads, “To the glory of God and in Loving Memory of George W. Bourn 1825-1899 § Erected by his wife Caroline M. Bourn”.
Christ the Consoler, fourteen feet high and forty-four inches wide, is also a unique window. It is the only window not based on a Biblical passage or on a piece of Christian tradition, history or theology. It shows Jesus appearing to a young woman in a garden. At the top of the window is a ray of light. A close look at the face of the young woman does not show the stylized artistic features of the biblical and historical characters portrayed in the other windows. In the ray of light at the top of the window there are the faces of three children. The faces of the young woman in the garden and the three children in the ray of light are actual portraits of the four children in whose memory the window was given. The inscription on the window reads, “To the glory of God and in loving memory of Alice Weeden Austin Born Oct 11th 1874 Died Nov 24th 1895 § ‘Blessed are the Pure in Heart’ § Also of Clara M. Born Aug 9th 1859 Died Aug 3rd 1865 § Clarence H. Born Aug 5th 1866 Died Dec 14th 1877 § Eugene A. Born July 16th 1861 Died July 8th 1878 § Children of John and Susan J. Austin”.
The Four Evangelists, Matthew, Mark, Luke and John are portrayals of the writers of the four Gospels. These windows are six feet high and 34 inches wide. There is no inscription on these windows. They were given in memory of Anna E. Edmonds, and erected by Harriet C. Edmonds A. D. 1919.
Dr. Paul Norton on behalf of the “Census of Stained Glass in America” studied our windows. He later made a presentation to members of the parish and cited All Saints` windows as some of the finest in Rhode Island. Referring specifically to the windows designed by T.W. Bladen he said that the consistency resulting from following the designs of one artist, the quality of the art work and the materials used, and the fact that these windows were installed over a relatively short period of time (1896-1929) afford them a beauty and unity rarely found among Episcopal church windows.