The Stained Glass Windows of Saint Mark

The Opalescent Windows

The four rose windows in the sanctuary, two windows in the cloak room under the northwest tower, and three arched windows above sets of double doors between the narthex and the sanctuary are examples of American opalescent glass.

The American opalescent school developed in the early 1880’s and produced a type of work sometimes called “art glass.” Opalescent glass is milky and semi-opaque. Several colors were often mixed to obtain “accidental” textures and mixtures of shades on the same piece of glass, tending to give an iridescent effect.

The unusual qualities of this glass fascinated both the glass men and the public, and masters such as John LaFarge and Tiffany produced many windows of outstanding artistic merit. Nonetheless, work in this type of glass has since failed to win professional recognition and the best examples of opalescent glass work are considered to have been produced in spite of the material rather than because of any inherent quality of the glass.

Records have not been found to document the maker of these windows or the dates of installation. None of the windows is signed.

"Reminiscences of Saint Mark Church,” published during the third year of the pastorate of Dr. William Robert Hendrix (1917), states that temporary windows were installed when the building was constructed in 1902-03 and that by 1917 the East and South rose windows and four of the nave windows were in place; there is a possible implication, inter linear, that the North and West windows also were completed by this date.

The East rose window above the choir loft is composed of five petals of identical geometric design, with five triangles between the petals containing Easter lilies. The center medallion is occupied by a crown and anchor set within a quatrefoil. This window, because of deterioration of the wooden frame, was removed during the 1969 renovation of the chancel. Restoration and resetting of the window in 1973 were made possible by a bequest from the late Oby T. Brewer. The window is inscribed: “In Memory of Daniel Grant, 1724-1793. Built the first Methodist church in Georgia, 1787."

The South rose window also is composed of five petals of identical floral design, with a fleur-de-lis pattern occupying the triangles. The center medallion is probably the most unusual and peculiar design to be found in all the windows of the church. A rocky cairn surmounted by a massive cross rises amidst the churning waves of a tempestuous sea; a human figure has gained a hand hold on the two arms of the cross and is struggling to climb to security from the wreckage of a boat. The window is inscribed: “William Arnold Hemphill. May 5th, 1842—August 17th, 1902.” Although Mr. Hemphill was not a member of Saint Mark Church, he served on the Board of Trustees during the transfer and building period, attended services often, and each year contributed liberally toward the pastor’s salary.

The North rose window is identical in full detail to the South window, although it may be presumed that it was placed subsequently with care taken to exactly duplicate its companion across the sanctuary. The central medallion is composed of a cross with budded ends, a crown, and palm branches. The window is inscribed: “In Memory of George Winship, 1835-1916.” Mr. Winship is described as having served with Mr. Hemphill on the Board of Trustees during the construction period.

The West rose window is the same five-petal and five-triangle design as the North and South windows but the details and colors are totally different. The identical petals are composed of a floral pattern and the triangles contain a fleur-de-lis design. The huge arched window into which the rose window is set contains quatrefoils with an Alpha and Omega (Greek letters representing the beginning and the end), two circle and triqueta designs, and three medallions containing a cross and crown, the Holy Bible, and an anchor. This window has no dedicatory inscription.

The cloak room contains two rectangular windows of inferior craftsmanship. Designs painted on the glass with enamels are deteriorating and gradually disappearing. The West window contains symbols of a dove in flight and a cross and crown. The North window contains a crown in each of the two panels.