Stained Glass, Sacred Art, and the Story of Faith in Light
The stained glass windows of First Presbyterian Church are among the sanctuary’s greatest treasures. Together with the stone, woodwork, arches, organ, and Gothic lines of the building, the windows help create a sacred space shaped by beauty, memory, and worship. They do more than fill the sanctuary with color. They tell the story of Christian faith through light.
When the present sanctuary was completed in 1918 and formally dedicated in 1919, the original windows were made of green glass. Over the next several decades, many of those original windows were gradually replaced with stained glass, transforming the sanctuary into a visual expression of scripture, history, remembrance, and devotion.
This development was especially meaningful in a Presbyterian church. Earlier generations of Presbyterians were often cautious about religious imagery in worship spaces, especially images of human figures. Yet the stained glass at First Presbyterian reflects a thoughtful and faithful embrace of sacred art. The windows do not distract from worship. They deepen it. They invite worshipers to see the biblical story, the life of Christ, and the memory of the congregation through color, symbol, and craftsmanship.
Several of the church’s most significant windows are associated with nationally recognized stained glass artists and studios. Charles J. Connick of Boston, one of the most important American stained glass artists of the twentieth century, designed windows for First Presbyterian, including the Passion Window above the organ and windows in the chancel and above the rear balcony. Connick was Pittsburgh-trained and became closely associated with the Gothic Revival movement in American church architecture. His work was especially well suited to the vision of architect Ralph Adams Cram, whose Gothic sanctuary at First Presbyterian was designed to lift the heart, eye, and imagination toward God.
The Passion Window above the organ is one of the sanctuary’s defining artistic and theological features. Placed in close relationship with the organ and the musical life of the church, the window joins sight and sound in worship. Its location reminds worshipers that the music of the church is not merely performance, but proclamation. The organ, choir, congregation, and stained glass together bear witness to the suffering, love, sacrifice, and hope revealed in Christ.
Another important window is the Nativity Window, designed by Nicola D’Ascenzo of Philadelphia. D’Ascenzo was one of the leading stained glass artists of his generation, and his studio created windows for churches, universities, chapels, and public buildings throughout the United States. At First Presbyterian, the Nativity Window draws the congregation into the mystery of the Incarnation: God coming among us in Jesus Christ. In the light of this window, the story of Christmas becomes not only something heard in scripture and song, but something seen and contemplated.
The War Memorial Window is one of the most historically significant windows in the church. It honors members of the congregation who served during World War I and remembers those who died. The window recognizes America’s allies in the Great War, including England, France, and Italy, and includes stars representing parishioners who served overseas, with five gold stars honoring those who lost their lives. This window gives the sanctuary a powerful ministry of remembrance. It holds together grief and gratitude, sacrifice and hope, national history and congregational memory.
Other windows throughout the sanctuary tell the broader story of scripture and Christian faith. They include scenes and symbols from the Old and New Testaments, the Psalms, the miracles and parables of Jesus, the Nativity, and the Passion. One window also depicts earlier church buildings and the county courthouse, connecting the congregation’s sacred story with the civic and physical history of Greensburg. In this way, the windows do not only tell the story of the Bible. They also tell the story of this congregation: where we have worshiped, what we have endured, whom we remember, and why we continue.
The stained glass of First Presbyterian Church is therefore both art and witness. It teaches, remembers, proclaims, and beautifies. It gathers together the great themes of Christian life: creation, covenant, incarnation, suffering, service, resurrection, and hope. Each window catches the changing light of the day, reminding us that faith is received anew in every generation.
In the sanctuary of First Presbyterian Church, light becomes memory. Color becomes proclamation. Beauty becomes prayer.
When the present sanctuary was completed in 1918 and formally dedicated in 1919, the original windows were made of green glass. Over the next several decades, many of those original windows were gradually replaced with stained glass, transforming the sanctuary into a visual expression of scripture, history, remembrance, and devotion.
This development was especially meaningful in a Presbyterian church. Earlier generations of Presbyterians were often cautious about religious imagery in worship spaces, especially images of human figures. Yet the stained glass at First Presbyterian reflects a thoughtful and faithful embrace of sacred art. The windows do not distract from worship. They deepen it. They invite worshipers to see the biblical story, the life of Christ, and the memory of the congregation through color, symbol, and craftsmanship.
Several of the church’s most significant windows are associated with nationally recognized stained glass artists and studios. Charles J. Connick of Boston, one of the most important American stained glass artists of the twentieth century, designed windows for First Presbyterian, including the Passion Window above the organ and windows in the chancel and above the rear balcony. Connick was Pittsburgh-trained and became closely associated with the Gothic Revival movement in American church architecture. His work was especially well suited to the vision of architect Ralph Adams Cram, whose Gothic sanctuary at First Presbyterian was designed to lift the heart, eye, and imagination toward God.
The Passion Window above the organ is one of the sanctuary’s defining artistic and theological features. Placed in close relationship with the organ and the musical life of the church, the window joins sight and sound in worship. Its location reminds worshipers that the music of the church is not merely performance, but proclamation. The organ, choir, congregation, and stained glass together bear witness to the suffering, love, sacrifice, and hope revealed in Christ.
Another important window is the Nativity Window, designed by Nicola D’Ascenzo of Philadelphia. D’Ascenzo was one of the leading stained glass artists of his generation, and his studio created windows for churches, universities, chapels, and public buildings throughout the United States. At First Presbyterian, the Nativity Window draws the congregation into the mystery of the Incarnation: God coming among us in Jesus Christ. In the light of this window, the story of Christmas becomes not only something heard in scripture and song, but something seen and contemplated.
The War Memorial Window is one of the most historically significant windows in the church. It honors members of the congregation who served during World War I and remembers those who died. The window recognizes America’s allies in the Great War, including England, France, and Italy, and includes stars representing parishioners who served overseas, with five gold stars honoring those who lost their lives. This window gives the sanctuary a powerful ministry of remembrance. It holds together grief and gratitude, sacrifice and hope, national history and congregational memory.
Other windows throughout the sanctuary tell the broader story of scripture and Christian faith. They include scenes and symbols from the Old and New Testaments, the Psalms, the miracles and parables of Jesus, the Nativity, and the Passion. One window also depicts earlier church buildings and the county courthouse, connecting the congregation’s sacred story with the civic and physical history of Greensburg. In this way, the windows do not only tell the story of the Bible. They also tell the story of this congregation: where we have worshiped, what we have endured, whom we remember, and why we continue.
The stained glass of First Presbyterian Church is therefore both art and witness. It teaches, remembers, proclaims, and beautifies. It gathers together the great themes of Christian life: creation, covenant, incarnation, suffering, service, resurrection, and hope. Each window catches the changing light of the day, reminding us that faith is received anew in every generation.
In the sanctuary of First Presbyterian Church, light becomes memory. Color becomes proclamation. Beauty becomes prayer.
