The Epworth stained glass windows were all designed and constructed by artist Carolyn Houts Gilbert. On the completion of the project Epworth held a celebration and dedication service.
On that occasion Gilbert said, “The thing I most want you to know about my involvement in this window replacement project is that I wanted to do it to support this church, because I so believed in what they were offering the people of Boise in terms of worship: a return to the liturgy; to the singing of traditional hymns; to treating the place of worship as sacred. Also, I saw this as an opportunity to honor my parents in their great love of beauty which they passed on to me, and also for their desire to foster a better Boise community in any way they possibly could.
“My overriding feeling has been one of deep honor and privilege to be allowed to do my humble part in making this church a more inviting place in which to worship. I have loved every minute of my work – almost!”
The Greathouse window was the first one to be done, honoring our first overseer Dr. William Greathouse and his wife . The Gothic arch here and in each window, symbolizes the traditional architecture of the ancient Church of which we are a part. The background of blue represents Mary, Mother of Jesus. The red color on the sides and center represents the blood Jesus shed for our sins, and the green glass is a symbol of new life in him and Christian growth. The cross is at the center, as it is in everything we do.
The Dyer window and the Richard and Lois Lindbloom windows were done with the simple, geometric designs first chosen by the committee so as not to cause distraction in the small worship space and to highlight the beauty of the opalescent glass.
Gilbert says about the Rachel Crow window, “Then, a lovely young woman, dear to the hearts of this congregation, had a brain aneurism and died very suddenly at age of only 32, leaving her husband to care for their three young children. I, personally, was devastated by her sudden death. I was told that ‘just’ before she passed, she sat up in her hospital bed, arms stretched above her head, as if she were reaching to clasp hands with her Heavenly Father.
That night, I awakened from sleep with this design very clearly in my head: her heart of love for God and her family and her arms reaching toward her final reward.”
The window above the door, the Melza Brown window, features the scripture so appropriate for this church’s values etched into the center of the red banner: “The Lord is in His holy temple,” Chosen Dr. Brown’s daughter, Lois Lindbloom.
Gilbert says, “I completed this window about 2 a.m. the night before I was to bring it to the church the next morning at 9:00 for installation. But something about this design just did not seem quite ‘right’ to me. The design wasn’t finished. As I studied it, I knew what it needed: a dove of peace! Looking at the clock at probably 3:00 am, and calculating how much time I had, I unsoldered the bottom frame and 3 or 4 pieces, drew a dove pattern on paper, found some white and some green glass, cut it and inserted the dove into the space as quickly as I could, resoldered and reassembled everything. But to be right, the dove needed an eye. I had no time to fuse a black eye to the dove’s head, so I took the glass piece out to my garage about 5 a.m. and drilled a hole in its head for its eye. If you look just right, you can see blue sky shining through the dove’s eye. Now I was satisfied, and got it done just in time for the installation.”
Representing the church’s first priority, the Eucharist window for the narthex was the next to be done. As an act of communal worship, unlike the other windows which were sponsored by individuals or families, every person in the congregation was urged to contribute to this window even children were encourage to give a small sum. This is the only window with any fusing of glass: the cross (a small, white glass rod) has been fused onto the center of the communion wafer. Also notice the jewels inserted into the base of the chalice.
This window also has a story from its artist. “I had this window all completed one evening except for the very last thing: to turn it on my work table back over to the front side to engrave my signature at the bottom. As I was turning it over, I felt my tight grip on it starting to slip, and struggle as I might, because these windows are so heavy, I lost it. All in the world I could do was try vainly to catch it as I watched it slide diagonally over the corner of my table onto the floor—breaking every single piece that slid over that corner of the table. Now you know why I said I cherish almost every minute of my work!
“When I had recovered from the trauma of the loss, I unsoldered the whole thing, tried to save whatever lead and glass I could, and started all over from the beginning—rebuilding it once more.”
Another deeply held value of Epworth is our country. This is represented in the eagle and flag image which honors our military, especially those from this congregation who have served to protect our freedoms.
The reading of Scripture is central to Epworth worship, as is the cross representing the crucifixion and resurrection of our Lord, so we have the Bible and cross window.
Another important tenant of Epworth’s values in the family unit: whether by birth, fostering or adoption, children and families are seen as the hope of the future of the church, so we have our Family window in the back, by the nursery.
And finally, traditional hymns and sacred music play a most important role in Epworth’s worship, so we have the lyre which has always symbolized music, by the organ.
Carolyn Gilbert concluded, “I am honored and thrilled to have had this privilege! There is a quote I like very much which addresses my feelings about this church and about my efforts in this project: ‘God does not call those who are prepared. God prepares those who are called.’ Thank you Epworth for calling me.
