Let There Be Light
B'nai Jacob Synagogue
Nearly every Charleston citizen has driven past the B'nai Jacob Synagogue and noted the expansive set of windows set above its Virginia Street entrance. However, to truly appreciate their grandeur, they must be seen from inside on a clear day. Artist David Pushkin's work graces the entryway, as well as displaying representative symbolism taken directly from the Torah. Various symbols, deliberately chosen by the artist, characterize each window. Among the more prominent, is a Lion, in the far left panel, symbolizing Judah. Other symbols are well known for their use throughout Judaism, such as the Crown, styled to echo those used for Torah Scrolls, and the hanging Lamp, echoing the Eternal Light. Binding the whole set together in a unifying message, is the Star of David, used as a "grid" across all the panels. Like the Hebrew language that inspired them, they are properly viewed from right to left (from the inside). As a group, the 6 panels give an interpretation of the Creation story, one window for each of the 6 days Each panel was named by the artist, in order: Light, Firmament, Seeds, Luminaries, Living Soul , and Let Us Make Man . While there is no "seventh" panel, the artist incorporated the integrated border and golden "dome" across the set, to symbolize the harmonious completion, with colorful streamers to remind the viewer, the Sabbath is a joyous time. Commissioned especially for the 100th anniversary of the Synagogue and installed in 1994, these panels are a true masterpiece, inspiring admiration and appreciation to all viewers regardless of their individual beliefs.
Ferguson house
This gem was the serendipitous find of magazine staff, discovered while photographing salvaged elements of the original capitol building. Constructed of various glasses, among them native West Virginian Wissmach Glass, the window incorporates elements of two periods of art. The central wreath, torch, ribbons and flower are reminiscent of the art nouveau style, while the outer border's strong line elements and stylized roses are more akin to the prairie school style. Both styles have become design staples used by many glass artists since their inception in the early 1900s. Filling the window on a staircase landing, this panel offers a vastly more aesthetic view than would be otherwise present.
Snodgrass Funeral Home
These windows were installed in the south facade of the Snodgrass Funeral Home in South Charleston. Much of the distinctive frosted glass used comes from the Youghiogheny Opalescent Glass Company in Connellesville, Pennsylvania. Designed by Martina Huson of Martina's Stained Glass Studio in Kanawha City specifically to harmonize with the location and surrounding decor, they were installed in 1997.
Woodman House
This well hidden treasure is truly a witness of a bygone era of craftsmanship. Hidden from casual view, it hangs on the north side of the Woodman House. Filling the large window on the landing of a grand staircase, it is more than eight feet tall and nearly four feet wide. During the severe hailstorm of 1998, it was damaged and required extensive restoration. Once removed from the frame, an inscribed date 1891 was revealed in the leading. This date matches the known age of the house itself, and indicates the window is more than 100 years old. Sadly, the worst damage was in the field, which was made of a glass that is no longer available. Great pains were made to preserve as much of the original glass as possible and the repair glass was matched as closely as possible to maintain the intent of the window. Notable elements are the numerous faceted rounds, known as "jewels" and the scroll work framing the outer edges; these were preserved from the original window. Reconstructed by the staff of Martina's Stained Glass Studio, it was returned to its home with a protective sheet of Plexiglas to prevent future damage.
