In a Tiffany Style this window does not appear to have come from the famous studio. (With the high quality of the glass in these windows and the presence of much wealth in the congregations back in the l890's, it is most surprising not to have Louis Tiffany represented.) This is the tenth angel depicted in all of our windows.	These two panels of three panes (TO THE RIGHT) each give St. Margaret's a special place in stained glass scholarship. They are 13th-16th century glass brought (from France by Ogden Mills after World War I. Oral tradition (through Mr. Mills' chauffeur) has it that they came from Chartres and the Church of Notre Dame de Brou, but this can not otherwise be verified. The colors are bright and strong as characterizes windows of that period. The male saint in the center of the first triptych is probably Saint Peter. The female saints on either side are not known and may have been meant to be ladies of nobility in their original setting. In the second threesome, the right hand window would be St. Paul, the next St. Bartholomew and St. Peter once again on the left. Most of these windows are composites, sometime with reused older glass as a part of the figure. The six panes are described in Vol. 15 of the National Gallery Arts studies in art history, "Stained Glass before 1700 in American Collections: New England and New York.	WINDOWS THOUGHT TO BE FROM FRANCE
The CHRISTMAS WINDOW so called because of the date of its memorial and the mother and child figures. The beauty of the blue robe and the flesh of the faces and hands, stands out on a sunny day. The roundels on the windows to either side are worth the study too. Note the cherubic faces near the tops of the windows, and the star just above Mary's head.	!The heraldic angels flank the scene of the Emmaus story from Luke's Gospel, with tiny windows above the flora representing God's abundance. The window is all about the Christ event, and what abundance there is for us! The angels signal the Alpha and the Omega, the beginning and the end of human history, and contained in Christ. The angel to the left has in its panel the star above Bethlehem. So, as the prologue to John's Gospel proclaims, inasmuch as the Christ spirit was present at the beginning of creation, so God was in Christ in the second Adam, in the new creation open to us with Jesus. The right hand angel has a trumpet to proclaim the second coming of Christ, God's end to history and the moment when all creation will be gathered close to the Creator. However, this is not the angel of a terrible apocalypse but of joy at being in God's presence.	A sprightly trio of angels glorifying the musical religious art. The piece of music being held is the Te Deum. It is reminiscent of the musical angels done in stone for the remarkable pulpit and rail now in the American wing of the Metropolitan Museum. Celestial music and angel choirs is a theme of both scripture and hymns. The harp (left) and vocal (center) are familiar; the organ motif(right is modern).
Rather plain representations of Christ and Mary one wonders if these windows were not transferred from the "Chapel" (now the library across the street) when this building was erected.	Four large lancet windows and two memorial coats of arms above. Each of the four depicts an angelic figure from a Biblical scene. The first one on the left is the angel of the ANNUNCIATION. The lily is a symbol of purity associated with Mary. Mary is commonly depicted in Renaissance art as kneeling at such a prayer desk when the angel pays his visit. The second window has the angel who came to shepherds at Christmas and urged them onto Bethlehem. Stars in the night sky and sheep are the clues for that event. Window three gives us the angel at the empty tomb on Eastern morn. The burial shroud and urn of burial spices are in the foreground, and the three crosses of Calvary are seen over his left shoulder in remarkable color. The angel of the fourth window is not convincingly ascertained. The ascension may be its intent, giving us a Jesus cycle of heaven-to-earth and back again! In all four window the significant human characters to the scene are off stage; it is the heavenly messengers whom we encounter.	This window shows Mary in the center (again with her lilies), St. Margaret of Antioch to the right with her dragon and an unknown figure to the left. The colors in these panels are usually bright despite their northern exposure. Margaret of Antioch, our patron, was supposed to have been swallowed by a dragon as one of the trials she was put through for her faith. She survived the dragon at least