The new church building of the Onancock Presbyterian congregation, now known as Naomi Makemie Presbyterian Church, was dedicated on November 29, 1896, almost 200 years after the Accomack County Court granted to Francis Makemie the right to conduct religious services in the Onancock home given to him and his bride, Naomi Anderson, by her father. Describing the event, the local newspaper commented on the comfort and high-quality workmanship of the new structure, with particular emphasis on the stained glass windows. The reporter wrote:

There are in the church twenty windows of superior stained glass, eight of them being memorial windows. The two windows on the right and left of the pulpit are in memory of the Rev. Francis Makemie. The other windows are in memory of Mrs. S.T. Young, John T. Powell, Robert H. Miles, Robert J. Poulson, and his wife, the late Catherine P.W. Poulson.

But 17 of those original windows still grace the Sanctuary and adjoining areas of what is now Naomi Makemie Presbyterian Church.

The windows were made in Germany and purchased through a Baltimore dealer named Gerhardt. The importer has long since gone out of business, and no records remain of the selection, purchase or transport of the windows. They were probably all ordered at the same time and shipped down the Bay by boat and unloaded at the dock in Onancock Harbor. It was the Victorian Era when appreciation of fine stained glass was at its zenith, and throughout the Eastern Shore of both Maryland and Virginia, church buildings were being erected displaying this European art.

The memorial windows of Naomi Makemie are among the fine examples in the area. On June 27, 1955, the Makemie windows were moved to their present location to prepare for the addition of the Education Building. Three other windows were removed and stored in a member's barn.

Ten years later some of the windows were repaired, according to the annual report of the church historian; no information is available concerning either the damage or the actual repairs.

During the night of February 20, 1966, vandals entered the church and broke the window between the Sanctuary and the Old Sunday school Room. Mr. Wyman Poor was responsible for the repair of the window, which was accomplished by replacing the damaged bot- torn section with a section of one of the windows stored in the barn.

In April 1977 a tornado hit Onancock and damaged four of the windows in the Sanctuary. The diaconate contracted with the Willet Stained Glass Studio of Philadelphia for their repair, and they were removed, repaired and replaced the following year.

Since 1977 the windows have remained undamaged and in place.

Twelve of the windows are simple geometric designs executed in pastel colors in a variety of shapes to fit the architecture of the building

Vaulted windows cap the two front Market Street doors at the base of the steeple, enhancing the "Country Gothic" style so typical of frame churches of the time and place. Higher up the steeple are small round geometrics, not true "Rose" windows because they lack the intricate tracery and detail, but simple roundels more fitting than their more ornate kin for their setting in Onancock.

The Old Sunday School Room off the Sanctuary contains one large triple-panel and three single-panel windows. The triptych window features layers of geometric "bricks," with the color ascending in lightness from a deep yellow-gold at the bottom to a silvery gray at the tops of the panels. There are stylized fleur-de-lis at the bases of the panels, traditional representations of the Biblical lily of Purity.

The three single panels, two flanking the triptych and one beside the steeple blend with the larger window in tones of purple, rose and blue.

At the other end of this room, but more visible from the Sanctuary is a fourth geometric single-panel window.
 
 

There are actually seven memorial windows, not eight as claimed in the 1896 newspaper account. The eighth to which that article referred was almost certainly the large triple-paneled Holy Spirit Window given as a gift by the Sabbath School upon the dedication of the new church building in 1896.

This triptych window is a graceful geometric in shades of dusty rose, highlighted with brighter colors. Its focal point is a striking round inset of a pure white dove on a brilliant royal blue background.

Centered above this window is the last of the small roundel windows.
 
 

The Makemie Windows

Flanking the Holy Spirit Window are two identical windows honoring the Rev. Francis Makemie and his wife, Naomi Anderson Makemie. (The newspaper article was wrong here too, failing to identify the Naomi Makemie window.)

These windows were originally at the other end of the Sanctuary, one on either side of the pulpit. They were moved to their present location when the Education Wing was added in 1955-56.

The two windows are, again, simple geometrics with insets at the bottom reading,

Executed in soft tones of purple and dusty rose, brightly accented with white, aqua-blue, red, green and gold, the two Makemie windows complement the Holy Spirit Window. They look today as if they should have been placed alongside each other to begin with.

Each of the main colors used in these three windows has a traditional liturgical significance. The violets and lavenders, lightened by shades of rose and mauve, are ancient Christian colors of reflection, penitence and reconciliation. The deeper, royal purples symbolize the Kingship of Christ. White represents Purity. Blue, in general, symbolizes the expanse of Heaven and of God's Creation. Green is the symbol of Everlasting Life and Eternal Renewal. Gold is the richness of our Christian Heritage and, again, the Kingship of Christ and Omnipotence of the Father.

The five remaining memoria1 windows are dedicated to members of the community, and they adorn the bayside wall of the Sanctuary. They are (in order, from the Market Street end to the Choir end of the west wall) memorials to Mrs. Sally T. Young, Catherine P.W. Poulson, Robert J. Poulson, Robert Ii. Miles, and John T. Powell.

Although these windows — indeed, all 20 original windows — came from the same importer, and all were designed and crafted in Germany, they are different in style, materials and workmanship. They do not clash with each other however, but blend into a symbolic panorama rich in memories of the families of the first congregation and in reminders of our Christian tradition and Biblical heritage.

The Sally T. Young Window

The jewel-toned, intricately designed window memorializing Sally T. Young features clear colored glass in tones of emerald green, royal blue, and rich reds and golds. It is rimmed by a geometric green border, with insets of white containing stylized yellow roses encircled in black. The panel 5 main focus is a golden harp, and, between that and the green, one has to wonder whether Mrs. Young was of Irish descent. It is more probable that the harp represents either the Hope of Heaven or the Joy of Worship (or both), and either interpretation would fit with the secondary motif of stylized sheaves of wheat symbolizing Communion. The harp itself is entwined with ivy, a symbol of Everlasting Life.

At the bottom of the window, set in a concave diamond formed by four of the wheat sheaves is the memorial inscription: "In Memory of/Mrs. 5.T.Young/Born Sept 1829/Died June 1861."

Sally T. Young was the wife of Dr. E.J. Young and the daughter of William and Elizabeth C. Parramore. She is buried at Seven Gables in Accomac. Since she died more than 30 years before the new church was dedicated, she was probably the mother of a member active in what was to become the Naomi Makemie Presbyterian Church
 
 

The Catherine P.W. Poulson Window

The Catherine P .W. Poulson window is sadly in need of restoration. Some members of the church have suspected it of being a Tiffany, and it certainly must have had that feel to it at one time. Even today, bereft of its original detail, it is a lovely design executed in striking colors

An overall design of twining purple grapes and green leaves on gray stems overlay a mottled ivory background. The major disintegration of the windows is in the wearing away of the painted details of the grape clusters, which has resulted in undefined patches of color where once there was recognizable fruit.

The glass is heavy and textured, creating a richness that is appropriate to the overall symbolism of both the Communion sacrament and the fruitfulness of the person who labors for the Lord. A Biblical inscription is lettered in silver-gray on a roundel of deep red: "Herein is My Father Glorified That Ye Bear Much Fruit."

The memorial inscription at the bottom of the panel reads: "In memory of Catherine P.W. Poulson/born Apr. 13 1813, died Jan 4 1896

Catherine Poulson was the daughter of John and Tabitha Custis. She is buried in the Poulson Family graveyard near Onancock.

Neither Mrs. Poulson nor her husband, to whom the next window is dedicated, were listed on the rosters of the church. Indeed, the Poulson family was instrumental in the founding of Cokesbury Methodist Church further up Market Street towards the harbor. So it is likely that both their windows were given by a child or other member close to the family.

The Robert J. Poulson Window

The Robert J. Poulson window represents Christ as the Good Shepherd. It is unique in the group in that this main image fills al- most the entire window.

Christ is depicted carrying a lamb and a crook, with another sheep at His side. He is walking across the hills of the Holy Land with a light blue sky behind him.

In typically Gothic style, this picture is enclosed in an intricately carved architectural arch, through which twine trefoil leaves symbolizing the Holy Trinity. Underneath, lettered in silver-white on a carmine background bordered in teal, is the inscription "The Good Shepherd/Giveth his life/for the sheep.

Some of the lettering of the memorial plaque at the bottom has peeled away, leaving the following: "In Memory of/Robert J. Poulson/Jan 8 1 . . ." Robert J. Poulson was born January 8, 1806 and died August 31, 1863. He is buried with his wife in the Poulson Family graveyard.

The Robert H. Miles Window

The symbolism of the Robert H. Miles window is built upon an ancient festival of the Church celebrating the Triumph of the Cross. It is a glorious commemoration of Christ's Sacrifice and, through it, our own Redemption

Against a background of white cross-hatched in black are three traditional symbols of this commemoration: The Cross, Christ Victorious and the Bread and Wine of the Lord's Supper.

The topmost symbol is a golden Cross encircled with a wreath of victory woven of ivy, again the symbol of Everlasting Life. It is set against a background of blood-red grapevines set against black

The Risen Christ is centered in the window, holding a banner of victory and transfigured in glory, with the defeated Roman soldiers of the Crucifixion cowering before him.

The bottom third of the window contains a gold chalice and paten, with a loaf of fresh bread. The background repeats the blood-red grapes and black of the top segment.

The window is bounded by a border of lilies, representing Purity.

The small memorial inset at the bottom reads "In Memory of/Robert H. Miles/Born Nov 23 1839 Died March 28 1885

Mr. Miles was the leading layman of the early Presbyterian congregation in Onancock. He was elected and ordained a Ruling Elder in September 1883. In 1884, because of failing health, he moved to Florida, where he died the following spring.
 

The John T. Powell Window

The John T. Powell window is behind the Choir area of the Sanctuary and is similar in theme to the Miles window. It celebrates Christ the King.

This window is full of color and texture. The focal point is a gold crown radiating light studded with pink and blue nuggets of glass. In the middle of the blue-stained background is a sheaf of wheat against golden grape leaves, again symbolizing the nurturing Sacrament of Communion and emphasizing the attainment of Kingship through Sacrifice. Inherent in these themes is faith in our own redemption through the sacrifice and triumph and glory of the Lord. The violet ribbon banding the sheaf reminds us of our need for penitence and reconciliation with God to attain our promised inheritance.

The window has a border of oak leaves and acorns, representing the strength into which a little faith can grow. The bottom segment, lettered in white on blood-red carmine, contains the first verse of Psalm 112: "Blessed is the Man that Feareth the Lord" and the memorial inscription is directly above it:

John T. Powell is buried in the Onancock Cemetery with his wife, Roberta Ker Powell, daughter of Col. Robert and Leah Irving Ker Stewart of Wetipquin, Wicomico County, Maryland. They were the parents of Stewart Ker Powell (1869-1951), an Onancock lawyer who was the mainstay of Naomi Makemie Presbyterian Church for decades. He also is buried in the Onancock Cemetery.