The creation window, executed by the artist, Bob White, is a kind of hymn of praise to God the Creator. As such, it is the largest work in fused glass window existing today. The work was begun in 1971 and the last portions completed and installed in 1973.

For this art form, which was developed and perfected by the artist, broken pieces, chunks and granules of colored glass are layered into a mold and are then placed in a furnace at 1500 degrees Fahrenheit until they are melded into a single block of glass. This fused glass captures and imprisons light and color inside it. Fused glass produces a freedom of movement and a richness of color and permits a detail of design not found in the usual stained glass window, which requires a mechanical outline for each color change.

In this window there are 207 blocks or fusions of glass 9 1/2 by 11 1/2 inches and about 3/4 of an inch thick plus 15 other fusions of varying size necessitated by the shape of the peak of the window. The width is a little over 8 feet and the height about 26 feet covering an area of about 200 sq. ft.

The composition is defined by the artist as meaningful abstract art, that is, the design elements are based on a meaningful progression of ideas. The forms and patterns are meaningful and yet the window as a whole is abstract. The artist conceives it as a massive tapestry of jeweled light weaving freely through the warp and weft of the structural bars, or dark grid lines, to express an overall flowing concept of the entire creation.

The biblical story of creation as given in the first chapter of Genesis is divided into six days or stages. This biblical story is the basis for the design of the window. However, the artist has chosen a language of symbolism based on contemporary scientific analysis of the whole of creation. The microscope and the telescope have increased our visual capabilities. Sciences, especially geology and astronomy have increased our knowledge of the earth and the universe. The artist has drawn from these sources to make the imagery of this window contemporary, to give a modernized version in plastic symbolism of the same ageless hallowed thought that in the beginning God created. He sought to expand the traditional symbolism of the theme into fields of new visual experience. This window is his attempt to express in recognizable contemporary terms the age-old awe, wonder and gratitude of Man for the Creator's gift of life.

The symbolic motifs corresponding to the six biblical days of creation are not represented in any rigid consecutive order but are interlocked, interwoven and combined so as to present in the completed window a vision of creation as one wondrous all-comprehending order sustained from microcosm to macrocosm.

In addition to an understanding of the imagery of the window there must also be a receptivity to its esthetic properties which speak in a language that is not translatable in words. There are consierations such as the rhythm, sweep and motion of colors, a subtlety of colors, major and minor colors, harmonies and clashes of colors and factors of design which are abstract and belong to the visual fields alone. All these visual relationships contribute significantly to the impact of thcomposition as a compound of theme and esthetic form. They must act upon the visual sensibilities of the viewer and it is everyone'privilege to interpret the esthetic message for himself.