Bells of St. Paul's:

St. Paul's has two bells in its belfry. The largest one, weighing about 1,000 lbs. is named "St. Barnabus." It has a design that depicts the companion of St. Paul, St. Barnabus, who was stoned to death in his native Cypress. The smaller bell, weighing 600 lbs., is named "St. Paul." Its design depicts a scene of St. Paul's conversion on the road to Damascus. St. Barnabus has a perfect "C" pitch, and St. Paul has a perfect "A" pitch. The designs were created by an artist, Fritz Schiller, in Passau, West Germany, where the bells were cast by the Perner family who have been in the bell business since 1690. Rudolph Perner visited Kansas City and persuaded Rector G. Harris Collingwood that ST. Paul's needed real bells, not electronic ones. The St. Barnabus bell was so-named because it was given to the church by the four McLain children in honor of their parents, Imogen and Arthur McLain on the occasion of their 50th Wedding Anniversary, which fell on St. Barnabus Day in 1963. The St. Paul bell was a secret gift by the senior McLain's in honor of their children.

Damascus Candlesticks:

These enormous blue and white floor candlesticks were a gift from Rev. & Mrs. Carl W. Nau brought from Damascus, Syria, in 1924.

The Baptismal Font:

The Baptismal Font has been used continuously used since 1884 when it was purchased for St. Paul's from proceeds of the work of the juvenile organization which was then called the Busy Bees. The first person baptized in the font was Henrietta Priestly. Her family, in her memory and her husband's memory later supplied the font cover.

The Pentecost Tapestry:

The tapestry, which is displayed over the exit and entry doors of the nave in the back of the church, is an enormous hanging designed by Juana de Juanes and executed by Mrs. Jante Kuemmerlein of Prairie Village. It was donated by Mrs. Guy Stanley in memory of her husband. It is done in vibrant colors in shades of blue, red, yellow, and white on a black background. Materials used in the collage (art made of various materials) include velvet, satin, felt, yarn, and silk organza. The Dove is reported to symbolize love flying from the mystical light, which is intended to symbolize God. The large concave wind-swept figure is obviously caught up in and being buffeted about by the symbolic tornado. The tapestry took two years to complete and was constructed by hand and machine stitching and applique.

The Statue of St. Paul:

The statue of St. Paul in the lower front part of the pulpit was also done by Richard G. Gaulke and resembles the Rev. John Bennett, who was Rector of St. Paul's from 1880 to 1890.

The Altar Windows:

All members of the church made contributions to the magnificent altar windows. The theme of the windows is CHRIST OF THE SACRAMENT surrounded by the figures of the four gospel writers: Matthew, Mark, Luke, and John. Artist Joseph Mayer came from the Jacoby Glass Works in St. Louis to compose, modify, and complete the work. The window is a religious art form, a creation composed mostly of symbols. The word itself as a whole is symbolic of God's creative power. Christ spoke in symbols through his parables, as the window as well speaks. A symbol is an object that represents a quality or ideal in something else-not a portrait, not a true but merely a symbolic representation, for example the haunted eyes of the Agony in the Garden at the Crucifixion. The Center panel contains the Christ figure, blessing the wine symbolizing His precious blood. He stand in priestly raiment on the globe which He came to save, which appears to contain, appropriately, a writhing snake. Above Him rises His heavenly sanctuary that God told Moses to build, and with the Ark of the Covenant as well. At Christ's feet is the lamb, ready for the sacrificial altar. "Behold the lamb that takest away the sins of the world."

In the left panel is ST. Matthew holding a disc upon which are the initials for the Greek words, "Jesus Christ, Son of God, Savior," and these formed an anagram (a word made form letters, often the first letters, of other words) for the word fish (icgthus) an early Christian symbol appropriate to Matthew who reported Christ's word to Peter and Andrew (Christ's first apostle) - "Follow me, I will make you fishers of me." The next panel shows St. Mark with a disc with two wafers above and grapes below, representing, of course, His body and blood. In the right panel is St. John holding a disc representing the first miracle at Cana, about which he wrote. The figures beneath the four Evangelists: the winged angel of wisdom symbolizes Matthew who stressed the human side of Christ's ministry. The lion depicts Mark because he dwelled on Christ's kingly behavior, authority, and majesty (which I have always looked up and smiled at when the sermon is too long - note that the lion was staring directly at the pulpit, with a visage of royal disbelief and shortening patience). The ox refers to St. Luke and his strength. The farsighted eagle represents John and his insight. The tracery (the ornamental lines in the upper part of the gothic window) depicts the wine and the wheat. "I am the vine, ye are the branches," Jesus said. While the window appears to be in modern form, it really dates back to the 12th or 13th century which blends the architecture of the nave.

The Six Side Aisle Windows:

The side aisle stained glass windows in the church tell the story of Christ's miracle at the wedding at Cana through His exoneration of the Apostles to carry on His ministry. The six windows were dedicated on January 27, 1963. They include the following representations: The Raising of Jairus' Daughter, The Commissioning of the Apostles, The Baptism of Christ by John the Baptist, The Calling of Peter and Andrew, The Samaritan Woman at the Well, and The Wedding in Cana.

Stations of the Cross:

The recitations of the Stations of the Cross during Lent are conducted with Brass replicas affixed to the walls throughout the Nave.

Holy Family Window in the Chapel:

The Chapel window depicts the Nativity and the Epiphany - the birth of Christ and the coming of the Magi. While smaller and with less credentials it is nonetheless considered to be a very fine piece of work and placed as it is on the East side of the chapel, it provides a most salutary and complimentary light to the incomparable chapel altar.

The Ascension Stained Glass Window:

The Ascension Window in the Vestry meeting room upstairs was initially installed over the altar of the old church at 7th & State Ave. When that church was razed, the window was stored and later transported to the present church and installed in the Vestry meeting room. It was ravaged by the elements over time, but was completely revitalized, with broken pieces replaced, matched, and the whole assembly strengthened and fully restored.

The Children's Shrine:

The Children's Shrine, painted by Richard P. Gaulke in 1931 is located in the rear of the children's chapel downstairs and framed on the wall in green terra cotta designed and constructed by Walter and William Timmerman.

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