There has been an established Episcopal congregation in Victoria, Texas since 1867. Trinity Episcopal Church, now located at 1501 North Glass, was the original Episcopal congregation in Victoria.

During the spring of 1958, conditions became favorable for the start of a second Episcopal congregation in this city. Bishop Everett Holland Jones appointed Mr. Robert Campbell, The Hon. Frank Crain, Mr. Kerry McCan, Mr. David Vest, and Mrs. Emily Womack as an organizational committee. The Rev. Gerald McAllister, later Bishop of Oklahoma, was appointed Priest-in-Charge.

On May 18, 1958, the first worship service of the "Victoria Episcopal Mission" was held at the Odd Fellows' Hall on Nueces Street. At that service, 108 persons signed the charter for the new congregation. That charter now hangs in the Guild Room. On July 1, 1958, The Rt. Rev. Earl Dicus, Suffragan Bishop of West Texas, presided over the first congregational meeting. At that meeting the "Victoria Episcopal Mission" was named St. Francis Episcopal Church.

A building fund was started immediately by the congregation and on June 15, 1961, the ground-breaking ceremony was held at the present parish location on Miori Lane. Construction began on the sanctuary, outdoor altar, office wing and Sunday School building. On July 1, 1962, The Rt. Rev. Everett Jones dedicated the new buildings. At that time, under the leadership of the Rev. McAllister the church had grown to 185 communicants and more than 300 baptized members. The Rt. Rev. McAllister is now retired in San Antonio, TX.

In 1963 the Rev. Robert H. Bonner was appointed Priest-in-Charge. At the Annual Council of the Diocese of West Texas in 1964, St. Francis was admitted as a parish of the diocese. There are now 92 congregations in the diocese. Construction began on the Parish Hall which was completed July 1, 1965. In 1967 the Rt. Rev. James E. Folts, current Bishop of West Texas, served at St. Francis as Assistant Rector. The Rev. Bonner served as rector of several churches in the Diocese of Texas before becoming Director of Stewardship for the National Episcopal Church. The Rev. Bonner died in 1993.

In August, 1969, the Rev. Rayford B. High became the third priest of this congregation. In the same year, all debt for the congregation was retired, and The Rt. Rev. Harold C. Gosnell consecrated the church and set it aside for the use of Prayer and Praise. The Rev. High served as rector until 1977. He is currently Bishop Suffragen of the Diocese of Texas.

The Rev. David D. Wendel, Jr. was called to be rector in January 1978. He served until 1986. During this period St. Francis entered into a missionary effort in Brazil where he had previously served several years as a missionary Priest. The Rev. Wendel recently retired and now lives in New Braunfels, Texas.

On May 4, 1987, The Rev. David M. Reed was called to be rector. His first service as Rector was held on Mother's Day, 1987. During his tenure as rector St. Francis began a new building project, and in November, 1994, a new Youth Center and adult classroom (The All Saints' Room) was dedicated and paid for. The Rev. Reed was married during his time as rector, and the congregation celebrated the birth of David and Patti's two children. On November 13, 1994 the Reeds were called to Harlingen, Texas, where he now serves as Rector of St. Alban's Church.

On June 1, 1995, the Rev. David G. Read began work as the fifth rector of St. Francis. His first service was celebrated on the Feast of Pentecost. On July 1, 1996, Ms. Ada McCormick joined the staff of St. Francis and Trinity Churches as Episcopal Youth Minister. Scott Brown was hired as the first Christian Education Director at St. Francis in August, 1998. Father Read and Scott together started an innovative Sunday School program titled "The University of St. Francis." A celebration of the 40th Anniversary of St. Francis Episcopal Church was held on November 7, 1998. The Reads accepted a call to St. Helena's Episcopal Church in Boerne, Texas, November 15, 1998.

The Rev. Jonathan Folts was called to be the next rector of St. Francis and assumed his duties August 1, 1999. The Rev. Kim Folts was selected as Christian Education Director when Scott Brown resigned to attend seminary in August, 1999. Father Folts introduced two new worship services - a sung Contemplative Service celebrated during Sunday evenings in Lent and Advent as well as on the first Sunday evening of each month, and a contemporary service held on Wednesday evenings. Under his leadership a lay ministry council was formed which meets with the Vestry every other month. He also began a series of Christian Discovery Courses. In May of 2004 the Rev. Folts accepted a call to St. John's Episcopal Church in Essex, Connecticut.

As of October 1, 2005, the Reverend Faith Bledsoe assumed the duties of rector of St. Francis. The Reverend Bledsoe came to Victoria from the parish of All Saints’, Corpus Christi, where she served as Associate Rector for the last three years.

The needlepoint altar rail cushions at St. Francis Episcopal Church were consecrated on December 7, 1980. Each of the cushions is totally covered with needlepoint. In 1974, a needlepoint committee was formed with Bitty Crain as president. Other members were Martha Bernhardt, Mary Ann Bower and Pood Wheeler. After much research Jean Ready, a designer with The Establishment in Austin, was chosen in 1976 to design the kneelers. The final sketches were approved by the St. Francis vestry and the Women of the Church in January, 1978.

The nine ladies chosen to produce the kneelers were Linda Bates, Virginia Hardy, Bitty Crain, Martha Bernhardt, Mary Ann Bower, Margaret Scarborough, Jo Clark, Lucy Dodson and Cynthia Buttram. Beginning in November of 1978, the Needlepoint Guild met twice each month to work together. The guild also purchased a wedding kneeler, which was worked by Alice Louise Nathan. All of the stitching on the kneelers was completed by March, 1980. (An interesting aside for the mathematically inclined is the fact that, at 196 stitches per square inch on 14-count canvas, a total of 153,664 stitches were required to complete each of the kneelers. At an average of 18 stitches per minute, it required a total of 142 hours of actual stitching time per kneeler, not allowing time to end a thread or re-thread the needle.) The Spinning Wheel in Houston was chosen to block the needlepoint and upholster the kneelers. Funds for the project came from the Women of the Church through the James Avery Jewelry Shop, from the Improvement Guild of St. Francis and from individual gifts.

The subject of the cushions begins at either end of the communion rail with the progression of the Gospel or the Life of Christ moving toward the center of the altar. The center cushion depicts the Crucifixion, the Empty Tomb or Resurrection and the Ascension. All scenes on the cushions are Biblically correct.

Joseph’s Dream and the Savior is Born – The first cushion depicts Joseph’s Dream, Matthew 1: 18-25, and the Birth of Jesus and the Visit of the Shepherds, Luke 2: 1-20.

The Savior is Presented in the Temple – The second cushion shows Jesus Presented in the Temple, Luke 2: 22-35; the Flight into Egypt, Matthew 2: 13-15; and Jesus Among the Doctors of the Law, Luke 2: 41-50.

Jesus is Baptized and the Savior is Revealed – The third cushion shows the scene in which Jesus is Baptized, Luke 3: 21-22; the Savior of the World Revealed to the Samaritans or the Women at the Well, John 4: 1-42; and the Wedding of Cana of Galilee, John 2: 1-12.

Zacchaeus, The Arrest and Peter’s Denial – The fourth cushion depicts Zacchaeus, Luke 19: 1-10; The Arrest, John 18: 1-11; and Peter’s Denial, Luke 22: 54-62.

The Crucifixion, The Empty Tomb, The Ascension – The fifth cushion, which lies in the center, shows the Crucifixion, Luke 23: 33-34; The Ascension, Luke 24: 50-53; and The Empty Tomb, Matthew 28: 1-8.

Jesus Prays in Gethsemane and Endures Calvary – The sixth cushion depicts the Way to Calvary, Luke 23: 26-30; Jesus Crowned with Thorns, Matthew 27: 27-31; and the Garden of Gethsemane, Mark 14: 32-42.

The Last Supper, The Calming of the Storm – On the seventh cushion, appears The Last Supper, John 13: 1-20; The Calming of the Storm, Mark 4: 35-41.

The Loaves and Fishes, Calling the Disciples – The eighth cushion includes Loaves and Fishes, John 2: 13-25; The Calling of the Disciples, Luke 5: 1-11 and Matthew 4: 18-22; and the Flight from Egypt, Matthew 2: 19-23.

Visit of the Magi, The Annunciation – The ninth cushion shows the Visit of the Magi, Matthew 2: 1-12; and The Annunciation, Luke 1: 26-38.

The Christus Rex (Christ the King) which is above the altar in St. Francis’ Church was presented to the Glory of God and in loving memory of Margaret Forbes Staerker, Joe Benjamin, Frank Crain Sr. and Elmo Von Allmen, by Margaret Staerker Benjamin, Winifred Staerker Von Allmen and Corinne Staerker Crain in 1965.

The Christus Rex is an ancient symbol of the Church emphasizing the Glory rather than the suffering of our Lord, as did the later Crucifix.

The crown on the figure represents Jesus’ Lordship over all....“ for he is Lord of lords and King of kings.”

The eyes are open and the wounds show in hands and feet symbolizing Our Lord’s victory over death and suffering. “Then he said to Thomas, ‘Put your finger here and see my hands; and put out your hand and place it in my side; do not be faithless, but believe’.” (St. John 20:27)

The figure is mounted “in the air” symbolizing Our Lord’s ascension into Heaven, (“….as they were look on, he was lifted up ….” (Acts 1:9)

The inner garment is the robe of a prophet, which our Lord is. “So they again said to the blind man, ‘What do you say about him, since he has opened your eyes?’ He said, ‘He is a prophet’.” (St. John 9:17)

The outer garments are priestly, to remind us that “He holds his priesthood permanently, because he continues forever.” (Hebrews 7:24) and that “Since we have a great high priest who has passed through heaven, Jesus, the Son of God, let us hold fast our confession. For we have not a high priest who is unable to symbolize with our weaknesses, but one who in every respect has been tempted as we are, yet without sinning. Let us then with confidence draw near to the throne of grace, that we may receive mercy and find grace to help in time of need.” (Hebrew 4: 14-16)

The arms are outstretched, making with the body the form of the cross, symbolizing that our Lord offers Himself for the salvation of us all.

The Christus Rex is not an attempt to realistically depict Our Lord, as good symbols are always representatives and representations. This symbol is not meant to represent what Jesus looked like, but to remind us of who He is: the Savior who became incarnate, was victorious over suffering and death, who now reigns in Heaven as Lord of all, pleading before the throne of God as High Priest, His offering of Himself for us.
Written by Michael Lance Allbright before his death in 1979.

THE ROSE WINDOW

The windows at St. Francis Church were done by Orco Studios of San Antonio. The artist was Mrs. Ruth Dunn. The subject of the windows, chosen by the committee, is the Christian Year. Mrs. Dunn, who was formerly head of the Art Department at Incarnate Word College, has designed windows seen in hundreds of churches throughout the Southwest. Our windows are done in the faceted style of glass work rather than the traditional stained glass because it was felt that this style of window would be particularly appropriate for our mission style architecture.

The following is a brief description of the windows, beginning with the Advent window at the front of the Nave on the Epistle Side. The windows go in a clockwise direction from this beginning point, ending with Pentecost in the Rose Window above the Altar. In these windows you will see a number of types of crosses repeated in the background.

ADVENT WINDOW: (purple)

Advent, the first season in the Christian calendar is represented in the first window by a Tau Cross in the center. The Tau Cross consists of three arms arranged in the shape of a “T”, signifying the first letter of the Greek word “Theos”, meaning God. Above this is the Anchor Cross, a symbol of Christian hope, taken from the Epistle to the Hebrews referring to the everlasting virtue of God’s counsel in these words, “Which hope we have as an anchor of the soul, both sure and steadfast,” and which is the oldest of all Christian symbols dating from the days of the catacombs. At the lower left is Aaron’s Rod (Numbers 17:1-8), the flowering almond which symbolizes the Virgin Mary, who contrary to biological laws brought forth a son, as also contrary to the laws of nature, Aaron’s almond staff burst into bloom when placed in the ground. In the lower right, the Fleur-de-lis, a conventionalized form of the Annunciation Lily, signifying purity – the symbol of the Virgin Mary. The overall background repeats the Tau Cross.

CHRISTMAS WINDOW: (white)

In the center is the Nativity Crib in the form of the Saltire Cross, or the St. Andrews Cross, so called because when sentenced to be crucified, Saint Andrew, deeming himself unworthy by being crucified upon the same kind of cross used for the crucifixion of our Lord, requested to be nailed upon a different cross. The tri-radiant nimbus above the crib represents one of the Trinity, rising from the Crib, the monogram of Christ – the Chi Rho (the first two letters of XPICTOC, meaning Christ). The shaft of light down through the center represents the division in history – B.C. and A.D. – with the thrust of Christianity. The Greek Cross repeated in the background is also a Sacred Monogram, combining I and X – I for IHCOVC (Jesus) X for XPICTOC (Christ). Bottom center has the Christmas Rose, a Nativity symbol. In white are two Pall Crosses symbolizing the “Yoke of Christ”, to be borne with humility.

EPIPHANY WINDOW: (green)

In the top center is the great symbol of Epiphany, the five pointed Epiphany star, or the Star of Bethlehem leading the Wise Men to Bethlehem. Below the star, the three crowns suggest the visit of the three Kings. At the bottom we see the gifts of gold, frankincense and myrrh. The background here repeats the Cross Crosslet, called the Epiphany Cross, which shows four crosses meeting at their bases denoting the manifestation of Christ to all creation.

LENT: (purple)

In this window we see the somber, stark cross draped with the seamless robe in red. The red and purple and savage greens are to suggest the tragedy and brutality. The center of the cross has three nails. Above the cross, the sun and moon are in distorted colors. The center of the robe shows the Cross and Chalice, symbolizing the Agony in Gethsemane. At the bottom is the Cross Portate, which speaks of Christ’s weary progress to Calvary. Inscribed on the cross member, the letters INRI, to denote the mockery of Christ, (“Jesus Christ, King of the Jews”). The cat-o-nine tails symbolizes the persecution and scourging, and the Basin and Ewer relate Pontius Pilate’s washing his hands of the responsibility for the crucifixion of our Lord. The background repeats the Passion Cross, also called the Cross of Suffering – pointed at all four ends.

EASTER WINDOW: (white)

In the center is the Easter Cross, or the Cross Adorned. The adornment of the lilies connotes the resurrection; they are a symbol of our Risen Lord, and immortality, as from a decayed bulb in the ground new life is released. In the background is a repeat of the Cross in Glory, also called the Rayed Cross and the Easter Cross – a Latin Cross with 12 or more rays of light. The center of the Cross has the butterfly symbol, a resurrection symbol, representing the third state of the butterfly’s life when the pupa bursts its outer shell and soars heavenward with a beautiful new body. The three stages in the life of the butterfly, the pupa, cocoon and butterfly symbolize Christian life, death and resurrection. The Crown and Cross symbolizes the reward of the faithful in life after death for those who believe in the crucified Savior. The Bursting Pomegranate, lower left, is a symbol of our Lord, who was able to burst the tomb on Easter Day.

ASCENSION WINDOW: (white)

In the center is the Cross Botonee, or Budded Cross, whose ends terminate in the trefoil, representing the Holy Trinity. The Palm and Crown are symbols for victory over death. The Cross and Orb, repeated in the background, is known as the Cross of Victory or of Conquest. Also, this Cross typifies the triumph of the Gospel throughout the world. Some browns are introduced at the bottom to signify earthiness, in contrast to the spiritual blue colors at the top – Ascension in color language.

PENTECOST WINDOW: (red)

The Rose Window, above the Altar, so named because of its quatrefoil shape, represents the Dove of the Holy Spirit descending, which is the symbol of the Holy Spirit, first appearing in the New Testament at the baptism of Our Lord, when John spoke saying, “I saw the Spirit descending from heaven like a dove, and it abode upon Him.” The descending dove with the tri-radiant nimbus is the only authentic symbol of the Holy Ghost. In the Gospel according to Luke 3:22, we read in the account of our Lord’s baptism “And the Holy Ghost descended in a bodily shape like a dove upon him, and a voice came from heaven, which said, “Thou art my beloved Son; in thee I am well pleased.” By this sign John recognized the Messiah. The seven flames tell of Christ’s last visit to the Apostles, when the Holy Spirit came to the Apostles in tongues of fire; therefore a flame is a symbol of the power of the Holy Ghost. The lines suggest the “sound of rushing wings.” At each side of the dove, the Cross Barbee, with the barbed ends signifies “Fisher of Men.”

The Saint Francis statue in the Narthex was created and given in loving memory of Eloise Watson by her family, Mr. & Mrs. John Moss of Austin and Mr. & Mrs. Dennis Mitchell of Evanston, Illinois. The vestry accepted the offer to create an original sculpture of Saint Francis to be placed in the courtyard in August, 1976.

The artist, Mr. Dennis Mitchell, received his B.A. and M.A. degrees in ceramics from Fort Hays Kansas State College in 1968 and 1969, and his M.F.A. in ceramics from Arizona State University in 1971. Among other awards for his work, Mr. Mitchell received a National Endowment for the Arts, Craftsman’s fellowship grant in 1975-76.

The sculpture is stoneware, which is clay fired at an extremely high temperature, making the work suitable for an outside environment. It was created in one piece, cut in half, hollowed out, and fired in two pieces. This is a usual procedure in such works of this size unless an artist has access to a very large kiln. When the work was completed the committee decided to place the statue in the northex in a garden setting. The base for the statue was designed by Mary Ann Bower and Robert Falstad. The base was made by Mr. Falstad, who is a talented craftsman as well as a professional engineer with Union Carbide.