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Dedication: "Given In Memory of Dr. Lamar W. Neblett, 1890-1963
by Mrs. Neblett and Martha Frances"

The book of Revelation is the theme of this westward-facing window. The window is a statement of the glory that is to come as described in Revelation 1:4: "Grace be to you and peace from him who is and who was and who is to come!" The window is a statement of Christ's coming glory, not only as judge, but as Redeemer. It is a depiction of the fulfillment of the Old Testament promise of the King - Messiah's glorious return - the solemn enthronement and future reign over God's people. Revelation 1:6 proclaims: "He loves us and has washed away our sins with his blood, and made us a line of kings and priests to serve his God and Father..."

At the center of the window are two obvious focal points which constitute
the two most important images in the window. Portrayed are two of the
distinctive references and names given to Jesus Christ in the book of
the Revelation. One is "Son of Man" used in connection with our Lord's
vocation as judge. All judgment is finally committed by the Father to
the Son because he is the "Son of Man." The second reference is to the Lamb. This is the symbol of our Lord as sacrifice and the maker of atonement. Artistic liberty has intermingled the elements of these two titles. The Christ figure stands in a gesture of judgment, and he is enthroned in the seat of authority as described in the first chapter of Revelation with the seven stars in his right hand and the golden girdle around his waist and holding the sword in his left hand. He bears in his hands and feet the bloody marks
of his sacrifice. His face, nevertheless, has not the glowering and our look
of stern judgment, but the look of the all powerful one who can smile contentedly with the knowledge that it is indeed "finished" - that things are as God intends them to be. The Lamb sits enthroned upon the book with the seven seals. His position, though he is a symbol of sacrifice and atonement, is a position of pride, and his head is framed by the banner of victory, the banner of resurrection.
These two symbols are completely encased in red, the color of love and sacrifice.

Revelation 4:3 reads, "and the person sitting there looked like a diamond and ruby."
These two stones are also known in the Bible by the names Jasper and Sardius, or crystal and ruby. The crystals in our window as in the Revelation are a symbol of joy and triumph.

Behind the Son of Man and the Lamb stand the four and twenty elders dressed in robes of white. Enclosing all of these figures are the depictions of the "four living creatures." They have green wings for two reasons: green is the color of life, and green is complementary to red and best encloses and controls the large mass of red. The number "four" symbolizes the universe in the book of Revelation. These beasts are depicted as giving unceasing glory to God for his creation. The figures of the lion, bull, man and eagle suggest all that
is noble, strong, wise and swift in the created world. The root symbolism here derives from Ezekiel 1:5-21.

Above these figures are the seven angels with the seven vials and the seven angels with seven trumpets. They are all set in crystals and blues and move with great power and energy. Flanking the two main figures are figures robed in white and
standing in red with palm branches, the symbols of victory. "These are the people who have been through great persecution and because they have washed their robes white again in the blood of the Lamb," they now stand around God's throne and serve
him day and night (Rev. 7:14-15).

In the bottom left of the window is the "woman clothed in the sun." She is standing on the moon with the twelve stars on her head for a crown. The woman is a symbol of Israel as the mother of the Messianic Savior and the Messianic Nation (Revelation 12,
Micah 4:9-10, and Isaiah 66:7).

Under the feet of the Son of Man is the figure of the Archangel Michael slaying
the dragon and pushing him into the abyss. In the right bottom panel of the window are the figures of the four horsemen, symbolizing the four scourges which God, through
the prophets, has threatened apostate Israel. The first rider is on a white horse and carries a bow and wears a crown. He is the symbol of tyranny and oppression. The second rider on a red horse and carrying a sword is the symbol of war. The third horseman rides a black horse and holds a pair of scales. He is the symbol of famine.
The fourth rider, on a pale green horse and carrying the scythe of death, is the symbol of plague.

At the very bottom of the window are the figures of the three beasts. The middle beast, the one being cast down by Michael is the dragon, the symbol of Satan. To the right
of the dragon is the beast of the land and is the symbol of false prophets. The beast on the o

Alois Maxwell Hirt, known as Al "Jumbo" Hirt, (November 7, 1922 – April 27, 1999), was a popular trumpeter and bandleader.

At the age of six, Al was given his first trumpet, which had been purchased at a local pawnshop, and by the age of 16, Hirt was playing professionally, often with his friend Pete Fountain. In 1940 Hirt went to Cincinnati, to study at the Cincinnati Conservatory of Music. After a stint as a bugler in the United States Army during World War II, Hirt performed with various Swing big bands, including those of Tommy Dorsey, Jimmy Dorsey, Benny Goodman, and Ina Ray Hutton. In 1950 he became first trumpet and soloist with Horace Heidt's Orchestra.

Hirt then returned to New Orleans, working with various Dixieland groups and leading his own bands. Hirt's virtuoso dexterity and fine tone on his instrument soon attracted the attention of national labels. Hirt had 22 different record albums on the Billboard Pop charts in the 1950s and 1960s. The albums Honey In The Horn and Cotton Candy were both in the top 10 best sellers for 1964, the same year Hirt scored a top hit single with his cover of Allen Toussaint's tune Java, and later won a Grammy award for the same recording. Hirt's top 40 charted hit single of Sugar Lips in 1964 would be later used as the theme song for the NBC daytime game show Eye Guess, hosted by Bill Cullen and originally airing during the mid-to-late 1960s. Hirt was chosen to record the frenetic theme for the 1960s TV show "The Green Hornet", by famed arranger and composer Billy May.

Planting deep roots in his community, Hirt opened up a club on Bourbon Street in the French Quarter in 1962, which he ran until 1983. He also became a minority owner in the NFL expansion New Orleans Saints in 1967.

On February 8, 1970, while performing in a Mardi Gras parade in New Orleans, Hirt was injured while riding on a float. It is popularly believed that he was struck in the mouth by a thrown piece of concrete or brick. In 1987 Hirt played a solo rendition of Ave Maria for Pope John Paul II's visit to New Orleans.

In 1999, Hirt died in New Orleans of liver failure after spending the previous year in a wheelchair due to edema in his leg. Despite the bout with edema, Hirt continued to play in local clubs including Chris Owens Club. His remains were buried in Metairie Cemetery.

Music Legends Park, at 311 Bourbon Street, is a pocket-sized park honoring Jazz legends. Cafe Beignet tucked in the back of the park serves up breakfast all day long, plus Cajun specialties and deli sandwiches.

Vieux Carre Historic District National Register #66000377 (1966)