enclosed in one frame in the state of Indiana. The stained glass window was paid for by Mrs. George Gable as a memorial to her mother (Lydia Taughinbaugh), who was one of the charter members of the church. The glass was handmade in Belgium, and installed by local glass workers originally from that country. Ironically, most of Hartford City's Belgian-immigrant glass workers were Catholics living on the other (south) side of the city. Although Hartford City had numerous local glass factories by the next decade, Hartford City Glass Company was the only glass factory in town in 1892. Therefore, it can safely be assumed that the Belgian glass workers were employees of that glass factory. “Old-timers” may remember Belgian glass workers as employees of American Window Glass Company, which purchased Hartford City Glass just before 1900. Belgium is the site of multiple examples of Western European cathedral architecture. Examples include the St. Michael and St. Gudula Cathedral, Cathedral of Our Lady, the Our Lady of Flanders’ Cathedral of Tournai, and others. During the 19th century, Belgium also contributed significantly to the revival of architecture from the Middle Ages. The works of countymen Jean-Baptiste Capronnier in stained glass, and Baron Bethune in architecture, are especially noteworthy. An American example of Capronnier's work with stained glass can be found in the “parable window” in the First Presbyterian Church of Philadelphia. Belgium was the world's top exporter of glass during the 19th century, and was considered one of the leading makers of flat glass. Belgian craftsman, such as Fourcault and Bicheroux, continued the Belgian glassmaking excellence by making significant contributions to glassmaking processes during the beginning of the 20th century. This technological advantage enabled Belgium to be the top exporter of plate and polished glass to the United States during the early 20th century before World War I. The stained glass windows in Hartford City's Presbyterian Church still have exceptionally vivid colors, and these colors can be hard to duplicate. With the exception of the writings of the Monk Theopiles, the “recipes” for various colors of glass were often kept secret at the time the church's glass was created – there were no copyrights or patents. Glass coloring knowledge was often passed on by word from master to apprentice. The exact shade of color of glass was dependent upon secret ingredients, the length of time the molten glass was in the “pot”, and