"faceted pieces of glass that are inset like gems", which sparkle when light strikes it. The church's clerestory contains many smaller windows of individuals from the Bible or Christian history. The windows in the nave above the east arcade depict the following Old Testament figures: Abraham, Hagar and her child Ishmael, Moses, Pharaoh's Daughter, Joshua, and Deborah. The windows in the east transept depict David, Ruth, Solomon, The Queen of Sheba, Elijah, Esther, Isaiah, Judith, Daniel, and Hannah. In the nave above the west arcade feature saints and virtues: Stephen, Agnes, Peter, Priscilla, John, and Hope. In the west transept are Simeon, Anne, Matthew, Faith, Mark, Charity, Luke, Dorcas, Paul, and Martha. The clerestory above the east and west doors are two windows of angels. Unlike the other windows throughout the church, they do not receive natural light from outside and are artificially illuminated instead. Mosaics The mosaics that decorate Stanford Memorial Church, which Taylor considers "a perfect complement to Frederick Lamb's stained-glass windows", are "virtually everywhere" inside the church. According to Gregg, Jane Stanford came up with the idea, calling it "idiosyncratic by some architectural historians", of extensively decorating Memorial Church's interior and facade, similar in style to the mosaics in many of the churches she and her husband admired during their travels in Europe. One of the reasons she chose mosaics was because of the similar weather in Italy and Northern California, where the moderate climates and rainy seasons in both settings protect the images from erosion and clear the pollution that accumulates on many buildings in large cities. As Hall states, the "mosaics on the facade are always clear and brilliant." During the Stanfords' 1883 tour of Europe, they visited Byzantine churches in Constantinople and St Mark's Basilica in Venice. They met and befriended Maurizio Camerino, the manager of the Antonio Salviati studios, which had just completed restoring the mosaics at St Mark's. Stanford began working with Camerino, who by that time had bought the Salviati studios, in 1899, and spent two months in Venice in the fall of 1900, selecting the watercolors created as the mosaics' patterns by Camerino's chief designer, Antonio Paoletti. Camerino's firm worked exclusively on the Stanford mosaics for three years; the project, which included the mosaics created for the university museum, was the largest mosaic project in the U.S. at the time. Stanford worked closely with Paoletti, planning a combination of Old