In 1850, when Abraham and Mary Lincoln's second son, Edward, died, the minister of First Presbyterian Church was asked to conduct the funeral.

[4] The exterior of the church sanctuary, dating from 1868, has changed little except for the removal of the original tall spires, but it is now buttressed by a steel superstructure.

Springfield participated fully in the general prosperity of the period: construction and business had flourished, and the legendary hardships of the frontier had been ameliorated by the supply of goods transported in by rail and the ever-increasing river traffic.

During the Lincoln Era, many of Springfield's citizens became familiar with the sophistication found in the cities on the Eastern seaboard and wanted to emulate those cosmopolitan styles.

Later, the church commissioned a different East Coast studio to produce the remaining windows along the north and south elevations of the sanctuary in a more medieval style.

Those great friends and missionary workers modeled the working relationship that grew between C. C. Brown and the then pastor, Dr. Thomas D. Logan.

Bernard Stuve was a successful frontier doctor, trained lawyer, writer of a respected state history, and owner of a large farm.

This window, along with the Angel of Communion, were installed at roughly the same time in 1890 and bear the nameplate of “Tiffany Glass & Decorating Company” a trademark of the 1890s.

The artists at Tiffany didn't like the way that the flesh colored tones of the stained glass looked in windows so they painted the faces instead of using stained-glass.

In full sun, the glow of light enhances the sunset effect of the scene, and Scripture verses below each name reflect the family's high esteem for their parents.

The location of the Dove window, near the ceiling's peak at the east (back) end of the sanctuary, allows the full brilliance of sunlight to stream through, and ministers have reported that the blaze of light on a bright morning offers them inspiration at the pulpit.

Created by the Pittsburgh Stained Glass Studios, under the direction of Howard G. Wilbert, the window serves as a memorial to Nancy Jane Mackie by her parents.

As part of a major remodeling and redecoration project in the 1940s, Willet Studios designed a stained-glass program to enhance the "Gothic effect” of the church.

The window portrays Christ in three stages of his life: first as a baby, fulfilling God's promise to humankind; then his sacrifice on the cross; and finally, at the resurrection, surrounded by angels proclaiming his triumph.

This window illustrates the Ministry of Christ through medallions depicting him in many roles: as the Good Shepherd, as forgiving Father, and as teacher, ever showing love for God's children and speaking with the disciples.

In 1940, the church proceeded with a major remodeling and redecoration project, engaging architects to draw up a plan for the chancel area.

Their design, Gothic in nature, featured a separation of the lectern and pulpit and the removal of the central organ pipes to enclosed recesses on the sides.

The renovation included the removal of those extensions as well as a plan to coordinate those back windows with the ones over the chancel and those over the balcony, achieving a more harmonious Gothic effect.

In 1991, the church began discussions and exploration of a new sanctuary organ and in 1992 signed a contract with John Brombaugh & Associates of Eugene, Oregon.

[9] In consultation with organist Dr. Rudy Zuiderveld and builder, John Brombaugh, the church approved an organ of three manual keyboards and pedalboard, with 46 stops and 3,240 pipes.

Brombaugh based the architecture of the organ case and its ornamentation on a late Renaissance style that was adapted to fit the First Presbyterian Church.

Dr. Zuiderveld, organist for First Presbyterian Church since 1988 and professor of music at Illinois College, played hymns specifically commissioned for the dedication.