Photograph of a sketch depicting the "tree of life" which has visible roots below the ground, and six branches with round bunches of leaves -- meant to resemble the "tangled skein of life" -- and a serpent wrapped around the trunk. Additionally, there are images among the branches including the sun and moon at the top as well as birds; at the base of the tree, there are unidentified animals on either side of the trunk. This sketch was a possible design for one of the etched windows to be included in the chapel at Thanks-Giving Square.

Letter from John Hutton to Peter Stewart discussing an exhibition he launched at Oxford and inviting Stewart to come see it. He also mentions a newspaper cutting a friend sent him about the delay in the construction of the Chapel of Thanksgiving. Hutton also asks Stewart to visit him if he plans to be in London any time soon.

Letter from John Hutton to Peter Stewart discussing information about the size of the glass for the Chapel of Thanksgiving's windows. Hutton says he has not received confirmation about the size of the glass from the architects and asks Stewart to talk to the architects for him because he wants to start working on the project in the next few weeks.

Letter from Peter Stewart to Philip Johnson discussing the crown of the Thanks-Giving Chapel and bells in the Thanks-Giving Square. Stewart says the crown should express Thanksgiving, confidence, strength, and not despair or disappointment. He also describes the shape and says it should be flat, aim upward, and not sink. He says they should not worry about constraints such as number of turns, static rate of rise, and mold of the spiral. He says they are "changing the world vision into a cosmic vision,' and that the Chapel should also express this. He mentions the bells in the Thanks-Giving Square and describes their shape and what they should express.

Reproduction of the text of the presidential proclamation from 1974, signed by Gerald Ford declaring November 28th as a national day of thanksgiving.

Letter from John Hutton to Peter Stewart discussing a sketch he designed based on the Tree of Life and the cost estimate for a glass panel he is designing for Stewart. Hutton talks about the cost of the project and mentions that certain amounts amounts have not been included in the estimate. He also explains his understanding of what the Tree of Life symbolizes and describes how he has interpreted those ideas in a sketch.

Letter from Peter Stewart to Philip Johnson discussing a letter he has attached in which John Hutton explains what he thinks is best for the lighting of the stained glass in the Chapel of Thanksgiving.

Architectural drawing of details for section A-A of the proposed chapel at Thanks-Giving Square. Scale 1:48.

Letter from John Hutton to Peter Stewart thanking him for a previous letter where he accepted a quoted price for a glass panel. Hutton also talks about two designs he is working on for Stewart, the Dove and the Tree of Life, and says he will send him sketches once he has clarified the ideas.

Photograph of a group of attendees of the Thanks-Giving Square Tree Planting Ceremony standing on a sidewalk. In the background, there is a sign that says "Park" and a parking garage above it.

Letter from Peter Stewart to John Hutton discussing artwork of a dove that will be displayed at entrance of the Chapel of Thanksgiving. He briefly talks about the materials that could be used for the roof, the direction the door faces, and the need to calculate sun angles. He also includes a theological adviser's observations about the symbol of the dove. The observations talk about what the dove represents as a religious symbol and mention that the dove appears in many places, such as the Old Testament, the Jewish Pentecost, and the story of Noah.

Sample print of a poster for Thanks-Giving Square with an illustration of people sitting in a tree, that is planted in a heat-shaped patch of green. Other, small trees are growing behind it and there are rocky cliffs in the background.

Photograph of a glass panel engraved by John Hutton. The design engraved on the glass is titled "The Spirit of Thanksgiving" and depicts a dove with it's wings spread out, as if in flight, and a design that resembles a wreath around it. John Hutton's signature is also engraved on the bottom right corner of the glass. A hand is partially visible in the top left corner holding up the glass.

Analysis of the religious symbolism of the dove, with biblical references, and a description of the artwork that will be in the chapel at Thanks-Giving Square depicting a dove in flight.

Booklet describing the plan and progress on creating Thanks-Giving Square in downtown Dallas, with maps of the location, architectural illustrations, explanations of the project's background, and a list of people and organizations involved in the project.

Photograph of a man and woman looking up at the Chapel of Thanksgiving located in the Thanks-Giving Square in Dallas, Texas. The man is wearing a suit and is pointing at the chapel and the woman is wearing a black vest, white shirt, and black pants. There is small body of water between the people and the chapel. In the background there are multiple buildings, including one with a sign that says "First Baptist".

Photograph of John Hutton and two men with a large glass panel he engraved. Hutton is looking at the camera and sitting in front of the panel while holding a tool while the two men are standing next to him and looking at the panel. The design on the panel is titled "The Spirit of Thanksgiving," and depicts a dove with it's wings spread out, as if in flight, and a design that resembles a wreath around it.

Memorandum by Peter Stewart discussing the gifting of an enlargement of Normal Rockwell's, "Do Unto Others as You Would Have Them Do Unto You", to the United Nations from the United States. Stewart briefly discusses the roles of various people who are involved in this process and recommends further steps that should be taken to complete the gifting. He also discusses details about the gift, such as estimated cost, where it will be exhibited, and its dimensions.

Letter from John Hutton to Peter Stewart discussing a glass panel he is working on for the Chapel of Thanksgiving. Hutton says he has finished the panel and is having Pitt & Scott, Ltd. collect and ship it. He mentions that he told Pitt & Scott, Ltd. to insure it for £2000 and that they need a letter from Stewart explaining what he is going to do with the panel. He says that he is aware the construction of the Chapel is behind schedule, but that displaying the glass panel may help raise funds.

Letter from Peter Stewart to John Hutton discussing the acceptance of the quoted price for project that Hutton will be working on for Stewart. Stewart reviews information about the project, such as the cost and delivery date.

Photograph of the four founders of Thanks-Giving Square: Joe O. Neuhoff, Julius Schepps, John M. Stemmons, and Peter P. Stewart. The men are wearing suits; two of them are sitting at a table and two are standing behind the seated men. The photograph was taken by Gittings Photography and the back of the photograph discusses the quality and value of Gittings portraits.

Letter from John Hutton to Peter Stewart discussing three designs that he has created for a glass panel in the Chapel of Thanksgiving. He calls the designs 'A', 'B', and 'C' and they all have a dove as the main symbol. He describes the dove in Design 'A' as "an embodiment of expanding joy in thanksgiving". He describes Design 'B' as "representing the different religions and beliefs of man". He says the Dove in Design 'C' represents strength and vitality and is a Giver. Hutton also talks about which design he prefers and mentions that it is important the design chosen does not offend any religious beliefs.

Text describing various elements planned for the chapel at Thanksgiving Square and the symbolism.

Photograph of a painting of the Glory Window in the Chapel of Thanksgiving designed by Gabriel Loire. The painting shows multi-colored rectangles that resemble stained glass panels to be installed in the ceiling of the chapel. The rectangular panels form a spiral shape leading to a circular stained glass window in the center of the spiral. The painting represents the view of the ceiling from the interior of the chapel.