Connick's East Aisle Windows at St. John the Evangelist Episcopal Church

 The East and West aisles of the nave are lined with five windows on each side, presenting events from Jesus' life and teaching.  The five on the West side were designed by Heaton, Butler, & Payne and apparently installed between 1903 -1910.  The five on the East side were designed by Charles Connick and installed in the early 1920s.  The five Connick windows in the nave illustrate the Nativity, the boy Jesus in the Temple, Jesus healing, the Garden of Gethsemane, and the Resurrection.

Note that the booklet "St. John's Stained Glass Treasures" (p. 14) incorrectly identifies these as Heaton et al windows -- the five on the East side are clearly signed by Connick, are identified by orders in the MIT archive as his, and, in the use of colors, show a clarity and richness of color unlike those by Heaton et al on the West side.

Each of these windows includes three main panels, with Christ in the central panel.  The biblical reference to the window is inscribed above these panels in the traceries, which may also include symbols related to the main panel.  At the base of the panels is the memorial inscription.

The Nativity Window

"In him was life, and the life was the light of men"(John 1:4)

The order for this window (MIT Archive #908), calls for deep rich colors.  It appears to be among the last of the windows installed on the East side, possibly by Thanksgiving, 1922.

The central panel shows the holy family, with three shepherds on the left and three kings on the right panels.  

Christ is identified by the tri-radiant halo, as he is in all these windows in the East Aisle, showing that this design detail of Connick's is well in place at this point.

 The ornamental symbols in the traceries include roses (Mary), lambs (shepherds), and crowns (kings).  

The biblical text, "In him was life, and the life was the light of men"(John 1:4), is inscribed in the traceries, while the base of each panel notes the donor and memorial.

Christ Teaching the Doctors in the Temple

"The people were astonished at his doctrine, for he taught as one having authority" (Matt. 7:28, 29)

Like the Nativity Window order, this one (MIT Archive #909) calls for deep, rich colors and appears to have been ordered at about the same time period.  Aside from the comment on color, the Bible verse, and the memorial information, the order for provides no further design information.

The central image appears to be a youthful Jesus, indicated by the shorter tunic and more childish face; we also see Mary and Joseph in the upper right of the right panel, apparently seeking their son.  The presence of the menorah and scroll in the central panel, along with the rich red and gold cloth behind Jesus, suggest a special location -- likely the Temple in Jerusalem -- for this event.

The window, therefore, depicts the events of Luke 2:41-51 of the boy Jesus, age 12, speaking with the teachers in the Temple in Jerusalem, while the scripture reference is to the adult Jesus speaking not to the teachers but to "the people" in the community as he began his preaching ministry.

The Healing Christ

"Come unto me, all ye that travail and are heavy laden, and I will refresh thee" (Matt. 11:28).

Interestingly, this window varies somewhat from the original request, as described in Order  #858 (MIT Archive).  The original concept called for Christ holding a child and reflecting an attitude of joy rather than suffering.  

A second entry on the order form calls for "unmistakable" occasions of Christ's healing ministry.  So in the center panel, we see Christ showing compassion, with people of all ages (including children) in the side panels, one of whom uses a crutch (left side) and one holding a child (right side). 

 I would call the mood of the piece somber, thankful, maybe awe-filled, rather than "joyful," partly because of the heavy use of blues, which suggest calm and peacefulness. 

This tone carries through the concept of the Bible verse better -- the central figure of Christ brings healing and rest to both body and spirit.

The two symbols in the center traceries are hard to see, but one appears to be an anchor, and the other (possibly) a lamp.  The anchor was a secret Christian symbol in the first few centuries, perhaps based on Hebrews 6:19 ("We have this hope as an anchor for the soul") (Christianity Today).  The lamp would remind us that Christ is the light of the world; together, the two symbols refer to Christ as light and stabilizing hope, along with the visual depiction of his mercy and compassion in the central panel.

The Garden of Gethsemane

"Consider him who for the joy that was set before him, endured the cross, despising the shame, 

and is set down at the right hand of the throne of God" (Hebrews  12:2-3)

Once again, there is very little design information on the order form for this window, aside from the usual request for "deep, rich color," the Bible reference, and the memorial inscription details (MIT Archive #831).  

In the central panel we see a kneeling Jesus with the cup (symbolizing his blood, given for us) below him.  The cup is resting in a red medallion with white rays of glory surrounding it.  At first glance, it almost appears to be a manger, an interesting juxtaposition, to my mind, of the birth and death of Christ in a single image.

In the traceries above him are a pelican and nest.  This was a medieval symbol of the atonement, based on the idea that the pelican fed its own blood to its babies when no food was available:  as a result, "the pelican became a symbol of Christ's passion, pouring out his blood for the forgiveness of sins" (Churchpop.com).  

Three sleeping apostles are in the left panel, while the right panel holds a Roman guard and Judas, one hand pointing toward Christ and the other hand clutching a bag of (presumably) coins.

The Resurrection Window

"But now is Christ risen from the dead and become the first fruits of them that slept" (I Cor 15:20)

The Resurrection Window depicts Jesus standing before the empty tomb, with two women on the left and two men on the right. 

 It's clear that this is Easter morning, as the women are both holding containers of spices that would be used to anoint the dead (as noted in Mark 16).  

The two men are likely Peter and John (as suggested in John 20); note the youthful look of John, who is typically portrayed as the youngest of the disciples.

In the traceries above Jesus we see a peacock and a phoenix:  both of these birds were used to symbolize the Resurrection and eternal life.  The peacock stands on a globe (symbolizing the power of the resurrection over the world), while the phoenix is rising from the flames that consumed him (Christian Symbology).  There are also a number of lilies scattered throughout the panels, the flower that symbolizes both purity and rebirth.  

The order for this window (MIT Archive #745) provides very little information.  There is a suggestion of comparison to the windows on the West aisle, with the statement that the figures in this window should match the height of the standing figures in the windows already installed.  The source for the design of this window is also suggested -- a Lumiere plate (Hyde Park).  I am assuming this refers to a photograph of a window in London (the Lumiere brothers were British photographers), but the reference is unclear (to me).  It's also not clear if Connick or the rector of St. John's suggested the image as a starting point for the design.

The Connick Windows at St. John the Evangelist Episcopal Church (St. Paul, MN)

 St. John the Evangelist Episcopal Church in St. Paul, MN, has a large collection of Connick and Associates windows dating from a variety of decades.  There are a total of 23 Connick windows (many of them with multiple panels); I will be dividing the windows into four blog posts --

1. The Canticle and Narthex windows (see below)
2. The Chapel and Clerestory Windows (Coming soon -- will be linked here when posted)
3. The East Aisle Windows 
4. A discussion of Connick Associates' shifting style, comparing the hallway window to older windows and those on the West Aisle by Heaton, Butler, and Payne) (Coming soon -- will be linked here when posted)

We visited St. John's in late July, and found the administrative assistant very friendly and helpful as we asked for permission to view the windows in the sanctuary -- she even helped us find a window for which I had paperwork but could not locate in the church!

St. John's has a useful guide to their windows published on their website -- St. John's Stained Glass Treasures -- which I have used below to assist in describing the more complex windows.  It provides a very effective self-guided tour should you wish to visit these beautiful windows.

This church has some of the most beautiful carved wood in the Nave and Sanctuary -- and the whole space is alight with the colors of stained glass.  

In the photo on the left, you can see the placement of some of the windows -- the Te Deum window at the far end (chancel), the clerestory windows, and the location of the aisle windows (the East aisle windows are on the right side in the photos -- these are the ones by Connick).

I'm going to start this description with the largest individual windows -- the Canticle Windows and the Narthex Windows.  Use the links above to view the other Connick windows in the chapel and sanctuary.

The Canticle Windows

The Canticle Windows are the largest windows in the church, one above the altar and the other at the back of the nave, in the balcony.  Each represents one of the songs of praise, or canticles, of the church.

The Te Deum Window

Located above the altar in the South end of the church, the "Te Deum Laudimus" Canticle Window (Latin for "Thee, Lord, We Praise") contains five lancets, each dedicated to a segment of the "Te Deum."

The "Te Deum" window above the altar at St. John the Evangelist Episcopal Church.  
The risen Christ is in the center lancet; various saints, martyrs, angels, priests, and apostles are i
llustrated in the side lancets, along with the words of praise from the canticle.
 By Charles Connick; installed in 1920.  Photo by Paul Dahlberg.

Selected phrases from the canticle are included on the glass, as noted below (from the St. John's Stained Glass Treasures booklet):

Te Deum Canticle Text, St. John's Stained Glass Treasures, page 12

The window was installed in 1920, as a WW I memorial.  According to the order form (MIT archived form # 801), the window was "erected as a thanksgiving to God, in grateful memory of our Gold Star Men and in appreciative recognition of the members of our World War service roll."

The Benedicite Window

In the balcony at the back of the nave, framed by organ pipes, one can view the Benedicite Window, offering a song of praise from creation. 

The Benedicite "Song of Creation" window at St. John the Evangelist Episcopal Church. 
 By Charles Connick; installed in 1938.  Photo by Paul Dahlberg.

The window was installed in 1938.  According to the archived order form (MIT Archive #1991), Charles Connick wrote regarding this design:

From the archived order form

As described in the booklet provided by St. John's, the text of the canticle included in the window:

Benedicite Canticle Text, St. John's Stained Glass Treasures, page 11

The Narthex Windows

According to the order form for the Annunciation window (MIT Archive #2517), these two windows were originally planned as a pair: the annunciation to Mary, balanced by the annunciation to Zacharias.  The first of these was installed in 1944; however, the second was redesigned as a WW II memorial in 1949, and features the archangels Raphael and Michael.

The Annunciation to Mary

The Annunciation to Mary was designed "for close observation," as it is installed only three feet above the floor.  One can see the rich detail and read the wording on the panels with ease.

In the right panel, Mary is kneeling before her prie-dieu, which holds a book inscribed with the words from Isaiah 7:14, "Behold, a virgin shall conceive and bear a son."  Above her is the Holy Spirit, descending as a dove; to the left is a vase of lilies, symbolizing her purity.  At the bottom right is the Ox, symbol of St. Luke, who narrates this story in his gospel.

In the left panel we see the angel Gabriel, holding a scroll with the opening words of the annunciation, "Ave Maria, gratia plena" (Luke 1:28).  To the right of his feet is the winged Lion of St. Mark.  I really like Gabriel's colorful wings -- like many of Connick's angels, he is much more colorful than the traditional white.  Also note the small angels of praise and prayer, along with more lilies, in the tracery panels above each window.

The World War II Memorial Window

According to Order 2791 (MIT Archive # 2791), the WW II Memorial Window was designed to harmonize with the Annunciation to Mary Window in terms of color and design.  The upper tracery windows use the same small angels of praise and prayer, and the borders around the main window match those of the Annunciation window, although this window uses stars in place of lilies in the lower traceries and border.  

Like its partner window, this one is only three feet from the floor, and it is designed with attention to detail that can be appreciated by close observation.

In the left panel, we see the Archangel Michael, captain of the Hosts of Heaven, with his traditional symbols of the scales of justice on his shield and the flaming sword. His open wings maintain the deep jewel tones of the earlier window.

In the right panel, the Archangel Raphael, protector of travelers and healing, stands with his pilgrim's staff (see the drinking gourd attached to the top of the staff), his had outstretched to young Tobias (whom he helped overcome a demon in the Book of Tobit).  The fish on the front of his tunic likely refers to his use of a fish to bind the demon and heal Tobit's eyes in the Book of Tobit.

This window was installed in 1949, in memory of "those who gave their lives" and in thanksgiving "for those who returned" from WW II.  Its date of installation indicates that it was designed after Charles Connick's death (in 1945); however, it maintains the elements of the earlier, companion window, and, according to details on the order form, imitates a similar window at the Children's Hospital in Cincinnati, OH, demonstrating how Connick Associates was able to continue to offer work in the Connick style after his passing.

The Window at Our Savior's Lutheran Church, Solon Springs, WI

 We stayed several nights last week at Lucius Woods County Park so Paul could attend a school reunion, and on Sunday we attended church at Our Savior's Lutheran Church in Solon Springs, WI.  We have attended church there many times over the past 40 years, but this is the first time that I have looked at the window above the altar with a thoughtful and critical eye.  

I believe the window was installed in the mid 1970s.  Like the windows at St. Anthony's Church (described here), the background relies heavily on opalescent glass, which lets in muted light while emphasizing the clear jewel tones of the central image and border.

I like the greenish cast to the background -- it reminds me of the extended period between Pentecost and Advent ("ordinary time" in the church calendar) when the church wears green.  The blue border could indicate the times of preparation in the church year (advent, lent), while the red reminds us of the days we celebrate the Holy Spirit (Pentecost, Reformation Sunday).

The center image suggests some interesting things about the faith and focus of the congregation who chose this window. It is symbolic, with no hint of human form. This was not a congregation that wanted to meditate on a humanized representation of Christ or on the angelic glories of the Kingdom of Heaven.

Instead, we see an open book, with a cross behind it -- a focus on the God's Word as the center of the congregation's life of faith. Meditating on this window before service on Sunday, one might first be reminded of the importance of God's word, "I will meditate on your precepts and fix my eyes on your ways" (Psalm 119:15) -- a good centering thought for the start of a worship service!

The shape of the medallion is suggestive of several interpretations. It could be a lamp, as in Psalm 119:105, "Your word is a lamp for my feet, a light on my path," which emphasizes the importance of focus on the word of God. Or it could be a dove, representing the transformative work of the Holy Spirit in helping us move from word to action. Or perhaps it represents a crown, reminding us of Christ's kingship.

One could still make a case that this image represents Christ, using John 1, "and the Word [Christ] became flesh and dwelt among us," especially as the empty cross behind the book reminds us of Christ's saving power over death. The shape of the medallion as a dove, the Holy Spirit, reminds us in this case of Christ's promise that He would send a "comforter" to be with us (John 14:26, Psalm 51:11), while the shape of the medallion as a crown suggests Christ as Lord.

This is not, perhaps, a beautiful, ornate, or intricately crafted window.  But the simplicity of the design, coupled with the complexity of the central image, represents, to my mind, the austere, pragmatic people who built this church and helped found Solon Springs, along with their deep-felt, often wordless faith in God.

I hope there are records regarding the planning, purchase, creation, and installation of this window.  If you know more, please get in touch with me!  As I find more information, I will update this post. 

The Connick Windows at Unity Church, St. Paul MN

 After spending several hours in the Cathedral, we still had time to visit one more church that afternoon -- the Unity Church-Unitarian in St. Paul, where we met with a warm welcome and interesting conversation with Senior Minister the Rev. Dr. Oscar Sinclair.  According to the MIT archives, Charles Connick designed windows for the Ames Chapel and the Sanctuary. 

The St. Martin's Windows in Ames Chapel

 Rev. Sinclair helped us locate the Ames Chapel, which was built in 1920; the Connick windows are positioned on the west end of the Chapel.  Unlike other Connick windows I have seen, these rely heavily on "opalescent glass" for the window backgrounds.

St. Marten's Windows, by Charles Connick (1923) in the Ames Chapel at Unity Church, St. Paul MN.
Photo by Paul Dahlberg

St. Martin of Tours was born in the 4th century in the region now known as Hungary.  As the son of a Tribune, his first career was that of a soldier; one story describes him cutting his cloak in half to help cloth a begger.  

He then had a vision in which Christ appeared and said "Martin, a mere catechumen, hath clothed me," an experience which only intensified his Christian faith.

By the age of 20 he had left the military and pursued a religious calling, focused on study, evangelism, and opposition of the Arian heresy.  

He established a monastery (the Liguge Abbey); in 371 he became the Bishop of Tours.  He died in 397 CE.

He is the patron saint of the poor, soldiers, conscientious objectors, tailors, and winemakers.  His feast day is Nov. 11.

The center lancet shows him in military armor with half a cloak; he holds a bishop's mitre (MIT Order #1018). The window was installed in 1923.

The two insets on the side lancets illustrate the two stories mentioned above.  In the left lancet, St. Martin cuts his cloak in half to clothe the freezing beggar.  In the right lancet, we see a representation of his vision, with Christ as the central figure, flanked by two angels, and St. Martin resting across the bottom.

The Missing Sanctuary Windows

According to the MIT Archive (Order # 2899), Rev. Arthur Foote worked with Connick Associates during the mid 1940s on the design of 18 windows for the south (back) wall of the Sanctuary (5 windows on each aisle, and 8 openings in the south wall).  There is also a reference to a window on the gallery stairway, and a suggestion that some but not all of the windows might be purchased.

The third page of this archived document includes some very interesting comments by Rev. Foote regarding the subject matter for the windows: "We should like to see represented every major religion and every main branch of the human family."  He goes on to list 9 major religions for consideration, along with some individuals who might be used for the aisle windows.

It appears that the subjects and symbols were agreed-upon by April 1948.  However, there is no "completion date" on the order, and it's possible that a contract was never signed.  It's also possible that the windows were destroyed when the sanctuary suffered a fire in 1963.  I did look through the State Historical Society's list of archived materials for Unity Church, and I can see there are materials regarding the St. Martin's windows, but no mention of any stained glass windows installed in the late 1940s-1950s.

I am hopeful that someone in the congregation will know more and we can someday get an update on these missing windows!  Please leave a comment if you know something about them or can assert positively that the church did or did not have stained glass windows in the sanctuary prior to 1963!

Cathedral of St. Paul: Connick's Lunettes, The Sanctuary, and the East Rose Window

 

The Resurrection Window (East Rose Window), by Charles J. Connick, 1932 (Photo by Paul Dahlberg)

The East Rose Window

Probably the most prominent of Connick's windows at the Cathedral of St. Paul is the East Rose window, often called the Resurrection Window, located above the main entrance.  About 40 feet above the floor, it cost $18,000 when it was installed in 1932 (MIT Order #1574).  

The photo on the left shows its position above the entrance when viewed outside from the steps leading up to the entrance.

In designing the window, Charles Connick writes, "I found that the iron armature already in place lent itself very well to an interesting composition, and I have used it as the basis of my arrangement, representing the symbol of the Agnus Dei as the central theme, surrounded and supported by the twelve apostles" (Noted in order #1574).

Connick placed four apostles, Peter, Paul, James, and John, in the larger circles, and the other 8 apostles on the arms of the cross bars.  The decorative pattern in the background "suggests the Vine and grape, symbol of Christ and his followers."

The Sanctuary Windows

In the half dome above the sanctuary are seven windows, the earliest work in the Cathedral by Charles Connick (Self Guided Tour p. 7).  Each window contains an archangel holding a medallion showing a biblical scene related to one of the seven sacraments of the Catholic Church (MIT Order # 1096).  From left to right these are

1. Gabriel (Baptism)
2. Michael (Confirmation)
3. Zadkiel (Holy Orders)
4. Raphael (Eucharist)
5. Jophiel (Matrimony)
6. Uriel (Reconciliation)
7. Chamiel (Anointing of the Sick)

I was unsuccessful in taking good pictures of these windows, as they are fairly high and quite luminous.  To the right is a photo of the dome showing the setting for these windows; below its a close-up of the dome, which also shows the dove painted in the ceiling of the dome and the painted symbols of the seven gifts of the Holy Spirit.

Half Dome above the Sanctuary at St. Paul's Cathedral.  Stained class windows by C. Connick.

The Chapel Lunettes

Connick designed two lunettes (half-circle windows) for the Cathedral.  The first of these was installed above the entrance to the Blessed Virgin Mary's Chapel, and depicts the Annunciation.  It was installed in 1932 (MIT Order #1595).

Lunette above the entrance to the Blessed Virgin Mary's Chapel, by Charles Connick 1932.  Photo by Paul Dahlberg

In this window we see Mary kneeling, already at prayer when the angel appears to her.  The Holy Spirit is illustrated by the dove at the top center; lilies (symbols of Mary's purity) appear in small medallions in the border.

An interesting note recorded in the order form illustrates how Connick worked with his clients:  Father Ryan wrote (Oct. 13, 1931), "Will the finished window be as lightsome as the color sketch indicates?  This is quite desirable.  Will the window in place serve to show the angel's wings in better relation to the shoulders?"  In response, Connick replied, "Please know that the actual window will appear even lighter than does the sketch.  Since you mention it, I notice an opportunity to restudy to advantage the wings of Saint Gabriel."

Immediately opposite is the Chapel of St. Joseph.  Connick Associates was commissioned in 1955 to complete a second lunette as a companion window to the Annunciation, installed above the entrance to the Chapel of St. Joseph (MIT Order # 3373).

Lunette above the entrance to the Chapel of St. Joseph, Connick Associates, 1955.  Photo by Paul Dahlberg

This window illustrates the presentation of the infant Christ in the Temple.  Joseph stands at the center, holding the child, with Simeon on the left and Mary on the right.  A basket of doves sits in the medallion above Joseph's head.  

Cathedral of St. Paul: Connick's Transept Windows

Overview

The Transept crosses the Nave at the Cathedral of St. Paul at its central point, giving the Cathedral the shape of a Greek cross (all arms of equal length, like a + sign).  

At the end of each transept are beautifully carved confessionals (six on each side), and above these are arranged three transept windows and, above these, a rose window.   See photo on left, of the South wall of the South transept.

According to the order documentation, the Rose windows appear to have been ordered in 1940, and the six transept windows in 1951.

The three windows above the confessionals are designed to support our understanding of the sacrament of Reconciliation.  

Each set includes the three individuals required for this sacrament -- Christ, the priest, and the sinner.  In each transept, the center portrait is Christ, with a notable "sinner" on the right side, and a notable priest on the left.  

The South Transept Windows

In the concept for the South Transept, as described by Father Ryan on the order form in 1951 (MIT Order #2149), the central figure of Christ on this side of the transept is giving the commission "Whose sins you shall forgive...", while the priest and sinner on this side "have to do with the administration of the sacrament."

Accordingly, the priest pictured here on the left side is St. John Vianney, who is reputed to have heard confessions for as many as eighteen hours a day (Self Guided Tour, p. 15).  Christ stands in the center, with the commission regarding forgiveness of sins (John 20:23) inscribed below his feet.  Sinner Mary Magdalene stands on the left, who was forgiven and told by Jesus to go and sin no more.

The South Rose Window

Above these three lancet windows is the South Rose Window, installed in1940 and  depicting the Beatitudes as exemplified by North and South American individuals whose lives followed these lessons from the Sermon on the Mount.

South Rose Window: The Beatitudes; designed by Charles J. Connick in 1940. (Photo by Paul Dahlberg)

The order for the North and South Rose Windows (MIT Order # 2130) includes an extensive essay describing each window, which I have summarized below for the South Rose Window.

The center of the window is the figure of Christ, clothed in ruby and white to symbolize divine love and spiritual purity.  He holds the 8-pointed cross of the Beatitudes; around him sit listeners to suggest all the races of mankind, while the globe at his feet demonstrates his dominance over the world.

The eight medallions surrounding this central image are eight "new world" individuals who demonstrated through their lives the eight Beatitudes found in the Sermon on the Mount.

Beginning in the top right and moving clockwise, the individuals include:

1. St. Rose of Lima -- persecuted for Justice's sake
2. St. Turibius of Mogrovejo -- Peacemaker (protector of Native Americans against the Spaniards)
3. Blessed Kateri Tekakwitha -- Clean of Heart (called Lily of the Mohawks; protected Native American women from drunkeness and wife-changing)
4. St. Francis Solano -- Merciful (nursed the sick during pestilence and baptized slaves)
5. St. Frances Gabrini -- Those who hunger and thirst for Justice (founded schools and hospitals)
6. St. Peter Claver -- Those Who Mourn (apostle to the black slaves)
7. St. Rose Philippine Duchenne -- the Meek (pioneer of the Sisters of the Sacred Heart in Louisianna)
8. St. Martin Porres -- Poor in Spirit (compassion for the poor and the slaves)

The outer border contains symbols of the Beatitudes: a Dove (Poor in Spirit), the Sword and Palm (Persecution), the Olive Branch (Peacemakers), the Lilies (Clean of Heart), the Broken Sword (Merciful), the Sword and Scales (Hunger and Thirst for Justice), the Inverted Torch (Mourn), and the Lamb (Meek).

The North Transept Windows

For the North Transept, Father Ryan suggests a focus on "the effects of this Sacrament," with the central figure of Christ as the Good Shepherd, indicating that the Sacrament brings us back in right relationship with Christ. 

The priest in this set of three is St. John Nepomucene, martyred for refusing to reveal secrets from the confessional, Christ the Good Shepherd holding a lamb, and St. Dismas, the repentant thief crucified with Christ.

The North Rose Window

Like the South Rose Window, the North Rose Window was installed in 1940.  Called "Our Lady Queen of Martyrs" in the original order documents, it features eight North American Jesuit Martyrs.

North Rose Window: American Martyrs; designed by Charles J. Connick in 1940. (Photo by Paul Dahlberg)

As noted above, the order for the North and South Rose Windows (MIT Order # 2130) includes an extensive essay describing each window; the information below is summarized from the essay about the North Rose Window.

Our Lady, Queen of Martyrs is seated in the center holding a palm branch and surrounded by angels also holding palm branches, which are symbolic of martyrdom.  The globe at her feet is marked in red where these martyrs met their deaths.

The eight medallions surrounding this center image depict eight North American Jesuit martyrs who came to French Canada in the 17th century to the Huron people, along with an indication in each medallion of the ways they met their deaths.  The individuals include:

1. St. John de Brebeuf
2. St. Gabriel Lalemont
3. St. Noel Chabanel
4. St. Rene Goupil
5. St. Charles Gernier
6. St. Anthony Daniel
7. St. Jean de Lalanne
8. St. Isaac Jogues

The outer border of depicts native wild animals important to both the Huron nation and to Minnesota:  the eagle, moose, turtle, porcupine, gopher, wolf, bear, and hawk.

Cathedral of St. Paul, St. Paul, Minnesota

Southwest view of the Cathedral:  the sanctuary dome is on the left, surrounded by the smaller domed
Shrines of the Nations.  Center front is the Chapel of St. Peter, and on the right is the South Entrance,
with the south Rose Window and the three South Transept windows.

Our second stop during our visit to St. Paul was the Cathedral of St. Paul, which has many beautiful stained glass windows, 18 of which were designed by Charles J. Connick:

1. Two lunettess, at the entrance of the St. Joseph and Blessed Virgin Mary chapels 
2. Three rose windows
3. Six transept windows (three on each transept)
4. Seven windows above the sanctuary, depicting the seven sacraments

I will be dividing my description into two separate blog posts (linked here):

1. The transept windows, including the Rose windows in the transepts
2. The chapel lunettes, East Rose Window, and the sanctuary windows

In preparation for our visit, I watched the virtual tour of the Cathedral, available online; I highly recommend this series of videos; in addition, the self-guided tour booklet (available at the Cathedral) is also very useful to understanding the various artistic treasures of the church.

While the first mass was celebrated in this building in 1915, the interior decoration took many more years to complete; in fact, it was not ready for consecration until 1958.  The desire of those planning, building, and decorating the church was to "inspire those who worship with her walls to go out with charity and fervor to evangelize the society in which they live and work" (Self-guided tour booklet, p.1).

The Cathedral houses many inspirational treasures, including mosaics, carvings, statues, and lovely stained glass made by other artists.  

Copy of Michaelangelo's Pieta
  in the Founder's Chapel

In the narthex, for example, the Founder's Chapel houses a lovely, exact copy of Michelangelo's "Pieta," made of bonded marble from a mold of the original in St. Peter's Basilica in Rome.  The statue shows the Virgin Mary holding the body of her son Jesus after his death.

Another notable series of stained glass appears in the Shrine of Nations, a series of six chapels along the ambulatory behind the sanctuary.  

Each chapel honors the spiritual heritage of the immigrant peoples who settled in the St. Paul area.  Each chapel contains a central marble statue of a saint associated with a particular individual associated with a particular culture -- for example, St. Patrick represents Irish immigrants.  

Each statue is flanked by full-sized stained glass windows depicting other saints from the same culture.  In the Irish chapel, for example, St. Patrick is flanked by stained glass windows of St. Columbian and Saint Bridget.  

These windows were designed by Bancel La Farge, son of the famous artist John La Farge, who, along with Tiffany, developed the use of opalescent glass in the late 19th century.

In the basement, we found a Lego version of the Cathedral!  Currently it sits in a glass box at the base of the southeast stairwell.

We also visited the basement museum and were able to see some of the casts used for the Evangelist statues. 

 The museum includes a model of the original log cabin chapel built by Father Lucien Galtier in 1841.  

The current cathedral building is the fourth iteration; the cornerstone for the current building was laid on June 2, 1907, and the first mass was celebrated here on Palm Sunday, 1915.

As we walked along the basement hall, we found  these three casts of the angel choir (see below) which were used for the bronze casting of the intricate grill surrounding the sanctuary.

Casts of some of the angel musicians, used for the bronze grill surrounding the sanctuary.  
Located in the back hallway in the basement, near the Museum entrance.