Window 2a: The Flight into Egypt

Window 2a:  “Take the child and his mother
and flee to Egypt” (Matthew 2:13).

The first panel of the second window along the north aisle shows us the holy family once more, this time as they journey to Egypt.  Mary holds Jesus and is riding a donkey; Joseph walks beside, still holding his lily-topped staff.  

The text centers the image in Matthew 2:13, immediately after the wise men have departed.  Matthew writes, "And when they [the wise men] were departed, behold, the angel of the Lord appeareth to Joseph in a dream, saying, "Arise, and take the young child and his mother and flee into Egypt, and be thou there until I bring thee word:  for Herod will seek the young child to destroy him."

As the image shows, Joseph immediately "took the young child and his mother by night, and departed into Egypt" (Matt 2:14).  This prompt and unquestioning obedience saved Jesus' life, since Herod sent orders to kill all the children in Bethlehem who were two years old and under. 

 The parallel of these events to the story of baby Moses, who was saved when Pharaoh ordered the death of all male Hebrew infants (Exodus 2) provides clear foreshadowing of Jesus' life and mission.  Like Moses, Jesus brings his followers a new "law" and "salvation," although these look quite different from the Exodus and the Ten Commandments of Moses' time.  Images in Window 5a (Sermon on the Mount) will return to this parallel.

Of this parallel to Moses, the writer of Hebrews notes, "...consider the Apostle and High Priest of our profession, Christ Jesus: who was faithful to him that appointed him, as also Moses was faithful in all his house.  For this man was counted worthy of more glory than Moses, inasmuch as he who hath builded the house hat more honor than the house" (Hebrews 3:1b-3).  Jesus, therefore, is like Moses but greater in that Jesus is the builder of all things.  

The image in the symbol medallion is a dove, identified as "the dove of purity and divine inspiration" in the dedication bulletin (Sept. 1948).  In Window 1a (The Annunciation), the dove illustrated the presence of the Holy Spirit; in Window 3a (Baptism), the dove is also used to represent the Holy Spirit descending on Jesus.  

But its connection to the event depicted in Window 2a is a little more difficult.  Certainly we might say that Joseph was divinely inspired to take his family to Egypt.  But, since the scripture says that an angel appeared to him in a dream, the dove of divine inspiration doesn't seem like quite the right image.

One possibility might be the view of the dove as a symbol of new life, first in the rebirth of the world after the flood (when Noah sent out a dove, which returned with an olive branch), and now in the salvation that Christ will bring.  

Another possibility is viewing the dove as an image of sacrifice (which it was during Jesus' time, in fact being used for that purpose when Jesus was presented in the temple (Luke 2:22-24).  This once more provides foreshadowing of Jesus' mission -- his sacrifice will replace the need for doves (and other animals) in sacrificial rituals.

Prayer:

Lord Jesus, thank you for the gift of salvation made possible by your sacrifice and resurrection.  Help us to live faithfully in the new life you offer us; we pray that you would help us discern your will and, like Joseph, respond fully and promptly to your direction.  Amen.

North Aisle, Window 2:  
The Flight into Egypt; Young Jesus in the Temple

Window Dedication:

Window 2 is a gift from James Olsen

Window 1b: The Nativity

Window 1b:  Unto you is born this day
a savior which is Christ, the Lord" (Luke 2:11)

 The second panel in Window 1 illustrates the nativity.  In the center medallion we see the holy family. Mary is kneeling and now has a gold halo, perhaps representing her royalty as the mother of Christ.

 Joseph is likewise wearing gold-shaded clothing, and he holds a staff with a lily at its top--possibly a link to the companion window panel, or perhaps a reminder of the purity of this miraculous birth.

At the apex of the medallion, we see some straw, reminding us of the stable and Christ’s humble birth, while a star shines down on the Christ child, who lies at the center of the medallion in a manger.  

Note that Christ's halo is different from the others -- it has three rays or bars in it.  This type of halo is called the "tri-radiant halo," which signifies the Trinity and is used only for Christ.

While there are no shepherds or wise men in this representation, the star reminds of their presence.  
The shepherds saw "the glory of the Lord" when the angel appeared to them and spoke the good tidings which are the text for this panel, "For unto you is born this day...a Savior, which is Christ the Lord" (Luke 2:11).

The star likewise evokes the wise men, who told Herod, "...we have seen his star in the east and are come to worship him" (Matt. 2:2b); when they leave Jerusalem, "the star, which they saw in the east, went before them, till it came and stood over where the young child was" (Matt. 2:9b).

The image chosen for the symbol medallion is the rose, the symbol of messianic promise, as noted in Isaiah 35:1b, "The desert shall rejoice and blossom as the rose." 

The rose also reminds us of Luther's Rose or Seal, especially since it is shown here with five petals and is white, which Luther insisted was the correct color (not red) because white is the color of spirits and angels (see Luther's description of his seal as a summary of the gospel).  Just as Luther directed, the white roses are on a field of blue, "symbolizing that joyful spirit and faith is the beginning of heavenly, future joy, which begins now but is grasped in hope, not fully revealed" (The Luther Seal).

Prayer:

Thank you, Lord Jesus, for these reminders of your wondrous birth and the joyful hope of our salvation as heralded by the angels to shepherds.  May we also have light to see you more clearly and daily strengthen our hope for heavenly joy.  Amen.

Window 1:  The Annunciation and Nativity

Window Dedication:

Window 1 is Donated in Memory of Mrs. and Mrs. Theodore Berg 

by Mr. and Mrs. Wesley Severson and daughter Constance

Window 1a: The Annunciation

Window 1a:  "Blessed art thou
among women" Luke 1:28

The first window along the North Aisle of the Nave depicts the annunciation.  In the center medallion we see the angel greeting Mary with the words "Blessed art thou among women" (Luke 1:28).  

Mary is kneeling on a cushion, implying that she was already at prayer when the angel appeared.  

At the apex of the medallion is a dove flying downward, symbolizing the presence of the Holy Spirit.  As the angel says, "The Holy Spirit shall come upon you...therefore, [he] which shall be born of thee shall be called the Son of God" (Luke 1:35).

The angel is holding a lily, and the symbol medallion also depicts a lily stem, this time with three flowers.  The lily is often associated with purity, chastity, hope, and the Virgin Mary; it also is associated with rebirth and Easter.  Therefore, even at the start of Christ's story, we see a reminder of His eventual passion and resurrection.

The use of three flowers in the symbol medallion perhaps reminds us of the Trinity and the presence of Father, Son, and Holy Spirit, united by the stem but expressed by separate blossoms.

Prayer:

Dear Father, help us hold our hearts open for your presence, that we, like Mary, may accept the direction of the Holy Spirit and live our lives according to your will.  Amen.

 

 

Window 1:  The Annunciation and Nativity

Window Dedication:

Window 1 is Donated in Memory of Mrs. and Mrs. Theodore Berg 

by Mr. and Mrs. Wesley Severson and daughter Constance

 

The Aisle Windows -- Concept Overview

North Aisle, Window #3 

(Baptism, Calling the Disciples)

The north and south aisles of the church each contain five pairs of stained glass window panels. According to the original order form, these windows were "to be devoted to incidents in the life of Christ."   Overall, these ten pairs of window panels provide a visual depiction of Christ's life, from the annunciation to the ascension, in a total of 20 panels.  As can be seen in the original plan (below), the two panels in each window were topically paired:

• The Beginning
• The Young Child
• The Beginning of Ministry
• Domination over Nature and Death
• Christ as fulfillment of Law and Prophecy
• The "I am" statements 
• Parables
• Our Lord's human and compassionate nature
• Passion
• Resurrection/Ascention

Original plan for the aisle windows, from the back side of the original order sheet (No. 2821, MIT Libraries Dome, https://dome.mit.edu/handle/1721.3/77690).  Note that the Sacristy should be located on the left side of the chancel, and two panels were later added there.

Each panel consists of a medallion containing the central image of the event identified by the text, a smaller medallion containing a church-related symbol that provides additional commentary on the event, and an open book with the panel's text inscribed.

Sketch of a panel's "anatomy," which identifies

the various parts discussed in this section

The background and accent colors alternate between blue and red.  In each case, the background color of the window and the image medallion are the same color, while the border of the image medallion and the background of the symbol medallion are the accent color.

The two images below (of Windows 1 and 2) illustrate the alternating color scheme:

Window #1, Red Background and blue accents.  Note that the blue is used as the background for the symbol medallion, the border of the image medallion, and is threaded through the vining branches of the side borders.

Window #2, Blue Background.  In this case, the red accent color  is used as the background for the symbol medallion, the border of the image medallion, and is threaded through the vining branches of the side borders.

The border of each panel is a series of vining leaves and grapes, reminding the viewer that Christ is "the true vine" (John 15:1a).  The accent color is threaded through the branches on each side.

The four header windows above each section are consistent within each set of panels in color and images, and alternate for each window pair, with either white stars in blue medallions and a small blue diamond above, or white flames in red medallions and a small gold diamond above.

White Flames in Red Medallions with Gold Diamond

White Stars in Blue Medallions with Blue Diamond

The blue medallion headers are used for the panels with a red background; the red medallion headers are used for the panels with a blue background

Each window pair is signed in the lower right corner of the right panel "Connick Associates Boston - 1948."

The Project Overview

"The Good Shepherd" Narthex Window

Completed February 1949

 

“We, of this congregation, will ever be grateful

 for the inspiration and uplift 

which their splendid artistry and craftsmanship 

constantly provide.”

In the fall of 1946, as the congregation of Our Savior's Lutheran Church began completion of the main floor of the church, the Council authorized Mr. Karl J. Olsen to begin working with Charles J. Connick Associates of Boston, MA, to plan the stained glass windows for the church chancel, nave, and narthex.  By April 1947, Mr. Olson was able to share illustrations of the planned windows with the Council, and he was authorized to enter a contract with Charles J. Connick Associates to supply stained glass windows for the price of $7,750, with delivery in 16 months.

The overall plan included

• Chancel windows -- a set of three lancet windows, with Christ in the center lancet and angels of prayer and praise on either side.
• Aisle windows in the Nave -- ten paired windows (five per side) depicting the life of Christ.
• A Narthex window of Christ the good Shepherd.
• A Sacristy window with two panels, depicting David and Samuel as children.

After the new sanctuary was dedicated in September 1948, the Council decided to add six more windows in the east wall at the back of the overflow room (the Apostle Chapel). These six windows, costing $1500, depict six of the apostles (Peter, Paul, John, James, Matthew, and Thomas).  These were completed in June 1949.

Tribute Plaque in Foyer, Our Savior's Lutheran Church

Mr. Charles J. Connick, who passed away in 1945, was recognized in his lifetime as one of the greatest in his field.  He focused his life's study to reproducing the rich colors and symbolism of the Middle Ages.  According to his writing about color,

• Red is the color of divine love, passionate devotion, self-sacrifice, courage, and martyrdom
• Blue symbolizes truth, constancy, eternity, heaven itself and the steadfastness of enduring loyalty
• Green is the color hope, springtime, youth, and victory
• Gold symbolizes love, justice, truth, and royalty
• Purple stands for pain, penitence, mystery and death.

More information about Mr. Connick's life work may be found at the Charles J. Connick Stained Glass Foundation.  

Our Savior's Lutheran Church in Valley City is one of three buildings in North Dakota with Connick stained glass -- the other two are also churches, in Casselton and Enderlin (see Connick Installations List for almost 1000 installation sites).