Window 9b: The Last Supper

 Window 9b depicts Jesus and the disciples at the last supper.  The panel illustrates the words of institution we hear every service where we receive communion:

"And he took bread, and gave thanks, and brake it and gave unto them, saying, This is my body which is given for you: this do in remembrance of me.  Likewise also the cup after supper, saying This cup is the New Testament in my blood, which is shed for you.  But, behold, the hand of him that betrays me is with me on the table.  And truly the Son of man goeth, as it was determined:  but woe unto that man by whom he is betrayed!" Luke 22:19-22.

Window 9b:  "This is my blood which
 is shed for you" (Luke 22:20)

In the image medallion we see Jesus at the top of the table, larger than the others (signifying his importance), holding a cup in one hand, the other raised to signify that he is speaking.

The table is set with with plates for all, wine, and an overflowing basket of bread, suggesting the plenty that we will find at the Lord's table.

All twelve disciples are at the table, all heads bowed except one who has turned away and appears to be leaving; we see he holds a bag -- this is Judas, the one who betrays Jesus, leaving with his bag of silver.

The image therefore holds together both the unity of the disciples, breaking bread together, and the betrayal of one member, just as the passage quoted above contains both the words of institution and the statement of betrayal.  

In a sense, the image depicts the human condition:  united in Christ through his sacrifice, we are none-the-less prone to sin and betrayal.  Even Peter, devoted as he is, will deny Christ three times before the night is over!

In the symbol medallion is the cup, or chalice, representing "The New Testament in [Christ's] blood."  This image defines the central concept of the new covenant, the sacrifice of one perfect man, the Son of God, for the sins of the world.  

As Paul says, "For when were were yet without strength, in due time Christ died for the ungodly....But God commendeth his love toward us, in that, while we were yet sinners, Christ died for us...Being now justified by his blood, we shall be saved from wrath through him" (Romans 5:6, 8-9).

Prayer:

Dear Father, thank you for loving us, even as we are sinful and ungodly, and for providing a way for us to approach you through your Son's death and resurrection.  Thank you for making certain we have a place at the table; help us remain strong in Your grace and leave behind our sinful, worldly nature.  Amen.

Window 9:  Gethsemane; the Last Supper

 

 Window Dedication:

This window given in tribute to 
the Reverend R. A. Ofstedal and Family  
whose enthusiasm and inspired leadership
brought this house of God into being.

Window 9a: Jesus at Gethsemane

Window 9 recalls events from Maundy Thursday -- Christ at prayer in that garden at Gethsemene and The Last Supper.  If these window panels were installed following the timeline presented in the gospels, the Last Supper should come first, then Gethsemane.  However, the order is reversed in this installation.  The reversal is intentional, since the company signature is in the same place as the other windows -- the lower right corner of the right panel. 

 One might ponder why this reversal:  is it forced by artistic concerns?  In panel 9a, Jesus is looking toward the right (the center of the two panels) and, therefore, "forward" toward his crucifixion.  If the panels were reversed and Jesus were inverted to maintain the visual balance of the window, he would look away/backwards.  If the panels were reversed and Jesus remained looking to the right, the window loses its visual cohesion.  Perhaps this consideration motivated the designer.

Window 9a:  "My father, thy will
be done" (Matthew 26:42)

In Window 9a, we see Jesus in the image medallion, at prayer.  He is being visited by an angel standing on a cloud who holds out a cup; at his back is a branch with two yellow roses.

The fact that the color sequence allowed this particular set of panels to have the red background emphasizes the heightened emotion of the scene:  the KJV calls this "His agony in the garden," and the artists have made use of the red color to help us feel the passion of the event. 

Christ is praying for direction, courage, and the angel holds out a cup, following the metaphor Christ uses in his prayer, "If it be possible, let this cup pass from me; nevertheless, not as I will but as thou wilt" (Matt 26:39), and later, "If this cup may not pass away from me, except I drink it, they will be done" (Matt 26:42).

The yellow roses are problematic -- in Window 7a, I suggested they stand for charity, compassion, or healing. Here they stand almost like a staff behind Jesus -- is this meant to remind us that Jesus' passion was supported by his compassion for us?  Just as the Samaritan in Window 7a stops his journey to help the man fallen among thieves, so Jesus kneels here at a crossroad and chooses to go forward in God's will, toward a sacrifice that will result in the salvation of sinners.

In the symbol medallion, we see the crown of thorns surrounding three nails.  This symbol reminds us of Christ's passion and sacrifice for our sins, with the crown of thorns marking the world's rejection of Christ's authority, and the three nails symbolizing his crucifixion.  This is the metaphorical "cup" that Jesus accepts as he prays in Gethsemane and prepares for the final events of his earthly life.

Prayer:

Lord Jesus, thank you for your compassion for us, sinners and unworthy as we are before God.  Help us recognize in your passion the selfless love you have for all people, that you would give your life for us while we are still sinners.  Lead us to lives that honor of your sacrifice, that we may someday be with you in paradise.  Amen.

 

Window 9:  Gethsemane; the Last Supper

Window Dedication:

This window given in tribute to
the Reverend R. A. Ofstedal and Family  
whose enthusiasm and inspired leadership
brought this house of God into being.

 

Window 8b: Jesus Blessing the Children

In Window 8b, we see Jesus interacting with another low-status group, children, whom the disciples attempt to shoo away.  As he welcomes the children (and shoos away the disciples), Jesus shows by both word and action that he values all people and that everyone may share in God's grace and salvation:

"And they brought unto him also infants, that he would touch them/ but when his disciples saw it, they rebuked them.  But Jesus called them unto him, and said, Suffer little children to come unto me, and forbid them not:  for of such is the kingdom of God " (Luke 18:15-16). 

Window 8b:  "Suffer little children
to come unto me: (Luke 19:16)

The image medallion shows us Jesus holding a child, blessing two who stand before him, while a woman in the background is bringing an infant for blessing.  In addition to demonstrating that all people, including women and children, have access to God's blessings, Jesus uses children as a metaphor for the pure heart, open mind, and obedient nature needed to enter the Kingdom, for he says, "Whosoever shall not receive the kingdom of God as a little child shall in no wise enter therein" (Luke 18:17).

The image in the symbol medallion is a daisy, a symbol of innocence, purity, salvation (among other qualities).  Like the simplicity of children, the daisy is uncomplicated and open for all to see.  It is also often seen as a weed, commonplace and humble.

Prayer: 

Dear Father, thank you for theses comparisons that illustrate how we should grow in your garden.  Help us be like daisies -- open to your will, uncomplicated in our relationships, humble and pure of heart, so we are fit to receive the kingdom of God as your beloved children.  Amen.

South Aisle, Window 8:  Mary and Martha; Blessing the children

Window Dedication:

This window given by 
Mrs. C. A. Platou 
in memory of her husband 
Dr. Carl A. Platou

Window 8a: Mary and Martha

 Window 8 shows Jesus interacting with two groups of people frequently seen as "less important" in patriarchal culture:  women and children.  In each case, Jesus firmly states that they also have value in God's eyes and share in God's grace and salvation.

In Window 8a, we see Jesus interacting with a woman -- Mary of Bethany -- while her sister Martha works in the background:

Now it came to pass, as they went, that he entered into a certain village:  and a certain woman named Martha received him into her home.  And she had a sister called Mary, which also sat at Jesus' feet and heard his word.  But Martha was cumbered about much serving, and came to him, and said, Lord, dost thou not care that my sister hath left me to serve alone?  Bid her therefore that she help me.  And Jesus answered and said unto her, Martha, Martha, thou art careful and troubled about many things:  But one thing is needful: and Mary hath chosen that good part which shall not be taken away from her.  (Luke 10:38-42)

Window 8a:  Mary hath chosen
that good part" (Luke 10:42)

In the image medallion of Window 8a, Mary sits a little lower than Jesus, who is clearly teaching her since his arms and hands are open and hers are crossed on her breast.  In the background, above her head, we see Martha setting a table for their meal.

Mary has abandoned "women's work" for the opportunity of sitting at Jesus' feet and learning from him -- and Jesus' confirmation of her choice, "that good part which shall not be taken away from her," emphasizes that women may also be disciples, may also participate equally in the training and ministry of the church.

The icon in the symbol medallion its an anchor.  It symbolizes hope and stability, from Hebrews 6:19a:  "Which hope we have as an anchor of the soul, both sure and stedfast."

Since the anchor is formed with two crossed bars, it also reminds us of the cross, and our certain hope of salvation through his death and resurrection.  It is one of the oldest symbols of the Christian Church, used as early as the 2nd century AD  (Christian Symbology).

Its use on this panel perhaps connects to Jesus' statement that Mary's choice "shall not be taken away from her," indicating that faith, or hope in Christ, is an anchor to the soul.

Prayer:  Lord, we are so often like Martha, busy with the details instead of taking the time to rest and listen, like Mary.  Help us to center our lives around the anchor of your Word and Salvation, that we can weather the busyness and distractions of our lives.  Amen.

South Aisle, Window 8:  Mary and Martha; Blessing the children

Window Dedication:

This window given by
Mrs. C. A. Platou
in memory of her husband
Dr. Carl A. Platou

Window 7b: The Prodigal Son

Jesus tells The Parable of the Prodigal Son in response to criticism that he meets with and eats with sinners, to illustrate the joy in heaven when a sinner repents.  A certain man, he says, divided his wealth between his two sons; the older stayed at home, but the younger left home and spent his money lavishly.  When he had spent it all, he had to take a job feeding pigs, and he realized that his father's servants lived better than he.  So he returned home, ready to abase himself and ask for a job as a servant.

But when he was yet a great way off, his father saw him, and had compassion and ran, and fell on his neck, and kissed him....and said to his servants, bring forth the best robe, and put it on him; and put a ring on his hand, and shoes on his feet:  and bring hither the fatted calf and kill it; and let us eat and be merry:  For this my son was dead and is alive again; he was lost and is found.  (Luke 15: 20, 22-24)

 

Window 7b:  "My son was dead and
 is alive again" (Luke 15:24)

The image medallion in Window 7b shows us the meeting of the father with his younger, spendthrift son.  Behind him the door to the home is open, signifying his welcome and perhaps his father's rush to greet him; above the son's head is an animal -- perhaps the "fatted calf" that will be killed for the celebration.  So will the repenting sinner be welcomed home to God's house.

The symbol medallion holds "The Fountain of Salvation," according to the September 1948 Dedication bulletin.  I have only found "fountain of life" icons in my searches so far, which seem quite similar in terms of concept, since the new life we receive through Christ is synonymous with salvation.  

The authors of "Fountain of Life Iconography" indicate that there are no uniform image types for this concept.  However, the concept itself emerges from ideas central to baptism (renewal, rebirth) and the shedding of Christ's blood, which washes away sin and makes us acceptable in God's sight.

The connection between the symbol and the story, then, is about salvation, which is possible through Christ's blood and our willingness to repent and return to grace.

Prayer:

Lord Jesus, thank you for the assurance that we are never far from the fountain of life and the peace that comes when we are in right relationship with you.  Help us, like the prodigal son, to humble ourselves and return to you.  Amen.

South Aisle, Window 7:  The Good Samaritan and The Prodigal Son

Window Dedication:

In loving memory of my husband Rudolf Giselius
Given by Ragna Giselius

Window 7a: The Good Samaritan

  Window 7 presents two of Jesus' best-known parables:  The Good Samaritan and The Prodigal Son.  According to the planning documents (See Aisle Window Concept post), this "parable" window is designed to balance the "miracle" window directly across the nave (Window 4).

The first panel in Window 7 illustrates "The God Samaritan:"

And Jesus answering said, A certain man went down from Jerusalem to Jericho and fell among thieves which stripped him of his raiment, and wounded him, and departed, leaving him half dead....But a certain Samaritan, as he journeyed, came where he was:  and when he saw him, he had compassion on him, and went to him and bound up his wounds, pouring in oil and wine, and set him on his own beast and brought him to an inn, and...shewed mercy on him (Luke 10: 30, 33-34, 37).

Window 7:  "He had compassion and shewed
 mercy" (Luke 10:33, 37)

 In the image medallion, we see the Samaritan, holding a bottle of oil (or wine?) and reaching a helping hand out to the man who fell among thieves.  We know this is the Samaritan, and not Jesus, because the halo around his head does not include the three bars that are used to indicate a member of the Trinity (usually Jesus).

Above the Samaritan's head are the Levite and Priest who passed by on the other side, walking away; in the upper right is a donkey, presumably the "beast" that the wounded man will ride to the inn.

The image in the symbol medallion is identified in the Dedication bulletin from September 1948 as "the rose of charity."  It is a yellow rose surrounded by feathers, or possibly flames (except they are white, unlike other flames in other windows, that have yellow or red "tongues.")

Various online sources suggest that a yellow rose may indicate friendship or compassion (among many other things!), while the feathers (if that's what they are) remind me of the wings on the Caduceus, the often (mis)used symbol of the medical profession.  

So for me, the image combines healing with friendship and compassion, an interpretation that fits nicely with the actions of the Samaritan and also answers the question Jesus asks, 

Which now, of these three [the Levite, Priest, Samaritan], thinkest thou, was neighbor unto him that fell among the thieves? (Luke 10:36).  

As the lawyer says in response, "he that shewed mercy." And Jesus says, "Go thou and do likewise."  (Luke 10:37)

Prayer:

You have shown us, through your great mercy toward us, what it means to have compassion and be a good neighbor.  Help us imitate your example and deal kindly, helpfully, and bountifully with our neighbors both near and far.  Amen. 

South Aisle, Window 7:  The Good Samaritan and The Prodigal Son

Window Dedication:

In loving memory of my husband Rudolf Giselius
Given by Ragna Giselius