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

 

Window 6b: I am the Light of the World

 In the second panel of Window 6, Christ is represented as "the Light of the World."  In John 8, this saying of Jesus immediately follows the incident of the woman taken in adultery, about whom Jesus said,

 "He that is without sin among you, let him first cast a stone at her.  And again he stooped down, and wrote on the ground.  And they which heard it, being convicted by their own conscience, went out one by one....Then spake Jesus again unto them, saying I am the light of the world:  he that followeth me shall not walk in darkness but shall have the light of life "(John 8:7b-9a, 12).

Window 4b:  "I am the Light of the World" (John 8:12)

In the image medallion, Jesus stands in a blaze of light rays, holding a lighted lamp.  The use of white and yellow glass "rays" against the blue background is particularly striking on a sunny day, when this panel glows brightly with all the light these "rays" let through.

The lighted lamp, also present in the symbol medallion, reminds us that Christ brings light to dark places, helping us to see our sinfulness and clear our hearts and minds in the "light of life." 

Given the context in which this "I am" statement is found (John 8, quoted above), we see how Christ's words convict the men of their own sinfulness, leading to his statement about being the light of the world.  Therefore, this "I am" statement is about much more than Jesus simply showing us the way or lighting our path -- it's also about showing us who we are (enlightening us), so that we can repent and approach Him with a clean heart and renewed spirit.

Prayer:

Lord Jesus, our light and our salvation, shine your light into our lives, that we may see every speck of dirt and cobweb and be able to cleanse our hearts and minds, so we can see you more clearly every day.  Amen.

South Aisle, Window 6: 
 I am the good shepherd; I am the light of the world.

Window Dedication:

Given in Loving Memory 
of their Mother and Father, Mr. and Mrs. Paul Boor
 by Mr. and Mrs. Dale Mahlum

Window 6a: I am the Good Shepherd

 Window 6 celebrates two of Jesus' statements about who he is -- two of the seven "I am" statements found in the gospel of John.  Each of these is a metaphorical statement:  Jesus says, I am....

• The bread of life (John 6:35)
• The light of the world (John 8:12) -- depicted in Window 6b
• The door (John 10:7)
• The good shepherd (John 10:14) -- depicted below in Window 6a
• The resurrection and the life (John 11:25)
• The way, the truth and the life (John 14:6)
• The true vine (John 15:1) -- depicted in the window borders throughout

The first panel in Window 6, at the east end of the south aisle, depicts Jesus as the Good Shepherd.  In presenting this statement about himself, Jesus says,

I am the good shepherd:  the good shepherd giveth his life for the sheep.  But he that is an hireling, and not the shepherd, whose own the sheep are not, seeth the wolf coming, and leaveth the sheep, and fleeth:  and the wolf catcheth them and scattereth the sheep.  The hireling fleeth, because he is an hireling, and careth not for the sheep.  I am the good shepherd, and know my sheep, and am known of mine.  As the Father knoweth me, even so know I the Father:  and I lay down my life for the sheep  (John 10:11-15)

South Aisle, Window 6a:  
"I am the Good Shepherd" John 10:14

The depiction of Jesus in the image medallion shows us Christ with a shepherd's crook in one hand, cradling a lamb in the other.  Behind him is a fenced area (sheep fold?) with five more sheep.  

This imagery is common to the culture of Jesus' time and earlier -- the responsibilities and challenges of the shepherd were clear to his listeners, although less so today.  The shepherd was a leader, protector, and nurturer of his flock.  In making the direct comparison, Jesus is claiming this for himself; in addition, he is a GOOD shepherd (in contrast to leaders who think about themselves rather than their flock when problems arise).

In the symbol medallion, we see the entwined Greek letters "alpha" and "omega," representing another "I am" statement Jesus makes, this time in Revelation 1:8:  "I am Alpha and Omega, the beginning and the ending...which is, and which was, and which is to come, the Almighty."

The two letters are the first and last of the Greek alphabet.  Shown together, they represent totality of existence; shown with Christ, they remind us that this Good Shepherd is with us always, caring, leading, and protecting his people even through the "valley of the shadow of death" so that we may "dwell in the house of the Lord forever" (Psalm 23:4a, 6b).

Prayer:

Dear Jesus our Shepherd, thank you for your constant comfort and support as we go about our daily lives.  Be with us in times of joy and sorrow, and guide us finally to our destined home with you.  Amen.

South Aisle, Window 6:
 I am the good shepherd; I am the light of the world.

Window Dedication: 

Given in Loving Memory
of their Mother and Father, Mr. and Mrs. Paul Boor
 by Mr. and Mrs. Dale Mahlum