The Sacristy Windows

The two windows in the Sacristy are "hidden gems," generally visible only to those who serve on the altar committee and the pastors.  They were ordered separately from the Nave aisle windows, and appear to have been installed in February 1949.  No dedication information is available [but I'm still looking].

The two sacristy windows:  Samuel at his dedication;

David ("Sweet Singer of Israel")

They follow the same color scheme and background decoration of vine and grapes found in the Nave windows; they differ from the windows in the Nave in several ways:

• They depict Old Testament children
• They are set separately (apart from each other by a good 8 inches)
• They have only the image medallion (no symbol medallion)
• The signature is in the "wrong" place, located on the LEFT window, right corner, instead of the RIGHT window, right corner

Sacristy Window A: "I will sing praises
unto the Lord" (Psalm 27:6b)

In the right Sacristy window, we see the boy David, playing his harp.  He wears a red mantle over a white gown; he is surrounded by white branches and leaves, suggesting that he is outdoors, perhaps in a meadow watching his sheep.

His halo is a little different from the other ones we have seen, as it is red with white triangles/spikes.  This type of halo is used for Old Testament saints depicted in the OSLC windows -- see "A Few Notes about Halos" for more details.

The text used to interpret this image comes from Psalm 27, which begins,

The Lord is my light and my salvation; of whom shall I fear?  The Lord is the strength of my life; of whom shall I be afraid? (v. 1) ..... therefore will I offer in his tabernacle sacrifices of joy; I will sing, yea, I will sing praises unto the Lord. (v. 6)

With David, we can celebrate the continued presence of the Lord in our lives, leaving fear behind as we look to Him for salvation.

Right Sacristy Window:  "Speak
for thy Servant Heareth" (I Samuel 3:10)

The left Sacristy window illustrates the young Samuel at the time of his dedication to God.  Like David, he wears a red mantle and the white and red halo; in his hands he holds the incense censer, a visual reminder of how Samuel "ministered before the Lord, being a child, girded with a linen ephod" (I Samuel 2:18).

As discussed in the description of the "Angel of Prayer" lancet window (see Chancel Windows), the censer was used to spread the scent and smoke of incense, so that prayers would rise up to God.

Like the censer in the image medallion, the ephod mentioned above is a reminder of Samuel's priestly functions, as the ephod was an apron-like garment worn by a Hebrew priest.

The text used to interpret this image comes from the night when Samuel is called by God, and Samuel responds, "Speak, for thy servant heareth" (I Samuel 3:10).  After this late night meeting with the Lord, the account states that

 "Samuel grew, and the Lord was with him, and did let none of his words fall to the ground.  And all Israel from Dan even to Beersheba knew that Samuel was established to be a prophet of the Lord.  And the Lord appeared again in Shiloh; for the Lord revealed himself to Samuel in Shiloh by the word of the Lord" (I Samuel 3:19-21).

Prayer:

Lord, thank you for the examples of praise and prayer that we see in the lives of young David and Samuel, as well as in the lives of many others described in the Bible or impacting our lives today.  Help us to similarly be a good example to others, helping others find the joy and peace found only in you.  Amen.  

The Chancel Windows

 Three lancet windows rise above the altar at Our Savior's Lutheran Church.  The center window depicts Christ, with attendant angels of praise and prayer on either side.  

Chancel Windows at Our Savior's Lutheran Church
Valley City, ND

While effort was taken to control the color scheme to prevent glare in this west-facing window, the figures glow brightly even on a cloudy day (which was when this photo was taken).  Given how much light comes in through the heads and halos of the three figures, it's a good thing Christ is robed in red and the angels in green!

Under each figure (described below), is a decorative panel, figuring a blue vine or tree growing upwards to the feet of each figure, with alternating red and blue border squares.  The effect is an overall calming blue, bringing a sense of restfulness to the viewer, while the rich red "gems" delight and enrich the view.

Chancel, top of Center Lancet

In a design similar to the header windows in the nave, the header windows of each lancet contains a flame, surrounded by decorative leaves and stars. 

The flames are indicative of the Holy Spirit of Pentecost:  "And there appeared unto them cloven tongues like as of fire and it sat upon each of them.  And they were all filled with the Holy Ghost..." (Acts 2:3-4a)

The leaves appear to be be an extension of the vine/tree panels rising in the image panel below each header, while the stars glow surprisingly bright against the peaceful blue and aqua tones of the background.

Christ, Center Lancet Window

The center (and tallest) lancet window depicts "the dominant figure of Christ with outstretched hands, as if saying 'Come unto me'" (original order document), reminding viewers of Christ's promise, 

Come unto me, all ye that labor and are heavy laden, and I will give you rest (Matthew 11:28).

Christ's halo is surrounded by yellow rays of glory.  The white and yellow make this part of the window stand out like a holy light, even on a cloudy day -- the effect is noticeable when one looks up at the window from the congregation.

Christ is robed in a red mantle and white gown.  The white indicates his purity; the red his sacrifice and divine love.  It also controls the light, just as the blues infused on the white undergarment reduce the bright light, and we almost automatically raise our eyes to the face and halo, the part of the image that emphasizes his glory.

Angel of Prayer, Right Lancet Window

The right lancet window shows us the "Angel of Prayer." The angel is robed in green with gold wings banded with red, swinging a gold censor, as described in Revelation 8:3:

"And another angel came and stood at the altar, having a golden censer; and there was given unto him much incense, that he should offer it with the prayers of all saints upon the golden altar which was before the throne."

Although we don't use incense in our church, the rising smoke of the incense altar in biblical times was a natural symbol of prayers rising to God.  As the Psalmist writes in Psalm 141:2, "Let my prayer be set forth before you as incense."

The amount of light coming through this window is quite muted; the only white on the panel are the halo, several stars, and the cloud on which the angel stands.  In this way, we see that the angel's glory is less than the glory of Christ in the central panel, while still richly evocative in its green and blue with touches of gold and red.

Angel of Praise,
Left Lancet Window

The left lancet window is devoted to the "Angel of Praise."  This angel, also robed in green, is holding a horn (trumpet-like instrument).  The same muted color scheme provides visual balance and helps lead the eye to focus on Christ in the center panel.

It's interesting that "praise" is interpreted as musical performance in this image; we may think of praise in the more muted tones of prayer, but, according to the Psalms, praise is loud and frequently musical:

"Praise him with the sound of the trumpet; praise him with the psaltery and harp.  Praise him ... upon the high sounding cymbals.  Let every thing that hath breath praise the Lord" (Psalm 150:3, 6a).

While this image was intended to focus on praise, it also reminds us that the image of an angel blowing a horn or trumpet is often interpreted as heralding judgment day:

 "And the seventh angel sounded [his trumpet]; and there were great voices in heaven, saying, The kingdoms of this world are become the kingdoms of our Lord, and of his Christ; and he shall reign for ever and ever" (Rev. 11:15).

Thus do the angels lead us in worship today and also keep us mindful of the end of time, when Christ will come again in glory.

Prayer:

Thank you, Lord, for the rest and peace we find in your presence.  As we find comfort in meditating on these windows, infuse our worship with the praise and prayers proper to the wondrous gift of life you have freely given to all those who believe and set their hope on you.  May your Holy Spirit teach and inspire us to become our best selves as we grow in fervent love for you and all your people.  Amen.

Window Dedication:

The chancel windows are given in memory of the Right Reverend P. A. Hendrickson and the Reverend Alfred Hendrickson by Mr. and Mrs. Karl J. Olsen.

Window 10b: The Ascension

Window 10b illustrates Jesus' ascension:

And he led them out as far as Bethany, and he lifted up his hands, and blessed them. And it came to pass, while he blessed them, he was parted from them and carried up into heaven.  And they worshipped him, and returned to Jerusalem with great joy. (Luke 24:50-52).

Window 10b:   "He was received up
into heaven". Mark 16:19

In the image medallion, we see Christ (the largest figure), his hands stretched out in blessing, light radiating outward from him in all directions.  Under his feet we see blue, suggesting that he is already above the ground, rising above the apostles.  

His hands and feet all bear the marks of the nails, reminders of his crucifixion; the overall shape of his body, with hands outstretched, likewise reminds us of the shape of the cross.

Kneeling below him, the eleven apostles look up as he ascends, hands clasped.

In the symbol medallion, we see a crown with a staff that, at first glance, resembles the "cross and crown" icon that is used to symbolize the reward in heaven that follows earthly trials.  This interpretation meshes nicely with Jesus' earthly experience.

However, the top of the rod is a lily rather than the typical crosspiece. Medieval emperors wore a crown with lilies to symbolize their lordship over multiple lands (kings). At Historic Trinity (located in Detroit, MI), the "cross and lily" icon is described as "symbolic of our Risen Lord, King of Kings and Lord of Lords."  

The lilies in the medieval crown (and the one pictured at Historic Trinity) are twining the crown rather than on the end of a rod.  While medieval crown icon is similar to the one depicted in Window 10b, we are also reminded of the  staff carried by the angel and Joseph in Windows 1a and 1b, where it represents both purity and rebirth (Easter).  The lily reminds us of Christ's perfect sacrifice, even as we celebrate his kingship. 

The shape of the lily, as a rod rather than a plant, makes it similar to a scepter, a symbol of royalty. Together, with the crown, this is a strong symbol of Christ's lordship, in addition to a reminder of his triumph over death as our risen Lord.

Prayer (from the Lutheran Book of Worship):

Almighty God, your only Son was taken up into heaven and in power intercedes for us.  May we also come into your presence and live forever in your glory; through your Son, Jesus Christ our Lord, who lives and reigns with you and the Holy Spirit, one God, now and forever.  Amen.

 

Window 10:  The Resurrection; The Ascension

Window Dedication:

Gratefully dedicated to our friend and benefactor
George W. Mason by the members of the congregation

Window 10a: The Risen Christ

Window 10 presents events from the beginning and ending of Eastertide (which in the church calendar runs 50 days, from Easter to Pentecost, with the Ascension celebrated at day 40).  In contrast to the rest of the aisle windows, Window 10 has lilies in the header windows (instead of stars or flames), celebrating Christ's resurrection (see photo of full window, bottom of this page).

In the end of the sabbath, as it began toward the first day of the week, came Mary Magdalene and the other Mary to see the sepulchre.  And behold, there was a great earthquake, for the angel of the Lord descended from heaven and came and rolled back the stone from the door, and sat upon it.  His countenance was like lightning, and his raiment white as snow.  And for fear of him the keepers did shake and became as dead men.  And the angel said unto the women, Fear not ye, for I know that ye seek Jesus, which was crucified.  He is not here:  for his is risen, as he said. (Matthew 28:1-6)

Window 10a:   "He is risen
from the dead". Matthew 28:7

In Window 10a, the image medallion celebrates both Christ's victory over death and reminds us of our responsibilities as Christians.

Christ is represented in white, with hand raised as if instructing the two men seated at his sides.   Christ carries a staff with a banner. This banner with the red cross on a white field symbolizes resurrection -- the red signifies Christ's blood (shed for our sins); the white indicates Christ's sinless nature.  The end of the staff is partially obscured,  but appears to be cross-shaped, a reminder of His death on the cross.

The image is overall militant in nature -- the two men are dressed as soldiers and carry spears, while Christ's banner would also suggest the banners carried in war.  

Christ triumphed over death, but we are reminded that the Church "in this life is still fighting, under the banner of Christ, against Satan, the world, and the flesh" (Heinrich Schmid, Lutheran theologian).  The image reminds me of the hymn "Onward, Christian Soldiers" with the depiction of a militant Christ.

The symbol medallion presents the phoenix, a symbol of Jesus' Resurrection.  According to Christiansymbols.net,   Jewish legend held that the phoenix will not die because it did not eat the forbidden fruit in the Garden of Eden.  The medieval bestiaries indicate that the phoenix lives 500-1000 years before making a nest that catches fire from the sun; the phoenix is consumed in the flames, but afterwards rises again from the ashes to live another full life.

Together, the image and symbol impart an understanding of the level of sacrifice necessary (death) for Christ to emerge triumphant and lead us to victory and eternal life.

Prayer (from the Lutheran Book of Worship):

O God, you gave your only Son to suffer death on the cross for our redemption, and by his glorious resurrection you delivered us from the power of death.  Make us die every day to sin, so that we may live with him forever in the joy of the resurrection; through Jesus Christ our Lord, who lives and reigns with you and the Holy Spirit, on Good, now and forever.  Amen.

Window 10:  The Resurrection; The Ascension

 Window Dedication:

Gratefully dedicated to our friend and benefactor
George W. Mason by the members of the congregation

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