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.

The Connick Aisle Windows at House of Hope Presbyterian Church

 In my last post I described the various windows we enjoyed viewing at House of Hope Presbyterian Church.  Here I'd like to focus on just the Aisle Windows Connick completed.  There are two on the East aisle and four on the West Aisle.

The East Aisle Windows

According to the plan developed by the architect Ralph Adams Cram and the building committee, the East Aisle windows were to include New Testament stories, to include the Transfiguration, Ministry of Teaching, Ministry of Healing, and Nativity.  These windows were part of the original installation in 1914-15; a fifth window on the East Aisle closest to the Narthex, the War Memorial Window by Wilbur H. Burnham, was added in 1948.  

The two "Ministry" windows along the East Aisle were made by Young & Bonawit, who also designed the "Apocalypse Window" at the back of the Nave (in the Balcony).  Charles Connick was responsible for the Nativity and Transfiguration windows. 

 These are the earliest Connick windows I have seen, and they vary enough from his later work that I was initially unsure that they were actually by Connick.  The biggest difference is perhaps how dark these two windows are, compared to later work in the West Aisle; another difference that occurs to me is the effort to provide background (like a painting) instead of allowing images to stand on their own.  The result is a sense of busy-ness, with no area to rest the eye.  

The two windows by Young & Bonawit are similar in coloration and background "painting," which suggests to me that either the two artists conceived a joint plan for these windows, or else one mimicked the other in order to provide a sense of unity.  There are no orders available in the online MIT archive, so we don't have ready access to any documentation explaining what was requested or intended.

The Nativity Window

Nativity Window:  Second Window from the Narthex on the East Aisle of the Nave

In the center panel we see the holy family, with shepherds on the left and wisemen on the right.  The three panels at the bottom show Mary visiting her cousin Elizabeth, the Annunciation, and the Flight to Egypt.  The window actually has very little symbolism compared with later work, but the colors are deep and rich.

The Transfiguration Window

Transfiguration Window:  First Window from the East Transept
on the East Aisle of the Nave

The Transfiguration Window also uses deep, dark jewel-toned colors, but the effect is lighter because the three main figures are white, allowing more light to enter, and they are surrounded by a blue sky background so they are easier to see.  Jesus is in the center panel, with Moses (holding the 10 Commandments) on the left and Elijah (holding a scroll) on the right.  Peter, James, and John kneel at their feet.  In the lower panels we see Moses presenting the 10 Commandments, Jesus healing a demonic child, and Elijah being carried away in a chariot of fire.

 The West Aisle Windows

In the original plan, the West Aisle windows were to focus on the Old Testament.  The oldest of the windows on this side of the Nave, however, is John the Baptist, who we find in the New Testament, although some see him as the last of the prophets leading up to Christ.  The other windows in the West Aisle include Abraham, Moses, and David (all by Connick) and were installed between 1918-1930.  The fifth window (closest to the Narthex) is the Queen Esther window, designed by Wilbur Burnham and installed in 1960.

Architect R.A.Cram notes in the John the Baptist order (MIT #718) that "the windows on the right are too dark, and this left aisle treatment must be extremely luminous;" accordingly, the windows in the West Aisle use lighter background panes, and despite their western exposure, provide significant light to the nave even in the morning (when these photos were taken).

John the Baptist Window

The John the Baptist window was commissioned in 1918, the first of the windows to be installed on the West Aisle, nearest the West Transept.  According to the notes on the order form, "this last window is to serve as the connecting link between the Old Testament subjects and the New."  

The central figure is John the Baptist, with his mother Elizabeth on the right and his father Zacharias on the left (note that he holds a cencer, symbolic of priesthood and prayer).  John holds a medallion with the Lamb of God above his head, reminiscent of his statement about Jesus ("Behold the Lamb of God" John 1:29).  The small panels depict (from left to right): the angel Gabriel appearing to Zacharias, the baptism of Christ, and the meeting of Mary and Elizabeth.

The David Window

The next window (moving south, second from the West Transept) is the David window, completed in 1927 (MIT Order # 1144).  King David (holding his harp) is shown in the center panel, with the prophet Samuel on the left and Jonathan, David's close friend, on the right.  In the lower panels (left to right) we see Samuel anointing David to be the next king, David and Goliath, and David and Jonathan.

The Moses Window

The third window (moving south from the West Transept) is the Moses window.  According to the order paperwork (MIT Order #1143), the window design was requested in January 1927.  The paperwork includes a two page essay describing the window, which begins "[the window] symbolizes the spirit of Moses through the tree periods and distinct phases of his life and work -- Moses the Egyptian Prince, the Exile, and the Lawgiver."

In the left side panels we see Moses the Prince, with the smaller panel illustrating the princess discovering him in the bullrushes, "while the little standing figures nearby suggest her attendants and emphasize the ermine influence that was strong in the life of Moses."  In the right side panels Moses is shown as a shepherd in exile, with the smaller panel illustrating his interaction with the burning bush that led to his return to Egypt.

The central panels depict Moses the Lawgiver, holding the tablets of the Law; the bottom panel is "a radiant symbolic design of the Fountain that sprang from the Rock under the rod of Moses....[with] the verse from Proverbs 13:14, 'The law of the wise is a fountain of life.'"

Note the Old Testament halos -- this type of halo for important Old Testament individuals appears to be a hallmark of the (later) Connick style.

The Abraham Window

The Abraham Window is the fourth window from the West Transept and the last of the windows Connick designed for the nave.  Completed in 1930 (MIT order #1416), this window is "Founded on St. Paul's use of the life of Abraham to illustrate aspects of his great faith."  The three smaller panels at the bottom tell the significant events in his life (from left to right): the sacrifice of Isaac, the journey to a strange land, and the angel tells Sarah she will give birth to Isaac.

Above these panels are the standing figures of Isaac (left), Abraham (center), and Sarah (right).

The Connick Windows at House of Hope Presbyterian Church

 Last week we spent three days in downtown St. Paul, MN, visiting the churches there with Connick windows -- House of Hope Presbyterian Church, the Cathedral of St. Paul, Unity Unitarian, and Open Door Episcopal Church.  It was a truly inspiring experience, and, of course, we took lots of pictures.

Although each of the churches had a number of other interesting features, I plan to focus primarily on the Connick windows in the next series of posts.

Three-panel window in the vestibule of the church, celebrating Christ as the Light of the World.
 Isaiah is on the left (note the Old-Testament halo that is a Connick hallmark) and St. John is on the right. The window is signed in the lower right "Charles Connick, Boston, 1945." Documented in MIT online files as order #2587.

The Connick Windows at House of Hope

Our first stop was House of Hope Presbyterian Church.  Walking into the nave was an amazing experience -- so much color!  All the walls sparkle with colored glass!  House of Hope has an excellent guide to the stained glass treasures in the church -- you can contact the church office for a copy.  Ask for "House of Hope Presbyterian Church Windows" by Anne Yuska and Richard Crone.  Much of the description below is informed by the details in this guide.

The Aisle Windows

The east and west aisles of the nave are lined with five, three-paneled windows on each side. Six of the windows are by Connick -- the four on the west aisle that focus on Abraham, Moses, David, and John the Baptist, and two of those on the east aisle that illustrate Christ's birth and transfiguration.

The six Aisle Windows are illustrated and described in a separate blog post. 

The Transept Windows

According to the guide provided by House of Hope, the East transept window was one of the first Connick windows to be completed (1914-15), along with the Grisaille window and the transfiguration and nativity windows on the East aisle.  During this period, William E. Roberts and Young & Bonawit also completed five other windows, including the passion window at the front of the church, the Apocalypse window at the back, and several windows in the east aisle.

Both Transept windows consist of 12 rectangles, each with an individual depicted inside a medallion.  The East Transept Window focuses on twelve saints of the early Christian Church, including King Alfred and Thomas a' Kempis who were instrumental in strengthening the church in England.  I have not located an order form for this window on the MIT site.

West Transept Window (MIT Order #984), 1922

The West Transept Window (pictured above) presents biblical characters not included in the other windows of the church, including (top row):  Joseph, Rebecca, Joshua, Miriam; (middle row) Samuel, Esther, Daniel, Ruth; (bottom row): Nicodemus, Stephen, Joseph of Arimathea, and Lydia.  It was completed in 1922, when memorial funding became available.

The pure Grisaille window was originally located on the north wall of the East transept.  In 1968 it was moved to the top of the west balcony stairs, making room in the East transept for a new window by Henry Lee Willet representing St. Paul and St. Luke.  Like the other windows made in 1914-15, it lacks any documentation I could locate on the MIT site.  

Charles Connick was a great champion of the "grisaille" technique, which uses grey-tones to define detail and decoration on a stained glass window.  To call this window "pure grisaille" indicates that the focus of this window is decorative rather than narrative.

Other  Interesting (non-Connick) Windows

A total of six stained glass artists have completed work at House of Hope.  The earliest windows (1914-15) were designed by William Roberts, Young & Bonawit, and Charles Connick.  Connick continued to receive commissions from 1918 until his death in 1945.  Later windows were designed by Wilbur Burnham and Willet Studios (between 1948-1969), and then Rowan LaCompte (1990-97).  I have included some of the work by each of these later artists below, to demonstrate the more contemporary stained glass styles of the latter half of the twentieth century.

The Four Seasons and Minstral Gallery Windows (Rowan LeCompte)

In the side walls of the chancel  are a set of contemporary stained glass windows made by Rowan LeCompte in 1990-97. They present a series of famous musicians and poets in a series called "The Four Seasons."   The subjects in these windows range from Tallis, Ravel, Beethoven, and Brahms to Emily Dickinson and e.e. cummings.  As you can see, the colors in these windows are clear and rich, while the subjects -- secular individuals in modern dress -- are surprising additions to the chancel.  Two of the four are pictured below:

In the Spring window (left), we see Mozart, Walt Whitman, and e.e. cummings; in the Summer window (right) Beethoven, Bach, and Emily Dickinson are depicted.

LeCompte also designed the three panel window in the Minstrel Gallery (in the West transept, closest to the left side of the chancel):

In this window, the center panel depicts a mother and child; the child reaches to Jesus in the left panel (note the tri-radiant halo!).  In the right panel we see two of Jesus faithful followers, St. Francis of Assisi (bowing) and Dr. Albert Schweitzer, who holds a sick African child in his arms.  Below are musicians and people bringing lights and dancing.  

The Narthex Windows

There are two narrow windows in the narthex, made by Wilbur Herbert Burnham (Boston, Mass., 1947).  The two present "Praise" and "Thanksgiving," as represented by Deborah and Zechariah.  

W. H. Burnham also created the three-panel "Esther" window in the west aisle and the three-panel War Memorial window in the east aisle of the Nave.  As you can see in the two windows pictured above, his work is very clean and geometric.  

Side Entry Window

David teaching his elders in the temple; feeding the 5,000. 

The window in the side entry (near the church office) was completed by Willet Studios in 1961.  Here we see two events from Jesus' life; other windows in the church by Willet include the King David/St. John window in the East balcony stairwell and the St. Luke/St. Paul Window in the East transept (which replaced the original Grisaille window).

This is truly a beautiful church with many more stained glass windows to enjoy throughout!  I encourage you to visit if you are in the area sometime.

St. Anthony's Stained Glass Windows (Pembina County, Historical Society Museum, ND)

St. Anthony's Church, Pembina County
Historical Society Museum

As you can see, I am expanding this blog to include other sites with interesting stained glass windows!

Last week we stayed a few days at Icelandic State Park in northeast North Dakota.  On Wednesday, we stopped by the Pembina County Historical Society Museum to visit St. Anthony's Church, which was moved to this site in 2004.  

Built in 1882, the church building is one of the oldest in the state.  It is best known for the five beautiful paintings that form a backdrop for the sanctuary.  Painted by Louis Monty in 1902, they are done on canvas stretched on the walls and therefore part of the fabric of the church building. 

Louis Monty was a well-known artist who decorated a number of churches, including the St. Boniface Cathedral and Notre-Dame-de-Lorette's church near Winnipeg, considered one of the most beautiful in the province.

 See photo on the right for a view of the church interior (taken as you enter the nave).  The photo also shows the outlines of several stained glass windows -- there are six, three on each aisle, with smaller paintings between the windows depicting the stations of the cross.

All six windows have a background of opalescent glass that glows in the sunlight.  We were there in late afternoon, so the windows on the right aisle (the annunciation, manger, and last supper) show the striking gold glow from the sun, while the three on the left side have a more opaque, bluer tone.  I believe this glass is the type Tiffany popularized; in this glass, more than one color is present and the colors are fused during firing.

Each window has a simple background design, with the image medallion in the upper half of the panel and the dedication for each window indicated in a rectangle in the bottom section. 

In the analysis below, I have shown only the medallions; see the photo at the left for an example of the full window design.  The predominate color of the medallions is blue, which provides a pleasing contrast with the opalescent white/gold background.

The six windows show us six events in Christ's life: the annunciation, His birth, the last supper, the crucifixion, the empty tomb, and the ascension.   

What I find particularly interesting about these windows is their symbolic treatment of the narrative, as the story is told through objects, without any words or people. 

The result is very moving, as the viewer must interpret the images and tell the story for him/herself, allowing symbol, light and color to evoke meaning beyond the ability of mere words.  It is also a more modern approach to stained glass design, as one must know the story in order to understand/make meaning of the images and symbols.

Therefore, while some of the windows appear quite straight-toward to me, others require a closer analysis of symbols and arrangement; what follows is simply my interpretation -- a description of what I see and think as I look at these beautiful windows.  Feel free to leave me a comment if you see something I've missed or misunderstood!

The Right (West) Aisle Windows

In the Annunciation window (top, center), we see a dove (the Holy Spirit) descending on a lily, often used to symbolize the Virgin Mary.  Below the lily is an open book, bringing to mind John 1:14, "And the word was made flesh and dwelt among us."

The Birth of Christ (bottom left) is shown simply with a star beaming down on a manger; the image reminds us that Christ is the light that "shines in the darkness and the darkness did not overcome it" (John 1:5).

The Last Supper window (bottom right) is especially rich in detail, including the grapes and wheat that become Christ's body and blood in the Eucharist.  Arising from the center image of the cup is a radiant cross with the Christogram IHS (the first three letters of Jesus' name in Greek).  The use of white surrounded by light blue for the Christogram cause this part of the window to glow more brightly, showing us what's most important in interpreting the message of the window.

The Left (East) Aisle Windows

The Crucifixion window (top, left) shows us the empty cross with the inscription "INRI" (Latin, Jesus the Nazarene, King of the Jews -- see John 19:19) and Christ's mantle draped on the cross-bar, perhaps to signify his body.  The background is quite dark/stormy, with a glimmer of sunset at the horizon.

The next window shows us the Empty Tomb (top, right), with some of the same dark coloration, plus a brilliant sunrise that is chasing away the clouds (now turned purple rather than black).  It is a reminder of Psalm 30:5, "Weeping may endure for a night, but joy cometh in the morning."

The final window depicts the Ascension (bottom, center)--or perhaps a representation of the trinity.  Christ is indicated by the gold sun on the left that contains the Christogram IHS; God the father on the right by the all-seeing eye in the center of the gold sun.  The dove, symbolic of the Holy Spirit, flies above, while the interlocking Greek letters Alpha and Omega in the center remind us that Christ declares that he is the "Alpha and the Omega, the beginning and the end" (Rev. 1:8).

Window Maker, Dates, and Memorials -- some unanswered questions!

So far I have not learned much about the dating of these striking windows nor their maker, which is surprising, given the excellent resources regarding the painter who created the lovely panels at the front of the church.  The only data I can find is on the windows themselves, as each panel is dedicated to a person/family.  The following information can be found on the windows:

• Window 1 (Annunciation) "In memory of George and Mr. and Mrs. DeMars, donated by Mrs. Helen DeMars and family"
• Window 2 (Manger) "In memory of Mrs. Lloyd Morrison and family, donated by Lloyd Morrison and family"
• Window 3 (Last Supper):  "In memory of all priests who served and will serve Bathgate Mission."
• Window 4 (Crucifixion):  "In memory of Mr. and Mrs. Michael Nevin, Jack Nevin, Ann Nevin and Family, donated by Steve and Ella Nevin"
• Window 5 (Empty Tomb):  "In memory of Mr. and Mrs. C. J. Hollinger, donated by the Hollinger family"
• Window 6: (The Ascension):  "In memory of the Meagher Family, donated by Mrs. Richard Meagher, Mr. James Meagher, Mrs. James Gillis, Mrs. Austen Corbett, Mr. Thomas Meagher, Mr. Robert Meagher, and Mrs. Edward Meagher"

Using the tool "Find a Grave" and the location of St. Anthony's in Bathgate, ND, I have been able to narrow the timeline for these windows somewhat:

1. Mrs. Helen DeMars passed away in 1975.  So the windows must have been installed prior to that date.  George DeMars passed away in 1949, which provides a reasonable start date.  
2. Mr. and Mrs. Lloyd Morrison likewise fit within this timespan (she passed away in 1945, he in 1991).
3. The Nevin information is sparse but does not contradict the 1949-1975 date range.
4. The Hollinger family did not utilize St. Anthony's cemetery.  If the C.J. Hollinger buried in Calvary Cemetery (Reynolds, ND) is the one indicated in the inscription, he passed away in 1958.
5. Mrs. Richard Meagher passed away in 1966, while Robert Meagher passed away in 1977.  This limits the date range a little more -- from 1949-1966, or, perhaps, 1958-1966.

I asked at the Museum about any church records in their archives, but they did not have anything further (although it was close to 5:00, so my timing with this question may have impacted the answer!).  But something must have motivated the congregation to pursue memorial stained glass windows sometime during the 1950s or early 1960s.  This was a time when a number of churches added WW II  memorial windows, so perhaps this had something to do with it.

These are beautiful and unusual windows that deserve more attention!  I am hopeful that more information regarding dating, planning, and maker will be forthcoming; if you can add information, please comment below.

The Carol Simonson Goven Stained Glass Panel

 The Carol Simonson Goven stained glass panel was created by local physician Dr. Maltiera Machayya, designed with the assistance of Carol's daughter, Dr. Gigi Goven.  Currently the panel hangs in the West entry window, just outside the church office.

Carol Goven was a long-time member of Our Savior's Lutheran Church, from the time she and her family moved to Valley City in 1958 until her passing in 2005.  She was active in Bible study, the Mary circle, and the Good Samaritan quilters.

The theme of the window is "Have Faith," based on Mark 4:36-41:

And when they had sent away the multitude, they took him even as he was in the ship. And there were also with him other little ships.  And there arose a great storm of wind, and the waves beat into the ship, so that it was now full. And he was in the hinder part of the ship, asleep on a pillow: and they awake him, and say unto him, Master, carest thou not that we perish?  And he arose, and rebuked the wind, and said unto the sea, Peace, be still. And the wind ceased, and there was a great calm.  And he said unto them, Why are ye so fearful? how is it that ye have no faith? And they feared exceedingly, and said one to another, What manner of man is this, that even the wind and the sea obey him? (KJV)

In the image, we see a man (Christ) standing in the prow of a ship, his arms raised.  Behind him (on the right), we see the rough storm at sea, represented by swirled blue glass and the dark, maroon clouds above.  In front of him, we see the calm sky and quiet blue of the sea; the storm is over, with Jesus spreading his arms to protect us.  

Dr. Goven explains, "So the message we wanted to show was to have faith throughout the storms of your life, and Jesus will be with you."

More details regarding Carol Goven's life and the development of the panel may be found in the OSLC Archives (Stained Glass folder).