The Stained Glass Windows of St. John Lutheran Church: Introduction
The stained glass windows in St. John's Lutheran Church represent a type of artistry which uses
colored glass cut and shaped to a definite pattern, possibly painted, so that the color eventually
becomes an actual part of the glass itself. The windows were installed in 1894-1895 at a total cost of
$3,485 and $300 for screens to protect them. In 1956 they were evaluated at $77,200.
The message of each window speaks to all who enter to worship.The craft employed is comparable
to that of early centuries in Europe and represents a skill not readily copied by a novice.
Beginning on the east side of the nave and proceeding around the building with the rose window
being the final one to describe, the story unfolds....
colored glass cut and shaped to a definite pattern, possibly painted, so that the color eventually
becomes an actual part of the glass itself. The windows were installed in 1894-1895 at a total cost of
$3,485 and $300 for screens to protect them. In 1956 they were evaluated at $77,200.
The message of each window speaks to all who enter to worship.The craft employed is comparable
to that of early centuries in Europe and represents a skill not readily copied by a novice.
Beginning on the east side of the nave and proceeding around the building with the rose window
being the final one to describe, the story unfolds....
Window #1 St. John, Beloved Apostle of Christ
The figure of Saint John is constructed with a very rare type of drapery opal glass, which flows out of the furnace in large sheets and is then rolled to break up the evenness of the surface so that light rays are diffused or scattered. The flesh is made with antique glass created by a process in which a large cylinder or 'muff' is blown about two feet in length and seven inches in diameter on the end of a four foot steel blow pipe. The cylinder is split down one side and placed back into the furnace. Under milder heat, the glass is flattened into a sheet. The blowing process leaves the glass in varying degrees of thickness that transmit light unevenly. Each piece looks darker where thickest and paler where thin; creating subtle graduations that cannot be duplicated with paint.
Window #2: He is Risen
This window depicts Mary Magdalene and the other Mary at the empty tomb.
Matthew 28: 1-10
Mark 16: 1--8
Luke 24: 1-12
John 20: 1-18
Matthew 28: 1-10
Mark 16: 1--8
Luke 24: 1-12
John 20: 1-18
Window #3: Paul Addressing the Athenians on Mars Hill
This triple window is a story of the Apostle Paul addressing the Athenians on Mars Hill in a forum as recorded in Acts 17. It contains ten figures and is composed of antique glass, as well as
some double-glazed opalescent glass. Opalescent glass is rolled
but is also characterized by its milky texture usually streaked
through with a variety of colors and shades. Since it is almost
completely opaque, little or no light is transmitted, all being
reflected. In this type of glass, the colors can be noticed from the
exterior side where there is a source of light.
some double-glazed opalescent glass. Opalescent glass is rolled
but is also characterized by its milky texture usually streaked
through with a variety of colors and shades. Since it is almost
completely opaque, little or no light is transmitted, all being
reflected. In this type of glass, the colors can be noticed from the
exterior side where there is a source of light.
Window #4: The Announcement to the Shepherds
The basis for this window is recorded in Luke 2: 8-14. The rosette
at the top of the window is made of cathedral glass which flows
from the furnace in large sheets and then, while still plastic,
is rolled with mechanical rollers on which are cast impressions or
designs. These impressions can vary from simple ripple designs to
raised crosses and crosshatching. The idea is to break up the
evenness of the surface so that light is defused or scattered. In
most cases the resultant surface tends to obscure the light and
luster.
at the top of the window is made of cathedral glass which flows
from the furnace in large sheets and then, while still plastic,
is rolled with mechanical rollers on which are cast impressions or
designs. These impressions can vary from simple ripple designs to
raised crosses and crosshatching. The idea is to break up the
evenness of the surface so that light is defused or scattered. In
most cases the resultant surface tends to obscure the light and
luster.
Window #5: Ornamental Stained Glass
This window under the gallery is an ornamental design with jewels and a floral pattern.
Window #6: Cross and Anchor
The next window under the gallery on the east side of the nave
is opalescent glass with cathedral glass mixed into the borders.
The center shows a cross and anchor fashioned together with a
banner lettered: Faith, Hope, and Charity, symbolizing Christian
beliefs.
is opalescent glass with cathedral glass mixed into the borders.
The center shows a cross and anchor fashioned together with a
banner lettered: Faith, Hope, and Charity, symbolizing Christian
beliefs.
Window #7: Angels Blowing Trumpets (West Tower)
In the tower room at the west entrance to the church, facing Orange Street, the window depicts
angels blowing trumpets. A rosette at the top
features a cross and crown symbolizing victory, "Be
thou faithful unto death and I will give thee a crown of life." (Revelation 2: 10)
angels blowing trumpets. A rosette at the top
features a cross and crown symbolizing victory, "Be
thou faithful unto death and I will give thee a crown of life." (Revelation 2: 10)
Window #8: Angel Kneeling at Grave
At the rear of the nave, on the west side of the church under
the gallery, the window shows an angel kneeling at the grave of
a child with rays of light coming through the cloud overhead.
The words: "She is not dead, but sleepeth" are inscribed.
the gallery, the window shows an angel kneeling at the grave of
a child with rays of light coming through the cloud overhead.
The words: "She is not dead, but sleepeth" are inscribed.
Window #9: Scrollwork and Emblem
This window, also under the gallery on the west side, matches the
ornamental glass of Window #5. It was filled in by the church
and is fashioned with scrollwork and an emblem designating its
memory.
ornamental glass of Window #5. It was filled in by the church
and is fashioned with scrollwork and an emblem designating its
memory.
Window #10: The Martin Luther Window
On the west side of the nave at the back, the window
commemorates the father of the Reformation, Dr. Martin Luther.
The figure sections are made with the rare type of drapery opal
glass like the St. John window, and the flesh part is antique glass.
The window has two layers of opalescent glass, double glazed.
An open Bible is at the top and the bottom shows the nailing of
the 99 Theses on the door of Castle Church in Wittenberg,
Germany, with the Greek Letters, Alpha and Omega, signifying
the beginning and the end. The Messianic Rose is repeated
throughout the window and symbolizes Christ the Messiah.
commemorates the father of the Reformation, Dr. Martin Luther.
The figure sections are made with the rare type of drapery opal
glass like the St. John window, and the flesh part is antique glass.
The window has two layers of opalescent glass, double glazed.
An open Bible is at the top and the bottom shows the nailing of
the 99 Theses on the door of Castle Church in Wittenberg,
Germany, with the Greek Letters, Alpha and Omega, signifying
the beginning and the end. The Messianic Rose is repeated
throughout the window and symbolizes Christ the Messiah.
Window #11: The Good Shepherd
The large triple window on the west side of the nave depicts Christ as the Good Shepherd.
Window #12: The Ascension
This window on the west side of the nave shows Christ ascending
into heaven.
into heaven.
Window #13: Christ Revealing Himself to Mary
The single window at the front of the nave on the west side is
Christ revealing himself to Mary Magdalene immediately after
his resurrection.
Christ revealing himself to Mary Magdalene immediately after
his resurrection.
Window #14: Christ Visiteth the Little Children
The large window at the front of the sacristy side behind the baptismal font depicts Christ blessing the
little children. It is not a memorial window, but
provides a meaningful background for the baptism of
children.
little children. It is not a memorial window, but
provides a meaningful background for the baptism of
children.
Window #15: The Rose Window
The large window in the Orange Street wall of the church has
three separate subjects told in a circular pattern. The first one
is the Nativity of Our Lord and is a scene in the stable at the
birth of Christ. The second one depicts Mary and Martha's home
at Bethany with Jesus as their guest. Martha is busy at the duties
of a hostess while Mary sits near Jesus to hear him speak. The
third part is Christ blessing the children whom mothers have
brought to him. Various other symbols are interwoven in the
glass. There is a dove, symbolizing the Holy Spirit, the olive
branch, denoting peace, and the pomegranate, meaning
resurrection and immortality.
three separate subjects told in a circular pattern. The first one
is the Nativity of Our Lord and is a scene in the stable at the
birth of Christ. The second one depicts Mary and Martha's home
at Bethany with Jesus as their guest. Martha is busy at the duties
of a hostess while Mary sits near Jesus to hear him speak. The
third part is Christ blessing the children whom mothers have
brought to him. Various other symbols are interwoven in the
glass. There is a dove, symbolizing the Holy Spirit, the olive
branch, denoting peace, and the pomegranate, meaning
resurrection and immortality.