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THE WINDOWS of SAINT JOSEPH CHURCH a Journey Through the Christian Tradition in Glass

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THE WINDOWS of SAINT JOSEPH CHURCH a Journey Through the Christian Tradition in Glass THE WINDOWS of SAINT JOSEPH CHURCH A Journey Through the Christian Tradition in Glass Saint Joseph Church A Roman Catholic Parish in the Diocese of Providence 92 Hope Street ╬ Providence RI 02906 “Videmus enim nunc per speculum in aenigmate, tunc autem facie ad faciem.” “For now we see through glass dimly, but then, face to face.” 1 Corinthians 13:12 Listing of the Windows in Saint Joseph Church 1. The Annunciation 2. The Adoration of the Shepherds 3. The Adoration of the Magi 4. The Wedding Feast at Cana 5. The Calling of Peter 6. Jesus Blesses the Children 7. The Death of Saint Joseph 8. Jesus Saves Peter From Sinking 9. The Raising of Jairus’s Daughter 10. The Agony in the Garden 11. The Ascension 12. The Pentecost 13. The Crucifixion/Resurrection 14. Mark the Evangelist 15. Matthew the Evangelist 16. Luke the Evangelist 17. John the Evangelist 18. Suffering Christ 19. Our Lady of Sorrows 20. Christ the King 21. Saint Agnes, Martyr 22. Saint Cecilia, Martyr Saint Joseph Church boasts some of the most breathtaking stained-glass windows in all of New England. They are given considerable praise in Paul F. Norton’s text, Rhode Island Stained Glass. When the church building was originally completed, the parish was not able to afford stained-glass windows and operated without them for nearly 50 years. The windows you see now were installed over a five-year period — from 1900 to 1905 — with the exception of Window 20 in the choir loft, which was installed in 1924. They were designed and fabricated by the eminent liturgical artist Franz Meyer, who managed studios in both Munich and New York City. The names of the window donors, including the well-known 19th-century rubber industrialist Joseph Bannigan, are inscribed at the bottom of each window. This guide has been prepared to help you appreciate the artistic, symbolic, and theological significance of each window. Enjoy! For the self-guided walking tour, begin at Window 1, the Annunciation, and follow the guide on the previous page through Window 22. Window 1: The Annunciation (Luke 1:26-38) The angel Gabriel visits Mary to inform her that she has been chosen to be the mother of the Son of God. The famous Catholic prayer, “The Hail Mary,” takes its first lines directly from the angel’s greeting. Note the potted lily, which is a traditional symbol of purity and is often associated with Mary. Window 2: The Adoration of the Shepherds (Luke 2:8-20) Shepherds are told of the birth of the Messiah by an angel. They go at once and find the child with his mother, Mary. Notice that the manger in which Jesus is laid is not filled with mere hay, but shafts of wheat, an allusion to the Eucharist. Note also the lamb slumped on the floor, which appears lifeless. John the Evangelist calls Jesus the Lamb of God, drawing a connection between the saving blood of the Passover lamb and the saving blood of Christ shed on the cross. Note also the red poppy, a common symbol of Christ’s death in Christian art. Window 3: The Adoration of the Magi (Matthew 2:1-12) Kings from the East also come to worship the Christ Child. Note the crown on the floor, which seems to have been tossed aside. While the artist’s intention is unclear, the discarded crown could mean one of two things. Perhaps it belongs to the king who kneels in front of Jesus, which would be symbolic of the submission of worldly authority to His authority. Another possibility is that the crown belongs to Christ himself, and its being tossed aside symbolizes the self-emptying act by which the Divine Son of God assumed our humanity (see Philippians 2). Window 4: The Wedding Feast at Cana (John 2:1-11) This window depicts the first public miracle of Jesus, which was performed at the request of his mother — who was interceding for the newly married couple. Note that the water is turning into wine as it is being poured by the steward. Window 5: The Calling of Peter (Mark 1:16-20) Jesus, as he walks by the Sea of Galilee, calls to Peter and Andrew, promising that they will become fishers of men. Notice Andrew’s hand around his brother Peter’s shoulder, almost leading him to Christ, indicating the tradition that Andrew was the first to be called. Notice also that Peter, who is in the foreground, has one foot in the sea, and one on land. This indicates the tension inherent in any call to follow Christ: One must be in the world, but not of it. Window 6: Jesus Blesses the Children (Mark 10:13-16) People bring their children to be blessed by Jesus. The apostles, however, try to send the children away, believing them to be an annoyance. This is indicated by their murmuring and posture. Jesus blesses the children nonetheless and encourages his disciples to exhibit a childlike trust. Window 7: The Death of Saint Joseph The life of Saint Joseph is mostly a mystery. What little we know from scripture indicates that he was a just, loving, and faithful man. Christian tradition maintains that Joseph died sometime before the public ministry of Jesus, which would account for his presence at Joseph’s deathbed. Window 8: Jesus Saves Peter From Sinking (Matthew 14:22-33) Jesus sends the apostles ahead of him by boat and, in the midst of a storm walks toward them on the water. Jesus invites Peter to come to him, but when Peter begins to doubt he starts sinking. Jesus reaches out and saves him. Once Jesus and Peter return to the boat, the apostles ac- claim him as the Son of God. Notice that two of the apostles in the boat are so worried about the storm that they barely notice of Peter and Jesus. Window 9: The Raising of Jairus’s Daughter (Mark 5:21-43) Jairus, a synagogue official, approaches Jesus in desperation and begs him to heal his 12-year-old daughter, who is near death. On the way, Jesus is diverted, and eventually a servant is sent to tell the man that his child has died. Jesus encourages him to have faith anyway, and when he reaches the house, he raises her from the dead. Peter, James, John, and the girl’s parents join Jesus inside, while a mourner remains in the doorway. Window 10: The Agony in the Garden (Luke 22:39-46) As Jesus’s death approaches, he is filled with fear and dread. He takes his closest apostles — Peter, James, and John — and secludes himself in a garden to pray. As he does so, an angel appears to comfort him. Notice the cup that the angel holds, which indicates Jesus’s acceptance to drink from the cup of suffering. Notice also the sleeping apostles: Peter is once again in the foreground and holds the sword that he’ll use to cut off the ear of the high priest’s servant. With the imminent suffering and death of Jesus, the blood-red poppies also reappear in this window. Window 11: The Ascension (Luke 24:50-51) Jesus, after his death and resurrection, appears to his apostles to assure them of his victory over death. He also promises to send the Holy Spirit before he is taken up into heaven. Note that only eleven apostles are pre- sent, because Judas had betrayed Jesus. Window 12: The Descent of the Holy Spirit (Acts 2:1-4) The apostles, gathered together with Mary, await the Spirit promised by Jesus. While they are at prayer (notice the book on the bottom left of the window), the Holy Spirit descends upon each of them. Tongues of fire also come to rest over the head of each person present. Pentecost (literally, “the fiftieth day”) is considered the birthday of the Church. Window 13: The Crucifixion / Resurrection (Mark 15:24-40) Jesus is crucified while his mother Mary, John, and several women look on in distress. Notice the Roman centurion, whose two fingers are raised toward the cross, indicating the mystery of the divine and human natures of Christ. He was the solider who exclaimed: “Truly this man was the Son of God!” Two angels above the crucifixion scene hold symbols of the passion: the angel on the left holds a crown of thorns, and the angel on the right holds the lance used to pierce Jesus’s side. The top centerpiece of the window, also known as the cinquefoil, portrays the Resurrection (see cover for detail). Jesus holds a banner of victory, and the soldiers are blinded by the brightness of his risen glory. Notice, however, that the red poppies make yet another appearance: a reminder that every resurrection must be preceded by a crucifixion. Windows 14, 15, 16, and 17: The Evangelists Mark, Matthew, Luke, and John look down on the sanctuary from their windows. At the top of each window, the traditional symbol of the evangelist is portrayed: (a) Mark’s lion, since his gospel opens with John the Baptist’s lion-like roaring in the desert; (b) Mark Luke Matthew’s human-like angel, since his gospel opens with Jesus’s genealogy, the history of his human origin; (c) Luke’s ox, since his gospel opens with the story of Zechariah, a priest who would have sacrificed animals, including oxen, in the temple; and (d) John’s eagle, since it was believed that eagles fly face into the sun, representing the emphasis on light overcoming darkness at the beginning of John’s gospel.
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