ST. MICHAEL'S WINDOWS.
The stained-glass windows at St. Michael's incorporate 20th century techniques illustrating the late Romanesque-early Gothic style panes. The windows were crafted by Munich Studios, Chicago, Ill., at a cost of $500 each for the large 21'x 10-foot transept windows and $250 apiece for the smaller 14' x 5-foot nave windows in the seating area. Today, the transept windows would cost about $125,000 apiece to replace while those in the nave about $40,000. The windows in the Do sanctuary would tally $15,000 each. Each window was carefully assembled and leaded into place on the spot. According to St. Michael's lee archival records, the German craftsman who created the dominating red shades, reputedly died without revealing the recipe for the original color. If true, it would be consistent with stained glass history. 14 Much of the knowledge of ancient stained glass was lost with the death of craftsmen, political or religious wars that decimated many of the great works over the centuries. Most of what is known about the art of stained glass making was reinvented with a renaissance in this monumental art form in the 19th and 20th centuries.
Walking Tour (windows)
VESTIBULE.
Jesus the Good Shepherd. Located over the main entrance door, Jesus is seen helping one of his sheep caught in the brambles. This window is surrounded by two accenting windows of grapes and vine (John 15). To the left over the door of the new Reconciliation Room is a picture of a gold chalice with the Eucharist, bread and fruit of the vine as the Body and Blood of Christ. Inside the Reconciliation Room are four windows. The two on the east side (street side of the room are the anchor of hope (left) and the anchor of the faithful attached to the cross with the Sacred Heart of Jesus (right). On the south side are (1). King of Kings. Jesus' everlasting reign as King of the universe is superimposed over a violet cross signifying his royalty and his victory over sin and death. (2). Crown of thorns encircling the parchment "INRI," Latin for "Jesus of Nazareth, King of the Jews," which was nailed above his head on the cross.
NAVE. SOUTH (left) SIDE.
1. JESUS HANDING KEYS TO PETER. Jesus hands a large key to Peter as Peter kneels before him. Three lambs stand behind Jesus. Other Apostles are in the background. A castle looms in the distance. Jesus told Peter after he said Jesus was the Messiah, "You are rock, and on this rock, I will build my church. I will entrust to you the keys of the kingdom of heaven.” (Matthew 16:18-19).
2. ST. PATRICK. (c385-461). Noted evangelist brought and established Christianity in Ireland. He's shown holding a shamrock, which he reportedly used to explain the Trinity. The window also shows the king and queen of Ireland who converted to Christianity and the monks who helped spread the Word throughout the land. There are soldiers with armored headpieces and spears. As shepherd in the background holds a lyre. (The St. Patrick and St. Boniface windows denote the ethnic background of the parish and the surrounding area. The pastor at the time, Rev. John Trammel, had served at St. Patrick's in Largo, Ind., prior to his appointment at St. Michael's.)
3. ST. BONIFACE OF GERMANY BRINGS CHRISTIANITY TO GERMAN PEOPLE. Note the heavy trees behind figures, the running stream in front, and an ax laying across the trunk. The forest scene undoubtedly depicts the rugged German terrain, possibly the Black Forest, at the time of Boniface's ministry to the Druids. At the time of the dedication in 1911, a St. Boniface Benevolent Society was active at St. Michael's.
4. SACRED HEART SCENE. Jesus displays his Sacred Heart to St. Margaret Mary Alocoque of France during the 17th century. Jesus stands in front of an altar, two candles burning, and a golden chalice behind Him. A rosary lies across an open Bible and an angel is above St. Margaret Mary's head. Jesus' Sacred Heart encompasses His infinite love and mercy for His people. Christ appeared to St. Margaret Mary and complained, "Behold the Heart which has so loved men that it has spared nothing, exhausting and consuming itself in testimony of its love. Instead of gratitude, I receive from most only indifference, by irreverence and sacrilege and the coldness and scorn that men have for Me in the Sacrament of Love."
He asked that the Friday after the Octave of Corpus Christi be made a feast of reparation, and in return, made 12 promise who pay homage to His Sacred Heart. They are: 1). I will give to the graces necessary in their state of life. 2). I will establish peace their homes. 3). I will comfort them in all their afflictions. 4) be their secure refuge during life and above all in death. 5) I bestow abundant blessings upon all their
undertakings. 6). Sinners shall find in My Heart the source and the infinite ocean of mercy. 7). By devotion to my heart tepid souls shall grow fervent. 8). Fervent souls shall quickly mount to high perfection. 9). I will bless every place where a picture of my Heart shall be set up and honored. 10). I will give to priests the gift of touching the most hardened hearts. 11). Those who promote this devotion shall have their names written in My Heart, never to be blotted out. 12). I will grant the grace of final penitence to those who communicate on the First Friday of nine consecutive months.
TRANSEPT (SOUTH SIDE).
THE ASCENSION WINDOW. Probably the most important window in the church, this 21' × 10-foot masterpiece is a three-panel collection depicting the 2nd Glorious Mystery of the Rosary, the Ascension of Our Lord into Heaven. Following His crucifixion, death and subsequent glorious Resurrection, the Ascension scene portrays Christ's completion of His earthly ministry and more importantly, His glorious victory over sin, death and all the forces of evil. As Victor, He ascended to Heaven where He sits at the right hand of the Father where He reigns forever and ever as Lord of Lords and King of Kings. The vivid hues of this window are strikingly reminiscent of that glorious event, especially on a bright sunny day. Jesus is draped in a red cloak raising His hands amidst encompassing clouds. Note the intricate detail in the IHS emblem in His cloak. (Greek abbreviation for Jesus). Surrounding Jesus are the 11 Apostles In all three of the lower windows in this narrative pictorial. Mark 16:19 declares, "Then, after speaking to them (Apostles), the Lord Jesus was taken up into Heaven and took His seat at God's right hand." Luke describes it in 24:50-52, Then He led them out near Bethany, and with hands upraised, blessed them. As He blessed, He left them, and was taken up to Heaven." As Christians, it is our belief that we will be resurrected from the dead and ascended to Heaven to be with Our Lord and Savior for all eternity.
Above the Ascension window is a "rose" window, popularized in the Romanesque and Gothic periods. Usually, these windows have a central medallion (circular) window surrounded by more numerous, smaller windows expounding on the theme of the center medallion. However, the eight outer windows at St. Michael's, in both the north and south transepts, are merely decorative in lieu of the "legendary" style motif. The center of the rose window in the south transept depicts the Papal insignia; the crown, two crossed keys and a purple ribbon. As the Vicar of Christ, the pope is the leader of Christ's church on Earth, a tradition that has continued in the Catholic Church since Peter was given that role by Jesus Christ in Matthew 16:18-19. The Papal insignia reflects St. Michael's communion with the Seat of Peter through the heritage of the Catholic Christian Faith.
TRANSEPT (NORTH SIDE).
NATIVITY WINDOW. Donated by the Rosary Society, this similarly impressive 21 × 10-foot bottom window depicts the Third Joyful Mystery, the Nativity. In this window, Mary, Joseph and the Infant Jesus are surrounded by shepherds on the left and the Three Wise Men presenting gifts on the right. (See the accounts of the birth of Jesus in the gospels of Matthew Ch.1 & 2 and Luke Ch. 1 & 2.) Above the Nativity is another rose window 10-foot in diameter consisting of a center medallion displaying a stork surrounded by eight rosetta medallions merely decorative in nature. The stork is an ancient symbol of Christ. It was believed by early Christians that the stork, when food was scarce, would pluck its own breast in order to feed its young. Scientifically, storks have not been found to do that.
THE NAVE (NORTH SIDE) (Right). All of the windows on the north side of the church in the nave illustrate biblical accounts of the early life of Jesus, three of which are included in the Joyful Mysteries of the Rosary.
1. ANNUNCIATION. 1st Joyful Mystery. The archangel Gabriel (left) is shown bringing the good news to the Virgin Mary that she will bear the Messiah and name him Jesus. "Rejoice O' highly favored daughter! The Lord is with you. Blessed are you among women." (Luke 1:28). A dove depicting God the Holy Spirit is shown overshadowing her. "The Holy Spirit will come upon you and the power of the Most High will overshadow you; hence, the holy offspring to be born will be called Son of God." (Luke 1:35).
2. VISITATION. 2nd Joyful Mystery. Mary visits her cousin Elizabeth (kneeling) who also is with child (John the Baptist). Luke declares in Ch. 1:41-42, "When Elizabeth heard Mary's greeting, the baby lept in her womb. Elizabeth was filled with the Holy Spirit and cried out in a loud voice: 'Blest are you among women and blest is the fruit of your womb.'"
3. HOLY FAMILY. Jesus, as a youth, is shown holding a manuscript, while looking adoringly at his mother. St. Joseph, his earthly father, holds a carpenter's tool. In the background is a grape- vine and a wooden stairway.
4. FINDING IN THE TEMPLE. 5th Joyful Mystery. This window portrays Jesus sitting in the midst of the teachers in the temple (Luke 2:41-51) asking them questions and listening to them. "All who heard him were amazed at his intelligence and his answers." - (Luke 2:47). Joseph and Mary are shown approaching in the background.
SANCTUARY WINDOWS There are two windows near the ceiling on either side of the main altar. Both are about six feet in height and portray angels singing praises to God. The one on the left shows an angel with a harp while the one on the right holds a banner which reads "Gloria in Excel Sis Deo," Latin for what is rendered in the vernacular, "Glory in the Highest to God."
CHOIR LOFT & TOWER Enroute to the choir loft in the rear of the church, there are four beautiful windows with vivid color combinations. On the right of the first turn are two windows, one bearing the Greek letters "Alpha and Omega" from the book of Revelation, "I am the Alpha and Omega, the beginning and the end," Jesus revealed to John on the island of Patmos. On the adjoining wall slightly hidden by the stairwell are the other two windows. One depicts the tablets of the Ten Commandments given to Moses on Mount Sinai while the other is another Alpha and Omega window. In the choir loft itself are four windows containing one singular item- symbols and names pertaining to the four main Gospel writers. From left to right are: Rising Eagle (St. John, Apostle), Winged Bull (St. Luke, martyr), Winged Lion (St. Mark, martyr), and angel (St. Matthew, Apostle and martyr). John is shown with the Rising Eagle since his gaze pierces so far into the mysteries of heaven and his version of the Gospel begins with a lofty prologue that is a poem of the Word becoming flesh. Luke is shown with the winged ox since he deals with the sacrificial aspects of Christ's life and his version of the Gospel begins with a temple scene. Mark is accompanied by the winged lion, since he informs us of the royal dignity of Christ and his version begins "The voice of one crying in the wilderness," suggesting the roar of the lion. Matthew taught about the Divine Man of Jesus and His human nature. His Gospel begins with Jesus' paternal genealogy. (Source: Catholic Terms and Symbols. Other stained glass windows in the choir office, formerly a storage room prior to the restoration, are grisaille windows-colored panes of yellow. and white with no pictorial pattern. Some grisaille-type windows of antiquity incorporated foliage patterns for simple decorative effect. A more Spartan approach is taken here like the Cistercian monks of pre- and post-Romanesque periods who opted for and promoted simplicity in their abbey and church adornments. Around all of the windows in the supporting masonry are grape clusters and a vine pattern with a cherubim at the apex. (Some information for this story was gleaned from St. Michael's archives and Catherine Brisac's "A 1,000 Years of Stained Glass," which is avail- able at the Plymouth Library.) END OF TOUR
The stained-glass windows at St. Michael's incorporate 20th century techniques illustrating the late Romanesque-early Gothic style panes. The windows were crafted by Munich Studios, Chicago, Ill., at a cost of $500 each for the large 21'x 10-foot transept windows and $250 apiece for the smaller 14' x 5-foot nave windows in the seating area. Today, the transept windows would cost about $125,000 apiece to replace while those in the nave about $40,000. The windows in the Do sanctuary would tally $15,000 each. Each window was carefully assembled and leaded into place on the spot. According to St. Michael's lee archival records, the German craftsman who created the dominating red shades, reputedly died without revealing the recipe for the original color. If true, it would be consistent with stained glass history. 14 Much of the knowledge of ancient stained glass was lost with the death of craftsmen, political or religious wars that decimated many of the great works over the centuries. Most of what is known about the art of stained glass making was reinvented with a renaissance in this monumental art form in the 19th and 20th centuries.
Walking Tour (windows)
VESTIBULE.
Jesus the Good Shepherd. Located over the main entrance door, Jesus is seen helping one of his sheep caught in the brambles. This window is surrounded by two accenting windows of grapes and vine (John 15). To the left over the door of the new Reconciliation Room is a picture of a gold chalice with the Eucharist, bread and fruit of the vine as the Body and Blood of Christ. Inside the Reconciliation Room are four windows. The two on the east side (street side of the room are the anchor of hope (left) and the anchor of the faithful attached to the cross with the Sacred Heart of Jesus (right). On the south side are (1). King of Kings. Jesus' everlasting reign as King of the universe is superimposed over a violet cross signifying his royalty and his victory over sin and death. (2). Crown of thorns encircling the parchment "INRI," Latin for "Jesus of Nazareth, King of the Jews," which was nailed above his head on the cross.
NAVE. SOUTH (left) SIDE.
1. JESUS HANDING KEYS TO PETER. Jesus hands a large key to Peter as Peter kneels before him. Three lambs stand behind Jesus. Other Apostles are in the background. A castle looms in the distance. Jesus told Peter after he said Jesus was the Messiah, "You are rock, and on this rock, I will build my church. I will entrust to you the keys of the kingdom of heaven.” (Matthew 16:18-19).
2. ST. PATRICK. (c385-461). Noted evangelist brought and established Christianity in Ireland. He's shown holding a shamrock, which he reportedly used to explain the Trinity. The window also shows the king and queen of Ireland who converted to Christianity and the monks who helped spread the Word throughout the land. There are soldiers with armored headpieces and spears. As shepherd in the background holds a lyre. (The St. Patrick and St. Boniface windows denote the ethnic background of the parish and the surrounding area. The pastor at the time, Rev. John Trammel, had served at St. Patrick's in Largo, Ind., prior to his appointment at St. Michael's.)
3. ST. BONIFACE OF GERMANY BRINGS CHRISTIANITY TO GERMAN PEOPLE. Note the heavy trees behind figures, the running stream in front, and an ax laying across the trunk. The forest scene undoubtedly depicts the rugged German terrain, possibly the Black Forest, at the time of Boniface's ministry to the Druids. At the time of the dedication in 1911, a St. Boniface Benevolent Society was active at St. Michael's.
4. SACRED HEART SCENE. Jesus displays his Sacred Heart to St. Margaret Mary Alocoque of France during the 17th century. Jesus stands in front of an altar, two candles burning, and a golden chalice behind Him. A rosary lies across an open Bible and an angel is above St. Margaret Mary's head. Jesus' Sacred Heart encompasses His infinite love and mercy for His people. Christ appeared to St. Margaret Mary and complained, "Behold the Heart which has so loved men that it has spared nothing, exhausting and consuming itself in testimony of its love. Instead of gratitude, I receive from most only indifference, by irreverence and sacrilege and the coldness and scorn that men have for Me in the Sacrament of Love."
He asked that the Friday after the Octave of Corpus Christi be made a feast of reparation, and in return, made 12 promise who pay homage to His Sacred Heart. They are: 1). I will give to the graces necessary in their state of life. 2). I will establish peace their homes. 3). I will comfort them in all their afflictions. 4) be their secure refuge during life and above all in death. 5) I bestow abundant blessings upon all their
undertakings. 6). Sinners shall find in My Heart the source and the infinite ocean of mercy. 7). By devotion to my heart tepid souls shall grow fervent. 8). Fervent souls shall quickly mount to high perfection. 9). I will bless every place where a picture of my Heart shall be set up and honored. 10). I will give to priests the gift of touching the most hardened hearts. 11). Those who promote this devotion shall have their names written in My Heart, never to be blotted out. 12). I will grant the grace of final penitence to those who communicate on the First Friday of nine consecutive months.
TRANSEPT (SOUTH SIDE).
THE ASCENSION WINDOW. Probably the most important window in the church, this 21' × 10-foot masterpiece is a three-panel collection depicting the 2nd Glorious Mystery of the Rosary, the Ascension of Our Lord into Heaven. Following His crucifixion, death and subsequent glorious Resurrection, the Ascension scene portrays Christ's completion of His earthly ministry and more importantly, His glorious victory over sin, death and all the forces of evil. As Victor, He ascended to Heaven where He sits at the right hand of the Father where He reigns forever and ever as Lord of Lords and King of Kings. The vivid hues of this window are strikingly reminiscent of that glorious event, especially on a bright sunny day. Jesus is draped in a red cloak raising His hands amidst encompassing clouds. Note the intricate detail in the IHS emblem in His cloak. (Greek abbreviation for Jesus). Surrounding Jesus are the 11 Apostles In all three of the lower windows in this narrative pictorial. Mark 16:19 declares, "Then, after speaking to them (Apostles), the Lord Jesus was taken up into Heaven and took His seat at God's right hand." Luke describes it in 24:50-52, Then He led them out near Bethany, and with hands upraised, blessed them. As He blessed, He left them, and was taken up to Heaven." As Christians, it is our belief that we will be resurrected from the dead and ascended to Heaven to be with Our Lord and Savior for all eternity.
Above the Ascension window is a "rose" window, popularized in the Romanesque and Gothic periods. Usually, these windows have a central medallion (circular) window surrounded by more numerous, smaller windows expounding on the theme of the center medallion. However, the eight outer windows at St. Michael's, in both the north and south transepts, are merely decorative in lieu of the "legendary" style motif. The center of the rose window in the south transept depicts the Papal insignia; the crown, two crossed keys and a purple ribbon. As the Vicar of Christ, the pope is the leader of Christ's church on Earth, a tradition that has continued in the Catholic Church since Peter was given that role by Jesus Christ in Matthew 16:18-19. The Papal insignia reflects St. Michael's communion with the Seat of Peter through the heritage of the Catholic Christian Faith.
TRANSEPT (NORTH SIDE).
NATIVITY WINDOW. Donated by the Rosary Society, this similarly impressive 21 × 10-foot bottom window depicts the Third Joyful Mystery, the Nativity. In this window, Mary, Joseph and the Infant Jesus are surrounded by shepherds on the left and the Three Wise Men presenting gifts on the right. (See the accounts of the birth of Jesus in the gospels of Matthew Ch.1 & 2 and Luke Ch. 1 & 2.) Above the Nativity is another rose window 10-foot in diameter consisting of a center medallion displaying a stork surrounded by eight rosetta medallions merely decorative in nature. The stork is an ancient symbol of Christ. It was believed by early Christians that the stork, when food was scarce, would pluck its own breast in order to feed its young. Scientifically, storks have not been found to do that.
THE NAVE (NORTH SIDE) (Right). All of the windows on the north side of the church in the nave illustrate biblical accounts of the early life of Jesus, three of which are included in the Joyful Mysteries of the Rosary.
1. ANNUNCIATION. 1st Joyful Mystery. The archangel Gabriel (left) is shown bringing the good news to the Virgin Mary that she will bear the Messiah and name him Jesus. "Rejoice O' highly favored daughter! The Lord is with you. Blessed are you among women." (Luke 1:28). A dove depicting God the Holy Spirit is shown overshadowing her. "The Holy Spirit will come upon you and the power of the Most High will overshadow you; hence, the holy offspring to be born will be called Son of God." (Luke 1:35).
2. VISITATION. 2nd Joyful Mystery. Mary visits her cousin Elizabeth (kneeling) who also is with child (John the Baptist). Luke declares in Ch. 1:41-42, "When Elizabeth heard Mary's greeting, the baby lept in her womb. Elizabeth was filled with the Holy Spirit and cried out in a loud voice: 'Blest are you among women and blest is the fruit of your womb.'"
3. HOLY FAMILY. Jesus, as a youth, is shown holding a manuscript, while looking adoringly at his mother. St. Joseph, his earthly father, holds a carpenter's tool. In the background is a grape- vine and a wooden stairway.
4. FINDING IN THE TEMPLE. 5th Joyful Mystery. This window portrays Jesus sitting in the midst of the teachers in the temple (Luke 2:41-51) asking them questions and listening to them. "All who heard him were amazed at his intelligence and his answers." - (Luke 2:47). Joseph and Mary are shown approaching in the background.
SANCTUARY WINDOWS There are two windows near the ceiling on either side of the main altar. Both are about six feet in height and portray angels singing praises to God. The one on the left shows an angel with a harp while the one on the right holds a banner which reads "Gloria in Excel Sis Deo," Latin for what is rendered in the vernacular, "Glory in the Highest to God."
CHOIR LOFT & TOWER Enroute to the choir loft in the rear of the church, there are four beautiful windows with vivid color combinations. On the right of the first turn are two windows, one bearing the Greek letters "Alpha and Omega" from the book of Revelation, "I am the Alpha and Omega, the beginning and the end," Jesus revealed to John on the island of Patmos. On the adjoining wall slightly hidden by the stairwell are the other two windows. One depicts the tablets of the Ten Commandments given to Moses on Mount Sinai while the other is another Alpha and Omega window. In the choir loft itself are four windows containing one singular item- symbols and names pertaining to the four main Gospel writers. From left to right are: Rising Eagle (St. John, Apostle), Winged Bull (St. Luke, martyr), Winged Lion (St. Mark, martyr), and angel (St. Matthew, Apostle and martyr). John is shown with the Rising Eagle since his gaze pierces so far into the mysteries of heaven and his version of the Gospel begins with a lofty prologue that is a poem of the Word becoming flesh. Luke is shown with the winged ox since he deals with the sacrificial aspects of Christ's life and his version of the Gospel begins with a temple scene. Mark is accompanied by the winged lion, since he informs us of the royal dignity of Christ and his version begins "The voice of one crying in the wilderness," suggesting the roar of the lion. Matthew taught about the Divine Man of Jesus and His human nature. His Gospel begins with Jesus' paternal genealogy. (Source: Catholic Terms and Symbols. Other stained glass windows in the choir office, formerly a storage room prior to the restoration, are grisaille windows-colored panes of yellow. and white with no pictorial pattern. Some grisaille-type windows of antiquity incorporated foliage patterns for simple decorative effect. A more Spartan approach is taken here like the Cistercian monks of pre- and post-Romanesque periods who opted for and promoted simplicity in their abbey and church adornments. Around all of the windows in the supporting masonry are grape clusters and a vine pattern with a cherubim at the apex. (Some information for this story was gleaned from St. Michael's archives and Catherine Brisac's "A 1,000 Years of Stained Glass," which is avail- able at the Plymouth Library.) END OF TOUR