For more than a century this remarkable collection of stained glass windows has graced generations with its beauty and teachings. They are the high point for the visitors and parishioners alike. These windows communicate their message of Redemption without the need of words.
Essential to the architect and builder August Walbaum’s design for Saint Michael were extraordinary tall thin windows. The windows have distinctive Romanesque arched tops, accented by massive corbels supporting plasterwork hoods. The repetition of the windows and the columns in this Romanesque style is a pleasing harmony as a visitor enters the church.
Initially, cost prevented the windows from being anything but frosted glass. Without heat in the church, interior gutters were needed to capture condensation in the frigid Chicago weather. This first set of windows was destroyed in the Great Chicago Fire of 1871. Another set of frosted glass was put in place for the restored church which was dedicated in 1873. Later in 1878, the parish replaced the second set of windows with a tinted glass set of windows. It wasn’t until
1902 when the parish was celebrating the Golden Jubilee that the current stained glass was installed.
The Royal Bavarian Establishment for Ecclesiastical Art was selected to create the main windows of the nave of Saint Michael. (The Royal comes from King Ludwig II of Bavaria.) This company was better known at the time as Franz Mayer & Company from Munich, Bavaria, Germany. The art form of stained glass was at the zenith. At that time, centuries of knowledge had been accumulated about the craft, the techniques, and the materials and Franz Mayer
produced the finest stained glass of this time.
The west windows of the nave portray time in the life of our Blessed Mother Mary and are referred to as the Marian Windows. The east windows focus on events in the life of our Holy Redeemer. Elaborate lacey architecture fills the top of each window and Franz Mayer uses that same lacey design at the bottom of each window. This was not done only for a decorative reason. This design provided Franz Mayer with a more manageable sized area to create the Biblical scene. The size and proportions of the windows were very important since Franz Mayer’s reputation was for realism and expression.
Materials are key to the brilliance of these windows. Gold dust achieves the deep red tones, uranium ore brings out the green color and cobalt provides the beautiful blues of Mary’s garments. The garments are those of Renaissance Europe with fabrics of rich velvet, brocade and silk, not the garments of Jesus’ time.
Finding Jesus in the Temple
After the Feast of Passover, Jesus has stayed behind in the temple after Mary and Joseph have left to return home. He is seen here showing how wise he is beyond his years. This is shown in the astonished looks of the scholars.
Looking at the top of the window, we witness a moment of great relief when the Holy Family is reunited. The facial expression of Mary provided by the artist is worth more than a 1000 words; relief at her son’s safety, recognition of what he must do here on earth, and resignation to what lies ahead.
Notice Christ’s halo bears the imprint of the cross, a reminder of the crucifixion to come. The artist uses the simplicity of Jesus’ garment as a way of indicating the clarity of his teachings.
Jesus Blesses the Children
High infant mortality rates made this gospel story very dear to the hearts of many congregations in the 19th and early 20th centuries. The scene is very pastoral. It finds Jesus surrounded by adoring children who are carefully supervised by their mothers.
Saint Peter and Saint John’s first instinct were to send the children away. But they are quickly admonished with “Let the little children come to me and do not hinder them, for the kingdom of God belongs to such as these…” In the background, Saint Peter and Saint John appear to comprehend this new teaching.
Dinner Window
This dinner certainly takes place in the home of a wealthy person, most likely a Pharisee. Observe the chandelier and other furnishings and the guests. Notice the red robe of Jesus. It looks like velvet and that it would have that kind of rich soft feel. The robe of the woman looks like a stunning brocade. The artist is able to convey all this on glass.
Again, look at the expressions. They tell the story. The Pharisees are shocked that Jesus, if he was a prophet would not know that the woman is a sinner. She has washed the feet of Jesus, dried them with her hair and is putting perfume from the alabaster jar on his feet. Why would he let her do this?
He explains a parable to them and concludes with “Her many sins have been forgiven—for she loved much. But he who has forgiven little—loves little.”
Sacred Heart
This scene portrays Saint Margaret Mary Alacoque at prayer in a highly decorated Romanesque Convent chapel. Accompanied by two angels Jesus appears revealing to her His Sacred Heart. This takes place in the 1600’s in a small town in France and is thus not a Bible story as are the other windows.
Franz Mayer includes the Blessed Sacrament exposed for adoration in the monstrance upon the altar. Margaret Mary’s modesty and humility are present with symbols of rich detail like the brocade horizontal curtain and white lilies.
This Window is located right next to the Sacred Heart Altar.
Ascension
This topic uses the three windows grouped together in the center of the Holy Redeemer windows. Surrounded by seven angels Jesus ascends as the apostles and the Blessed Mother gaze Heavenward.
This is the window that points out Franz Mayer’s artistry of realism and expressionism the best. The surprise and astonishment is seen in the faces of the apostles. Elaborate Renaissance costumes and the nobility expressed on their faces add interest for the viewer. The love is shown on Mary’s face. Realism is best seen by an artist’s portrayal of hands and feet. These show all of the natural lines of a person. Mary is idealized as she is in all of the windows of Saint Michael in Old Town. It is a good contrast with Mary in this window. Jesus, also, is an idealized figure in all of the windows.
The beautiful gold pointed oval has added complexity with its faceted pieces and is truly an awesome sight, especially when the early morning light is shining through it.
Presentation of Mary
The Marian series of windows begins with the Presentation of Mary at the temple. Although this is not in the Bible, all children were presented at the temple in those times. Saints Anne and Joaquim bring Mary for the presentation. The stars in the young virgin’s halo clarify her identity. Therefore, this is not to be confused with the presentation of Jesus at the temple since His halo is a cross signifying the crucifixion to come.
Also, take a look at Saint Anne, definitely not the beautiful young idealized image all artists use to portray Mary. In all of these windows, Franz Mayer portrays the people in Renaissance dress with facial features that have been previously used in art to identify the key people.
Annunciation
The Blessed Virgin is at prayer, kneeling on a Gothic prie-dieu. A bouquet of lilies is in the foreground with another being carried by the Archangel Gabriel to be presented to Mary. Lilies symbolize Mary’s purity. It is a common symbol used by artists to indicate purity.
The visitor is drawn into the scene by the elaborate details of Mary’s chamber, the costumes and the drapery. The horizontal curtain in the background is another symbol, this one for her modesty. Her bare feet signify humility since that word’s root in Latin is Humus meaning “of the earth”. The Virgin’s halo is adorned with twelve stars signifying the twelve tribes of Israel.
Gabriel delivers the message “The Holy spirit will come upon you and the power of the Most High will overshadow you”. This illustration of the Annunciation also depicts the Holy Spirit and God the Father at the top of the window.
Visitation
Mary arrives at her cousin Elizabeth’s home to visit. She has come to help her cousin who is with child (John the Baptist) and Mary has just found out that she is with child. This window has many symbols that explain more of the story.
Mary is barefoot, reflecting her humility and that she is poor. Contrast this with Elizabeth’s brocade robe and red velvet wrap. Symbols often represent multiple things so when looking at Elizabeth’s sandal, it should not be interpreted that she is not humble. Franz Mayer uses the sandal symbol to represent that Elizabeth is quite old.
Zachariah’s prominence is suggested by the “costly” purple welcome mat, the substantial home and the abundant grape vines. More of the storey is shown with Zachariah in the upper room unable to speak since he did not believe Gabriel’s message to him that Elizabeth was with child.
There are some questions posed in this window. Why the donkey? Who is the man? Look at the hat.
Nativity – Epiphany
This window shows the most common Christmas scene, the manger scene with the three kings. With the three kings in the window and knowing they actually showed up days later it is truly a nativity and epiphany scene. At the top of the main scene is an angel holding the banner inscribed “Gloria in Excelsis Deo” and above that there is the star that brought the three kings to the manger.
All of the kings are dressed so resplendently. This is a great comparison to Jesus and the Holy Family in the poor setting of the birth of the Son of God. This window is placed right next to the Holy Family Altar (also known as the Saint Joseph Altar) and adds continuity to this corner of the church.
Assumption of Mary
This window is “read” from bottom to top. The stained glass artist uses all three windows similarly to the Ascension window. All are gathered around Mary’s grave. It is filled with lilies, again signifying her purity. The variety of expressions and reactions are the feature for which Franz Mayer is known. He is also most notably known for his colors. This window and the Ascension window show off his creation and use of color.
In the middle going up, Mary is escorted toward heaven by angels and cherubs as the apolstles gaze from below in awe. Their faces show their devotion to the Mother of Jesus.
The Blessed Trinity await her arrival to complete the coronation. She will assume the title of Regina Coeli, Queen of Heaven.
