It’s not in its final form yet by any means, but I wanted to get feedback from my baker’s dozen of readers about this piece. I’ve been slated to write an article for the February edition of In Touch Magazine, and this is what I pitched. The theme of the magazine is God’s beauty, and I said something that always struck me as beautiful is stained glass. Something about how the light shines through it and simply lights up a room has always had the ability to take my breath.
I visited a gorgeous episcopal cathedral in the area and took some photos. I also listened to the organist rehearse and sat in a pew taking notes and making observations. What you have below is the third draft of the article to date. I have also included the pictures you might like to see.
Please do not hesitate to leave me feedback here or via email. I am looking for any and all the help I can get!
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Through a Glass Darkly
At ten o’clock in the morning, the sunlight streaming through the stained glass windows fill the east side of the cathedral with kaleidoscopic brilliance. Everywhere I look, there are shades of scarlet, cobalt, gold, lavender, emerald, and aqua illuminating tiled floors and smoothly polished columns, gracing them with glittering embellishments. Standing in the midst of this radiance, the thought suddenly occurs to me that the sight I’m enjoying is what Jesus meant when He claimed the “stones will cry out” in worship should human lips ever fall silent (Luke 19:40).
I wander through the space, drinking it in and savoring the sights before me. Every windowpane in the expansive room tells a vivid story. In one, Jesus sits at the well speaking to the Samaritan woman, gesturing towards her earthen jar that cannot contain the living water He offers. In the next window, images of Christ as the Great Physician are featured. In one, the Messiah looks upward as three men lower a paralytic in need of healing through the roof, and in another He glances down with love at the woman suffering from hemorrhages whose faith assured her, “If I only touch His garment, I will get well” (Matt 9:21).
Nearby, Jesus works His many miracles. Standing in a boat with the waves curling around its bow, He rebukes the wind and tells the sea, “Hush, be still” (Mark 4:39) as His disciples look up, their mouths agape. The same disbelief is evident in those who watch as He overrules death itself, summoning Lazarus from his tomb with the words, “Come forth” (John 11:44). However, the same countenance of power and limitless pity is turned upwards in supplication in the panel depicting His evening of prayer in the Garden of Gethsemane. The cup that cannot pass from Him floats above His head, rays light connecting them inextricably together. In a smaller portion of the frame, Judas Iscariot plots with Roman guards, as if the two moments are happening simultaneously. In each of the twenty panels that tell the story of His life and ministry, Christ is beautiful and otherworldly in turquoise robes and crimson sash, a golden nimbus encircling His head as a sign of divinity.
For some reason, however, I’m drawn to the image of the annunciation repeatedly, lingering before it longer than I do others. In this panel, Mary, clad in pale shades of rose and teal, is a picture of tenderness and vulnerability, especially when contrasted with the angel hovering above her, his angular wings aflame. One of his hands rests above her forehead in comfort while the other is raised in blessing, the words “blessed art thou among women” suspended on his lips (Luke 1:28). Mary’s hands also speak volumes, for one is open upwards, as if she is questioning the truth of the message she’s receiving, while the other hovers over her stomach, already having accepted the proclamation and protecting the womb that will shelter the long-awaited Savior.
This is the moment in which both Mary’s future and ours were forever changed by the Father’s ultimate act of love. It is framed by diamonds of royal blue, silver arches, and buds of every primary color—all manner of rococo embellishments—as securely bound as a book. There is no plaque posted nearby to describe the scene to onlookers, yet it speaks to me as clearly as if the narrative were written on the wall. It is a lesson meant to be experienced with the eyes as well as the soul.
This clarity and enlightenment was what Abbot Suger, the twelfth century clergyman, had in mind when he began the renovation of Saint Denis, his abbey church near Paris. Suger was an advocate of anagogicus mos, or “The Upward Leading Method,” and believed that light was a divine force that could compel a person to transcend the material world and better understand the very nature of God. As a result, he incorporated flying buttresses, arches supporting the church’s soaring rooftop, which allowed for taller, thinner walls with increased space for windows. The combination of high ceilings and boundless light filtering through the colored glass drew the eyes of parishioners heavenward and made it possible for everyone regardless of gender or rank to experience the spiritual in a tangible way. Also, the windows served another purpose—to communicate God’s Word to parishioners who were illiterate. That is why some refer to stained glass windows as “The Poor Man’s Bible.”
Even now, in our modern world where structures hundreds of stories tall dominate the skyline and light can be manufactured, stained glass still maintains the power to captivate. Perhaps it’s because these breathtaking works bear the indelible fingerprints of God. The artisans whose skills are themselves gifts from the Father create their works with fire and iron using only sand, soda, limestone, salts, and oxides, none of which are manmade. Therefore, glass attests to the truth of Revelation 4:11: “You are worthy, O LORD, to receive glory and honor and power, for You created all things, and by Your will they exist and were created.”
However, no matter how intricate the designs are, how accurate the depictions in these fragile works might be, or how long they were lovingly labored over by craftsmen, without one essential factor, they remain dull and lifeless. Without light, the first creation of the Almighty God, our works are left as half formed as Quasimodo, the famous hunchback of Notre Dame. And only God can provide the light, the divine illumination that can release the colors within the glass.
For the Christian, they are even more compelling because we recognize them as kindred spirits. Unlike darkness and light, the sky and seas, and all moving creatures, each of which was created when God simply said, “Let there be. . . ,” man was “formed” from the dust by the very hands of the Creator (Gen. 2:7). Of all His accomplishments, only we are made in the image of God and according to His likeness (Gen 1:26), and for this reason, we are the most precious of all His handiwork. Because we received the breath of life and were made to commune with our Father, we see God most clearly in that which is lovely. Also, we desire to create beautiful things in order to obtain a deeper understanding of who He is.
Likewise, we understand that, just like the window is strengthened and perfected by heat and pressure, we too are purified through trials in order to be made more Christlike (see Mal. 3:2-3; 1 Pet. 1:6-9; Rom 5:1-5; James 1:2-4). And like that gorgeous glass, the light of Christ shines through us, compelling the lost in such a way that they can no longer turn aside from the truth of Christ. As the apostle Paul said of believers:
For we do not preach ourselves but Christ Jesus as Lord. . . .For God who said, “Light shall shine out of darkness,” is the One who has shone in our hearts to give the Light of the knowledge of the glory of God in the face of Christ. But we have this treasure in earthen vessels, so that the surpassing greatness of the power will be of God and not from ourselves. . . .For we who live are constantly being delivered over to death for Jesus’ sake, so that the life of Jesus also may be manifested in our mortal flesh (2 Cor. 4: 5-7, 11).
One thing, however, is certain. As beautiful as stained glass might be, it also reveals just how poor our power to present the full glory of God is and how limited our ability to fully understand Him remains while we reside in the flesh. In truth, our many-hued masterpieces undoubtedly appear to God like a child’s finger painting does to an adoring parent, paltry when compared to the extent of His skill but all the more valuable for their sincerity.
Yet, praise be to God, there will come a day when we no longer need rely on crude tools and materials for understanding because we will be in the presence of the Master Craftsman. For now, “we know in part and we prophesy in part; but when that which is perfect is come, then that which is in part shall be done away. . . .For now we see through a glass, darkly; but then face to face: now [we] know in part; but then [we] shall know even as [we are] also known” (KJV, 1 Cor. 13: 9-10, 12).
the top shelf for an adorable old lady. How is that even comparable!?
After reading the twenty-five verses of this short epistle, I realized that there are times when God gives people moments in their lives when they have to “put their spiritual money where their mouth is” and show that their faith is more than window dressing, some sort of Christian Kabuki theater.
According to all the records and commentaries on this epistle, Philemon did indeed accept Onesimus back into his household, even freeing him from slavery. Many even claim that he “was the Onesimus consecrated a bishop by the Apostles and who accepted the episcopal throne in Ephesus following the Apostle Timothy”! Philemon was able to exercise forgiveness and allow it to strengthen his testimony, and because of it, his formerly rebellious slave became a useful servant of Christ.