The Windows

The nativity window of the west side of the Emmanuel Church building was installed in 1909.

The following was written by Addie M. Pretty in 1949, in tribute to the window.

The Nativity Window in the nave of Emmanuel Episcopal Church in Shawnee is an usually large and fine piece of religious art.

In fact, it is regarded to be the largest in the state, and, according to some authorities, one of the finest in the entire southwest. It is some 12 feet wide and 26 feet high, combining an elaborate boarder of stained glass with its pure Gothic traceries and a large, hand-painted rectangle whose technique is handled so deftly that every detail is necessary, and nothing essential has been omitted.

These colors, all of which are painted with infinite patience, on the glass, are processed like fine china by firing in a kiln at least seven times, which gives a permanence that has failed to dim, or fade, after enduring the bright sunshine and heat of 40 summers.

A characteristic of this window is that it was designed to be interesting under different light conditions. On cloudy days the blues and pinks are prominent, and in the sun the upper window glows with a diffusion of bronze, red and green.

For many years, the window has been lighted from within at Christmas time so pedestrians may be presented a visual of the Nativity.

An important asset of the window is the boarder. When men began to put color into glass in the houses to worship it was for the practical purpose of tempering, or dimming, disagreeably sharp light.

Definite designs were introduced into the windows. Geometrical figures were used, especially religious motifs and symbols. The symbol of Trinity is repeated many times and in various ways in this border. There is ample variety of color, rich and pure

The scene portrayed in this window is adapted from "The Nativity", a religious painting by the German artist, Barhard Plockhorst, who was born in Brunswick in 1825, studied in Munich and Paris, became a professor at the Wiemer Art School, and devoted the larger part of his life to portrait work in connection with religious art.

The detail of the background is inconspicuous, yet apparent, in keeping with Scriptural authority as interpreted by the individual artist, and furnished an engrossing study.

The picture shows six figures against this tranquil background. The north side, featuring Joseph, Mary, and the young child, Jesus, is lighter because of the nimbi about the heads of the Holy Family. Facing these are the three worshipers of the new born King. One is a woman believed to be the Virgin's elder sister, also named Mary (or in Aramaic, Mariama) the wife of Cleopas and the mother of the Apostle James the Less.

Two are shepherds, one bearing a lamb as an offering, the other kneeling. The shepherd boy holding his pet lamb, as pictured in the window, is the inspiration for the very fine Christmas Cantara, "There Was One Who Gave A Lamb," by Annetta Ham.

There is the stable with two sides open, as was the custom of the country, the hay in the manger, the gourd and grape vines clinging to the walls, and a Rose of Sharon flourishing beside the brook of Kadron, which flows between Bethlehem and Jerusalem.

Away on the hillside, six miles to the north, shines the city of Jerusalem, bathed in moonlight, done is a curious sharp white-blue that makes the heavenly light so realistic. This color can't be duplicated at the present time -- nor can any of the other colors used -- such as the plush-like red in the shepherd's tunic, not the bright green in the canteen lying on the ground.

The artist has conformed to tradition, which says that Mary was 15 years old when Jesus was born (Joseph was much older), that she had long auburn hair, hazel eyes, and an olive complexion. Legend states that she had a girlish habit of raising her hand when interested or overawed. In art, Mary is nearly always clothed in a simple, long-sleeved pale red dress over which is worn a light blue mantle. her head is covered with a veil.

Plockhorst incorporated a tiny "Christmas Rose" in the lower left corner of the window. The legend says that the little sister of the boy holding the lamb was crying because she had no gift for the Christ Child. Whereupon, and angel appeared to her, and learning the cause of her sorrow, extended its arm, and immediately "there sprang up all over the hills of Palestine" the little wild pink roses which "the little girl gathered and presented to the Holy Child." The botanical name of these flowers is "Black Hellebore," and to this day they bloom only at the Christmas Season.

Another interesting legend concerns the Palm Trees along the banks of the brook. The birds, having no gift to offer, carried seed in their beaks and dropped them at the water's edge, from which grew these palms.

"And that ever after the trees would bow and wave their branches in adoration of the Holy babe."

All the windows in Emmanuel Episcopal Church, including the memorial windows, were carefully chosen for their appropriateness and symbolism, the one over the altar being the famous "Christ Before the Doctors," by Hoffman.

Each window endeavors to shut o9ut the cares and worries of the outside world, and to aid and encourage the reverent worship of God, and when, with adoring eyes and loving heart we survey the Nativity window, we are profoundly stirred an truly convinced that it proclaims the spirit of the prophet Isaiah when he announced that "a Virgin shall bring forth a son, and they shall call His name, Emmanuel -- God With Us."

When the church was built in 1909, the window was installed by the Ford Glass Co., of Minneapolis, Minnesota, at a cost of several thousand dollars. Today, the cost would be more than triple that amount.

The money for this fine endeavor was procured by Emmanuel Guild -- an eager, devoted group of women who worked long and hard preparing dinners, teas, conducting bazaars and quilt fairs, and selling countless articles of handiwork.

As long as this window endures, it will be a constant and glorious reminder to succeeding generations to honestly appreciate it, and to feel their indebtedness to the faithful church women who made such an outstanding work of art possible.

(Written by request of St. Anne's Guild, a young matrons' group at Emmanuel Church)