Date and Artist: 1952; Cummings Studio – San Francisco
The Rose Window sits at the center of campus in Ness Family Chapel. It can be seen from Red Square.
Dedicated in 1952, the eight-foot diameter stain glass rose window was designed on a theme suggested by PLC religion professor Jesse Pflueger, which depicts the “Agnus Dei, Christ the Victorious Lamb of God.” The lamb beholds heaven and is surrounded by eight semi-circles, which radiate from the center and four (of eight) spaces beyond describe “four living creatures” a lion, an ox, an eagle and a human face; the other four are the prophet’s symbols, Jeremiah’s scroll, Isaiah’s coal, Ezekiel’s turret and Daniel’s lion. Along the outermost ring are symbols for the Trinitarian Dogma, the Dove (Holy Spirit), the open bible and Luther’s crest of Arms. The Rose Window is the inspiration for the familiar PLU logo and is visible from Red Square and the chapel.
The following is a moving description of the various elements contained in this window written by PLU Professor Emeritus Stewart D. Govig.
``Heaven in Glass``
“Don’t give up now, you’re almost there!” used to read the sign at the third staircase landing of Eastvold. Climbers who make it to the top know the colored glow of the Rose Window offers a visual reward as well as a glimpse of the inspiration for the familiar PLU logo.
Dedicated in 1952, the small worship space high on Eastvold Chapel’s east wall marks a stark contrast to the plain exterior dimensions of its host. And its large, eight-foot, circular stained glass window can not only hush our attention, it can also educate the patient viewer in Christian theology. Religion professor Jesse Pflueger suggested a theme to artists of San Francisco’s Cummings Studio in 1951: the Agnus Dei, Christ the victorious Lamb of God.
The seer of Revelation beholds heaven (Rev. 4:1), and, within its ceaseless worship, the throne of God (7:15). Nearby stands a Lamb, looking as if it had been slaughtered, but now alive forevermore and worthy to open the seals of God’s final judgment Scroll. Consequently, the One who shares honor and glory forever (5:6-14) becomes the artistic focal point.
Eight semicircles radiating forth from it remind observers of the Lamb’s beatitudes: “Blessed are the poor in spirit for theirs is the kingdom of heaven…” (Matt. 5:3-11). Four spaces beyond describe Revelation’s “four living creatures” (4:6-1 1) namely, a lion, an ox, a creature with a “face like a human face,” and one like “a flying eagle.”n, Ox, Eagle, and a Face. In Christian tradition, each of them represents a New Testament Gospel. Four others recall Biblical prophets: Jeremiah’s scroll, Isaiah’s burning coal, Ezekiel’s gateway turret, plus Daniel’s lion.
How are we introduced to the Lamb in Scripture? Through prophet and evangelist. Stationed at the end of the Bible, Revelation chisels a capstone vision of the Risen Christ. Crowns of earthly kings, (note semicircles) are cast before the eternal Ruler (4:11) now alive beyond reach from the death of the Cross (the nimbus framing the Lamb’s Head) and qualified to herald a Resurrection pennant of gold (preciousness) and white (purity and victory).
The horizontal plane of our window reveals the Church’s ecumenical Trinitarian dogma. To the left, the Hebrew letter “yod” set within the equilateral triangle hearkens back to Moses, the burning bush (Exodus 3) and the sacred name “Yahweh.”
Moving right in line glows God’s Son, the Agnus Dei; look next for the Dove, head framed in red (fires of Pentecost, Acts 2), who betokens the Holy Spirit. The vertical plane, beginning at the top, discloses an interpretation of our institution’s Christian denominational tradition. Luther insisted, “The Word Alone,” meaning for him an open Bible for all. Yet how, some ask, can just anyone read and comprehend it? By keeping Christ, the Risen Lamb, at the center, he replies.
The panel at the bottom displays Luther’s coat of arms, itself a set of symbols. From 16th-century Europe, Lutherans in confession and praise will intersect — but not break with — the universal Church’s horizontal line of identity. We join fellow believers everywhere to address “Our Father, who art in heaven…” (Matt. 6:9).
Further out, vivid red frames embrace additional panels featuring five and six-pointed stars set against cosmic blue. These suggest the major parts of the Christian Bible, Old and New Testaments. Holly leaves in green are included here; they balance out the prophetic and evangelist schemework, and announce a tribute to the climate of the Puget Sound and to Washington, the Evergreen State.
For years, I have followed hundreds of Lutes in my classes up the chapel stairs to revel with them in stained glass iconography. I’m confident they would support me in inviting you to make the climb for yourself. Join our alumni band of climbers. The morning light is best. Let a swirl of image and the fire of color refresh your soul and make your day.
By Stewart D. Govig – Professor Emeritus, 1927-2005