Saint Anne and the Virgin

In this window, St. Anne, traditionally named as the mother of the Virgin Mary, gives benediction to her child. Anne holds a book and Mary a scroll. The scene is based entirely on legendary material; there is no biblical information that describes this event in the childhood of Mary or provides the names of her parents. Representations of Mary are either devotional or portray scenes in her life based on biblical or traditional sources. The scene depicted in this window falls into the latter category. Legendary sources identify Anne and Joachim as the parents of Mary. A favorite theme, especially in Counter-Reformation art, depicts Mary reading at the knee of her mother. Here the columnar figure of St. Anne, which is portrayed in a somewhat stiff, formal pose, gives her blessing to Mary. Her downward gaze seems detached from the kneeling figure of Mary. No doubt the book she is holding refers to the scriptures. Mary is depicted as a small childlike figure with the face of someone older, holding a scroll. The young Virgin's halo is red, surrounded by a ring of gold beads, while Anne's halo is rich and ornate in comparison. Anne's halo is further enriched by the tri-part arch above and surrounding the halo. Anne's entire figure is set off by another “halo,” this one composed of white glass, which entirely surrounds her and partly encloses the figure of Mary as it outlines Mary's back. The effect created by this glass suggests that the figures are enveloped by pure, white light.

This light draws the eyes of the viewer directly toward Anne, with her brilliant robes, and then downward to the comparatively small, muted figure of Mary. Traditionally, the mother of Mary has no distinct iconographical attribute, but is often depicted wearing a green cloak over a red robe. However, Burnham has chosen to give Anne a vibrant robe of intense blue, with a purplish-mauve mantle banded with gold decorations. This contrasts with the vivid green book Anne is holding. The rich, bright colors in Anne's clothing complement the red of Mary's halo.

Burnham uses these complementary colors (opposites on the color wheel) often. The effect is to intensify the colors when they are juxtaposed with their opposites. We see this effect again with the yellow in Anne's halo against the brilliant blue of her head covering. Besides intensifying the color, placing opposites next to each other can often set up tension and create excitement and vibrancy.

Mary's robe is not the traditional blue often associated with her. Instead it is white, symbolizing Mary's purity. She has a magenta or mauve cloak that hangs around her neck and is seen down her back. Her plain garments, not rich in color, are belted with an ornamental sash. Anne's calm figure, with its gorgeous garments, commands the viewer’s attention, and Mary's red halo then causes the eye to focus on the small figure with her upturned face.

Burnham uses architectural forms to create a border on either side of the “white glass halo" behind the mother and daughter, perhaps to indicate the temple where Anne took Mary during her childhood. A different architectural motif is used in the west (right) window in this transept aisle, which depicts Mary and Elizabeth. This motif suggests Elizabeth's home. Again, these structures form another border within the decorative gold band that runs around the entire scene in a rich, ornamental design.

The difference between Burnham's windows and most of the others in the Cathedral is that Burnham totally contains the scene depicted within the framework of the lancets. All the figures are enclosed not only within the physical structure of the stone but also within the glass itself, by using decorative designs to again frame the figures. This framing is accomplished by patterns directly surrounding the main scene and also by patterns located near the top of the lancet, as well as on the ventilators below. The decoration surrounding the main scene runs as a ribbon, and contains it.

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