Teaching Window

Location: Trinity Cathedral, north nave aisle, second window from west
The Wilbur H. Burnham Studios

This window depicts Jesus delivering the Sermon on the Mount, which is described most fully and contiguously in Matthew, 5-7. It was said to have been spoken to the disciples and others in the hill country of Galilee in the early days of Jesus' ministry. It begins with a group of blessings, known as the Beatitudes, and then deals with social duties in a series of contrasts between Jesus's teachings and the ancient legal traditions of the Jews. For example, Matthew 7: 28-29 states that: "... when Jesus had ended these sayings, the people were astonished at his doctrine: For he taught them as one having authority, and not as the scribes."

Jesus is seated in the middle of this scene with his right hand raised in a blessing and provides a commanding figure. Two men are shown seated in front of Jesus, while another is to his left. Their halos or nimbi identify them as apostles. Behind Jesus, representing the "multitudes," are a woman and man. The six figures take up almost the entire space in this window. The composition is frontal with little depth, and the scene is placed out of doors. Unlike most of Burnham's windows, there is no reference to interior or exterior space through the placement of a building or an architectural framework.

Jesus appears as a motionless figure looking toward the viewer. Jesus' face is impassive, while there is concern evidenced as frowns and wrinkles on the men's countenances. The woman has a young, perfect face, with no wrinkles or blemishes. Other than his upraised hand, there is no other evidence of interaction between Jesus and the other personages in this scene, all are gazing at Jesus.

On October 12, 1938, Emerson wrote to Burnham:

In the Teaching window, please use the words “He Taught As One Having Authority.” Now for just one or two suggestions in the Teaching window. It seems to me that the head of Christ is out of proportion. It looks too long and rather narrow, at least something about it isn't quite right. I think you have immensely improved the composition of this window over what I saw the last time I was in Boston.

A letter from Burnham followed on October 14, 1938:

...and in the Teaching window, I will incorporate the texts you have indicated; and when I draw the cartoon for the Teaching window, I will keep in mind your criticism of the Head of Christ. As you know, sketches cannot delineate details awfully well, and we correct all errors in drawing the full-size cartoons.

The head of Jesus does seem large and the body is foreshortened. However, viewers of stained glass windows are usually looking upward at subjects. Thus sketches viewed at eye level will sometimes not accurately show the perspective as it would be viewed in the window.

There is a tension created by this scene through the use of strong diagonals produced by the legs, knees, arms, and elbows of the two men in front, while the arms of Jesus are directed the opposite way. These diagonals help direct the eye of the viewer from the foreground to Jesus' face. At the same time, curves are introduced through the rendering of the clothing and the nimbi, which break up the diagonals and “soften” the composition.

In this scene, we once again see Burnham’s use of brilliant, pure colors. Here they are the three primary colors (red, yellow, and blue) used for the three apostles. The intensity of these colors is dramatic. The effect is enhanced by placing the complements of the primary colors next to them or in close proximity. For instance, the yellow halo is set off by the mauve or violet of a robe. The apostle on the right has a bright red halo next to his emerald green robe, and against the green cowl of the apostle positioned above him. That apostle has a softer blue halo and the blue’s complement, orange, is picked up in the outer garment of the figure on the other side of Jesus. Jesus' outer garment is bright red, while his robe is the pale greenish-white that Burnham uses so often for the outer robes. This color is repeated in the robe of the apostle in the front left foreground. The decorative band on Jesus’ robe is interesting in that it could be a stylized "fish" or a horizontal cross in an oval. Only the clothing of the woman listener is subdued; her headcovering is a blue-green.

In the center of the ventilator is an open book, symbolizing wisdom. In the apex is a sunburst, symbolic of Christ based on the prophecy of Malachi 4:2, previously quoted in the Emmaus Window discussion. The sun also personifies truth, because all is revealed by its light.

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The Center for Sacred Landmarks Monograph Series