Praying Window

Location: Trinity Cathedral, north nave aisle, east window
The Wilbur H. Burnham Studios

Jesus in Gethsemane, accompanied by three sleeping apostles and an angel with a cup, is the focus of this window. This scene is described in the three synoptic gospels: Matthew 26:36-46, Mark 14:32-42, and Luke 22:40-46. It is Mark's gospel that states "And they came to a place which was named Gethsemane: and he saith to his disciples, Sit ye here, while I shall pray. And he taketh with him Peter and James and John...." But it is only in Luke that the angel is mentioned (Luke 22:43): "And there appeared an angel unto him from heaven strengthening him." All three gospels tell of Jesus saying "Father, if thou be willing, remove this cup from me: nevertheless not my will, but thine be done." And they all tell of Jesus's disappointment that the apostles did not stay awake while he prayed.

The three sleeping apostles in the foreground and Jesus' kneeling figure, located off center behind them, form a triangular grouping. The position of the angel, above and to the right of Jesus, counterbalances the composition. The angel is set apart by the stylized band that forms a strong arc and places the angel in the realm of heaven. As in the Annunciation Window, the wings of the angel define two curves, with the left one enclosing the angel within the celestial space.

Jesus' elongated figure dominates the scene; he is looking heavenward and with prayerful hands contemplates the angel holding the bitter cup. Both Jesus and the angel are colored in reds and whites, with a hint of gold in Jesus’ halo and in the bands on the clothing.

The three sleeping apostles and Jesus are all facing the viewer's right. The angel looks to the left thus bringing the viewer back into the scene and drawing the eye to focus on Jesus. The three apostles, with their three different halo treatments, unite the whole window, and their colors both complement and contrast the colors used in the figure of Jesus.

These colors were not all part of the original cartoon. Emerson wrote to Burnham on March 5, 1938:

Your cartoon for the "Praying Window" came yesterday. I like it very much, but not quite as well as I do the "Blessing Window". Why - I am not quite sure. I think its (sic) a little matter of the coloring in the front kneeling figure at the bottom of the cartoon. I am not altogether sure that the color is just right in that figure. When you get it back you look at it carefully yourself and see.

Burnham wrote back on May 3, 1938:

Concerning the Praying window, I recall that you questioned some of the color in the bottom kneeling figure. In the cartoon we changed this figure in drawing and juxtaposition of color, and I think you will like the result.

Evidently Dr. Emerson did like the result, because there is no more correspondence regarding the Praying Window. We can only surmise as to the original position and coloration of this figure. The result, however, shows his outer robe as a lighter blue than the background blue typically found in the Burnham windows. A paler blue-green is used around his waist and his halo. His white gown has red cuffs, and this plays off against the red robe of the slumbering youth behind him. The second apostle, a young man, wears a white robe; his nimbus is white and gold, tying him to Jesus' red and white figure. The third apostle, an older man, wears green and red and has a bright gold halo, which complements the reds in the scene. The three apostles, with their reclining bodies and legs and arms going in different directions, defining strong diagonals, are brought together by the swirls and drapery of their clothing, forming one mass or unit in the bottom third of this scene.

Burnham does not use an architectural motif here to indicate interior and exterior space. Instead, on the left is a stylized tree and on the right rocks or a cliff are shown. This places the scene out of doors and in a garden. Three bright stars, shown one on top of another above the tree, place this scene at night.

Above the angel in the apex of the window is another Latin cross, foretelling of Jesus' crucifixion. In the ventilator is a depiction of a chalice and paten. This relates to the Last Supper and the body and blood of Jesus becoming the bread and wine of the communion. This is the last window in this series along the nave aisles and, and except for the angel, all the figures are looking to the viewer’s right, drawing the viewer around the corner to discover the end of the story as told by the windows in the north transept.

Zoom to: top / upper subject / lower subject / ventilator
Go to: main index

The Center for Sacred Landmarks Monograph Series