St. Aloysius Altar Window - Pewee Valley, KY
N 38° 18.565 W 085° 29.451
16S E 631944 N 4241223
This window, at the rear of the church, behind the altar is a top to bottom, side-to side window that beckons visitors to look a little closer. Lit up at night you can't miss this massive window wall.
Waymark Code: WM2TN6
Location: Kentucky, United States
Date Posted: 12/20/2007
Views: 72
The following information comes from the church's website (
visit link)
The Altar window was designed to express its theological message in direct and indirect imagery. This allows the viewer to seek comfort in immediately recognizable images while lending itself to a sense of mystery as well. The dominate image is that of Christ’s arms outstretched, posed as if to step forward. His figure is superimposed over a cross which speaks of his crucifixion and death. Draped around the figure and over one arm of the cross is a shroud or burial garment. In combination with the stance of the figure, this represents the Resurrection. The broken shackles hanging from Christ’s wrists signifies His triumph over death and hell. The sacrificial nature of Christ is represented by the lamb engulfed in flames as well as the garment which hangs draped behind the cross tinged in red (note that the lamb ‘rests’ on the Altar) One is reminded that His vesture was dipped in blood.
The Ascension is represented by the segment of deep blue colors hanging like a veil behind the figure. It is as if the figure is lofted into the air. The symbolic terrain to either side of the figure recalls that Christ climbed to an exceedingly tall mountain prior to his ascension.
In reference to the Mystical Body of Christ and Communion, the garment draped around the figure takes on the shape of a chalice. The halo surrounding the head of Christ becomes the host. Other symbols relating to the subject are wheat and grapes (side panels of window).
From an artistic standpoint, the elements of color line and light all tend to focus the viewer on the central image. The triptych message of the grouping of three dominant events indeed, even the triune Godhead, is enhanced artistically by three fields or planes of color. In the foreground is a field of cool tones. The second plane is made up primarily of warm tones. The third plane is crystal which will be ever changing according to the seasons. The overlapping of different planes sets up an imaginary depth of field which merges on a vanishing point in the Christ figure. The rigid structure of the vertical lines reconciles the design with the vertical support mullions while the playful movement of horizontal lines carry the design beyond the confined structure. Light takes on the void of negative space in the design cutting through color. This lessens the predictability of flat planes and, as with the color, provokes the viewer to focus on the central figure. This negative space takes on the connotation of spirit buy cutting the color and silhouetting the shape of a dove.