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Hello and welcome to Word and Work an Intersection.

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I'm your host Dale Meyer. On this episode will talk with Rich Buswell.

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He is a senior artist and designer for Lynchburg stained glass and he

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has been instrumental in the new stained-glass window project here

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at Concordia Seminary's Chapel. Welcome Rich,

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we are glad to have you.

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And I've got to say I am so thrilled by this project and and and

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you're the genius, the design genius behind it.

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Is this a significant project? Oh, definitely.

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I've been doing this work for quite some time actually since 1976 and

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I can probably count on one hand the projects that really stood out in

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my career. And this is this is a crown jewel in my career from a

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personal standpoint. I really enjoyed working with you and the

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committee and I have to give a lot of credit.

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What's in those windows isn't entirely from me.

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The committee as a group has been very inspirational and

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informative, and educational actually to me as a Layman.

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I've learned a lot.

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Not just about Christianity, but particulars about the Lutheran

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denomination, and it's been a significant

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opportunity for me to learn and then have the opportunity for a pallet

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a canvas

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I should say that the chapel is, is extraordinary.

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Would you talk about that?

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Perhaps, some of our viewers, don't know the nature of the

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chapel this physical building, or how many windows are

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would you just talked about that? It's a traditional cruciform Chapel with six large

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nave windows

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as you progress to the Altar and then there's two, large transepts

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that set back and then the large chancel window behind the altar.

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So altogether, we have nine significantly sized windows.

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In addition to that, we have six smaller

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clearstory windows above those six

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nave windows. Those are the windows way up at the top.

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How long have you been working on this project?

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Well, we

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got the go-ahead back in 2017, but we started some initial design work

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I did

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there working with the committee.

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So we were approaching almost four years.

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Since I started actually started doing some initial renderings for the

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committee, and we're now more than halfway through.

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I would say, where two-thirds of the way through on the installation

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and we're working on the first Nave window on the North side.

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Nave meaning the main area of of the chapel. Right right. The main seating area.

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Where the pews. Right, where the pews are. I kind of get hung up on some of these architectural terms because of dealing with the Architects, they like to get that

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specific but yeah I see it.

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It's it's one of the side windows. And all the windows have a theme,

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one overarching theme.

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Would you tell us about that? That was selected

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I believe, long before I was selected to, to work with the

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committee the Te Deum.

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If I'm pronouncing that correctly. Te Deum laudamus, we praise thee O Lord.So overall all the windows have an

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overriding theme of Praise the Lord but each one has its own

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significant theme.

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As you look at the chancel that that window is meant to be dramatic as

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the resurrection and so but that works within the umbrella of the

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entire theme that's happening in the chapel. We have to say that that

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this spectacular project is the result of a bequest from the estate of

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Mr.

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Eugene and his wife, Nellie Finke.

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And these windows were intended for the chapel when it was

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originally built, but the cost was prohibitive.

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So now, from generations ago, this is coming to fruition.

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I'm curious. I grew up and wanted to be a minister.

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Other people grow up and want to be whatever they want to be.

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How did you get into this work?

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I always wanted to be an artist.

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I started drawing at a very young age.

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I was actually adopted.

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So, I don't know what if I have any real art background in my genes I hope you do.

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But my parents encouraged it.

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They were surprised, but we were very encouraging and I started off

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I was fairly realistic.

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I went to an art school in New England School of Art and Design that had

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teachers that were actually full-time artist and taught their

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specialty

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one day a week instead of a full-time faculty, they they brought in

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different people. And I majored in Fine Art and Commercial Art so that I

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could have a career of doing something in the art field

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that I'd have a diverse portfolio.

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And I start off working for a liturgical supply company up in Boston

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and also had a Stained Glass studio and during a sale and a retirement,

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they had new ownership and no artist and I had lost my job during that

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sale and I needed a job.

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And I said, I can do this.

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And by the time I figured out, I didn't know what I was doing.

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I learned enough for them to keep me on.

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So that's was back in

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1976. You are a veteran.

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Yeah, my very first window is actually installed in a small Church on

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Beals Island Maine and I went up to the help install it. I will never

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forget, I was in pretty pretty interesting.

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One of the things that said that has struck

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me is the installation of these great windows, doesn't take too long.

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But the design and the creation of them to tell us a little bit

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about that? Well you know, getting back to working with the committee, we

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have about eight, very learned people.

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And as I mentioned before, and again, this morning in a conversation

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can be a little intimidating when you're sitting down with a group of

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very educated people that have more initials after their name than I

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have in my own name put together.

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So it's it was a learning curve to find out where we needed to go and

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we had an overall

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theme, but how we going to fill up these windows, utilizing that theme.

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And we started off you crazy enough with the creation and we worked

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through.

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We're already through to the Judgment windows, it's been installed.

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So would you talk about those three commanding windows up front? The

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nave windows on the side. The South Side

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Nave windows are in the north is yet to be done, but talk about the

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three, commanding Windows behind the Altar

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and then in the two transepts. Yes. Well and we worked on that it as a unit

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they were designed not simultaneously but within the same flow and so

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we start off with the crucifixion which flows right into the

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resurrection, and then to the second coming, the Judgment window.

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So, the crucifixion is on the left

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as you're facing the altar, the resurrection is right over the altar

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and the return in judgment is in the right transept. Right.

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Okay.

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So, you know, it and it was interesting when we were working on the

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crucifixion window that was the first one that 

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really came about in my mind and while we were actually having

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meetings here, we had a solar eclipse happen. And St.

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Louis was actually one of the areas of our country that actually had a

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pretty significant Eclipse.

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I remember. We had a little party on campus.

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Well we memorialized that in the window we have the eclipse behind the

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crucifixion there and it's significant symbol symbolism there.

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But I always try to do something that's a little bit personalized too.

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So we had an opportunity to say St.

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Louis was one of the few places in our country that actually

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experienced the the full eclipse.

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And so having that in the window had a double meaning. I

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didn't realize that I've learned something.

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I'm always learning something.

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Yeah, and end that harkens to the darkness when Christ was crucified.

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And so you know, that the windows

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again yeah we mixed the theme of Praise with physical representations

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of the Savior and symbolic representations interwoven into the designs

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to make the windows more significant and more depth to them.

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So it's it's getting back to one of your questions.

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It's been a incredible opportunity for me. I served as president

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for almost 16 years and this is one of the most gratifying things

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as I look back at that time. We're going to take a short break will be

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right back.

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Please stay with us.

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Concordia Seminary St.

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Louis provides continuing education resources for pastors and lay

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people to discover all the Concordia Seminary has for you.

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Visit us on the web at CSL.

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EDU.

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Welcome back to the Word at Work an Intersection.

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I'm your host Dale Meyer.

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Today, we are discussing the new stained-glass windows that adorn, the

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chapel of Saint Timothy and Saint.

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Titus. Rich Buswell is the artist. The senior artist and designer for

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Lynchburg Stained Glass, the company behind these new windows.

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We talked in the first segment about the three bigges in the front.

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Resurrection,

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Crucifixion return in judgment.

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Let's talk about the south Nave.

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So when you said Chapel, you got these three windows on the south

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would you describe those? Because the architecture of the chapel the first one on either side is somewhat bisected by the choir loft.

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So when you first enter the narthex area, what you'll see is actually

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the bottom of the first South window which is devoted to the

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the creation.

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And so that moves on up and that starts a chronological flow of the

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windows because you flow from that up through for instance Noah and the

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flood and then thru Abraham.

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And what really significant is that we start the chronological, the

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line of of David, it will flow through these windows.

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All the way from Abraham all the way to Christ on the Southside.

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And so that's over all the most significant part of the windows.

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So the first one with Abraham and then you flow into the what we're

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calling the Kings window, which features King David there, and the

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temple Solomon's Temple is featured in it. And that flows into, then

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the prophets slash

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Nativity window in the sense that you have a series of the prophets

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flowing down

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and at the base of the window is featured the nativity scene. The

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content in all these windows is is rich.

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Not just Rich Buswell, but theologically biblically rich and and I remember

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appointing that committee.

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And it's a committee made up of people who who knows theology

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obviously, but they also have inclinations and some expertise in art

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whether that be literature or or graphic pictorial art so, so the

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meetings that I sat in a, I mean it was an education for for me and

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this is the result.

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Now we got three windows left on the north side of the of the main

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auditorium, the Nave.

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What's going in there? Well to balance that what we're trying to do is have

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the windows have a seamlessness to them.

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So on the first one that again, is bisected by the balcony

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we actually have the baptism feeling so we have the Holy Spirit

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opposite each other in the narthex.

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When you stand in the narthex, you're going to be able to look at the

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Holy Spirit, moving through the creation on the left on the Southside.

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And you look to the north side

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you're going to see the Holy Spirit again moving through the baptism.

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And what's right in the middle of that

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entrance area, the narthex the baptismal font.

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Yeah, it's perfect. We have water and light and movement happening.

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And that sets the tone through all the windows is a lot of movement

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happening of their of light and color in line.

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And you the upper part of the window features the seven angels.

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Each one carrying one of the seven churches mentioned in the in the in

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the Bible though I couldn't tell you this it's seven names of those

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cities at the moment. In Revelation.

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But yeah.

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But the each one has an ancient each of the church's.

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I mean, has an ancient 

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architectural feel to it.

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Some medieval some even earlier than that and you flow from that

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window into the one of saints and martyrs.

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So we have featured in there is like, John the Baptist who's been

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beheaded and you have a bloody sword there.

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We don't get too graphic with it, but we definitely know that he's

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been martyred and we have the Ethiopian eunuch, reading the gospel.

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We have Saint Paul, you know being blinded on the road and we actually

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have migrated to the figures of Timothy and Titus as they were

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depicted in the chancel window originally, we brought them into

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the Saints window there.

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So their featured in there with Palms to symbolize

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the martyrdom. I should interject that the longtime Timothy and Titus

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window that was over

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the altar is being repurposed.

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And in one of the reasons for repurposing it is that it's a different

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kind of stained glass.

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It's faceted not the leaded glass that you do.

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Is that correct?

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That's correct.

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It's a 1-inch thick glass, it's more of a mosaic look and it's

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held together by a poor epoxy resin that forms the panels. And the the

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shelf life

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so to speak for faceted glass is 40 to 50 years, depending upon the

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thickness of that epoxy, and how much light it gets. But the decision

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I guess, was made because it was already passed a half life there and

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to make all the windows out of the leaded, glass, which last

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centuries.

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You can see how they survived the fire at Notre Dame.

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They had a devastating fire there, but the stained-glass survived.

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So going with the leaded glass which is traditional has been made for

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over a thousand years now was decided the way to go for media in

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the chapel.

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So now the windows all flow together.

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When when are those North Nave Windows going to be installed? I don't

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have an exact date yet because we're actually working on the  first north

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nave, but we're still haven't quite pinned down the final design for the

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third one yet.

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And that third one depicts the Feast of all Nations and will depict

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people from various stations in life. We will have beggars and the lame.

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Will have affluent looking people but one of the goals was to have them

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all look timeless. They could be biblical or they could be today

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or they could be tomorrow.

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I have always liked to try in a project like this to get the past

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present and future depicted in it so that we're leaving a message for

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future generations

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to be included.

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That they've been included in these windows before

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they were even born. When the design of a window has been been finished

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and accepted.

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How long does it take to physically? For one of these windows

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it takes 4 to 6 months to actually get it made.

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Because after the design is approved, that's just a piece of paper,

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then a full-size drawing, every single window that you see, there

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we actually have a full size drawings of that. I do a full, what

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we call a cartoon. And that's used

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as a guide for all the artwork that's put into the window

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painting on the glass that's fired in. They use that to make the

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patterns to cut the each piece of glass.

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It's also

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like making a huge jigsaw puzzle when we make a window.

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How many people work on each window?

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We have,

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we have patternmakers two cutters for glaziers three painters,

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two waterproofers and three installers.

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So we have a multitude of people that that work on it at all different

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points of of manufacture.

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One of the requirements for this project from the committee and our

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Campus Community.

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Was was keeping the chapel light, you know, with, with clear glass.

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I mean, there are a number of benefits to that the, that the chapel

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itself was not dark because of glass in all these windows was clear.

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And frankly, when yours truly was preaching, people were able to look

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out the window and look at squirrels.

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I don't know that they can do that now.

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But would you talk about what you did to keep it

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still a light Chapel.

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We went with an approach that I've been designing for approached for

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quite some time. And it's feathering.

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It's a flow of color and richness that feathers into lesser and lesser

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color.

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And lesser and lesser texture to it until it actually flows into clear glass in the

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window that just like what you have. And that allows your imagery to

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kind of float there that it becomes part of the chapel.

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But it also lets some of the outside world in to

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not feel really enclosed, and also allow a lot of light to come

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through.

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So that's the approach that we did. The darker more texture glasses,

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download lower to screen out the squirrels or cars or people bringing in

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late and they can come in anonymous until they are in the chapel.

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And so it works out

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well, we get to introduce a lot of color that wasn't in the windows

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before but we haven't darkened the Chapel at all.

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We've actually made it look brighter in some ways because we've

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concentrated, we have less of that

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just clear glass and we have more color happening in the window that

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what makes it glow more.

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It works.

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It works the chapel remains light and yet you have, these rich windows,

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which are going to have a generational impact upon our Seminary our

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graduates

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and the

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church at large. Every fall

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we have a theological Symposium and the theme

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this year, is the role of Beauty in Theology and Ministry. And I

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understand and you the artists are going to be speaking.

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Tell us about what you're going to be doing then.

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Well, first of all, I'm going to try not to faint.

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I'm not the best public speaker.

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But I am going to be talking about how I go about creating beauty in

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windows.

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And actually that's one of the three legs of the stools that are used

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as a basis of my designing.

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I try to use the initial beauty of a window to capture a person's eye.

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When they first come into a place of worship, the beauty of the

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window, meaning the light and color, and flow of the glass, captures

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the eye.

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And then I try to use the theme of the window like for instance, the

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resurrection that resurrected figure of Christ to to capture that

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person's faith in heart.

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They they look at that and it appeals to them from that standpoint.

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But I feel that a truly great window also has to have a third leg, and

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that's a little bit of mystery, you have to incorporate weave in

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things that make people kind of look at and question,

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What does that mean?

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Why did they do that for instance, in that resurrected a figure of

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Christ

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the wounds of his left hand is actually a jewel

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in the hilt of the sword of the word of God, that's in the window.

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But it makes people look and question and hopefully, maybe even

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research a little bit especially at a seminary inspire them to really look at the

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meaning of the window.

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So if you can achieve those, three points of eye beauty, beauty to the

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heart and beauty to the mind, you've captured it in three different

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ways to the view to make the window timeless.

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I think you have as I just mentioned, these windows are making a

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generational impact upon the Seminary, especially upon the generations

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of students and professors and staff who are going to sit in that

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chapel and and

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there's a human says, "through the church

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the song goes on". Through the church

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thanks to you

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and the donors and everybody who has worked on this project.

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But but right now we're thanking you for your genius. Through the

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church

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the beauty will go on.

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I hope it's you'll keep up on all the latest offerings from Concordia

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Seminary and especially this year's Symposium at the Seminary website,

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CSL.

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Edu. Rich,

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I thank you so much for being with us today and thank you, our

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audience for joining us.

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Today is Word and work

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marks the end of another season.

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It's been my privilege to host Word and Work and make these

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conversations available to you. A special

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thanks to Mr.

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Dale Ward who does all the work behind the camera.

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And again you can find all are episodes of Word and Work and other

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great Seminary offerings at CSL.

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Edu. Today and always may the intersection of Word and Work

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be busy and a blessing on your corner and mine.