Typological Window 2 in Canterbury Cathedral

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The Second Typological Window in the north quire aisle (n. XV) of Canterbury Cathedral is an exceptionally beautiful window full of well-preserved medieval glass and interesting subjects. It is comprised of panels from both the second and sixth typological windows, but primarily the second.

The style of this window is very similar to that of the "Methuselah Master" (who designed the striking Methuselah and Adam figures in the west window) and it may have been designed by him. The work has been dated to about 1180 AD.

The overall theme seems to be the conversion of the Gentiles, as scenes related to that topic recur throughout. As in most English windows, the "story" is read from top to bottom. The primary subject of each register (row) is from the New Testament and occupies the center panel. These are flanked by scenes from the Old Testament, which were regarded in the Middle Ages as "types" or foreshadowing of the New Testament events. Many of the central scenes in this window revolve around the Magi, the first Gentile worshippers of Christ. Click any photo to enlarge.

Balaam on his Ass According to Numbers 24:17, Balaam prophesied: "there shall come a star out of Jacob and a sceptre shall rise out of Israel."	The Journey of the Magi The Magi are shown on horseback with their eyes fixed on the golden star above. Two of them gesture at the star.	Isaiah's Prophecy The inscription refers to Isaiah's prophecy: "the Gentiles shall come to thy light, and kings to the brightness of thy rising" (60:3).

Moses Leading the Israelites Exodus 13:21 says the Isrealites were led by God "in a pillar of a cloud by day... and by night in a pillar of fire." This imagery is interpreted quite literally - note flaming pillar at the top left.	Herod and the Magi Herod, seated on the left in purple and white robes, asks the Magi to return after they have found the Christ Child, whom he then plans to kill. The star that is leading them appears at the top.	Christ Leading the Gentiles An unusual and interesting scene showing Christ leading the Gentiles away from pagan gods to the Church. The people move away from a naked pagan statue with horns (some of them looking back in indecision) to an altar with a cross and a baptismal font in the foreground. Overhead, a flying demon tries to move them back towards the statue.

King Solomon and the Queen of Sheba King Solomon receives the Queen of Sheba, who, like the Magi, is a Gentile and brings gifts to a Hebrew king. A pair of camels and riders with dark skin add an exotic touch to the scene.	Adoration of the Magi and Shepherds Here shown as a single scene, with the Magi coming from the left and the shepherds from the right. The Christ Child receives his gifts while the Virgin Mary looks solemnly out at the viewer.	Joseph and His Brothers This has more than one layer of symbolism: the recognition of Joseph's authority by his 12 brothers suggests the apostles; and Joseph was recognized by the Egyptians (Gentiles, like the Magi).

Lot's Wife (n. XV, 22) Lot's wife is turned to a pillar of salt as she looks back at Sodom and Gomorrah (Gen 19:17-26). This row has the theme of warnings. Another theme is vertical: Lot's wife as the pillar of salt corresponds with the pillar of fire in the second row above.	Dream of the Magi (n. XV, 23) An angel warns the sleeping Magi not to return to Herod. The Magi look charmingly cozy in their communal bed; it was common practice for travelers to share beds in the Middle Ages. One assumes that leaving crowns on in bed was not quite so common.	The Prophet in Bethel (n. XV, 24) The unnamed prophet in Bethel was warned not to leave the way he came (3 Ki 13:1-9), did so anyway, and was eaten by a lion. Here he prophesies against the altar with a golden calf set up by Jeroboam. He also predicted "a child shall be born unto the house of David." Jeroboam's altar in this panel corresponds with Christ's altar in the second row above.

Presentation of Samuel (n. XV 17) This scene parallels the Presentation of Christ to its right, but there is even further symbolism in the unusual depiction of the Ark of the Covenant on the altar. The lid is open to show its contents: the Tablets of the Law, a pot of manna and Aaron's rod. Christian theologians saw the Ark as a symbol of the womb of Mary.	Presentation of Christ (n. XV, 18) The Presentation of Christ at the temple. This is the usual form of the scene, with Mary handing the Christ Child across the altar to St Simeon. But note the long candles held by the figures on each side, which reflect the liturgical celebration of this event on Candlemas. The faces of Mary and Simeon are modern replacements.	Sower on Stony Ground (n. XV, 19) The first scene of the Parable of the Sower, in which seeds scattered on stony ground are eaten by birds (Mt 13:3-5; Mk 4:3-5). This was originally part of Window 6, which centered on the theme of seeds and the bread of the Eucharist. In its place was the Offering of Melchizadek, now lost.

Ecclesia and the Three Sons of Noah (n. XV, 12) Ecclesia (Church) is shown with the three sons of Noah (Shem, Ham and Japhet), who point to a disc that is divided into three and labeled MUNDUS (World). The inscription read: "From these three sons is one faith in the Godhead. The three measures of meal united are the three persons of the Godhead. Noah's sons ruling for me each in his own part." The three measures of meal is from the Parable of the Leaven (Mt 13:33; Lk 13:20-21), originally depicted next to this panel. In Gen 9:18-19, Noah's three sons repopulated the world after the flood. The medieval Glossa Ordinaria handbook identifies the woman in the Parable of the Leaven as Ecclesia, which is why she appears here.	The Pharisees Turn Away from Christ (n. XIV, 6) The Pharisees walk away from Christ, who carries a scroll reading: "whoever eats my flesh and drinks my blood has eternal life" (Jn 6:54). This scene corresponds with the Sower on Stony Ground that was in the adjacent panel, and refers to the overall theme of Typological Window 6 where this originally appeared: the sower's seeds and the bread of the Eucharist.	The Three Virtuous States Personifications of the Three Virtuous States: Virginity (clean-shaven man carrying Virgo scroll), Abstinence or Widowhood (bearded man with Contintens scroll) and Marriage (bearded man carrying a Coniugatus scroll). This was originally placed next to the Parable of the Leaven in the Sixth Typological Window, along with the Three Sons of Noah on the other side. Each of the three measures of meal in the parable was regarded as one of the three virtuous states, teaching that each state is different but grows to maturity through equal virtue.

Thorny Ones: Emperors Julian and Maurice (n. XV, 7) The Emperors Julian "the Apostate" (361-63) and Maurice Tiberius (582-602) are shown seated with a bowl of gold coins and attendants. The inscription ties this scene with the the Sower on Thorny Ground, saying: "these thorny ones are the rich and extravagant; they bear no fruit since they seek earthly things." Emperor Julian attempted a revival of paganism during his short reign. Maurice made an enemy of Pope Gregory the Great by approving the title "Ecumenical Patriarch" for the Patriarch of Constantinople, and Gregory paired Maurice with Julian in an angry letter. This was originally part of Typological Window 6.	Sower on Good Ground and Thorny Ground (n. XV, 8) Medieval stained glass depicting the second scene from the Parable of the Sower (Mt 13:7-8; Mk 4:7-8). The sower is shown in a contrapposto pose (head turned right while walks to the left) and the background represents one of the most impressive treatments of landscape from the 12th century, with the sloping "good ground" suggesting recession and the rolling hills and blue sky in the background. This panel was originally part of Typological Window 6.	Good Ground: Daniel, Job and Noah (n. XV, 9) The inscription originally read: "God sowed the words of the father: from these his fruit increased on the good ground threefold; his own crown was given to each." This explains the angels crowning the Old Testament heroes Daniel, Job and Noah, and connects the scene with the Sower on Thorny Ground and Good Ground in the center. This panel was originally part of Typological Window 6.