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One of the most beautiful windows in the church is located near the altar, in the sanctuary.
“Abel brought the first born of his flock... as an offering for Yahweh...” (Genesis 4.4)
“God said (to Abraham), ‘take your only child Isaac and offer him as a burnt offering’. ...But God then said, ‘Do not harm him for now I know that you fear God.’” (Genesis 22:2, 12)
“God did not spare His only Son, but gave Him up to benefit us all.” (Romans 8:32)
“Until the Lord comes... every time you eat this bread and drink this cup, you are proclaiming His death.” (1 Corinthians 11:26 -27)
The concept of sacrifice was very important to Hebrews. From the very beginning, they sacrificed animals (oxen and lambs) or crops to God to show Him their loyalty and to ask Yahweh for the forgiveness of their sins. This richly coloured window depicts a brief Scriptural history of the sacrifices offered to God from the time of Abel, in Genesis, to our present-day “Sacrifice of the Mass.” In the top portion of the window, we see Abel, the humble shepherd boy, offering the best of his lambs to the glory of God. Just beneath it is the depiction of Abraham about to sacrifice his son, Isaac, as the Lord had commanded him to test Abraham’s loyalty to Yahweh. In trust and obedience to God, he would have even sacrificed his own son, had Yahweh not stopped him! Artistically joined to it is the sacrifice of Christ on the cross. True to his style, Mr. Goodman does not show us the face or the figure of Christ because Christ is imagined differently by each one of us. We see only the top of the cross with the inscription, two open hands nailed to it, and a heart in the centre surrounded by a crown of thorns. As St. Paul teaches us in the quote from above; every time we celebrate the Eucharist and receive Holy Communion, we commemorate the death of Christ until He returns to judge all nations and so the depiction of a priest, celebrating Mass (with his back to the people) completes the trilogy.
The “Saint Anne Chapel” Window
In the chapel at the north entrance (the ramp entrance) there is a large window that is two floors high. There are no symbols in this window, but on the ground floor, rings of light create a beautiful backdrop for the statue of St. Anne. The section of window that can be seen in the children’s chapel displays large vibrant red panes of glass that suggest flames, or a crown or the petals of a flower and a circle of glass seems suspended above it.
Located in the wall on the west side of the Church proper, near the 4th Station, is the window which depicts the Triune God. In a field of blue glass, representing the heavens in all their splendour, the three aspects of God are artistically represented. On the left side of the window is a royal orb topped by a traditional cross with rays of light all around it. Christ, who is the Light of the World is the crucified Saviour who reigns forever as the King of the Universe. The right side contains the ancient symbol of the all-seeing eye of God, an equilateral triangle with a large eye in the middle surrounded by three rays of golden light. A dove representing the Holy Spirit is at the top of the triangle and is artistically joined with the other symbols with panes of glass unifying the three aspects of God.
(1st Joyful Mystery)
This window is located between the 4th and 5th Stations. It depicts the annunciation of the birth of Jesus to Mary. In the left panel, the “finger of God” points to a young woman who faces an open book for the Scriptures which foretold that the Messiah would be born of the House of David and of a virgin. There is no angel Gabriel, perhaps to remind us that God chose Mary at the beginning of time and only later sent his angel to her. Mary is clothed in red not blue because in ancient art and Eastern iconography, Mary is portrayed in red garments. Her figure is placed in a field of white glass which traditionally represents God’s Grace and Favour.
The “Christmas & Epiphany” Window
(The Birth of Jesus - 3rd Joyful Mystery)
The largest figure in this window is that of the infant Jesus in the manger surrounded by panes of yellow glass which emanate from His manger like a star to remind us that Jesus is the Light of the World and King of the Universe. On the right side of the window are three crowns to represent the 3 wise men from the East who followed the star, and who presented the Christ child with gifts of gold, frankincense, and myrrh. Mr. Goodman put both feasts together as they probably occurred at the same time. Both panels are artistically joined together by the golden rays of the star which is pictured high in the darkened blue sky.
(4th & 5th Joyful Mystery)
There are two temple stories portrayed in this window. Each scene is framed by the familiar and characteristic pillars and arches of the Temple of Jerusalem where both events took place.
The first is the Presentation in the temple, the 4th Joyful Mystery represented by two caged doves which were typically offered as sacrifice in the temple.
“They took Him to Jerusalem to present Him to the Lord... and to offer a pair of turtledoves...” (Luke 2:23-24)
The second temple story is the finding of the Child Jesus in the Temple, the 5th Joyful Mystery.
“Three days later, they found Him in the Temple... His Mother said, ‘Why have you done this to us?’” (Luke 2.46)
The expressive hands on the right side of the window are those of Mary, a worried mother who was happily and greatly relieved after finding her son safe and sound. But, while her left hand seems to gently cradling and comforting her child who is symbolized by the golden orb and white cross, her right hand seems to be “asking” Him the concerned question, “Why have you done this to us?”
(The Agony in the Garden - 1st Sorrowful Mystery)
The Gospels record that Jesus went to the Mount of Olives at night, after the Last Supper, and so the window shows the crescent moon in a darkened blue sky. On the left Jesus is depicted kneeling with his hands resting on top of a rock looking up to a “cup” or chalice pictured on the right side. We are reminded of the words which Jesus addressed to his Father; “Abba,” He said, “if you are willing, take this cup away from me. Nevertheless let your will be done, not mine.” (Luke 22.42).
Jesus was not only divine but also human and experienced the human emotions of fear and loneliness. Olive branches surrounding the chalice denote the peace and reconciliation which would be made possible by Christ’s death. The ray of golden light which emanated from the sky and passes behind the chalice is symbolic of “God’s Will” to which Jesus was obedient despite the fact it was difficult to accept.
(2nd Sorrowful Mystery)
“Pilate’s next move was to take Jesus and have him scourged.”
The pictures are simple but vividly recall the pain and suffering Jesus endured for our sins. The depiction of only the instruments which were used to torture Christ before His crucifixion are enough to convey to us the pain and the discouragement which must have been felt by Jesus before His death. The crossed lashing rods (with metal barbs on the ends of the leather strips) tell us that more than one soldier scourged Him at the same time. The broken pillar on the opposite side, remind us that His liberty was taken away when he was bound to a pillar and then whipped. The hints of red in the window no doubt represent the Blood of Christ that was spilled during this part of the Passion.
(Situated in the Choir Loft)
Donated by the Father Regis St. James Council 9295 of the Knights of Columbus April 5, 1989
“Now that very same day, two of them were on their way to a village called Emmaus. ...Now while He was with them at table, He took the bread and said the blessing: then He broke it and handed it to them. And their eyes were opened and they recognized Him.” (Luke 24:13, 30)
This unique and richly coloured window is centered on the experience of the two disciples of Emmaus who recognized Jesus while at the table and in the “breaking of bread.” By depicting the meeting of Mary Magdalene and the Risen Christ (in the bottom right hand corner), the artist tells us that this event happened on the first Easter Sunday. Proceeding from the scene in a clockwise direction, we see the disciples of Emmaus walking with Jesus but not yet recognizing Him. Then, above the table scene and to the left of it, we see Christ crucified and wearing red coloured Mass vestments instead of the traditional loin cloth around the hips. This teaches us that the Eucharist is always celebrated to commemorate not only the Last Supper but also the death and resurrection of Christ, and that it is Christ, through the presiding priest who actually celebrates the Eucharist for us each time. He is the High Priest. Other symbols abound in the right upper section, but the most important is the one which represents the Church, (the Papal crown and the crossed keys of St. Peter). In truth, there can be no Church without the Eucharist and there can be no Eucharist without the priesthood in union with St. Peter and his successors.
(5th Sorrowful Mystery - East Side)
The crucifixion window uses many subdued shades of blue glass, possibly to give a sense of discouragement and sadness felt by the followers of Jesus and to remind us of the darkness that came over the whole earth prior to the death of Christ. And yet, panes of bright glass radiate from the center of the cross and a circle of bright glass haloes the body of Christ. In the adjoining pane of glass we see the bright red heart of Jesus surrounded by the crown of thorns and reminding us of His words:
“No greater love does one have than to give up one’s life for one’s friend.”
There are also three nails to represent the three wounds made during the crucifixion. In the triangular top portion of the window we read the familiar letters, “I.N.R.l.” (Iesus Nazarenus Rex Iudeorum) the Latin inscription placed by Pilate on the cross, over Jesus’ head, “Jesus of Nazareth, King of the Jews.”
(1st Glorious Mystery)
Located between the 9th and 10th Stations, this window is filled with a multicoloured prism of bright and vibrant light, emphasizing the joy of Easter and the vanquishing of darkness and evil by the Light of the World! The figure of Christ still wearing the burial shroud and raising a white banner with a red cross emblazoned upon it is placed in the left pane of the window. Opposite it is a depiction of the phoenix’s nest of flames. According to an Egyptian legend, when the phoenix’s nest is set aflame by the heat of the sun, and the bird is consumed by it, the phoenix miraculously rises again from its own ashes. For this reason, Christians traditionally used the phoenix as an Easter symbol.
(2nd Glorious Mystery)
“Then after speaking to them, The Lord Jesus was taken up into Heaven and took his seat at God’s right hand” (Mark 16:19)
In the left side of the panel, the Risen Christ returns to His Father. The glory of God is depicted in the rays of light reaching to heaven and the action of ascending from Mount Tabor is shown in the way Christ’s feet seem to be lifting from a stylized mound. The “victor’s cross” (cross with a circle around it) shown in the opposite panel of the window is often used to denote the Christ Who has conquered sin and death.
On the right side of the panel, is a chariot of fire. In the Old Testament is the story of Elijah passing his mantle to Elisha. Before God took Elijah into heaven in a chariot of fire, Elijah prepared his follower Elisha to continue the Lord’s work. Similarly, before Jesus ascended into heaven He prepared his disciples to continue his work.
(The Descent of the Holy Spirit - 3rd Glorious Mystery)
“All were filled with the Holy Spirit. They began to express themselves in foreign tongues and make bold proclamation as the Spirit prompted them.” (Acts 2:4)
The last window in the nave depicts the Pentecost when the disciples were visited by the Holy Spirit and tongues of flame appeared over their heads. The Holy Spirit is shown in the form of a white dove at the top of the window. A figure on the left looks up to see the Spirit and seven tongues of flame which can represent the seven virtues which are gifts of the Spirit used to bear witness to the Faith. These are Wisdom, Understanding, Right Judgement, Knowledge, Fortitude, Piety and Reverence for God.
(Donated by the Corpus Christi CWL December 8, 1989)
The Sacrament Windows are found on the East wall in the sacristy and in the east chapel.
“At Cana... the steward tasted the water, and it had turned into wine.” (John 2:9)
“...He breathed on them and said; Receive the Holy Spirit whose sins you shall forgive, they are forgiven...” (John 20:23)
“If one of you is ill, he should send for priests of the Church, and they must anoint him with oil.” (James 5:14)
The artist illustrates the Sacrament of Marriage by masterfully depicting the miracle of the wedding feast at Cana. He does this by simply showing two gold wedding bands and three carafes, one of which seems to contain plain water; the second one, water with pink tinge to it (as if the liquid was gradually being transformed into wine); and finally, the last carafe filled with a deep red burgundy.
In the adjacent pane, Mr. Goodman depicts the Prodigal Son being embraced and forgiven by his father. This illustration together with the “golden key” below it, teaches us that the Sacrament of Reconciliation not only forgives sins but also reconciles the sinner. The key (like the “keys of authority” given by Christ to St. Peter) traditionally symbolize the power and the authority given to the Church to forgive sins and to reconcile in the name of Christ!
It is in the small pane of glass in the left bottom portion of the window that Mr. Goodman depicts the Sacrament of the Anointing of the Sick. Jesus said that He was the Alpha and the Omega, the beginning and the end of our lives. And so these two Greek letters placed together and surmounted with a small container of blessed oil represent the artist’s perception that the Sacrament is to be used primarily as the final anointing or as “Extreme Unction” received at the end of our earthly life.
“Unless one is born again through water and the Spirit, he cannot enter the Kingdom of God.” (John 3:5)
“...and something appeared to them that seemed like tongues of fire... and they were all filled with the Holy Spirit.” (Acts 2:4)
It is the Spirit of God, traditionally represented by the white dove and a burning flame, Who comes to us in both the Sacrament of Baptism and in Confirmation. Mr. Goodman artistically illustrates this connection by “connecting” both window panes with a golden halo and a beam of yellow and white light which emanate from a vibrantly coloured red flame. John the Baptist is represented in the right window pane, standing in the waters of the Jordan River, ready to “baptize” Jesus, his raised right hand holding a water-filled shell. It was the Baptism of John, a Jewish ritual, which later became our present-day Sacrament. Not only does Baptism give us new life but it is also the Sacrament of Initiation in which the person baptized makes a commitment of fidelity and loyalty to God and to his Christ. Because most are baptized as infants, this commitment is made by parents and godparents at Baptism on behalf of the child. It is “confirmed” in the presence of the Bishop and the Parish Community later in life by the baptized person. Confirmation also confirms the faith of the person and, through the anointing with Sacred Chrism, the Spirit of God descends upon him/her as it did upon the Apostles at Pentecost.
The figure in the left panel is not Christ, but St. Andrew, the Apostle, who has just received the five loaves (and will receive the two fish) from the young lad just prior to the miracle of the multiplication of the loaves. This version of the story is found in John’s Gospel 6:1-15. We know the artist wanted to depict St. Andrew in this panel because he has placed a white “X” shaped cross on a blue shield in the panel below the Saint. Andrew was crucified on a cross shaped like an “X” and the Scottish people who honour Andrew as their patron saint use this cross on their flag. It is commonly believed that this miracle mirrored the Sacrament of Communion because it is in the Eucharist that Jesus continues to feed the multitudes with the “Bread of Life.”
Found in the sacristy is a window that is devoted to the Sacrament of Holy Orders. From the top center extend two arms with hands bearing the wounds of the crucified Christ. It was Christ who initiated the Sacrament of Holy Orders. The responsibilities of a priest are depicted on the left with a book covered by a priest’s stole and on the right by a host and chalice. A priest is ordained to preach the Good News and to celebrate the Mass through the consecration of the Eucharist.
These windows were designed and completed by Mr. Goodman, his son Chris and daughter-in-law Angela. You can detect the difference in artist. These windows have more “picture” to them.
The “Corpus Christi” Window
The window over the entrance shows a stalk of wheat and a bunch of grapes to represent the bread and wine of the Eucharist which will be consecrated as the Body and Blood of Christ or CORPUS CHRISTI. The symbol Chi Rho which consists of the intersection of the first two Greek letters of Christ Chi (X) and Rho (P) is also depicted in the window.
“Now as they went on their way, Jesus entered a village; and a woman named Martha received him into her house. She had a sister called Mary, who sat at the Lord’s feet and listened to his teaching. But Martha was distracted with much serving, and she went to him and said, ‘Lord, do you not care that my sister has left me to serve alone? Tell her then to help me.’ But the Lord answered her, ‘Martha, Martha, you are anxious and troubled about many things, one thing is needful. Mary has chosen the good portion, which shall not be taken away from her.’” (Luke 10: 38-42)
On the east side of the Narthex is a window showing Martha and Mary with Jesus. In this story, Jesus admonishes Martha to get her priorities right; “for while service to others is important, to listen to the Word of God is the most important thing in our lives. Christ is always in our midst and wants to speak to our hearts. We can listen to Him by meditating with faith on Sacred Scripture, recollecting ourselves in private and communal prayer, pausing in silence before the tabernacle, from which He speaks to us of His love. Especially on Sunday, Christians are called to encounter and listen to the Lord. This occurs in the fullest way by participating in holy Mass, in which Christ prepares for the faithful the table of the Word and Bread of life. But other moments of prayer and reflection, of rest and fraternity, can usefully contribute to sanctify the day of the Lord. When, by the action of the Holy Spirit, God takes up his dwelling in the heart of the believer, it becomes easier to serve brothers.” Pope John Paul II, July 19, 2004
The “Jesus Blesses the Children” Window
On the west side of the Narthex is a window depicting Jesus blessing the children.
At that time the disciples came to Jesus and asked, “Who is the greatest in the kingdom of heaven?” He called a child, whom he put among them, and said:
“Truly I tell you, unless you change and become like children, you will never enter the kingdom of heaven. Whoever becomes humble like this child is the greatest in the kingdom of heaven. Whoever welcomes one such child in my name welcomes me.” (Matthew 18:1-5)
Jesus tells us that we must be humble before God. We must let God, our heavenly Father, guide us in our lives.
The windows at the side entrance represent the Apostles Peter and Paul with the symbolic crossed keys and upside-down Cross (Peter) and the sword and Bible (Paul).