The Stained Glass Windows
of St. Andrew’s Presbyterian Church, Whitby

The Stained Glass Window project committee consisted of Catherine Schell, Madge Wilson, Lloyd Campbell, Hugh Watson, Roy McMahon, Steven Reynolds and Rev. W.J.S. McClure. Deliberations of the committee began with the consideration, that windows not only beautify the sanctuary, but be a means of inspiration to the worshipper. The proposed windows should tell a Biblical story that includes Old and New Testament incidents of particular significance. Also noted was, that the North side of the sanctuary reflect Old Testament references and the South wall depict New Testament scripture.This Committee visited many churches that had stained glass windows to compare the work of different artists. There was one definite conclusion from this exercise, that the work should suit the architecture of the Cochrane Street building. The windows should not be too modern nor too traditional.The next step was to invite several stained glass artisans to visit and discuss this project. The decision was made to work with Mr. Russell Goodman of Scarborough. The committee was impressed that Mr. Goodman’s talent was discovered in 1943, at the age of 18, sketching in the medium of pen and ink. He was creating his work along the north side of Lake Simcoe when a man from Robert McCausland’s Stained Glass Studios, on John Street in Toronto, approached the teen. After refusing an offer of an apprenticeship, Russell Goodman visited McCausland’s studio a few months later and was immediately excited at what he saw. Goodman took the job and his brilliant career as a stained glass designer and artist was launched. With the guidance of European artisans, he learned to paint on glass, draw full-scale cartoons from designs and also to cut glass. This European influence also included his becoming aware of the popularity of modern styles in his art form. Thus, at the age of 27, Goodman was designing and directing the installation of windows while continuing employment at McCausland Studio. In 1952, he entered an exhibition at the University of Toronto’s Hart House, and when the writer, Pearl McCarthy of the Globe & Mail Newspaper praised his work; Russell Goodman’s career soared to new heights. He designed and installed stained glass windows in St. John the Divine Church in Verdun, Quebec, twenty-eight huge windows in an extended care/ senior citizen's home, Providence Villa Hospital on Warden Avenue, Scarborough, The Sisters of St. Joseph’s mother house on Bayview Avenue, and in St. Ansalm’s Church in Leaside, Toronto.Demand for his talents were so heavy, he decided to slow down the pace because the quality of his work was endangered. Mr. Goodman formed a family guild of stained glass artists. He moved to Ottawa, lived in a rented house and his whole family worked on twelve windows in the House of Commons. This was quite a change for the Goodman family! Mark, the eldest son, left school to help his mom and dad; the other two sons worked evenings and weekends. Nancy (Mrs. Goodman), a graduate of the Ontario College of Art, did much of the glass cutting and training of assistants. “I don’t know what I would have done without her.” Russell Goodman said. Ten of the windows in the House of Commons are more than two stories high. Each window represents one of Canada’s twelve provinces. If you visit his work, you would see that as the sun hits the inch-thick ‘chunk glass’ from which they are made, the coloured pieces glitter like gems. There are three to four thousand pieces in each ‘Goodman window’. The Ottawa project took three years to complete. Goodman’s son Chris and his wife Angela now carry on the Goodman family guild of originality and innovation.Another very interesting aspect of Russell Goodman’s career was an increasing devotion to Christianity. He didn’t begin his work as a religious man, but as he consulted with church committees, he was encouraged to study the faith, research scriptures and identify its symbols. In this process, he grew to love Christ. “I do believe very strongly,” he says. “How could I not? When you draw Christ as many times as I have, you get a feeling for Him.” He went on to explain that a stained glass window is "a message to people. What I'm really trying to do is give a sermon in the window.” That’s the man who is the artist and craftsman behind the St. Andrew’s windows. In the year 1989, Russell Goodman was named to the Order of Canada, in honour of the "exemplary merit" and "achievement" he had shown as a stained glass designer and artist.

"Click on the window of your choice to read more about it "


An Interpretation of the Window Artwork

Our sanctuary windows are illustrated with the Old Testament being depicted on the north of the building and the New Testament shown on the south. Positioning of the church building dictates that the north-side windows allow less sun in and are darker than the south side. Whether you can notice it or not, Mr. Goodman purposefully used lighter hues and colours on the north side to balance this effect. This, from a point of artistry is an interesting thing to look for. Flowing lines throughout the work spanned the wooden frames and created unity to each window of three panes and to the entire story.
All of our glass was hand picked from the finest stocks available in England, France and West Germany. Our use of one inch thick slab glass was no easy task to cut, face and work into the lead cames, but the artist felt that the overall effect was worth the extra effort. All this work was turned out much in the same manner as the twelfth and thirteenth century, there are no ways in which to cut corners or modernize this ancient craft.

On the north-side wall of the sanctuary, the most westerly window is titled, “Creation, Noah and Offering of Isaac”. There are three main panes of glass and the three scriptures that are the basis of this window are: (a) Genesis 1- 2:22, (b) Genesis 8:8 and (c) Genesis 22:1-14.

The committee simply gave the artist these scriptures and a few suggestions for emphasis, such as, a request that Adam and Eve not figure too prominently, as God created all. In the second pane we asked that the emphasis be placed upon the dove as a scriptural symbol of the Holy Spirit. For the third pane, we offered a note that the illustration not portray Isaac on the alter, but rather obediently preparing the items needed. The artist produced "cartoon" drawings which the committee or donors accepted or modified.
People in our congregation often wanted to donate to the windows that they sat nearest as a family.

 Window #1 - CREATION –Genesis 1-2: 22 (North side & West- first panel)

(click on thumbnail image to view larger picture)    

This window would be on the right hand side of the sanctuary as you enter. 
All windows on the right side depict Old Testament stories.

When you look at the finished results, please note the hand in the top left corner. This is a symbol of the Hand of God, the Father, which has a flowing set of lines that continue throughout this window, from Creation, the Divine origin, to the final window with Resurrection. This suggests God’s design in all of life and throughout all time. Beneath the Hand of God, are the universe, the sun, moon, and stars. Below, all was in chaos and darkness reminding us of the first need: light. More swirling lines come from a cloud, which indicates a dimness of our knowledge of God through the Old Testament prophets. This first pane shows below this, skies with birds and the earth with mountains and various animals. Looking further down, the seas are depicted.
It is in the lowest part of the first pane, that Adam & Eve are shown in the their state of innocence. Mankind is still dependent upon, and responsible for, the management of nature. There is a river flowing forth from Eden. A vertical line has been drawn to separate the humans from the waters and the next part of God’s plan. In the bottom right of the first pane, the symbolic snake is crafted into the storyline. We are reminded that God has always given us free choice and that temptation started at the very beginning and can be resisted. This scenario is quite subtle, in fact, sin is disguised, but we should be reminded that the ‘snake’ is appealing to their (our) curiosity and pride: sin appears harmlessly clever. The winding lines throughout the glass show a distinct ‘breaking with God’ for the couple. The debased nature of sin separates us from our Loving Father indicated by the glass design- Adam and Eve are in a separate section of the window. The bowed heads show repentance and the fig leaves that cover their body are among the largest in Palestine.

NOAH – Genesis 8:8-12 (Window #1, North side and West- centre panel)
Noah is illustrated greeting the returning dove carrying the olive branch. This reminds us that God kept a remnant of His people and the rainbow symbolizes His pardon and a promise to never flood (destruct) the populations again. The swirling lines suggest reconciliation with the human race. Noah’s hands are raised as he thanks God for deliverance and for remembering him and his family. Below Noah are two beavers, included on Rev. McClure’s suggestion, that God reinstated animals as well as the people. These animals are symbolic of our country too. All these figures are lifted up above the chaotic scene of the floating ark. God has sustained Noah; He is the merciful, creative God. The ark is shown floating despite the pummeling rains and raging sea. God’s swirling Spirit sweeps around the ark reminding us that He is with us in all life’s storms. Two more depictions of wildlife are seen in the two fish, (two of every kind) and these symbolize Christians even to this day. The fish are swimming - the flood stifled the breath of everything else; through the waters of baptism, Christians rise above and beyond sorrow and sin. Notice the thistle in the corner; the symbol of earthly sorrow and sin and also our Presbyterian heritage has roots in the Scottish part of the world and it is used often as a symbol for Scots. 

OFFERING OF ISAAC- Genesis 22:1-14 (Window #1 North side and West- 3rd panel)
This panel shows us the climax of Abraham’s faith. With a pained expression, he has completely surrendered his will to God’s leading. Nothing would stand between him and his God. The son, Isaac though perplexed, has obediently carried the wood for his own sacrifice and is shown, submissively, on his knees. Together they try to understand God’s leading, believing that God will provide.
Centre right, the ram is hidden in the bushes behind the illustration of Abraham. Symbolically, neither person can “see” how God will finish this time of testing, but God provided (the ram) the sacrifice.
Please note the seeds on the swirling lines above the man. God had promised Abraham that, “I will multiply thy seed.” This first Patriarch carries light in the form of a torch. Light has always been symbolic of truth shining through history, the current age and to coming generations. The top of the pane is very futuristic, in that the crosses symbolize the 12 disciples, allowing their light, and their witness to flow down the center of the panel. God in his Holy Trinity is symbolized in the triangle above the humans. Each side represents one third: The Father, The Son and The Holy Spirit. The sides are equal length, showing equality in power, and glory (shorter Catechism # ?). Jesus’ sacrifice is being shown to be already decided for the future. God woul provide His Son as the Sacrifice for our sin. The illustration of Jesus is up high alongside the triangular symbol of God. 

This entire first window, of three panels, was donated by the family, in memory of F.H.M. and Mrs. Irwin and dedicated on the 12 of April 1981.

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Window #2 - MOSES, RUTH and SAMUEL  (North side and Centre,)

The second window on the north side of the sanctuary is also illustrated with the scenes from Old Testament scriptures. The theme might well have been called “ Providence , Faithfulness and Listening To God”. The scriptures given to the artist as the foundation of this work are: Exodus 2, 3, 20; Ruth 1-4 and 1 Samuel 3:4-19.  Look for the artist's use of lighter hues and colours on the North side windows than on the South side of the sanctuary.


MOSES: Exodus 2, 3 & 20 (Window #2, North side and Centre- first panel)
What’s the first thing that comes to mind when we think of Moses? Perhaps it is The Burning Bush, the Ten Commandments and for the youth, the first thing they remember is about him being found as a baby in a little basket or ark of bulrushes. Russell Goodman had illustrated these very scenes. The stained glass shows when Moses was at the mercy of the Pharaoh’s daughter. (Note the fine robes, beads and crown whereas the servant is in plain dress about to pick up the baby.) The window behind the bulrushes depicts a royal palace. Instead of being killed, Moses is to be lifted up by the providence of God and restored to a very prominent place. The swirling lines of God’s Spirit connect this panel to the previous window and to the next pane to the right. As Moses lead the Hebrews out of bondage, we can see the connection that with Jesus we too were lead out of the bondage of sin.  We are reminded that God is working out His plan of salvation.
The artist has depicted, because of our Presbyterianism, the prominent, elevated placing of this unique design for the Burning Bush. The bible says that the bush was burned but not consumed. It is interesting that an artist could illustrate that without any words. Notice the flames and also the leaves, still green and growing. This is central to the life of Moses because from the burning bush, God spoke to him and gave him his life’s commission. The two tablets of stone (with Roman numerals one through to ten) are shown to symbolize Moses work of giving his people the rules that God wants all people to follow.  The theme of " Providence " is depicted by the two ladies and the baby in an ark of bulrushes.

RUTH- Ruth 1:16-17 & 2  (Window #2, North side and Centre- center panel)

In the center window, we see Ruth and Naomi prominently at the bottom and to the front of the panel. The swirling lines remind us of God’s purpose at work in their lives. Ruth is in simple dress and is at work gleaning a meager subsistence. Naomi is holding a full sheath and is well provided for. Their faces are stoic, as they are poor and widowed. It is the faithfulness of Naomi as she returns like a prodigal to the land of her people, and the faithfulness of Ruth (on her knees!) to stand by her mother-in-law and worship ‘her’ God, that shows us what kind of people God can work through.  Hebrew symbols on the scroll remind us that God is the Alpha & Omega, the beginning and the end. He is working His purpose out. The book of Revelation uses this terminology frequently and ties this Old Testament story to the days in the future. A harp is symbolic of King David, not yet born. Ruth and Boaz are instrumental in God’s will that the line of David be established. Jesus will come from this humble line because Boaz had the discernment to follow the leading of the Holy Spirit, befriending Ruth and then marrying her (ring around the 2 figures at the top) acting as a kindred redeemer. In this same way, Jesus was given to us to redeem us like none other. The ring around the new couple is symbolic of marriage, and eternity as a circle is unending. In that circle, the artist is portraying God's mind being worked out.
AMUEL- 1 Samuel 3:1-10 (Window #2, North side and Centre, third panel)
The artist depicted two pictures of Samuel: an elderly Samuel and a young Samuel.  The top illustration shows a mature Samuel chosen as a Judge of Israel. He sits on a throne with an expression as if he is looking into the future. He has a stylus and is about to write the message that he has been listening to, upon a scroll. Like God, he listened, had to make judgments (using the 10 Commandments) and wrote for the people’s benefit. There is the Trinity triangle and the Eye Of God drawn in mid-panel and we are reminded that God is watching over all. The lines going out in all directions symbolize God seeing all. The words, “I Am That I Am” (God is unique) are the ones given to Moses, so these two stories are linked by Goodman’s artwork. Young Samuel is kneeling (in humility) and praying (in thanksgiving) and looking up to God. He hears God's voice and responds, "Speak Lord, for thy servant is listening."  We are reminded with this illustration that both young and old should listen, expecting God to talk to us and say something important.  God uses both young and old to do His work. Samuel listened and acted even when the news he had been given was not good to the ears of his mentor, Eli. (His sons weren't living right.)  
Margaret Sills and her brother Mel Boyd, in memory of Jack Sills, her husband, and their parents, Thomas and Mary Jane Boyd, donated this window of three panels to the church. It was dedicated to the glory of God on the 15th of October 1989.

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Window #3 - DANIEL, DAVID and THE PROMISED MESSENGER (North side & East )
The beam of colour, from the mind of God, can be seen in the first panel through the middle of the center panel (David) and down through the right panel (John the Baptist in the book of Malachi). This beam is directed from these Old Testament windows toward the New Testament and Jesus, which is on the south side of the church.

DANIEL- Daniel 6: 1-17(Window #3, North side and East- first panel)  
The artist has depicted Daniel, the prophet of interpretation, with his hand on his heart and a contemplative look upon his face. He is not worried; he’s at ease, in fact within the lion’s den. The lion, king of the beasts, is very close to his body. Shafts of light are shown in colours that send the message that God is watching and protecting Daniel. Down the center of the panel, the illumination suggests the watchful eye of God upon the captive. We are reminded that God’s eye of protection is upon us too. The ram in the circle is a bit more difficult to interpret. (Daniel's vision of the ram and the goat are from chapter 8.) The word ram means “high and elevated” in Aramaic.  Daniel, we are reminded saw visions and he saw a vision of a ram with 4 horns that did as it pleased and was very dangerous. God allowed Daniel to see the political future of the world. The Medo-Persian Empire was to rule the world for a time, but we can see this symbol and remember that God rules kings and kingdoms. The rings around the ram illustrate how time unfolds and expands like ripples in a pool of still water. Note the open door to the den. This is a symbol of hope and God’s protection. As history unfolds, the mind of God is being revealed and put into the experience of mankind. There are still mysteries in life, and some issues and results will be sealed to the end of time and those who would wait, would receive blessing.
Sylvia & Stamos Stylianoudis donated this window, in memory of Sylvia's daughter, Gillian Kerruish and Sylvia's father, Hugh Murray Savage. 


DAVID- Psalm 81(Window #3, North side and East- center panel)  
This panel shows King David the music maker in the middle of the window. His face reminds us of his youth which was well documented in the scriptures. The harp is symbolic of joyful worship (joy in heaven) and of the many psalms attributed to David. The sheep remind us of David’s humble beginnings. Samuel anointed David at Bethlehem , the place where Our Lord would later be born in a humble stable.  He wrote songs of praise to God while he tended flocks. We are like sheep that often go astray. David, like Jesus mends our wounds and brings us back into the fold. David is sharing the same brilliant light that shone on Daniel; this beam of light is from the same origin- God. David's crown is a symbol of kingship. David was prophesized to be a ruler; it was definitely not by birth rite. The very top shows the city of David , the very holy place: David brought the Ark of the Covenant there. Outside the wall, a shaft of light comes in at a different angle. Think of a hill called Golgotha , the Place of the Skull outside the city wall, and what will be Jesus' place of sacrifice. A city is symbolic of stability and prominence of the Church and as an influence in the world. (Matt. 5: 14-16) The horn at the bottom of the pane reminds us of God telling us that he would raise up a horn of salvation (Jesus) for us, in the house of His servant David. (Luke 1: 69)  There was the promise that David would be an ancestor of Jesus Christ. The horn was often used to carry the oil used to anoint others. (Samuel anointed David as king.) Notice the footstool that David rests his foot upon. It had been his wish to construct the temple for God- a footstool for the Lord. (1 Chronicles 28:2) but as David was a warrior king, this wish was not to be. Footstools are symbolic of conquering, which his armies were able to do. (A footstool can be a place of worship too.) We were reminded to sit at God’s right hand until He made our enemies our footstools. (Ps. 110:1)
Marjorie Frost donated this panel in memory of John Robert Frost, husband and longtime Clerk of Session at St. Andrew’s


THE PROMISED MESSENGER- (JOHN the BAPTIST) Malachi 3:1, Mal. 4:5,6 
(Window #3, North side and East- third panel)
This panel acts as a link between the Old and New Testament parts of the Bible. John came announcing Jesus was in their midst. His flag says “Behold the Messenger of the Lord” in Latin. The flagstaff is drawn in the shape of a cross. The figure is wearing camel hair and the grasshopper is symbolic of his diet. John ate locusts and wild honey. What better symbol of the sweet comb is there than the hive and the bees flying in close proximity? Above John’s head is a capital “P” with an “X” midsection. These are symbolic of the first two letters of Christ’s name, Christos, in Greek. Alpha and Omega, beginning and the end of the Greek alphabet, symbolize God being eternal. This time the letters are re-introduced, joined to the initials of Christ. Jesus is also shown as being eternal. John is the forerunner to Jesus and John called for repentance, as the kingdom of heaven is at hand.  Here, we have the end of the Law and the Gospel is about to begin. John Harvie donated this panel in memory of his wife Vera Jean. She is remembered as a Sunday school teacher, President of "Presbyterian Women" and a member of the Board.  The entire window of three panels was dedicated on October 28th, 1990 .

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 This window would be on the left hand side of the sanctuary as you enter. All windows on the left side depict New Testament stories.  

Window #4 - THE NATIVITY- Malachi & St. Luke 2 (South side and East- first panel)
In the bottom left of the panel, there is a Christmas rose, which is a symbol of Messianic hope, love, Jesus’ nativity, paradise, beauty and the number of "5" petals are symbolic of grace. There exists a "mighty power" which can shape a rose and lead shepherds to a King. More flowing lines join all three panels; up from the Christ child, over and through the other two panels. This is the orderly planning of God toward man's salvation.  At the top left, there is the Bethlehem Star that shines down on the Virgin and The Babe. ("The Holy Spirit would come upon her.") This symbol guided the shepherds and later the wisemen. (Malachi 3:1) Three crowns remind us of their high position and the three gifts that they presented in homage to the Holy Child. The crib or manger is symbolic of humility, but we are reminded that royalty had been seeking Him. Mary is wearing the traditional colour of blue and is pondering the importance of sayings and circumstances concerning the future of her child. Scripture teaches us that she treasured ‘all these in her heart’. Jesus is shown with a nimbus or halo denoting His holiness. The image of the Child is a strange form for God "among us". We are often unaware of His presence. None other ever lived as perfect a life, nor will any of us ever be able to achieve such a godly nature.

This panel is one of three donated by Ally (Albert) and Ethel Walker.


IN THE TEMPLE – St. Luke 2:43-47 (Window #4, South side and East- centre panel)
The lamp at the very top is a symbol of intelligence, learning and also a light to remove darkness. The lamp symbolizes the Word of God, directed to Mary about her special Child; Jesus was told about His mission to the world; John was informed about his role in God’s plan; we also are enlightened about our mission in life: to share the Word to all and bring others to a saving knowledge of Christ.  Below the lamp are two windows of the temple. These are symbolic of how Christians are at their best open to good thoughts and words, and closed to things that would harm. A window provides protection against the wind and rain, while allowing the light to shine through. We must protect our minds and still allow our light to shine to the people around us. Two mature figures portray the religious and legalists (learned people) of His time. Their hands and faces show resistance and amazement. Young Jesus is pointing to scripture with one hand (expounding) and reaching or seeking the truth about His life and about His Father's business. The scroll in closed and in possession of another. The book symbolizes the Bible and it is shown open and accessible to all.

This panel was donated by Ally (Albert) Walker after his wife Ethel had died.


BAPTISM IN THE JORDAN- St. Matthew 3 (Window #4, South side and East- third panel)
In the top right, a descending dove symbolizes the Holy Spirit coming down from heaven with power and peace. The lines of light radiate from a circle (God's trinity), toward the two figures standing in the water. The Holy Spirit comes down on those committed to Him, to fulfill God’s plan for their life. Doves are traditionally the offering of the poor and lowly.  The shell is a symbol of baptism and there are rivers of water flowing from the vessel. This shows divine blessing on Jesus, known as the source of Living Water. John is raising his hands above Christ, not only to baptize, but also to show worship. The bulrushes, a lowly common and thickly clustered plant that cannot grow without water reminds us of our need of Living Water. They reappear to symbolize the great multitude of the faithful who lead a humble life and stand by God’s cause and abide by the teaching of His church. Bulrushes and salvation are associated with each other since the days of Moses. Jesus has a posture of submission and reminds us of our need of baptism. You may notice that John still wears his camel hair garment, but it is covered with a red shawl. This red garment is soon to appear in the stained glass portrayals of our pictures of Jesus. It shows the mantel that John carries being handed off to the ‘new’ Leader. Followers of John were encouraged to follow Christ.

Ally (Albert) Walker donated all three panels of this window after his wife Ethel had died.. The window was unveiled and dedicated on Sunday June 8, 1986 .

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 (Window #5, South and Center)

Window #5 - CALLING THE DISCIPLES- (ANDREW) - St. John 1:41 & Matthew 4: 18-20 (South side and Center -first panel)
This middle window on the south wall ofe the sanctuary depicts more on the life of Christ. The theme that runs through this panel is Jesus as "The Missionary".  Notice the figure of Jesus with the traditional halo. One hand is raised and the fingers are in a sign of Peace. His hand and face  suggest that Jesus is saying, “I have a plan for you.” Our stained glass windows always show Jesus in bare feet. This is a symbol of humility and poverty. The second figure is the first disciple, Andrew, who had been seeking the Messiah. His eyes are focused on His Leader and he is not as tall as Christ. This shows subordination. Our church is named after this follower of the Lord. Andrew has nets to show his job at the time. Nets symbolize the scripture “Follow Me and I will make you fishers of men.”  There are the words, 'Follow Me' in the bottom corner of the panel.  Two fish are illustrated in the bottom left corner and their tails are crossed. This cross mirrors the shape of the St. Andrew’s cross. Christians often use the symbol of fish to symbolize their faith. Single fish represent the Saviour, whereas several fish symbolize the faithful Christians.  Waves of water are near the feet of the figures. Water is used in baptism; cleansing (of sins), refreshment and we have scriptures telling us that Jesus is the Living Water. Swirling lines in the panel tie the three panes to the entire story being told on all the windows. Above the men, there is a ship with sails. It is a fishing vessel and a symbol of The Church. The sails allow the boat to move and we are reminded to go out in missionary service. The mast has a cross at the very top to show the strength of this vessel’s backbone. Church steeples and ship masts are similar because of their height. The long body of a church is referred to as the nave: the word “nave” was derived from Latin (navis), meaning ship.  The water at the bow is not smooth (Jesus stilled the storm on Galilee ), and this shows that the Church will experience turmoil, persecution, heresy and schism. Though we are tossed in the storms of life, God’s people will remain afloat if we rest in His protection.  There is a shield in the right top corner, (the national cross of Scotland reminding us of our heritage). Tradition tells us that Andrew requested that he not be killed exactly like Christ’s sacrificial death. Andrew’s cross was rumored to be more of an “X” than that of a “T”.  

Walter (Elder, Trustee, Clerk of Roll) and Grace Porter donated this window panel, which was dedicated on September 20, 1981 .


MARRIAGE AT CANA St. John 2: 1-11 ( Window #5, South side and Centre- centre panel) 
The theme for this window is "Marriage and Family". In the top left corner of this panel, there is the word, Cana to remind us of Jesus’ first miracle. He is above all the other figures to symbolize His deity. His left hand points toward Heaven and God the Father, declaring the solution. We are reminded that His power was derived from the power of the Holy Spirit. The water jugs tell the story of the wedding where wine had run out. Mary, the mother of Jesus, requests that He save the host the embarrassment of this situation. We know how Jesus will save all people who come to understand Him as The Saviour. Mary’s hand is over her heart declaring the difficulty and she is the one who treasured all things in her heart. She could not be sure what her son would do, but her faith could trust that He would come to the (our) rescue. The kneeling figure shows the posture of a servant. We should be servants for God’s kingdom. The servant filling the water jugs shows obedience and this is one of our mandates toward Jesus also.   As Jesus performed His first miracle at a humble home and then mostly in secret, we are given a wonderful example of how our quiet actions and lowly station is seen and blessed by God.  Changing water into wine is an example to us that Jesus was not a severe ‘killjoy’ and he attended joyful occasions such as weddings. The wine Jesus offered was noteworthy! Everyone thought that the host had left the best to the last. Life with the Holy Spirit indwelling us is ‘sparkle’ and there is a new quality. New Life is exciting, exhilarating and full of wonder and Christians need to show the joy of their faith. Every believer can know the change in life, like water being changed to wine. The positioning of the figure of Jesus shows that He is above and able for all situations; Head of the house and family; has blessings for all people. Note the intertwined rings in the right bottom corner. Gold shows purity. Circles and rings symbolize eternity and the linking of the rings indicates unity. As in a marriage union, our devotion to Jesus joins us to the Family of Believers with God as our Father.

Hugh Watson donated this panel in memory of his dear wife Margaret. The dedication was performed on 20 September 1981 .


SUFFER LITTLE CHILDREN- St. Matthew 19:14 (Window #5, South side and Centre- third panel)  
The third panel of this window shows the figure of Christ with three children. The children had been brought to Jesus for blessing and we are encouraged to do the same with our offspring. No human is too young or insignificant for His care and interest.   His hand is upon them in a caring fashion and in blessing. These are the hands that have cured lepers, returned sight to the blind, lifted up the crippled and paralyzed and brought peace to the deranged mind. None of our shortcomings are too overwhelming to separate us from the restorative power of this ‘hands-on’ Caregiver.  Jesus is pictured with His eye fixed on the faces of the children. This shows that Jesus cares and listens to the needs of His littlest family members. Jesus is never too busy or too tired to give Himself to anyone, and no one is ever a nuisance to Him. This is an excellent example of how to love- the way that Jesus loved children. The faces show different ancestry and symbolize all nations, and show them relating to Jesus. Jesus is the kind of person children love. We can be reminded that all of us should approach our love of Christ as simplistically as children come to know Him. Above the head of Jesus, we can see a shield that bears the cross of Christ, which is a symbol of protection and faith. We are protected from God’s righteous judgment through Jesus’ finished redemption.  The opposite corner shows an anchor cross. This is a cross of Hope. In Hebrews 6:19, Jesus is referred to as our ‘sure anchor’. An anchor like Jesus, assures the believer that we will not be tossed back and forth or run aground. The points of the anchor point up to remind us to look to God. There is a red carnation in a bottom corner to symbolize pure love and charity.

The Wilson Family donated this window panel in memory of "Bird" (Alicia) Wilson . The work was dedicated on 20 September 1981 . 

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 Window #6     “THE LAMB OF GOD”  (South side and west)

  THE CRUCIFIXION- St. Mark 15: 21-26 (South side and west – first panel)
At the top of the cross, there is the inscription I.N.R.I. that is short form for “Jesus Nazarenus Rex Iudaeorum”. This reminds us that the charge against Christ was that he was “Jesus of Nazareth, King of the Jews.” Distressingly, this King of ‘another Kingdom’ is undeservedly treated as the lowest of criminals.  Jesus has a sun and moon on either side of Him, signifying that the darkness and light were upset when He died. Nature couldn’t bear to look at what was happening. A careful study of the figure of Christ on the cross shows great suffering: dying of hunger and thirst: bended knees indicate pain. There’s no limit to God’s love: God loves us like that. The three-rayed nimbus on the back of Christ’s head indicates His deity. At left, the  foot of the cross has a grapevine to symbolize the lifeblood of Christ and that He is the true vine. Illustrated is the robe,(tradition says it was woven by His mother) and our artist has the red fabric apparently spilled upon the ground like so much of the Holy blood. This clothing was too valuable to tear up. The Roman soldiers gambled for this garment. We often focus on the ‘material things’ and miss the most valuable rich grace, right in front of our eyes. The soldiers missed the value of Jesus, having taken their eyes off Him to covet one of His earthly possessions. The dice denote the gambling and the number three is on the topside. Three is the number of the Trinity. More swirling lines between the glass move toward the next pane and tie the entire story together. Donald and Neil Wilson donated this panel in memory of their parents Don & Madge Wilson. The dedication was made on 7 May 1989 .


RESURRECTION- St. Mark 16 (Window #6, South side and west- center panel)
The top of the panel shows the three crosses and the hill where Jesus was killed between the criminals. The sun, (a symbol of Christ’s rising) behind the crosses, tells of a new day and a fresh beginning. A single woman (Mary) is illustrated with an arm outstretched as if asking for explanation: if He ascended, will He still have a place in His heart for me?. We are often questioning, doubting and looking to God for answers. The angel’s one hand points to the empty grave; the other pointedly asks, “Go and tell that Christ has risen.” God sheds light on death’s darkness and the confusion of His followers and wants to relieve their sorrow and grief. Scripture tells us to “go our way and tell the good news of God in Christ.” God wants all people of all time to come to Him and be saved. Both figures are outside the empty tomb. Beams of light from above shine into a traditional place of darkness and death. This is symbolic of hope. More swirling lines follow the contours of the mountains, into the other two panels. On the left is the hill called Calvary and to the right is the Mount of Olives where Jesus ascended. Jesus was lifted on the cross, raised from the grave and elevated to Heaven. Clouds in the middle of the panel over the grave symbolize the act of God. Throughout the Bible, God is heard speaking from the cloud and the Hebrews followed the pillar of cloud/ fire through the desert. Symbols of the lamb with a banner and a cross show a very white clean and pure animal “without spot or blemish” for sacrifice. This drawing shows another nimbus or halo to show divinity. The three radiating red arms in the halo show the Trinity. The Lamb of God (note the radiation out from the Lamb into the other panels) is triumphant, standing and secure: the risen Lamb of God. The cross is empty, to show that Jesus died but was victorious over death. The tri-radiant nimbus (the Trinity) surrounding the head of the Lamb symbolizes Christ. The Lamb is carrying the resurrection banner (the pennant with the red cross attached to a cruciform standard). The Lamb of God died on a cross. The Lamb is ‘carrying’ symbolizing Christ as a burden bearer: on Him the Lord laid the iniquity of us all. The lily on the right and bottom corner blooms at Easter time. From a dead looking bulb, new life blossoms forth in pure whiteness and with a pungent fragrance of spring freshness. The scent is the opposite to the aroma of death. Jesus is not a figure in a book. He is not to be a memory. Christ is a presence and there is an endless quality to the Christian faith. We are urged to believe, to share and to rejoice as we live in the presence and power of Him who was crucified and rose again. Marguerite Ross donated panel two and three and the window was dedicated on 7 May 1989 .


THE ASCENSION- Acts 1: 9-11 (Window #6, South side and west-  third panel)
Alpha and Omega, the beginning (first letter) and the end (final letter) of the Greek alphabet appear at the bottom of the panel. Jesus Christ is The Beginning and The End. (Rev. 22:13). We are reminded by these symbols that our God is unchanging and eternal. The circle stands for eternity and the world. A cross rises above this circle: Christ died for the world and the gospel is victorious in the world. The message here too is that Christ’s sacrifice was planned from the beginning. Most of the swirling lines in this panel are in a sweeping upward direction, denoting a rising up, ascension or a whirlwind. The figure of Christ is dressed in white, (purity) and His hands are shown extending to heaven to be received. Our artist did not choose to indicate spike marks in the hands or feet. This is symbolic of Jesus being restored and perfected. There is victory in the stance and the tri-radiant nimbus about the head, reinforces the Lordship of Christ.   Notice the chariot of fire that is higher than the figure. Tying the Old Testament to the New, we are reminded of 2 Kings 2:1-2 where Elijah was taken up to heaven—he ascended and so would Jesus. The tri-radiant nimbus (the Trinity) is around Christ’s head- God is completing His grace to humankind: His earthly ministry The Victor goes to the Father. Salvation that depends on Christ is secured for the believer. If Christ had not withdrawn from the visible, we would not need faith. A body ascending, contravenes the law of gravity. This is evidence of the unlimited power of God. The artist has the mountain flow into this panel- as Jesus had ascended from the Mount of Olives . The disciples lost Jesus in a visible form to have Him as a spiritual presence forever! He told them, “Lo, I am with you all the days.”  Christ went away that He might come near us all: in our home, at work or school, during times of pleasure or sorrow, when we minister to others and when we are being tempted to sin, He is spiritually near. The Ascension assured that Jesus was lifted to the right hand of God and reinstated to share the power and the glory that are at the heart of God. Jesus reigns over heaven and earth from this vantage point. He gives comfort: our lives are not at the mercy of the threats of greed, hate, lust, envy, and power. Our Lord has won the victory. (Hebrews 10:12)  Even if the results of our Christian service seem discouraging and slow, we shall be quite sure the kings of this world are to become the kings of our Lord and of His cross. Marguerite Ross donated panel two and three. The window was dedicated May 7, 1989 .


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