History » Church Architecture » Church Windows

The East End
Architecturally, the interior of the church is notably handsome, and should be admired from a number of perspectives. The fineness of the workmanship is everywhere evident. Although the windows are incomplete, there is in the church some fine glass of local manufacture by Montgomery of Melbourne.

Immediately above the main door are three small windows. Here the central motif is a monogram of the Holy Name of Jesus (IHS). With the surmounting cross and the three nails of the crucifixion, the monogram formed, in part, the original seal of the Society of Jesus. Definition is given to this area by the surrounding crown of thorns, while the background consists, in a fine tracery of vines and grapes, a eucharistic motif. Supporting this central design are six semi-circular bays in each of which is represented a passionflower. To left and right of the central window, two small trifoliate windows, the glass showing simple roses, give balance to the whole.

The East Wall
High in the east wall is the most richly-coloured window in the church. It represents Christ in majesty, bearing the symbols of kingship. Christ is surrounded, in twelve small bays, by the twelve Apostles, each identified by a traditional symbol.

Beneath are two lancet windows (erected in 1898 and 1899), one of St Ignatius Loyola, founder of the Society of Jesus, the other of St Francis Xavier, his friend and early associate.

The St Ignatius window represents the saint dressed in priestly vestments with his hand on the book of the Constitutions of the Order he founded, the page being inscribed 'Ad Majorem Dei Gloriam' meaning 'For the Greater Glory of God'. Beneath the standing figure of the saint is a representation of his being struck down at the battle of Pamplona in 1521, an event which led to his conversion.

The companion window represents St Francis Xavier in his role of missionary to the East, the small window below showing his death alone on the desolate island of Sancian off the China coast in 1552.

The North Wall
In the eastern section of the north wall two lancet windows featuring Mary MacKillop and Caroline Chisholm were installed in 1994.

The stained glass window on the viewer's left depicts the life of Mary MacKillop, co-founder of the Sisters of St Joseph, and gives her a continuing presence in Richmond. The window on the viewer's right shows the life of Caroline Chisholm, tireless worker for the welfare of immigrants to Australia, especially females, in the 1800s.

At the rear of Our Lady's chapel is a window erected in 1898. It consists of two lancets with a small tracery above. The tracery represents a monogram of the Blessed Virgin Mary, surrounded by traditional lilies.

The window on the viewer's left represents St Joseph, the Virgin's husband. He carries the lily, traditional symbol of chastity.

On the viewer's right is the Virgin Mary, represented as the Immaculate Conception. The Virgin stands on the crescent moon, an item of Immaculate Conception representation popularised by Murillo.

In 2001, two stained glass windows were installed close to Our Lady's altar, in memory of a well-known Melbourne florist, Mr Kevin O'Neill. Set in the small Church of Santa Maria degli Astalli in Rome (more commonly known as the Church of Santa Maria della Strada, later replaced by the Church of The Holy Name of Jesus [Santissimo Nome di Gesù]), the windows describe a period in the life of St Ignatius when he was struggling for clarity in the framing of the Constitutions of the Society of Jesus.

At this time he spent many hours in childlike prayer to Mary, his advocate, whose ancient and venerated painting, 'Madonna della Strada', was displayed in the church and was so dear to his heart. A reproduction of that painting is the focus of the scene in the left lancet and is the image to which Ignatius is directing himself.

The chapel has been adorned with lilies but in this case they are Lilium gigantum, a plant nurtured and grown successfully by Kevin O'Neill at Mt Macedon and occasionally seen on display in the church.

At the time of the setting, Ignatius was also revealed visions of the Blessed Trinity and above his head, in the right lancet, is shown a graphic image of the Athanasian Creed, an ancient doctrine explaining God in relation to the Trinity. This symbol is depicted as a flash of illumination utilising all the shimmering, ethereal qualities that only stained glass can provide and the Latin text is easily readable.

The borders and canopies of the lancets are embellished with trails and arrangements of strongly-coloured flowers in purples, pinks, oranges and reds, the bold colours with which Kevin O'Neill's name became associated to great acclaim. Dedication panels have been provided at the bottom of each lancet.

The windows are constructed from mouthblown antique glass, painted, stained and kiln fired in the traditional manner to the highest standards of craftsmanship. The colours of the windows splash into the Lady Chapel and move across the floor each day with the passage of the sun.

The Lady Chapel
Above the Lady altar, the glass (placed in 1914) is dedicated to the Virgin Mary under the title of Our Lady of Lourdes. In the small tracery window is seen the above-ground basilica built over the site of the apparitions at Lourdes, France.

The two lancet windows together represent the apparition of the Virgin to the young peasant girl, St Bernadette Soubirous. The lower portion of each window represents clients of the Virgin at the scene of the apparitions.

The background of the panel on the viewer's left shows crutches left hanging in the grotto in token of cure, while the right-hand lower panel shows attendants encouraging the sick to faith.

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