Stained Glasses

The practice of beautifying church windows in stained glass derives from the church buildings in the Middle Ages when many of those who visited these were unable to read or write but could have the pictorial displays easily explained to them. These stained glasses then became the poor man’s Bible. Since then these works of art have adorned cathedrals and churches, depicting important religious teachings, events and personalities of the faith.

A pictorial window of our patroness, Mary Mother of Good Counsel is found above the main portal of our church. Patterned after the painting of the Franciscan friar Pasquale Sarullo (1828-1893), the stained glass of our patroness depicts her in tender embrace with her Son. She is portrayed as having a very intimate communication of soul with Him, which gives her a serene satisfaction. One realizes, moreover, that this pleasure is habitual. It is not some ecstasy or extraordinary phenomenon. It is the impression every mother has when she is in contact with her son. It is a moment when her maternal love is more expressive and blooming, when her tenderness expands in a special way. Our Lady is represented like this here. The Child Jesus has no fear; He holds her like a person who desires nothing else in this world but her. He is entirely for her, as she is for Him. He is happy because He is united to her, and for no other reason. He feels the joy of being protected by her. Neither of them is thinking about anything except the other. Clearly, the relation between mother and Son is of quiet intimacy: a relation that we too may develop with the Blessed Mother.

Our central window in the sanctuary depicts the scene in Golgotha. This is particularly detailed and beautiful. With the Sindonic Cross as central piece, the stained glass shows the Blessed Mother, St John and St Mary Magdalene contemplating on the death of our Lord. Nearest to the cross on our left is the image of the Blessed Mother, hands crossed over her chest, a sign of deep veneration. Beside the Blessed Mother is the Roman soldier who pierced the side of Jesus with a lance. Tradition names him Longinus. On the other side, St John stands near the Crucified Lord while Mary Magdalene is shown kneeling, her hands covering her face, in deep anguish. With the major characters are individual followers of the Lord—they who kept him company until the end. The strong deep colors and compassionate vibrancy will draw the viewer’s eye to the dramatic scene of the Crucifixion with immediate impact.

A geometric-designed stained glass is installed amidst the assembly fan at the central ceiling of the church. This bears the colors blue and white, traditional Marian colors. In the Old Testament, blue was used in the tassle of the garment of the Israelites as a sign of the people’s following the will of God (Numbers 15: 38-39). This was perfectly lived out by the Blessed Mother. Additionally, a blue cloth was spread over the Ark of the Covenant (Numbers 4: 6-7). Traditionally, Mary is called the Ark of the New Covenant for bearing in her womb the Son of God. Blue is associated with the heavens, the infinite. Blue unfolds the element of tranquility and is often sublimated as a desire for God, and inspiration of metaphysical truths. White is associated with the ethereal, the soul. It symbolizes purity and joy. In sacred liturgy, white is used to denote great joy, something spiritual: over and beyond the human senses. These colors suggest the longing of the soul for intimacy with the Divine, with the Blessed Mother as our exemplar.

These works of art illuminate our church literally and spiritually. These stained glasses allow the light of God into the church building and ultimately, the community.