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The Ascension of our Lord
The Gothic archectural style was developed to bring sunshine into people's lives, and especially into their churches. Gothic stained glass windows bring light and color into the church. Historically the windows convey bible stories in a colorful visual form at a time when not everyone in a population could read. They were an important means of teaching the faith to members of the church.
St. Malachy's was designed in the Gothic style when rebuilt after a fire in 1925 .
Parishioners contracted with the most renowned firm of the time – the Franz Mayer and Company of Munich, Germany, stained glass artists to the Vatican and Catholic churches worldwide. In 1892, Pope Leo XIII had designated the company a “Pontifical Institute of Christian Art.”
In "The History of St. Malachy's Church, Sherburne, NY," published in 1958, author Alice Dinneen states: "Both the Stations of the Cross and the lovely stained glass windows depicting scenes in the life of Our Lord, were imported from Mayer and Co. of Munich, Bavaria, at a cost of $4,500. The windows, flooded with sunlight, are inspiring and beautiful to behold."
The largest and most awe-inspiring of the windows is the eight feet wide by 13-feet tall Ascension window which dominates the south-facing choir gallery which overlooks the interior of the church.
The main section of the church is resplendent, decorated by eight, three-light windows – five-by-nine-feet each – depicting significant events in Christ’s life. The four windows on the gospel side of the church feature events in the early life of the Savior. According to Mayer and Company’s order books, these are titled: the Nativity and Adoration of the Kings, the Presentation in the Temple, the Finding in the Temple, and Home at Nazareth.
The Birth of our Lord
Presentation in
the Temple
Finding Jesus in
the Temple
Home at Nazareth
The windows on the epistle side of the aisle focus on Christ’s public ministry, and are listed in the company’s books as Handing over the Charge to St. Peter, Mary Magdalene anointing Christ’s feet, Christ stilling the Tempest, and the Marriage Feast at Cana. Angels adorn the trefoil and quatrefoil sections of each window. Tenney remembers looking up at the angels during services when she was a child and marveling that they were not identical. The celestial beings are depicted with many different facial expressions with their arms in a variety of positions.
Jesus performing his
first public miracle
Jesus calming the winds
Washing of the feet
Do you love me,
Feed my sheep
Christ Blessing the Children
Christ with Nicodemus
The small baptistery to the left of the altar is radiant with light streaming through the stunning, two-light windows -- Christ blessing the Children and Christ with Nicodemus.
These are ensconced in adjoining walls and are just above eye level, making it easier for the viewer to admire the still vibrant colors of the glass and the intricate, artistic details.
Mayer and Company’s archives also document that the church ordered two iconographic windows for the sanctuary -- The Pascal Lamb and Pelican, with emblems of the four Evangelists. The Pascal Lamb and Pelican are particularly appropriate for the sanctuary. The lamb signifies Christ’s willingness to be crucified for the redemption of mankind. According to legend, the pelican plucks her own breast to feed her chicks with her blood during a period of drought. The bird therefore symbolizes the church which sustains and cares for the faithful.
In "A Handbook of Christian Symbols and Stories of the Saints", author Clara Erskine Clement explains the significance of each evangelist’s icons. St. Matthew, whose writing focuses on Christ’s humanity, is symbolized by a cherub which closely resembles the human form; the regal lion represents St. Mark whose writings draw attention to Christ’s royalty; St. Luke’s emblem is the ox, a symbol of sacrifice and aptly represents Christ’s priesthood; St. John is represented by an eagle, “as an emblem of the lofty flights of his inspiration.”
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