This window was erected in the memory of Flo & Frank Jones.
Designed by R. Loates in 1983 and dedicated by Right Reverend Philip Huggins
on 29th November 2009 Bishop North/West Region.
The design for this window was influenced by two factors.
1. The age of the Church suggested a traditional window.
2. Because the window was commissioned in 1983 this suggests a contemporary design.
R. Loates combined these two factors by using both ancient and modern techniques to create a traditional window, combined with a more modern background which would represent the passing of time within the Church.
Loates also tried to develop a penetrating look in the eyes of Christ to create the feeling of appealing to each of us personally.
The theme for the window was taken from the 23rd Psalm, but the symbolism extends far beyond this.
The blue rays radiating from behind the Cross symbolise God's creation of the Universe expressed by the Stars and Planets.
The golden rays express his warmth and concern extending through the Universe.
The circle behind the cross symbolises the Unity of Humanity.
The two small angels symbolise the resurrection.
The first dove is the symbol of the Holy Spirit descending unto Jesus.
The second dove is the symbol of Purity and Peace.
The figure of Christ is appealing to all humanity to allow Him to Lead them.
The ministering Angel will assist us to follow Jesus.
The placid water scene gives the feeling of being beside still waters.
Designed by R. Loates in 1983 and dedicated by Right Reverend Philip Huggins
on 29th November 2009 Bishop North/West Region.
The design for this window was influenced by two factors.
1. The age of the Church suggested a traditional window.
2. Because the window was commissioned in 1983 this suggests a contemporary design.
R. Loates combined these two factors by using both ancient and modern techniques to create a traditional window, combined with a more modern background which would represent the passing of time within the Church.
Loates also tried to develop a penetrating look in the eyes of Christ to create the feeling of appealing to each of us personally.
The theme for the window was taken from the 23rd Psalm, but the symbolism extends far beyond this.
The blue rays radiating from behind the Cross symbolise God's creation of the Universe expressed by the Stars and Planets.
The golden rays express his warmth and concern extending through the Universe.
The circle behind the cross symbolises the Unity of Humanity.
The two small angels symbolise the resurrection.
The first dove is the symbol of the Holy Spirit descending unto Jesus.
The second dove is the symbol of Purity and Peace.
The figure of Christ is appealing to all humanity to allow Him to Lead them.
The ministering Angel will assist us to follow Jesus.
The placid water scene gives the feeling of being beside still waters.
The west window in the Christ Church sanctuary was dedicated by their parents, to George
(14-07-1916), James (26-03-2017) and Thomas Lodge (08-08-2018), three borthers killed in action
in the Great War. Like other such families, the Lodge family of Avalon, felt their loss with a pain hard to bear.
In 1920 Harriet Lodge and her husband William commissioned a fine stained-glass window, the best that money could buy, to serve as a public reminder as long as the church should stand.
It depicts Christ in the Garden of Gethsemane on the night before he was crucified. "Remove this cup from me; yet, not what I want, but what you want."
Mark 14.36
The windows of William Montgomery are to be seen in every parish in Melbourne and throughout Victoria. He was the leading stained glass artist in the state and designed in the romantic mode. His teachers for early studies, training and experience in England, the country of his birth, were the best in Europe. He studied at the South Kensington Art School, trained with the London firm of Clayton and Ball and gained experience in Munich. In 1887 he emigrated to Australia at the height of the economic boom.
From his studio at 67 Flinders Street, Melbourne, he was practitioner of the true faith or mosaic method, the newly recovered technique of the Middle Ages whereby a separate piece of glass is used for each colour and a minimal amount of enamel paint is used so that translucence is retained and the lead lines are used to emphasise the design following a bold outline of the drawing.
(14-07-1916), James (26-03-2017) and Thomas Lodge (08-08-2018), three borthers killed in action
in the Great War. Like other such families, the Lodge family of Avalon, felt their loss with a pain hard to bear.
In 1920 Harriet Lodge and her husband William commissioned a fine stained-glass window, the best that money could buy, to serve as a public reminder as long as the church should stand.
It depicts Christ in the Garden of Gethsemane on the night before he was crucified. "Remove this cup from me; yet, not what I want, but what you want."
Mark 14.36
The windows of William Montgomery are to be seen in every parish in Melbourne and throughout Victoria. He was the leading stained glass artist in the state and designed in the romantic mode. His teachers for early studies, training and experience in England, the country of his birth, were the best in Europe. He studied at the South Kensington Art School, trained with the London firm of Clayton and Ball and gained experience in Munich. In 1887 he emigrated to Australia at the height of the economic boom.
From his studio at 67 Flinders Street, Melbourne, he was practitioner of the true faith or mosaic method, the newly recovered technique of the Middle Ages whereby a separate piece of glass is used for each colour and a minimal amount of enamel paint is used so that translucence is retained and the lead lines are used to emphasise the design following a bold outline of the drawing.
