1905: St Patrick’s Catholic Church, Wangaratta, Victoria.

Artist/Studio: William Montgomery, Melbourne, 1905
Location: Wangaratta, Victoria, Australia.
Building: St Patrick’s Catholic Church.
Memorial: N/A
Photos dated: 19th Dec 2011.

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Advocate, Melbourne, Vic, Saturday 18th November 1905, page 18.

“STAINED GLASS WINDOW FOR ST. PATRICK’S CHURCH, WANGARATTA.

Mr. W. Montgomery, artist in stained glass, of Alfred Place, Collins-street East, has just completed a magnificent stained glass window of four lights for the St. Patrick’s Church, Wangaratta. It will be erected at the rear of the organ gallery. each light is 13ft by 3ft. It is one of the finest specimens of the stainer’s art to be seen in this State. The subjects are the Sacred Heart of Jesus, representing Our Lord appearing to Blessed Margaret Mary Alacoque. The Divinity beams from every feature, and admonition of Our Lord is recalled to the mind of the beholder – “Learn of me, because I am meek and humble of heart.” The holy nun is represented in an attitude of profound adoration and devotion. The next light is that of “The Immaculate Conception.” Angels support the Queen of angels and of men. The treatment of this and other lights, whilst bold, is also delicate, expressing the Christian sympathy of the artist. St. Stanislaus Kostka, holding the Divine Infant in his arms (which recalls the incident in his life wherein Our Lady brought the Divine Child to him), holds a rosary, and appears to fully realise the unique privilege bestowed on him. At the foot of the Sacred Heart, light, angelic forms hold scrolls, in which are the words – “Behold the Heart which has so loved men,” beneath the Immaculate Conception, “Queen of Angels, pray for us;” and beneath the Patron of Poland, “St. Stanislaus Kostka.” The tracery work is very fine and greatly enhances the work, whilst the skill of the artist is seen in the Rich antique glass, first-class workmanship, delicate shading, combine to form a genuine work of art – one that reflects credit on the artificer, and tends to for the opinion that Australian art is able to hold its own with the outside world. The canopies are of the late decorative period. The lights, viewed near or far, are seen to be excellent in every detail. Under tests through glasses, the features, tracery work, bordering, etc., give one the idea that he is viewing a fine painting on canvas. The artist has been particularly fortunate in drawing the figure of Our Blessed Lord in such proportions as to fill the space to a nicety. We understand that this first-class house has executed orders for churches, convents, etc., not only in Victoria, but in various parts of the Commonwealth, including New South Wales and Tasmania.”

 

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1916: St Patrick’s Catholic Church, Kilmore, Victoria.

Artist/Studio: William Montgomery, c.1916.
Location: Kilmore, Victoria.
Building: St Patrick’s Catholic Church.
Memorial: Mary Durkin (Suffer little children two light window).
Donor: William Durkin.
Photos dated: 14 Dec 2013.

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Advocate, Melbourne, Vic, Saturday 16th December 1916, page 17.

“DR. PHELAN AT KILMORE.|
STAINED-GLASS WINDOWS UNVEILED.

St. Patrick’s Church, Kilmore, received additional ornamentation on Sunday last, when two beautiful stained-glass windows were unveiled. The visit of the Bishop of Sale to his friend, Fr. Martin, was taken advantage of to render the function more important. The subjects of the windows are the Prodigal Son’s return and Our Lord encouraging little children to come to Him.
Dr. Phelan, in the course of his address, said that some years ago, when he was Dean of Melbourne, he was sent by the Archbishop to unveil the first of a series of stained-glass windows which their zealous parish priest inaugurated. That window, in the sacred Heart Chapel, was erected to commemorate the memory of their late parish priest, Fr. Farrelly, who for an entire generation ruled this important parish. That window, its beauty and harmony of design and colour, so pleased a generous member of the congregation, Mr. William Durkin, that he determined, in addition to his other gifts, to furnish the entire Gospel side of the church with similar works of ecclesiastical art.
“By a happy coincidence,” continued his Lordship, ‘I am here to-day to point out the double lesson contained in this latest gift to this historic church. A stained-glass window which contains a single figure of a saint or angel, no matter how beautiful, is worthless from a spiritual point of view unless it embodies an idea that preaches to us a lesson. The two windows unveiled to-day have this advantage, that if we study the subjects, and the Gospel narrative which supplied material to the artist, we will find them pointing to the two roads, and the only two roads, which lead to heaven. Everyone within those walls, everyone who in the past has entered this church, or may in future, will arrive at the gate of heaven either by the road of innocence as signified by Our Lord in setting up childhood as our model, or by the road of penitence as illustrated by the return of the Prodigal Son.”
The most rev. preacher dwelt at some length on the two lessons contained in the subjects of the windows. With regard to Our Divine Lord’s love for little children, he said that Gospel truth was brought home to all in a most practical manner by the late saintly Pope Pius X., when he enjoined on all parish priests the obligation of preparing children for First Communion at an earlier age than was the custom in former times; and his encouragement to all to approach the altar, not only monthly or weekly, but even daily unless they were conscious of grievous sin. With regard to the lesson contained in the return of the Prodigal, his Lordship said that the mind of the most profound philosopher could never conceive the act of infinite mercy implied in the parable. As men, we could understand how the innocence and humility of childhood would open the gate of heaven to us, but it was beyond our limited comprehension to take in the fact that sin, when repented of, not only opened to us the door of eternal bliss, but obtained for us a welcome not given to the innocent! We could not believe this unless we had from Divine lips the assurance that “there shall be more joy in heaven for one sinner that doth penance than ninety-nine just that need not penance.” The following is a description of the windows, which were executed by Mr. W. Montgomery, Alfred-place, Melbourne:-
In the front window the wanderer is seen on his knees, in torn and ragged raiment, and with bowed head and outstretched hands, in the act of saying, “Father, I am not worthy to be called thy son.” The father, full of pity and joy at the return of the Prodigal, hastens to raise up and welcome the long-lost, wandering son. In the distance, the brother, with hand shading his eyes, looks upon the scene with anything but unmixed joy. The fields in which the sheep browse symbolise the quiet, peaceful life which the Prodigal deserted for the riotous pleasures of the outside world.
The second window illustrates Our Lord and the little children, who press around Him for His blessing. Our Lord is represented seated with one hand outstretched in blessing and the other resting on the shoulder of a fair-haired child leaning on His knee. The mothers of the children press forward eagerly to gain benediction of the Saviour for their little ones. Behind Our Lord stands two of His Apostles, who look with no very friendly eyes upon the importunate mothers pressing their little ones on their Master’s notice.
In these windows, as in others in St. Patrick’s, an effort has been made to get away, as far as the nature of the material and exigencies of decorative art will permit, from the extreme conventional treatment which was at one time thought to be necessary for stained-glass. The drawing has none of that stiffness and angularity formerly thought indispensable, but it aims at giving a clear and unambiguous rendering of he subject illustrated. The colouring is rich without being crude and glaring, and the colour tones are harmonious throughout. The glass used is rich in quality and texture. The canopies and bases which form a frame to the subjects, are of an architectural character in that style of Gothic known as Decorated.”

1909: St Patrick’s Catholic Church, Kilmore, Victoria.

Artist/Studio: William Montgomery, Melbourne, Australia, 1909 (signed).
Location: Kilmore, Victoria, Australia.
Building: St Patrick’s, Kilmore.
Memorial:
Bartholomew Durkin (c.1828-1908).
Photos taken: 14th December 2013.

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Kilmore Free Press, Kilmore, VIC, Thursday 16th September 1909, page 2.

“Memorial Window”.

“A new stained glass window has been erected in St. Patrick’s Church, Kilmore, to the memory of the late Bartholomew Durkin. Its subject is Christ appointing St. Peter head of the Church. Our Lord is represented as addressing St. Peter, who, kneeling before Him in an attitude of veneration, holds the keys to typify the power promised by Christ in the text “I will give to thee the keys of the Kingdom of Heaven.” Behind St. Peter stand two of the Apostles in reverential attitudes. The general effect of the window, while rich and full of colour, is quite and harmonious. Our Lord is dressed in white under robe and ruby mantle richly ornamental; the face is tender, yet strong, and great care has been taken in the drawing to make the figure stand in an easy and natural attitude. The old idea that figures in stained glass must, of necessity, be strangely and wonderfully drawn, unlike anything in heaven or earth, must be re-adjusted, especially when it comes to be realised that a stained glass window is not, or should not be, a factory production, but a work of art just as much, in its degree, as a picture. St. Peter is robed in the traditional colours pertaining to him, viz., blue and yellow. The robe is richly diapered and varies in colour from pale gold to rich yellow. Around the feet of our Lord sheep and lambs are grazing, recalling the words of Christ when actually giving St. Peter supreme authority over His Church, viz., “Feed my lambs; feed my sheep.” The quartrefoil over window contains, on a shield, the keys of St. Peter. The inscription briefly and simply sets forth that the window is “In memory of Bartholomew Durkin. R.I.P.” It was erected by Mrs Durkin, of Kilmore, to the memory of her late husband, who died at Kilmore on April 16, 1908. The window was designed and executed by W. Montgomery, of 18 Alfred Place, Collins St. E., Melbourne, who also designed the window to the late Very Rev. M. Farrelly.”

Kilmore Free Press, Vic, Thursday 23rd April 1908, page 3.

“Mr Bartholomew Durkin, an old colonist, died on Thursday last after a few weeks illness. He was a quiet unassuming man and was aged 80 years. He resided at Kilmore about 50 years ago, later removing to the Goulburn Valley, returning to this district a few years back where he occupied his own property at Moranding for a time, disposing of same to settle down quietly and end his days in the nice residence formerly owned by Mr R. D. McKay. He leaves a widow and one son to mourne his death. The remains were interred in the Kilmore Catholic Cemetery on Good Friday, Father O’Dwyer reading the service, Mr Jas. Beegan having charge of the mortuary arrangements.”

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