The first stained glass window above the confessionals on the western side of the church depicts Christ on the cross. In this image, the crucifixion of Christ is shown, along with the apostle St. John and his mother Mary. Jesus is placed on the upper right side of the frame, Mary and John on the lower left. Jesus has a cruciform nimbus, or halo, which refers to redemption through the Cross, and is unique to him. On the right side of the halo lies the letters INRI, acronyms for Iēsus Nazarēnus, Rēx Iūdaeōrum, (Latin) or in English: Jesus the Nazarean, King of the Jews.
  St. John is wearing a robe of green –green being a sign of spiritual imitation. Other depictions of art also feature St. John wearing green. His left hand is raised in supplication to God, while his right hand rests on Mary’s shoulder in a gesture of comfort, but also taking her in as his own, as Jesus said in John 19:27, “Behold your mother”. Mary kneels down in anguish, her face looking to the ground while her hands are raised in prayer. She is wearing blue and red, blue representing her purity while red representing her motherhood.
          Above them both are the Sun, in the top left corner, and the Moon, in the right under the arm of the cross. The Sun and Moon together in the Crucifixion symbolize the mourning of all creation. A thin wavy line between the Sun and the Cross symbolizes the clouds blocking the sun, while a sunbeam shines through towards the cross.

Gift of the Lee Dimter Family and restored in memory of Maureen Albanese by Nicole, Jennifer and Michelle.

The Melchizedek window is adjacent to the Crucifixion window, and is the same size. The window takes its name from the central figure, the priest-king Melchizedek, or as spelled here, Melchisedec. He appears in Genesis 14: 18-20, where he is identified as king of Salem, which is believed to be the city that becomes Jerusalem, and is also identified as “a priest of God Most High”. He brings out bread and wine and gives a blessing to Abraham, who gives him a tenth of the spoils of a recent battle.

Melchizedek is usually depicted dressed in the garb of a Jewish high priest in art, but here his kingly role is emphasized with his crown, red cape and yellow robe. He holds a golden chalice up, similar to how the priest holds the chalice at mass, while Abraham kneels at his feet, dressed like a wanderer. Behind him on the altar is the bread, while the altar cloth has a six cornered star, commonly known as the Star of David on it. Above them both on the left are 7 onlookers, the two largest are women.
        When comparing this window with the Crucifixion window, the similar positions of Jesus on the cross and that of Melchizedek are meant to emphasize the sacrificial nature of Jesus’ death and the foreshadowing of it in Genesis.

The window is a gift of Mr. and Mrs. William T. Ryan, and restored in memory of the McGilvra and Dinno families.
 

     Continuing along the West side of the church, we have this scene depicting the Preparation of the Paschal Lamb by the Jews. This comes from Exodus 12, where Moses commands the people of Israel to take a lamb, eat it, and put its blood upon the doorposts as a sign for the angel of death to pass by the house, thus protecting the firstborn in each household.
        Here, the man in the center of the window prepares to slaughter the lamb under his hands. Around him are 4 people -two men, a mother and her child. The woman gestures to prevent the child from coming closer -as if to protect him from the angel of death himself. Above them flies the angel of death, passing by the house with the blood on the doorposts in the top right corner. Inside the house are two men, one of whom is still in the process of putting the blood on the doorpost.

       The window is a gift of Mrs. Edward Worcester.

In parallel with the stained glass image adjacent to it, the window with Jesus, the Lamb of God shows Jesus under the title Lamb of God. As the Passover lamb was slaughtered, so at the same time Christ was sacrificed on the cross.
       At the very top is the hand of God the Father. Historically, God the Father was not represented in full in art. Artists chose to depict a hand coming from the clouds to represent him. We see that hand at the top, and then coming down towards the cruciform halo of Christ is a golden triangle. Triangles are traditional symbols of the Trinity.
      Then, we have the full figure of Jesus, who has his hands raised in majesty, without his wounds. He is dressed in red and white, red signifying his blood that was shed and white signifying purity. An interesting note is that the window maker chose not to depict Christ using a lamb, another symbol that represents him as the lamb from Revelation.
       The window is a gift of Dr. and Mrs. R.H. Blanque in memory of their parents. Restored through gift of Paul and Dolores Simone, Tom and Theresa Horiye, Kris and Victoria Holt and Families.

The Manna in the Desert window depicts the scene from Exodus 16 where God sends manna to the Israelite people. In the midst of their journey in the desert, the Israelites were hungry and asked God for food. Moses prayed and God told him that he would send bread in the morning. When the dew lifted, fine flakes were on the ground, and the Israelites ground it and baked it into bread. These became known as manna, and was called the bread sent from heaven by God.
            In the window, Moses is the large figure dressed in magenta robes. He is identified by two rays of light shining from his head, a reference to Exodus 34:29 where his face shone with light from his experience talking with God. He carries in his right hand a short staff, while his left hand gestures towards the heavens. On his right and left two figures are busy collecting the manna on the ground, while a woman kneels in front of him with her hands raised in thanksgiving to God. From the sky descends two columns of manna, while below a basket is already full of manna.
            Manna was seen as a foreshadowing of the Eucharist by the Church. As God fed the people of Israel in the desert, so too does Jesus feed the many, as will be depicted in the next window.

The window is in memory of Dr. John F. Salvich. Its restoration was donated by the Ninno family.
 

       Connecting with the Manna in the Desert window, this window here shows the Multiplication of Loaves. One of the most well known miracles of Jesus was his multiplication of loaves and fish. When Jesus was teaching, he decided that it was time for the people to eat, but his disciples objected that there would not be enough food. When Jesus insisted, his disciples pointed out a boy who had five loaves and two fish. Jesus blessed the food, and broke the bread and had his disciples give out the food. When everyone had eaten and collected all the leftovers, there were twelve baskets full. The account is taken from Matthew 14: 13-21.
          Here, Jesus stands in the center of the window, dressed in red cape and white tunic. He is gesturing to bless the food, which the boy holds in the basket below containing the five loaves and two fish. Above them stand the crowd arranged in rows, while below sits a child in prayer as he looks at two baskets full of leftovers.
The window is donated in gratitude by Bernard M. Fox and family, and restored through the generosity of Margi and Tom Connelly and family.
 

     During the journeys of the people of Israel in the desert, the people stopped at Mount Sinai, the mountain of God, and Moses went up to it to receive the Ten Commandments. There, he met the presence of God himself, and coming back his face became radiant, so much so that he had to cover his face.
     Here, Moses is standing on Mount Sinai, the peak outlined behind his head. Coming from his head are two rays of light which symbolize the radiance coming from his face after his encounter with God. At his feet is the burning bush. In his hands are the two stone tablets numbered with Roman numerals.
     The symbols in this account come from difference parts of Exodus. The Ten Commandments are given in Exodus 20, and the stone tablets are mention in Exodus 32:15. The rays of light come from Exodus 34:29, and the burning bush from Exodus 3:2.
      The window is dedicated in memory of Dr. John F. Slavich. Its restoration was donated by Howard, Linda, Christina and John Graham.
 

     In parallel to the radiance of Moses on Mount Sinai, the Synoptic Gospels (Matthew, Mark, and Luke) describe the Transfiguration of Jesus as radiance in a similar manner. In these accounts (Matthew 17:1-8, Mark 9:2-8, and Luke 9:28-36) Jesus goes up a mountain with Peter, James and John, and then his figure changes- his face becomes radiant, his clothes become white. Moses and Elijah appear next to him. Peter asks if they can make three tents, one for Jesus, another for Moses and the last for Elijah, but a voice comes from a cloud and says “This is my Beloved Son, with whom I am well pleased, listen to him” (Mark 9:7). The disciples fall to the ground, but then Jesus touches them, looking normal.
            Here, Jesus stands in the foreground of the window, dressed in his distinctive red mantle and white tunic, but with a golden radiance around his figure. He stands on a small hill symbolizing the mountain. On his bottom right are Elijah and Moses, while on his bottom left are Peter, James, and John. The description of this window comes from Elijah and Moses. Moses is a symbol for the Law, as he was the one who God gave it to, while Elijah was the most prominent of all the prophets, and so represents them as a whole.

       Jesus is the whole Law and Prophets, because he came to fulfill both what the Law prescribed and what the prophets prophesied about.
       The window was donated in memory of Edward J. Cassidy, and restored in memory of the JoAnn Brassfield family.
 

     The Resurrection window is located above the confessions on the east side of the church. It depicts the moment when Jesus rises from the dead out of the tomb on Easter morning.
     Here, Jesus rises out of the tomb located below him, while an angel takes the cover off of the grave on the right. He holds in his right hand a banner with a cross on it, symbolizing his triumph over death. A wave of light shines forth from him as he rises into the sky. To the left the rays of the morning sun shines through while below it a lily blooms.

In some depictions of this scene in art, a rectangular tomb is used instead of the cave with the round tomb, as done here. No guards are depicted either.

This scene is paired with the Adam and Eve window, showing the restoration of the way to paradise after Adam and Eve had lost access to it with their sin.

Gift of Bonacina and Valle families.
Restoration donated by Lou and Peggy Normandin
 

    The Adam and Eve window is next to the Resurrection window, and paired with it. It depicts the scene from Genesis 3:24, where after committing the first sin, Adam and Eve are driven out of the Garden of Eden, and an angel with a flaming sword to guard the way to the tree of life.
    On this window, Adam and Eve are in the center, wearing animal skin clothing, and walking towards the right of the frame. Eve is in the front, while Adam is behind her holding her waist. Above them flies the angel with the flaming sword, pointing the way out. On both sides of Adam and Eve are trees. Near the heel of Adam is the serpent, also on its way out.  

The window is the gift of George and Cecelia Altmann.
Restoration donated by the Stavely Family
 

     The Window depicting Moses going up the mountain follows on the left of the Adam and Eve window. It is paired with the Sermon on the Mount Window. The window is based on the encounter Moses had with God in Exodus 33:17-23, which is follow in chapter 34 with the giving of the Law, including the 10 Commandments, to Moses on top of the mountain. The scene is one of the most notable theophanies, or moments when God reveals himself to his people, in the Old Testament, when God comes onto Mount Sinai with lighting, clouds, and thunder. Moses goes up face to face with God, and comes back with his face shining, hence the two rays of light which distinguish him in art.
         Here, the window depicts God the Father standing in full figure on the top. Depicted as a full bearded old man, his halo is shaped as a triangle, a symbol of the Trinity. Its color is red, which may symbolize the Holy Spirit. Around him shine rays of white light. Below him is the green mountain, with Moses kneeling in awe.

The window was made in memory of Joseph Sylva.

Restoration donated by the Ferrari Family
Dave, Elizabeth,
Francesca, John & Michael
 

Connected with the Moses on the Mountain is the window depicting the Sermon on the Mount. Scenes of the Sermon on the Mount are popular in Christian art, one of the most famous paintings being that of Carl Heinrich Bloch. This scene takes its name from Matthew 5-7, three chapters of Matthew where Jesus goes up on a mountain to preach to a crowd, and teaches many sayings. The most famous of these are the Beatitudes and the Our Father prayer.

Here, Jesus sits in the center of the window, his hands in a gesture of teaching- his right hand pointing upwards while his left hand is on his heart. On both sides of him men and women stand and sit on the various slopes of the mountain. At the bottom of the pane are a praying woman, child, and man.

The window was made in loving memory of Daphne E. Entriken.

Restoration donated by the Gentzkow Family
 

This window depicts King David bringing the Ark of the Covenant into Jerusalem, and is paired with the window of Jesus entering Jerusalem. It is depicting the scene from 2 Samuel 6:1-6 and 1 Chronicles 15:25-16:3, where David, after taking Jerusalem and making it his capital, brings the Ark of the Covenant to establish his rule. Before then, the Ark had been lost to the Philistines, the enemies of Israel. The Philistines put it in their temple but later returned it to Israel after bad things began to happen to them. Yet the Ark remained in the backcountry until David decided to bring it into Jerusalem and restore it to a place of honor. Gathering many of the priests and Levites, they processed into the city to cries of joy and praise, to the sound of music.
    In the center of the window walks David. He is depicted with the harp because he was an accomplished musician, and so he wears his crown. Below him on the left is the Ark of the Covenant with two Levites bearing it on their shoulders. Two angels are positioned on top of it. Behind David on his right are three people, their hands folded and heads bowed in reverence. In the background are the houses of Jerusalem.
The inscription on the window reads “In Thanksgiving to Our Lord and His Blessed Mother In Memory of My Husband”.

Restoration donated by the Torrisi Family
Ralph, Mary,
Debra Ann & Denise Marie

      The New Testament parallel of David bringing the Ark into Jerusalem is the entry of Christ into Jerusalem on Palm Sunday.  This account is mentioned in all the Gospels, in Mt 21:1-11, Mk 11:1-10, Lk 19: 28-40, and Jn 12:12-19. Some of the signs foreshadowed come from Zech 9:9, where it says that the king of Israel would come sitting on a donkey. A king riding a donkey was sign of peace, as he would not be coming on a chariot as typical in wartime, but on a donkey which meant peace. Jesus coming into Jerusalem on one, then, was a sign of his claiming royal authority. This is also expressed by the exclamation of the crowd of him being “the Son of David” – one of David’s royal dynastic lineage, and hence having a claim to ruling Israel.

     Here, the window depicts Jesus dressed in a red tunic with a golden collar. These are kingly colors, but red also foreshadows his coming passion. He rides on a donkey with its head bowed, with palm branches underneath its feet. Above him on the right is one person climbing a tree, while on the left two people stand under a column, one holding a palm branch.

The window is a gift of Tom and Mary Malatesta.

Restoration donated by John and Joan Bertolotti
Reid, Christian and Kent
 

The two windows on the southeast side of the church are two windows depicting different accounts of raising people from the dead. The first is from the Old Testament. It shows Elias, or also known as Elijah, raising a boy from the dead as written in 1 Kgs 17:17-24. In the account, Elijah was residing at the house of a widow when the widow’s son falls ill and dies. Believing the prophet to be at fault and punishing her for her sins, Elijah instead asks to see the boy, prays to God that he be restored to life and raises him back to life. The boy’s mother then exclaims that she believes now that he really is a prophet of God, seeing that his prayer was answered.

     In this window, Elijah stands in the center, clad in white, while the boy lies on the bed in front of him. In the right stands the widow under the door frame. At the bottom corner, an censer drifts the smoke of its incense upwards, symbolizing prayers going up to heaven.

The inscription on the window reads: “In Memory of Our Beloved Sons – Mark Nicholson and David White.”
Restored in Loving Memory of Mark Nicholson and David White by Ruth and Bill Nicholson
 

The New Testament parallel to the account of Elijah raising the boy from the dead is the raising of the Widow’s Son from Luke’s Gospel. Located in Luke 7:11-17, Jesus and his disciples are at a city called Nain. When they get close to the gate, they meet a funeral procession for the only son of a widow. Having compassion on her, Jesus goes forward, touches the bier, and orders the man to rise up. The man sat up and then began to talk. Bystanders are astounded, and then tell about it to other people in the region.
       Here, Jesus stands in with the boy and his mother. His left hand is pointed to the sky, as if pointing to his power coming from God the Father, while his right hand is stretched over the boy, ordering him to rise. The widow is placed facing Jesus, one hand on her son, while the other on her chest, in an expression of gratitude. The young man is sitting up, still bound up in the funeral linens.
The window is dedicated in loving memory of Rennie John Bozzini.
Restoration donated by the Bozzini Family
 

     The Good Samaritan Window lies on the west wall of the sanctuary, and forms a pair of windows depicting parables from the Gospels.
     This parable comes from Luke 10:29-37. A man was traveling from Jerusalem to Jericho, and was attacked by robbers. He was passed by a priest and Levite, both of whom would have incurred ritual impurity from touching him. But a Samaritan saw him, dressed the man’s wounds with oil and wine, and bandaged him. He then left him in the care of an innkeeper and paid for his stay.
     Here in the foreground is the Samaritan dressing the wounds of the man. The victim is bandaged on his left arm and forehead, and the jar of oil rests below him. Immediately above the Samaritan’s head is his donkey. In the background is the Levite, reading as scroll, and the priest, with his head bowed. In the distance is a small town.

Window made in memory of Fr. Sandy. Restored in memory of Anne-Marie Dinno 9/1/61 - 11/30/64
 

The Prodigal Son Window lies on the west wall of the sanctuary, and forms a pair of windows depicting parables from the Gospels.
     The parable comes from Luke 15:11-32. In the story, a man has two sons. The younger son decides to take his inheritance and then squanders it. He returns home and begs from his father to treat him as a slave, to which his father instead gives him new clothes and restores him to his proper place. He orders a celebration and has the fattened calf slaughtered for the meal. The older son, who has never left, comes in from the field and is angry that all this has happened while he has been working dutifully without reward. The father responds by saying that the older son has all that his father owns and that they should welcome back their lost son.
     Here in the foreground, the father welcomes back his lost son, who is dressed in rags. Below them are the clothing that his father gives to him when he returned –a golden robe, and a pair of sandals. Above the head of the prodigal son lies the fattened calf. Two figures, presumably family members, stand ready to welcome the son back. At the very top lies the house and the older son plowing the field.

Made in honor of the pastor at the time, Fr. Richard T. Howley. Restored in loving memory of Karl Rapp by Edie Ross.

The Martha Window lies on the east wall of the sanctuary, and forms a pair of windows depicting scenes from the Gospels.
    The Martha and Mary story comes from Luke 10:38-42. In the story, two sisters named Martha and Mary welcome Jesus into their home. Martha complains to Jesus that she must do all the serving, while her sister was sitting and listening to Jesus. Jesus replied, “Martha, Martha, you are anxious and worried about many things.  There is need of only one thing. Mary has chosen the better part and it will not be taken from her” (Luke 10:41-42).
     Here, Jesus is in the foreground dressed in red cape and white tunic teaching Mary. Mary is clothed in green, a color signifying discipleship. In the background Martha works at preparing food underneath a thin archway.

Dedicated to Thanksgiving Memorial.
Restored in memory of Megan O'Donnell.

     The Adoration of the Magi Window lies on the east wall of the sanctuary, and forms a pair of windows depicting scenes from the Gospels.
     This window depicts the Christmas story with the Magi present. The birth of Jesus is described in Luke 2, while the Magi are mentioned in Matthew 2. On the right side of the window is Jesus in the manger, with the cruciform halo. Mary his mother, dressed in the traditional blue, kneels above him, followed by St. Joseph standing behind her. St. Joseph carries a staff, a sign of authority and protection. Opposite them on the left are the 3 magi or wise men, one of whom is kneeling and presenting a jar, while the other two stand behind him. Two are wearing crowns while the third wears a turban. Below him is another jar on the ground. Below the scene lies a lamb sitting on the hay. Above them all shines the star, pointing down to the savior.

Gift of Colonel and Mrs. Ernest Tabscott and daughter Jeanne.
 

Mary, the Immaculate Conception

The façade window above the entrance to the church depicts Mary as the Immaculate Conception. The belief of the Immaculate Conception revolves around Mary. In order to bear Jesus, who cannot sin, in her womb, Mary had to have no original sin in her, and she had to have no original sin from when she was born. Therefore, she is the Immaculate Conception – Immaculate meaning cleaning, Conception meaning when Mary first existed in her mother’s womb. The window depicts parts of the theology connected with that and Marian devotion




Holy Spirit Dove descending upon Mary






The Holy Spirit is central to the Immaculate Conception, because as Luke 1:35 says, “ The Holy Spirit will come upon you”. It is believed that the Holy Spirit protected Mary from having original sin so that Jesus could be born in her, hence he is depicted descending upon Mary here
.
Close up of Mary and the 12 stars

The crown of 12 stars is a reference to Revelation 12:1, where a woman appears in the sky with a crown of 12 stars. Catholics interpret that woman as being Mary. Beneath Mary’s feet is also a crescent moon. This is also a reference to the same passage, as it says the moon is under her feet.




Detail of the Serpent






Mary is depicted as crushing the serpent, which is Satan. This is a reference to Genesis 2, where God promises that the offspring of the first woman (Eve) would crush the head of the serpent. This is seen as fulfilled in Mary, because she bore the one who crushed the serpent, Jesus, and in that way she also crushes the serpent as well.

Inscription: "I am the Immaculate Conception"



This inscription is a reference to the Marian Apparition at Lourdes, France, in 1858, where Mary appeared to a young girl named Bernadette Sourbirous. In response to multiple attempts to find her name, Mary responded with the above statement "I am the Immaculte Conception".










Detail of praying hands on the left side.

The praying hands refer to believers across every age and around the world who turn to Mary in their need, and ask for her support and answers to their prayers.
 

On the left panel of the window is a depiction of Adam and Eve leaving the Garden of Eden. In order to understand the Immaculate Conception, one must go back to the story of the Fall in Genesis. Eve, as the first woman, committed the first sin along with Adam in taking the Forbidden Fruit from the Tree of the Knowledge of Good and Evil. This caused all humankind to inherit original sin, which is washed away in the sacrament of Baptism. According to the doctrine of the Immaculate Conception however, Mary is the one exception (not including Jesus), as God preserved her from sin in order that she hold the savior. Mary is seen as the new Eve, bringing life into the world, and correcting what Eve had failed to do.
    Here, the angel with the flaming sword is depicted driving out Adam and Eve. The Tree of the Knowledge of Good and Evil is above them, while the serpent that tempted them slithers underneath.

Tree of the Knowledge of Good and Evil







Serpent leaving Garden of Eden along with Adam and Eve

There are four churches depicted in the window.

A small model of St. Mary’s Church, located at the bottom of the right pane.




A small model of Mission Santa Clara, the first church in San Jose, and considered the mother church for the San Jose Diocese.





The dome of the Basilica of the National Shrine of the Immaculate Conception in Washington D.C. , located at the bottom of the center pane. This is considered the most preeminent shrine and church in the United States, and is dedicated to Mary under the title of Immaculate Conception. A national connection is made here since Mary, the Immaculate Conception, is patroness of the United States, is patroness of the most important American church, and also patroness of St. Mary’s Church in Los Gatos.
        The Basilica is flanked by the Vatican flag on the left, and the American flag on the right, highlighting St. Mary’s Church as part of the Roman Catholic Church in America.

A small model of St. Peter’s Basilica in Rome. It represents the connection the title of Immaculate Conception has to the Universal Church and the papacy, as well St. Mary’s unity to the Pope in Rome as part of the Roman Catholic Church.
 

    The words “Ineffabilis Deus” means “The Ineffable God”. Ineffable means that which cannot be expressed using words. “Ineffabilis” is the Latin ancestor to ineffable, “Deus” is the Latin word for God, leading to words like deity, divine, etc. These words come from the papal document “Ineffabilis Deus”. This document was issued on December 8, 1854 by Pope Pius IX, declaring the Immaculate Conception of Mary as a dogma or belief of the whole Church. Though the belief was widespread before the Pope’s declaration, the declaration solidified the belief into formal church teaching.
       The window shows along with the title of the papal document a depiction of a pope as an allusion to the papal decree formalizing the dogma. The pope here is unnamed, but wears the papal tiara (the beehive hat with  three crowns), along with a pallium (the white band with crosses, sign of papal authority). Behind him is a Franciscan friar. He represents Blessed John Duns Scotus, a Franciscan who was the most prominent defender of Mary’s Immaculate Conception against those who disagreed. In the friar’s hands is the papal ferula, or three barred cross.
 

There are several inscriptions on various panels of the window.

John Hogan Studio, San Jose 1962











In Memory of Mrs. Elodie Mary Cassidy




St. Mary's Church Built 1962.
Rev. Richard T. Howley, Pastor.
George J. Steuer, A.I.A, Architect
Elmo W. Pardini, Builder.

Restoration donated by the Gentzkow Family