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Stained Glass Windows
The numbers around the plan below refer to the windows and provide links to the text below.
The West window  was Graham Pentelow's first commission.
The general theme of the window is the Trinity - being the means to the highest form of spiritual attainment. In the centre is the Cross with the Crown of Thorns - being a symbol of the Passion of Christ. The Cross also being the focus of Christian unity.
To the left of the Cross is a Phoenix, rising from the flames - being an ancient symbol of re-birth and resurrection.
To the right of the Cross a Pelican in piety, feeding its young from the blood of its breast - being a symbol of Christ, the redeemer of mankind and a symbol of sacrifice. (Also in the East window.)
Above this is a Butterfly being a sign of resurrection and eternal life. At the heads of the outside lights are the two components of the Trinity. On the left is the Dove or the Holy Spirit. On the right is the hand of God expressing God the Father and Creator.
In the centre of the tracery are the culminations of all three:- The Circle - being a sign of Eternity. The Triquetra - being an interlaced triangular ornament suggesting the Trinity. Within the Triquetra are three sets of three fishes in a circle - the fish being an ancient Christian sign for Christ, coming from the Greek words for Jesus Christ, Son of God, Saviour. Three in a circle symbolising man's salvation coming from a Triune God. In the very centre is the Creator's Star the Star of David.
On either side, (above the outside lights) are Alpha and Omega - the Trinity being the beginning and the end of all things.
The two clear windows on either side commemorate the Silver Jubilee of Queen Elizabeth II in 1977.
Northern Isle top
Henry Lindsay died 3rd May 1892. This memorial window designed by
Mr C E Kempe (look for his wheatsheaf symbol.) Plain Windows in the chancel were
replaced in 1972.
Southern Aspect top
Graham Pentelow was born in Kettering in 1954 and attended Park Road Schools, Kettering Grammar School and Northampton School of Art. He studied Architectural Glass at Swansea School of Art, during which time the West Window was designed. Manufacture began after leaving college in 1979, the window installed, and it was dedicated in November 1980. More major work at Crownhill Crematorium, Milton Keynes, 750th anniversary window at the “Crooked Spire“ church, Chesterfield and at Templeton near Tenby, Bishopstone near Swindon, Leicester and many others.
William Morris, 1834 -1896 was an English designer, craftsman, poet and early Socialist. His early designs for furniture, fabrics, stained glass, wallpaper and other products, generated the 'Arts and Crafts' movement and revolutionised Victorian taste. He was educated at Marlborough College, and Exeter College, Oxford and after his degree, joined the architectural firm of G E Street (designer of our church). Later he joined with others to form an association of 'fine art workmen' in what eventually became the William Morris Company, who designed these windows some 30 years after his death.
Charles Eamer Kempe, born in Sussex 1837, educated at Rugby and Pemboke College, Oxford; founded his studios in London in 1869, which after his death in 1907, became a Limited Company continuing his work until they closed in 1934. He headed a workforce of some hundred artists, designers and craftsmen and the sheer quantity of glass they produced for our churches, cathedrals and institutions indicates the regard held for Kempe windows, the beauty and importance of this glass now being recognised world-wide. Extract from Kettering Parish Magazine, December 1893. ' …..peculiarly fitting that the first of the Lindsay Memorial Windows to be unveiled should be that at St Andrew's Church, which owes its existence to his zealous labours… designed and carried out by Mr C E Kempe, the most famous of modern workers in stained glass….. richness of effect is chiefly due to the extraordinary amount of finish which has been bestowed upon the work, every inch of coloured background being worked over with elaborate patterns in a darker shade of the same colour. The whole window rises far above the level of a mere commercial undertaking and bears evident signs of the labour of love which has been spent upon it.'