Depictions of the apostles and prophets can be found on either side of the church, on both sides of the nave and side chapels. In addition to their names, several symbols known as attributes were used to identify them. Look towards your left and you’ll see a stained-glass window featuring Saint Peter, recognizable by the large key he holds in his hand.

Why a key? Because Jesus allegedly said to him: “I will give you the keys to the kingdom of heaven,” a metaphorical way of designating Peter as the founder of the Christian Church and the first pope. The keys thereby symbolize his divine authority and his role as the guardian of the gates to heaven.

Now, turn your gaze to the window opposite, on the right-hand side of the church. Here, you’ll find the prophet Isaiah. He is the bearded man wearing a toga, which comes as no surprise for someone from the Old Testament.

What is perhaps more surprising is that he is holding a saw! Isaiah allegedly died a martyr, sawed in half on orders from King Manasseh, who it seems couldn’t countenance his criticism.

The church’s largest window, however, is on the church’s façade, on the east side, and from inside, it can be seen above the rood screen. It depicts the Assumption of the Virgin Mary, the extraordinary moment when Mary was assumed body and soul into heaven after her death. She is depicted rising upwards above her tomb bathed in heavenly rays of light.

The roses and lilies surrounding Mary represent her virginity and purity.

Up above, Christ wearing a crown eagerly awaits her, ready to welcome her into the splendour of heaven. And if you look closely, you’ll see a red hexagonal embellishment, on either side of the lateral stained-glass windows, containing the intertwined letters A and M, a reference to “Ave Maria” or “Hail Mary.”

This is the only stained-glass window in the church signed by the artist. His signature is at the bottom right-hand side of the glass panel, underneath “Guido Nincheri Studios Montreal.”