Stony Last Thursday History Society,
Stony Stratford Library,
29 October 2026 (2:30 pm)
Introduction:
As we were arriving this afternoon, I was playing ‘Zorba’s Dance’ from the 1964 classic Hollywood film Zorba the Great. Today, the dance and the music are regarded as quintessentially Greek, by Greek and non-Greek alike. But back in 1964, both the music and dance were newly composed and newly choreographed. The dance was invented on the film set, and the music was written especially for the film by the composer Mikis Theodorakis.
The film is based on the book, Zorba the Greek, a work of modern Greek literature by Nikos Kazantzakis, one of the great writers of the 20th century. I have tried to read it in the original Greek, with its beautiful opening descriptions of the landscape of Crete. It was first published in Greek 80 years ago, in 1946. I have known the writer’s family for decades, written about him often, and I have visited his grave on the walls above Iraklion.
So, when I moved to Stony Stratford over four years ago, I was surprised to find a link – however distant and tenuous – between Stony Stratford and Zorba the Greek.
This afternoon I want to share with you a ‘Stony Story’ of music, film and dance, of stained glass windows and romance, of love, abandonment and divorce, a story that links Stony Stratford and the stars of Hollywood, and a story that also draws in the Pre-Raphaelite artists of the Victorian age.
But, to put our conversations into context this afternoon, to weave together your memories and my stories, could I begin by tapping into your memories:
• How many of you have seen Zorba the Greek?
• How many of you have seen The Ten Commandments?
• How many of you are familiar with the names of Anthony Quinn … Cecil B DeMille … Nikos Kazantzakis?
• And, are you are familiar with the stained glass windows in Saint Mary and Saint Giles Church?
There are 12 windows in the church, and they include:
• a two-light window at the west end by Charles Eamer Kempe, depicting three archangels;
• a set of three windows in the south gallery, among them important work by John Groome Howe of the Hardman studios;
• two separate windows in the south gallery with fragments from an earlier window;
• and six windows – three below the gallery on the south wall and three below the gallery on the north wall – by NHJ Westlake of Lavers & Westlake.
I want us to concentrate first of all on the three small windows below the gallery on the north wall, which are paired with the three small windows below the gallery on the south wall, all six by Nathaniel Westlake.
Window 1, North side:
The first window by Westlake at the east end of the North Wall in Saint Mary and Saint Giles is dated 1889, and is in memory of the Revd John William Spark, who was the assistant curate in Stony Stratford for six years.
This window is of three eyelets and depicts three Biblical scenes: Moses and the Burning Bush; the Annunciation; the Expulsion of Adam and Eve from Eden.
John William Spark was born in 1858, the son of Peter Spark, a farmer of Meldreth, near Whittlesford, Cambridgeshire, and later of Babraham. He was educated at Saint John’s College, Oxford (BA 1880, MA 1885), and was an assistant curate in Stony Stratford for six years. He left £50 in his will towards providing better vestry accommodation, and this money formed the nucleus of a fund for building the new vestries, designed by Edward Swinfen Harris.
This window is one of two in the church in Spark’s memory. Each panel in this window depicts an angel speaking the word of God. The first two panels offer images of listening to the message of God: Moses listens to the word of God, depicted as an angel in the Burning Bush; the Virgin Mary listens to the annunciation of the Gospel by the Archangel Gabriel; and an angel tells Adam and Eve to leave the Garden of Eden.
The depiction of the expulsion of Adam and Eve may seem an unusual image in a memorial window. However, it may indicate the early departure of a man who had arrived in a parish he could have expected to be a new Eden, only to be taken away at an early stage.
Window 2, North side:
The second window in the North Wall in Saint Mary and Saint Giles is dated 1889. It is by Westlake and is second of two sets of windows in memory of the Revd John William Spark, who was in Stony Stratford for six years.
This window is of three eyelets and each panel in this window depicts a good shepherd: David killing a lion (see I Samuel 17: 34-37); Christ the Good Shepherd (John 10: 11-18); and the Sacrifice of Abel (Genesis 4: 2).
Before going into battle with Goliath, David told Saul how he had risked his life for the sheep in flock, killing lions and bears: ‘… whenever a lion or a bear came, and took a lamb from the flock, I went after it and struck it down, rescuing the lamb from its mouth; and if it turned against me, I would catch it by the jaw, strike it down, and kill it. Your servant has killed both lions and bears … the Lord, who saved me from the paw of the lion and from the paw of the bear, will save me from the hand of this Philistine’ (I Samuel 17: 34-37).
In Saint John’s Gospel, Christ describes himself twice in one passage as the Good Shepherd: ‘I am the good shepherd. The good shepherd lays down his life for the sheep. … I am the good shepherd. I know my own and my own know me, just as the Father knows me and I know the Father. And I lay down my life for the sheep’ (John 10: 11-15).
The third panel recalls Abel the Shepherd and his sacrifice: ‘Abel was a keeper of sheep, and Cain a tiller of the ground. In the course of time Cain brought to the Lord an offering of the fruit of the ground, and Abel for his part brought of the firstlings of his flock, their fat portions. And the Lord had regard for Abel and his offering’ (Genesis 4: 2-4).
We could summarise these three panels as reminding the parishioners of Stony Stratford that the Revd John William Spark, their curate who died a young man, had risked his life for them, made a perfect sacrifice, and was a faithful shepherd.
Window 3, North Wall:
The third window in the North Wall in Saint Mary and Saint Giles, and the one I really want to focus on this afternoon, is dated 1895. It is also by Westlake, who was commissioned by Edward Swinfen Harris (1841-1924). Again, this window depicts three Biblical scenes:
• Enoch taken up to heaven by angels without dying (see Genesis 5: 21-24);
• the Ascension (see Luke 24: 50-53);
• Elijah taken up to heaven in the Chariot of Fire without dying (II King 2: 11-12).
Enoch and Elijah are both said to have been taken into heaven without dying. These images, along with central panel depicting the Ascension, are illustrations of the Christian hope of eternal life.
This window is in memory of Amy (Hunt) Lester (1850-1895), the wife of the Revd John Moore Lester (1851-1884), who was the Vicar of Stony Stratford in 1880-1884. They were married in Christ Church, Lancaster Gate, Westminster, in 1877 and they were the parents of nine children. She died on 30 October 1895.
The Revd John Moore Lester was the Rector of Stony Stratford in 1880-1884. He was born in Mumbai (Bombay), a son of General Sir Frederick Lester, and was educated at Rugby and University College Oxford.
From Stony Stratford, he went on to be the Vicar of Holy Trinity Church, Ayr (1884), Vicar of Shifnal, Shropshire, and a Rural Dean in the Diocese of Lichfield (1891), Vicar of Yarcombe, Devon (1903), Rector of Saint Leonard’s, Bridgnorth (1905), and finally Rector of Litchborough, near Towcester in Northamptonshire, 15 miles north-west of Stony Stratford. He died at Litchborough Rectory on Christmas Eve 24 December 1919.
Amy Lester’s son, Edward Gabriel Lester (1887-1917), was the father of the Canadian-born American actor Katherine Lester DeMille. She was the adopted daughter of the director Cecil B DeMille, she married Anthony Quinn, she was considered Hollywood royalty, she played 25 credited film roles from the mid-1930s to the late 1940s, and she was noted for her dark beauty.
Katherine Lester DeMille was born Katherine Paula Lester in Vancouver on 29 June 1911. Her birth father, Edward Gabriel Lester, was born in Scotland shortly after his father had moved from Stony Stratford to Ayr. He became a teacher, moved to Canada and married Cecile Bianca Bertha Colani, who was of Italian descent and a daughter of the architect Johann Colani. During World War I, Edward Lester became a lieutenant in the Canadian army and was sent to France.
Four days before Katherine’s sixth birthday, her father died of multiple wounds at the Battle of Vimy Ridge in France on 25 June 1917, during World I. Her mother, Cecile Bianca Bertha (Colani), was terminally ill, and travelled to California, supposedly to find Katherine’s paternal grandparents and to leave the little girl with them.
However, the child’s grandmother, who is commemorated in this window in Stony Stratford, had died more than 20 years earlier, in 1895, and the child’s grandfather was then living in Northamptonshire. Katherine’s mother died less than three years later, in a Los Angeles hospital on 18 March 1920, without ever making contact with her husband’s parents, the child’s grandparents.
By then, Katherine had been placed in an orphanage in Los Angeles. Just weeks before her grandfather’s death, when she was eight, she was found in the orphanage by Constance Adams DeMille (1873-1960), the wife of the Hollywood producer and director Cecil B DeMille (Cecil Blount de Mille, 1881-1959). The DeMille family presumed she had no living relatives and adopted her as their third child in 1922.
Katherine, still in her late teens, gained experience on stage in 1930, acting as the understudy for the feminine ‘heavy’ of the play ‘Rebound’ in San Francisco. She wanted to begin an acting career on her own and used the stage name Kay Marsh whenever she worked as an extra. Her first credited role was as Rosita Morales, the wife of Wallace Beery’s Pancho Villa, in the MGM film Viva Villa! (1934), the story of the Mexican bandit, Pancho Villa.
She played another Mexican woman that year, a maid named Lupe, in the Paramount production The Trumpet Blows (1934), and her performance brought a contract with Paramount Pictures. Her next role was as Molly Bryant, the nemesis of Mae West’s character in Belle of the Nineties (1934).
Katherine played the second female role in All the King’s Horses (1935) at Paramount, and was loaned to Columbia Pictures for The Black Room (1935) and to 20th Century Fox for Call of the Wild (1935).
The role of Princess Alice of France in The Crusades (1935) was a Christmas gift from her father, Cecil B DeMille. Andre Sennwald of The New York Times said ‘that striking brunette, Katherine De Mille’, was one of the actors who gave ‘excellent performances’ in the film.
She also starred in The Sky Parade (1936). Paramount then cast her in two more leading roles; she was the sister of Buster Crabbe in the Western Drift Fence (1936) and a parachutist and the romantic interest of William Gargan in the aviation drama The Sky Parade (1936). She returned to MGM to play the uncredited role of Rosaline, Romeo’s first love, in the 1936 film adaptation of Shakespeare’s Romeo and Juliet.
The 20th Century Fox studio cast her in the role of Margarita in the 1936 Technicolor film version of the Helen Hunt Jackson novel Ramona, starring Loretta Young as the title character. She was Barbara Stanwyck’s rival for the love of Joel McCrea in Banjo on My Knee (1936) and played the main female role in Charlie Chan at the Olympics (1937).
Katherine married the actor Anthony Quinn (1915-2001), star of Zorba the Greek (1964), in All Saints’ Episcopal Church, Beverly Hills, on 2 October 1937, and they were the parents of five children. She became a naturalised US citizen a year later in 1938.
After their marriage, she continued her career at 20th Century Fox and other studios. She had third billing in The Californian (1937) and played a smaller part in Love Under Fire (1937). She went to Columbia Pictures to co-star as Jack Holt’s leading lady in Under Suspicion (1937). She had a minor role in Walter Wanger’s Blockade (1938), a drama about the Spanish Civil War. Again at Columbia, she had the leading female role in another Jack Holt film, Trapped in the Sky (1939).
Katherine played supporting roles in the Roy Rogers film In Old Caliente (1939), the RKO adventure Isle of Destiny (1940), the Columbia mystery film Ellery Queen, Master Detective (1940), the Universal mystery film Dark Streets of Cairo (1940), and Paramount’s Technicolor adventure Aloma of the South Seas (1941).
She retired from films in 1941 to dedicate her time to her family. But after a six-year absence, she returned to the screen in 1947 when she co-starred with Anthony Quinn, for the first and only time in the Allied Artists drama Black Gold (1947). One critic said she deserved to share Quinn’s ‘highest acting compliment … The tender byplay of their mutual understanding, respect and love provide the refreshingly different romance of the picture.’ Another critic wrote: ‘Katherine DeMille does splendid work as Quinn’s wife, who has had good schooling, but is a loyal, obedient helpmeet.’ And another commended the performances of the couple: ‘As to the acting, both Anthony Quinn and Katherine DeMille rise to the occasion.’
Her father cast her in a supporting role in his epic Unconquered (1947), starring Gary Cooper and Paulette Goddard. Her final credited role was Lucille Strang, the wife of Milburn Stone’s character, in the film noir The Judge (1949), directed by Elmer Clifton.
Her husband Anthony Quinn (1915-2001) was born Manuel Antonio Rodolfo Quinn Oaxaca in Chihuahua, Mexico, and denied being the son of an ‘Irish adventurer.’ He said his mother Nellie had Aztec ancestors, while his father, Frank Quinn, was the Mexican-born son of an Irish immigrant and once rode with Pancho Villa.
The couple were the parents of five children: Christopher (1939-1941), Christina (born 1941), Catalina (born 1942), Duncan (born 1945), and Valentina (born 1952). The eldest child, Christopher, was two when he found drowned in the lily pond in the garden of their next-door neighbour WC Fields.
Katherine accepted the 1953 Academy Award for Best Supporting Actor on behalf of her husband for his portrayal of Eufemio Zapata in Viva Zapata! (1952), when Quinn was not present at the ceremony. At the same ceremony, her father received the Academy Award for Best Picture for his film The Greatest Show on Earth.
Anthony Quinn was not a faithful husband. He wanted a divorce so that he could the children he had with an Italian costume designer Jolanda Addolori. In December 1964, the year Zorba the Greek was made, Quinn sued DeMille for divorce in Ciudad Juárez, Mexico, and ‘listed incompatibility in the suit as grounds for divorce.’ They were divorced on 21 January 1965.
Katherine retained her married name Quinn. Around 1988, she moved from Pacific Palisades to Tucson, Arizona, to live with one of her daughters and grandchildren. She had Alzheimer's disease when she died in Tucson on 27 April 1995 at the age of 83. Her former husband, Anthony Quinn, died in 2001.
In his autobiography, her father wrote that she ‘has carried the name DeMille on for another generation in motion pictures as a talented actress.’ Her brother, Richard de Mille, later remembered: ‘I was wild about Katherine. She was extremely lovable and beautiful, a terrific combination. Was she ill-used by Quinn? Absolutely, but not in a way that she resented. She was always in love with him. Cecil had respected Constance and always treated her fairly; I don’t think Quinn treated Katherine fairly.’
Katherine Lester DeMille, adopted daughter of Cecil B DeMille, was a granddaughter of Amy Lester of Stony Stratford
Nathaniel Hubert John Westlake (1833-1921):
These windows are by NHJ Westlake of Lavers & Westlake, and were probably commissioned by the Stony Stratford architect Edward Swinfen Harris (1841-1924), whose works, mainly in the Arts and Crafts style, can be seen throughout Stony Stratford.
The artist Nathaniel Hubert John Westlake (1833-1921) was born in Romsey in 1833. He worked under William Burges for a while before joining the London-based stained-glass firm of Lavers and Barraud in 1868, having designed for the firm since 1858. The firm was first established by Nathaniel Wood Lavers (1828-1911) in 1855.
Westlake’s knowledge of mediaeval art, his Pre-Raphaelite style and his simplification of previously over-elaborate drawing brought the firm fame and success in the 1860s. A leading designer of the Gothic Revival movement, his works include ‘The Vision of Beatrice’ (1864), commissioned for an exhibition of stained glass at the South Kensington Museum, now the Victoria and Albert Museum.
Westlake later became a partner and eventually, in 1880, the sole proprietor of Lavers, Barraud & Westlake.
Westlake designed windows in in Saint Paul’s Cathedral, London, and Worcester and Peterborough Cathedrals, and in other prominent churches, including Saint Martin le Grand, York. He also designed windows in the college chapel at Saint Patrick’s College, Maynooth, Co Kildare, and the ceiling and Stations of the Cross in the college chapel in Maynooth.
As the Aesthetic movement gathered momentum, the colour of his stained glass became diluted.
Between 1881 and 1894, Westlake published four volumes, A History of Design in Painted Glass. He also contributed an article on mosaics to the Catholic Encyclopaedia.
Lavers & Westlake were commissioned to reglaze two central lights in the great hall windows at Mary Datchelor Girls’ School, Camberwell, in 1896. The subjects were ‘Lady Jane Grey discourses with Roger Ascham’ and ‘By Industry and Perseverance,’ symbolising the importance of female endeavour in higher education. Other windows included ‘On the way to Chapel,’ ‘Physical Exercise,’ ‘The Kindergarten’ and ‘The Classroom.’ The windows were removed from the school in 2010 after it was converted into a series of apartments.
The firm changed its name several times with the arrival and departure of each partner. Francis Barraud (1824-1900) had joined the practice from James Powell & Sons. When he died in 1900, the firm was known as Lavers, Westlake and Co, although Westlake had been the sole proprietor since 1880.
The company became NHJ Westlake after 1909, but it closed after Westlake died in Brighton on 8 May 1921.
Window 1, South Wall:
The first window at the east end of the South Wall in Saint Mary and Saint Giles Church below the gallery is of three eyelets and depicts two angels worshipping the Lamb on the Throne, Agnus Dei, an image from the Book of Revelation; the Crucifixion, with the Virgin Mary and Saint John keeping watch with the Crucified Christ as they stand at the foot of the cross; and Moses with Aaron and Hur holding up his arms.
In each of these three panels, the central figure – the Lamb on the Throne, the Crucified Christ and the ageing Moses – have two supporting figures: two angels, the Virgin Mary and Saint John, and Aaron and Hur.
During Joshua’s battle with Amalek at Rephidim, the Book Exodus recalls, ‘Moses’ hands grew weary; so they took a stone and put it under him, and he sat on it. Aaron and Hur held up his hands, one on one side, and the other on the other side; so his hands were steady until the sun set. And Joshua defeated Amalek and his people with the sword’ (Exodus 17: 12-13).
Window 2, south wall:
The second window in the South Wall in Saint Mary and Saint Giles Church beneath the gallery is dated 1888. Edward Swinfen Harris commissioned this window in memory of his father, also Edward Swinfen Harris, who was the clerk to the town bench of magistrates, the Board of Guardians and other bodies in the town.
This second depicts three Biblical scenes: Joseph before Pharoah’s throne, interpreting his dreams (Genesis 41: 1-36); Jesus as an apprentice in Joseph the carpenter’s shop, with Joseph and the Virgin Mary (see Luke 2: 39-40); and Joseph’s brothers before him with the silver cup found in Benjamin’s sack (Genesis 44: 1-34).
Each panel depict a Biblical Joseph: Joseph the son sold into slavery in Egypt by his brothers; Joseph with the Christ Child; and Joseph with his brothers.
In the first panel, Joseph stands before Pharoah’s throne, interpreting his dreams (Genesis 41: 1-36). However, the vision he points to in the distance is not the years of plenty, or the years of famine, but Christ Crucified on Calvary.
The stories of Christ as an apprentice in the workshop of Joseph the carpenter are popular and pious, but are not found in any Gospel narrative (see Luke 2: 39-40). Nevertheless, this image in the second panel, showing Christ as an apprentice in Joseph the carpenter’s shop, reflects a subject that was popular among the Pre-Raphaelite artists at the time Westlake made this window.
William Holman Hunt (1827-11910) worked on his painting, ‘The Shadow of Death’, in 1870-1873, during his second trip to the Holy Land. It depicts Christ as a young man prior to his ministry, working as a carpenter. He is shown stretching his arms after sawing wood. The shadow of his outstretched arms falls on a wooden spar on which carpentry tools hang, creating a ‘shadow of death’ prefiguring the crucifixion.
Two decades earlier, Holman Hunt’s Pre-Raphaelite colleague John Everett Millais (1829-1896) had portrayed Christ as an apprentice carpenter, helping Joseph as a young boy, in his painting, ‘Christ in the House of his Parents’ (1849-1850).
In the third panel, Joseph’s brothers plead before him with the silver cup found in Benjamin’s sack (Genesis 44: 1-34). In the background, their ageing father with Jacob is being comforted.
In each of these panels, Westlake is suggesting that Edward Swinfen Harris was a loyal and faithful son to his father, the late Edward Swinfen Harris, and that he had learned from him.
Window 3, South Wall:
The third window on the South Wall beneath the gallery in Saint Mary and Saint Giles Church is dated 1896. It was commissioned by Edward Swinfen Harris in memory of his mother, Catharine Swinfen Harris, who died on 23 June 1896, at the age of 85.
This third window is of three eyelets and depicts three Biblical scenes: Jacob blesses Joseph’s sons Manasseh and Ephraim with crossed hands (see Genesis 48: 10-22); Christ greets two disciples at night, perhaps James and John, or Peter and Andrew, although this is not indicated on the window.
The story depicted in the first panel recalls how Joseph was Pharoah’s chief minister of Egypt when he took his two sons Manasseh and Ephraim to see his dying father Jacob. Jacob surprised them by deciding to adopt Manasseh and Ephraim as his own sons, and promising them the same inheritance as his other sons, like Reuben and Simeon (verse 5).
It is customary in many Jewish communities for parents to administer a blessing like Jacob’s blessing to Joseph’s sons on Friday nights before the kiddush. As hands are laid on the heads of the boys, the words spoken are: ‘May you be like Ephraim and Manasseh.’
The mother of these two, Asenath, was an Egyptian, and so her family was outside the community of faith. Yet, they are not disqualified from God’s blessings because of their parents’ unconventional marriage.
Traditionally, the eldest son would expect to inherit a double portion, signified by his father blessing him with his right hand. So Joseph placed his firstborn, Manasseh, on Jacob’s right side and Ephraim on his left. However, Jacob crossed his arms and put his right hand on the second born, Ephraim, and his left hand on Manasseh, and then spoke his blessing over both.
This story is a reminder of how God can choose people others think are not qualified or deserving, those who do earn or qualify for a blessing, those you are not next in line. Those who cannot normally expect favour or promotion may receive unexpected blessings.
In this window, Swinfen Harris may be saying that his mother was seen as an outsider but that in life through his parents he found blessings beyond any expectations in his dreams.
CE Kampe window (west end):
The window at the west end of the church is a two-light depicting three archangels: Saint Gabriel above, and Saint Michael and Saint Raphael below. This window, dated 1903, is by Charles Eamer Kempe (1837-1907).
CE Kempe’s studios produced over 4,000 windows and designed altars and altar frontals, furniture and furnishings, lichgates and memorials that helped to define a later 19th-century Anglican style.
As a student at Pembroke College, Oxford, Kempe was influenced by the Anglo-Catholic Tractarian revival and considered a vocation to the priesthood. Inspired by William Morris’s work, he went to study architecture with the Gothic Revival architect George Frederick Bodley (1827-1907) at a time when Bodley was working on All Saints’ Church, Cambridge. There he learned from both Bodley and William Morris, and Bodley and Kempe became lifelong friends and collaborators.
Kempe’s work was strongly influenced by the Gothic Revival and the Pre-Raphaelite movement. His studios produced over 4,000 windows and designs for altars and altar frontals, furniture and furnishings, lychgates and memorials that helped to define a later 19th century Anglican style.
The English cathedrals with his work include Lichfield, as well as Chester, Gloucester, Hereford, Wells, Winchester and York. I have also written in the past about his windows in the chapel of Saint John’s Hospital, Lichfield and Christ Church, Leomansley, Lichfield.
The Cambridge church historian Owen Chadwick once said Kempe’s work represents ‘the Victorian zenith’ of church decoration and stained glass windows. Kempe was seen by his contemporaries as a Tractarian, but primarily he saw his task ‘to beautify the place in which to celebrate the glory of God.’ His window in Saint Mary and Saint Giles Church offers an interesting illustration of this principle.
Three south gallery windows:
The first three sets of three-light windows in the south gallery include a window by John Groome Howe of James Powell and Sons (1877).
This first window is dedicated to Josiah Michael and Ann Smith and shows six scenes with themes of the Resurrection or being raised to new life: top, 1, the raising of Jairus’s daughter (Matthew 9: 18-26; Mark 5: 21-43; Luke 8: 40-56); 2, Christ with two disciples on the Road to Emmaus (Luke 24: 13-35); and 3, the raising of the Widow of Nain’s son (see Luke 7: 11-17); below, 1, the raising of Lazarus (John 11:1 -44); 2, the Supper at Emmaus (Luke 24: 13-35); and 3, the healing of Simon Peter’s mother-in-law (Matthew 8: 14-15, Mark 1: 29-31, Luke 4: 38-39).
The firm of James Powell and Sons, also known as Whitefriars Glass, were London-based glassmakers, leadlighters and stained glass window manufacturers. As Whitefriars Glass, the company dated from the 17th century, and it became well-known as a result of the 19th-century Gothic Revival and the demand for stained glass windows.
During the latter part of the 19th century, the firm had close working links with leading architects and designers including TG Jackson, Edward Burne-Jones, William De Morgan and James Doyle, and produced the glass that Philip Webb used in his designs for William Morris. Nathanael Powell’s eldest surviving son, Harry, was an admirer of John Ruskin.
The next two windows in the south gallery are three-light windows depicting 12 apostles, each with six illustrations. Their date and the artist are unknown.
The first depicts: top, Saint James, Saint Peter, Saint John; below, Saint Thomas, Saint Andrew, Saint James the Less. The second depicts (top) Saint Philip, Saint Paul, Saint Bartholomew; and (below) Saint Jude, Saint Simon, Saint Matthew.
A fourth and fifth window in the south gallery show the Risen Christ and the Crucifixion.
Anecdotes for discussion
1, Nikos Kazantzakis and Kathleen Forde;
2, The other Anthony Quinn: meeting Patrick Quinn or AP of AP in Greece 30 years ago (1996);
3, Meeting the writer’s widow Eleni Kazantzakis in Athens, February 2004;
4, The funeral and grave of Nikos Kazanzakis;
5, Zorba’s dance, and how it was invented
6, The legends about the Irish ancestry of Anthony Quinn
