Chancel: The east window consists of three lights and bears the signature of Douglas Strachan. It is a representation of St John’s vision in the 4th and 5th chapters of the Book of Revelation. The bottom of each of the three lights represents the earthly scene and life; on the left, looking towards the window, is industry (Carron Works), then a country scene; and on the right St John shades his eyes as he looks up at the heavenly scene. Above the earthly part is the Sea of Glass. In the centre light the Lord holds the seven stars in the blue firmament in His right hand; around are the seven golden candlesticks; from His head flashes a ray of light (to reproduce “out of his mouth went a sharp two-edged sword” would be grotesque if directly reproduced). At His feet is the Lamb of God, around Him the four and twenty elders, and then the worshipping hosts of heaven. On the left is shown a soul rising from earth to heaven and being received by an angel in red (charity). Underneath is the following inscription “In memory of George Sherriff of Carronvale and Stenhouse 1856-1908. ‘Surely I come quickly. Amen. Even so come Lord Jesus’. Given by Catherine Sherriff, September 1914.” 2. In the small window on the north side of the chancel is a representation of the end of the walk to Emmaus, and shows our Lord breaking bread with the two disciples (St Luke 24, verses 13-31), subscribed by the words, “their eyes were opened and they knew Him.” Below is a medallion showing Cleophas and his companions inviting Jesus to enter the house. The whole is surrounded by the signs of the four evangelists and surmounted by the dove of peace. This window was gifted by the widow of John B Cochrane, and carved on the stone at the side is “To the glory of God in memory of John Bell Cochrane, a founder and benefactor of this Church 1842-1914. J.H.C.” It was dedicated in 2 December 1922. Douglas Strachan, designer. 3. Next to it is the third window, which was erected posthumously, not quite finished, it having been intended to have some wording on it which is missing. It shows the angel guarding the tomb and the inscription on the stonework at the side reads: “To the glory of God in memory of David Scribner Merrow, first minister of this church, a beloved brother and faithful minister in the Lord 1871-1947.” Also by Douglas Strachan. 4. In the nave on the north side is a two light window. It represents the Crucifixion; the west light shows Mary Cleophas, Mary and John, behind them the centurion on horseback with a background of houses. The east light continues the background and shows Our Lord on the Cross with Mary Magdalene kneeling at His feet and a Roman soldier standing by . Below is an oak board with lead letters bearing the following inscription: “To the glory of God in loving memory of Catherine Jane Sherriff, a devout member and benefactor of this Church. A friend of the poor and all good causes. This window is placed by her children. The souls of the righteous are in the hands of God. They shall obtain joy and gladness and sorrow and sighing shall flee away.” The window was dedicated on 26 September 1937. It is the work of Douglas Strachan.
Chancel: A large three-light window. Highly coloured with a large figure in the bottom of each light looking upwards to the scenes above. In the upper section of the middle light is the figure of Jesus with his arms outstretched. He is wearing a white robe and has long fair hair. To his right is a kneeling man with a roll of parchment. To his left another kneeling man looks on in awe. The apexes are filled with geometric shapes that include chalices. Four angels appear in the individual tracery lights above, with a cross at the very top. Written across the centre in a banner is “THE LAW HAVING A SHADOW/ OF THE GOOD THINGS TO COME”. This comes from Hebrews 10.1. The banner separates the two sets of three figures. In the centre are the words “LO! I COME”. At the base the dedicatory panel, in small letters, states “BY HENRY DAWSON OF LIVERPOOL/ PRESENTED TO LARBERT CHURCH/ AS A MEMORIAL 1859/ OF JOSEPH DAWSON OF CARRON/ DESIGNED BY FRANK HOWARD OF LIVERPOOL/ PAINTED BY R.B. EDMUNDSTON & SON MANCHESTER” The chancel was added in 1911. The large stained glass window represents the Transfiguration. The upper portion, which formerly was clear glass, was filled with stained glass to the design of Mr Alf. Webster, Glasgow. This upper portion has been placed in memory of the late Miss Dawson of Powfoulis. It is meant to emphasise and strengthen the main subject of the window below, "The Transfiguration". The two central angelic figures bear the text "This is My beloved Son" and on the left side is the Angel of the Fall bearing an orb with the forbidden fruit, and on the other the Angel of the Redemption bearing the "cup with the blood", which is shed for the remission of sins. The emblematic vine fills up the remaining portions, with the Cross surmounting the Ark. Nave: All of the ground floor windows in the nave have stained glass. Each is composed of two-lights and they will be described from the SE corner westward, then from the NW corner eastward. South side: 1. Colour is sparsely used to good effect, helping to create the illusion of depth. An angel is shown in each light; that on the left has its hands clasped in prayer and that on the right carries a tablet and has two birds set on a branch in the foreground. Below each is a small scene (a) a man in a black cloak raising his arms skyward with a long winding mountain path in front of him “From the end of the earth will/ I cry unto thee when/ my heart is underwhelmed”; (b) a man carrying a wheat sheaf in front of a church set in a ripe cornfield “Let every thing that hath/ breath praise the Lord/ Praise ye. The Lord”. The dedicatory panel at the base reads “To the Glory of God and in memory of the/ Reverend John McLaren” and continues “Born 15th September 1823. Inducted minister of the/ united parishes of Larbert and Dunipace/ 16th September 1847. Died 1st January 1898/ Erected by/ members of. The Congregation/ and Friends.” The whole is surrounded by a border composed of small vignettes. The artist is Alfred Alexander Webster of Glasgow and the use of the device of a bishop dates it to 1911. The subject illustrated is "Prayer and Praise". The angel on the left is the representative of Prayer, the figure wearing a cape and stole, and standing on the stars in an attitude of prayer. Underneath is shown a difficult and steep path scaled by prayer. Humanity's needs are represented by the figure with outstretched arms supplicating the Almighty. The angel on the right is the representative of Praise, the figure holding and playing the lyre. All creation praises - even the birds - while as an example a church with spire is shown on the left-hand corner of the window. 2. A colourful 2-light window portraying an indoor scene with purple fan vaulting and a square paved floor. The left hand light has a couple with haloes – the bearded man holding a caged bird being admired by a kneeling boy. The light on the right has a family group composed of a bearded man holding a baby and a woman placing a reassuring hand on an adolescent child. The panel at the bottom reads “LORD NOW LETTEST THOU/ THY SERVANT DEPART IN PEACE/ ACCORDING TO THY WORD” and continues “FOR MINE EYES HAVE SEEN THY/ SALVATION which THOU hast PREPARED/ BEFORE THE FACE OF ALL PEOPLE”. The dedicatory panel is spread across the two lights “In Memory of/ George Ure D.I. of Wheatlands/ Died 3rd January 1910. Aged 89 years./ A --- --- ---/ lifelong friend of this church”. The window is by R. Dickson & A Walker of Edinburgh, 30th March 1913. 3. A single richly robed figure stands in a Gothic arched surround in each of the two lights. That on the right holds an orb and an open book. The man on the left has his arms outstretched. The background is schematic and sows a path on a balustrade terrace with the green foliage of trees beyond. The theme is announced in a ribbon at the feet of the figures “Well done thou good and faithful Servant/ Enter thou into the joy of the LORD” and “And GOD shall wipe away/ all tears from their eyes”. The border is punctuated by squares containing the letters “his”. The dedication at the bottom is “In memoriam/ Janet Reid Ure/ Born at Carron July 1st 1819/ Died at Wheatlands October 15th 1890” “Erected by/ Her Husband George Ure/ of Wheatlands Bonnybridge”. Date 1917? 4. The left light shows a blond long haired bearded man looking to the right light where a group of three people stand. He wears a red cloak and has a halo containing a Constantine cross – identifying him as Jesus. The group of three is fronted by a bearded man with a blue cloak and head scarf. Behind him is a woman and a man in a red turban. There are grass and flowers at their feet and a tree and distant buildings higher up. The border is made up of white lilies emanating from yellow pots. In the spandrel are two angels supporting banners “THESE ARE THEY WHICH/ CAME OUT OF GREAT/ TRIBULATION” and “THERE --- ---/ BEFORE --- ---/ OF GOD ---“. The text at the base is spread across both lights and reads “Abide with us/ for it is toward/ Evening and the/ day is far spent”. “THIS WINDOW IS PLACED HERE TO THE GLORY OF GOD AND IN LOVING MEMORY/ OF CATHERINE DICK WHO DIED 15TH DEC 1899/ BY HER HUSBAND ROBERT DOBBIE BEECHMOUNT LARBERT”. The artist was Stephen Adam & Son of Glasgow and it is dated 1902. North side: 5. Each light contains an arch containing three figures. On the left is a bearded man pouring water from a ewer into a bowl with a woman seated at his feet having a naked child on her lap. On the right are two old bearded men with wooden staffs with a younger man kneeling in prayer in front. All of the figures look into the centre of the picture. Incidental features include a caged bird, a basket of food and a castle. The spandrels have winged souls over (1) a coronet and (2) a burning heart. “--- ---/ the --- east” and “of three --- --- / --- --- ---“. Within the scenes are small lettered panels “I was an hungered,/ and you gave me meat:/ thirsty, and ye gave/ me drink:” “sick,/ and ye/ visited/ me.”. The dedication at the base is “TO THE GLORY OF GOD and in LOVING MEMORY/ of ROBERT DOBBIE, IRONFOUNDER, J.P. AND/ DEPUTY LIEUT OF THE COUNTY. DIED 3d JANY 1908” “THIS TRIBUTE to his MEMORY IS PLACED/ HERE by the BROTHER and SISTERS of/ his WIFE (CATHERINE DICK). 1910.” The border shows oak leaves, acorns and tendrils. The artists were Stephen Adam and Alfred Alexander Webster, 1910. 6. This window is dominated by shimmering blue and over-painting. The left light shows a man wading through fish filled water; in his left hand he has a staff, and a young child perches on his right shoulder. Above the child looms an angel. The right light has a woman facing the boy Jesus who carries a drinking flask and a saw (with wood shavings on the floor). The upper part of the window is darker blue with white clouds, latticed with lead. The dedication is at the base “To the Glory of God and in memory/ of J.P. Smith J.P. who was a member/ of this Church for over sixty years” “Born October 5.1852/ Died December 19.1929/ Erected by his brothers” The artist’s name is shown in a panel on the left side containing a bishop’s emblem; executed by Gordon McWhirter Webster of the Stephen Adam Stained Glass Studio, Glasgow in 1930. It is of two lights and represents earthly work and achievement. The left-hand light depicts the famous incident of St Christopher bearing the child Jesus across the river. The saint is wearing the brown robe of a pilgrim and carries a green water bottle slung across his shoulder. Under the ever increasing strains of his divine burden he leans on his staff. The Christ child is clad in the white robe of immaculate purity, while the little scarlet halo behind His head foreshadows his suffering and symbioses His sacrifice. The angel in the group, with left wing extended protectingly, represents the Heavenly Presence of protection. His robe of green is embroidered with the vine pattern of Jesus. Further down is the Dove, shown in pale red tone, the alternative colour of the Holy Spirit. Below is to be seen a mooring post with metal ring, while bulrushes spring out of the adjacent water. In the water are depicted two fishes, the early Christian symbol of the Spirit. On the far bank of the river are thorns, typifying the numerous trials through which Saint Christopher had to pass during his earthly life. Above the thorns and behind the left wing of the angel rise steep cliffs of purple hue while conventionalised clouds float above. The right-hand light is devoted to a pictorial study of the Virgin Mary, the mother of the Divine Child, who is seen with her Son in the carpenter’s workshop. The purple curtain at the rear screens a window so that the light is concentrated on the little window on the right and pours through in a beam full on the head of the boy Jesus Christ, who wears a brown working robe, holds a saw in His hand and is looking steadfastly up at the light. There is a water bottle at his side. His hue is of white, showing thereby that His radiance is bright even against the sun’s beams, and its cruciform type foreshadows the great Passion to come. Mary, His mother, is clad in blue and the embroidery on her cloak consists of thorn stems encircling flaming hearts and Maltese crosses, symbols of love and of Jesus. Her arm is extended towards the boy in motherly protection. Behind her is a yellow pot containing Madonna lilies, the symbol of her purity. On the wall above the lilies are depicted chisels and a plumb-line, while on the floor and against the left side are chips, wood shavings, a sledge hammer and planks, all suggesting the interior of a carpenter’s workshop. The blue background above the purple curtain again suggests the sky with clouds floating in it. 7. The window has figures wearing colourful costume, which contrasts with a black and white background. Each shows Jesus with a bearded man kneeling in prayer at his feet. “Feed my/ Sheep” and “G/ REMEMBRAN CE”. There is an arched vignette in the bottom centre (extending across both lights) with Jesus being hugged by a young boy; and with two younger children. An angel slopes across each of the spandrels, the one on the left having a book and the other a cross. The inscription at the base says “TO THE GLORY OF GOD AND/ IN AFFECTIONATE REMEMBRANCE OF/ REV. JOHN FAIRLEY -/ MINISTER OF THE UNITED PARISHES/ OF LARBERT AND DUNIPACE/ FROM 1902 TO 1931/ ERECTED BY THE/ CONGREGATION AND FRIENDS 1935.” Artist: Meikle, Glasgow, 5 November 1933. 8. Heavily latticed window with shimmering green and blue colours. There is a deliberate geometric background to the latticing and the figures are shown in the modern style. The main scene has Jesus standing on the left with his right hand raised in blessing. In front of his are three standing figures, two kneeling and one boy. Below this is a large vignette showing the three kings visiting the stable with gifts; Mary and Joseph on the right and animals inside. “Let your LIGHT so/ SHINE before MEN/ that THEY shall SEE/ your GOOD WORKS” “As you would thur MEN/ should DO to YOU/ DO YE also unto/ THEM likewise.” Artist: Gordon McWhirter Webster, March 1962 – the window is signed “GORDON/ WEBSTER/ 1962”. The window was dedicated to Andrew and Jessie McCowan and their sons Andrew and Douglas.
South gable: A large 4-light window on the main façade over the entrance and gallery. The left-hand light shows upright lilies against a blue sky and grassy background. Near the top are the words “worship the Lord in”. The second light has the full-length figure of a male angel in white robes with pink and yellow wings. He carries a scroll in his right hand upon which is written “SPES”. The next light has a similar female angel with “FIDES” on the scroll. The right-hand light has white roses and the final words of the sentence in the first “in the Reality of Holiness”. The lower panel of each light is filled with scallop shells and the upper by small individual geometric shapes and symbols. The rose window above shows a figure. North gable: The 3-light window in the chancel depicts a single scene. In the centre is an old man in green robes holding a baby. On the left a woman in blue robes, her head covered, looks on. Behind her is a second woman. To the right a man holds a cot, and behind him is a man leaning on a staff. The three main figures are haloed, as is the baby – the scene depicting the birth of Christ with Mary and Joseph. In the background is a city. Vestibule: Two small lancet windows contain stained glass of the 1970s. Foliage with bunches of grapes, figs, oranges and cherries. What look like bubble, small white circles, of various sizes, float upwards.
Chancel: Contains four small trefoil windows representing the evangelists. From north to south the windows depict John, Luke, Mark and Mathew. 1951: These windows were a bequest by Mrs Jane Paton in 1951. 1. The Eagle of John with the lettering “JOHN” appearing in the window. The colours are mainly dark blue, red and purple with the eagle appearing in yellow. 2. The next window depicts the bull with the main colours being blue, red and the Bull appears brown. 3. The third window is the Lion of Mark with the lettering “MARK” appearing in the bottom right of the window. The main colours are red, light blue and the lion pale yellow. 4. The most southerly window depicts a winged figure kneeling down and holding a book bound with the cross. Here the main colour is blue. “MATHEW” is written on a ribbon. East Gable: A large 4-light window with an integral rose window in the tracery. Each light has a prominent central figure. These are, from left to right – Moses, Christ, Christ and St Columba. They have beaded borders. 1. Moses is shown within a columned arch in full length, finely dressed in a red and light blue cloak with purple trim. His halo is yellow and two shafts of light emanate from it. He carries a white stone tablet bearing an inscription – the Table of Law. Above him a vignette shows a dejected man and woman, naked except for fig leaves, being ushered forward by a red winged angel carrying a vertical flame in his left hand. The panel below Moses shows four bearded men each holding a dangling ribbon. Behind their heads are the names “ISAIAH/ MICAH/ EZEKIEL/ HOSEA”. The colours are vibrant, with purples and blues prominent. Below the men are the words “I AM COME THAT” – the remainder of the phrase being carried over to the second light. 2. The second light has a full length figure of Christ in a flowing white robe with blue belt and tunic. He has the conventional halo containing a Maltese cross. A lamb nestles in the crook of his left arm and he holds a yellow and white shepherd’s crook in his right hand. The background is dark blue towards the top for the sky, purple at the figures knees for distant hills and green at the bottom for the grass. A small red shield placed here contains the letters “IHS”. Below, at the feet, lettering spells out “I AM THE GOOD SHEPHERD”. On the right of the window, next to the shepherd and against the green background is a red shield which has the lettering “IHS”. Above the head of Jesus is a large white bird with a red crest feeding its three young in a nest with three red tears. The basal panel depicts the nativity scene with Mary cradling the baby Jesus in her arms. Joseph stand behind her holding a lantern and behind him is the stable containing a cow and a donkey. In front of Mary are three shepherds, two of which carry crooks whilst the third has a sheep over his shoulders. The shepherd in front kneels with his arms outstretched. All of this takes place under a star laden sky. Beneath the scene are the words the main text continues “THEY MIGHT HAVE LIFE”. 3. The third light shows the risen Christ in full length wearing a yellow cloak over a white robe. His right hand is raised in blessing with two fingers extended. His right hand holds a blue staff punctuated by red bosses and topped with the flag of St George. Now his bare hands and feet are pierced by the stigmata and the background is more celestial. Besides his feet are the words “I AM THE RESURECTIONS AND THE LIFE”. Above his head is the Lamb of God, also with the same flag, on green grass with the night sky behind. The bottom panel shows the 12 disciples praying, with those in the front row kneeling to either side of a blue robed figure – presumably Mary. A white bird with its wings outstretched plummets into the midst of this group and fragments of the eternal flame have burst out everywhere. The words at the bottom of this light are “AND THAT THEY MIGHT”. 4. The fourth light depicts a full length St. Columba. He has is bald headed with a yellow halo and wear blue robes with a purple cloak. His sleeves are trimmed with a yellow pattern. St. Columba holds a pink staff in his left hand and a book with a cross on it in his right hand. Behind him there is a green island surrounded by blue water. On the island is a Celtic Cross on the left, and a church on the right (Lindesfarne). At the saint’s feet lettering spells “COL UMBA”. Above his head a vignette shows a man digging the earth with a spade whilst a woman in a head scarf holds a rake and a sowing sheet. Possibly a child sits to the bottom left and in the background is a building that may represent a church. Almost in the border above this vignette are the Latin words “NEC TAMEN/ CONSUMEBATUR” for the Free Church of Scotland. The basal panel contains seven figures gathered around one central figure, Jesus. Jesus holds a golden chalice and is in white with light emanating from him. The other figures are dressed in the costumes of the various continents - Indian, African, Arabic., and so on, to represent the many nations of the earth. The lettering states “DO THIS IN REMEMBRANCE OF ME”. Finally, the main inscription is completed “HAVE IT MORE ABUNDANTLY”. 5. The Rose window shows three winged figures each with a red halo. Each of the figures appears to have an instrument. The top left is holding ?, the top right is holding a trumpet and the bottom a harp. Their wings are white, blue, yellow and purple and each of them has a read sash. The background is blue. The spandrels are filled with white stars piercing a light and dark blue sky. A colourful cornet is placed in the central space.
Three windows are now on display at the Grangemouth Heritage Trust and one is held by Falkirk Museum. GHT 1: Modern style. A bare-footed man stands on the right wearing a yellow cloak fastened across the upper chest by a red band bearing the Greek letters alpha and omega. The holes in his left hand and foot show him to be the resurrected Jesus. He has yellow hair and his right hand hovers over the head of a kneeling man wearing a blue cloak. At their feet is a broken sword. To either side are trees with a castle in the background and purple mountains beyond. A ribbon below reads “Saul, Saul, why persuethest thou me?” and a square panel states “To the Glory of God and in Affectionate remembrance/ of the Rev. Samuel Murdoch Riddick M.A. Faithful and/ Beloved Minister of this Church 1885-1931/ Erected by the Members of the Congregation.” In the arch of the window are winged souls in the form of heads. These extend down the thick border to either side. GHT 2: A man walks to the left with his pink tunic pulled up in his right hand to form a sowing sheet. His left hand is casting the seed to the ploughed ground. Above his shoulder flies a white dove. There is a simple border. GHT 3: Jesus is shown with a shepherd’s crook in his left hand and a lamb in his right. He wears red robe over a blue gown. A yellow hallo with blue cross terminals highlights his head against the purple sky. At his feet are more lambs on a background of green grass. Going up the window the grass turns to yellow fencing, a rose hedge, a castle set amongst trees. The window has a thick border strewn with bunches of grapes and at the top arch is a banner reading “The King of Love my Shepherd Is.” FM1: Pre-Raphaelite style small arched window showing a woman holding a baby with a young girl kneeling besides her. The square panel at the bottom has white lilies. [1987-37-1].
1923: Memorial chancel windows of stained glass were erected in memory of those of the congregation who fell in the war and these were unveiled in March 1923. At the ceremony the anthem “What are these” was sung by the choir, after which Mrs McGill and Mrs Blair pulled the cords that caused the Union flags which had covered them to slip to the floor. Rev Robert McMillan then read the names of the fallen, followed by the Last Post played by Harry Wadsworth, formerly of the Coldstream Guards Band. Rev. Blair suggested the themes, which were: left window “Our Lord’s devoting Himself to the supreme mission of His Life, turning his back on all the world’s allurements, resisting all temptation.” In the centre window – “What this devotion cost, the sacrifice of Calvary, the dismay of His disciples”; and the right-hand window – “Through Death to Victory, manifested by the empty tomb, but more in the living Christ’s presence with the disciples, in their joy and courage.” The windows thus represent the Temptation, the Crucifixion, and the Resurrection. Near the bottom of the left-hand window is a small circular inset picturing the Birth of Christ and the corresponding circle in the right-hand window shows the empty tomb. The colours are delicately balanced, with deeper tones in the centre window. The lettering is respectively: “For their sakes I sanctify Myself; Greater love hath no man than this, that a man lay down his life for his friends”; and “Lo, I am with you always.” A bronze tablet on the wall to the left of the chancel bears the names of the fallen. An extra window depicting St Cecelia, the patron saint of music, was inserted into the organ recess to be in-keeping with the rest. The designer was Douglas Strachan of Edinburgh. 1939, Dec: Memorial Window in memory of Mr & Mrs Thomas Ritchie.
The site lay on the farm of Bogo and used water from the River Avon. it was already ruinous in 1824 and does not appear on the 1st ed OS.
1968 Windows in memory of Rev Dugald McTaggart, minister 1946-67. “The design of the windows suggests a rectilinear rhythm, in keeping with the existing windows, with strong horizontals through the three window lights to counteract the shadow cast by a roof top. Since the windows are directly behind the pulpit the general colour is medium in strength, accented by small areas of stronger colour. Since there is no direct light, deep colour would become heavy and dull. The symbols in the design are: The Burning Bush – emblem of the Church of Scotland; the Lamp – signifying faith and guidance; stars with the Greek letters Alpha and Omega – signifying the Mysteries of the Universe created by God; the Oak Leaves – signifying strength.” A brass plaque reads “The windows above the pulpit are dedicated to the Gory of God and in memory of DUGALD W McTAGGART BA BD, Minister of Denny-West Church from 18th June 1946 to 1st October 1963 and of the United congregations of Westpark Church from 1st October 1963 till his death on 24th July 1967.”
Built in 1848 from Polmont Junction to Larbert Junction at Carmuirs. It cut through the NE corner of Callendar Park and the Roman fort at Camelon.
The church had stained glass windows with scriptural emblems. The east window showed Christ the King reigning from the Cross. A window depicting Christ the Good Shepherd was taken out by O’ May when the church was being demolished. It has been restored and installed in the north porch of the newly erected Episcopal Church of St. John’s, Torrens near Canterbury in Australia.
North gable: A large 5-light stained glass window over the gallery in the north gable of the church. The central light is the widest and shares the same scene as those immediately to either side depicting a seated Christ on a small grassy knoll with children at his feet and people around the sides. He is dressed in a red robe with his left armed raised. This represents the Sermon on the Mount and amongst the listeners is a Roman soldier. The left-hand light has a pointed arch and shows a man in blue robes beside a diagonal wooden cross, he has a book in his left hand and his head is haloed. His name is written below “S. Andrew” together with his symbol of the red lion. The right-hand light contains a saint in plate armour and a yellow skirt, a sword in his right hand, identified as “Michael” with weighing scales. The small tracery openings at the top of the window have, from left to right – alpha; a thistle; the red lion rampant of Scotland on the yellow background; a unicorn facing right; a crown over a helm over the Scottish shield; a unicorn facing left; the Scottish saltire flag; a thistle; omega. Towards the bottom is a panel with “Greater love hath no man than this ROBERT N BROWN. JAMES M RHYNAS. JOHN E.K. M MACKAY. DAVID GRANT. ROBERT W DOTT. ALEXANDER VALENTINE. THOMAS MCLAREN. RICHARD W. HAMILTON. ALEXANDER GRANT .ANDREW WRIGHT. MALCOLM PAUL. THOMAS LEISHMAN. JOHN HASTINGS. JOHN BUCHANAN. THOMAS SIMPSON. JAMES A.MCKAY. ROBERT LEISHMAN. ALEXANDER GRANT. WILLIAM WALLACE. HUGH ORR. SAMUEL C MCGREGOR. WILLIAM C GRANT. JOSIAH B. WEST. JOHN ROBERTSON. MATTHEW PAUL. ALEXANDER M.B. HARLEY. JAMES CLARK. JOHN STANLEY. In memory of members and adherents of this congregation gave their lives in the great war.” The Falkirk herald report of 2 August 1919 suggests that this window was made by Oscar Paterson & Co, 216 Bath Street, Glasgow, at a cost of £299. South gable: A large 4-light window in the chancel. It is in modern style with pale blue predominating. Jesus is shown standing in red robes in the second panel from the left. His right arm is raised and he is evidently preaching. The other three lights reveal his audience standing in front of trees. There is a host of winged angels above them.
The place name Keirhill of Morrowingsyde is mentioned in 1669, meaning fort or fortified place. Kendieshill is the most likely location for this lost fort.
1946: At her death in 1938 Mrs Taylor, the widow of the minister, left money for a window, which could not be completed until after the war. It was designed by the Glasgow artist, Douglas Hamilton, and depicts the Madonna and Child. Two side panels portray attendant angels in an attitude of adoration. The central figure is surmounted by a star which shines from above the manger recalling the visit to Bethlehem of the Wise Men from the East, while in the foreground the artist pictured a lamb, the symbol of the presence of humble shepherds from the Judean hills. The entire scene is depicted in exquisite and varying shades of colour in which blue and red predominate. The inscription beneath the memorial records that the window is dedicated “To the glory of God, and in loving memory of Rev. Andrew Ross Taylor, MA, who ministered here from April 1881 to March 1926. Gifted by his widow.”
The Fibonacci Spiral: Designed by the landscape designer Jim Buchanan and the Public Art Agency (Independent Public Art) the spiral is made of curved and embossed steel fingers that take the place of standing stones in a perfect spiral. Such spirals can be found in nature – in shells, pine cones, sunflower seed heads and so. The 12th century mathematician Fibonacci worked out the form of this spiral. The metal plates, 126 in all, were made by blacksmith Adam Booth, and one of the central ones carries his trademark fish signature. The glass tiles at the centre of the spiral were by Keiko Mukaide. The sculptural form was created by Tom Littlewood from the designs and the original retaining wall around the south side of the dairy was incorporated into the installation and forms a strand of the spiral. Prior to its construction in 1999/2000 the area was the main entrance into the maintenance yard (NS 8972 7947). Behind the cast iron gate is still in place, flanked by substantial stone piers.
The first stained glass was installed in 1852 on either side of the pulpit by Ballantine and Allan of Edinburgh. The pattern was a simple one of geometric circles with primary colours of blue and red. In the early 1890s the church was altered and an organ was inserted in the lower part of the wall containing these windows. Consequently the glass was removed and the upper sections were placed under the galleries in the west and east walls, the lower sections going to Laurieston Church. The windows in the top gallery of these walls were installed in 1852 by the same firm. These feature the same primary colours and quatrefoils. New stained glass was placed in the truncated north windows to either side of the pulpit in 1897, the work of Christopher Whitworth Whall of London. Archibald Melville left a legacy for them in memory of his father John Melville of Kersehill and his own wife and child who had predeceased him. The subject of the windows is love fulfilling the law; (1) the duty to God – the love of God – is depicted on the west window. (2) the duty to man - love of the neighbour – on the east window. The west window illustrates the text “thou shalt love the Lord they God with all thy heart, all they soul, all thy strength and all thy mind”. Accordingly the four lancets show Abel as a young man worshipping God at an altar – love from the heart; Abraham preparing a sacrifice when the angel tells him not to sacrifice his son but a ram – love from the soul; Moses challenged by God at the burning bush – love with the strength; and David as king, musician and shepherd – love with the mind. A further dimension is added by the picture of Elijah ascending to heaven. The east window tells the parable of the good Samaritan in four parts, the robbers attack the traveller; the Levite examines the wounded man but keeps aloof while the priest also rides on his way; the Samaritan binds his wounds; and finally the Samaritan ensures that the wounded man is cared for. The text “love they neighbour as thy self” compliments the story. In the arch “first be reconciled to thy brother then come and offer thy gift” is illustrated by a scene of reconciliation beside an altar on which gifts have been placed. (Mitchell, R 2005 ‘Stained glass in Falkirk Old and St Modan’s Parish Church’, Calatria 22, 59-69). The four windows in the corners of the NE and NW walls were reglazed in 1972. They are decorated with quarry glass in light shades of yellow, green and blue and in the top of each is a single symbol – an alpha in the east window; an omega in the west; a communion cup in the W of the north wall; and the chi-rho on the remaining one. On the south elevation of the church hall is the millennium window. It was designed by Rolland Mitton of Livingston in 1995 and depicts a cross. It is set in a blind window and so is back-lit at night.
1. To the left in the chancel apse. A winged figure (female) stand with arms spread out looking down on three kneeling figures. Its back is to a tree and to the right three crosses can be seen silhouetted on a hill. Above in the dark sky is a prominent central star, with a lesser star to the right. The bottom panel contains white lilies. Here is the inscription: “WHY SEEK YE THE LIVING/ AMONG THE DEAD/ ERECTED BY MARY CALLANDER/ IN MEMORY OF HER HUSBAND/ JOHN CALLANDER/ DIED 16 NOVEMBER 1890 AGED 48 YEARS” 2. To the right in the chancel apse. Jesus is shown in bare-footed in white robes and a blue gown walking towards the observer. He has his usual halo. To either side of him shafts of white light emanate from a cloud above his head. A coronet features prominently in the cloud, along with several winged heads. Three people kneel at his feet, with pink chrysanthemums around them. The bottom panel has the following words: “I GO TO PREPARE A PLACE/ FOR YOU/ ERECTED BY MARY CALLANDER/ IN MEMORY OF HER SON/ JOHN ALLAN CALLANDER/ DIED 31 DECEMBER 1902 AGED 29” In the chancel behind the organ are The two stained glass windows in the chancel were the gift of Mrs Callander, The Hazels, in 1905 in memory of her husband and son. They depict the Resurrection and the Ascension. Designed by Stephen Adam. 3. Under the south loft. A small single-light window in a modern style with prominent patches of blue and red. Bold black lines are used against pale backgrounds to depict detail such as facial features. It shows a child standing with its arms spread upwards in front of a knight. The latter holds an up-ended spade (spear?) in his left hand and a sceptre-like device in his right, terminating in the Falkirk High School monogram. The lettering at the top, partly obscured by the frame, reads “INVICEM SEMTE” - the school’s motto. There is a bird on the top left; fish and saltire on the bottom left; a man’s head on the right and leaves. 4. North wall. A two-light window with the design spread across both. The main scene depicts Jesus washing the feet of his disciples at the Last Supper. He wears a white robe and kneels in front of the table next to a bowl. One disciple stands in front of him, the remainder behind the table. An arch in the centre unites the two parts. “LORD thou shalt never wash my feet” appears above. The top of each light is occupied by birds in nests; that to the left being in blue and showing three white chicks with a long-beaked parent above, that on the right in red, phoenix-like. Below the scene is a ribbon on a grape vine “To the GLORY of GOD/ and in grateful/ and loving memory of/ Thomas Laurie and Jeannie ---len Spence/ our Father and our Mother”. The spandrel lights have – left: a serpent entwined around a tree and right: a coronet. 5. South wall. A similar window to 4. Jesus is shown on the left standing in a building with Arabic arched arcading and ornate furniture stands. To the right are a number of scholars with scrolls and writing tablets. Above are left: a blue angel kneeling in prayer; right a red angel sitting playing a lyre. “I am the Light of the World/ he that/ followeth Me/ shall not walk/ in darkness but shall have/ the Light of Life”. At the base the panel contains “TO THE GLORY OF GOD AND IN MEMORY/ OF JOHN HIGGINS OF THIS CHURCH/ 1870-1950 WHO LOVED THE LIGHT THAT/ ILLUMINES ALL THINGS BEAUTIFUL/ ERECTED BY/ HIS WIFE/ ANN 1952”. It rests on oak leaves and acorns. The spandrels have the Lamb of God and a dove. 6. South wall. The partner to 5. The main scene shows Jesus and some of his disciples reclining on a fabric covered couch. In the right foreground a young woman in a red robe uses her long golden coloured hair to wash the feet of Jesus. A vase and unguent bottle lie on the ground in front of her. A disciple in a purple robe standing on the left looks on in disapproval – he holds a small bag in is hand (money?). There is a bowl of fruit on the centre with two women and the disciples eating from it. Through the arched windows the city can be seen in the background. The tops of the lights are filled with left – a burning bush, emblem of the Church of Scotland; right – an ark, emblem of the Universal Church. The ribbon reads “SHE HATH WROUGHT/ A GOOD WORK UPON ME”. The two tracery windows have a chalice containing a red cross on the left and a blue anchor on the right; and below each “Faith” and “hope”. The basal inscription is “To the GLORY of GOD/ Erected by the/ Guild of/ Women of Erskine Church/ to commemorate the/ Bi-centenary/ of that/ Congregation 4th April 1937”. This lies on a spread pomegranate tree. Designed and executed by Alexander Strachan, Edinburgh, it shows Mary anointing the feet of Christ.
Also known as "Cultivating Earth" or the "Teashop Garden." The enclosed court behind the offices at Callendar Park started life in the 1780s as a drying green attached to the associated laundry. When the factor's house was built in c1810 part of it became a garden. In the 1990s Callendar House was opened as a museum and the plot was developed as a Georgian garden with a central pyramid-roofed pavilion. In 2012 this was redeveloped as an education tool for biodiversity and renamed "Cultivating Earth". A sprouting bronze globe in a steel frame, created by the artist Natalie Taylor, depicted the ethos of the garden. It was set in earth with seasonal flowers.
1888: Stained glass window. 1934: Sep, stained glass windows in chancel dedicated to Rev Keir and his wife, erected by family, congregation and friends. Christ is seen in the central window, kneeling with a basin of water on his knee and a pitcher of water beside him, whilst he washes the feet of St Peter. The gold colour of Christ’s cloak suggests the regality to which he was soon to ascend, and the re brooch is symbolic of the Passion to come. Behind are two open windows through which Jerusalem may be seen. Lamp in apex. In the side lights are four disciples with windows behind them. Designed and executed by G MacWhirter Webster of the Stephen Aden Studio, Glasgow. “Peter saith unto him,/ Thou shalt never wash my feet.” “To the Glory of God and in memory of/ the Rev. David Kier m.a. Minister 1879-1933 and of Mrs Kier,/ Erected by family congregation and friends, Sept. 30, 1934.” “Jesus answered him, If I wash thee not/ thou hast no part with me.”