In 1990, the church recognized that its stained glass windows were in precarious condition. Broken glass, sagging bars, and vents that wouldn't close were detracting from the windows' beauty, as well as posing a safety threat to occupants and passers-by. In that year, two windows were removed for storage, and in 1992, one small window was restored and five others were taken out and stored, awaiting the day that funding would be available for their restoration.

In 1994, the church was the beneficiary of a bequest that provided almost half of the money required, and at that time, they contracted with Julie Sloan to specify and manage the restoration of all of the windows, not only the seven in storage. Those windows were removed from storage, their crates opened, and the panels carefully examined by Sloan to ascertain their condition. The remaining windows in the building were also carefully studied to discover how and why they had deteriorated. Sloan then wrote a complete condition report, incorporating as much historical documentation as was available in addition to the physical descriptions of the windows' conditions.

After careful study of the windows individually and as a group, Sloan discovered that the primary source of deterioration was the operable ventilators. These panels are, on average, 5' wide and 4' tall, weigh 80 to 100 pounds apiece, and span the width of each window opening and more than a quarter of its height. Documentary evidence indicated that by the 1930s, these panels no longer closed. The reason was that the bar at the top of the vent, which supports the upper half of the window, had sagged under the combined weight of the upper half of the window and the open vent. The belly in the bar not only prevented closure of the window, but also ensured that the upper half of the window was not supported, exacerbating the sagging. After at least a half century of this condition, glass had broken, support bars had been cruelly strained, and the combination of sagging, age, and weathering had stressed the lead beyond its capacity to function.

Sloan then compiled a complete restoration specification and worked closely with the church to negotiate a contract with the Cummings Stained Glass Studio of North Adams, MA, to complete the project. This studio was selected for its experience with La Farge windows and its past track record on projects of this scale. The windows in storage were taken to the Cummings Studio in early 1996 and are there presently undergoing restoration. Those windows will be reinstalled in the Summer of 1997, at which time the remaining windows will be removed and restored; they are expected to be reinstalled in late 1998.

The restoration of these windows is a complex project requiring not only skill and patience, but experience and excellent organization. The main windows of the space are approximately 5' wide and 15' tall, depicting a saint in an architectural niche. Each window contains roughly 2300 pieces of glass, and is assembled in two to three layers. Restoration includes the replacement of the majority of the lead cames, which are too deteriorated to support the glass. However, in certain areas of fine detail, Sloan has had the original caming preserved and stored to provide future restorers with a glimpse of the work of La Farge's studio, the Decorative Stained Glass Company. Its facilities were one block west of the church. It is important to Sloan that as much original material as possible is retained, so even broken glass is not discarded and replaced, but glued back together. Some glass has been lost, however, due to the poor condition of the windows prior to 1990; in such cases, replacement glass is being carefully matched to the original.

In general, the painted faces and inscriptions are in surprisingly good condition. Where restoration is required, however, new fired paint is applied to clear glass, which is then plated over the original. To the average viewer, the window is restored to its original appearance, while for future restorers, these changes will be completely reversible, should it be desired to return the windows to their pre-restoration state. Equally important to that effort is the documentation that Sloan requires the studio to compile. This includes complete rubbings of each layer. The rubbings are annotated with all conditions found, then microfilmed for ease of storage and archival stability. In addition, each window is fully photographed one panel at a time, before and after restoration. Detail photographs are made of painted pieces and areas of interest or complexity. Finally, each craftsperson employed on the project keeps a daily journal describing the work performed.