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OUR HISTORIC CHURCH

Most Holy Trinity Church

Most Holy Trinity Church has been on Montrose Avenue in Williamsburg, Brooklyn since 1841; that year, the renowned Father John Stephen Raffeiner founded the parish, built the first church, and began his ministry among the German immigrants of Williamsburg. Six blocks away, on the corner of Maujer and Leonard Streets, the Church of the Immaculate Conception of the Blessed Virgin Mary (commonly called “St. Mary’s”) was founded in May of 1853; the first pastor of St. Mary’s, the Rev. Peter McLoughlin, heroically served the Irish immigrants under his care. Both parishes, two of the oldest in the Diocese of Brooklyn, had long and very proud histories. On September 1, 2007, the two merged forming the new parish of Most Holy Trinity – St. Mary.

After the heyday of the German and Irish presence in East Williamsburg, both parishes ministered to diverse ethnic communities. For a significant part of their histories, especially during the mid-twentieth century, both were home to many Italian-Americans. We have also been and are now home to those who have immigrated from other parts of Europe and from Asia; we are home to African-Americans, Puerto Ricans, Dominicans, Ecuadorians, Mexicans and people from other Spanish-speaking countries. In recent years we have been blessed with the arrival of people from Poland and China, some of the newest immigrant communities to settle in our area. Today, our neighborhood continues to attract a diversified community of people, especially young urban professionals. We continue to serve and to welcome all who come to the doors of the parish of Most Holy Trinity – St. Mary. You too are welcome here.

Church Of St. Mary

The Church of the Immaculate Conception of the Blessed Virgin of Mary or St. Mary’s Church, formerly located at the corner of Leonard and Maujer Streets (five blocks away from Most Holy Trinity Church), was a good neighbor to Most Holy Trinity for more than one hundred and fifty years.

Established in May 1853 to serve Irish Catholics in the East Williamsburg area of Brooklyn. The Rev. Peter McLoughlin served as the first pastor. In August that same year, the Very Rev. John Loughlin, who would be consecrated as the first bishop of Brooklyn in October 1853, laid the cornerstone of the building being constructed at the corner of Remsen (now Maujer) and Leonard Streets. This edifice was described by Henry Reed Stiles in his monumental tome, History of the City of Brooklyn:

“It is a substantial brick structure, on a solid stone foundation; it is sixty-one feet front by one hundred and two feet deep. The front is Elizabethan, and on each side of the entrance, there are three massive pillars. Over the entrance is inscribed, ‘St. Mary’s of the Immaculate Conception built A.D. 1854.’ On the right is a figure of Faith, and on the left one of the Blessed Virgin, with appropriate inscriptions. The interior is neatly and tastefully decorated, and the altar and organ are both fine. Including the lot, the church cost $30,000.”

A four-story school and adjoining convent were built along Leonard Street in 1890. Designed by Thomas F. Houghton, the buildings were constructed of pressed Philadelphia brick with brownstone trimmings.

The church was redecorated in 1895, at the direction of Rev. James F. Crowley, who had been appointed pastor earlier that year. Enhancements included the installation of twelve stained glass windows, stations of the cross in oil, electric lights and velvet carpets. The marble altar was re-polished and the ceiling was frescoed at a cost of $5,000.

In 2007, St. Mary’s was merged into Most Holy Trinity Church, and the combined congregations were named “Most Holy Trinity-St. Mary”. The final Sunday Mass at St. Mary’s was celebrated on October 28, 2007. In September 2011, Bishop Nicholas DiMarzio issued a decree declaring that the Immaculate Conception building had been relegated to profane use and was leased in 2012.

SOURCES:

HTTP://WWW.NYCAGO.ORG/ORGANS/BKLN/HTML/IMMACULATECONCEPTION.HTML:

HTTP://BROOKLYNCATHOLIC.BLOGSPOT.COM/2011/09/IMMACULATE-CONCEPTION-MAUJER-ST.HTML

Memories

This is a view looking west from one of the bell towers of our church in the early 1960s. Not long after this photo was taken, most of the buildings pictured were torn down to make room for the Lindsey Park Buildings, P.S. 250 and an expanded Lindsey Park (the ball-fields). The intersection at the lower right side of the photo is the corner of Montrose Ave. and Leonard St. The five story building in the center of the photo sat on the area that is now the P.S. 250 playground; the trees of the then smaller Lindsey Park are visible to the left just beyond that same building . Note the skyscrapers of lower Manhattan in the upper right corner.

After the tragic events of September 11, 2001, people of our neighborhood came to Trinity to pray and to mourn; many left lit candles in memory of those who died that day. This temporary shrine outside of our church gave testimony to the great faith of our people, even in the face of such horrible evil. From the place where these candles burned, there had previously been an unobstructed view of the World Trade Center; the buildings were just a little more than three and a half miles away. We shall never forget!

Fr. Ross Syracuse, OFM Conv., our pastor from 1988 until 1997, was well loved. Here he lends a musical hand to our former organist/pianist, Rosemary Carter (who was with us for twenty-five years until she retired in February of 2005).

Pastors

The Pastors Who have Served Most Holy Trinity:

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The Rev. John Stephen Raffeiner, V.F. (1841 until 1861)
The Right Rev. Msgr. Michael May, V.F. (1861 until 1895)
The Right Rev. Msgr. Peter Dauffenbach (1895 until 1908)
The Rev. Frederick M. Schneider (1908 until 1919)
The Rev. Peter Bernard, Administrator (July to December 1919)
The Right Rev. Msgr. George A. Metzger (1919 until 1931)
The Rev. George M. Dorman (1931 until 1940)
The Rev. George S. Herget (1940 until 1946)
The Rev. Jospeh G. Conway (1946 until 1958)
The Rev. Stephen C. Schubert (1959 until 1966)
The Rev. Peter J. Seeger (1966 until 1968)
The Rev. William P. Vaskas (1968 until 1982)
The Rev. Robert P. Kennedy (January, 1982)
The Rev. John McGuirl (1982 until 1984)
The Rev. Francis Lombardo, OFM Conv. (1984 until 1988)
The Rev. Ross Syracuse, OFM Conv. (1988 until 1997)
The Rev. Russell Governale, OFM Conv. (1997 until 2006)
The Rev. Santo Cricchio, OFM Conv. (2006 until 2014)
The Rev. Pedro DeOliviera, OFM Conv. (2014 – 2018)
The Rev. José Guadalupe Matus Castillo, OFM Conv. (2018 – 2019)
The Rev. Raphael Zwolenkiewicz, OFM Conv. (2019-2022)
Friar Richard J. Riccioli, OFM Conv. (2022 - present)

A special thank you to Friar Timothy Dore, OFM Conv. for researching and providing the parish history and information for the website.

Crypt

The crypt is found beneath the narthex, or vestibule, of the church. The first two pastors are interred there.

The History of the Crypt

Fr. John Stephen Raffeiner died on July 16, 1861. He was buried three days later in the parish cemetery (Most Holy Trinity Cemetery) on Central Avenue, where his mortal remains rested for thirty-four years. When Msgr. Michael May died on February 11, 1895, a tomb, constructed of brick and mortar, was immediately built under the narthex of the church; the new tomb had six vaults (i.e., room enough for six caskets). According to the wishes of Msgr. May, the remains of Fr. Raffeiner were transferred back to Montrose Avenue and interred in the new tomb. Accordingly, the two priests, Raffeiner and May, the first two pastors of this great parish, have rested alongside each other ever since in the crypt of the church. The four remaining vaults were never used; subsequent city laws pertaining to the location of burial places later ruled out the possibility that any others would be interred in our church’s crypt.

The Final Resting Place of our First Two Pastors

The History of Most Holy Trinity Cemetery

The original Most Holy Trinity Cemetery was erected in 1841 and was located on the Montrose Avenue property in Williamsburg. Fr. John Stephen Raffeiner, the parish’s first pastor, purchased with his own money a parcel of the Abraham Meserole farm that had previously occupied much of the surrounding area. Fr. Raffeiner built the first church and established the cemetery on land that had been part of the Meserole farm. The exact location of the cemetery was roughly where the present school building and neighboring yard are located. In 1851, the Fr. Raffeiner and his parishioners decided to begin the campaign for the construction of a new and larger church building (the second church). It was decided that the new church had to be built on the land that was at the time serving as the parish cemetery. As a result, Fr. Raffeiner purchased, for $1,025.00, a four acre parcel of the Evergreen Cemetery, located at the end of Central Avenue in Ridgewood, that would serve as the new Most Holy Trinity Cemetery. That same year, the mortal remains of those who had been buried at the Montrose Avenue site were respectfully transferred to the new cemetery. The cornerstone of the second church building was laid in June of 1853 and the building was completed in February of 1854 (only to be torn down in 1887, after the construction of the third church, and in order to make room for the parish school building that stands to this day). In later years, and in order to accommodate the growing need for burial space for parishioners of Most Holy Trinity, additional and adjacent parcels of the Evergreen Cemetery were purchased by the parish's second pastor, Msgr. Michael May. An interesting feature of the cemetery is that nearly all of its original monuments were made of metal--from the earliest days, stone monuments were not allowed because no distinctions were permitted to be made between the rich and the poor. The parish administered the cemetery on Central Avenue for one-hundred and thirty years until 1981 when it was incorporated by and came under the care of Catholic Cemeteries of the Roman Catholic Diocese of Brooklyn.

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This is the final resting place of our first two pastors, Fr. John Stephen Raffeiner and Msgr. Michael May. The tombs are located under the narthex of Most Holy Trinity Church on Montrose Avenue in Brooklyn, New York. Raffeiner is on the left and May is on the right.

Most Holy Trinity Cemetery, an integral part of Trinity for most of the church's proud history, is no longer administered by the parish. Many, if not most of those who are interred in the cemetery, had lived and raised their families in our neighborhood; they had worshiped in our church building and had called Trinity “home.” The cemetery is now under the care of Catholic Cemeteries of the Roman Catholic Diocese of Brooklyn. We continue to honor the memory of those buried in our cemetery; we continue to pray for their souls. It should be noted that the parish also had another cemetery, known as Trinity Cemetery, located in Amityville, New York; it too is now under the care of Catholic Cemeteries. May the souls of all the faithful departed, through the mercy of God, rest in peace. Amen.

Are you searching for cemetery records?

Our parish cemeteries (Most Holy Trinity Cemetery, Brooklyn, NY and Trinity Cemetery, Amityville, Long Island, NY) are under the care of Catholic Cemeteries of the Roman Catholic Diocese of Brooklyn. Please direct all inquiries to the Cemeteries Office at the office address listed below. We do not maintain any burial or cemetery records in our parish office.

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The entrance to Most Holy Trinity Cemetery as it looked as early as 1921 (this photo appeared in the parish's 100th anniversary booklet).

Location:
Most Holy Trinity Cemetery
685 Central Avenue
Brooklyn, New York 11207

Our parish cemetery is now under the care of Catholic Cemeteries of the Roman Catholic Diocese of Brooklyn

Please direct all inquiries to:
Customer Service Department
Catholic Cemeteries
80-01 Metropolitan Avenue
Middle Village, New York 11379
Telephone: 718-894-4888
Fax: 718-326-4105

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This monument is located over the tomb containing the remains of former pastors of Most Holy Trinity Church. The remains of Fr. John Stephen Raffeiner, the first pastor, were taken from here, where they had rested for thirty-four years, and were re-interred in the church's crypt in 1895.

Inscribed on the base of the monument are the names of former pastors of Trinity. Listed on the front are the Very Rev. John Stephen Raffeiner and the Rt. Rev. Monsignor Michael May (the first two pastors who are actually entombed in the crypt under the church on Montrose Avenue), the Rt. Rev. Monsignor Peter Dauffenbach (the third pastor), the Rev. Frederick M. Schneider (the fourth pastor) and the Rev. George M. Dorman (the sixth pastor). Listed on the side of the monument (not visible in the photo) are the Rev. George S. Herget (the seventh pastor) and the Rt. Rev. Monsignor George A. Metzger, VF (the fifth pastor).

The entrance to Most Holy Trinity Cemetery as it looked in October of 2005. Note the difference between the gate as shown in this photo and in the one taken as early as 1921 (shown near the top of this page).

The tracks of the "L" train and the "Wilson Avenue" station of the New York City subway system border the southwestern edge of the cemetery. A Canarsie bound train is pictured here as it passes and slows to stop at Wilson Avenue.

The plaque bearing information about Fr. Raffeiner; the “V.G.” after his name is an abbreviation for “Vicar General.” In 1843 Raffeiner was named Vicar General to the German-speaking people of the Archdiocese of New York; he retained the title and the office within the Diocese of Brooklyn when it was established in 1853. This is the second resting place for the mortal remains of Fr. Raffeiner; he was buried first in the parish cemetery on Central Avenue and then moved here after the death of Msgr. May.

The plaque bearing information about Msgr. May; he also held the title and office of “Vicar General.” In his role as Vicar General he assumed temporary leadership of the Diocese of Brooklyn after the Most Rev. John Loughlin, the first bishop of Brooklyn, died on December 29, 1891. Father May (who had not yet been named “Monsignor”) managed the concerns of the diocese until the Most Rev. Charles B. McDonnell was installed as the second bishop of Brooklyn on April 11, 1892.

History of Williamsburg

History of Williamsburg first printed in the booklet from St. Mary's Immaculate Conception Church, 125th Anniversary. (May, 1978): 9-14.

Before the Immigrants Came

Before pursuing the story of the parish [of St. Mary's] growth, a glance at the earlier history of the area would provide an instructive context within which to review that growth. Brooklyn originally consisted of six towns of which Flatlands was the first settled in 1624 by the Dutch. In the following year, Flatbush began to be settled; then Brooklyn (Dutch Breuckelen - “Broken Land”) in 1636. In 1638 Bushwick saw its first farming families. The vast Bushwick acreage included present-day Williamsburg and Greenpoint. Dutch family names are commemorated in many local street names: Meserole, Calyer, Skillman, Devoe, Powers, Scholes, Remsen, Conselyea, McKibbin and Nichols. Even in the early days the rich ethnic mix of the area is attested to by many family names from Scandanavia, Iceland, Flanders, France, Italy (A Cesare Family), Portugal, Spain, England, Scotland and Ireland. Indians and half-breeds were also settled and some Negroes. The New Utrecht, another Dutch settlement, began in 1642, and Gravesend (Coney Island), the only English Settlement in 1643.

It was the Dutch West India Company that administered the affairs of the Dutch colony, called “New Amsterdam”, first explored by Henry Hudson in 1609. Basically fur traders, the company also purchased land for farming settlers. It was thus on August 1, 1638 that the whole area which they called “Boswick” (“Place of the Deep Woods”) was purchased from the Indians for 8 fathoms of duffels, 8 fathoms of wampum, 12 kettles, 8 adzs, 8 axes, some knives, beads and awl blades. In 1660 the first hamlet was laid out, centering on present day Woodpoint Road and Conselyea Street. A Dutch Reformed Church was erected at what in now North 2nd and Humboldt Street. It was at that time (March 14, 1661) that Governor Peter Stuyvesant gave the tiny village its name. Heavy forests were cleared for farming. The area grew slowly. A second village grew around Flushing and Bushwick Avenue, and a third, the nucleus of Williamsburg, between Bushwick Creek and South 4th Street.

Shortly after the American Revolution, Williamsburg became a focal point of intense activity by land developers. In 1892 Richard M. Woodhull, a New York City merchant, bought considerable tracts of land, hoping to attract settlers from across the river. He envisioned it as a comfortable residential suburb. He hired Colonel Jonathan Williams, a grand nephew of Benjamin Franklin, to survey the land and lay out city lots for homes. So impressed was Woodhull with the survey, that he named the area “Williamsburgh” after the surveyor. The “H” in the name was dropped years later. Woodhull provided a small ferry from Grand Street in New York City to North 2nd Street in Williamsburgh. Access to the ferry on either side of the river was very poor, however, so the proposed development came to grief and Woodhull went bankrupt.

The shrewd Stuyvesant had selected the Bushwick site on an Indian road that faced his farm across the river in lower Manhattan. Bushwick was thus a first line of defense for his farm against Indian attacks. The Dutch Farms were laid out in long, narrow strips, so that each farmer would have immediate access to water and transport of his produce. The early settlers used a “Kiekow” (lookout), a small tongue of land jetting out from the foot of North 4th Street as a place to watch for Indians. A Blockhouse was erected on this bluff and used as a place of worship and also as a refuge against Indian attacks. Jan (or Jean) Mesrol was the original owner of the river farm on which the “lookout” Stood. He had come with his wife and child in 1663 from Picardy on the speedy ship, “The Spotted Cow”. Early settlers like the Meseroles (a variant spelling) had to suffer not only from Indians, but from floods and famine as well. English colonists from Connecticut and eastern Long Island often mounted raids on the Dutch, seeking to extend British crown territory. The English did finally capture all of “New Amsterdam” in 1664. The Dutch regained their colony for a brief period but lost it again in 1674. The peace treaty gave them Surinam in exchange for New Amsterdam. The English would in turn lose “New York” (the new name they gave the colony) in the American Revolution a hundred years later. The part of Bushwick that became Williamsburg was called by the Dutch “Bushwick Shore” or simply “The Strand.”

The Woodhull bankruptcy in 1811 saw his ferry line pass by a sheriff’s sale of his assets to the Roosevelt family, Woodhull had purchased his 15 acres from a Charles Titus. A new realtor now appeared on the scene in the person of Thomas Morrell from Newtown. The Titus homestead became the “Fountain Inn” a focal point of local political discussion. Morrell purchased another 28 acres from Folkert Titus, extending from North 2nd Street to South 1st Street along the river. He gave the development a new name “Yorktown” (after the Virginia city where General Cornwallis had surrendered to General Washington to end the Revolutionary War). He built another ferry. Like Woodhull, however, Morrell also experienced failure, because the farmers would not permit passage to the ferry through their farms along the shore. The lack of direct roads made it necessary for farmers from Wallabout and other areas to take long and roundabout routes to get to “Yorktown”. It is hard for us to picture the difficulty in our day. In those times roads were few large tracts of woodlands made wagon traffic impossible in many areas. Ready access to water was essential to reach the Manhattan market, ill very much the center of activities.

“Haunted” Trinity?

Most Holy Trinity Church has found its way onto several Internet sites that tell of haunted places in New York City. As Roman Catholic Christians, we certainly do not believe that we are "haunted." This page is therefore posted solely for entertainment purposes, and in order to respond to the many who have written to us inquiring about these legends of a haunted Trinity. Enjoy!

The present building housing Most Holy Trinity Church (the third church) was built between 1882 and 1885; the school building, built in 1887, is located on a site that had been a cemetery from 1841 until 1853. Legend has it that not all of the bodies were removed from the cemetery and that the souls of those who remain continue to inhabit the site. The lights in the school gym have been known to go on and off without any reasonable explanation. At night, it is said that voices, and the sounds of people walking back and forth, can be heard in the school building.

The church's first two pastors, Fr. John Stephen Raffeiner and Msgr. Michael May, priests who had been Vicar Generals of the Brooklyn Diocese, are buried in a crypt under the narthex of the church.

A Tree Grows in Brooklyn

Betty Smith, the author of the novel "A Tree Grows In Brooklyn," was born on December 15, 1896 as Elisabetha Wehner (child of Joannes Wehner and Katharina Hommel); according to the Baptismal Registry of this church, she was baptized by the Reverend Nicholas M. Wagner here (then simply known as “Holy Trinity”) on January 24, 1897. In the best-selling novel, Smith wrote about a fictitious girl named Francie who grew up in Williamsburg, Brooklyn. Although Trinity is never mentioned by name, the author clearly refers to her own church.

“Francie thought it was the most beautiful church in Brooklyn. It was made of old gray stone and had twin spires that rose cleanly into the sky, high above the tallest tenements. Inside, the high vaulted ceilings, narrow deepset stained-glass windows and elaborately carved altars made it a miniature cathedral.”

Betty Smith, A Tree Grows in Brooklyn (New York: Harper & Brothers, 1943) p 390.

There are mysterious passageways on the triforium level of the church where it is said that only priests are able to enter. The church property covers an entire city block; it is said that there are false closets leading to tunnels throughout the church and convent. Mysterious sub-basements and bricked-up doorways suggest concealed passageways. It is said that run-away slaves from the South used these areas to hide when escaping to the North in the "underground railroad."

The church’s second pastor, Monsignor Michael May, built the church’s rectory in 1872; he died in the building while sleeping in his second-floor room in 1895; the same room is used as a guest room by the friars who live in the friary today. Guests have claimed to have heard strange noises and the sounds of someone walking back and forth while staying in the room.

It is said that loud footsteps can be heard up and down the four floors of the friar stairs at late hours of the night. Allegedly, it always feels like other people are in the building, even when someone is alone there. Dogs, who were once kept as pets in the rectory, had been known to stare, as if in trances, at the stairs leading to the basement and into the dining room when it was very cold in the house.

George Stelz, a parish sexton and bell ringer, was murdered in the vestibule of the church in August of 1897; while there was a prime suspect in the crime (a man who had been a parishioner of Trinity, and who was eventually executed for a different murder), no-one was ever convicted of the Stelz murder. The blood of Mr. Stelz, as well as the bloody hand-print of the murderer, are said to be still on the wall in a stairway leading to the bell tower. It is said that the spirit of Mr. Stelz roams the building and will do so until the crime is solved.

The name of Mr. Stelz appears in a stained glass window he had donated to the church twelve years before his murder. The bells to the church are said to ring sometimes without explanation; it is believed that the ghost of Mr. Stelz rings the bells in order that people will not forget him, now after more than one-hundred years since his murder.

Architecture

The church, designed by the great church architect William Schickel (1850-1907), is modeled after the “French Gothic of the 13th century” style popular in the United States during the mid-to-late nineteenth century. It also has many architectural features typical in German Gothic-styled churches of the time.

Political Growth

These frustrations to progress were eventually dealt with, as political strength gradually emerged and the original six hamlets grew closer together and finally merged into the one city of Brooklyn in 1855. In 1827 the village of Williamsburgh was incorporated. Since the name “Williamsburgh” antedated “Yorktown”, that name generally came to be the popular designation for the Woodhull and Morrell Development. The establishment of a large distillery in 1819 (later the site of the Schaefer brewery) gave the first real impetus to local growth. Noah Waterbury established this plant at the foot of South 2nd Street. He was born in 1789 at Croton, Connecticut, came to Brooklyn in 1807 and to Williamsburgh in 1819. Seven hundred fifty nine (759) people lived here then. So important was the distillery to the area that he was called the “Father of Williamsburgh.” Docks, warehouses, rope- walks (long rectangular factories where rope was spun by hand), shipyards, iron foundries, hat factories and the largest glue factory in the nation soon dotted the community. The forest soon disappeared, and so did the famous Ailanthus tree, imported from China in the 1840’s; that tree flourished in the swampy, low-lying areas of Williamsburgh and was popular because of its supposed powers to dispel diseases arising from swamp vapors. This tree gave the title to Betty Smith’s novel about Williamsburg “A Tree Grows In Brooklyn.”ln 1835, the first local newspaper appeared: “The Williamsburgh Gazette.” In that same year, nine trustees were elected to govern the village. The commercial enterprises guaranteed success for the realtors who began building homes to accommodate them. The growth, though, became intense only when the Williamsburgh Bridge was opened in 1903. Up to that time the area boasted many impressive and fashionable hotels and elegant brownstones. Owners of the new businesses lived there and enjoyed splendid vistas of the New York harbor.

In 1843 Williamsburgh became a “town” distinct from Bushwick. That year saw a period of financial collapse, due to the inflation resulting from wild real estate speculation. Confidence was restored in 1845 when newer ferries were built to guarantee transport. By then the population had grown from 759 (18 19) to 934 (1820) to 11,000 people, enough to warrant the establishment of a bank in 1851 by Samuel Meeker in the basement of the “Universal Church” at Bedford and South 3rd Street In that same year Willamsburgh became an incorporated city Meeker drew up the city charter. In 1854 Bushwick and Williamsburgh were consolidated to form the “Eastern District”. In 1855 these became part of the City of Brooklyn and it was from this time that Williamsburgh was spelled Williamsburg. In 1889 the Greater City of New York was formed, consisting of the present five boroughs.

St. Mary's Church, formerly located at the corner of Leonard and Maujer Streets (five blocks away from Most Holy Trinity Church), was a good neighbor to Most Holy Trinity for more than one hundred and fifty years. This photo was taken in September of 2005. The two parishes merged under the name "Most Holy Trinity--St. Mary" in September of 2007.

The building’s impressive twin spires, that reach twenty stories into the sky, have dominated the neighborhood for nearly one-hundred and twenty years. The front of the building and the towers are constructed of Belleville brownstone (i.e., stone acquired from a quarry in the not too distant town of Belleville, New Jersey; interesting to note is that stone from the same quarry was used to build the famous Gothic Revival style gates of the Green-Wood Cemetery in Brooklyn). Trinity’s towers are 205 feet tall; the left tower (on the east side) was completed in 1884; the right tower was completed in 1890; for six years the one on the right stood only as high as the roof of the main part of the structure. The crosses on the top of each tower are five feet tall. There are five bells in the left tower; they were installed in 1891 (there are no bells in the right tower); all of the bells together weigh approximately 10,074 pounds. When built, the towers featured clocks-not an uncommon fixture on bell towers of the time.

The building’s impressive twin spires, that reach twenty stories into the sky, have dominated the neighborhood for nearly one-hundred and twenty years. They were reinforced and covered with lead and copper in 1990, dramatically altering the way they had looked for more than one-hundred years. This photo was taken with a telephoto lens by Fr. Timothy Dore, OFM Conv., from atop the Empire State Building in Manhattan (“as the crow flies” the distance between the two buildings is approximately three and a half miles).

The building features a “triforium level” with tri-fold arched openings that lend to a sense of mystery; it also has a spacious and airy clerestory level in which are located nineteen of the building's magnificent stained glass windows.

Above the arcade level (the main floor) there is a “triforium level” with tri-fold arched openings that lend to a sense of mystery typical in Gothic style churches. The building features a spacious clerestory level on which are found nineteen of the stained glass windows.

This photo shows the modern altar of sacrifice and the new baptismal font. The altar of sacrifice was dedicated in the year 2001; the font, which was designed to accommodate adult immersion baptisms, incorporates the church’s original baptismal font and was installed in the same year as the new altar.

There is a large narthex (vestibule) at the main entrance to the building; two smaller vestibules, each featuring stairways to the choir loft, are located to the right and left sides of the narthex. Immediately below the narthex is a crypt area in which the first two pastors of the parish are entombed.

Behind the high altar is a large sacristy featuring richly paneled walls and cabinetry, as well as interesting stained glass windows, added during the renovation of 1958.

Stained Glass Windows

The outlay of the building’s interior is done in a “basilican” plan; there are no transepts. The interior is 170 feet long, 82 feet wide and 79 feet high. It has clustered columns, pointed arches and cruciform vaulting with supporting ribs in the ceiling. When the church was opened in 1885, it had a seating capacity of nearly 1,350 people; many rows of pews were removed from the church during subsequent renovations; today the church can accommodate 950 people at full capacity. There are two side aisles, designed like the nave, that feature corresponding side altars, one dedicated to the Sacred Heart of Jesus and the other to the Blessed Virgin Mary. Notable along the walls on each side of the church are large carved Stations of the Cross. It should also be noted that several murals in the church were painted by the renowned German artist Wilhelm Lamprecht (1838-1922). Within the chancel is the old high altar, which is carved of white marble and Caen stone and is capped with a central spire that rises twenty-seven feet into the air. The modern altar of sacrifice, also made of marble, was dedicated in the year 2001; a baptismal font, which was designed to accommodate adult immersion baptisms, incorporates the church’s original baptismal font and was installed in the same year as the new altar. A beautifully sculpted oak pulpit, designed by the building’s architect, dominates the sanctuary area; the floor of its pedestal is eight feet above the main floor, while the fleur-de-lisornament at the peak of the ornate tower crowning it reaches a height of thirty-three feet.

Perhaps the building’s most magnificent feature is its exquisite stained glass windows; there are thirty-four windows in all; two of them have simple designs of vines and leaves, the others are breathtakingly beautiful. The central or rose window above the entrance to the church is thirty-six feet high and twenty-two feet wide. All of the windows were created by the Albert Neuhauser Mosaic Firm in Innsbruck, Austria in 1884 and 1885.

This layout of the church building showing the location of each of the stained glass windows on the left side of the main arcade.
There are two windows in the church that picture no saints at all (this photo shows the second window–2a and 2b–on the left side). It is believed that no saints are pictured in these two windows because either no funds were procured to complete them, or that they were intentionally left without images of saints because of their close proximity (three feet) to the friary (rectory). They windows do contain interesting geometric shapes and images of vines and branches–a reminder of the teaching of Jesus that he is “the True Vine,” the source of life and fruitfulness of his followers.
This window depicts St. Scholastica and St. Benedict. It is interesting to not that they were twins in life, and are after death were buried in the same tomb at Monte Casino in Italy.
St. Scholastica and St. Benedict: The saints pictured in the two panels of this window were sister and brother twins born of Roman nobility in the year 480 in Narsia, Umbria, Italy; their mother died in childbirth. Like her brother, Scholastica (celebrated on February 10th) founded a monastic religious community. She remained close to her brother throughouther life but little else is known about her. On the eve of her death, Benedict visited her but when she asked him to stay for the night he refused, citing his own rule against being outside the monastery for the night. Scholastica is said to have appealed directly to God and so a sudden and violent thunder storm began forcing Benedict to remain with her in spite of his desire to return to his monastery. Explaining the storm to her brother, Scholastica is reported to have said: “I asked a favor of you and you refused so I asked God and he granted it.” Scholastica is the patron saint of convulsive children, nuns and storms. Benedict (celebrated on July 11th, formerly on March 21st, the day of his death) is considered to be the Founder of Western Monasticism. As a young man Benedict became disillusioned with the society in which he lived and so he fled to the mountains in order to live in a cave as a hermit. Soon others were attracted to his strict religious way of life and he was called upon to lead a community of men. Founding a monastery at Monte Cassino, Italy, he wrote the Rule of his order. This window pictures Benedict holding an abbot’s crosier, and a book that represents the Rule, which he wrote not in classical or scholarly Latin, but in the spoken and ordinary Latin of his day. The Latin words pictured on the book in the window represent the first line of the Rule which reads: “Listen, my son, to the precepts of your master.” Among other things, Benedict is the patron saint of agricultural workers, cave explorers, dying people, inflammatory diseases, monks, people in religious orders and against temptations. Both Scholastica, who died in 543, and Benedict, who died in 547, are buried in the same tomb at Monte Cassino.

It is interesting to note that this window was a gift of Rev. Nicholas Balleis; he was a Benedictine priest who served for a time in the parish during the time of the present church’s construction.
This window depicts St. Elizabeth of Hungary and her husband Blessed Ludwig (Luis) of Thuringia. Blessed Ludwig is the only image presented without the halo of a saint. Note the diminutive figure of the beggar to the right of St. Elizabeth.
St. Elizabeth of Hungary and Blessed Ludwig (Louis) of Thuringia: The images in the two panels of this window tell a story from the life of Elizabeth of Hungary (celebrated on November 17th) and of her husband Ludwig, the Landgrave of Thuringia (celebrated on September 11th). Elizabeth, born in 1207 at Presburg, Hungary and Ludwig, born in 1200 at Thuringia (part of present day Germany) were brought together in an arranged marriage when she was fourteen and he was twenty-one; they had three children and were said to have had great love for one another. As Landgrave, Ludwig controlled territory like a Count and was considered to be part of the nobility. The two, especially Elizabeth, were known for their great devotional life, generosity and service to the poor. Elizabeth was often seen giving bread to the needy (represented in this window by a diminutive bearded man sitting to the right of the saint). Although very charitable himself, Ludwig at times had to remind Elizabeth to be prudent in her charity. This window recounts an occasion in which Elizabeth was confronted by Ludwig about her zealous generosity. He believed she was hiding bread under her mantle, and when he asked to be shown what was there she pulled back her cape and revealed a basket filled with a bouquet of roses–even though it was in the middle of winter and it would have been impossible for such flowers to grow or be available at that time of the year; the bread had miraculously changed into the flowers and Ludwig was given a sign of the great holiness of his wife. Elizabeth was a member of the Secular Franciscan Order (or “Third Order”). The buildings pictured in the background of this window represent a hospital opened by Elizabeth in honor of St. Francis of Assisi. Ludwig died in the Crusades in 1227; after his death, Elizabeth sold all her possessions, worked to support her children and continued to live a holy life dedicated to those in need. She died in Marburg in 1231 at the age of twenty-four and was canonized only four years later. Her husband Ludwig was never given such recognition, but instead is known as “Blessed;” for this reason his image in the window has no nimbus, or halo, as is customary in pictures of saints. Among other things, Elizabeth is the patron saint of bakers, beggars, brides, charities, homeless people, hospitals, Secular Franciscans and widows. It should be noted that the church also has a statue of St. Elizabeth located in the chancel near the former high altar. This window was a gift of the Saint Elizabeth’s Society.
The images in the two panels of this window tell the story of the Baptism of Jesus. To the right is John the Baptist who, as according to Scriptures, is pictured wearing clothing made of camel’s hair with a leather belt around his waist. Jesus is pictured standing in the Jordan River. Note the dove above which symbolizes the Holy Spirit.
The images in the two panels of this window tell the story of the Baptism of Jesus. To the right is John the Baptist (birth celebrated on June 24th and death on August 29th) who, as according to Scriptures, is pictured wearing clothing made of camel’s hair with a leather belt around his waist (see Matthew 3:4). John also wears a flowing red garment; red, the color of blood, symbolizes the martyrs death John received at the hands of Herod, who beheaded him because of a foolish promise made to the daughter of his wife Herodius. John holds a reed cross, symbolic of the words of Jesus, who when speaking to the crowds about him had said: “What did you go out to the desert to see? A reed swayed by the wind?” (see Matthew 11:7). The cross is adorned with a white banner; in art, although not in this window, the banner is often inscribed with the words “Ecce Agnus Dei” (Behold, the Lamb of God)–a direct reference to John’s proclamation of Jesus as the Lamb of God (see John 1:29). John baptizes Jesus using a shell which he holds in his right hand; the shell is a traditional symbol of baptism. Note the additional shells located in the panel just below John’s left foot. Jesus is pictured standing in the Jordan River while wearing white and purple garments; white symbolizes the purity and holiness of Jesus as well as his future resurrection; purple symbolizes the Kingship of Christ and his coming from the royal line of David (see Matthew 1:1). Alluding to the title of Jesus as “the Servant of Yahweh” (see Matthew 12:18) he humbly bows his head and receives John’s baptism. The abundant flora and vegetation flourishing at the banks of the river symbolize new life which springs forth from the Sacrament of Baptism. Finally, the white dove pictured above Jesus symbolizes the Spirit of God which, according to Scriptures, appeared in the form of a dove as “a voice from the heavens said, “This is my beloved Son, with whom I am well pleased” (see Matthew 3:16-17). Among other things, John the Baptist is the patron saint of baptism, bird dealers, converts, hailstorms, lambs, monastic life, motor-ways, printers, San Juan, Puerto Rico, spasms and tailors. This window was a gift of Johann Timmes.
The images in the two panels of this window show Mary as a child with her parents, Joachim and Anne. Anne is shown with a raised right hand in the posture of teaching the young Mary. To the right of Joachim is what appears to be an arched entrance, perhaps a reference to the “Golden Gate” in Jerusalem where it is said that Joachim and Anne first met.
The images in the two panels of this window show Mary as a child with her parents, Joachim and Anne (both celebrated on July 26th). No mention is made of the parents of Mary in the Scriptures but their names have been recorded in ancient apocryphal literature, specifically in the Protoevangelium of James. According to tradition, Joachim and Anne were elderly at the time of Mary’s birth, and she was their only child. The fig tree pictured behind the saints shows signs of having been repeatedly pruned; this is an allusion to belief about the couple’s age at the time of Mary’s birth–they who had been previously been thought to have been sterile had given birth to Mary. The saints are pictured in fine garments, reflecting the belief that they were very wealthy. Anne is shown with a raised right hand in the posture of teaching the young Mary. Joachim stands to the right of the mother and child. Behind the three figures is the walled City of Jerusalem. To the right of Joachim is what appears to be an arched entrance, perhaps a reference to the “Golden Gate” in Jerusalem where it is said that Joachim and Anne first met. Among other things, Anne is the patron saint of broom-makers, carpenters, childless people, equestrians, grandmothers, homemakers, housewives, lace-makers, lost articles, miners, mothers, old-clothes dealers, pregnancy, seamstresses and women in labor. Joachim is the patron saint of fathers and grandfathers. This window was a gift of Godfried Jager, Ludwig Strorer and Eduard MacCarthy.
The images in the two panels of this window recall Saint Dominic who is said to have received the Holy Rosary while experiencing a vision of the Blessed Virgin Mary. It must be noted here that the Amityville Dominican Sisters have ministered in the parish since 1853. This window and one dedicated to St. Catherine of Sienna, another great Dominican saint, are no doubt a tribute to the many sisters who have been a part of the tradition of Most Holy Trinity
The images in the two panels of this window recall Saint Dominic who is said to have received the Holy Rosary while experiencing a vision of the Blessed Virgin Mary. The right panel depicts the child Jesus standing on the lap of Mary; she is portrayed as the Queen of Heaven, symbolized by the crown on her head, the throne upon which she is seated and the clouds over which she seems to be gently levitating. Both Mary and the child Jesus are holding and presenting a Rosary to Dominic, who is pictured in the left panel, kneeling before them. Dominic (celebrated on August 8th) founded the Order of Friars Preachers (Dominicans) in 1215. He was known for his great devotion to Mary and the Rosary, or the “Marian Psalter,” as it was called during the time he was alive. Dominic received the vision of the Blessed Virgin Mary at a time when he was feeling discouraged and was unable to defeat the heresies of his day, particularly Albigensianism. In the vision, Mary told Dominic to say the Marian Psalter daily, to teach it to those who would accept it, and that with perseverance, the true faith would prevail. Although Dominic is often credited with inventing the Rosary as it is prayed today, actually one form or another of it existed both before and after his lifetime; without a doubt, Dominic can be credited with spreading devotion to the Blessed Virgin Mary through the use of the Marian Psalter. Pictured on the floor near the knees of Dominic is a book with the German words: “Mensch sei besdändig der Hammer und nicht der Ambos der beiden shaften.” This is a reference to a popular proverb of his day, frequently quoted by Dominic, that said: “A man who governs his passions is master of his world. We must either command them or be enslaved by them. It is better to be a hammer than an anvil.” The words appear in German because the parish was founded by and originally served German speaking people . Dominic is the patron saint of astronomy, the Dominican Republic, falsely accused people and scientists. This window was a gift of William Schickel, who was the architect of this church building.

This is the layout of the church building showing the location of each of the stained glass windows on the right side of the main arcade.
St. Catherine of Sienna had a vision in which the infant Jesus presented her with a wedding ring whereby she became a mystical bride of Christ; this window recalls that vision.
The images in the to panels of this window depict the Blessed Virgin Mary, the Infant Jesus and St. Catherine of Sienna. The location of this window is directly opposite, and in a way mirrors the window depicting St. Dominic de Guzman, founder of the Dominican Order of which Catherine was a member. Catherine (celebrated on April 29th) was the daughter of Giacomo di Benincasa and his wife Lapa, parents of twenty-six children. Catherine was born in 1347. At a very young age, and after she had become a member of the Third Order of St. Dominic, she had a vision in which the infant Jesus presented her with a wedding ring whereby she became a mystical bride of Christ; this window recalls that vision. After the vision, Catherine became very active in the world, traveling extensively and communicating with civil and religious leaders in order to bring the Gospel message of peace to many people. Catherine wrote extensively and because of her work was later hailed as a “Doctor of the Church.” It is believed that Catherine received the Stigmata, or wounds of Christ, in her own body; for this reason she is pictured wearing a crown of thorns, a symbol of her sharing in the very passion of Jesus Christ. Among other things, Catherine is the patron saint of firefighters, illness, miscarriages, nursing services, people ridiculed for their piety, sexual temptation and of sick people.

This window was a gift of the Dominican Sisters. It should be noted that the Sisters of St. Dominic have ministered in the parish since their arrival in 1853. The Mother House of the Dominican Sisters, Holy Cross Convent, was located at 157 Graham Avenue until 1944 when it was transferred to Amityville, New York. The Dominican Sisters have a long tradition of service in Most Holy Trinity Parish; this window, in honor of St. Catherine of Sienna, is a tribute to the Dominican community and the service they have given.
The images in the two panels of this window show the Holy Family of Joseph, Mary and the child Jesus on the left, and the child John the Baptist with his mother Elizabeth on the right. The lamb that John the Baptist presents to Jesus is symbolic of the Scriptural proclamation of John about whom Jesus is, and of the fate that he will suffer; when John sees Jesus, he proclaims: “Behold, the Lamb of God”.
The images in the two panels of this window show the Holy Family of Joseph, Mary and the child Jesus on the left, and the child John the Baptist with his mother Elizabeth on the right. The Holy Family (celebrated on the Sunday within the octave of Christmas) is pictured in regal robes, perhaps alluding to their noble lineage. Joseph is pictured holding a carpenter’s square, a clear reference to his trade. In the Scriptures no mention is made of a childhood meeting between Jesus and John, but there is no doubt that as cousins they knew each other; the well-known story of the meeting between Mary and Elizabeth, or the Visitation, that occurred when both women were pregnant with their respective sons should be recalled here (see Luke 1:39-56). Even from the womb, John the Baptist acknowledged the greatness of Jesus (see v. 41). In this window Elizabeth (celebrated November 5th) bows in humble recognition of the greatness of those before her. The child John the Baptist (birth celebrated on June 24th and death on August 29th) is pictured wearing clothing made of camel’s hair–a reference to Scriptural description of his clothing and, in this case, to the traditional belief that he left home at a very early age in order to live in the desert. The lamb that John the Baptist presents to Jesus is symbolic of the Scriptural proclamation of John about whom Jesus is, and of the fate that he will suffer; when John sees Jesus, he proclaims: “Behold, the Lamb of God” (see John 1:29). Among other things, John the Baptist is the patron saint of baptism, bird dealers, converts, hailstorms, lambs, monastic life, motor-ways, printers, San Juan, Puerto Rico, spasms and tailors. Elizabeth is the patron saint of expectant mothers. This window was a gift of Adam and Elizabeth Schlemel.
This window depicts St. Peter and St. Paul. This window was heavily damaged and had to be rebuilt after a fire that damaged part of the church building in 1972. The original lower panels of this window were lost because of the fire; consequently, the names of the donors have also been lost.
The images in the two panels of this window depict the Apostles Peter and Paul. Depicted on 10a, the left panel, is Paul holding two gold keys. The keys are symbolic of the words of Jesus to Peter: “You are Peter, and upon this rock I will build my church . . . and I will give you the keys of the Kingdom of Heaven” (see Matthew 16:18-19). Because of these words, Roman Catholic’s have always believed that Jesus chose Peter, and his direct successors, to hold the primacy of authority in the Church. For this reason, the Pope is believed to be the Successor of Peter , the Keeper of the Keys, the Shepherds of the Church and the Vicar of Christ. Peter is celebrated on June 29th, the feast of Peter and Paul, February 22nd, the feast of the Chair of Peter and on November 18th, the feast of the dedication of the Basilicas of Peter and Paul. Among other things, Peter is the patron saint of bakers, bridge builders, butchers, clock makers, foot problems, fishermen, locksmiths, longevity, masons, net makers, the papacy, shoemakers, stone masons, the Universal Church and watch makers. Depicted on 10b, the right panel, is Paul holding a sword in his right hand and a book in his left. Paul wrote extensively and is the principal author of the New Testament. Paul spoke of the word of God as “the Sword of the Spirit,” hence the book and sword. Among other things, Paul is the patron saint of authors, the Cursillo movement, evangelists, journalists, lay people, musicians, public relations personnel, rope makers, saddle makers and writers. In addition to the feasts days that he shares with Peter noted above, Paul is celebrated on January 25th, the commemoration of his conversion.

**Parish financial records from 1884 and 1885, when money was collected for the windows, give the names of all those who contributed, large or small; the names of all the major donors can be now found on the windows in the church, except the Precious Blood Society ($240.00), Rev. John Koeburle ($240.00), Mr. Crusier ($212.00) and Peter Bitterman ($250.00). There is no doubt that before the fire, one or more of these donors’ names appeared on this window.
Nicholas became the bishop of Myra and was especially known for his generosity toward the poor. The barrel containing the three boys recalls an event in which the saint discovered they had been murdered, and he raised them back to life. Nicholas is called the patron of children; because of this, he eventually became known as “Santa Claus.” Many popular legends about Santa Claus and the Season of Christmas have their roots in Nicholas of Myra.

The greatest story about George, known as the “Golden Legend,” says that single-handedly, and with only one blow of his lance, he killed a ferocious dragon that had been living in a lake and terrorizing the people near Silena, Libya, hence a dead dragon is pictured laying at his feet.
Take closer look at the three boys featured in the window honoring Saint Nicholas. Like this one, each window in the church is filled with exquisite detail.
The images in the two panels of this window depict Nicholas of Myra and George, Soldier and Martyr. Depicted on 11a, the left panel, is Nicholas (celebrated on December 6th) who was born in the year 346 in Myra, in what is now modern day Turkey. Nicholas is pictured wearing a bishop’s miter and flowing purple robes. A crosier rests in the crook of his right arm as he points with his right index finger, an indication of his powerful teaching authority. He holds a book in his left hand; resting on the book are three gold balls. At the feet of the saint there is a small barrel in which there are three young boys. Nicholas became the bishop of Myra and was especially known for his generosity toward the poor. The three gold balls in the window recall an event whereby the bishop threw three bags of gold into the window of a very poor man’s house; the man was so desperate for money that he had contemplated selling his daughters into prostitution. The gold saved the girls from a such a dreadful life. The barrel containing the three boys recalls an event in which the saint discovered their dead bodies hidden inside a barrel filled with salt water; Nicholas raised the three boys to life and the crime was brought to light. These stories about Nicholas led to him being called the patron of children; because of this, he eventually became known as “Santa Claus.” Many popular legends about Santa Claus and the Season of Christmas have their roots in Nicholas of Myra. Among other things, Nicholas is the patron saint of bakers, barrel makers, brewers, captives, children, judges, longshoremen, newlyweds, old maids, paupers, pawnbrokers, poor people, prisoners, sailors, scholars, travelers and unmarried girls.

Depicted on 11b, the right panel, is George (celebrated on April 23rd). The date of his birth is unknown, yet it is believed that he was tortured and beheaded in Lydia, Palestine in the year 304. The only certain things known about George is that he was a Roman soldier and that he was eventually martyred for the faith. George is pictured wearing the armor of a knight; he holds a lance in his left hand and wears a sword at his side. In his right hand he holds a palm branch, the symbol of martyrs. The greatest story about George, known as the “Golden Legend,” says that single-handedly, and with only one blow of his lance, he killed a ferocious dragon that had been living in a lake and terrorizing the people near Silena, Libya, hence a dead dragon is pictured laying at his feet. According to the story, great crowds of people were converted to the Christian faith because he slaughtered the dragon.

Furthermore, the prize money he received from the king for killing the dragon was then given to the poor. George has been an extremely popular saint throughout all of Europe. Like St. Margaret, who is pictured in window 12a, George is known as one of the “Fourteen Holy Helpers” (along with Acathius, Barbara, Blaise, Catherine of Alexandria, Christopher, Cyriacus, Denis, Erasmus, Eustace, Giles, Margaret of Antioch, Pantaleon and Vitus). Among other things, George is the patron saint of archers, the Boy Scouts, butchers, Canada, chivalry, Crusaders, England, equestrians, farmers, field hands, Germany, Greece, knights, lepers, Malta, Palestine, Portugal, soldiers, and the Teutonic Knights. The one hundred twenty-fifth anniversary commemoration book of the parish, published in 1966, This window was a gift of Nicolaus Geyer and George Stelz.
The images in the two panels of this window show St. Margaret of Antioch and St. Wenceslaus of Bohemia. Note that both saints are pictured holding “the martyrs palm branch.” In the early Christian church the palm was adopted as a symbol of the victory of the soul over evil. Who better accomplished this victory than the martyrs? Many of the windows of our church picture saints who were martyred, and all of these saints are pictured with the palm branch.
Notice the red dragon at the feet of St. Margaret.
The images in the two panels of this window depict Margaret of Antioch and Wenceslaus of Bohemia. Depicted on 12a, the left panel, is Margaret of Antioch (celebrated on July 20th). The date of her birth is unknown, yet it is believed that he was tortured and beheaded at Antioch in Pisidia (in modern day Turkey) in the year 257. Margaret’s mother died when she was an infant, and although her father was a pagan priest, she was raised by Christian women. Disowned by her father, Margaret embraced the Christian faith when she was very young and later consecrated her life and her virginity to God. According to legend, Margaret was swallowed whole by the devil in the form of a dragon, but it expelled her because she carried a cross that caused great discomfort to the beast; she escaped unharmed. Margaret was martyred because she refused the advances of a Roman prefect who had been captivated by her great beauty; because of this, she was brought to trial and denounced as a Christian. Because she then refused to give up her faith, unsuccessful attempts were made first to burn and then to boil her alive; finally, Margaret was martyred by beheading. Like St. George, who is pictured in window 11b, Margaret is known as one of the “Fourteen Holy Helpers.” She is pictured holding the martyr’s palm branch in her right hand and a book in her left. Her flowing white robes are a symbol of her virginal purity. The legendary dragon is pictured at her feet. Among other things, Margaret is the patron saint of dying people, escape from devils, exiles, expectant mothers, falsely accused people, kidney disease, martyrs, nurses, peasants, safe childbirth and women.

The reason the virgin Saint Margaret is the patron saint of expectant mothers and safe childbirth is associated with her legendary experience of escaping from the belly of the dragon. Depicted on 12b, the right panel, is Wenceslaus, also known as Vaclav, (celebrated on September 28th) who was born in the year 907 in Prague, Bohemia (in the modern day Czech Republic). Wenceslaus is pictured holding the martyr’s palm branch in his right hand and a large sheathed sword in his left; he is wearing very regal robes, gold jewelry and a king’s crown. Wenceslaus was the child of a Christian father and a pagan mother; his paternal grandmother and teacher was St. Ludmilla (860-921). When his father Duke Wratislaw died, his mother Dragomir took over the government and began to oppress the Christian faith. Rebelling against Dragomir, the people revolted and successfully demanded that Wenceslaus be given control of the duchy. Wenceslaus aligned himself with Germany and the Christian Emperor Otto I, who gave him the title of king. For both political and religious reasons, Dragomir and her other son Boleslaw, also a pagan, plotted the murder of Wenceslaus in the year 935. At the door to a church, Boleslaw confronted Wenceslaus, killed him and then cut the body into pieces; Wenceslaus had been on his way to attend mass. The large sword pictured in the window is symbolic of the violent death that Wenceslaus endured. Boleslaw eventually repented of his crime and had the remains of his brother entombed at the Church of St. Vitus in Prague. To this day Wenceslaus is reverenced as the patron of the Czech Republic; his crown is regarded as a symbol of Czech nationalism. Wenceslaus is the patron saint of Bohemia, brewers, the Czech Republic, Moravia and Prague. The one hundred twenty-fifth anniversary commemoration book of the parish, published in 1966, erroneously identifies this panel as picturing “St. Sebastian.” This window was a gift of the Hanselmann Family.
The images in the two panels of this window depict St. Patrick of Ireland and St. Stephen, Deacon and Martyr. Patrick is also associated with the green shamrock; according to tradition, he used the three leaves of the shamrock to teach about the Christian concept of three persons in one God, the Most Holy Trinity, hence the shamrock pictured in this window. Stephen is believed to have been martyred in the year 33. He is pictured holding the martyr’s palm branch in his right hand and a thurible in his left, and he wears the vestments of a deacon. The saint is pictured as a very young man, without facial hair–perhaps symbolic of his role as the “first martyr of the primitive church.
Legend says that Patrick drove all of the snakes from Ireland: this refers to the symbolic use of snakes by the pagan Druid priests; Patrick converted the pagans and therefore eliminated their religion in Ireland, hence the symbol of the snake.
The images in the two panels of this window depict St. Patrick of Ireland and St. Stephen, Deacon and Martyr.

Depicted on 13a, the left panel, is Patrick (celebrated on March 17th), known as “The Apostle of Ireland.” He is pictured wearing the robes and miter of a bishop. A mortally wounded snake is entwined around the base of the crozier that rests in the crook of his left arm; he holds a shamrock in his left hand and points to it with his right index finger. Interesting to note is the green halo encircling his head–a color typically associated with Ireland. Patrick was born in England or Scotland around the year 389. The name given to him at birth was Maewyn Succat. At the age of sixteen he was captured and sold into slavery in Ireland, where he labored as a shepherd until the age of twenty-two, when he escaped and returned to his family on the British mainland. During the time of his enslavement he had developed a deep spiritual life and soon after his return to his family he decided to pursue a calling to the priesthood. The young Maewyn Succat traveled to France where he stayed for fifteen years, during which time he lived and studied in monasteries, was ordained to the priesthood and continued to develop his spiritual life. In 432 Pope Celestine ordained him a bishop, gave him the name Patrick, and sent him to evangelize England and Ireland. Patrick tirelessly evangelized all of Ireland for almost thirty years; he won many converts from the Druid religion and the island became solidly Roman Catholic . Patrick died in 461in County Down, Ireland (in what is now the northern part of Ireland occupied by the British). Legend says that Patrick drove all of the snakes from Ireland, definitely a myth as the climate of Ireland was never conducive to snakes. Actually this legend refers to the symbolic use of snakes by the pagan Druid priests (snakes being associated with fertility and wells); Patrick converted the pagans and therefore eliminated their religion in Ireland, hence the symbol of the mortally wounded snake that appears in this window. Patrick is also associated with the green shamrock; according to tradition, he used the three leaves of the shamrock to teach about the Christian concept of three persons in one God, the Most Holy Trinity, hence the shamrock pictured in this window. Patrick is the patron saint of Ireland and of many archdioceses and dioceses throughout the world (one of which is the Archdiocese of New York to which this parish originally belonged); he is also the patron against snakes and snake bites and against ophidiophobia (i.e., the fear of snakes).

Depicted on 13b, the right panel, is Stephen (celebrated on December 26th) who is believed to have been martyred in the year 33. He is pictured holding the martyr’s palm branch in his right hand and a thurible in his left, and he wears the vestments of a deacon. The saint is pictured as a very young man, without facial hair–perhaps symbolic of his role as the “first martyr of the primitive church.”

All that is known about Stephen is what is recorded in the Acts of the Apostles (see chapters 6-8). Stephen was one of the original seven (along with Philip, Prochorus, Nicanor, Timon, Parmenas, and Nicholas) chosen by the early community to supervise the public tables; he and the others were given this authority by the imposition of the hands of the Twelve Apostles. Stephen was known for his holiness, his excellent debating skill, and his ability to work signs and wonders. Because he fearlessly preached the Gospel, he angered the Jewish authorities, was “dragged out of the city” and stoned to death. One of those who witnessed the martyrdom of Stephen was Saul, who would later convert to Christianity and as “Paul” would become one of the principal authors of the New Testament. Steven is the patron saint of casket makers, deacons, headaches, horses and stone masons. Although it is difficult to be sure because of the condition of the lettering on the window, it is believed that this window was a gift of the Power Brothers.
Saint Anthony is pictured wearing the robes, Marian prayer beads, and sandals of a Franciscan Friar; the infant Jesus rests in his right arm and he is holding a lily with his left hand. Saint John of God is pictured wearing the habit of his community; in his left hand he holds a large pomegranate fruit that is surmounted by a cross.
This is the saint pictured in window 14b right next to Saint Anthony of Padua. The one hundred twenty-fifth anniversary commemoration book of the parish, published in 1966, erroneously identifies this panel as picturing “St. Francis of Assisi.” Any Franciscan would immediately recognize that this is NOT St. Francis. St. Francis is never shown with a gray colored beard, he is always pictured with the legendary white cord with the three knots (representing the vows of poverty, chastity and obedience). St. Francis is often pictured with the “stigmata” or the wounds of Christ in his own flesh. The saint pictured in our window has none of the usual telltale symbols that would identify him as St. Francis. The saint in this window holds some type of fruit in his left hand and has no Franciscan cord. Perhaps the author of the anniversary book assumed it was St. Francis because he appears next to St. Anthony in the adjoining panel. A little detective work was able to reveal that this is St. John of God. St. John of God is often portrayed with a pomegranate with a cross coming from it.
The pomegranate is a symbol of charity; the cross coming out of the fruit is a symbol of the spirit of sacrifice that springs from charity. St. John of God lived an exemplary life of sacrifice, charity and service to those most in need. The most obvious clue that this is John of God is that the window was a gift of St. Catherine’s Hospital–St. John of God is the patron saint of hospitals. What more appropriate gift could the hospital have given than this!
The images in the two panels of this window depict St. Anthony of Padua and St. John of God.

Depicted on 14a, the left panel, is Anthony (celebrated on June 13th). He is pictured wearing the robes, Marian prayer beads, and sandals of a Franciscan Friar; the infant Jesus rests in his right arm and he is holding a lily with his left hand. Anthony was born in 1195 in Lisbon, Portugal; he was given the name Ferdinand at baptism. At the age of fifteen he joined the Order of Regular Canons of Saint Augustine (known as Augustinians). When the relics of the first Franciscan martyrs of Africa (namely Bernard, Peter, Otho, Accursius, and Adjutus) passed through the town in which he lived in the year 1220, he was inspired to leave the Augustinian Order and to become a Franciscan Friar, hoping to follow in the footsteps of the martyrs. Although illness prevented him from going to Africa and he experienced being shipwrecked in Sicily, heeventually went to Assisi where he is said to have met St. Francis. At first, Anthony was unrecognized for his genius and he busied himself praying and cleaning.

One day he was asked to take the place of an absent speaker and the audience was awed by his magnificent preaching ability. Eventually recognized for his great intellect, Anthony was made professor of theology, a position he held in Bologna, Toulouse, Montpellier and Padua. He traveled extensively preaching the Gospel and the Franciscan message. Anthony was believed to be a powerful preacher and miracle worker and was known as the “hammer of heretics.” Anthony died on June 13, 1231. In the panel Anthony is pictured holding the child Jesus. Legend has it that, while Anthony was staying at the home of a nearby Count, the latter saw him through a window holding and conversing with the Christ child. The image of Anthony holding the child is really symbolic of his great ability to hold up the Word of God, the Sacred Scriptures, and effectively share its message with all who heard him preach. Anthony is pictured holding a lily in his left hand. This symbol, often associated with the Blessed Virgin Mary, refers to her purity, innocence and integrity, characteristics Anthony shares with Mary, about whom he also preached. We might see in these symbols of the Christ child and of the lily that Anthony holds up the Word of God with one hand and the Mother of God with the other. Among other things, Anthony is the patron saint of amputees, animals, elderly people, expectant mothers, faith in the Blessed Sacrament, fishermen, Lisbon–Portugal, lost articles, mail, oppressed people, Padua–Italy, poor people, Portugal, sailors, seekers of lost articles, shipwrecks, starving people and travelers.

Depicted on 14b, the right panel, is John of God (celebrated on March 8th). He is pictured wearing the habit of his community; in his left hand he holds a large pomegranate fruit that is surmounted by a cross. John was born at Montemor-o-Novo, Portugal, on March 8th,1495. As a young boy, John became a shepherd and was known for his great responsibility, as well as his piety. When John was a young man, and because he desired to escape the offer of his master’s daughter’s hand in marriage, he began a long nearly twenty-year odyssey during which he traveled through Europe and North Africa, serving as a soldier and mercenary. It is believed that during these years John moved away from the piety of his youth and engaged in debauchery and immorality. It is said that John went through a brief period of mental instability and that some thought him to be insane. Gradually turning his attention back to God, John settled in different places and began to live a life of penance and charity. While living on Gibralter, John became involved with “the Apostolate of the printed page,” selling books and pictures in order to spread the Christian faith. It was on Gibralter that John experienced a vision in which the Infant Jesus gave him the name “John of God” and told him to move to Grenada, Spain. According to tradition, the Infant Jesus presented John with a half-open pomegranate surmounted by a cross as he said: “John of God, Granada will be your cross.” The pomegranate the saint is pictured holding in this window recalls that vision–the pomegranate is a symbol of charity; the cross coming out of the fruit is a symbol of the spirit of sacrifice that springs from charity (the sacrifice of the cross and Christian charity being interconnected).

In Grenada John of God continued to live a life of penance and charity, taking care of the poor, and especially those who were sick and dying. He was well known for his successful begging on behalf of those he served. It is said that John would often remove his own clothes and exchange them with poor people if he came upon someone more shabbily dressed than himself; to put an end to this, Bishop Sebastian Ramirez of Túy, in the north west of Spain invested him in the habit he is seen wearing in this window; the same habit later adopted by the Hospitaller Brothers of St. John of God, the Religious Community of which he is the founder. John died on March 8th, 1550 as a result of an illness he contracted while unsuccessfully attempting to save a drowning man. John is the patron saint of alcoholics, bodily ills, bookbinders, booksellers, dying people, firefighters, heart patients, hospitals, hospital workers, nurses, publishers, printers and sick people. The St. Anthony panel was a gift of Anton Schimmel; the St. John panel was a gift of St. Catherine’s Hospital.

The layout of the church building showing the location of each of the stained glass windows on the left side of the clerestory.
The regal clothes Saint Cecilia wears in this window are an allusion to her patrician lineage. Cecilia is often pictured with musical instruments; it is said that while she listened to secular music being played at her wedding, she sang Christian hymns in her heart, hence her connection to music and song. The saint is also pictured wearing a crown; it is said that she was crowned by an angel because of her vow of virginity. Notice too the martyrs palm branch laying on the ground near Cecilia’s feet.
The image on this window depicts St. Cecilia, Virgin and Martyr (celebrated on November 22nd). It is believed that Cecilia was martyred sometime during the second century A.D. Cecilia was from a wealthy Roman family; the regal clothes she wears in this window are an allusion to her patrician lineage. It is believed that Cecilia made a vow of virginity at a very young age as she desired to devote her entire life to God. Her parents, opposed to her vow of virginity, forced her to marry Valerian of Trastevere, however Cecilia converted Valerian to Christianity and convinced him to respect and honor her virginity. Valerian’s brother Tiburtius also converted to Christianity and the two in turn dedicated their lives in service to others. In particular, the two brothers were known for giving Christian burials to those who were martyred for the faith. Because of their faith, Valerian and Tiburtius were martyred. Cecilia had the two buried near her home on the Appian Way in Rome, an act for which she was arrested. When she refused to denounce her faith by making sacrifices to false gods, she too was martyred. Cecilia is often pictured with musical instruments; this is an allusion to her forced marriage. According to legend, while Cecilia listened to secular music being played at her wedding, she sang Christian hymns in her heart. For this reason, Cecilia is associated with music and song; because of this connection, images of Saint Cecilia are often found in churches near organs and choir areas. There is no doubt that this is the reason why our window of the saint is very close to the choir loft area (a place no longer used by our choir, and that features only the facade of the original organ). The saint is also pictured wearing a crown; it is said that she was crowned by an angel because of her vow of virginity. Notice the martyrs palm branch laying on the ground near Cecilia’s feet. Martyrs are typically pictured with such palms; it is pictured here on the ground because Cecilia uses her hands to hold the musical instrument. Cecilia is the patron saint of composers, martyrs, music, musical instrument makers, poets and singers.

This window was a gift of the St. Cecilia Society, and of Gustaf Nahngartner, Casper Berner and the family of Joseph Kunz.
Saint Vincent de Paul is pictured in our window wearing the robes of a priest. He holds in his hands a small boy; the child represents the poor and the sick whom Vincent tirelessly served.
The image on this window depicts Saint Vincent de Paul (celebrated on September 27th). Vincent de Paul was born into a poor peasant family in the southwest of France in 1581. As a youngster he showed signs of great intelligence and was given the opportunity to study in a school run by Franciscan friars. His earliest inspiration to the vocation of priesthood was not particularly laudable; he believed that by becoming a priest he could escape a life of poverty, and so by the age of nineteen he was ordained. His early years of priesthood were not particularly inspiring, as he made great efforts to cultivate friendships with wealthy people and attempted to live as comfortable a life as possible. During his mid-twenties he spent two years in captivity, having been captured during a sea voyage and then sold into slavery by Turkish pirates. Vincent managed to escape his enslavement after converting one of his captors to Christianity. He returned to France and worked as a parish priest during which time he experienced a personal conversion of sorts. After a period of depression and a time when he even questioned his faith, Vincent experienced a spiritual renewal that would profoundly affect his ministry for the rest of his life. At that time he began to understand that as a Christian and as a priest, his life and ministry should be dedicated to service to the poor. He began to believe strongly in the great dignity of each human person as a child of God. Vincent took on the task of reaching out to the sick, the poor, the marginalized of society and to those who were complete outcasts. In service to the poor, Vincent eventually established a community of men called the Congregation of the Mission (today known as the Vincentians), a community of women called the Daughters of Charity (an effort done with the help of St. Louise de Marillac) and an organization of wealthy socially-conscious women called the Ladies of Charity. Another of Vincent’s accomplishments was his work to improve seminaries so that young men would be better prepared to serve as priests. Modern day followers of St. Vincent de Paul continue to evangelize and to serve the poor; they continue to work in seminaries preparing men for the priesthood. Vincent died in 1660 in Paris, France and was canonized 1737. He is pictured in our window wearing the robes of a priest. He holds in his hands a small boy; the child represents the poor and the sick whom Vincent tirelessly served. Vincent is the patron saint of charitable societies, hospital workers, hospitals, lepers, lost articles, prisoners and volunteers.

This window was a gift of the Orphan Society and Philipp Auer.
Because he was staying in the home of a Lutheran family, Stanislaus was not permitted to receive communion or the last rites when he was gravely ill with a fever. However, the saint prayed to his patron St. Barbara “that he might not die without receiving the Holy Viaticum.” One night shortly thereafter two angels accompanied by St. Barbara appeared to Stanislaus and they brought him Holy Communion. For this reason, our window pictures an angel ministering Holy Communion to the saint.
The image in this window depicts Saint Stanislaus Kostka (celebrated on November 13th). Stanislaus (1550-1568) was born into a wealthy Polish family; his father was an official in the Polish government. As a teenager Stanislaus was sent, along with his brother Paul and a companion named Bilinski, to a Jesuit school in Vienna, Austria. At the school in Vienna Stanislaus joined the Sodality of the Blessed Virgin Mary. The school’s Sodality was under the patronage of St. Barbara, whom Stanislaus took as his own patron saint. For two years during their time in Vienna, Stanislaus, Paul and Bilinski rented rooms in the house of a wealthy Lutheran family. Unlike Paul and Bilinski, Stanislaus was known for his great piety and devotion; his brother often teased him because of this and at times their relationship was quite strained. When he was sixteen, Stanislaus fell gravely ill with a fever and it was thought that he might die. Paul and Bilinski refused to call a priest so that Stanislaus might receive the Holy Viaticum (often called “the last rites”). It is believed that they did not allow Stanislaus to receive the Holy Viaticum because they feared they would anger their Lutheran landlord if they allowed a Catholic priest into the house. Suffering with illness and distressed because of his inability to receive Holy Communion, Stanislaus prayed to his patron St. Barbara “that he might not die without receiving the Holy Viaticum.” One night shortly thereafter two angels accompanied by St. Barbara appeared to Stanislaus and they brought him Holy Communion. For this reason, our window pictures an angel ministering Holy Communion to the saint. After that, Stanislaus thought he would die very soon, but a few days later the Blessed Mother appeared to him and said “you will not die; you must end your days in the society that bears my Son's name . . . you must become a Jesuit." The Blessed Mother cured Stanislaus of the fever; shortly after that he sought to enter the Jesuit Order, a desire rejected by his parents and family and even initially by the Jesuits too. Nonetheless, Stanislaus was persistent and eventually entered the Jesuit novitiate in Rome. While a novice, Stanislaus again became sick; his illness severe, he died on the Feast of the Assumption, August 14, 1568. It is said that the Blessed Mother appeared to Stanislaus as he lay dying, at which moment he uttered “she is here, as she was in Vienna . . . now she will take me with her.” Stanislaus is the patron of broken bones, the last rites, novices and oblate aspirants.

This window was a gift of the Christian Boys Society.
Saint Balbina is pictured wearing fine robes, an indication that she was from a wealthy family; she wears a laurel crown that symbolizes the victory of martyrdom; the saint holds the martyr’s palm branch with her left hand and chains and fetters with her right.
The image in this window depicts Saint Balbina (celebrated on March 31st). Frankly, little is known about Saint Balbina, who is said to have been martyred in the year 130 A.D.. It is believed she lived a life of compete chastity, never getting married. Some think that she lived an early form of religious life similar to that of monastic nuns. After her martyrdom it is reported that she was buried in the ancient catacombs of Rome. In modern day Rome there are three different locations with memorials to Saint Balbina, but it is said that her relics were eventually transferred to the Cathedral of Cologne, Germany–possibly the reason that early parishioners of Most Holy Trinity, who were German, venerated her and found it appropriate to dedicate this window to her (not to mention that one of the donors was named Balbina). Balbina was the daughter of Saint Quirinus who had been elected by the people as a Roman Tribune. The two were martyred together during a persecution of Christians, an event recorded in the account of the martyrdom of Saint Alexander, another saint about whom little is known. Balbina is pictured in this window wearing fine robes, an indication that she was from a wealthy family; she wears a laurel crown that symbolizes the victory of martyrdom; Balbina holds the martyrs palm branch with her left hand and chains and fetters with her right. The fetters, used to shackle the ankles of those being led to martyrdom, are now a symbol of the Christian’s victory over death. Balbina is the patron saint of those afflicted by scrofula (a form of tuberculosis affecting the lymph nodes).

This window was a gift of Joseph and Balbina Zoll.
Although Saint Martin first declined his election as bishop, he reluctantly accepted the ministry when the people of Tours declared him their spiritual leader by popular acclamation; he was consecrated as the Bishop of Tours on July 4, 372.
The image in this window depicts Saint Martin of Tours (celebrated on November 11th). Martin was born in the year 316 A.D. in the Roman Province of Pannonia (an area that now includes modern Hungary). He died in the year 397 in Tours, France. During his childhood, Martin’s parents were not Christians; his father was an officer in the Roman military as well as an elected Roman Tribune. Attracted to Christianity as a young teenager, Martin began his conversion process by becoming a catechumen in the Church. As a catechumen, Martin began his life-long commitment to serving others and to the avoidance of taking advantage of the less fortunate. At the age of fifteen he joined the Roman military and was assigned first to a ceremonial unit and then as a Cavalry officer. One day as Martin was traveling by horse he came upon a poor beggar, but having nothing to offer him, the Calvary officer-to-be-saint tore his own tunic and gave one half to the misfortunate man. It is said that in a later vision Martin saw that the beggar was actually Jesus himself. After a lengthy catechumenate Martin was baptized at the age of eighteen; thereafter he refused to enter into military conflict, citing his faith as the reason. Arrested for cowardice, Martin was sent to jail with the promise that he would be placed on the front lines in the next battle (a de facto death sentence). The battle however, never occurred, and Martin was released and discharged from the military. Martin lived at a time during which there were great struggles within the Christian faith; heresies and divisions plagued the Church. Martin himself was persecuted by Arian Christians who rejected his Catholic faith. For ten years, between 361 and 371 Martin lived as a hermit in an area of France called Ligugé. While he was a hermit his reputation for holiness spread throughout the region and other men began to join him in his way of life; this community of monks eventually became the Benedictine Abbey of Ligugé. When Lidorius, the Bishop of Tours, died in 371 Martin was chosen to replace him. Although Martin at first declined his election as bishop, he reluctantly accepted the ministry when the people of Tours declared him their spiritual leader by popular acclamation; he was consecrated as the Bishop of Tours on July 4, 372. Even as bishop, Martin continued to live as a monk, but he never failed to lead his people and to defend their causes. When he died, Martin was first buried in a cemetery for the poor; later his relics were transferred to the Basilica of Tours where they remained until being destroyed in a Protestant revolt in 1562. Martin of Tours is the patron saint against poverty; he is the patron of beggars, cavalry, equestrians, horses, innkeepers, reformed alcoholics, soldiers, tailors and wine makers.

This window was a gift of the St. Martin Society.
Saint James is pictured with a walking staff and a gourd bottle; these are symbols of those on pilgrimage (the staff to help the pilgrim to walk long distances and the bottle so that he or she might have an ample supply of water). The saint is also pictured with an open book; in art, books and scrolls are typically held by the apostles.
The image in this window depicts Saint James the Greater, son of Zebedee (celebrated on July 25th). Saint James is the patron of the Diocese of Brooklyn. James, a fisherman like his father before him, was the brother of the John; James and John were some of the first to be called to follow Jesus as his apostles. According to Scriptures, Jesus gave James the name “Boanerges” or “Son of Thunder;” it is believed that Jesus called him this because James had great enthusiasm and zeal for preaching the Good News of the Kingdom of God. This James is called “the Greater” because he was called before the other apostle James who is known as “the Lesser.” It is believed that James the Greater preached extensively and went as far as Spain to bring the message of the Christian faith to others. James was the first apostle to be martyred, a death he endured by being pierced with a sword at the hands of King Herod Agrippa in the year 44 A.D. When he died, it is said that his body was miraculously transferred to Compostela, Spain where it was likewise miraculously entombed inside a huge rock. Compostela became an important pilgrimage destination during the Middle Ages, a place where it is said that many miracles have occurred over the centuries. Because pilgrimages to Compostela and the grave of the saint became so popular, people began to associate James with pilgrimages. In the Middle Ages people would often bring back shells from places where they had made pilgrimages as proof that they had been there; consequently, sea shells became a symbol of James the Greater. In our window, James is pictured with a walking staff and a gourd bottle; these too are symbols of those on pilgrimage (the staff to help the pilgrim to walk long distances and the bottle so that he or she might have an ample supply of water). The saint is also pictured with an open book; in art, books and scrolls are typically held by the apostles. Because of his missionary work in Spain and the presence of his tomb there, James became known as the Patron Saint of Spain; he has been a symbol of the country and of other places influenced by Spanish culture and language (“Santiago,” a form of “Saint James” in Spanish, is a popular Spanish name and is the name of many cities throughout the world). James is the patron saint of arthritis sufferers, blacksmiths, equestrians, knights, laborers, pharmacists, pilgrims, rheumatoid sufferers, soldiers, Spain and veterinarians.

This window was a gift of the St. Jacob Society and Elizabeth Ganter.
The Archangel Raphael is seen holding a type of flask symbolizing a container holding medicine he uses to cure disease. The youth Tobiah, who's story is told in the Old Testament Book of Tobit, is seen holding a travelers walking staff and a sack for the journey. The Archangel guides Tobiah by the hand.
The image in this window depicts Saint Raphael the Archangel (celebrated on September 29th). The name Raphael means “healer of God.” Raphael is one of the Seven Archangels who stand guard at the Throne of God in heaven. He is first mentioned by name in the Scriptures in the Book of Tobit. In the story, the Archangel guides the young Tobiah, the son of Tobit, on a journey from Nineveh to Media where the youth was to collect money owed to his father, who had many misfortunes and had fallen ill and become blind. In Media a woman named Sarah had been praying for relief from her misfortunes; Sarah had lost seven consecutive husbands on their wedding nights when each was killed by the demon Asmodeus. In response to the prayers of both Tobit and Sarah, the Archangel Raphael, unknown to anyone as an Angel of God, was sent to guide Tobiah on the journey from one city to the other. On the way, Tobiah was attacked by a large fish while washing his feet in the Tigris River. The Archangel told him to seize the fish so that they might use its gall, heart and liver as medicines. After his arrival in Media, Tobiah was able to recover his father’s money and he eventually married Sarah; he used the fish’s heart and liver as a weapon on their wedding night and destroyed the demon Asmodeus. After he returned to Nineveh, Tobiah rubbed the fish gall into his father’s eyes and the old man was cured of his blindness. Raphael then revealed his true identity and returned to heaven. The Book of Tobit, and the story of Tobiah and Sarah end after Tobit and his wife died and were buried, Tobiah and Sarah returned to live in Media, and Nineveh was destroyed because of its wickedness. In this window the Archangel Raphael is seen holding a type of flask symbolizing a container holding medicine he uses to cure disease. Tobiah the youth is seen holding a travelers walking staff and a sack for the journey. The Archangel guides Tobiah by the hand. Raphael is the patron saint of the blind and those with eye problems, those with bodily ills, doctors, guardian angels, happy meetings, love, lovers, those who suffer with mental illness, nurses, pharmacists, physicians, shepherds, travelers and young people.

This window was a gift of the St. Rafael Society and Philip and Catherine Schmitt.

The layout of the church building showing the location of each of the stained glass windows on the right side of the clerestory.
Saint Michael the Archangel stands above the slain dragon (a reference to his triumph over Satan); he holds the sword used to slay it upright in his right hand (notice that the tip of the sword is not within the frame of the panel–indicating that it is actually much longer). Michael wears the armor of a knight; the shield held with his left hand bears the Latin inscription “Quis ut Deus” which refers to the meaning of his name, “Who is like God?”
The image in this window depicts Saint Michael the Archangel (celebrated on September 29th). In Hebrew, the name Michael means “Who is like God?” and it is said that this name is used by the other angels as a battle cry when fighting the enemy Satan. It is believed that Michael is the prince of all the other Angels. He has been invoked as the patron and protector of the Church since the time of the apostles. Michael is mentioned four times in the Scriptures: In Daniel 10:12 he is referred to as “one of the chief princes;” In Daniel 12, concerning the end of the world it says “at that time Michael the prince shall rise up and fight for the people;” In the Epistle of Jude, verse 9, we read “Even the Archangel Michael, when his case was being judged” (this is a reference to an ancient non-biblical account of a dispute between Michael and Satan); In Revelation 12:7-9 we have the story of the great battle in heaven between Michael with his angels and the dragon who is Satan; these verses read: “Then a war broke out in heaven; Michael and his angels battled against the dragon. Although the dragon and his angels fought back, they were overpowered and lost their place in heaven. The huge dragon, the ancient serpent known as the devil or Satan, the seducer of the whole world, was driven out; he was hurled down to earth and his minions with him” (NAB). Many non-scriptural references have been made about the Archangel Michael throughout history by different peoples and cultures; even today he venerated by Jewish, Christian and Islamic people. In this window Michael is shown standing above the slain dragon (a reference to Michael’s triumph over Satan). He holds the sword used to slay the dragon upright in his right hand (notice that the tip of the sword is not within the frame of the panel–indicating that it is actually much longer). He wears the armor of a knight; the shield held with his left hand bears the Latin inscription “Quis ut Deus” which refers to the meaning of his name, “Who is like God?” Michael the Archangel is the patron saint of artists, bakers, bankers, coopers, dying people, fencing, Germany, grocers, hat-makers, holy death, knights, paramedics, paratroopers, police officers, radiologists, sailors, security guards, sick people, soldiers, storms at sea, sword-smiths and watermen.

This window was a gift of the St. Michael Society.
Saint Joseph is shown holding the infant Jesus in his arms. The orb and cross symbol held by Jesus in his left hand represents the world and the dominion of Jesus over the world through the power of his cross. The lily plants at the feet of Joseph are a symbol of the purity of the saint.
The image in this window depicts Saint Joseph, the husband of the Blessed Virgin Mary (solemnity celebrated on March 19th; the memorial of Joseph the Worker is observed on May 1st). In the Scriptures, Joseph the carpenter is identified as the son of Jacob, a descendent of Abraham and David. As the adopted son of Joseph, Jesus shares in his lineage. The very first verse of the Gospel of Saint Matthew tells us that Jesus is “the Son of David and the Son of Abraham;” starting with Abraham, and including the great King David, Matthew then gives the names of the fathers of each succeeding generation. The Scriptures tell us that Joseph experienced several visions of angels which guided him and the Holy Family both before and after the birth of Jesus in Bethlehem. Little else is known of this saint, who has perhaps been one of the most venerated saints throughout all of Christian history. Most notable about Joseph was his enthusiastic and immediate response to the will of God; Joseph never failed his obligation to protect Mary and the infant Jesus. It is believed that Joseph died sometime before Jesus suffered and died on the cross. Saint Joseph is the patron saint of bursars, carpenters, confectioners, craftsmen, dying people, emigrants, engineers, expectant mothers, families, fathers, holy death, house hunters, immigrants, laborers, married people, people in doubt, people who fight Communism, pioneers, pregnant women, the protection of the Church, the Second Vatican Council, social justice, travelers, the Tyrol in Austria (an area very special to the earliest German-speaking parishioners of Most Holy Trinity, in fact the birthplace of the first pastor)unborn children, the Universal Church and workers, as well as many dioceses, places and countries. In this window Joseph is shown holding the infant Jesus in his arms; the infant Jesus holds his right hand as if giving a blessing and in his left hand there is a small orb with a cross. The orb and cross symbolize the world and the dominion of Jesus over the world through the power of his cross. At the feet of Joseph are white lily plants; the lily is a traditional symbol of purity.

This window was a gift of the St. Joseph Society.
Saint Sebastian is pictured holding the martyr’s palm in one hand and an arrow in the other. He is dressed as a soldier of the Roman army.
The image in this window depicts Saint Sebastian the Martyr (celebrated on January 20th). Sebastian was born into a wealthy Roman family sometime in the late third century in Narbonne, Gaul (in present day France). He became an officer in the Imperial Roman army and was the captain of the guard. Sebastian was able to visit Christians who had been imprisoned during the persecution of Diocletian. He worked to spread the faith in spite of the obstacle of being part of the Roman military. Because of his fearless work on behalf of the Gospel, he is said to have brought many soldiers and government officials into the faith. Eventually Sebastian was charged with the crime of being a Christian and he was sentenced to death; he was tied to a tree and then shot with arrows, and although left for dead, he survived the ordeal and recovered. After his unsuccessful execution, Sebastian went to see the emperor Diocletian and he attempted to preach the Gospel to him. Because of Sebastian’s heroic act of witnessing to the faith and the emperor’s contempt for Christianity, Diocletian had him beaten to death immediately. During the Black Death and plagues of the fourteenth century, people thought these diseases were akin to being shot with arrows of death by the evil forces of nature. Because Sebastian was shot with arrows during the first attempt on his life, this saint had been associated with archers for centuries. Because of this connection to archers, and the belief that the plagues were like arrows of death, the people of the Middle Ages prayed to Sebastian to intercede for them and spare them from outbreaks of the plague. Sebastian is the patron saint of archers, arrow-smiths, athletes, bookbinders, the dying, gardeners, lace-makers, lead workers, masons, the plague, police, sick cattle, soldiers and stone masons.

This window was a gift of the St. Sebastian Society and Johann Auer.
Saint Aloysius Gonzaga is pictured in this window wearing the robes of a Jesuit seminarian in minor orders; he holds a crucifix, for which he was known to have had great devotion, and white lilies, a symbol of purity.
The image in this window depicts Saint Aloysius Gonzaga (celebrated on June 21st). Aloysius was born in 1568 into a family of Italian nobility and was trained to be a soldier and courtier from the time of his early childhood. Because of kidney disease and other ailments that disabled him in his youth, he was unable to pursue a military career; Aloysius considered his infirmities to be a blessing from God as they left him bed-ridden and afforded him time for prayer and the development of his spiritual life. As a very young man, Aloysius desired to give himself completely to God and even aspired to a missionary life. As a teenager, he dedicated himself to teaching catechism to other young men. The religious aspirations of Aloysius were vehemently opposed by his father, the Marquis Ferrante of Castiglione, however when he turned eighteen, he renounced his inheritance, turned over his noble title to his younger brother and became a Jesuit novice. After his religious profession as a Jesuit he entered the seminary and studied under Saint Robert Bellarmine, his confessor and spiritual advisor. In 1591 a plague broke out in Rome and the youthful Aloysius devoted himself to tending to the needs of its victims; becoming a victim of the plague himself, Aloysius died at the age of twenty-four in June of the same year. It is said that as he lay dying he gazed upon the crucifix and repeated the words “into thy hands.” Because of his reputation for holiness and devotion to those most in need, Aloysius was entombed under the altar of Saint Ignatius Church in Rome. He was canonized by Pope Benedict XIII in 1726. Aloysius is pictured in this window wearing the robes of a Jesuit seminarian in minor orders; he holds a crucifix, for which he was known to have had great devotion, and white lilies, a symbol of purity. Aloysius is the patron saint of Catholic youth, HIV victims and those who care for them, Jesuit students, teenagers and young people.

This window was a gift of the St. Aloysius Young Men’s Society.
Saint Rose of Lima is pictured in this window wearing the habit of the Dominican Order; she holds a crown of roses and appears with her eyes closed, an allusion to her mystical piety. A bush of roses is seen near her feet.
The image in this window depicts Saint Rose of Lima (celebrated August 23rd). Rose was born in Lima, Peru on April 20, 1586 and given the name Isabel (“Elizabeth” in English) at her baptism. Her parents, devout Catholics, had immigrated to Peru from Spain; they raised her in the faith and planted the seeds to a very devout religious devotion that Rose cultivated throughout her life. The nickname “Rose” is said to have been given to her by her mother when as a child the saint had noticeably rose-colored cheeks; legend says that her cheeks had been transformed that way through the power of a mystical rose. At a young age Rose desired to vow herself to virginity and to a complete devotion to God; she was known from her earliest days as one filled with great spiritual zeal and piety, and in particular as a woman devoted to the Infant Jesus and to his Blessed Mother. Rose spent her life living in the garden house of her parents’ home, a place where she dedicated herself to gardening, domestic work and to the creation of embroidered things, for which she was particularly gifted; Rose sold her embroidery to support herself, her family and the poor. Inspired by Saint Catherine of Sienna, the great Dominican Doctor of the Church, Rose became a Third Order Dominican, or Tertiary, and was invested in the Dominican Habit which she wore for the remainder of her life. It is said that Rose struggled at times with different physical and mental difficulties; yet in spite of the obstacles these difficulties posed, she was widely known for her tremendous devotion to the Eucharist, for her acts of penance and fasting, for her solitude and prayer and as a visionary and mystic. It is said that Rose would enter into periods of spiritual ecstasy that would last for hours and that would bring her great consolation, peace and joy. It is believed that Rose experienced in her own flesh an invisible stigmata, or sharing in the very wounds of Christ Crucified. Perhaps in honor of Saint Catherine of Sienna, her great patron, Rose often wore a metal spiked crown, concealed by roses (Saint Catherine, also a stigmatist, is usually depicted wearing a crown of thorns, which symbolizes her own sharing in the passion of Jesus Christ). Rose of Lima died in 1617 at the age of thirty-one; she was canonized the first American-born saint in 1671 by Pope Clement X. Rose is pictured in this window wearing the habit of the Dominican Order; she holds a crown of roses and appears with her eyes closed, an allusion to her mystical piety. A bush of roses is seen near her feet. Rose is the patron saint of the Americas, embroiderers and needle workers, florists, gardeners, Latin America, the New World, South America, and for those persecuted for their piety. This window was a gift of the Young Christian Women’s Apprentices.
Pope Saint Pius V is depicted in this window wearing the three tiered papal tiara (the crown-like symbol of the papacy no longer used by modern popes); he wears papal robes over a white Dominican habit. It is said that all popes after Pius V have worn white cassocks because of this pope’s use of the habit of his Order. Pius is depicted holding a rosary in his hand. Attached to his crosier is a red flag bearing a white cross, perhaps a symbol of the Pius’ victory over various heresies and over the power of Islam.
The rosary is a well known devotion to the Blessed Virgin Mary said to have been formalized by Pius’ spiritual father, Saint Dominic. Pius instituted the October Feast of Our Lady of the Holy Rosary in thanksgiving for a significant victory against the Turks at the Battle of Lepanto on October 7, 1571.
The image in this window depicts Pope Saint Pius V (celebrated April 30th). He was born in 1504 in the northern Italian town of Bosco; at his baptism, his parents Paolo and Domenica Ghisleri gave him the name Anthony. The Ghisleries were an impoverished family who boasted a heritage of Italian nobility. As a young boy, Anthony was employed a shepherd, but through the generosity of a wealthy patron he was later given the opportunity to go to school and to receive a superb religious and academic education from Dominican friars. The friars greatly inspired Anthony, and so at the age of fifteen he joined the Dominican Order and took the religious name Michael. Friar Michael was ordained to the priesthood in 1528 at the age of twenty-four. In the early days of his ministry, he worked as a teacher of philosophy and theology for younger friars; he also served as Master of Novices and Prior in different houses of his community. As a Dominican friar, the future pope was known for his great piety, for his acts of penance and simplicity, and for his fervent devotion to Jesus in the Holy Eucharist; he strove to reform his Order and encouraged the friars to live their lives in conformity with that of the spirit and example of their Holy Father, St. Dominic.

Because of his orthodoxy and zeal for the Catholic faith, Michael was appointed as an official of the Inquisition; reluctantly, he was later made a bishop and then a cardinal of the church, but he always maintained his Dominican identity and way of life. Michael Cardinal Ghisleri was known for his humility, for his disdain for the wealthy trapping of the office, for his simple lifestyle and for his generosity towards the poor; consequently he was very popular among the people he served. It is said that Michael begged the cardinals of the church not to elect him as the successor to Pope Pius IV, however they did just that during the papal conclave of 1565. Upon his elevation to the papacy, Michael Cardinal Ghisleri took the name Pius V (Pio V); as the successor to Peter and Vicar of Christ, Pope Pius V enthusiastically embraced and enacted the reforms of the Council of Trent (1545–1563), an undertaking the previous pope had barely begun. The reforms of Pius V, the so-called “Tridentine” reforms, would define Roman Catholic doctrinal, liturgical and spiritual life for the next four-hundred years; he published a new catechism, he advanced the church’s system for educating and training priests, and he presided over liturgical reforms that would endure until the Second Vatican Council (1962-1965). Pius V was also known for his great desire to serve the poor and those in need; he used papal riches in order fund projects that benefitted the less fortunate of society. As a head of state, Pius worked hard to bring together Catholic Europe, especially in the struggles against Protestantism and Islam. Not long before the death of Pius V, the Turks were defeated by a united Christian naval force at the Battle of Lepanto on October 7, 1571; this forever ended the expansion of the Turkish empire into Europe. In thanksgiving, Pius instituted the Feast of Our Lady of the Holy Rosary (now celebrated on October 7th). Until the last day of his life, Pius labored to unite all of Christian Europe against the threat and power of the Islamic states. Because of what is believed to have been kidney disease, Pope Pius V died on May 1, 1572; he was beatified by Clement X in 1672 and canonized by Clement XI in 1712. Pius is the patron saint of the Congregation for the Doctrine of the Faith and of Pietrelcina, Italy (which is the reason Padre Pio, or Saint Pio of Pietrelcina took the same name). This window was a gift of the St. Pius Society.

Because of his orthodoxy and zeal for the Catholic faith, Michael was appointed as an official of the Inquisition; reluctantly, he was later made a bishop and then a cardinal of the church, but he always maintained his Dominican identity and way of life. Michael Cardinal Ghisleri was known for his humility, for his disdain for the wealthy trapping of the office, for his simple lifestyle and for his generosity towards the poor; consequently he was very popular among the people he served. It is said that Michael begged the cardinals of the church not to elect him as the successor to Pope Pius IV, however they did just that during the papal conclave of 1565. Upon his elevation to the papacy, Michael Cardinal Ghisleri took the name Pius V (Pio V); as the successor to Peter and Vicar of Christ, Pope Pius V enthusiastically embraced and enacted the reforms of the Council of Trent (1545–1563), an undertaking the previous pope had barely begun. The reforms of Pius V, the so-called “Tridentine” reforms, would define Roman Catholic doctrinal, liturgical and spiritual life for the next four-hundred years; he published a new catechism, he advanced the church’s system for educating and training priests, and he presided over liturgical reforms that would endure until the Second Vatican Council (1962-1965). Pius V was also known for his great desire to serve the poor and those in need; he used papal riches in order fund projects that benefitted the less fortunate of society. As a head of state, Pius worked hard to bring together Catholic Europe, especially in the struggles against Protestantism and Islam. Not long before the death of Pius V, the Turks were defeated by a united Christian naval force at the Battle of Lepanto on October 7, 1571; this forever ended the expansion of the Turkish empire into Europe. In thanksgiving, Pius instituted the Feast of Our Lady of the Holy Rosary (now celebrated on October 7th). Until the last day of his life, Pius labored to unite all of Christian Europe against the threat and power of the Islamic states. Because of what is believed to have been kidney disease, Pope Pius V died on May 1, 1572; he was beatified by Clement X in 1672 and canonized by Clement XI in 1712. Pius is the patron saint of the Congregation for the Doctrine of the Faith and of Pietrelcina, Italy (which is the reason Padre Pio, or Saint Pio of Pietrelcina took the same name). This window was a gift of the St. Pius Society.
Saint Alphonsus is pictured holding a crozier and wearing the robes of a bishop. He holds a book, a symbol of the Rule of the Redemptorists, a religious congregation he founded in 1732. His head is tilted toward his chest, recalling the severe rheumatism that afflicted him for many years.

Prayer from the Litany of St. Alphonsus

O God, Who by the Blessed Alphonsus Maria, your Confessor and Bishop, inflamed with zeal for souls, has enriched your Church with a new progeny: we beseech you, that taught by his saving counsels, and strengthened by his example, we may happily come to you, through Christ our Lord. Amen.
The image in this window depicts Saint Alphonsus Maria Liguori (celebrated August 1st). He was born into nobility in 1696 at Marianelli near Naples, Italy. As a child, Alphonsus demonstrated great intelligence and was known to be an excellent student; he also had great love for music and the arts. So intellectually astute was Alphonsus that he was able to receive a doctorate in law from the University of Naples when he was just sixteen years old. As a very young man he became one of the most influential lawyers in Naples. From his youth Alphonsus was also known for his piety and fervent Christian identity. Although a marriage had been arranged for him, Alphonsus instead felt a call to the priesthood, and so after studying theology, he was ordained in 1725 at the age of twenty-nine. As a priest, Alphonsus was respected for his preaching and his theological writings, but perhaps he was best known for his compassionate, patient and merciful demeanor as a confessor; so much so that some church authorities accused him of being far too lenient with sinners. Alphonsus founded a community of women religious called the Redemptoristines in 1730; he founded a community of men religious called the Congregation of the Most Holy Redeemer (also known as Liguorians and/or Redemptorists) in 1732. Alphonsus led his community for thirty years until he was appointed by Pope Clement XII to be the bishop of Saint Agata dei Gotti in 1762. As bishop he worked to reform a diocese that had been plagued by scandal and moral decline. Because of his reforms in the diocese, the clergy were reinvigorated and the faithful were called back to fidelity and piety. Later in life, Alphonsus suffered with severe rheumatism, a cross he endured for many years; because of his illness, he could hardly lift his chin away from his chest; for this reason he is often depicted in art in this posture. In 1775, when he was eighty, Alphonsus resigned as bishop because of his age and poor health; he hoped to spend the rest of his life in peaceful retirement, living within his Redemptorists community. Two years into his retirement, the government threatened to disband the Redemptorists when in 1777 it claimed the community was secretly doing the work of the Jesuits, a community that had been suppressed in 1773. Using his legal and theological skills, Alphonsus defended the community and was able to obtain for it the approval of the government; in doing so, however, it is believed that Alphonsus was actually deceived into accepting a Rule for the Congregation that favored the anti-clerical government. Alphonsus was then chastised by the Pope and removed from any position of authority over the Redemptorists, a censure that led him into many years of personal turmoil. Alphonsus met a peaceful death in 1787 at Nocera, Italy; he had lived a devout Christian life for over ninety years. Alphonsus was canonized 1839 by Pope Gregory XVI; he was declared a Doctor of the Church in 1871 by Pope Pius IX. Alphonsus is the patron saint for those with arthritis, of confessors, of scrupulous people, theologians, and of vocations.

This window was a gift of the St. Alphonsus Society and Joseph and Agatha Vetter.

The Central or Great Rose Window above the entrance to the church is thirty-six feet high and twenty-two feet wide. It has a frame of stone that was imported from Wurzburg, Germany. Each of the four smaller “roses” within the window are decorated with symbols of the Four Evangelists: Matthew, Mark, Luke and John.

A special thank you to Friar Timothy Dore, OFM Conv. for researching and providing the parish history and information for the website.

Matthew (upper left side) is represented by the human face because his Gospel gives focus to the Incarnation and genealogy of Jesus; Jesus was a human being with Davidic heritage.

Mark (lower right side) is represented by the lion because his Gospel give focus to Jesus as teacher and judge; the lion represents royalty and divine power. Also, in ancient days it was believed that lion cubs were born dead, but were given life from the breath of their father–the birth and coming to life of the lion is symbolic of the resurrection of Jesus from the dead.

Luke (lower left side) is represented by the ox because his Gospel gives focus to the sacrificial nature of Jesus’ mission; oxen were animals typically used for sacrifices in Old Testament times.

John (upper right side) is represented by the eagle because his Gospel is the most “mystical” of all; the eagle soars to the heights of heaven; it is a mysterious bird and majestic in beauty.