But the original glass in these windows was all opalescent greens, just like the clerestory windows still are. This kind of glass was popular in the 1890's, and ours was installed by Walter Janes of New York. However, it was anticipated that figural windows would be given as memorials, and there was a plan for the subjects of all the windows, drawn up by the church's architects, Henry W. Congdon and Son. The iconographic scheme called for the life of Christ from the Annunciation to the Ascension going around the sanctuary clockwise, ending with the four windows flanking the reredos and altar.

The scheme was to have been (1) The Annunciation, behind the south-side choir chairs, (2) The Visitation over the south transept altar, (3) The Nativity, south transept, left, (4) The Presentation, south transept, right, (5) The Holy Family with Christ as a child, opposite the south transept altar, (6) Christ among the elders, south side of nave, (7) St. John the Baptist, west wall - south side, short lancet window, (8) St. Paul, west wall - south side, large lancet window, (9-11) Baptism of Jesus flanked by angels, triple window over the baptismal font, (12) Rose window of St. Michael overcoming the dragon, (13) St. Stephen, west wall - north side, large lancet, (14) St. Columba on Iona, west wall - north side, small lancet, (15) The Miracle at Cana, north wall of nave, (16) A miracle of healing, west wall of north transept, opposite north transept altar, (17) Sermon on the Mount, north wall of north transept, left lancet, (18) Triumphal entry into Jerusalem on Palm Sunday, north wall of north transept, right lancet, (19) St. Paul preaching, small lancet in the sacristry, (20-23) Gethsemane, the Crucifixion, the Resurrection, and the Ascension, the four windows flanking the reredos, and (24), Jesus saying "Come unto Me, all ye that are heavy laden," a window that was over the tower porch but which is now covered.

The entire west wall where the Baptistry is located does not follow the timeline of the life of Jesus. To quote the architect, Henry W. Congdon, "The chronological sequence of events is broken at the west end of the church in order to set forth in this, the People's Part of the building, the reaction of Christ's life on us, his disciples through the Christian era. The Sacrament of Baptism is taken as the leading motive, as it is only through this Sacrament that we are made MEMBERS of Christ. Therefore, the central figure is taken up with the Baptism and its antetypes; the Baptism of Christ and the Baptism of an earthly king, a progenitor of our race and church. This is flanked with the wingle figures of two of the great missionaries, St. John Baptist and St. Columbia; while above it is the reminder of the Great War in Heaven, in which the rebellious angels were cast out even as in Baptism we are washed from sin. Flanking this are two lancets relating to the persecutions of the Church by Satan and their glorious endings."

As we view the windows that are in the church today, we see that some of the original plan was followed, but not all. The windows range in dates from 1906 to 1966.

This window is almost obscured by the overhang of the south side's organ pipe cupboard.

All four figures are holding pens and scrolls, symbols of their roles as writers of epistles.

Peter's window says "Simon Peter, A Servant and an Apostle of Jesus." Paul's window says, "St. Paul, called to be an apostle of Jesus Christ."

The window was donated by Catherine C. Calhoun and her brother Jack Calhoun in memory of their mother and stepfather Anna Spittle Cahoun Bennett and Charles Edward Bennett, and in memory of their maternal grandparents, Major William Spittle and Catherine Raymond Spittle. The window is not dated, but it dates from between approximately 1940 and 1965.

This window does not follow the architect's plans for the window subjects. If the plan had been followed, this would be the Annunciation.

After Mary had received the astonishing news that she was to bear a child, the son of God, she went to visit her kinswoman, Elizabeth, who was at the time pregnant with John the Baptist. Mary spoke her famous words called the Magnificat, which begins, "My soul doth magnify the Lord."

Above the heads of the two women are the words, "Blessed Art Thou Among Women," words spoken by Elizabeth to Mary, words which begin the "Hail, Mary" prayer.

The dedication of this window reads: "In loving memory of Carl Gillette Alvord 1905-1941."

The window was designed and made by the studio of Payne-Spiers of Paterson, NJ, sometime after 1941. The design evolved from the sketch, right, from the archives of the studio. The window is signed "Payne-Spiers."

Interestingly, a different Visitation window is on file in the records of the Charles Connick studio of Boston. That window was completed in November, 1938, donated to Trinity by Mrs. Robert Carlyle Swayze. The keepers of the records at the Connick Foundation had no idea that their window was not the window in place at Trinity church since their records show it was paid for. They also think the window was part of an exhibit of stained glass in Baltimore after it was completed. There is no explanation of the missing Connick window.

This window, in classic Gothic style with the canopy at the top, depicts the infant Jesus with his mother, The Blessed Virgin Mary, being adored by the shepherds. In the predella (the smaller lower part of the window) is the scene of the Adoration of the Magi. Between the two pictures is, "Unto us is born this day in the city of David a Savior which is Christ the Lord." At the bottom is the inscription: "To the Glory of God and in Loving Memory of Clara Fuessenich Hendey, October 31 1846 - May 1, 1915."

The window was donated by Mrs. Charles H. Alvord and Mrs. Charles S. Palmer, daughters of Clara Fuessenich Hendey. It was dedicated on 26 March 1916

The window was made by the Charles Connick Studio in Boston.

Right: The Presentation and the Flight into Egypt

This window, also made by the Charles Connick Studio in Boston (and bears the Connick signature, see below), shows the infant Jesus's Presentation at the Temple. This event inspired St. Simeon to say, "Lord, now lettest thou thy servant depart in peace, according to thy word (Luke 2:29)." Simeon had been told by God that he would not see death until he had seen the Christ, the Messiah. When Mary and Joseph went to present their infant at the temple in Jerusalem, which was customary in all observant Jewish families.

The predella shows the flight into Egypt. Joseph was warned in a dream of Herod's plan to kill all new born baby boys and was told in the dream to flee to Egypt.

The window is dedicated "To the Glordy of God and in loving memory of Henry Lincoln McNeil 1815-1886 and Martha O'Dell McNeil 1819-1899" by their children Charles L. McNeil and Mrs. Homer Thrall. The window was dedicated in 1918.

(Below, the Connick Studio signature)

This is one of Trinity's most well-known windows.

It was dedicated on Boy Scout Sunday, 13 February 1966, a service of Morning Prayer that began with the hymn "We Thank You, Lord of Heaven." The window was given "to the Glory of God and in living tribute to Troop 2 and Seymour F. Weeks on the 50th anniversary of the Troop, 1916-1966."

Mr. Weeks had been scoutmaster of Troop 2 since 1934 and would continue to lead the troop until his death in 1967.

Troop 2 produced Torrington's first Eagle Scout, Paul Pfistner, whose family donated another window at Trinity Church.

Behind the kneeling scout with the flag is the seal of the Episcopal Church and above that a hand raised in the scout hand sign. Flanking the Episcopal seal are the emblems of the First Class Scout and the Eagle Scout badge. The words of the Boy Scout oath form the background. The border is composed of ropes showing some of the knots Scouts must learn. In between the ropes are two of the Scout's mottoes: Do a Good Turn Daily, and Be Prepared.

Obviously, this window does not follow the architect's pictorial plan for a window here showing the Holy Family with Jesus as a child.

Although several of Trinity's windows were made by Len Howard of Kent, CT, one of Mr. Howard's former associates is nearly positive this window was not made by Mr. Howard. However, a current parishioner's great uncle, who was on the vestry in 1966, recalls that the church was dealing with an artist in Kent, CT, and there were no other stained glass artists in Kent except for Len Howard. Until further proof one way or another, this window will be attributed to Len Howard of Kent.

This double-lancet window shows the twelve-year-old Jesus arguing Jewish law with the elders in the temple when Mary and Joseph made their annual trip to Jerusalem for Passover. They did not realize Jesus wasn't with them on their return until they had journeyed one day towards home. They went back and found him "in his Father's house."

This window was given "Ad Gloriam Dei et in Memoriam Gen Allen et Lucinda C. Brady" by Mrs. Henry E. Hotchkiss. General Brady was one of the original incorporators of Trinity. Mrs. Hotchkiss was their daughter.

There is no information about the maker of this window. While the style looks somewhat modern (the figures, the random shapes as background), the window has to have been made before 1922, the year Mrs. Hotchkiss died..

This west-wall window departs from the architect's plan; St. John the Baptist was meant to be here. But this window was placed after World War II as a memorial to the members of the Trinity parish who fought and died in the war.

The window depicts St. Christopher carrying the infant Jesus across the river. Although the Catholic church has ceased to recognize Christopher as a saint, the image is one of the most enduring in Christian art.

The window's dedication reads: "Who Shall Separate Us from the Love of Christ - In loving memory of the loyal sons of this parish 1941-1945," followed by the names of these men: Robert Bement + Alfred Booth + Richard Creighton + Donald DeWitt + Randolph Doty + Roger Hunt + Laurence Kelson + Ted Lyford + Charles Perotti + Henry Poley + Richard Wald + Fred Weingart + Chauncey Young.

The window was designed and made by Len R. Howard of Kent, CT, the maker of so many of Trinity's windows.

Right: St. Paul and the Conversion of Saul

This large window depicting St. Paul was given to Trinity Church by Carl Gillette Alvord and his mother, Mrs. Charles H. Alvord in memory of Charles Hubbell Alvord. Paul is shown holding the sword which was the instrument of his martyrdom. Because Paul was a Roman citizen, he was allowed to be executed by the sword, unlike St. Peter, who was crucified the same year as Paul. Paul also holds a scroll on which is written "To the Unknown God - Acts 17:22" This section in Acts describes Paul's visit to Athens to preach the Gospel. Paul says, ""Men of Athens! I see that in every way you are very religious. For as I walked around and looked carefully at your objects of worship, I even found an altar with this inscription: TO AN UNKNOWN GOD. Now what you worship as something unknown I am going to proclaim to you." (N.I.V.) Paul then proceeds to talk about the Christian message. This story represents all of Paul's journeys to spread the good news.

The predella of this window shows the Conversion of Saul. At the bottom is "I have fought the good fight," which comes from 2 Timothy 4:7. The full context is that Paul was in prison in Rome and knew he was soon to be put to death. He sent this message to the faithful: " I have fought the good fight. I have finished the course. I have kept the faith"

This window was made by Payne-Spiers Studios of Paterson, NJ, and was installed in 1938. The coat of arms at the top is a registered coat of arms for the ALFORD family in Great Britain.

Above: Right panel of Baptism windows

This window has the second angel whose banner completes the verse from Luke begun on the left window: "In which I am well pleased."

The predella shows the parting of the Red Sea, with the pillar of fire and pillar of cloud completing the picture.

The two side windows show images of water, water that brings new life, as in Noah's flood and the new life of the people of Israel as they left Egypt pursued by the Pharoah's army.

These three windows were dedicated to the memory of Miss Josephine Workman, given by her parents, Mr. and Mrs. John Workman.

They were designed and made at the studio of Harry Eldredge Goodhue, the work of Goodhue's partner, Walter G. Ball, in 1909.

This window's subject does not follow the original plan of the architect Henry Congdon; he had planned the image of early Christian missionary St. Columba here.

St. Jude is also called St. Jude Thaddeus. He was the brother of St. James the Less, and a relative of Jesus. He may have been a fisherman, but after the death and resurrection of Jesus Christ, he went out and preached the gospel in Syria, Mesopotamia and Persia, where he was martyred by beheading. He is said to have been able to exorcise pagan statues, causing them to crumble.

His image in this window contains all of his usual icons: the sheild with the axe represents his death (he was clubbed to death and beheaded afterwards), the ship means that he went abroad to spread the good news, the flame over his head meaning he was touched by the Holy Spirit, and around his neck a medallion which is a profile of Jesus. The upside-down cross he is holding means in the iconography of saints that he was martyred. He is traditionally the patron saint of lost causes, a tradition that stemmed from the confusion between him and Judas. Since nobody prayed to Judas, the few who prayed to Jude were said to be lost causes.

The window's inscription says "In Living Memory of Chuido & Mary Verlato 1962," but there is no record of who donated it or what stained glass studio made it. It has many features in common with the Boy Scout Window above: the way the hands are drawn, the exceptional detail, and the style of the text. Since we believe the Boy Scout window was made by Len Howard of Kent, CT, this window will tentatively be attributed to Mr. Howard without any proof at this point.

Right: St. Stephen and the Death of Stephen, west wall, right side of the Rose Window

The St. Stephen window was dedicated in 1938 to the memory of Frederick F. Fuessenich and Elizabeth Blake Fuessenich by their son H. Blake Fuessenich, longtime vestryman and warden at Trinity. The main image is of Stephen holding a book with his final words, "Lord Jesus, receive my Spirit." Above his head is one of the usual emblems for Stephen, a book (representing his deaconate) and a pile of stones (representing his death by stoning). The predella shows the death of Stephen and has the caption "Lord Lay Not This Sin to Their Charge," more of Stephen's dying words.

The window was designed by an artist from Hamburg, Germany, who worked for the studio of Payne-Spiers of Paterson, NJ.

The magnificent Rose Window was part of the original plan for the images of the stained glass windows: the Archangel Michael waging the war in Heaven against the dragon Satan. He is surrounded by the heavenly host of angels, all with musical instruments.

The window was made in 1935 by Len Howard of Kent, CT, given by Mrs. Thomas W. Bryant in memory of her husband, one of Trinity's vestrymen, who died in 1934.

Below, a detail of one of the angels:

These three windows depict the history of the Episcopal church in Connecticut. The first Episcopal bishop, Samuel Seabury, had to travel to England to be consecrated. The left-hand window represents the Church of England, with the Cathedral of Canterbury pictured, surrounded with the emblems of the patron saints of Wales (St. David, upper left, a partridge), Ireland (St. Patrick, upper right, an Irish harp), Scotland (St. Andrew, lower left, the saltire cross of St. Andrew's martyrdom), and England (St. George, lower right, the cross with sword and spear representing his victory over the dragon). Other symbols in the window are a sword for St. Alban, the first British martyr (d. c305), the Book of Common Prayer of 1549, an archbishop's mitre for Archbishop of Canterbury Stephen Langton (d. 1228, "Builder of the people's rights"), and the symbolic plants associated with Wales, Ireland, Scotland and England.

The left window is dedicated "To the Glory of God and in Loving Memory of William Smith Dew and Sarah Jane Dew, 1965."

The center window depicts the work of the Episcopal Church in Torrington. Trinity Church is pictured in the cartouche in the center of the window. The bishop confirming a young man in the lower right bears a resemblance to Trinity's long-time Rector, Dr. J. Chauncey Linsley (rector, 1895-1927). The inscription reads, "To the Glory of God and in Loving Memory of Alfred and Caroline Wynn, 1962."

The right window shows Glebe House in Woodbury CT, the sight of the election of Samuel Seabury as Bishop in 1783, a ship with the caption "Seabury sails for England," and the actual consecration, which took place in Aberdeen, Scotland, in 1784. In the lower left is the shield of the State of Connecticut, three grapevines on a field of white, with the Connecticut state motto "Qui Transtulit Sustinit" ("He who transplanted, still sustains.") Above Glebe House are the seal of the Diocese of Connecticut and the shield or arms of the Diocese of Connecticut. The Holy Spirit descends on Glebe House.

The dedication of this window reads, "To the Glory of God and in Thankfulness for a life of spiritual grace. Paul F. and Georgette Gueritay Pfistner."

The maker of these three windows is unknown. A former associate of Len Howard says there are many similarities to Howard's work: the style of the text, the angels at the bottom of the left and right windows, the fact that he did other church portraits for windows in other churches, the wealth of tiny details, added to the fact that Mr. Howard did so many other windows at Trinity. Without proof, this set of windows is tentatively attributed to Mr. Howard.

This window has a banner saying, "As long as I am in the world, I am the light of the world" (John 9:5), words spoken by Jesus when he and his disciples came upon a blind man. The entire context of the story is (John 9: 1-7):

1   And as Jesus passed by, he saw a man which was blind from his birth. 2   And his disciples asked him, saying, Master, who did sin, this man, or his parents, that he was born blind? 3   Jesus answered, Neither hath this man sinned, nor his parents: but that the works of God should be made manifest in him. 4   I must work the works of him that sent me, while it is day: the night cometh, when no man can work. 5   As long as I am in the world, I am the light of the world. 6   When he had thus spoken, he spat on the ground, and made clay of the spittle, and he anointed the eyes of the blind man with the clay, 7   And said unto him, Go, wash in the pool of Siloam, (which is by interpretation, Sent.) He went his way therefore, and washed, and came seeing. The previous chapter in John describes how many people want to kill Jesus because he has claimed to be God, so he and his followers are on the run, which explains why he mentions that night cometh.

The window was dedicated "To the Glory of God and in Loving Memory of Henry Martyn Sherman, Rector of this Parish from 1876 to 1890 and of Louisa Benson, his wife," by Sherman's daughters. The window was approved by the vestry in 1918, but the name of the maker is not known. An expert in the work of Harry E. Goodhue's work thought it might be a very late Goodhue window; Goodhue died in 1918. The firm who repaired Trinity's windows in the 1990's said the window is in the style of Heaton, Butler & Bayne, a major firm in England who made windows for many American churches.

This window matches the original scheme drawn up by the architects to depict the Sermon on the Mount. Just before the well-known Beatitudes in Matthew 5 come the words "He opened his mouth and taught them," words written on a banner in this window.

The predella shows the raising of Lazarus.

This window was made by the London studio of James Powell, also known as Whitefriars. In the lower right corner of the window is a small friar in a white robe, their logo, and "Made in England" in tiny letters.

The window was dedicated in November, 1929; the inscription reads, "All Saints 1929 Andrew Edward Workman Died 4 March 1929 aged 85 years." When he died, he left his entire estate of over $20,000 to Trinity, earmarking the bulk of it for a new organ. The vestry voted to place this window in his memory. He had been Parish Clerk, Vestryman, Junior and Senior Warden.

This window was given by Mrs. Uri T. Church, Miss Nellie Church and Mrs. Andrew Workman in memory of Uri Taylor Church, May 21 1845 - June 28 1913. It was executed and set by the Henry Eldridge Goodhue Company of Cambridge, MA, accepted by vestry 22 Mar 1909. The designer was Goodhue's partner, Walter G. Ball.

The banner above the scene says "Hosanna to the Son of David," and other Hosanna below.

The predella shows the Last Supper.

Above and right: The Passion, Crucifixion, Resurrection and Ascension of Christ, flanking the reredos and altar in the chancel.

These windows were Trinity's first pictorial windows, placed in 1906 and made by Harry Eldredge Goodhue of Cambridge, MA. They were donated by Edward T. Coe, Mrs. W. H. Godfrey, and Miss Ella Coe in memory of their mother, Eliza Seymour Coe. The windows were dedicated on 20 January 1907. Goodhue's biographer cannot confirm that these windows were designed by Harry Goodhue himself, but it seems that he did. He founded his company in 1903 and was helped in finding commissions by his brother who was a church architect. Goodhue was one of the first stained glass artists in the United States to revive the process of making windows the same way they were made in Europe in the 12th and 13th centuries, using no paint on the glass except for black for shading and silver oxide for accents of "gold."

The window to its right shows the crucifixion, with The Virgin Mary, Mary Magdelene and St. John at the foot of the cross. The caption reads, "Behold the Lamb of God that taketh away the sins of the world," and beneath that, "And in memory of."

The rightmost window shows the Ascension, with The Blessed Virgin Mary and an unknown disciple praying as Christ ascends to the sky. The caption says "In my Father's House are many mansions. I go to prepare a place for you." And at the bottom, the dates of Mrs. Coe: "born mdcccxx, died mcmii" (1820-1902)

This little gem is rarely seen by the congregation at Trinity Church unless they are members of the clergy or altar guild. This window is on the east wall of the Sacristy, the little room behind the left side of the chancel where the communion linens and vessels are stored.

The window is dedicated to the memory of Maud Elizabeth Curtiss, 1884-1949. It depicts the chalice and host of the Eucharist on a field of vine leaves. It only fills half of the actual window. The upper part, which is hidden from view by cabinetry, is filled with the original opalescent glass that was put in when the church was built.

The window was made by Len Howard of Kent, CT.

These windows are representative of the original opalescent glass windows made by Walter Janes. Opalescent glass was made by melting many kinds and colors of glass together.

Above: The Shield of Trinity Church, in the door of the Parish Hall

Trinity's shield may have been designed by the architect, Henry Congdon. The upper part shows three intertwined rings, a traditional symbol of the Trinity. The color green, the liturgical color associated with the church season that used to be called Trinity and extended from Pentecost to Advent. Green symbolizes growth in nature and of the spirit.

The bottom of the shield has a single fleur-de-lys with two bands at the base. This is the shield or emblem of the city of Great Torrington, Devon, England.

Above: The Shield of the Diocese of Connecticut, in the door of the Parish Hall

The image of this emblem is usually placed in the bottom of a larger shield, and topped with a bishop's mitre. No explanation of this image has been found, but undoubtedly, the bishop's crook represents the fact that the first Episcopal bishop in the United States was elected in Connecticut. The key is almost always a symbol of St. Peter, and it could represent here simply the high office that Peter held in the first church. Peter was a Bishop and the first Pope.

The color red symbolizes the Holy Spirit and is the color associated with Pentecost. This could signify Connecticut's position as home of the first American bishop and the spread of the Gospel through the Episcopal Church.