The South Transept: Three Artists


This ensemble of Rose above and triple lancets below receives stronger light than its sister to the north, but has dimmed greatly from street pollutants. Even more, it is executed with a darker, richer color scheme. The triple ensemble is less unified thematically than the Heinigke and Bowen windows, but holds together artistically even with three separate designers and studios.

Above the three lancets, the crown in the medallion of this third massive Rose represents the Kingdom of God.

One can see, perched to the right of this ensemble, a magnificent organ designed and built by Roosevelt Organ Works at the same time as the windows about 1890. Frank Roosevelt built the organ for this specific site, and to optimize the sanctuary’s impeccable acoustics. One cannot imagine the church without either its stained glass or its towering music; the two cannot be separated.

Old First views its sanctuary holistically, honoring all of the arts and senses. The 1890 Steinway grand piano was restored this year, already benefiting music groups and concert goers, and enlivening the services. Organ restoration is currently underway, with over half the ranks now playable. This great room reverberates with its restored foundation tones; the base sounds rumble aloft to the spaces around and above these glorious windows.

The Prodigal Son
The famous parable of the Prodigal Son is depicted in the panel on the left, at the moment of the Father’s welcome of the returning Son. The Father’s robe is the outstanding feature. Look closely and you will see opalescent glass in three layers. The inscription, amid white chrysanthemums, reads, “I will arise and go to my father,” Luke 15:18.

The window is dedicated to the Suydam family, descended from Hydrick Rycken who came to America in 1663. In 1710 his family adopted as their surname the name of his birthplace (Suyt-dam, “South of the Dam”). They claim descent from a Frankish knight of the Crusades. This is reflected in the medallion to the upper left, with its crown, wreath, and Star of Bethlehem. The cross and horns in the point of each star overlap to suggest the hull and mast of a crusader’s ship.

The window dedication is to the Suydam Family; its designer is unknown, but his masterful skill is seen in the robes of the Father and in other superior details.

The Parable of the Talents
This unsigned window at the center of the ensemble has been ascribed to the Tiffany Studio. This attribution was advanced by observing its design, scale of figures, perspective and execution style. At the top is a truncated Celtic cross. The scene depicts the moment in the parable when two of the servants report their profit to their master. The inscription reads, “His Lord said unto him, Well done, thou good and faithful servant; thou has been faithful over a few things, I will make thee ruler over many things: enter thou into the joy of the Lord,” Matthew 25:21.

The window is given in memory of Jacques Cortelyou who was from an old Dutch family ; a family that was originally French Huguenot. A seventeenth century Cortelyou homestead, the Vechte-Cortelyou house, was rebuilt in the 1960s and can be found nearby in JJ Byrne Park on Fifth Avenue and Third Street. It is now named The Old Stone House and is the site of the first battle of the American Revolution.

The Empty Tomb
In the lancet on the right hand side we find the story of the Empty Tomb of the Resurrection. At the top of this window is an open Bible. The scene is of Mary, the mother of Jesus, and Mary Magdalene being greeted by an angel at the now empty tomb on Easter morning. This window follows the account of Matthew 28, while the great painting above the chancel by Vergelio Tojetti, follows Luke. The delicate shades of glass depict the sunrise. On the left side are three small crosses on the hill of Calvary. The inscription reads, “He is not here, he has risen,” Matthew 28:6, “And if Christ be not risen, your faith is in vain,” I Corinthians 15:14.

Another angel, on the panel below, gazes calmly at us, and is conjectured to be a portrait of Margaret T. Spence, the donor of the window; both the designer and maker of the window are unknown.

Restoration of North Windows

Restoration of South Windows

Return to Top