In looking around Blessed Sacrament Church, you will come to realize how many beautiful stained glass windows there are.  Most are seen by those who come into Church.  There are many, however, that are rarely, if ever, seen.  If you were to stand in front of the Sanctuary, there are about twenty-four stained glass windows in front of you.  Some might say: “I don’t see them”.  You would be right.  Looking towards the Sanctuary you would be able to see two in the middle, three on the side of the Blessed Virgin Mary’s Altar, three on the side of Saint Joseph’s Altar, and one by the side entrance on Shea Place.  But that only adds up to nine.  There is a secret in store for you.  There are two stained glass windows that years ago were walled up (these two windows are not counted in the total).  The glass still exists in them but you cannot see them from inside the Church but only from outside.  They are the middle panels above the Altars of the Blessed Virgin Mary and Saint Joseph.  They do not contain any figural representations but only (what seems to be) amber or clear glass.  Why they were walled up is a mystery.  It must have happened around the same time that the original Altar of Saint Joseph was taken out and replaced (sometime in the late 1930’s or early 1940’s).
 
So where are the other fifteen windows?  Three of them (Saint John the Evangelist, Saint Patrick and Saint Paul) are located in the breezeway between the Rectory and the Church.  Originally these windows were in the Catholic Chapel (Saint Sebastian) at Fort Slocum (which was located on David’s Island just off the coast of New Rochelle).  There of the windows from the Chapel were brought here and placed in their current position.  There are four stained glass windows located in a passageway behind the Sanctuary, which enables the priest to come from the Rectory to the Sacristy.  Many people pass by them and probably do not realize they are there.  Each window is dedicated to a different Evangelist (Gospel author).  The name of the Evangelist is given on each of their respective windows with a symbolic image.  Saint John the Evangelist is represented by an Eagle.  Saint Luke is represented by a winged Ox.  Saint Mark is represented by a winged Lion and Saint Matthew is represented by an Angel.  Where do these symbolic images come from?  The symbolism comes from the Book of the Prophet Ezekiel and the Book of Revelation.  There are eight windows in the Sacristy.  Seven of them have a Saints name imprinted on them (Saint Lucy, Saint Agatha, Saint Perpetua, Saint Felicity, Saint Clement, Saint Cletus, and Saint Linus).  These names are taken from the First Eucharistic Prayer as found in the Mass.  The last window is a stained glass window of Saint Anthony holding the child Jesus.
  
If you were to stand in front of the Altar dedicated to the honor of the Blessed Virgin Mary, you will see three sets of stained glass windows.   The stained glass windows that you are looking at are very different from what you see in the body (Nave) of the Church.  They are different in color and style.  This is not unusual in Churches because windows were added as money became available.  As you look at the three sets of windows you will notice that there is a message written across the bottom of them: Mother of God, Pray for us Sinners.  Each set of windows has three sections.  Each set of windows has an Angel (in the center above and between two panels) and two titles of the Blessed Virgin Mary (one in each panel below the Angel).  Looking to the left we encounter the first window.  This window has the Angel looking to the right, and then below two titles represented by figures (angels), symbols and words.  The first panel represents the title: Mary, Morning Star, while the second panel represents the title: Mary, Seat of Wisdom.  In the second set of windows the Angel is looking forward.  The first panel represents the title: Mary, Tower of David, while the second panel represents the title: Mary, Mystical Rose.  The third set has the Angel looking to the left.  The first panel represents the title: Mary, Mirror of Justice, while the second panel represents the title: Mary, Gate of Heaven.
  
At the opposite side of the Church, from this area dedicated in honor of the Blessed Virgin Mary, you will come to the area dedicated in honor of Saint Joseph.  There are three sets of stained glass windows which tell scenes of Saint Joseph’s life.  Remember there is a hidden (covered) window in the center section.  The first set of windows to the left, has three panels.  The top panel has an Angel looking to the right.  Across the two lower panels are written the words: “Joseph, fear not to take unto thee Mary.”  The left panel has an Angel delivering the message to Joseph in a dream.  The right panel has Joseph asleep.  The second set of windows, as your eyes move right, also has three panels.  The top panel has an Angel looking straight out.  The left panel shows the Manger above Joseph’s left shoulder.  An Angel is praying, above Joseph’s right shoulder, towards the Manger.  The Star of Bethlehem is within the Manger.  Joseph is resting or asleep.  In the right panel an Angel is delivering another message from God.  The words written on the window read: “Arise, take the child and flee into Egypt.”  The third window, again with your eyes moving to the right, has three panels.  The top panel has an Angel looking to the left.  The bottom left panel shows the Blessed Virgin Mary holding Jesus as they ride a donkey.  In the right hand panel we see Saint Joseph walking ahead of them.  There are no words written on these windows from Scripture.  There are two possibilities of what this window shows.  First, it could be the actual Flight into Egypt or secondly, it could be the Holy Family returning from Egypt (to Nazareth) upon hearing the news that Herod is dead.  The stronger possibility is that it is of the Holy Family returning to Nazareth since it would be unusual to have two windows, side by side, telling of the same event.
 
You will notice that these stained glass windows (by the Altars of the Blessed Virgin Mary and Saint Joseph) are very different in design and color from the windows in the rest of the Church.  This is because these stained glass windows were installed at different times, over a period of many years.  You might not be aware of it but most stained glass makers put their signature, or company name, on one of the windows being installed.  Sometimes, if you are lucky, the year of fabrication will also be listed.  The windows by the Altars of the Blessed Virgin Mary and Saint Joseph were fabricated in 1934 by the Rambusch Company.  They probably were installed that same year or in 1935.  They are very different than the two large windows in the Sanctuary.  In the set of windows dedicated to Saint Joseph you will find the Rambusch Company name, the year and at least two sets on initials.  The initials probably represent the people who designed them.  This information is located at the bottom of the middle windows.
 
In the Sanctuary, on either side of the Baldacchino, there are two very large stained glass windows.  Each window is similar in design but not in content.  The window to the left of the Baldacchino is comprised of three panels.  The top panel has an Angel holding a scroll which has the word, “Alleluia” written across it.  It might be difficult to read the scroll at the top of the window (you need binoculars to see it) but it is there.  The rest of this magnificent window is comprised of two large panels.  The overall scene tells of the encounter, after the Resurrection, when Jesus returns to the Upper Room (the room of the Last Supper) and the Apostle Thomas is now present along with the other ten Apostles.  Remember, Thomas had been absent the first time Jesus came; and when told of the Resurrection Thomas said he would not believe it until he was able to put his finger in the wounds and his hand into Jesus’ side.  In the left panel we see Jesus showing His five wounds.  In the right panel we see Thomas on one knee facing towards Jesus.  Almost at the bottom of the window written across another scroll are the great words of Faith spoken by Saint Thomas upon seeing Jesus: “My Lord and My God.”
 
On the right side of the Baldacchino is another magnificent window similar in design.  The top panel has an Angel holding a scroll that reads: “Ave Maria Gratia Plena” (Hail Mary, full of Grace).  In the left panel is the Archangel Gabriel delivering the invitation of God to Mary.  There are lilies in a vase and on the vase are the letters XP.  Lilies in religious art represent purity and the XP are the first two letters, in Greek, of the word Christ.  The Archangel, standing on a cloud, is holding a scepter which represents Kingly power.  In the panel on the right we see Mary kneeling looking over her right shoulder.  Behind Mary, down to the left, are the letters “AM” which means Ave Maria.  Above Mary is the Holy Spirit descending upon her (she has given her yes to the invitation to bear the Son of God) and behind her is the village of Nazareth.  Towards the bottom of the two panels is a scroll on which is written: “Hail Mary, full of Grace, the Lord is with Thee.”
 
Unfortunately we can’t tell who fabricated those windows because we would need to be at eye level to read the bottom of the windows, if there is even any information located there.
  
The windows that we will look at next were fabricated and designed by the J. Morgan and Sons Company located in Brooklyn, New York.  While there is no date imprinted on any of the windows they are obviously older than the windows that have already been mentioned and might have been installed close to the construction date of the Church.  These windows are in the Nave of the Church.  What is a Nave?  It is the middle part of the Church where the vast majority of the people would sit, kneel and stand.  We will start with the first window which is located on the left side of the Church all the way up in the front.  As with all the widows in the lower part of the Nave this window is comprised of two panels.  The top panel contains the image of an Angel holding a scroll which reads in Latin: “Gloria in Excelsis Deo” (Glory to God in the Highest).   The main panel shows the Nativity scene: the Blessed Virgin Mary, Saint Joseph and the baby Jesus.  Jesus is shown lying in a manger (a feeding and watering trough for animals).    Within the stable are an ox and a donkey.  These animals would harken back to the Book of the Prophet Isaiah (chapter one, verse three) which contains the line, “…The ox knows the owner, and the donkey his master’s crib.”  There are three men there, with the Holy Family, and they represent shepherds who were in the field the night of the Nativity.  Look carefully towards the bottom of the window, underneath the manger.  There is a lamb lying on its side with its legs bound.  This would represent the Passover lamb that was slain so that the Israelite people could go free.  Jesus is that Passover lamb that was slain so we could be free.
 
As we move left we come to the second window.  It is at the bottom of this window that we see the Company name of the manufacturer of these windows.  The top panel contains a Cherub.  The main panel shows Jesus speaking to two of His disciples and he has a loaf of bread that He has broken in His hands.  One of the disciples seems to be Saint James.  We can tell this by the pilgrim staff and hat (two of the symbols of Saint James) which are on the floor.  The other disciple could be Saint John (much younger than James), since James and John are often paired together.  The scene probably is of Jesus sharing a meal on the road to Emmaus and how he was made known to them in the breaking of the bread.
 
Moving again to the left we come to the third window.  This particular window is rich in theology and symbolism.  As with all the windows, in the lower Nave, there are two panels.  The smaller top panel has a Cherub.  The larger central panel shows Jesus surrounded by children of all ages and by adults.  The scene that is being represented recalls that verse of Sacred Scripture: Jesus said, “Let the children come to me, and do not prevent them, for the Kingdom of Heaven belongs to such as these (Matthew 19:16)”.  Yet, as with Sacred Scripture we can delve more deeply than just accepting this one particular  passage.  Perhaps this verse might better represent what the stained glass window is seeking to tell us: Jesus said, “Amen I say to you, whoever does not accept the Kingdom of God like a child will not enter it (Mark 10:15).”  Maybe that is why there are adults represented in the window.  Perhaps they have accepted Jesus, like a child, and are willing to trust Him and to learn from Him.  There is one more bit of symbolism in this window.  Do you notice the daises?  In religious art the daises symbolize the purity of the Christ Child.  These children (young and old) represent that purity.
 
The next window (to the left), as with all, has two panels.  The top panel has a Cherub represented in it.  The main panel shows us the Last Supper which takes place in the Upper Room (Cenacle).  In this representation Jesus is giving His Precious Blood to the Apostles.  Notice where Judas is?  He is walking out the door on the left side of the panel.  To the right there is an Apostle who is covering his face.  Who is this Apostle?  Could it be Peter, knowing that he would deny Jesus three times?  Perhaps it is Thomas, who would not believe that Jesus rose when told that He had.  Could that Apostle represent us who hide our face from His when we sin?  On the left side of the window we see the bowl and towel which Jesus used to wash the feet of the Apostles.  The action of Jesus washing the feet reminds us that the action of the Church is service to one another.
 
The last window on the left side of the Church, by the back of the Nave, has two panels.  The top panel contains the Cherub.  The main panel shows us the scene of Saint Patrick, meeting a King of Ireland, and holding a shamrock explains the Holy Trinity.  Behind the King is a druid looking down towards the ground.  The druid realizes that his day has come to an end.  A man holding a cross shows that Christ is triumphant and the old order has passed away.  Within this scene are three soldiers and another man.  You will notice that in the background there is a round tower.  What does this tower represent?  In Ireland these towers are found near Churches.  At the time that these widows were constructed it was thought that Irish Round Towers were used as a shelter when invaders came to attack.  It might have been that the artist who designed this window was letting us know that when the forces of this world attack, we must seek shelter in sight of the Church.
 
Now, we turn to the widows on the right as you enter the Church from the back.  As with all the windows in the lower Nave of the Church they are comprised of a small circular window with a Cherub, at the top, and then the central scene.  The first window, on the right in the back of the Church, is a copy (in stained glass) of a very famous painting by the artist Raphael.  In the year 1512, Pope Julius II commissioned this painting that would form part of a larger Altarpiece.  The painting is commonly referred to as the Sistine Madonna or La Madonna di San Sisto.  The actual title of the painting is: The Madonna Standing on Clouds with Saints Sixtus and Barbara.  The painting can be found today in Dresden, Germany.  The stained glass window we have in the Church contains most of the Raphael painting.  We see the Blessed Virgin Mary holding the child Jesus.  The figure kneeling, on the left, is Pope Saint Sixtus IV (he was an uncle of Pope Julius).  We know this figure is a Pope because of the Papal Tiara which is on the ground slightly behind him.  The figure on the right is Saint Barbara.  Two Cherubs are at the bottom of the window.
 
The next window we encounter on the right side of the Church, as we slowly move up towards the Altar to Saint Joseph, tells us of the visions which Saint Margaret Mary Alacoque had of Jesus.  While a Sister of the Visitation, in the Convent at Paray-le-Monial,  Sister Margaret Mary received visions of Jesus from December 27, 1673 until eighteen months later.  This beautiful window tells us of Jesus’ great love for us by making known His Sacred Heart.  You will notice three Cherubs in the window but also three lit candles in a hanging fixture.  The number three, in Scripture, stands for fullness.  Jesus is showing the fullness of His love through His Sacred Heart.  Again we see lilies towards the lower left.  Remember, lilies stand for purity.  There is a prayer book laying open on the first step of the Altar in front of Jesus.  Perhaps this is a sign that prayer to the Sacred Heart is both needed and beneficial to our souls.
 
As we continue on to the next window, we come upon a scene from Scripture: Genesis 14:18.  Abraham is returning from winning a battle and meets Melchizedek, King of Salem.  The King offers Abraham bread and wine and blesses him.  Abraham’s name is found in the window but you will have to look closely for it.  Behind Abraham there is a soldier holding a banner.  At the top of the banner, where the cloth meets a metal post, the name Abraham is written on that gold post (the name is sideways).  Abraham is seen bowing to the King, with his spear pointed down to the ground.  Melchizedek is not only a King but also a priest.  Behind Melchizedek there is a tent in which, if you look carefully, you will see two lit candles and a book between them on a table.
 
Now, we encounter the fourth window from the back on the right hand side of the Nave.  Once again you see a Cherub in the center window at the top.  The large center panel of the window presents to us: “The Bread of Life Discourse” (John 6:22-59).  Jesus is holding bread in His hands.  Jesus is telling the people that they must eat His flesh and drink His blood in order for them to have eternal life.  People of all ages, and all walks of life, are listening to Him.  You can see a soldier (on the far left) and a member of the Sanhedrin (wearing the headdress) among the crowd.  There are also two men with halos over their heads.  Who are these figures?  Perhaps one is Saint John (the younger looking one) whose Gospel contains the Bread of Life Discourse.  It is possible that the other (the older man) is Saint Peter.  Why?  Because in verse 68 of the sixth chapter of Saint John’s Gospel, after Jesus finishes speaking and He sees that many people have left Him, He turns to His disciples and asks if they are going to leave Him too.  Saint Peter responds, “Master to whom shall we go?  You have the words of eternal life.”
 
The next window we come to, as we continue to walk down the right side aisle, depicts the Wedding scene at Cana in Galilee.  We again see the Cherub in the top window but the main window recounts for us the very first miracle of Jesus as recorded in the Gospels (John 2:5).  The Blessed Virgin Mary has already asked Jesus for help and has uttered her last words (“Do whatever He tells you”.), that are recorded, to the servants.  Jesus is directing the servants to fill the ceremonial jars with water (He will change it into wine).  The head steward is standing behind the servants.  The bridal couple is to the left of Jesus and we see a servant serving wine.  Mary has her head bowed and her hands folded together in prayer.
 
The last window as we continue down the aisle to the right tells us of the death of Saint Joseph.  Isn’t it fitting that this window be next to the area of the Church that is dedicated to him?  The round window at the top has a Angel holding a Palm branch.  The Palm branch is a Christian symbol used to show victory over death.  In the main window we see Saint Joseph lying in His bed with Jesus sitting beside him.  Notice that Jesus’ right hand is raised as if He is blessing Joseph, His foster-father.  Mary, his wife, is kneeling at the foot of the bed.  There are rays (symbol of the Holy Spirit) descending upon Joseph and an Angel is to the left of Joseph’s bed.  As Joseph lays there you can see that his hands are folded in prayer.  Once again we see lilies (which represent purity) in a vase.  Over to the left of the window we see the outline of a city.
  
Twelve stained glass windows are in the Upper Nave.  Each of the windows has a top circular window, in which a Cross is in the center, and then two panels.  In addition there are two very small triangular windows (one on either side of the round window).  The primary colors of these windows are red, blue, gold and white.  It seems as though these are very old windows, perhaps from the very beginning of the construction of the Church.  The colors and texture of the windows point in that direction.
 
Of course we have the magnificent Rose Window in the Choir Loft.  This Rose window has twelve sections of equal size plus one circular widow in the very center.  If we think of the Rose Window as a gigantic clock it will help as we move through it.  At the 12 o’clock hour is Saint Cecilia.  She is holding a portable pipe organ in her hands and one hand is on the keyboard.  At the one o’clock hour is a Cross.  Moving to two o’clock we see an Angel holding a violin.  At three o’clock are the letters “IHS”.  These letters are an acronym for the first three letters of Jesus’ name in Greek.  At the four o’clock hour we find an Angel holding a harp.  Moving on to the five o’clock hour we again see a Cross.  At the six o’clock hour we find an Angel holding a Pan Flute.  Next, at the seven o’clock hour, we have another Cross.  At the eight o’clock hour there is an Angel holding a long trumpet.  In religious art a long trumpet represents the call for the general resurrection of all.  At the nine o’clock hour we find the letters “A” and a “U” intertwined.  These are the Greek letters “alpha” and “omega”, meaning Christ is the beginning and the end.  Moving on to the ten o’clock hour we see an Angel holding a double trumpet.  At the eleven o’clock hour we find the final Cross in the window.  Of course there is more to the window than these twelve sections.  In the middle of the Rose Window we see the Holy Spirit descending.  Emanating from the Holy Spirit are rays as of fire.  These rays even move into the twelve sections that we have mentioned.  Also, in all the sections there are different varieties of flowers but each of the twelve sections contains a “Thistle”.  The Thistle in religious art represents Christ’s Passion. 
 
Under the Rose Window we see five figures.  These windows were placed in this position only a few years ago.  Previously this area just had stained glass of a geometric shape in various colors.  When the Rose Window was taken out for repair, and then reinstalled, these windows were then added.  They are not new but rather were taken from a Church that no longer had use for them.  Moving from left to right we find Saint Peter (holding the keys), Saint James (holding a pilgrims staff), Saint Francis of Assisi (holding a Cross), Saint Athanasius of Alexandria (holding a bishop‘s crosier and an open book with Greek words visible on the page), and Saint Paul (holding a book and a sword).  Many images of Saints are recognizable because they are frequently depicted in art in the same way down through the ages.
  
The final windows are now upon us.  As you enter the lobby of the Church, you turn to the right and walk to the spiral staircase.  Looking up the staircase you will see two windows.  The first that you encounter has the name, Saint Charles Borromeo, imprinted on it along with a Bishop’s Miter and Crosier.  Continuing up you will see the second window which depicts Jesus wearing a Crown of Thorns.  Under this image is written on a scroll: “To the Memory of the Catholic Chaplains. World War I (1917-1918). Gift of the Chaplain Bishop Most Rev. Patrick J. Hayes D.D.”  Bishop Hayes eventually became Cardinal Hayes, the Archbishop of New York, in 1938.
 
Walking across the lobby, from the staircase, you now see on the left a window which tells of the Sacrament of Marriage.  There is a triangle with an eye in it which represents the eye of God looking down upon the married couple.  Below that are the bride and groom with hands joined and below that are wedding rings.  Continuing on we see, again on the left, the next window, which depicts the Sacrament of the Anointing of the Sick (in the days, when this window was created, this Sacrament was called Extreme Unction).  You see the hand of God pointing down with rays emanating from the hand (symbolizing the Holy Spirit) and a priest’s purple stole (the color stole worn by the priest when he is administering the Sacrament).  Moving on you enter the ground floor of the Bell Tower.  To the immediate left as you enter you see The Sacred Heart wrapped by a Crown of Thorns.  Next on the left is a window with an Anchor portrayed in it.  The Anchor is a symbol of hope in the future – Christ is our safe harbor.  On the immediate right, as you enter this space, you see the Cross of the Resurrection (no Corpus on it).  The next window on the right is a scene from the Book of Revelation.  There is a Lamb, with the Banner of Victory behind it, standing on a Book which contains the names of those to be saved).
 
In the staircase going up to the Choir loft there are four windows.  The first window depicts the Sacrament of Baptism.  You see a Baptismal Fount, the Holy Spirit descending and the Greek letters Alpha and Omega, which mean that Christ is the beginning and the end.  Next we see a window which has the hand of God pointing to a scroll which has written on it: “Whose sins you forgive, they are forgiven. Whose sins you shall retain, they are retained.”  This obviously refers to the Sacrament of Confession.  Continuing up we see a window which depicts an Altar on top of which is a lit candle, a Crucifix and two large containers.  One container has the letters O.I. which means “Oil of Initiation”, the other has the letters OSC which means “Oil of Sacred Chrism”.  This window is also representing the Sacrament of Baptism.  The last window going up depicts the Sacrament of Confirmation.  In the widow we see a Bishop, wearing a Miter and holding a Crosier.  The Holy Spirit is descending upon the person receiving the Sacrament.  The Bishop’s right hand is tapping the cheek of the person being Confirmed (brings back memories).  Off to the right of the Choir loft we enter into the second floor of the Bell Tower.  It is here that we find the last two stained glass windows.  No figures are present in them.  The predominant colors in both the windows are white and gold.
 
So that is the story of the 62 stained glass windows found in Blessed Sacrament Church.