| A brief history of St. Thomas' Church Bath, NY Home |
Built in 1869, St. Thomas’ is the oldest church building in Bath. It
replaced a wooden structure in the southeast corner of Pulteney
Square built in 1836. A painting of the original Church by Silas
Wood dating from 1837 hangs in the Memorial Room of the
Cook Memorial Parish House.
The first Service from The Book of Common Prayer in Steuben
County was conducted at the behest of Elizabeth Hull
Townsend, “that mother of the Church” as one of the old rectors
called her. It was conducted by the Rev. Caleb Hopkins in the
Bath Court House in 1815. From that time to the present,
ministries of worship, service, caring and education have been
sponsored by the Episcopal Church in this area.
The Church was opened January 28, 1871. Judge Constant
Cook was the prime mover and benefactor of the project. Its
architect was Henry Dudley of New York who designed a"
stone building of neo-Gothic design including a clerestory [the
upper part of the church containing windows for lighting the
central part of the church], with nave and aisles, and chapel
attached.”
replaced a wooden structure in the southeast corner of Pulteney
Square built in 1836. A painting of the original Church by Silas
Wood dating from 1837 hangs in the Memorial Room of the
Cook Memorial Parish House.
The first Service from The Book of Common Prayer in Steuben
County was conducted at the behest of Elizabeth Hull
Townsend, “that mother of the Church” as one of the old rectors
called her. It was conducted by the Rev. Caleb Hopkins in the
Bath Court House in 1815. From that time to the present,
ministries of worship, service, caring and education have been
sponsored by the Episcopal Church in this area.
The Church was opened January 28, 1871. Judge Constant
Cook was the prime mover and benefactor of the project. Its
architect was Henry Dudley of New York who designed a"
stone building of neo-Gothic design including a clerestory [the
upper part of the church containing windows for lighting the
central part of the church], with nave and aisles, and chapel
attached.”
CHURCH
The Church building is 118 feet from the west door to the Altar in the east-facing
apse [semicircular projection of the church with a domed roof]. Originally there was
seating for 750 in the Church, but in the middle 20th century, it was reduced to 500
by the removal of some rear pews and the erection of the Narthex screen. A 3,097
pound bell, cast in Troy, NY, was hung in the tower in 1871. The stone cross atop
the spire rises 131 feet from the ground.
WINDOWS
The windows are the most prominent features of the interior. They are all contem-
porary with the building, and most commemorate the lives of early 19th century
communicants. Reading the inscriptions is like inspecting a street map of the Village
of Bath. The windows in the clerestory level are cinquefoils, repre-senting the five
wounds of the risen Christ and are 20th century replacements of damaged original
glass.
The aisle windows are full of grisaille work [a style of painting on glass in
monochrome and giving the effect of sculpture in relief] and exhibit central
medallions, a motif typical of the day. The windows in the apse and on the lower
level of the west front are pictorial efforts of great beauty. The apse windows show
the four evangelists as well as “The Trial of Faith” from the life to St. Thomas. On
the west front, the windows depict biblical events in which women figure
importantly, such as Ruth gleaning in the fields of Boaz, the Samaritan woman at the
well, the raising of the daughter of Jairus, and the Ascension of Christ with Mary in
prominence.
The lancets in the upper level of the west front highlight the two Sacraments of the
Gospel, Baptism and Holy Communion and the wheel window is meant to show the
mystery of the Holy Trinity. The little window in the peak is called the “Rector’s
Eye.” The window similarly placed in the Chapel is called the “Warden’s Eye.”
The Church building is 118 feet from the west door to the Altar in the east-facing
apse [semicircular projection of the church with a domed roof]. Originally there was
seating for 750 in the Church, but in the middle 20th century, it was reduced to 500
by the removal of some rear pews and the erection of the Narthex screen. A 3,097
pound bell, cast in Troy, NY, was hung in the tower in 1871. The stone cross atop
the spire rises 131 feet from the ground.
WINDOWS
The windows are the most prominent features of the interior. They are all contem-
porary with the building, and most commemorate the lives of early 19th century
communicants. Reading the inscriptions is like inspecting a street map of the Village
of Bath. The windows in the clerestory level are cinquefoils, repre-senting the five
wounds of the risen Christ and are 20th century replacements of damaged original
glass.
The aisle windows are full of grisaille work [a style of painting on glass in
monochrome and giving the effect of sculpture in relief] and exhibit central
medallions, a motif typical of the day. The windows in the apse and on the lower
level of the west front are pictorial efforts of great beauty. The apse windows show
the four evangelists as well as “The Trial of Faith” from the life to St. Thomas. On
the west front, the windows depict biblical events in which women figure
importantly, such as Ruth gleaning in the fields of Boaz, the Samaritan woman at the
well, the raising of the daughter of Jairus, and the Ascension of Christ with Mary in
prominence.
The lancets in the upper level of the west front highlight the two Sacraments of the
Gospel, Baptism and Holy Communion and the wheel window is meant to show the
mystery of the Holy Trinity. The little window in the peak is called the “Rector’s
Eye.” The window similarly placed in the Chapel is called the “Warden’s Eye.”
The present configuration of the organ (23 ranks) probably contains a few ranks
from the original instrument installed in 1870. It is the work of nearby organ
builders. The present console was the gift of St. Thomas’ Church of Rochester
in 1987.
Remnants of the original building on Pulteney Square include the marble
memorial tablets in the tower room, a stained glass window now crated, the font
of Italian marble which was the gift of the Sunday School in 1866 and the pair
of wooden alms basins carved by a former rector and still in weekly use in the
Chapel.
The pulpit, lectern, litany desk, sanctuary chairs, credence shelf, central section
of the reredos, and the Altar all date from the 1870-1890 period.
PAINTINGS and PARISH HOUSE
The central, ornamental portion directly behind the altar (the reredos) was
donated in 1896 by Mary B. Towle in honor of her parents, Mr. & Mrs. Henry
Brother. The flanking parts were apparently added in 1912 to accommodate
two oil paintings on canvas, which were installed in 1913. The painting on the
left is “The Annunci-ation of the Angel to the Shepherds” by the 16th century
Venetian Jacopo Bassano. On the right is “The Adoration of the Magi” by
Vincentino, a contemporary of Bassano.
The large “Madonna and Child” in the nave was painted by Vincenzo
Camuccini (1771-1844) and was given to the Parish in 1932 by Katherine
Sharpe Davenport.
The Georgia pine ceiling in the nave was installed in 1906, the gift of Sarah Lyon
Davenport. The ceramic tile floor in the choir and sanctuary was laid in 1928.
The Parish House was erected in 1904 as a memorial for his wife by Henry
Harvey Cook, elder son of Judge Cook. Remodeled extensively in the 1960s, it
consists of four floors of classrooms, commu-nity rooms, and offices. Chief
among its features is the Great Hall with Tudor style hammered-beam ceiling
and windows of Louis Comfort Tiffany’s favrile glass.
from the original instrument installed in 1870. It is the work of nearby organ
builders. The present console was the gift of St. Thomas’ Church of Rochester
in 1987.
Remnants of the original building on Pulteney Square include the marble
memorial tablets in the tower room, a stained glass window now crated, the font
of Italian marble which was the gift of the Sunday School in 1866 and the pair
of wooden alms basins carved by a former rector and still in weekly use in the
Chapel.
The pulpit, lectern, litany desk, sanctuary chairs, credence shelf, central section
of the reredos, and the Altar all date from the 1870-1890 period.
PAINTINGS and PARISH HOUSE
The central, ornamental portion directly behind the altar (the reredos) was
donated in 1896 by Mary B. Towle in honor of her parents, Mr. & Mrs. Henry
Brother. The flanking parts were apparently added in 1912 to accommodate
two oil paintings on canvas, which were installed in 1913. The painting on the
left is “The Annunci-ation of the Angel to the Shepherds” by the 16th century
Venetian Jacopo Bassano. On the right is “The Adoration of the Magi” by
Vincentino, a contemporary of Bassano.
The large “Madonna and Child” in the nave was painted by Vincenzo
Camuccini (1771-1844) and was given to the Parish in 1932 by Katherine
Sharpe Davenport.
The Georgia pine ceiling in the nave was installed in 1906, the gift of Sarah Lyon
Davenport. The ceramic tile floor in the choir and sanctuary was laid in 1928.
The Parish House was erected in 1904 as a memorial for his wife by Henry
Harvey Cook, elder son of Judge Cook. Remodeled extensively in the 1960s, it
consists of four floors of classrooms, commu-nity rooms, and offices. Chief
among its features is the Great Hall with Tudor style hammered-beam ceiling
and windows of Louis Comfort Tiffany’s favrile glass.
