USA > Massachusetts > Norfolk County > Brookline > Tour of All Saints Church : Beacon Street and Dean Road, Brookline, Massachusetts > Part 1
Note: The text from this book was generated using artificial intelligence so there may be some errors. The full pages can be found on Archive.org.
4
٨
GEN
7 ALLEN COUNTY PUBLIC LIBRARY
L
3 1833 03271 4708
Gc 974. 402 B81to A tour of All Saints Church
7
A Tour of Au Saints hurch
BEACON STREET AND DEAN ROAD, BROOKLINE, MASSACHUSETTS
Allen County Public Library 900 Webster Street PO Box 2270 Fort Wayne, IN 46801-2270
ALLE LUIA
ALLE LUIA
b
0
SALVATI ON AND GLORY
THE LORD OUR GOD
CORY AND HONOUR AND
UnTO
POWER
Plate 1.
CENTER OF ROSE WINDOW
PREFACE
This booklet has been provided for the Sixtieth Anniversary of All Saints Parish, November 1, 1954, and we trust it will serve the parish for many years to come. A composite of the work of many people, it attempts to familiarize our members and our visitors with the contents of this beautiful building and the story behind the building. It is written as a consecutive tour of the church interior, and it will mean most to you if you follow its directions and walk around, book in hand. But there is also an index in the back of the book if you want to look up some particular thing.
As you will see, many people have helped to make All Saints Church what it is today, and hundreds have been drawn closer to God through worship here. Long may it stand, serving God and this community.
LIST OF ILLUSTRATIONS
Plate Page
1. Center of Rose Window 1
2. The First All Saints Church, 1895-99 7
3. Church Exterior, showing old door and ivy 8
4. The Baptistry 13
5. The High Altar and Reredos 17
6. The Chapel 19
BRIEF HISTORY
Perhaps you would like to be seated in one of the rear church pews a moment while we give you a rapid history of the building. Then the different things you see as you go along will mean more to you and fit into a complete picture.
"To the Rt. Rev. William Lawrence, D.D. - We, the undersigned residents in the vicinity of the Reservoir, Beacon Street, respectfully request you to take steps toward the establishment here of the services of the Protestant Episcopal Church. We are ready to co-operate with you and suggest that you call us together soon for the first service".
This petition was signed by twenty-four people on September 10, 1894, the beginning of our tale.
Services began that month, held in the nearby Beaconsfield Casino. The parish was officially formed on November 1, 1894, and given the name of that day, All Saints. In December our first rector, the Rev. Daniel Dulany Addison, arrived and inspired the development of All Saints Church for twenty-five years.
Services were held in the Casino until the summer of 1895 when a temporary church of wood (see Plate 2) was built on land acquired (at seventy cents a square foot ) here at the corner of Dean Road and Beacon Street.
The cornerstone of the present building was laid by Bishop Lawrence one year later on November 1, 1899. The church was designed by the then firm of Cram, Goodhue and Ferguson in a "Perpendicular Gothic" style. Ralph Adams Cram was to become one of the nation's leading ecclesiastical architects. (For further notes on the architecture of All Saints see the end of this booklet. ) Only the nave was built in 1899 - without transepts or chancel.
The old wooden church continued to be used as a parish house until 1910 when the present parish house was given by Mr. Frederick P. Addicks in memory of his wife. At the same time the west transept of the church itself was built, connecting the church nave with the new parish house. The rectory was erected in 1913, provided for in the will of Mrs. George H. Champlin.
The Rev. Barrett P. Tyler, rector from 1920 to 1932, carried on the vision of Dr. Addison. Over $131,000 was raised in 1925, and in
5
1926 the present chancel and east transept were erected, virtually com- pleting the church interior. The whole building, free front debt, was consecrated by Bishop Slattery on October 31, 1926.
There have been few structural changes since that time, with the exception of the Beacon Street door discussed below, but windows and furnishings have been constantly added and will be pointed out as we tour the church. Each and every rector has labored to develop and improve the church fabric. And generous parishioners for sixty years have made improvements possible. Our rectors have been:
THE REV. DANIEL DULANY ADDISON, D.D. 1894 - 1919
THE REV. BARRETT P. TYLER, D.D. 1920 - 1932
THE REV. ALLEN W. CLARK 1933 - 1938
THE REV. HAROLD BEND SEDGWICK 1938 - 1947
THE REV. JUNIUS J. MARTIN 1948 - 1953
THE REV. LOUIS W. PITT, JR. 1954 -
6
7
1
*
-
-
Plate 2. THE FIRST ALL SAINTS CHURCH, 1895 - 1899
Plate 3.
CHURCH EXTERIOR, SHOWING OLD DOOR AND IVY
8
MEMORIAL DOOR
Begin your stroll around the church at the rear door (facing onto Beacon Street), built in 1953. It was conceived as a tribute to parishioners who served in World War II. It later became also a memorial to many members of the parish, and relatives of members, and friends. The present inside vestibule replaced one which used to stand outside the church proper. The old door is seen in Plate 3. Notice also in this picture that the exterior of the church used to be covered with ivy. The ivy had to be removed in 1950 because of threatened damage to the masonry.
Step outside and look at the handsome doors of African mahogany. Note the ornamental wrought iron nails on them. In ancient times in England it is said that captured raiding Norsemen were flayed alive and their skins nailed to church doors by similar nails, but such habits have happily been given up. The arch overhead is of Indiana limestone, and the inscription is from Psalm 145, Verse 10.
Entering the church again, turn to the left, and on your left in a glass case is the Memorial Door Book, containing the names of those who contributed to the door and those memorialized. The lettering was done by a member of the parish, Francenia J. Horn, Art Instructor at the Brookline High School. The sexton will open the case if you would like to study the book. (He will also put on some of the church lights for you, if they are not already on. )
CERTIFICATE OF CONSECRATION
A little further along the back wall is the Certificate of Consecra- tion, dated October 31, 1926. On that date the completed church was consecrated by Bishop Slattery, whose signature you will see at the bottom beside the wax seal of the diocese. Study the handsome, "illuminated" style of manuscript done for us as a gift by the Rev. Henry H. Medary of St. Thomas' Church, Taunton. The group at the upper left in the Certificate represents all the Saints, led by the Virgin Mary, Queen of the Saints. In the four corners of the certifi- cate are the symbols of the four evangelists.
Upper left - St. Matthew - Winged man Upper right - St. Mark - Winged lion Lower left - St. Luke - Winged ox Lower right - St. John - Eagle
9
Down the center panel are other interesting symbols. Beginning at the top:
Lamb of God
Our Lord
Fleur de Lis
The Virgin Mary
Crossed Swords St. Paul
Diagonal Cross St. Andrew
Vertical Cross
St. George
Square and Lance
St. Thomas
Scimitar
St. Matthias
Shell
St. James
Gridiron
St. Lawrence
In this corner of the church (where the certificate is) a war shrine stood during World War II. Prayers were constantly offered at that altar, and a service was held every noon following the Allied invasion of France on "D" Day, June 6, 1944.
The supporting column nearest this corner bears a tribute to Julia de Wolf Addison, the wife of the first rector. She was as deeply interested in the construction of All Saints Church as was her husband, and we will see her handiwork in the transepts. Proceeding now down the left side aisle, on the wall to your left, is a tablet put up by friends of George Prentiss Kendrick, for many years a faithful member and worshipper here.
COREY WINDOWS
Continuing along the aisle, we come to the two Corey windows of stained glass, designed by Henry Eldredge Goodhue. The first "is given by her sons and daughters in loving memory of their mother, Sarah Elizabeth Corey, born January 21, 1834, died November 22, 1904". It portrays three heroines of Scripture. The large left-hand figure is Mary Magdalene, and in the panel beneath she is seen washing Jesus' feet (Luke 7:36-50). The central figure is the Virgin Mary, holding aloft a scroll which spans the three panels and contains the first three verses of Mary's song, the Magnificat. Below her the three Wise Men adore the Christ Child ( Matthew 2:1-12). On the right is Elizabeth, Mary's cousin, and in the scene underneath, Mary visits Elizabeth and each reports a miraculous conception ( Luke 1:39-56).
10
The second Corey window is given in memory of three Timothy Coreys-father (1822-87), grandfather (1782-1844), and great- grandfather (1742-1811), "all residents of Brookline, and original owners of the land upon which this church stands". The figure on the left is Joshua, and below him the capture of Jericho (Joshua 6). In the center is the archangel, St. Michael. And to the right is Gideon with his defeat of the Midianites pictured below (Judges 7).
HOTCHKIN WINDOW
We pass on now into the east transept or baptistry built in 1926 at the same time as the chancel. The large stained glass window on your left is our most recent window dedicated on November 21, 1954. It was given by Mr. William C. Hotchkin in memory of his wife.
The theme is that of Religion in American Life. Beginning in the lower left medallion and reading up, we find first the founding of Harvard College, with John Winthrop heading the twelve men of the colony who were its governors. Next above is the publishing in 1640 of the Bay Psalm Book, whose authors were John Eliot, Richard Mather, and Thomas Welde. In the background is an early type printing press. At the head of the panel is the Log College for the theological education of boys, erected by William Tennent, Sr.
In the middle lancet we find John Eliot preaching to the Indians and above him Bishop Kemper riding his horse in the West. The window has no particular chronological pattern.
Going to the lower right-hand medallion, we have the famous Haystack Meeting at Williams College, the beginning of foreign missions in the United States. On a hot, sultry afternoon in the summer of 1806, a group of five students, headed by Samuel J. Mills, were driven by a thunderstorm to seek shelter under a haystack, where they talked and prayed together concerning "the moral darkness of Asia".
The middle medallion of this lancet symbolizes the Laying of the Cornerstone of the Washington Cathedral, by the Rt. Reverend Henry Y. Satterlee, first Bishop of Washington, who holds the trowel and mallet. Seen in the ceremonial procession is the architect of the Cathedral, Henry Vaughan, in academic cap and gown. Above is a vision of the facade of Washington Cathedral. In the top medallion we see Chaplains of the Armed Forces, one giving communion to a soldier in fatigue uniform. The symbol at the peak of the window is the
11
3 1833 03271 4708
Lamp of Faith, surrounded by stars of heavenly steadfastness. This window and most of the windows in All Saints were designed by Charles J. Connick Associates of Boston, leaders in this art. (More will be said of Connick below. )
RESTING CHAPEL
To the right of the Hotchkin window is a unique and wonderful part of All Saints Church, a resting chapel in the wall where the dead may be brought to rest in the Lord's house until the time of burial. Within the resting chapel is a stained-glass window in memory of Colonel Sidney M. Hedges and his wife Anna. In it an angelic figure, clothed in blue and holding flowering lilies, suggests the Angel of the Annunciation (Gabriel). The right hand is raised in a gesture of blessing. Above is the six-pointed Star of the Creator. The catafalque in the resting chapel was given by the Waterman family.
The Murphy window above the chapel, of a beautiful "Connick blue", symbolizes the Twenty-Third Psalm. At the top we see Christ the Good Shepherd flanked by red-winged seraphim (angels). Below are Ruth the Gleaner and King David the Musician, both associated with this psalm. In the next medallions we see Ruth and David as protectors of children. And at the bottom are symbols of the earthly home and the heavenly home, with little figures of playing children and adoring angels on either side. This was given in loving memory of Clara Ethelinda Murphy and Hamlin Hiram Murphy.
BAPTISTRY
The east transept serves chiefly as a baptistry and is beautifully furnished for that purpose (see Plate 4). Note the octagonal baptismal font of stone, given in memory of Mary Charlotte Sanger, inscribed "Blessed are the pure in heart". The carved wooden canopy is an exquisite piece, given as a thank-offering for the recovery of the daughter of Mr. and Mrs. Eben C. Stanwood. On either side of the font stand handsome candlesticks, originally used at the high altar, given by Mr. Arthur Sargent. On the wall behind the font is a hand-painted reredos also formerly used in the chancel over the high altar. Pictured on it, left to right, are symbolic angels of Service, Resurrection, Power, Purity and Virtue. This was painted by Julia de Wolf Addison, the wife of the first rector, for use in her beloved All Saints Churchı.
12
Plate 4. THE BAPTISTRY
13
EDWARDS WINDOW
Directly over the font is another Connick window portraying a boyish Christ Child in the guise of a pilgrim, with staff and cloak, hat and halo. His support symbolizes both land and water, over which He has traveled. He carries a Bible and a gourd. In the back- ground near His head, an elderly traveler is represented on his way toward the bright Gates of Heaven. In the borders are stars and shells, symbols of Baptism and Hope. At the base is the memorial inscription, Henry and Margaret Edwards.
Turning now toward the main aisle of the church, we pass the high pulpit, from which the Word of God has been proclaimed all these years. It was given by Mrs. Henry E. Raymond. The canopy was given by Mr. and Mrs. Charles S. Norris. (Mr. Norris was organist of All Saints for thirty-two years, vestryman and warden besides. ).
The pulpit, you will see, is superbly carved. Lift up the cloth hanging and you will see a wide-eyed owl, the symbol, of course, for wisdom. Look also at the monk on the newel post. In a preliminary plaster model of this monk, the neck of a bottle is distinctly seen peeking out of the hood of his cape, but this did not get into the final model! Along the edge of the pulpit is a grapevine, symbolic of the Holy Com- munion, and along the top are roses, signifying Christ, the Rose of Sharon. Near the pulpit you will see our handsome Litany desk. This desk and the high altar are both memorials to William P. Shreve, faithful senior warden from 1894 to 1919.
ROSE WINDOW
Perhaps you are getting a little weary. We suggest you take a seat on the main aisle for a few minutes and study our greatest pride, the Connick Rose Window over the altar. (The middle of a sunny day is the best time to see it.) It was the gift of Edward D. Ver Planck, beloved charter member of the parish, vestryman for ten years, warden for twenty-five.
The theme of the window is the Glorification of Christ in Heaven and on Earth. In the very center, of course, at the heart of the window, is our Lord hinself, seated on a throne in an attitude of invitation and blessing (see Plate 1). On either side of him within the central circle are the first and last letters of the Greek alphabet, Alpha and Omega, meaning that Christ is the beginning and the end
14
of all things. Around the inner circle are the words: "Alleluia! Salva- tion and Glory and Honor and Power unto the Lord our God. Alleluia!" (Revelation 19:1)
In the tracery pieces immediately surrounding the central circle are twelve outflying doves (two in each section ), symbols of the Twelve Gifts of the Holy Spirit. With the doves are six red-winged angels (one in each section), symbols of the six days of Creation and, there- fore, of the existence of Christ since the beginning of time.
Moving further out from the center, we find twelve longer, taper- ing sections. Each contains an angel, a star, and an angel. The inner circle of angels thus formed represents the Twelve Apostles; the outer circle represents the Twelve Minor Prophets. The stars are Hebraic, symbolizing the prophets, and in the center of each star is a tongue of fire, symbolizing the apostles.
Finally there are the twelve sections on the outer rim of the window. These contain the four Gospel-Writers, Four Church Fathers, the Four Major Prophets, and Angels. Considering the window as a clock, they are:
1:00 - Angel with censer
2:00 - St. Mark, St. Ambrose, Daniel
3:00 - Angel with censer
4:00 - St. John, St. Augustine, Ezekiel 5:00 - Angel with censer, also the moon 6:00 - St. Paul, holding sword and book, with two angels
7:00 - Angel with censer, also the sun
8:00 - St. Luke, St. Gregory, Jeremiah 9:00 - Angel with censer
10:00 - St. Matthew, St. Jerome, Isaiah
11:00 - Angel with censer
12:00 - St. Peter, holding key and book, with two angels.
Quite frankly you should bring binoculars sometime and study this window. Its detail, like its total effect, is awe-inspiring. Christ reigns - over heaven and earth.
CHANCEL
Let us walk now toward the altar, up the steps into the chancel. This part of the church was completed, as we have said, in 1926. It has a wonderful spaciousness about it. Note the carving on the choir stalls as you pass by: pomegranates, signifying the resurrection of
15
Jesus, and sunflowers, representing the soul turning to Christ. At the end of cach choir stall is the rose symbol, which we saw also on the pulpit. The smaller stalls toward the congregation are for the clergy.
Now walk on to the communion rail (not beyond, please ). This beautiful rail was given in memory of William Lewis Sturtevant. Notice the carved doors in particular. One bears the letters IHC, denoting Jesus (the first three letters of his name in Greek). The other bears the symbol of the Lamb, which also signifies our Lord, sacrificed as he was on Calvary. On the reverse side, both gates have a hand-carved cross.
REREDOS
The reredos (or carved screen behind the altar) is in memory of Emily Fay Sanger. It catches the eye almost as much as the rose window above, and the combination of the two makes All Saints Church unforgettable. The gilded woodwork is ornate yet not gaudy.
In the center is the Christus Victor, the risen Christ in His Glory, hands raised in blessing (see Plate 5). He is our high priest forever and is robed as such: white alb, gold stole, white cope lined with red and trimmed on the outside with gold. The figure of Christ is surrounded by an oval of tiny flames of gold. Above and below are adoring angels robed in blue, symbolic of faith. Underneath, the familiar IHC will be seen in sixteen places.
The hand-carved figures in the side niches represent a chrono- logical series of great figures in the history of the Church. Starting front the left side:
1. St. Paul, with scroll and sword. The scroll symbolizes his writing and teaching; the sword, pointed downward, his martyrdom.
2. St. Augustine of Hippo, bishop in North Africa in the Fifth Century, famous writer and theologian. His Confessions are among the great writings of all time.
- 3. St. Francis of Assissi, holding a crucifix. He lived a beauti- fully simple life, founded the Franciscan Order.
4. Thomas Cranmer, 1489-1556. A great English reformer and martyr, he compiled the first Book of Common Prayer.
5. John Wesley, English divine and founder of Methodism, did much to revive Christianity in England during the rationalistic Eighteenth Century.
16
THE HIGH ALTAR AND REREDOS
Plate 5.
بيردبد
17
6. Phillips Brooks, famous rector of Trinity Church, Boston, at the end of the last century, later Bishop of Massachusetts. A "Pageant of the Reredos", telling the story of these six figures, was written by a parishioner, Frances N. Chapman, and first performed in November, 1926.
Even without the figures, the reredos would be beautiful. Notice the detail; the kneeling angels at the ends on top; the gilded canopy over the figure of Christ. See how the red brocade hanging carries the eye up to the rose window.
Do not miss the furnishings around the altar. On the left, against the side wall, is the Bishop's Chair and Kneeler, given by the Misses Corey. On the right, against the back wall is the Credence Table, and on the side are clergy seats in memory of Clara Du Bois Cosby. A Seventeenth Century Persian rug lies on the top step in front of the altar. The equipment for the actual altar - the hangings and silver and brass - would require a separate booklet to describe. Suffice it here that the altar, like the church itself, has been well provided for, and the Altar Guild has beautiful things with which to work.
Turning round now, notice the long vista to the Beacon Street door. Small wonder that microphones are needed at five different places in the chancel to amplify the services! Descending the chancel steps, turn to your left and pause at the high lectern given in memory of Dr. Benjamin Mann. On the newel post at the foot of the stairs is a carved figure similar to that on the pulpit. This time the monk is holding a Bible-appropriate to the lectern. The monastic orders had niuch to do with preserving and studying the Bible in the Middle Ages. Two medieval touches on the lectern are the provision for candlelight and the two-sided bookrest. The old manuscripts were so cumbersome that two volumes were needed for the Bible. Therefore a two-sided bookrest was swiveled as needed. The carving on the lectern is in an elaborate Gothic style.
CHAPEL
Let us move now into the west transept. This was built with the parish house in 1910, but it was not until 1927 that it became the beautiful chapel it is today. The present furnishings were provided by Mrs. Woodbury G. Langdon, mother of Mrs. Barrett P. Tyler, as a memorial to her husband and son (a panel to the left of the altar records this.) The chapel (Plate 6) is one of the most beautiful
18
19
Plate 6. THE CHAPEL
parts of the building. Note the wall panelling; the three-sided screen around the altar; the three-sided altar rail with kneeling angels at the ends; and the carved roodbeam above. The charming lanterns over- head with floating banners each portray three winged cherubs, and a brass lectern stands to one side by seats for the clergy.
The most compelling bit of the chapel, however, is the reredos with its five painted panels. This, like the reredos over the font, is the work of the first rector's wife, Julia Addison, whose memorial inscrip- tion we found on a column at the back of the church. On the extreme left is St. Alban of Vernlam, a Roman soldier in ancient Britain who, at the cost of his life and to save another, declared him- self a Christian. Here he bears a sword and the palm, symbol of martyrdom. Next to St. Alban is St. Barbara, who was incarcerated by her father for her faith. Prison towers are symbolically in her hand. In the central panel an angel administers the communion chalice to a congregation of the saints. Next to the right is St. Elizabeth of Hungary who, according to legend, transformed bread into roses. And on the extreme right is St. Augustine of Canterbury (not the St. Augustine shown at the high altar), here entering Canterbury with his standard.
Above the reredos you will see the organ chamber. The organ was given in January, 1900, a gift of thirty men of the parish. Electrical controls were added in 1926. The instrument is kept in good tune and order, but it will have to be replaced before too many years. Replaced 1961 by Casavant.
CHAMPLIN WINDOWS
The stained glass windows in the chapel are respectively in memory of George H. Champlin and his wife, Julia M. Champlin, great benefactors of the parish. In addition to these windows, the wills of George and Julia Champlin wiped out a $50,000 mortgage on the original church and built the present rectory.
The left-hand window is in Mr. Champlin's memory. It portrays four great Christians of the First Century. On the left is young St. Stephen, holding a book and the martyr's palm. On the shield above him are six stones, symbols of the way he died (Acts 7:54-60). In the panel below he is being ordained as a deacon (Acts 7:6). The next panel portrays St. Paul with scroll and sword, also seen on the shield above him. The scene below is his conversion on the road to
20
Damascus (Acts 9:3-4). The third figure is St. Peter preaching, scroll in hand. Above him are the "keys of the kingdom". Below he is being saved by Jesus when he tried to walk on the water as Jesus had done (Matthew 14:28-31). The last saint is St. James, with pilgrim's staff and open book. Above is the scallop shell, symbol of his missionary work (baptism). Below he is seen ministering to the sick and needy. In the arch of the window is an Angel of Prayer carrying a small cross, flanked by two angels with palms of martyrdom.
The Julia Champlin window, like the other, is an early work of Charles J. Connick. (Note how his style had changed by the time he did the rose window.) On the left is St. Polycarp, a Greek church father, bishop of Smyrna. The scene below is his famous last meeting with his beloved friend, St. Ignatius. Sentenced to death, Ignatius entrusted to Polycarp the care of his church. Polycarp replied, "Would to God that I too might be found worthy to suffer for this cause!" Knowing his friend's zeal, Ignatius prophesied, "Doubt not, brother, that thy time will come, but for the present the church has need of thee." On the shield above Polycarp in the window are burning faggots, symbols of his later martyrdom. The next figure to the right is St. Catherine of Alexandria. She holds an open book, denoting her learning, and wears a queen's crown. Below she disputes with the philosophers of Alexandria. Above is the wheel set with knives, symbol of her martyrdom.
Next is St. Perpetua of Carthage, bearing the martyr's palm. In the panel below she is seen taking leave of her young child Felicitas, before going to her death. On the shield above are her symbols sug- gesting the vision in which she saw a golden ladder reaching from earth to heaven. At the foot was a guardian dragon. At St. Perpetua's words, "In the name of our Lord Jesus Christ, he shall not hurt me," the dragon gently lifted his head as a stepping stone to assist her in mounting the ladder. The figure on the extreme right is St. Irenaeus, scholar and Bishop of Lyons. He bears a book and his pastoral staff. Above is a lighted torch. Below he teaches and preaches. In the arch of the window are Angels of Praise with musical instruments and a book.
21
FLORENCE VER PLANCK WINDOW
Leaving the chapel now, proceed along the side aisle toward the rear of the church. The large stained glass window on your left is a memorial to Florence Prescott Ver Planck, wife of Edward D. Ver Planck. This window is allegorical in subject matter. The central figure represents Love. It is St. Elizabeth of Hungary (whom we saw in the chapel reredos), wearing the royal scarlet robe symbolic of love. The clouds at her feet, the angels around her head, and the crown of stars add to her spiritual significance. Under the central figure is a panel containing the kneeling figure of St. Ursula, surrounded by young virgins, two of whom she protects within the folds of her royal robe.
The large figure on the left portrays Faith. She holds an altar, symbol of faithful devotion. Beneath her an angel in white kneels, surrounded by stars and holding a chalice. The right lancet repre- sents Hope. She holds a symbol of the empty tomb and three lilies - the message of Jesus' resurrection. The angel beneath has a rainbow at her shoulders. At the top of the window are two other feminine figures, St. Agnes with her lamb (left) and St. Cecilia with the organ. The whole window is full of grace and beauty.
Just beyond the Ver Planck window is a memorial tablet to Lawrence Whitcomb, who was elected to the vestry at the very first parish meeting, November 1, 1894, and was a strength of the parish for eighteen years thereafter.
If you will now pass to the rear wall of the church, you will see a handsome wooden panel in memory of Kate Willis Spencer. Behind this panel are light switches - which is appropriate, because Kate Spencer is remembered most of all for her directing of parish pageants and theatricals. To the right is a beautifully carved alms-box in memory of Albert Stevens Pratt, Albert Millard Wiley, and Albert Millard Wiley Jr. Offerings put in this box are used to help needy people in the parish and community.
Turn around now and look at the last supporting column nearest you. Here, opposite the column dedicated to his wife on the other side of the church, is a tribute to the first rector, Daniel Dulany Addison. In a very real sense All Saints Church was his dream and his creation. The Latin inscription is a copy of one to Sir Christopher Wren in St. Paul's Cathedral, London. The translation is: If you desire a memorial, look around you.
22
All Saints Church is a memorial to Dr. Addison, and to all those named in this book, and to hundreds more who, through gifts large and small, have made it possible for us to stand in this beautiful house of God today. The growth of All Saints Church is an inspiring story. We tell it with pride. And we herewith shoulder the responsibility to care for and enhance the beauty of this place in our turn. Gifts must continually be made to maintain and develop the fabric. New windows, a new organ, new furnishings - these plus the routine repairs absolutely demand our generosity. Let each of us consider what he can do, before and after his death, to carry on a great tradition.
10€
ALLE LUIR
SU SALV
UDE LORD OUR GOD
?TO
POROUR HDD POWER
23
HEREFORD STONE
On the exterior of the church, on the Dean Road side, on the outer wall of the resting chapel to the left of the Hedges window, there is embedded in the masonry a carved, reddish stone which was once part of Hereford Cathedral in England. Part of the original Cathedral of St. Mary and St. Ethelbert, built in the Eleventh Century, this stone was removed during some restoration work and given by the Dean of Hereford to Dr. Addison who brought it to All Saints. It is an inter- esting link with our mother Church of England.
ARCHITECTURAL NOTES
The following is part of a description of All Saints by the architects, Cram and Ferguson: "All Saints Church is, of course, not a copy of any existing medieval church, but in design it follows the precedent of the so-called "Perpendicular" churches of England. This term is used to describe the last phase of traditional Gothic style in England which lasted roughly from the year 1400 until the Reforma- tion. During this period there was a vast amount of building in England; the larger churches are characterized by the great space and openness of their interiors; the interior arcades are high; the columns are tall and widely spaced. These interiors depend for their effect not so much on elaborate stonework as on their fine proportions and the extreme richness of their superb chancel furniture and rood screens. Outside, these churches have high walls and low pitched roofs; carved ornament is sparingly used except in features like porches, towers, and spires. Examples in England are St. Cuthbert's at Wells, and the parish church at Lavenham, Suffolk."
24
PRAYER
Father of mankind, we pray that to this church all thy children may ever be welcome.
Hither may the little ones love to come, and young men and maidens, to be strengthened for the battle of life.
Here may the strong renew their strength, and win for their lives a nobler consecration; and hither may age turn its footsteps to find the rest of God and light at eventide.
Here may the poor and needy find friends. Here may the tempted find succour, the sorrowing find comfort, and the bereaved learn that over their beloved, death has no more dominion.
Here may they who fear be encouraged, and they who doubt have their better trusts and hopes confirmed.
Here may the careless be awakened to a sense of their folly and guilt, and to timely repentance.
Here may oppressed and striving souls be assured of the mercy that triumphs over sin, and receive help to go on their way rejoicing. Through Jesus Christ, our Lord. Amen.
25
INDEX
Addison: columns
10, 22
paintings
12, 20
Alms-box
22
Altar: high
14, 16-18
low
19-20
Architectural notes
24
Bishop's chair
18
Candlesticks, chapel
12
Certificate of consecration
9,10
Chapel
18, 20
Choir stalls
15,16
Communion rail
16
Credence table
18
Font
12
Hereford stone
24
History, brief
5,7
Kendrick tablet
10
Lectern
18
Litany desk
14
Memorial door
9
Memorial door book
9
Organ
20
Prayer
25
Pulpit
14.
Rectors
6
Reredos: baptistry
12
chapel
20
high altar
16-18
Resting chapel
12
Spencer panel
22
War shrine
10
Whitcomb tablet
22
Windows: Champlin
20-21
Corey
10-11
Edwards
14
Hedges
12
Hotchkin
11-12
Murphy
12
Rose Window ( Ver Planck )
14_15
Ver Planck, Florence
22
HECKMAN BINDERY INC.
-0-1000
JUNE 98
und - To - Pleas® N. MANCHESTER, INDIANA 46962
0 4
4
2
.
٦
Need help finding more records? Try our genealogical records directory which has more than 1 million sources to help you more easily locate the available records.