THE ASCENSION

We celebrate Christ’s ascension to Heaven on a Thursday, 40 days after Easter. This year it falls on May 25. It is a principal feast of the Episcopal church year. We  affirm the ascension of Christ in the Nicene and Apostles’ Creeds. His human form ends and Christ no longer appears to any of his followers as he had for the 40 days after the empty tomb and Christ’s resurrection. It marks the final elevation of his humanness to divine glory with God. The story as it is told in the Gospel Luke is shown here. Luke includes the most detailed and graphic description of the Ascension. Luke 24: 45-53.

This Bavarian designed window of the ascension was installed in the west wall of the transept in 1910. Although the Resurrection window, located in the opposite transept, was designed in London, the windows mirror each in size and use the same symbolism of three levels. The lower section is for those who are earthbound, the middle section shows Christ is his dazzling white garments with 11 seraphim (the highest order of angels).  The nail holes in his hands and feet are obvious.  In the lower level we see the followers, who are perhaps receiving a blessing from Jesus. The figure in that circle covering his head may be a Roman soldier or Thomas.. The upper level represents heaven with its castles like the mansions in my Father’s house (John 14:2). Bethany, from where Jesus is reported to have ascended, is in the upper left lancet with cedars, which represent healing. Among the other plants in this window are violets, depicting beauty and love in its highest form; daisies for innocence; and palm trees for triumph.

The window was designed by the Mayer and Company in Munich as a memorial for J. Frederick Ackerman, one of New York’s largest paper merchants and a generous supporter of Greenwich causes. He died at his summer home in the Belle Haven area in 1908.  Above the window is floral lancet in memory of  Harry R. Blunt, As is typical in windows from southern Germany, the colors are muted, soft and rich. They are easy on the eye and the faces are expressive yet peaceful. The memorial inscription is at the bottom of the central panel. The left and right panels read “Seek ye first the kingdom of Heaven and these things and all things will be added unto you.” (Luke 12:31)

Karyn Royce

Photo courtesy of The Stained Glass Project by Lynne Smith and Lawrence Sterne

THE ANNUNCIATION WINDOW

We celebrate Mary receiving the news of her immaculate conception from the Angel Gabriel on March 25, which is 9 months before Christmas Day when we celebrate the birth of Jesus. The maker of the Annunciation window is unknown.  It was appropriately given in memory of a woman named Mary. Mary Tilden McNall lived from 1831-1891. The window was made  around 1910 when the current church was finished and installed in the west wall of the nave, near the narthex (entrance).

There are three lancets in the Annunciation window and Mary is in the center one with the Angel Gabriel to her left. His left arm is raised as if blessing her, while his right hand holds a sign of his authority as the messenger of the Lord, an ornamented mace. Angels behind Mary and in the right lancet celebrate by making music with a recorder and lutes. Mary holds a book in her right hand with her finger marking her place as if she was interrupted in her devotional reading. The unknown artist used Luke’s report of the Annunciation as the basis for his depiction of this important event (chapter 1:26-38, particularly verses 28-30).

Mary’s expression is uncertain but also respectful, which reflects Luke telling us “she was much perplexed by his words and pondered what sort of greeting this might be”, and that Angel Gabriel reassured her with these words, “Do not be afraid Mary, for you have found favor with God.” In verse 34 Mary asks “How can this be, since I am a virgin?”

Angel Gabriel explains to Mary how she would conceive a son and that her cousin Elizabeth has already conceived a son after so many years of trying.  It is believed that Jesus and the son of Elizabeth and Zechariah, John the Baptist, were related since their mothers are thought to be cousins. The final verse quotes Mary in a refrain we read throughout the Bible, “Here am I, the servant of the Lord; let it be with me according to your word.”

There are many symbols in this window from the dove above Mary’s head representing the Holy Spirit and the unborn child with rays of light emanating from the dove representing God, to the Easter Lily, which is a symbol of the Resurrection, in the metal pot on the right lancet. The right lancet also depicts a pulpit and an open Bible representing the Word of the Lord and the imparting of knowledge. The colors in this window are unusually dark in overall tone and there are subtle details in this design including the folds in the robes and the feathered wings and coloration in Gabriel’s wings. Based on observation and tradition, these details and colors are typical of German style: lots of soft colors. The use of ochres, muted tones, and a more ornate style with beautiful faces and no halos are indicative of this.

Karen Royce

THE ROSE AND LILY WINDOWS

The language of flowers seems very timely after Easter each year as our world springs into bloom. The Woodruff Memorial window is found in the vestibule of the west transept exit to the cloister that leads to the circle. It is believed to be designed by an American in the late 19th century and was installed in the second Christ Church. It and the window Christ, Apostles, and Children located in the narthex were moved to their current locations in 1910 when the new church building was constructed. They serve as a wonderful stained glass heritage from our previous place of worship.

Ann Eliza Woodruff lived 60 years and died in 1887. She must have loved flowers for such a beautiful window to have been given in “loving memory” of her. I imagine she was a gardener and perhaps a member of the Altar Guild of that time. The garden reminds us of the Garden of Eden and the saying “I meet God in my garden”.

Roses and lilies are prominent in the design of the Floral Window. Here, the artist depicts the roses in shades of red in contrast to the white lilies.  The lily is a familiar symbol of the Resurrection and the pure white lily is the traditional flower for that season. Red roses are a symbol of steadfast faith and conviction and the Blood of Christ shed in the Crucifixion. The other flowers are in soft shades of blues, greens, and golds.

The lilies appear in three forms that can be seen as the historic phases of the life of Christ and its hope of immortality. In contemporary time the three forms, still in bud and closed, some in the process of opening, and some full-blown, could be said to show us the phases of recovery from the coronavirus as our town, state and country reopen. The unopened buds represent hope for the future, those in the process of opening show us progress toward gathering again as a congregation and with our families, and fully open flowers tell of the celebration of life returning to a new version of “normal”.

At the top of each lancet, there is a symbol. On the left the descending dove holding an olive branch is for the Holy Spirit and peace. The Holy Bible on the right tells us “the Word was made flesh” from John 1:14. This window was designed in the late 1800’s and reflects some details from that time that give it the look of an “older window”. The use of the blue “bull’s eye” like rounds on each side of the dove and the Bible are one such detail. Other details are the quality of the stained glass and painted glass that was used and the types of colors that were chosen. Shades of golds are very prevalent in the compositions and the glass surrounding the main lancets.

In the doors leading to and from this vestibule, there are diamonds of clear glass with flowers on them that are done in enamel. All four reflect the Bible. The inner doors bear three lilies as in the Trinity and a rose and the doors to the outside a passion flower for the Passion of Christ and lily of the valley, which symbolizes humility. There is no history on the age or source of these very delicate and beautifully executed pieces of glass.

Karen Royce

THE RESURRECTION STAINED GLASS WINDOWS

The window celebrating the Risen Christ and the Good News of Easter is in the transept, which runs east and west. It is on the wall nearest the chapel and was one of the first windows created for the new Christ Church that opened in 1910. It is a large window with three lancets and measures 18 feet 6 inches by 15 feet in total. It was designed and made by Heaton, Butler and Bayne in London in memory of Clarence Melville Hyde who lived from 1846 to 1908. Mr. Hyde and his brother had summer homes in Greenwich, one of which stood where Greenwich Country Day School is located. That area was known as Hyde Park. The Hyde family were among the early Europeans to arrive on the east coast, coming in 1632. Mr. and Mr. C. M. Hyde were active supporters of Christ Church and the rector, the Reverend  Matthew George Thompson, who was the initiator of the design and building of our current church.

There are three main levels of the Resurrection window. Starting at the top, the first is Heaven with an angel  in a small lancet just above the highest point of the middle lancet. This angel is awaiting the ascension of Christ, the subject of another window. God is on a throne at the top of the main, center lancet holding an orb with a cross and a rod or scepter, which are symbols of divine sovereignty, absolute authority, and  the English monarchy. Then there is Christ, risen but not yet ascended, and at the bottom, Earth.  Christ is holding the banner of St. George, slayer of dragons and death, in this left hand and is flanked by angels in the narrower side lancets. Jerusalem is in the distance. In Earth just below Christ are the soldiers guarding his tomb. They look at up the Christ in awe and fear. Below them are Isaiah, Paul and John, each in a different lancet. They are holding a banner with the opening words of The Burial of the Dead from Rite 1: “I am the resurrection and the life. He that believeth in me, though he were dead yet shall he live, and whoever liveth in me shall never die.” (John 11:25-26)

There are many details that tell us this window was designed in an English studio. The English style of using filigree, horizontal and vertical planes, and vibrant colors, especially the blues, reds and whites, plus the use of flowers signal that it is English. It is the only window in Christ Church that depicts a delphinium, a very English flower. Lilies and daisies are also in the design, signifying resurrection and innocence and purity, respectively. The palm fronds represent triumph and the cedars healing

The level of detail in the windows is also worth noting. English windows are known for their intricate designs. The armor of the soldiers standing watch, the nail marks in the hands and feet of Christ, and the flowers are remarkable, especially considering how far away we are when viewing this window.

May we all celebrate the message of Easter morning this year whether we do in person or via technology with the strong hope that next year we will all be together watching the stone roll away.

Karen Royce

CROSSES OF CHRIST CHURCH. A TOUR ON OUR CAMPUS.

PROCESSIONAL CROSSES

Of the many crosses used in worship at Christ Church, two of the most beautiful are the elaborately decorated brass processional crosses carried high by acolytes leading the clergy and choir during the opening procession and closing recession in services held in the main sanctuary. The large cross, which leads the procession, was donated “To the Glory of God and in Loving Memory of Helen Louise Lee, 1856 – April 5, 1937”. The smaller but heavier of the two processional crosses was dedicated on All Saints Day 1905 “In Memory of Seventeen Parishioners who died in 1905” (names engraved in script on back). It is presumed that the deaths were caused by the yellow fever plague during its last outbreak in the US in 1905. This cross was restored in 2011 by a bequest from the late parishioner Pauline Bettie Finn Horton. Both crosses are adorned with Easter lilies at Easter, symbolizing the resurrection of Christ and the birth of new life.

ALTAR CROSSES

The elegant brass cross that dominates the intricately carved wooden niche behind the main altar was given “In Memory of Charlotte E.W. Smith (1867-1930)”. The simple, classic brass cross that temporarily replaced this cross during construction for the new organ was found in a closet by our Head Sexton Chuck Morrell. The inscription reads “Presented by the Rector’s Willing Workers, Easter 1912”. The dedication refers to Rev. Matthew George Thompson who served as the second rector of Christ Church from 1895-1925.

The altar cross in the chapel reflects the contemporary design and exact shape of the chapel processional cross. The base is a solid light wood highlighted by gold colored metal also used in four rays that somewhat resemble those on the processional cross. The cross was donated “To the Glory of God and in Loving Memory of Elise Stillman Rockefeller by Nancy Stillman Rockefeller”.

THE CHAPEL CROSSES

The contemporary design of the chapel processional cross is a dramatic contrast to the ornately detailed main church processional crosses. The cross is formed by a silver upright section of the cross and the two silver horizontal arms. Mounted in the center of the cross is a half orb of green jade highlighted by four modernistic rays which may represent the sun. It sits on a circle of jade supported by a small silver pedestal mounted on top of a wooden shaft. It was donated “To the Glory of God and in Loving Memory of Vincent McClelland, Lt., U.S.N. by Mrs. James McClelland”.

The altar cross in the chapel reflects the contemporary design and exact shape of the chapel processional cross. The base is a solid light wood highlighted by gold colored metal also used in four rays that somewhat resemble those on the processional cross. The cross was donated “To the Glory of God and in Loving Memory of Elise Stillman Rockefeller by Nancy Stillman Rockefeller”.

IN HONOR OF WWI

One of the most imposing crosses on the Christ Church campus is the World War One Wayside Cross in the grass circle just west of the main church. A stone celtic cross installed in 1924, it is a memorial to the 152 Christ Church members “known to the Treasurer” who served our country in the first World War. It was designed by architect and parishioner William Dominick, who also designed the current Christ Church.

RESURRECTION IN THE MEMORIAL GARDEN

By far the most dramatic cross on the Christ Church campus is the tall bronze contemporary Resurrection Cross in the center of the Memorial Garden, “Gift of Lydia Stevens in Memory of her husband George Stevens, May 12, 1985”. Both Lydia and George were active members of Christ Church, George serving as warden from 1967-1972 and Lydia from 1981-1985. They are the only couple to both serve as wardens. The spectacular cross was created by well known Connecticut sculptor James Knowles.