St.

Marys Anglican Church

(Walkerville) Windsor, Ontario

A Guide to the Church

ST. MARYS ANGLICAN CHURCH

A Guide to the Church

St. Marys Church was built in the early years of the twentieth century as a
gift of the sons of Hiram and Mary Walker in memory of their parents. As
the proprietors of a company town, the Walkers did not neglect any aspect
of the residents lives including their spiritual welfare.
The present St. Marys replaces an earlier building on Riverside Drive
and is the architectural partner of nearby Willistead Manor, originally the
home of one of the sons, Edward and his wife, Mary Walker. The church
was consecrated in 1904 by the Bishop of Huron. A dedication panel is
carved into the wall next to the pulpit. The Walker family commissioned
the Boston, Massachusetts architectural company of Cram, Goodhue and
Ferguson, soon to be a leader in church design, to erect this building of great
beauty and inspiration. Additional information regarding the architects,
the design and style of the Church can be found at the end of this guide.

Interior of the Church

To appreciate the significant features of this Church, it is suggested that the

visitor should proceed to the Chancel steps. Before you is the Altar, where
the Eucharist is celebrated. To your right is the Lectern, where readings
from the Bible proclaim the Word of God during services. To your left is
the Pulpit for the interpretation of the Word in homilies. Beyond the three
Gothic arches is the Chapel and in it is the Baptismal Font, where infants
and occasionally older recipients receive the sacrament of Baptism to enter
the Christian life. The Chapel is also the location of an early Communion
service each Sunday.

The Baptismal Font

Proceed into the Chancel and notice the posts at the ends of the
choir stalls carved in solid oak by Johannes Kirchmayer (details later).
Together with the carvings above the Altar, also by Kirchmayer, they
are some of St. Marys most treasured features. The left hand post
depicts the figure of St. John the Evangelist with the symbolic eagle
below him. On the choir stall nearest the Lectern is the figure of St.
Mark with his symbol, a lion. Nearer to the Altar, the post on the left
depicts the figure of St. Luke the Evangelist, physician and artist.
Kirchmayer`s carvings on the choir stalls

St. Matthew

St. Mark

St. Luke

St. John

Beside his knee are bottles, palette and brushes. To your right is the figure
of St. Matthew and his symbol is the human form (angels head) due to his
concern regarding the humanity of Christ.
At the Communion Rail, the seven kneeling cushions were designed in
the 1970s by artist and parishioner, Helen Channen and the stitching was
completed by parishioners under her guidance. They depict the seven days
of creation described in the book of Genesis in free and imaginative forms.

Beyond the Communion Rail is the Sanctuary. The Altar is of smoothly

dressed Indiana limestone and on the front is carved a quotation from
St. Matthew 28 v. 20 ... Lo I am with you even unto the ends of the
world. Carved into the Mensa (the flat top) are five Greek crosses
symbolizing the five wounds of Christ. The medallions at the base
of the Altar refer to the writers of the Gospels. Above the Altar is the
carved wooden Reredos with figures of significant detail and beauty.
The central figure behind the Altar Cross is a representation of the
Virgin Mary with the Infant Christ, his hand held up in benediction.

The Virgin Mary with the infant Christ

Not only is St. Mary the patron saint of this Church, but the Mother and
Child emphasize that God intervened in the world in the Incarnation. St.
Marys halo is surrounded by twelve stars (Revelation 12 v.1) suggesting the
tradition which calls her the Queen of Heaven. The lesser figures from
the left depict St. Stephen the first Christian martyr; St. John the Baptist
with reed cross, camel hair and a leather pouch; St. Thomas a Becket, the
Archbishop of Canterbury who was martyred in the 12th century, with
mitre and pastoral staff. From the right is St. Columba, who founded the
monastic and missionary community on the island of lona in Scotland,
holding a Celtic cross; St. Edward the Confessor, an 11th century king
of England, who founded Westminster Abbey; St. George, the patron
saint of England, with armour, lance and shield. Above the Reredos, is
a cross formed from four fishes, the fish being a very early, secret sign of
identification for Christians.

The Altar

To the right of the Altar is the Sedilia (seats for lay readers and servers
during a service), and to the left of the Altar is the Bishops Chair. The
chair has a bishops mitre on the canopy and at the top, looking downwards
are two carved faces with enigmatic expressions. The wooden carving
surrounding the Reredos and the intricate detail in the canopy above the
saints heads, together with the carving above the Sedilia and the Bishops
Chair is masterful. On either side of the Altar, the locally made wooden
panelling shows small carvings in relief of the Instruments of the Passion.
The large window above the Altar is a dominant feature within the building
and with its central figure of Christ crucified provides a devotional focus
visible from most areas of the Church. Stylized saints flank the figure of
Christ, with St. Mary on the left and St. John on the right. They both stood
at the foot of the Cross at the Crucifixion. Above the head of Christ are the
letters INRI, the Latin form for Jesus of Nazareth, the King of the Jews.
The imagery rises to a dove representing the Holy Spirit and a lamb. He
is the Lamb of God who takes away the sin of the world. (St. John 1 v. 29)
At the peak of the window is a crown. Christ is king, but a king of peace.
The pomegranates beneath Christs feet here and in other windows in the
Church are symbolic references to the Resurrection, with its seeds bursting
forth to represent the many believers in the universal church. Above St.
Marys head are symbols connected to her. Within a jewelled wreath for
love and devotion is a heart, a lily, which is her personal symbol and a fleurde-lis for purity. At her feet is a red Christmas rose for the birth of her Son.

Pictorial symbols above and below St. John are an eagle, his traditional
symbol and a chalice with an emerging snake. This refers to a traditional
belief that John survived a command to drink poison. Six attendant angels
between the chief figures are either praying, carrying chalices (Christs
blood) or bearing censers (incense symbolizes prayer rising to God).
The three small windows in the Chancel all depict Biblical episodes from
the life of St. Mary; the Annunciation when the angel Gabriel brings Gods
message to the Virgin; Mary telling the news to her kinswoman Elizabeth;
the child Jesus with his parents being presented in the Temple.
All the windows in St. Marys Church were the work of Harry Eldredge
Goodhue, brother of the architect, an American artist and craftsman, who
was a noted contributor in the medium of stained glass during his lifetime.
High on the Chancel wall is an open arch where a window might be
expected. Undoubtedly, the inspiration for this feature, called a squint,
would come from medieval manor houses in England, where similar open
arches are sometimes found, giving access to the private chambers of the
aristocratic owners to witness the Mass in seclusion or for private prayer
and contemplation.
Music has always been a prominent part of services at St. Marys and the
organ, a traditional church instrument, is its leader. The original highquality pipe organ of 1904, by the prestigious D. W. Karn company of
Woodstock, Ontario, serviced the Church for many years. Rebuilding
has occurred several times during the ensuing decades, culminating in
the modernization of the instrument by Pole and Kingham of Chatham,
Ontario, in the 1990s. The console was modified with solid state switching
together with electronic updates. The wind chests were replaced and the
pipes cleaned and modified. The choir, with the organ, continue to offer
praise in the services of the Anglican liturgy at St. Marys.
Returning to the Nave, the body of the Church where the worshippers
gather for services, you proceed down the centre aisle. Inspirational motifs
are less concentrated in this area of the Church but the Nave is not without
its own features. The sense of space is emphasized by the high wooden
rafters of the roof and by the relative narrowness of the Nave. This was
a conscious intention of the architects, who wanted the eye to be drawn
towards the Altar. The pulpit emerging from the side wall is an unusual
feature in a church but a free standing pulpit would partly conceal the
uninterrupted view of the Chancel from some pews.
Natural light in the Nave is provided by the rectangular windows above the
arches and by the tall pointed Gothic windows, with their saintly images
in stained glass. Commonly called the Fathers of the Early Church of
the fifth century or earlier, their names are listed beneath their images.

They achieved sainthood through the contributions which they gave to the
Faith in the early years of the Christian era and for some, martyrdom as
well. As keepers of knowledge, the books and writing materials with the
images are a reminder that they strove to preserve the Christian Faith during
the troubled times which accompanied the collapse of the Roman Empire.

The Pulpit and the Dedication Panel

H.E Goodhue`s Chapel Windows

The Adoration of the Magi

The Sermon on the Mount

In the Chapel windows, Goodhue presents scenes from the life of

Christ in stained glass images. They are vibrant and compelling and
the inscriptions beneath the scenes describe the events portrayed. A
small window in the Chapel Sanctuary shows two angels raising the
bread and wine, elements in the eucharist.

The Presentation of Jesus

The Transfiguration

At the back of the Chapel is the Memorial Book. Each name represents a
gift to the Church in memoriam. Men of the Parish, who risked their lives
in the cause of freedom during World Wars, are remembered too. Their
names can be found in a frame on the wall near to the tower door and also
on the wall opposite.
There is a wealth of detail in every aspect of the building and the floors
themselves were not neglected. The small rectangular tiles throughout the
Church are representations of a revived Pennsylvanian German pottery
craft by a renowned craftsman of the time, Henry Mercer. The company
still exists to this day producing quality tiles. Mercer fulfilled the architects
demand for superior products in the buildings which they designed. Here
and there amongst the tiles are motifs, a design or a cross, a knight or a
centaur, even a demon. In the Sanctuaries around the two Altars, there
is more colour and detail in the tiles and a diamond pattern is used.
St. Marys Church, on which so much artistry has been bestowed, is
not just a beautiful shell but a shell which encloses what is, essentially,
a church- not a building but a community of Christian believers. The
imagery within the building is simply an aid to devotion, a role which
this Church fulfills admirably. This Church has been loved and cared
for by its people for more than a century. It is a place of community
and joy, of prayer, reflection and meditation. Before you leave, please
add your prayers to ours and to those who have gone before us.
A View from the Nave

Exterior of the Church

The massive tower, a beacon of hope, dominates the exterior of the
Church. Bells and towers are synonymous with churches and St. Marys
is no exception. The bell, cast in England, was to be one of a peal of bells
but only one materialized. As is the custom with church bells, it is inscribed
with scriptural words. For this church, Glory to God in the Highest and
on Earth, Peace, Goodwill toward Men, the angels Christmas declaration
above Bethlehem, was chosen.
The exterior walls of the Church are faced with rough-textured
Amherstburg limestone, backed by a brick core. A cornerstone from
1903 may be found at the eastern edge of the tower and in front of it
is a commemorative stone, placed there on the hundredth anniversary
of St. Marys. A unique gargoyle, a face with grotesque features acting
as a rainspout, can be found at the edge of the Chapel roof on the
western side of the building. Medieval European churches often use these
features for drainage. The Rectory attached to the Church harmonizes
with the whole concept and it cannot be a coincidence that it matches,
in miniature, Willistead Manor. The Lych Gate leading to the cemetery
is a structure found at the entrances to churchyards and it is noted for
its design in architectural literature. In the middle of the cemetery is an
obelisk, which marks the grave of Edward Chandler Walker. His wife,
Mary, is also memorialized close by. The Church, the Rectory and the
Church Hall, together with all the furnishings and the landscaping were
The Lych Gate at the Cemetery entrance

The Tower

completed for the sum of $64,000, a considerable amount in 1904.

Part of a resolution sent to the Walker brothers from the first vestry
meeting at the new church in 1904 expresses, the deep sense of gratitude
with which we have entered into possession of this beautiful and complete
church...given by you as a memorial to your parents.

The entry in the Memorial Book for the Walkers, Hiram, Mary, and their sons.

A Note on the Architects, Design, & the Style of the Church

The selection of the Boston, Massachusetts, architectural company of
Cram, Goodhue and Ferguson ensured that a building of significance
would be erected. Ralph Cram was a committed Christian, who held
High Church beliefs and he poured these convictions into his work.
Bertram Goodhues enthusiasm for his work is noted in the records and
both men exhibited considerable gifts using the architectural style which
they favoured. They appear in the literature as leading architects in quality
church construction, at a time when church construction proceeded apace.
They went on to design the Episcopal/Anglican Cathedral in Detroit and
many other churches in the United States. The Cathedral in Halifax, Nova
Scotia, by Cram is the only other example in Canada. Locally, the Walkers
well-known architect, Albert Kahn, designer of Willistead Manor and his
partner, Ernest Wilby, provided supervision. For $1 a year Wilby continued
to act as St. Marys consulting architect for many years.

Cram and Goodhue were proponents of the leading artistic influence of the
time, the Arts and Crafts Movement, found on both sides of the Atlantic.
Dedicated to quality and integrity of design, the practitioners looked back
to styles of the past for inspiration as they reacted to the denigration of
society caused, in their view, by nineteenth century industrialization. Pointed
Gothic windows and other medieval features were almost universal in the
period, but Cram and Goodhue carried medievalism to its ultimate level
of achievement at St. Marys, the fifteenth century Perpendicular Gothic
style. For its architectural inspiration at St. Marys, the architects used
similar medieval parish churches found here and there in rural England.
Talented craftsmen worked for the architects and Johannes Kirchmayer
(the carvings) and the brother of the architect, Harry Eldredge Goodhue
(the windows) exhibited their talents to the fullest. An immigrant from
Bavaria, Germany, where religious wood carving and elaborate churches
are endemic, Kirchmayer brought its solid traditions with him. Cram
regarded him as a true creative genius. Regarding Harry Goodhues
windows, Cram wrote that at St. Marys, they promise to be the best
of anything thus far accomplished on this continent. Harry Goodhue
studied in Europe and used ancient techniques, which were revived in
the nineteenth century, to produce the striking and unique expressions of
religious art found in the windows of St. Marys. I wish that I could be
there at the consecration of the Church to see the effect of the windows, he
wrote. The past and the present meet at St. Marys, the past with memories
of the Gothic and the present reality of a living church community.
The past and the present here are a testament to the Glory of God.

The Chapel Altar

References:
A History of St. Marys Church by Cyril Hallam, 1979, a former member
and archivist of the Church.
The Arts and Crafts Movement by Steven Adams.
The Arts and Crafts Movement by Elizabeth Cumming and Wendy Kaplan.
Signs and Symbols in Christian Art by George Ferguson.
Web sites on Ralph Cram, Bertram Goodhue, Harry Goodhue, Johannes
Kirchmayer and Henry Mercer.
Text: Richard Gossling
Photography: Bruce Rutter

December 2015

Visit St. Marys current website for Church services and events in the Parish:

www.stmarysanglicanchurch.net.

Bertram Goodhue was a man of many artistic talents

and he completed a bookplate for St. Marys shown here.
It has been described as one of his finest pieces of work.