1894 Logo by Bertram Grosvenor Goodhue
+ Preface +
THIS Tour was inspired by the One Hundredth Anniversary of All Saints Parish, Brookline, celebrated November 1, 1994. Many historical sources have been borrowed from -- usually without attribution. The Tour will familiarize you with the contents of the church and their historical importance. It is a trip around the All Saints' interior and through over one hundred years of time.
+ Brief History +
IMAGINE you are seated in one of the rear pews for a moment while you read a short history of the building.
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 cooperate 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 story.
Services began that month, held in the nearby Beaconsfield Casino. Let us have the first rector, the Rev. Daniel Dulany Addison, describe that first place of worship:
It was a one-story building used as a clubhouse, with billiard room and bowling alley and an assembly hall used for meetings and dances. An altar of wood, so made and hinged that it could be folded and easily removed, covered with an altar cloth, was the center of worship, with a lectern (also used as a pulpit), an altar rail (easily removed) and cushions, together with a cabinet organ and a large silver dish as a font, providing the essentials for Sunday services.
The Beaconsfield Casino
The parish was officially formed on November 1, 1894, and given the name of that Holy Day, All Saints. In December, Dr. Addison arrived and inspired the development of All Saints Parish for its first twenty-five years.
Services were held in the Casino until the summer of 1895, when a temporary church of wood was built on land acquired (at seventy cents a square foot!) here at the corner of Dean Road and Beacon Street.
The Original Church
The cornerstone of the present building was laid by Bishop Lawrence on November 1, 1898. The building was designed by the firm of Cram, Wentworth, and Goodhue in "perpendicular Gothic" style. Ralph Adams Cram and Bertram Grosvenor Goodhue later became two of the nation's leading ecclesiastical architects. Only the nave was built in 1899 -- without aisle chapels or chancel.
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Ralph Adams Cram -- His Work and Legacy
The old wooden church continued to be used as a Parish House until 1910, when the present Parish House was given by Frederick P. Addicks in memory of his wife. At the same time, the west aisle chapel of the church was built, connecting the nave with the new Parish House. The Rectory was constructed in 1913, financed by the estate 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 1926 the present chancel and east transept were erected, virtually completing the building interior. The entire building, free of 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 described later; however, windows and furnishings have been constantly added and/or relocated. These will be pointed out as we tour the church. Each Rector has worked to improve the structure and, for over one hundred years, many generous parishioners have made it possible.
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The Architecture of All Saints Parish
1894 sketch by Bertram Goodhue
+ Memorial Door +
BEGIN your stroll around the church at the newly refurbished front door that faces Beacon Street. It was built in 1953 and conceived in tribute to parishioners who served in World War II. It later became a memorial to many members and friends of the Parish. The inside vestibule replaced the one that was used outside the church proper. The old door is seen in the following photograph. Note 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.
Church Exterior, circa 1934
Step outside and look at the doors of African mahogany. The arch overhead is of Indiana limestone, and the inscription, "All Thy Works Shall Praise Thee, O Lord, And Thy Saints Shall Bless Thee," is from Psalm 145, Verse 10.
Re-entering the church, turn to your left and walk through the doorway. A war shrine stood in this corner of the building during World War II. Prayers were constantly offered, and a service was held every Noon following the Allied invasion of France on D-day, June 6, 1944.
The War Shrine and Service Flag
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 aisle chapels. As we proceed down the left side aisle, observe the tablet installed by friends of George Prentiss Kendrick, for many years a faithful member and worshipper.
+ East Aisle +
CONTINUING along the east aisle, we come to the two Corey Windows of stained glass, designed by Harry Eldridge Goodhue (his brother was Bertram Goodhue, Ralph Adams Cram's first designing partner). The first window "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 Significant Women of Scripture.
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Sarah Elizabeth Corey Memorial Window
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."
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Timothy Corey Memorial Window
As you enter the east aisle chapel, on the left is the glass case that previously held the Memorial Door Book containing the names of those who contributed to the Beacon Street entrance. Above the case is a triptych of the Adoration of the Lamb. It is a miniature, hand-colored lithograph of the lower section of Jan van Eyck's The Ghent Altarpiece. The 11' 3" x 14' 5" original is located in a chapel of the Cathedral in Ghent, Belgium. The outside figures are also miniatures of the original.