Early in the 15th century, a church was built in a rural area west of London, England. The craftsmen who constructed it had worked on churches and cathedrals in the cities of southern England and were able to incorporate into the design of this small parish church many of the features of those larger edifices.
As was the custom in those days, men, women, and older children from the community assisted with the work. They built well, for the small structure, located near a bridge over a stream and known locally as “The Chapel by the Bridge,” was still standing 500 years later when, in the 1920s, it was visited by an American architect, Charles W. Bolton, of Philadelphia. Having designed a number of churches for the Reformed Church denomination, he was then making a study of English parish churches. He was so impressed by The Chapel by the Bridge that he returned home with a large collection of sketches and photographs showing details of its architecture and Christian symbolism.
When in the depths of the Depression, the Faith Church congregation decided to build a new sanctuary, Mr. Bolton was selected to design it and chose to model it after the English chapel he admired. The building was dedicated in June 1932.
Many years later, during the World War II bombing, The Chapel by the Bridge was destroyed, never to be rebuilt. Thus Faith Church stands as a memorial to the small church that inspired Charles Bolton to design what he considered a gem among the churches he had worked on.
The Architectural Style
Faith Church’s style is English Gothic — characterized by a pointed arch with a joint instead of a keystone at its apex. In general, the style is the “decorated” or Middle Period, marked by geometrical tracery, floral decoration, and triangular cusps projecting from the inner sides of the arches.
Christian symbolism is used extensively throughout the building — crowns, angels, and crosses decorate the exterior. “Enter into His Gates with Thanksgiving,” from Psalm 100, is carved into the face of the stone lintel over the main doors.
In the nave, the area where the pews are located, the dark, open timber roof peaks exactly fifty feet above the floor. This great distance, together with the roof trusses, the slender clerestory windows, and the arches below then, serves to pull the eye upward, emphasizing the heigh of the structure, which symbolizes the transcendence of God.
The massive oak trusses are supported by stone corbels projecting from the walls of the nave. On each of these corbels is a stone angel holding a book, originally inscribed in gold with the name of a book of the New Testament.
In front of the nave is the chancel, containing the altar, pulpit, lectern, and seating for the choir. Behind the altar is the reredos, the large, ornately carved, wooden screen, with the chancel window above. The vaulted chancel ceiling is brightly lined with gilt, contrasting sharply with the dark ceiling of the nave.
The Rich Symbolism
In the early days of Christianity, when few people could read, Christian symbols in churches served as silent sermons. The central theme that the architect found in The Chapel by the Bridge was “I am the vine, you are the branches” (John 15:5). This is the theme he used in planning Faith Church.
The vine with its twining branches is carved in the oak altar, reredos, pulpit, and lectern. It is also carved in stone in the tracery of the chancel and the stained glass windows, and is in molded plaster on the walls of the chancel as well. The wood was all hand-carved by three Danish craftsmen.
The symbols most frequently used to decorate the church include the cross — the Calvary Cross on the altar, and the Trinity, Latin, Greek, budded, and Fleury crosses; and the circle, shield, triangle, trefoil, fleur-de-lis, quatrefoil, oak leaf, and rose. On the headboard of the altar is carved the Latin inscription, “Gloria in Excelsis Deo.”T
he large oak reredos above and behind the altar is especially rich in symbolism. Intricately carved tracery at the top is seen against the backdrop of color from the stained glass of the lower part of the chancel window. The three central panels of the reredos were decorated personally by Frazik Ellsworth Reeder, who crafter the stained glass windows.
The Stained Glass Windows
The stained glass windows are historic in that they follow in the best traditions of the magnificent windows of the 13th, 14th, and 15th century European churches. Experts in this art maintain that the windows of churches built in this period have never been surpassed. Blue and red — like mingled ice and fire — predominate in the chancel window Highlighting the New Testament, Jesus is the central figure with St. Peter on his left and St. Paul on his right. The medallion at the top of this window portrays the Lamb of God carrying a resurrection banner.
The window located above the entrance at the rear of the sanctuary has an Old Testament theme. Moses, carrying the Ten Commandments, is flanked by David on his right, and Isaiah on his left. The medallion at the top of this window contains a representation of the Arc of the Covenant.
The Beatitude Windows
As worshipers proceed toward the front, they pass six windows, three on either side of the sanctuary. These are the middle three upper windows of each set of five. Near the top of each, in circular form, are a few words from a Beatitude. Thus, through the beautiful artistry of stained glass, worshipers are reminded of the historical interweaving of the Old and New Testaments and informed of the major teaching of Jesus of the attributes of a life well lived in Christian fashion. On a sunlit Sunday morning, the inspirational and educational experience of merely meditating in the sanctuary is incomparable.
Blessed are the meek, for they shall inherit the earth.
Blessed are the pure in spirit, for theirs is the kingdom of Heaven.
Blessed are those who mourn, for they shall be comforted.
Blessed are the merciful, for they shall obtain mercy.
Blessed are the poor in heart, for they shall see God.
Blessed are the peacemakers for they shall be called children of God.
The Architect’s Scroll
On the face of the balcony is a framed scroll — the architect’s personal signature on the church he designed so lovingly. To create the scroll, he followed the design of the illuminated cover of a Bible he had photographed in an English parish church. This handsome piece of art includes the Ten Commandments represented by numerals in the vertical borders, with the Great Commandment of Jesus in Old English letters in the central panel.