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copyright by Cornell University
Library 1994.St. Peter’s Church
in THE
CITY OF ALBANY
Historical Sketch and Description of the Edifice
Corporate Arms of St. Peter’s Church, Albany
FOBT OBANGE PBESS
BBANDOW PBINTING COMPANY
ALBANY, N. Y.
1907ILLUSTRATIONS
1.	Corporate Arms of St Peter’s Church
2.	Queen Anne Communion Plate, 1712
3.	Land Patent with Queen Anne Seal, 1714
4.	The first St. Peter’s, from an old print, 1715
5.	Charter of Incorporation with George III
Seal, 1769	......
6.	The Second St. Peter’s Church
7.	Present St. Peter’s Church, Exterior .
8.	Present St. Peter’s Church, Interior .
9.	The Memorial Altar and Reredos
10.	The Memorial Pulpit ....
11. The Memorial Lectern	.	.	.
12.	The Memorial Bas-relief of Faith
13.	The Memorial Alms Bason
14.	St. Peter’s Parish House .	.	.	.
15. The Memorial Rectory	.	.	.	.RECTORS OF ST. PETER’S CHURCH
IN THE CITY OF ALBANY
The Rev. Thomas Barclay
The Rev. John Milne -
The Rev. Henry Barclay, D.D.
The Rev. John Ogilvie, D.D.
The Rev. Thomas Brown,
The Rev. Harry Munro -
The Rev. Thomas Ellison
The Rev. Frederick Beasley, D.D.
The Rev. Timothy Clowes
The Rev. William B. Lacey, D.D.
The Right Rev. Horatio Potter, D.D.,
The Rev. Thomas Clapp Pitkin, D.D.,
The Rev. William T. Wilson
The Rev. William Tatlock, D.D.
The Rt. Rev. Wm. Croswell Doane, D.D.
The Rev. William A. Snively, D.D.
The Rev. Walton W. Battershall, D.D.
1708-1725
1726-1737
1738-1746
U50-1764
1764-1768
1768-1777
1787-1802
1803-1809
1813-1817
1818-1832
i833-i854
1856-1862
1862-	1866
1863-	1866
1867-1869
1870-1874
^74QUEEN ANNE COMMUNION SERVICELAND PATENT WITH QUEEN ANNE SEAL, 1714THE FIRST ST. PETER’S CHURCH, 1715, FROM AN OLD PRINT>?Ji }1
qA^*	,	j
, \
£	* * < iX\ |l 1?^ i IJ1 i ^
S4 j *t\$tf&j-'i.\ jii^e| ij i 'v.{
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■“..........“....-.."..‘ "■■■■•



CHARTER OF INCORPORATION WITH GEORGE III SEAL, I 769THE PRESENT ST. PETER’S CHURCH, EXTERIORTHE PRESENT ST. PETER’S CHURCH, INTERIORTHE PRUYN MEMORIAL ALTAR AND REREDOSTHE TIBBITS MEMORIAL PULPITTHE MACDONALD MEMORIAL LECTERNTHE MEADS MEMORIAL BAS-RELIEF OF FAITHTHE PRUYN MEMORIAL ALMS BASONst. peter’s parish house, 1875THE POTTS MEMORIAL RECTORYHISTORICAL SKETCH
nr HE institutions that represent the faith and worship
1 of men have a tenacity and persistence of life which
are seldom attained by the institutions that register the
varying phases of their social and political history. It
is a commonplace, generally overlooked, that the Church
of England antedates the realm of England. Some of
its parishes in fact have an origin that lies in the period
of the Saxon Heptarchy.
In this Republic, as in the older lands across the sea,
which have been the sources of its composite life,
religious corporations and edifices are the most enduring
memorials of ancient days. In most instances, the
edifices, either from the growth or the decay of the
community, have disappeared; but, along the eastern
seaboard, there is here and there an ecclesiastical
foundation which was laid two centuries or more ago,
and which has survived local vicissitudes and held its
ground amid the shifting centres of population.
In those early days they who were making history
were too busy to write history. The annals were
imperfect and still more imperfectly preserved. This
only enhances the value of the church-records which
survive and are accessible. To the general student,
the glimpses which they give of the social life of the
period are not without interest; and to those who
appreciate the sanction and the meaning of the spiritual6
Historical Sketch
life, their registry of the struggle of men who, with
meagre resources and in troublous times, laid the
foundation-stones of structures which shelter that life, is
of inestimable value.
The history of St. Peter’s Parish, Albany, has at
least this interest and value. For a long period, when
Albany in population and importance was second only
to the city of New York, the stone church in the middle
of State street under the shadow of Fort Frederick was
the northern and western outpost of the Church of
England in the Province of New York. It was a
period which involved political and religious issues of
the gravest character and of far-reaching consequence.
In those days the supremacy of the Anglo-Saxon or the
Latin on the continent was an open question. The
geographical position of Albany made it a point of
exposure where the balance hung in vibration. The
little frontier town was the rendezvous of personages
and the scene of events, which in large measure deter-
mined the issue. To a considerable degree the issue
depended upon the attitude of the powerful tribes of
the Iroquois Confederacy, and their attitude more or
less depended upon the source, Anglican or Latin, from
which they received their Christianity.
St. Peter’s Church was the radiating point of the
missionary work of the English among the Iroquois.
It discharged a difficult duty at a critical epoch, and
the opening chapters of its annals are quite as muchHistorical Sketch
7
concerned with the Indians as with the population of
Albany. Thus the parish was a force in the political
history of the times. In its records are found abundant
traces of the current life both of the colonial and the post-
revolutionary period. These, however, are incident
in the story of a parish, which, in the early days stood
for the larger Faith and Law of Christ and which, amid
overshadowings and mishaps, maintained its life and
struggled into power.
The History of St. Peter’s Church was published in
1899. It is a bulky volume covering in fact the early
history of the Church in northern New York. St.
Peter’s Church as it stands to-day arrests attention
and is worthy of it. This pamphlet is simply a
sketch of the edifice and the historic and artistic
features which give it interest.
After a ministry of thirty-three years among the
people of St. Peter’s, touching their lives at those
points where life takes in its deepest and most hallowed
experiences, I gratefully acknowledge their constant love
and trust and helpfulness in our common work for
Christ and His Church.
Walton W. Battershall.
• St. Peter’s Rectory,
St. Peter's Day, ipo/SAINT PETER’S CHURCH
Albany, N. Y.
*
DESCRIPTION OF THE EDIFICE
By the Rector, the Rev. Walton W. Battershall, D. D.
HE present edifice is the third in the history of the
parish. The first was built in 1715. It was a
stone structure measuring forty-two by fifty-eight feet
and stood a block below the site of the present church.
The land for the first edifice was granted by letters
patent from the Crown, and the building was erected
under the supervision of the Rev. Thomas Barclay,
missionary to the Mohawks and chaplain to the English
garrison at Albany. Above the church, on an abrupt
eminence which has since been levelled to the gradual
ascent to the Capitol, stood Fort Frederick, which rep-
resented the English sovereignty in the province, and
whose northeast bastion extended over the site of the
porch of the present St. Peter’s.
The little church under the shadow of the fort was
the first house of worship of the Anglican Communion
north of New York and west of the Hudson. It stood
in the middle of the street like a rock in the midst of
a brook tumbling down the flank of a mountain. On
either side of the church ran the street, pressing apart
the two lines of Dutch gables which straggled down the
hill till it approached the river bank, where stood the
old Dutch church, which again divided its current.
These ancient landmarks in the colonial history of
The First St. Peter’sIO
Saint Peter's Church
Albany—the two obliterated churches—account for the
grand and spacious thoroughfare which now climbs the
hill and sweeps around the Capitol.
The Present Edifice, Style of Architecture
In 1790 the site of the present edifice was deeded to
the parish by the City of Albany in exchange for the
site on which the first church stood in the middle of the
street and, in 1802, the last year of the rectorship of
the Rev. Thomas Ellison, the second St. Peter's was
built. It was considered a notable example of the style
of architecture which prevailed at the period. In 1859,
in the rectorship of the Rev. Thomas Clapp Pit-
kin, D.D., the second edifice was demolished, and on
St. Peter's day, the 29th of June in that year, the
foundation stone of the present structure was laid.
The building was designed by Richard Upjohn, the
distinguished architect of Trinity and St. Thomas'
churches, New York city, and with the exception of
the vestry room, which was placed on the west instead
of the east side of the chancel, and the tower which was
carried only to the eaves of the nave, the church was
built in exact accordance with the design of the architect.
The dimensions are: length, 136 feet; breadth, 68
feet; height, 64 feet. The style of architecture is the
decorated Gothic, of the French rather than the English
type. Its French characteristics appear in the height of
the nave and aisles, the apsidal chancel, the mouldings
and curve of the arches, and especially the details of
the completed tower. The design is learned, without
suggestion of imitation or trace of academic formality,
and the edifice in every feature shows conscientious and
sympathetic study of what is generally considered theDescription of the Edifice	11
best period in the development of Gothic architecture;
the point which marks the equipoise between its growth
and decline.
Gothic is not the only type of Christian architecture,
but the best forms of Gothic undoubtedly express more
perfectly than the Grecian or the Romanesque, the
faith and aspiration of Christianity. In good Gothic,
however, the constructive and decorative lines must
suggest, not only emotion but power, not only sponta-
neity but reserve. The language of the pointed arch,
must be associated with an impression of mass and
height; and it is by this association that the architect of
St. Peter’s has given to his structure its singular dig-
nity and profound religious feeling. The comparative
shallowness of the chancel is obviously due to the limi-
tations of the lot, which, though it extends from street
to street, is not quite deep enough for the full propor-
tions of a church of this magnitude. This however,
touches a point of practical convenience, rather than of
architectural aesthetics. The interior gives the impres-
sion of perfect proportion and the solemnity which is
breathed from noble spaces and lines designed with
devout skill and purpose.
Exterior of the Edifice
The material employed in the construction of the
walls is the Schenectady blue stone, whose natural cleav-
age by exposure to the weather has taken a tint of
green.
The decorative features of the walls, the doorways
and window openings with their double mullions and
geometrical traceries, are cut from the brown sandstone
of New Jersey. The combination of the two varieties12
Saint Peter's Church
of stone has resulted in fine harmonies and accents of
color. The deeply recessed and richly moulded arch
enclosing the double portal of the church, and the win-
dows of the aisles, clerestory and apse, give to the body
of the edifice its decorative points and its architectural
interest. The broad, well-projected buttresses between
the large windows of the aisles suggest mass and strength.
Before the completion of the tower, perhaps the most
attractive feature of the exterior was the polygonal
apse, whose walls, rising to an unusual height, are
pierced by six lancet windows, each of which is bisected
by a slender mullion and crowned with elaborate
tracery.
The Memorial Tower
The design of the architect included a tower which,
at the building of the church, was carried to the height
of fifty-six feet and, at that point, provided with a tem-
porary roof. The tower as originally sketched was
massive but severely plain. It did nothing to fulfill,
indeed it was hardly in accord with, the architecture of
the body of the edifice. Evidently the design was more
or less controlled by considerations of expense, and
doubtless it was owing to these considerations, that the
church for fifteen years stood with its truncated tower.
The tower as it stands, was erected in 1876 as a memo-
rial to Mr. John Tweddle by the munificence of his
wife and children, Mrs. Joseph Wilbur Tillinghast and
Miss Anna Eliza Tweddle. It was designed by Mr.
Richard M. Upjohn, and constructed by Messrs.
Ellin & Co. of New York. At the benediction of the
tower, the vestry placed in the Tower-Room a tablet
which bears the following inscription:Description of the Edifice	13
This Tower from the
eave of the Nave was built in the
year of Our Lord 1876.
To the Glory of God
and in memory of his faithful servant
John Tweddle;
Sometime Warden of this Parish.
He entered into Rest, March
gth, 1875 and, by the bounty
of his Wife and Children,
this Monument completes
and adorns the Sanctuary
he loved.
tiAnd Jacob set up a pillar in
the place where He talked
with hint; even a pillar of stone.”
Gen. xxxv. 14.
This Tablet was erected by the Rector and Congregation
of St. Peter s Churchy at the Dedication of the Tower on the
Festival of St. Michael and All Angels, A. D. 1876.
The completed tower is one of the most elaborate
and impressive examples of the decorated French
Gothic on the continent. Its architectural value is
such that it justifies a detailed description. It is a mas-
sive shaft about twenty feet square bearing on its salient
angle a projecting octagon which carries a spiral stair-
case. The total height from base to cross is one hun-
dred and eighty feet. The architecture of the tower is
essentially that of the church. Its French character,H
Saint Peter’s Church
however, is more strongly accentuated, and its decorative
details are much richer and more striking. From the
ground to the height of about seventy-five feet, the
massive shaft is treated with extreme simplicity, the
blue stone ashler being relieved by occasional bands and
small windows encased in brown sandstone. At the
height of seventy-five feet a series of deeply recessed
arches nine feet in height encircles the entire tower.
Above this decorated girdle in brown stone, is the
belfry, thirty feet in height. Each of its four faces is
pierced with three lancet windows, separated by richly
moulded shafts and crowned by arches whose mouldings
rest on sculptured heads. This group of lofty lancets,
with their elaborate treatment of shaft and capital and
arch, is the most important and beautiful feature of the
tower. The carving of the capitals is continued around
the octagon and the three other angles of the structure.
The belfry is surmounted by a heavily moulded
parapet about eight feet in height, pierced with arched
openings and resting upon a broad band of foliage carved
with great vigor and boldness, which girdles the tower
and from which, at each of the three exposed angles, pro-
jects a huge gargoyle. These gargoyles stretch out their
winged, griffin-like forms and tiger-like heads to the
north, east and west, projecting about eight feet beyond
the body of the tower. They are striking and effective
features in its decorative treatment, and give it unique
character. They constitute the largest stones used in
its construction, the weight of each gargoyle being three
tons. The bat-like wings are folded back and ingen-
iously conceal the massive butt of stone set in the walls
to counterbalance the projecting body of the sculptured
monster.Description of the Edifice	15
These gargoyles, which in general outline resemble
those on St. Stephen’s Church, Vienna, reproduce
one of the most remarkable traits of Mediaeval
Gothic; the fantastic and grotesque element which lay
close to, and was interblended with, its exquisite expres-
sions of aspiration and prayer. They represent the
bestial and demoniac forces which haunt the soul and
assail its higher life. This probably was the thought
of the sculptors of the old cathedrals, when they carved
contorted shapes and malignant faces on the eaves and
towers of the shrine where the higher life finds its shelter.
The meaning of the gargoyles which project over
the belfry of St. Peter’s also interprets the fantastic
animal forms and the grotesque human faces which
decorate the salient points in the upper stages of the
tower. These sculptures show great imaginative force
and artistic skill and, while one can get their full value
only as he climbs the spiral stairway to the roof of the
tower, they give to the structure from even distant
points of view, richness and picturesque interest. At
each angle of the parapet and directly over the gargoyles
rises a square turret. On the main angle, on the corner
of the street, the staircase octagon is continued sixty
feet above the roof of the tower and is surmounted by
a stone spire of exceeding gracefulness, which ends with
a massive finial, bearing in gilded iron the double cross
of Holland.
The Bells
By the generosity of George Tweddle, the belfry was
equipped with a Chime of eleven bells, which were cast
in the foundry of Meneely & Kimberly, Troy, Nj Y.
The bells are perfectly attuned and their combinedi6
Saint Peter's Church
weight is six tons. The following is a statement of the
tones and weights of the bells composing the Chime:
E flat, 3,150 pounds; F, 2,150 pounds; G, 1,600
pounds; A flat, 1,250 pounds; B flat, 850 pounds;
C, 600 pounds, D flat, 500 pounds; D, 450 pounds;
E flat, 400 pounds; F, 300 pounds; G, 250 pounds.
The aggregate weight of the bells is 11,500 pounds.
The Inscriptions on the bells are as follows:
Great E Flat Bell
John Tweddle.
“Pray for the peace of Jerusalem. They shall prosper that love Thee,9 9
<cGloria in Excelsis Deo”
This chime of bells was given to St, Peter s
Churchy Albany, N. T., by George Tweddle,
Christmas, i8yyy in memory of his father
and mother, John and Sarah Tweddle,
F Bell
Mrs, Sarah Tweddle,
“Enter into His gates with thanksgiving and into His courts with praise,”
G Bell
George Tweddle,
“To tell of Thy loving kindness early in the morning, and of Thy truth
in the night season,”
A Flat Bell
Mrs. Mary Tweddle.
“ Blessed are the poor in spirit; for theirs is the kingdom of heaven.”17
Description of the Edifice
B Flat Bell
G. Robert Tweddle.
<€ Blessed are they that mourn; for they shall be comforted.”
C Bell
J. Boyd Tweddle.
f€ Blessed are the meek ; for they shall inherit the earth”
D Flat Bell
H. Arnold Tweddle.
Blessed are they which do hunger and thirst after righteousness; for
they shall be filled .”
D Bell
George Tweddle, Jr.
“ Blessed are the merciful; for they shall obtain mercy”
E Flat Bell
Mary F. Tweddle.
cc Blessed are the pure in heart; for they shall see God.”
F Bell
Rev. Walton W. Battershall, Rector of St. Peter s.
Blessed are the peace-makers; for they shall be called the children
of Godri8
Saint Peter’s Church
G Bell
“ Blessed are they which are persecuted for righteousness sake; for theirs
is the kingdom of heaven
The Old Bell
Sharing the belfry with the Chime, but not forming
part of it, is the bell which swung in the steeple of the
first St. Peter’s Church and summoned to divine service
the garrison of the Fort, the people of the little frontier
city, and the Indians encamped outside the “palisa-
does,” who had come out of the forest for barter or to
brighten the links of the “Covenant? Chain” between
the Province and the six tribes of the Iroquois Confed-
eracy. This interesting relic of olden days, incorrectly
called the “Queen Anne Bell,” bears in raised charac-
ters the following inscription:
Si. Peter s Churchy Albany i/S1- Minister, J. Ogilvie.
J. Stevenson, E. Collins, Church Wardens.
Its thin voice, somewhat cracked, strikes the numer-
als of the new year in the midnight chimes on New
Year’s Eve.
The Interior
It is in its interior effects that the building chiefly
declares its devotional values. As one enters the por-
tal, there is thrown over him a spell which compels rev-
erent thought. It seems as if the noises of the world
were hushed in the large, silent spaces, and the glare of
the sun had lost its power to allure or to irritate in the
calm twilights. The whole atmosphere and tone sug-
gest mystery and worship. It is difficult to instanceDescription of the Edifice	19
any specific feature which dominates in this devotional
effect. The height of the chancel, the spaciousness of
the nave, the dignity of the architectural lines, the har-
mony of color in the decorative treatment; all contribute
to the sense of vastness and solemnity, which is
enhanced by the chastened light that takes the dyes of
the rich coloring in the windows.
From the foot of the broad alley of the nave, the eye
is impressed by the most important structural feature of
the interior—the series of arches sustaining the cleres-
tory, and rising from massive octagonal stone columns
with that fine curve, which lies between an undue
depression and an undue sharpness of apex. The intri-
cate tracery of the roof gives a vague sense of richness,
but its details are lost in shadow. The vision is carried
along the noble curves of the arches of the nave, and
rests on the altar surmounted and engirdled by the lofty
windows of the apse.
In 1885 important changes were made in the Chancel
and its environment. The altar originally stood in the
chord of the apse and the choir occupied the gallery
over the porch of the Church. In the year mentioned
the present altar and reredos were built into the east
wall of the chancel,1 the north wall of the chancel and
the wall at the terminus of the north aisle were pierced
with the arches of the organ chamber, and the choir
room was built with reference to the introduction of a
surpliced choir.
In the same year, the walls of the interior were deco-
rated under the supervision of Mr. Robert W. Gibson,
architect of All Saints’ Cathedral. The decoration is
1 We indicate the points of the compass in their ecclesiological inter-
pretationr.20
Saint Peter's Church
thoroughly Gothic in its spirit and detail. The back-
ground of color is a rich yellow, which furnishes a good
reflecting surface, required by the dim light of the
interior. The decorative treatment gives warmth and
relief to the walls and strictly conforms to the architec-
tural lines of the building. It has the grace of quiet-
ness, temperance and unsensuousness, and carries into
color the subtle harmonies of the structure.
The basis of the design for the decoration of the
chancel was furnished by Messrs. Clayton & Bell of
London, but its details received judicious modifications
from Mr. Gibson. The treatment of the walls beneath
the chancel windows is provisional and is intended
ultimately to be replaced by colored marble or mosaic.
The decoration is rich in symbolism and deepens in
splendor as it approaches the altar, which stands with
its emphasized treatment as the dominant feature and
explanation of the edifice.
The Memorial Altar and Reredos
The Altar and Reredos were erected in 1885. They
were designed by Mr. Richard M. Upjohn, and, with
the exception of the sculptured angels, the work was
executed by Messrs. Ellin & Co. of New York. The
material employed is Caen stone and the type of archi-
tecture is the decorated Gothic of the church. The
Altar is raised from the floor of the nave by seven stone
steps, three of which form the ascent from the Sanctuary
pavement. It is eight feet, three inches in length, and
the front is deeply recessed by round arches, which are
supported by columns of tinted marble and enclose
symbolic sculpture. The Reredos, with its massive
buttresses, defines the central plane of the polyginalDescription of the Edifice	21
apse, and its apex lifts its cross against the base of the
central lancet of the chancel. It bears on its salient
points interesting bits of sculpture; but the chief sculp-
tural feature are two angels, designed in high relief,
with outspread wings, kneeling above the retable in
adoration of the cross, which forms the background of
the Reredos. These devout and beautiful figures were
modelled by Mr. Louis St. Gaudens in the studio of
his brother, Auguste, and are a significant product of
recent religious art. The north buttress of the Reredos
bears the following Inscription:
To the glory of God and in sacred and loving
memory of Elizabeth McClintock Pruyn,
Born Oct. 31st. 1833, evermore at Rest
Dec. 20th, 1884.
The south buttress is inscribed:
And we also bless Thy Holy Name for all thy servants
departed this life in thy faith and fear; beseeching Thee to
give us grace so to follow their good examples, that with
them, we may be partakers of Thy heavenly kingdom.
The Altar Cross
The brass Cross on the retable is an earlier memorial
and bears the Inscription:
In Memory of Mary Ada Pierson, Easter, 1881.
The Credence
In the same year that the altar and reredos were con-
structed, the Credence table was built into the wall on
the south of the altar. It is a dignified composition,22
Saint Peter’s Church
cut from Caen stone, after the design of Mr. Richard
M. Upjohn. The upper portion consists of a recessed
arch enclosed in a square, whose exterior moulding
terminates in sculptured corbels. Below the table,
blended with conventionalized flowers are the words:
“Blessed are the pure in heart; for they shall see God."
MayXXIII A. D. MDCCCLXV.
On the base runs the Inscription:
In loving memory of Catharine Elizabeth Van Vechten
\Ten Eyck.
The Altar Rail
The Sanctuary is separated from the Choir by a brass
trefoil Rail supported by standards of beaten brass of
intricate workmanship. It was designed by Robert W.
Gibson, and is inscribed:
In memory of Mary Jane Perry, wife of John S. Perry,
and their deceased children.
The Mosaic Pavement of the Chancel
At the time of the remodelling of the chancel, the
floor was laid in mosaic, after designs by Mr. Robert W.
Gibson. The choir pavement has no specific decoration
except the wave-lines on the chancel steps symbolizing
the laver of baptism. The mosaic of the Sanctuary on
the other hand has an elaborate symbolic treatment, the
chief features of which are the symbols of the four
Evangelists and the sacred Monogram at the base of
the altar steps.Description of the Edifice	23
A small brass plate inserted in the mosaic bears this
Inscription:
The Pavement of this Sanctuary was given in loving and
sacred memory of Orlando Meads, Twenty-seven years
Vestrymen and eight years Warden of this Parish. Died
February ny A. D. 1884.
The Sanctuary Candelabra
These were placed in the church the Christmas of
1897. They are the design and workmanship of the
Tiffany Company, New York city, and are massive
structures of brass treated in rich Italian Gothic. They
stand on the pavement either side of the altar, each
Candelabrum bearing seven candles. The bases are
inscribed:
In loving memory of Luther Henry Tucker, sometime
Vestryman of St. Peter s Church. Entered into Resty Feb-
ruary Twenty-thirdy MDCCCXCVII. These Candelabra
are given by his wife and children for the Glory of God's
«
House.
The Organ Chamber
The right hand column of the arch of the Organ
Chamber which opens upon the north aisle bears a brass
tablet inscribed as follows:
This Organ Chamber was built in the year of our Lord
1885 for the worship of Gody and in sacred memory of His
servanty Giles Ward Porter, a man of integrity and faithy
for many years a communicant of this Altary who entered
into Rest March uthy A. D. 1859.24
Saint Peter's Church
The Organ
The organ was built in 1886 by Hilborn Roosevelt
of New York City and is an instrument of unusual
delicacy and power. It has three manuals and full
pedal compass. As originally constructed, it was pro-
vided with twenty-seven stops and fourteen couplers and
pedal combinations. In 1895 the instrument was
renovated by Michel and six stops were added. It has
a good foundation of solid diapason tone, and excels in
the richness of its orchestral and imitative stops. The
lofty arch of the Organ Chamber on the north side of
the Choir throws the full power of the organ into the
Chancel, which serves as a spacious sound chamber.
Its high roof and apsidal walls have acoustic qualities
which reinforce the musical effects, vocal as well as
instrumental.
The Choir Room
The Memorial Choir Room was built in 1886 and
contains the choir library. It was supplemented in 1895
by the larger room, in which the rehearsals are now
conducted. The elaborate stone doorway designed by
Upjohn, which opens into the church from the memorial
Choir Room bears the following Inscription:
This Choir Room was built in sacred memory of Harmon
Pumpelly, entered into Rest September 28th. A. D. 1882.
The Pulpit
This was built in 1886 by Ellin & Co. of New York
after the design of Robert W. Gibson. It is a peculiarly
rich and beautiful composition in Venetian Gothic. TheDescription of the Edifice
25
material is the red sandstone of Carlisle, whose close
texture takes the intricate sculpture. The base, whose
foundations rise from the crypt, bears the Inscription:
In Memoriam
John Rutger Bleecker
Eliza Attwood Bleecker
Benjamin mbits
Elizabeth Bleecker Tibbits
The Lectern
This fine bronze, the work of the Gorham Company,
New York, was placed in the church in 1892. It rep-
resents an angel of heroic size, whose uplifted hands
support the frame on which the Bible rests. The globe
which forms the base is inscribed:
To the Glory of God’s Word and in loving memory of John
Macdonald entered into Rest March 27, A. D. 1892
“For so He givetb His Beloved sleep.”
The Font
This memorial of an earlier date was transferred to
its present site in the changes of 1885. Its position at
the porch of the church symbolizes the rite of Baptism
as the initial sacrament of Christ’s religion and door of
H is church.' The Font is a graceful structure of white
marble and bears the Inscription:
“ He shall gather the lambs with His arms.”
In Memoriam C. S. P. Aged X.
A. D. MDCCCLXVII.
In Pace, Die Ascensionis.26
Saint Peter’s Church
The Memorial Windows
The solemnity and beauty of the interior are due in
large measure to the devout treatment and artistic merit
of the stained glass in the windows of the apse and aisles.
Except in the chancel, there has been no attempt to
secure uniformity of method or sequence of theme.
The windows were treated at various dates by various
artists. The only aim was to obtain the deepest devo-
tional feeling and the highest aesthetic value that could
be given by the ecclesiastical art of the present day.
The Gothic character of the edifice of course controlled
the general treatment of the windows.
The Chancel Windows
The six great lancets of the apse were treated
subsequent to 1885. They are the workmanship of
Messrs. Clayton & Bell of London. Each lancet,
bisected by its mullion, displays in its upper section
two life-size figures of angels bearing musical instru-
ments. The light streams into the chancel, solemnized
by their sweet majestic faces and the rich vestments
which fall in stately lines about their forms. The angels
of the middle lancet above the altar stand with hands
folded in prayer. Beneath this chorus of angels each
lancet displays a significant scene in the life of St. Peter.
The two series of illumination are separated by arabesque
work. The serenity and joy of the angelic chorus are
in suggestive contrast with the human struggle and con-
secration depicted in the scenes from the history of the
great Apostle, and the lesson of each is blended and
completed in the sculptured angels adoring the cross
above the Altar, and the angel in bronze at the entrance
of the chancel bearing the Bible.Description of the Edifice	27
The Harriet Langdon Parker Window
The lancet next to the chancel arch of the organ
chamber, pictures The Call of St. Peter, with the
legend: “Follow Me, and I will make you Fishers of
Men.” St. Matt. IY, 19.
Underneath is the memorial Inscription:
To the Glory of God and in loving memory of Harriet
Langdon Parker daughter of Edmund and Katharine Lang-
don Roberts of Portsmouth, N. H. and beloved wife of
Amasa J. Parker of Albany.
At Rest June 27th. i88p.	“ Her children arise up and
call her blessed, her husband also, and he praiseth her.”
The Irwin Window
The second lancet pictures The Confession of St.
Peter, with the legend: “Thou art the Christ, the
Son of the living God.” Underneath is the memorial
Inscription:
In memory of William P. Irwin, entered into Rest
Oct. jo, A. D. 1876.
The Taylor Window
The third and middle lancet pictures The Charge
to St. Peter with the legend: “Jesus saith unto him
Feed My Sheep.” Underneath is the memorial
Inscription:
In memory of John Taylor.
Entered into Rest, Sept. 13. A. D. 1863.28
Saint Peter's Church
The Tremain Window
The fourth lancet pictures The Pentecostal Sermon
of St, Peter, with the legend: “This Jesus hath God
raised up; whereof we all are witnesses." Underneath
is the memorial Inscription:
In memory of Lyman Tremain. Entered into Rest
Nov. jo. A. D. 1878. Also of his Sonsy
Frederick Lyman Tremainy died Feb. 8thy 1865.
and Grenville Tremain died March iphy 1878.
The Peltz Window
The*f fifth lancet pictures The Healing of the Crip-
ple by St. Peter and St. John at the Beautiful Gate of
the Temple, with the legend:	“In the Name of Jesus
Christ of Nazareth rise up and walk." Underneath is
the memorial Inscription:
In loving memory of
Mary Marvin Learnedy wife of John De Witt Peltz
who died November 23rd. A. D. 1888.
In the 33rd. year of her Age.
The Amasa J. Parker Window
The sixth lancet pictures The Release of St. Peter,
with the legend: “The angel of the Lord came upon
him, and a light shined in the prison." Underneath is
the memorial Inscription:
Amasa J. Parker, at Rest 13th. May 18go, JET. 83.
“Faithful unto death.”Description of the Edifice	29
The Aisle Windows
The aisle windows are large and dignified openings,
with two stone mullions and elaborate tracery in each
window. The three spacious compartments surmounted
by a cusped circle, give ample exposures for the decora-
tive treatment of the glass. Like the chancel lancets, all
the aisle windows have been treated by eminent English
artists, who have adopted a key of color suited to our
vivid American sunlight.
In describing the windows, we begin on the left of
the chancel arch at the end of the south aisle.
The Corning Window
This window, the workmanship of Messrs. Heaton,
Butler & Bayne, was placed in 1870. It is a minutely
detailed composition depicting “The seven corporal
acts of mercy.” It bears the Corning and Tibbits
arms with the legend “Per Industria nil sine Numine.”
In the cusped head of the window is the enthroned
Christ. Underneath is the memorial Inscription:
Gertrude 'Tibbits Corning, entered into Rest Jan. XXII.
MDCCCLXIX. In Pace.
The Pruyn Window
This window was made in 1869 by Messrs. Clayton &
Bell in the earlier and more severely ecclesiological man-
ner of these artists. It pictures the scene of the Cruci-
fixion. At the head of the window is the mystical
marriage of St. Catharine. At the base are subordinate
scenes of the Crucifixion, the three Maries and the30
Saint Peter's Church
Procession to the Cross. It bears the memorial
Inscription:
In memory of Harriet C. Turner, wife of John V. L.
Pruyn, who died March 22, 1859 in the 37 th year of her
age: also of Harriet Catherine, daughter of the aforesaid
John and Harriet, who died Feb. 25, 1858,.in the 9th year
of her age.
The Sherman Window
This was designed and put in at the same time as the
Pruyn window and is by the same artists. It pictures
the three Maries and the angels at the sepulchre of our
Lord, and illustrates the text: “Why seek ye the living
among the dead, He is not here; He is risen." In
the cusped opening at the head of the window is the
ascending Christ. Underneath are subordinate scenes
in the narrative of the Resurrection. The following is
the memorial Inscription:
In memory of Sarah L. Turner, wife of Watts Sherman,
who died Aug. 4, 1838 in the 21st year of her age.
The Cooper Window
This was designed by Messrs. Clayton & Bell in
1879. I* represents Christ giving peace and healing to
the various types of human misery. At the head of
the window is the Agony in Gethsemane, and at the base
is the text:	“Come unto me all ye that labour and are
heavy laden and I will give you rest;" also the
memorial Inscription:
In memory of John Tayler Cooper, entered into rest Aug.
13, A. D. 1878.Description of the Edifice	31
The Weaver Window
This window was designed by Burne-Jones and was
made under his supervision by the William Morris
Company of London. Its theme is the Christology of
the Old and New Testaments. The head of the window
depicts the Temptation in the Garden of Eden. Below
are the three great types of Christ in the old Covenant,
with the titles: “Abram Heres Mundi. Melchisedech
Rex Salem. David RexTsrael.”
At the base are three scenes from the Nativity of
Christ; the Annunciation, the Birth and the Adoration
of the Kings, with the legend: “Benedictus qui venit
rex in Nomine Domini. Pax in caelo et gloria in
excelsis. ’ ’
This window was the gift of Mr. George S. Weaver,
one of the wardens of the parish, in 1880.
The Wells Window
This is the design and workmanship of Henry Holi-
day, the distinguished pupil of Burne-Jones. It was
erected ^1884. The head of the window gives the
Raising of Lazarus. The large figures underneath are
the Three Maries. Below the Mary of Bethany is the
scene depicting the penitent washing the feet of Christ.
Below the Virgin Mary, the mother of Christ is pic-
tured fainting at the foot of the Cross. Below Mary
wife of Cleophas, the three Maries are represented on
their way to the Sepulchre in the garden. At the base
of the window is the Inscription:
In memory of Agur Wells, died January 21st, f8y6, and
Abigail Wells, died March 26th, 1880.32
Saint Peter’s Church
The Owens Window
This window in the fa$ade of the church, at the end
of the north aisle, was put in its place in 1885 and is
the work of Mr. Henry Holiday. It stands over the
font and its theme is the Sacrament of Christian Bap-
tism. The cusped opening at the top pictures Christ
blessing the children. The chief section of the window
depicts the Baptism of our Lord with the legend
underneath: “This is my beloved Son in whom I am
well pleased. St. Matthew iii, 17.
The subordinate scenes at the base give St. Philip
accosting the eunuch of queen Candace, the discourse
of Christ with Nicodemus at night and the Baptism of
Lydia and her household.
The memorial Inscription reads:
In memory of Edward Owens, ob: Nov. igthy 1862 and his
wife, Polly Sabina Hawley, ob: April iothy 1884.
The Kidd Window
This window is also the work of Mr. Henry Holiday
and was put in place in 1884. It represents scenes in
the Infancy and Boyhood of our Lord. In the chief
section of the window, the middle opening pictures the
enthroned Virgin and the divine Child. On either side
are the adoring kings, or magi, presenting gifts to the
Infant Christ. Below this scene is the legend: “They
presented unto Him gifts, Gold, Frankincense and
Myrrh.”
Underneath the “Adoration,” is pictured the Flight
into Egypt, the Boy-Christ in the Temple and the Boy-
Christ in the carpenter shop of Nazareth.Description of the Edifice
33
The opening at the head of the window depicts the
Angels of the Nativity with the legend: “Gloria in
Excelsis.”
At the base is the memorial Inscription:
To the glory of God and in memory of James Kidd, died
May 20th, 1879
The Pumpelly Window
This design of Messrs. Clayton & Bell was made in
1883. It depicts the scene of the Transfiguration with
the figures of the illumined Christ, Moses and Elias,
and the three Apostles, St. Peter, St. James and St.
John. Underneath is the text: “He was transfigured
before them.” The cusped circle above gives the risen
Christ and St. Thomas. The base of the window
pictures the miracle of our Lord at the foot of the
mountain of the Transfiguration, below which runs the
text: “They were all amazed at the mighty power of
God.”
The memorial Inscription is as follows:
In loving memory of Harmon Pumpelly sometime Warden of
St. Peter's Church. Entered into Rest Sept. 28,1882.
The Dexter Window
This window, the work of Mr. Henry Holiday, was
put in place in 1884. It represents Faith, Hope and
Charity. Beneath the mailed figure of militant Faith
is the legend: “Contend earnestly for the Faith,” and
the scene of St. Peter's Confession of the Divinity of
our Lord. Beneath the figure of Charity protecting
two children is the legend: “Love one another for love34
Saint Peter's Church
is of God,” and the scene of St. Peter and St. John
healing the cripple at the Beautiful Gate of the Temple.
Beneath the figure of Hope parting the clouds, is the
legend: “Looking for that blessed hope,” and the
vision of St. John at Patmos through “a door opened
in heaven.”
In the cusped circle at the head of the window is the
glorified Christ amid the seven golden candlesticks.
The memorial Inscription reads:
In memory of James Dexter, George Dexter, June 2/, 1883.
On the stone base of the window is a brass plate with
the Inscription:
This tablet is erected to the memory of Dr. Samuel Dexter
who was born in Northampton, Mass, on November 14th)
A. D. 1756, moved to Albany in A. D. 1790 and died on
August 29th, A. D. 1823. He and his sons, George and
James, were members and vestrymen of this Parish. These
all died in Faith.
The Ten Eyck Window
This window was placed in 1876, and is the work of
Edmonson, of Manchester, England. It pictures the
scene in the Temple where St. Simeon blesses the Infant
Christ. In the right compartment is the Blessed Virgin
and St. Joseph. In the left compartment St. Ann.
Underneath runs the text: “Lord, now lettest Thou
Thy servant depart in peace according to Thy word,
for mine eyes have seen Thy salvation.”
In the cusped opening above is depicted the archangel
St. Michael slaying the dragon. The memorial Inscrip-
tion reads:
In memory of Abraham R. and Ann Ten Eyck.Description of the Edifice	35
The Talcott Rose Window and Lancets
The facade of the church, above the porch, bears
four lancets surmounted by a large rose, or Catherine
wheel window, so called in allusion to the martyrdom
of the saint. The rose window was designed and made
by the Tiffany Company of New York in 1890; the
lancets in 1892. The color-scheme of the rose window
was suggested by the 13th century glass of Chartres cath-
edral. It is of peculiar depth and richness and varies
with the varying lights of the western sun. Four arms
of the window are lighter in treatment than the others,
making a cross, amid the arabesques of which, are the
traditional symbols of the four Evangelists. On the
pillar on the left of the church porch is the memorial
tablet which reads:
The Rose window and its lancets are a loving memorial
of Sebastian Vischer Talcott and his dear wife Olivia Maria
Shearman.
Sebastian Vischer Talcott, born 24th Nov. 1812, died
10th Nov. 1888.
Olivia Maria Shearman, born 14th Oct. 182 ?, died 20th
Jan. 1888.
The gift of their daughter, Sarah Talcott Pruyn.
The Leake Window
Above the west door of the north aisle are two small
lancets which have been treated as memorials, with
decorated glass of artistic interest.
The right hand lancet was made by Mr. Theodore
H. Leake, of the firm of Leake & Greene, Pittsburg,
Pa. It is composed of plated glass and displays simply
a Roman cross with the word, Julia, underneath. This36
Saint Peter's Church
window was the gift of Mr. James H. Leake in the
year 1884, in memory of his infant daughter.
Van Vechten Window
The second of the lancets above the side door was
placed in 1885, and is the work of Miss Mary Tilling-
hast of New York. It represents the youthful St. John
Baptist, above whom are the faces of two cherubs, and
underneath is the text: “The Day Spring from on high
hath visited us to give light to them that sit in dark-
ness/' The window, the gift of Mrs. Tunis Van
Vechten, has no further inscription, but it is a memorial
to Margaret Kendrick.
The Banyar Window in Choir Room
This was put into the present church at the time of
its building, i860, and it is a good specimen of the
work of Doremus of New York at that period. It was
reconstructed and transferred to the Pumpelly Memorial
Choir Room in 1890. It consists of four lancets.
The left illustrates the Good Samaritan; the second, the
Blessing of Jacob; the third, the Blessing of Ephraim
and Manassas, and the fourth depicts an angel holding
a scroll. The window bears the Banyar arms and the
Inscription:
In memory of Goldsbrow Banyar.
The Memorial Tablets
In the Tower Room is the original Altar of the
present church, which was removed from the chancel in
1885; also the Tweddle Tablet, the inscription ofDescription of the Edifice
37
which has been given under the description of the
Memorial Tower. The other tablets in the Tower
Room are as follows:
The Potter Tablet
To the memory of Mary Jane, wife of the Rev. Horatio
Potter, D. D. Rector of this churchy and daughter of David
Tomlinson Esq. of Schenectady. Died June 8th, 1847.
Known in this parish during 14 years as the unwearied
n friend of the poor.
“They rest from their labours and their works do follow them.”
The Banyar Tablet
Sacred to the memory of Goldsbrow Banyary who died in
this city Nov. 4^ i8ify aged 91 years.
He was a zealous advocate of the doctrines and worship
of the Protestant Episcopal Church.
The Porter Tablet
In memory of the Rev. John C. Porter, Rector of Trinity
Church, Natchez; who departed this life on the 21st. of
October, 18jo; at the residence of Major James L. Trask,
near Woodville> Wilkinson County> Mississippi; aged 25
years, 11 months and 12 days.
This monument is erected by Salem Dutcher, Junr. John
W. Ford, Thomas Hun, John D. Me. D. Me. Entire,
Nicholas Quackenbush, and Richard Tates, surviving class
mates of the deceased, as a tribute of respect to his dis-
tinguished talents and exalted virtues.38
Saint Peter’s Church
The Meads Tablet
This sculpture of “Faith gazing at the Cross” is an
early but notable work of the Albany sculptor, Erastus
Palmer. It represents a draped figure in unstudied
pose, with clasped hands, gazing intensely with eyes of
unquestioning trust and surrender at an uplifted cross.
With pathetic simplicity it tells its story and finds for
it instant and profound interpretation. Underneath the
alto-relievo is the memorial Inscription:
Elizabeth Brant Wilson, wife of Orlando Meads, Died
Dec. 29, 1850.
Looking with faith to the better life hereafter, she so
walked here in love and duty that Jhey who sorrowed most
for her departure, still more blessed God for her life and
good example.
The Gourlay Tablet
This tablet is on the wall of the north aisle and bears
the following Inscription:
“Thy will be done.” “Blessed are the dead which die in the Lord.’*
In loving memory of Margaret Campbell Gourlay. Born
April 29, 1816. Born again into Life Immortal, January
iythy 1884.
With unfaltering faith, unwearied patience and ardent
charity she served her Master in bringing His love and solace
to the Children of Sorrow.
Also in loving memory of her sony William James Gour-
lay y who after a blameless life of twenty-three years. May
I2thy 1866, a week before the time appointed for his Ordina-Description of the Edifice
39
Hon to the Diaconate of the Church of God, entered into
the Rest as he was girding himself for the Work of his Lord.
“I call to remembrance the unfeigned faith which is in thee which dwelt
first in thy mother.—II. Epis. to S. Tim. I. y.
The Barnard Tablet
This is also on the wall of the north aisle and is
inscribed as follows:
<cI believe in the Holy Catholic Churchy the Communion of Saints, the
Resurrection of the Body and the Life Everlasting, Amend9
In sacred and loving memory of Daniel Dewey and Cath-
erine Walsh Barnard, who entered into Rest April XXIV
A. D. MDCCCLXI—June XX A. D. MDCCCLXXVI.
The one after a life of private honor and public service in
Church and State; the other after a life of dignity, duty and
devotion; “ A holy woman who trusted in God f both humble
and faithful servants of their Divine Master, believing in
partaking of and now enjoying the Communion of Saints.
In the Church in which they worshipped together, this
tablet is placed, a tribute of faithful filial love.
Bi-Centennial Tablet
This historical tablet was placed on the outside of the
Tower at the celebration of the Bi-Centenial of the City
of Albany in 1886. It bears the Inscription:
In the middle of State, formerly Jonkers, Street, one block
below, stood the first English Church built A. D. 77/5.
upon ground granted by letters patent from King George the
First. It bore the name of St. Peter s Church. The parish
was incorporated A. D. 1769.40
Saint Peter's Church
The second St. Peter's Church was built on this site A. D.
i8o2> and bore this Inscription :	“ Glory be to the Lord,
for He is good) for His mercy endureth for ever."
The present edifice was built A. D. 1859. Upon this
spot stood the north east bastion of Fort Frederick.
Objects of Antiquity and Interest in the Vestry
Room
Original Land Grant
This patent, granted by Queen Anne on Oct. 21st,
1714, conveyed the site of the first St. Peter's. It is
beautifully engrossed on parchment and bears the great
seal of the Province. The seal on the obverse gives
the effigy of Queen Anne holding the orb and receiving
gifts of wampum and beaver from two kneeling Indians,
and on the reverse the royal arms.
The Charter of Incorporation
This was granted by George the third on April 25th,
1769. It confirms the grant of land on which the first
Church stood, the grant of land by the City of Albany
for the Burial ground, and incorporates
The Rev. Henry Muroy clerky Rector of St. Peter s
Church in the City of Albany and others as Rector and
Inhabitants of the said City of Albany in the County of
Albany in Communion of the Church of England as by law
established.
It is a voluminous document engrossed on parchment,
from which depends the great seal of the Province bear-
ing the effigy of King George III and the royal arms.Description of the Edifice	41
It is signed by Sir Henry Moore, royal Governor of
the Province.
The Communion Plate
This ancient plate consists of six pieces of massive
silver, each of which bears in deep incision the royal
arms and the legend
The Gift of Her Majesty Ann by the Grace of God, of
Great Britain, France and Ireland and of Her Plantations
in North America, Shieen, to Her Indian Chappel of the
This plate was intrusted by the Governor, Sir Robert
Hunter, to the custody of St. Peter’s Church, which
was the chapel for all Indians of the Province except
the Mohawks. It has been in constant use in the
parish for almost two hundred years. The hall-marks
indicate the date 1712.
The Old Bible
This Bible was sent over from England with the
Communion plate. It is a folio of the type known as
the Baskett Bible and is beautifully printed and rubri-
cated.
The Alms Basons
Two of these silver basons bear the Inscription:
From the worshipful Philip S. Van Rensselaer, mayor of
the city and vestryman to St. Peter s Church, Albany 1799.
The other two are similarly inscribed with the date
1805.42
Saint Peter’s Church
The Baptismal Bowl
This is a graceful silver bowl presented by Mr. Philip
S. Van Rensselaer on Christmas day 1823. A flaming
beacon, the crest of the Van Rensselaers, is engraved
upon the bowl with the initials
P. V. R.
The Pruyn Memorial Alms Bason
This is a large bason of old Spanish silver and of
exquisite design. The centre, from which are decorated
spiral radiations, is evidently an insertion of much older
date than the rest of the bason. This interesting piece
of antique silver bears the Inscription:
Presented to St. Peter s Church Albany by Mrs. John
V. L. Pruyn in loving memory of her husband who died
Nov. 21st. i8yy. “A devout man who feared the Lord.”
The Altar Book
This is the “Harison” edition of the Altar Service,
rubricated, printed on Holland paper by the Cheswick
press. It is bound in green morocco with rich silver
mountings, and bears the Inscription:
In loving memory of Arthur Amory Jr. December 20,18p8.
On the obverse is a plate inscribed,
St. Peter s Churchy Albany, N. T.
The Old Altar
In the vestry room is the small but interesting Altar
of the second St. Peter’s, which was presented by Mr.
John Meads in 1823. It is now used for the prepara-
tion of the Elements for the Holy Communion.Description of the Edifice
Framed Portraits and Documents
43
On the walls of the vestry room hang the following
pictures of former Rectors of the parish:	The Rev.
Henry Barclay, D.D.; the Rev. John Ogilvie, D.D.;
the Rev. Thomas Brown; the Rev. Thomas Ellison;
the Rev. Frederick Beasley, D.D.; the Rev. Timothy
Clowes, LL.D.; the R.ev. William B. Lacey, D.D.;
the Rt. Rev. Horatio Potter, D.D.; the Rev. Thomas
C. Pitkin, D.D.; the Rev. William T. Wilson; the
Rev. William Tatlock, D.D.; the Rt. Rev. William
Croswell Doane, D.D.; and the Rev. William A.
Snively, D.D. On the walls also hang the sentence of
Consecration of the present Church by Bishop Horatio
Potter (i860), the renewed Consecration of the Chancel
and Benediction of the Memorial Gifts by Bishop
Doane (1886) and the Emblazonment, presented by
Mr. Harmon Pumpelly Read, of the Arms of the
Church, which were devised in 1790 by Domine Ellison
and are composed of the inverted cross, the crozier, the
key and the mitre of St. Peter.45
Description of the Edifice
ADDENDA, 1907
The Mosaic Pavement of the Nave
This Pavement, which covers all the open space on
the floor of the Nave, was laid during the summer of
1901, and was dedicated on the Feast of St Michael
and All Angels, to the memory of the late Senior
Warden of the Parish, Joseph Wilbur Tillinghast,
and his son Wilbur Tillinghast. It was designed
by, and laid under the supervision of, Mr. J. A.
Holzer of New York City. It is composed of
foreign marbles, chiefly Sienna and Connemara. Its
decorative features are peculiarly rich and are conceived
in the spirit and tradition of Italian mosaic of the Four-
teenth Century, the date of the French architectural
type on which the church was built.
The motif of the elaborate symbolism extending
across the church at the foot of the chancel steps is the
word of Christ:	lam the vine, ye are the branches.
The central quatrefoil bears the first and last letters of
the Greek alphabet in allusion to the text in the first
chapter of the Apocalypse, I am Alpha and Omega, the
beginning and the ending, saith the Lord, which is, and
which was, and which is to come, the Almighty. Into the
quatrefoil holding the Alpha and Omega strike the
roots of a vine, which, with its leaves and clusters,
covers the space in front of the chancel. It has no
eucharistic reference, which is proper only to the vicinity
of the altar. It symbolizes Christ, the life-vine of the46
St. Peter’s Church
Church and Humanity. In its growth it intertwines
and holds four large medallions. The two on either
side of the central symbol bear respectively the pelican,
the symbol of redemption, and the phoenix, the symbol
of the resurrection. The one on the extreme left bears
three fishes, one of the earliest Christian symbols, in-
dicating Baptism, and the one on the extreme right
bears a ship, a symbol likewise of the first ages of
Christianity, indicating the Church. In the intertwin-
ing of the Christ-vine, there are sixteen shields, holding
the traditional symbols of the twelve apostles, also of
Moses and David, the two great names of the Jewish
Church, of St. Stephen the first Christian martyr and
St. Paul the Apostle to the Gentiles.
The color-values of the vine-composition are carried
through the decoration of the aisles. The middle aisle
has five large medallions. The first one bears the
memorial inscription as follows:
This pavement
was given A. D. ipoi
in loving memory of
Joseph Wilbur Tillinghast
sometime Warden of this Parish
and of his son
Wilbur Tillinghast
The other four medallions enclose shields which bear
the following symbols: the lamp, indicating goodDescription of the Edifice
47
works; the anchor, representing hope; the crown,
representing the celestial reward, and the corporate arms
of St. Peter’s church, the inverted cross of the apostle’s
martyrdom, the mitre, key and crosier.
The side aisles have decorated medallions similar to
those of the middle aisle. The symbolic treatment, of
peculiar interest and beauty, is taken from St. Mark’s
in Venice and reproduces a very ancient type of sym-
bolism. It represents the sacred tree, identified, some
think, with the life-tree in Eden, supported by various
animals which typify various virtues of Christian char-
acter. In the tower-room the decoration gives the
little first St. Peter’s, built in the middle of State Street
in 1715.
The Lansing Window.
This window, the work of Mr. Henry Holiday, of
London, was dedicated on the Feast of St. Michael and
All Angels, 1901. The theme of its decoration is
properly the first picture in the series of the Christian
story told in the windows, and it fittingly comes next to
the door through which the choristers sing the Proces-
sional, which begins the worship of the Sanctuary. The
subject is the appearance of the angelic choir to the
Bethlehem shepherds on the night of the Nativity.
Amid the angels is interwoven a scroll which gives the
sacred words of their song. The sexfoil above the
St. Peter’s Church
lancets depicts the Blessed Virgin and the Divine Child.
At the base of the window is the memorial inscription:
In loving memory of
Abraham Lansing
B. 1835—D. Oct.	18pp.
Son of Christopher T. Lansing
and Caroline M. Thomas.
The King Memorial Chalice and Paten.
This Chalice and Paten were presented to St. Peter’s
Church and first used at the early Eucharist of Easter—
1906. The Chalice, which is of massive silver heavily
plated with gold and richly gemmed, was designed by
Mr. J. A. Holzer of New York City, after a Venetian
chalice of the Fifteenth Century. It bears on the base
the following inscription:
In Sacred Memory of
Sarah White King
In Pace—Oct. 31, 1903.
M. A. K. and T. M. K.
St. Peter s Church
Albany.
St. Peter’s Parish House.
The Cornerstone of the Parish House was laid May
27, 1875, on	acquired'by the Parish seven years
previous. It is a fine Gothic structure, designed by
Mr. Richard M. Upjohn of New York City, with specialDescription of the Edifice
49
reference to the Sunday School and large social gather-
ings of the Parish.
The Potts Memorial Rectory.
This Memorial Rectory was built in 1895, on the
lot adjoining the Church, which is part of the original
property of the Parish and was repurchased in 1894.
The architecture of the structure is different from, but
sympathetic with, that of the Church. The style is that
prevalent in England for dwelling houses in the early
Tudor period. It is built of narrow pressed brick of a
warm grey tint which conforms to the blue stone of the
church. The base of the building, window caps, jambs
and mullions, and the cornices and copings of the gables
are of Belleville sandstone, similar to that used in the
church. The entrance is in the court on the east side
of the house facing the church. On the north wall of
the vestibule is a bronze tablet with this inscription:
'This Rectory
was built and given to
St. Peter's Church
by
Jesse W. and Sarah B. Potts
In loving Memory of
Their Father and Mother
Jesse Charles Potts
and
Eunice Walker Potts
A. D. 1895.5°
St. Peter’s Church
The Queen Anne Communion Plate.
Extract from a letter of the Hon. Orlando Meads,
LL.D., to the Rev. Walton W. Battershall, D. D.,
Rector of St. Peter’s Church, Albany, published in the
Appendix of the History of St. Peter’s Church in the
City of Albany. See page 493.
CCI have therefore thought it proper to put in form a
statement of the whole case, showing, as I think con-
clusively, that the plate in question was never intended
as a gift to the Onondagas as a tribe, but as a part of
the necessary outfit of a Royal chapel to be put up
within a British fort then contemplated to be built and
garrisoned by British troops in the Onondaga country—
that this chapel in fact was never built—that the plate
was never sent to or in any way delivered to the Onon-
dagas, or to any chapel for their use, but that, as there
is every reason to believe, it was by the proper colonial
representatives of the Crown who had the control of it,
placed in the charge of the missionary and congregation
of the chapel erected in 1715-16 in connection with the
fort at Albany, and that it has remained in the use of
the same congregation ever since, and at the time of the
incorporation of this congregation in 1768, the fact of
this previous possession was recognized by the govern-
ment, its rightfulness not questioned, and its continuance
expressly sanctioned. ’ ’Description of the Edifice	51
The Burial Place of Lord Howe.
There is abundant evidence that the body of Lord
Howe, who was killed in a skirmish at Trout Brook,
near Ticonderoga, on July 6, 1758, is interred beneath
the pavement of the vestibule of the present St. Peter’s.
“ The burial register which covers the date of the
death of Lord Howe is unfortunately lost, but among
the old registers and account-books preserved in the
vault of St. Peter’s Church, there is a book of treas-
urer’s accounts, bearing the title, * Church Book began
ye 15th Aprill, 1718.’ This book contains the follow-
ing entry, verbatim et literatim: ‘1718, Sept. 5th. To
cash Rt. for ground to Lay the Body of Lord how &
Pall. £5,6,0."'
See monograph on the subject in the Appendix of
the History of St. Peter’s Church, page 519.
The following is a form of bequest to the Endowment
Fund of the Church:
I give and bequeath to “The Rector and Inhabitants
of the City of Albany, in Communion of the Protestant
Episcopal Church in the State of New York,” gener-
ally known as St. Peter’s Church in the City of Albany,
the sum of....................................Dollars, to
invest and reinvest the same and receive and apply the
income thereof to the purpose of the said corporation.