Christ Church Cranbrook
Christ Church Cranbrook, Episcopal, was consecrated on September 29, 1928.
Designed by Oscar H. Murray of Goodhue Associates, it had been under
construction three years and was a gift of George Gough Booth (1864-1949) and
his wife, Ellen Scripps Booth (1863-1948), whose home, Cranbrook House, is
located immediately north of the church across Lone Pine Rd.
In the material beauty of Christ Church Cranbrook modern pilgrims see the
spiritual beauty of aspirations, of labor, of generosity, and of loyalty to the
highest ideals of men and women. Each stone and piece of wood, each
handiwork of laborer and artisan, and each dream realized by the architects and
donors, speaks of faith in the master Creator and His creation’s power to perfect
itself. Implicit is the hope that today’s pilgrims will persist in using that God-given
power and unleashed charity which seeks no reward but the joy of doing good.
Feeeling this, the mind appreciates that behind these ancient and modern things
is a vast company of men and women, a few celebrated but most unknown, who
worked diligently with their minds and hands to leave a more noble heritage than
they themselves had been bequeathed.
The architecture of the church is English Gothic Style. Mr. and Mrs. Booth
brought many craftsmen and artisans from Europe and they were in residence
here until their work was completed.
On entering THE NARTHEX one sees huge tapestries 12’ X 22’ on the north and
south walls, each woven in one piece, showing scenes from the Old and the New
Testaments. They were commissioned for the church and were made at the
Merton Abbey Tapestry Works of William Morris in England. The Pascal
Candlestick standing in the Narthex is an exact replica of the original 12th-century
Norman candle in the Cappella Palatina at Palermo, Sicily. The screen through
which one enters the Baptistry shows the Lamb of God over the gate.
THE BAPTISTRY vaulting of ceramic mosaic was made by Mary Chase Stratton,
founder of Pewabic Potteries in Detroit. An aquatic theme is used throughout and
may be observed specifically in the corbels at the base of each rib of the vault.
The windows tell the story of Christ’s Baptism and of His presentation at the
temple. The west window is a 13th-century original from Amiens, France. The font
won the Gold Medal of Honor at the Architectural league Exhibition in New York
in 1928. The figures supporting the font represent the gifts of the Holy Spirit, and
the globe-like cover of enameled panels depicts the Children of God who cover
the earth. Each is shown with flora and fauna typical of his native land. At the
base of the globe may be found representations of the four Evangelists and their
symbols.
THE WEST WINDOW of the church is dedicated to Womankind. Sixty women
are portrayed there, honoring all faithful women from earliest biblical to
contemporary times—Christ’s associates, missionaries, saints, educators,
nurses, musicians, artists, poets, novelists, sovereigns, liberators, suffrage
workers and actresses. The faces of seventy percent of these were taken from
actual portraits or photographs.
THE CHAPEL OF SAINT PAUL is on the north side of the church and is
dedicated to workers in missions and charities. The reredos shows the
progression of the Law of the Gospel as typified in three mounts. Sinai, Calvary,
and Mars Hill. These panels are separated by carvings of Isaiah, Hosea and
Amos on the left; Mark, Matthew and Luke on the right. Immediately above the
altar are shown Jesus’ parables. The pavement is of Casota stone and Italian
marble mosaic and shows events in Saint Paul’s life, as do the stained-glass
windows of the chapel. The geometric patterns in the tile have been repeated in
the needlepoint cushions worked by the women of the church and dedicated in
1981.
Everything throughout the church was planned not only for its beauty but also to
teach. At the same time much whimsy can be found throughout the church.
Hidden in the carvings of the vine and the grapes (which theme may be found
repeatedly) around the pulpit are a variety of dogs. Even they have preached
great sermons on self-sacrifice and devotion. The large figures on the pulpit are
four great preachers: John the Baptist, Saint Paul, Saint Francis of Assisi, and
John Wesley. To the right of the pulpit is a small carving of a scribe by Adam
Dabrowski. Could the scribe be taking notes on a good sermon…or dozing off
because of a dull one?
THE PAVEMENT in the chancel is of Casota stone, slate and Pewabic tile from
Detroit. The altar rail is carved with an inscription running its entire length: “I am
the true vine, and my Father is the husbandman. Abide in me, and I in you. As
the branch cannot bear fruit of itself, except it abide in the vine, so neither can ye,
except ye abide in me. I am the vine, ye are the branches. He that abideth in me,
and I in him, the same beareth much fruit; for apart from me ye can do nothing.”
THE NEEDLEPOINT cushions here were worked by the women of the church
and were completed in 1966. The theme is the People of God and it represents
the two-way exchange between God’s call to His people and the people’s
response in their lives which they offer back to God as they kneel at the altar rail.
Depicted are the main areas of life: Family, Vocation, Community, and Leisure.
THE EAST WINDOW depicts scenes from the life of Christ in twelve medallions.
They are in chronological order starting at the upper left corner and moving
downward, then up the center panel and down the right side. The reredos at the
high altar has in its center a high-relief panel of the Presentation of Christ in the
temple, with the elderly Simeon holding the infant Jesus, Mary with the doves of
sacrifice on the left, and Joseph on the right. Above is the Triumphant Chrisit, the
consummation of the dreams and prophecies suggested by the child’s
presentation to God. This was carved by John Kirchmayer, a German-American.
Other figures in the reredos represent the “Crown of Christian Virtues.”
THE FRESCO was designed and painted during 1925-1928 by Katherine
McEwen. In a general way, the subjects are the aggressive church on the left,
and on the right the realm of ideas rather than action, working from the earthly
church at the bottom to the celestial choirs above. The four Evangelists and Mary
are shown at the base, the Evangelists identified by their symbols. Miss
McEwen’s signature appears in the form of a little black kitten below the piseina
to the far right of the altar.
THE BISHOP’S CHAIR on the north side is a 15th-century original piece from the
vicinity of Amiens, France.
Through the arch to the right an be seen the door carved by John Kirchmayer
depicting Doubting Thomas with Christ. Across the top are figures of six
craftsmen, some of whom contributed work to the church. His own figure is in the
top right corner.
Down the ramp, note over the nave the bas-relief of the “Three Singing Angels.”
It ist he work of the 15th-century Florentine sculptor, Giovanni della Robbia. Then,
through the corridor to the left and down the stairs, make two right turns and
discover THE CHAPEL OF SAINT DUNSTAN, patron of artists and craftsmen.
Dedicated to all who labor with their hands, it is vaulted in stone, with round
arches supported on low piers. The windows show Christ holding the nails
symbolic of His crucifixion and around Him men working at their various crafts.
The needlepoint cushions here carry out the theme of the chapel. These were
completed in 1960.
Beyond this chapel is THE CHAPEL OF THE RESURRECTION, with altar and
pavement of Italian marble mosaic. The peacock with outspread tail is a symbol
of the resurrection.
Tours for groups may be arranged by phoning the church office, (248) 644-5210.
“The only way to have is to give,
The only way to keep is to share,
And the only thing worth finding is opportunity.”
-- George Gough Booth
Terminology:
Narthex: the vestibule inside the front door
Baptistry: contains the font for baptism (“entry into the faith”)
Nave: the main area of the church. The long center aisle is on an east/west axis.
Arches: the walls and columns of the nave rise to a pointed arch highlighting the
clerestory windows along the sides.
Transept: crosses the main aisle at a right angle. Often ringed with chapels.
The south transept here is not apparent. It holds the library and, above it, the
tower, the organ pipes and the carillon bells.
Chancel: the raised area at the east end of the nave. NOTE the prominently
placed altar, the choir stalls and the fresco. Gothic cathedrals often had a
wooden screen between the priests/monks and the congregation. (The screen is
also called the “rood” screen, the “rood” being another word for the Christian
cross.)
St. Dunstan’s Chapel (lower level): rounded arches, rough stone finish
reflecting the earlier ROMANESQUE style.
Chapel of the Resurrection (next to St. Dunstan’s): a much later architectural
style: RENAISSANCE.
Mixing architectural styles was common in the Middle Ages, since a
cathedral took hundreds of years to build.
Arts and Crafts:
Christ Church Cranbrook is a tribute to the work and ethic of artists and
craftsmen. The Arts and Crafts movement, beginning in Europe, was a reaction
against robotic, repetitive work and a call for beauty in objects of daily use.
Emphasis was placed on the individual artist who designs and executes his or
her design. Christ Church Cranbrook contains details in stone, wood, fabric,
metal and glass which include religious symbols, aspects of the natural world and
humor.
Tapestries: from the William Morris looms at Merton Abbey. (Narthex)
Cloisonne: dome of the baptismal font. (Baptistry)
Wood Carvings: narthex screen, side aisles, reredos (behind the high altar),
doors, seats and decorative items.
Pewabic Tile: Chancel floor, baptistery ceiling.
Stained Glass: Note the newly restored Women’s Window (east, over front
entrance) and the tribute to artists and craftsmen in St. Dunstan’s Chapel).
Metal: cruciform chandeliers in the nave, candlesticks, door handles and other
decorative features.
Fresco: behind the main altar.
While studying the Gothic details, note the high level of workmanship and the
wide range of skills represented. Note also the “modern” touches (the subject of
the Women’s Window, the tribute to the “Dawn Men,” outdoor sculptures high on
the sides of the building) which indicate a forward-looking vision.
The “Dawn Men” of Christ Church Cranbrook are:
John Wycliffe
Wilbur Wright
Martin Luther
Louis Pasteur
William Tyndale
Michael Faraday
Thomas Cranmer
Nicolaus Copernicus
Jacques Marquette
Galileo
William Penn
Leondardo da Vinci
George Washington
Christopher Columbus
Abraham Lincoln
and
Phillips Brooks
Johannes Gutenberg
Charles David Williams
Although not considered “Dawn Men,” two additional figures flank the Great West
Window. They represent the dawn of Christ Church Cranbrook. At left, the Right
Reverend Herman Page, D.D. (1866-1942), the fifth Bishop of Michigan, who
presided at the consecration of the church. At right, the Reverend Samuel S.
Marquis, D.D. (1866-1948), the first Rector of Christ Church Cranbrook.