Richard UPiohn: analysis of three New England Gothic Revival churche s
Jennifer M. Masengatb
UniversitY of Virginia Graduate School of Architectute 11 Mav 1999
ARI{731 ConcePtsof theMedieual Pnf' Usa kilfi One of the greatestinfluences to the nineteenthcentury Gothic Revival movement
of churchesin the United Stateswas not originally an American architect,but an
Englishman. RichardUpjohn's career and architecturalsuccess in this country flourished
during a time when the Episcopal Church in the America was attempting to def,rneitself.
As the child of the Anglican Church in England,the EpiscopalChurch it soughtto mark
its placein the United Stateswhile seekingguidance from its English origins. Upjohn's
self-taughtskills and strict adherenceto the stronginfluence in Englandremained his
guide throughout his forty-year career as an architect in America.
RichardUpjohn's ideas can be tracedback to two main influences. First and
foremost,he was affectedby his strongdevotion to the Anglican Churchof Englandand
in turn, the Episcopal Church in America. His religious zeal can be seenin his careful
architecturaldecisions in designingchurches. Secondly, written works in the early to
mid nineteenthcentury composed by architecturaltheorists, other professionals,and religious societiescan be seento shapenot only his thinking, but also the buildings he
designed.
This essaywill discussthe main influencesto Upjohn'scareer and examine the outcomeof his ideologythrough the studyand evaluationof threeNew England
Episcopalchurches all designedby him in the mid nineteenthcentury. Thesethree include: The Churchof the Holy Crossin Middletown, RhodeIsland, Grace Church in
Providence,Rhode Island, and St. James'Churchin New London,Connecticut.
Richard Upjohn (1802-1878)was born in Englandand trained as a cabinetmaker's apprentice.ffigure A/ This backgroundin wood constructionand an early connection with the master/ apprenticerelationship would greatlyaffect his architecturalthinking and churchdesigns later in life. After immigrating to the United Statesin 1829he settled
in New Bedford, Massachusettswith his wife and young son.t The flourishing city of
New Bedford was fueled by the whaling and lumberindustry and the needfor new
buildings allowed him to begin practicingas a local draftsmanat the ageof twenty-seven.
He was careful howeverto avoid using the term "architect"as an advertisementin the
New Bedford Mercury statesin March of 1833, "ArchitecturalPlans and Elevations,
Neatly Executedat Short Notice,by Richard Upjohn".2
His first commissionscame from local wealthybusinessmen and as his reputation
grew, work camefrom throughoutNew England. His early designsshow no hint of the
great Gothic structuresfor which he would becomefamous. Insteadthe collection of eclecticbuildings resembleItalinate villas, Greek Revival temples,and FederalStyle mansions. The large and elegantresidences and symphonyhouse he designedat the beginningof his careershow no common stylistic architecturalthreads of their creator.3
This would soon change.
In 1839,after ten yearsin the United Statesand now an American citizen, Richard
Upjohn receivedhis most famouscommission to designan enofinousnew houseof o worship for the wealthy congregationof Trinity EpiscopalChurch in New York. While in New York Upjohn becameincreasingly interested in the Gothic style and began obtainingbooks on the subjectincluding treatises,architectural histories, and descriptive texts.5 Mirroring that burgeoninginterest, his designsfor Trinity were influencedheavily by A.W. Pugin's 1841publication of True Principles of Pointedor Christian
Architecturr.6 lJponcompletionof the New York church,Upjohn's architectural identity in the Gothic Revival was firmly established.For the next 30 yearsother congregations and churchbodies across the country would commissionUpjohn basedupon his
architecturalabilities in Gothic Revival. Yet despitebeing nearthe beginningof
Upjohn'scareer, Trinity Churchin New York markedthe quick end of Upjohn'scareful
following of the Pugin'sGothic manner.T
Upjohn would continueto accumulateother Pugin architecturalmanifestos and
other Oxford Movement writings throughouthis life" but the catalystfor his design
decisionswould comefrom anotherGothic Revival movementin Eneland.
Upjohn'sinteraction with parishchurch revival and the CambridgeCamden
Societywould becomethe most influential factor of his entirecareer. Despitebeing an
ocean away,the societystill closelymonitored church design and constructionin this country for most of the nineteenthcentury. Upjohn'sdeparture from Pugin'sideas and toward the CamdenSociety can be clearly seenin his churchesthat followed.s
The written voice of the CamdenSociety was the Ecclesiologist.Printing of the religiousjournal begantwo yearsafter the creationof the societyand their first issuein
1841contained, "critical noticesof churchesrecently completed, or in the progressof building, publicity to church enlargements"and suggestions"for alterationsor improvementsin the arrangementsand decorationsof new designs". Likewise, the journal servedas a convenientcommunication between clergy and antiquarian researchersin England. Eachissue of theEcclesiologist included papers or sermonsread at varioussociety meetings in addition to banterbetween readers and the religious editors regardingarchitectural debates.e The first issueof theEcclesiologist in 1841contained a job description,of sort, urging future architectsto "rememberthe dignity of your profession". Also includedwas the promotion of architectureas a high calling and the architectas a man of God:
Above all, if you intend to build churches,dismiss every mercenaryor selfish thought,be contentto labour as in God'sservice, without carefor your personalfame, without thoughtof your personalsacrifices: strive in somedegree to emulateyour predecessors,whose names are perhaps lost to memory,though their works - works of faith - remain in unapproachableexcellence and in imperishableglory.1o
The Ecclesiologistwas influential not only in Englandbut in the United Statesas well. The journal would shapethe interpretationof a matureGothic designin a young country. Upjohn owned this first issueof theEcclesiologistand close examinationof his churchesfollowing the 1841-1842publicationclearly show he was affectedby the
CamdenSociety's teachings and the noblejob description.rr Upjohnb strongsense of religious duty to the Anglican / EpiscopalChurch, combined with his architectural abilities led him to identify with the Society'scall to labor in God's service.
The clearestmethod in which the Societycommunicated its guidelinesof correct design can be seenthroughthe Suggestionsand Instructionsfrom the Incorporated
Societyfor Promoting the Enlargement,Building, and Repairing of Churchesand
Chapels.o
All threechurches included in this essaywere completedshortly after Upjohn's alignmentwith the CamdenSociety and the Ecclesiologisr.The Suggestionsand
Instructionslaid out in the journal remarkedupon every aspectof churchdesign. Various headingsread like a set of specificationson a modernday setof blueprints. Yet in addition to theseobjective characteristics and preciseguidelines regarding materials and
n This article is hereaftercited as Suggestionsand Instructions. constructiontechniques, the journal alsoincluded paragraphs on style and form.l2 It is throughthese criteria that this essaywill evaluatethe New Englandchurches, as if
Upjohn were designingwith the guidelinesin mind. The comparisonof thejournal's
Suggestionsand Instructionsto Upjohn'sdeep concern with them are not strictly hypotheticalhowever. In 1848,the EpiscopalChurch in America beganpublishing its own versionof the CambridgeCamden Society's journal. As with the original periodical, the New York Ecclesiologist compiled information and critiqued Upjohn's churchesin this country. St. James,New London, Connecticut(the last churchevaluated) made such an impact on the Gothic Revival movementthat it was reviewedand critiqued inthe New
York Ecclesiolo gist.13
The Church of the Holy Crossin Middletown, RhodeIsland todaylies as an extendedsuburb of Newport,but at the time of its creationit stoodin the middle of a field alongthe island'scountry road.ffigure B/ Foundedin an agriculturalcommunity three miles from Newport, the church was designedto serve those families who lived too far away from the larger town to attend church.la
In April of 1845,Mr. JohnGilliat purchaseda l/2 acreof land for $75.00in
Middletown for the constructionof a new church.ls It is unclearexactly how Richard
Upjohn cameto be the architectfor Holy Cross,but with his sinceredevotion to the
EpiscopalChurch, he was frequentlyknown to give gratis designsto strugglingparishes in his early yearsof practice.t6It is alsounclear if Upjohn evervisited the site in
Middletown before the plans were produced,but havingdesigned the Edward King
Housein Newport a year later,it is conceivablehe had visited Middletown as well.rT The constructionof Holy Cross falls near the end of his elaboratedesigns for Trinity Church in New York and therefore it is likely that plans were drawn for the small Rhode Island
church while he was still in New York. As authorJudith Hull writes, "Because
Ecclesiologystressed the architect'ssalient role in building the church andits institutions,
Upjohn can only haveregarded work for the ProtestantEpiscopal Church as the highest
in the hierarchyof building t5/pes..."18
At the church'sconsecration in Octoberof 1845,Bishop Henshawof Newport
explained,"Rustic in its exterior,but so chastein its interior finish, and so perfectin its
proportion,that it is more imposingin its religious impressionand far betteradapted to its sacred usethan many buildings of far greatercost andpretensions .,,te ffigure Cl Holy
Crosswas built in the surlmer of 1845in lessthan six monthsand for a total cost of structureand materialsof lessthan $2500.It was, asthe Bishop later exclaimed,"a cheap but beautifuledifice".20
The wooden structure is broken into three main forms: vestibule or narthex, nave, and chancel. As can be seenfrom the exterior,there is a cleardelineation between the three parts- especiallywhere the nave endsand the chancelbegins. [figure D/ This featurecarries over to later Upjohn churchesalthough the division is not as clearly seen in his largerstructures. Throughout his careerUpjohn favoreddeep chancelsand Holy
Crossreinforces this despiteits small scale.2l Originally clad in board and batten,Holy cross receivedfish scaleexterior shingles sometime before 1906-22
The 1842 Suggestionsand Instructionsin the Ecclesiologislwere intended for the constructionof religious stoneand brick buildings,but nonetheless,Upjohn carefully follows their guidelinesas much as possiblein this wooden structure.The interior of
Holy CrossChurch revealsthis influence. "The Lord's Table", they write, "shouldbe raisedtwo or more stepsabove the floor of the chancel,which itself shouldbe raiseda
stepor two abovethe floor of the nave." [figure E] The seatsshould be placed
"invariably aroundan open passageup the whole length of the church,from west to
east...thereshould not be any projectingcapping on the top of the backs." The
guidelinesalso statethat the pews shouldnot directly touch an outsidewall and that a
side aisleshould be maintained.23However, with the small scaleof this church,that was
not feasibleand Upjohn rightfully ignoredthe instruction.
The Suggestionsand Instructions alsocall for a separateentrance to the vestry
from the exterior.2a Investigationsinto the three churchesreveal Upjohn always carefully
treatedthe side doors. Despite the varying scale of each church, all threecontained a
door on the north elevation,which was articulatedin somemanner. In the caseof Holy
Cross, the simple and clean lines of the small door are puncturedinto the vestry, which
hasbeen pulled away from the main body of the church. ffigure Fl
In 1848,three years after the constructionof Holy Cross,the Ecclesiologist
printed an essayon woodenchurches. In it, the Rev.William Scott addressedthe
"colony's"need for practicalyet correctwooden churches in the Gothic style. His
affirmation of them is drawn from history - both Biblical andarchitectural. "...Pointed
architecturecan be tracedstep by step,and almostyear by year,from classicalforms, and
that classicaltemples, even in their mostelaborate guise, are nothing but the translation
into stoneof the simplestand most elementaryconstruction of wood." He continues,
"The very first type of the Spiritual Churchwas the ark, madeof "gopherwood"... and as
long asthe ship is the emblemof the Church,the woodenchurch, with its invertedhull
suggeststo us the greathold of CMstian souls."25[figure G] In 1852,seven years after the completionof Holy Cross,Upjohn publishedhis first and only book, entitled Upjohn's Rural Architecture: Designs, Working Drawings, and Specfficationsfor a wooden church and other rural structures. As the title suggested,the patternbook containedplans and completedetails for constructionand furnishingsfor a church,chapel, parish school,and parsonage.26 [appendix A] Theimage of the churchin Upjohn'sis remarkablysimilar to Holy Cross,except for the placement of the tower. ffigures H & Il As Holy Crosswas one of the first woodenchurches designedby Upjohn, it is conceivablethat the small RhodeIsland structurewas usedas the model for this design. Upjohn's.patternbook was usedextensively across New
England,as well as farther southinto coastalstates and even into Texas.27According to the book, Upjohn claimed a churchwith "appropriatecharacter" could be built and furnishedfor $3000.b
Despiteits almost minute scale,Holy Crossshows a clear understandingof proportionby Upjohn. Both inside and out, the church'sthe simplified ornamentation and miniatureGothic featuresshow Upjohn'sability to adaptto various sites,scales, and economic parameters.
Forty miles north of Middletown lay Providence,Rhode Island. Serving not only as the statecapitol, the city was also hometo the EpiscopalianBishop. Bishop Henshaw, arrived in Providencein the winter of 1844to find GraceEpiscopal Church in poor condition. The makeshiftbuilding Gracehad constructedwhen the congregation organizedin 1829 was structurallyunsafe and could not be repairedwithout great expense. Likewise, the church was not in the most desirablelocation in the city and repairing the small structuredid not seemprudent.28 b This amountquoted by Upjohn is similar to the $250Oconstruction cost of Holy Cross.
8 The Providencecongregation purchased a new lot for the construction of a new
building on the cornerof Westminsterand Mathewson Streets, which lay at the
intersectionof the retail businessdistrict.ze 6igure Jl By 1835,over one-halfof the
capitol'spopulation lived on the west sideof the city, and constructionof a new church in
that district appearedlogical. The cost of the propertycosts totaling $20,000was raised
by subscriptionand in 1844a 90 x 1S0-footlot was purchased.3oThe large propertycost
stoodeight times the amountneeded to constructand furnish Holy Crossin Middletown
just a yearearlier, which showedthe enormousdifference in two Episcopalchurches.
Both Richard Upjohn and furssell Warren, a member of the congregationwho had
designedits previousquarters, submitted plans for the new church. After somedebate
amongstthe founding fathersof the Grace,Upjohn's designs were chosen.3lChurch
history claims that Upjohn's schemewas chosen simply becauseit was more economical,
but his growing reputationas the country'sleading Episcopalian architect and his success
with previousgrand houses of worship,certainly played a factor in their decision.
Sixteenmonths afterconstruction began the serviceof consecrationwas held in June
1846.
Final constructionof the churchclosely resemblesUpjohn's original pencil
drawing of 1845. ffigure Kl The primary differencein executioncan be seenin the omissionof Upjohn'sproposed traceried parapet and slight changesin the ornamentation of the tower.32Perhaps these changes were required for the sakeof economy.
The church'snorthwest corner tower anchorsthe city block andalso aidsin the desirefor asymmetryby the Gothic RevivalMovement. The Ecclesiologisr'sinstructions for tower and spiredesign are clear. "The usual placeof a tower, in a churchwithout transepts,is at the west end ...If funds arescarce, it is betterto leave this part of the
Church to a future period, than to attemptit in an inferior manner.,'33True to the
guidelines,and perhapsat the encouragementof Upjohn, the tower at Gracewas nor completeduntil 1860.3a
From the exterior the slightly bent roof pitch hints at the side aisles,yet from the interior theseceilings are flat. [figurezl upjohn designedthe building without
transepts,yet it adheresto the Instructions and suggestionr, which statedthis was
permissibleas long as the length of the church stoodat two times its width. The north elevationof Graceis accentuated by the placementof side door, which eventuallyleads to the vestry. Justas with Holy Cross,Upjohn hasmarked this side entranceand added ornamentationfitting to the scaleof the building. ffigure Ml
The interior of Grace reveals a soaring yet surprisingly dark spaceupon entering
through the west end' N] ffigure Adeeply carved screen,upon which the massiveorgan rests' shieldsthe entrance.This carvedwooden screenis repeatedin the chancelat the front of the church. The chancel areawas quite large upon constructionyet it was
expandedeven further in 19 11 . The architecturefirm of Cram,Goodhue, and Ferguson enlarged the easternchancel the width of a single bay and a parish hall was addedat the back of the building.3s
Closerinspection of the chancelarea reveals in interestingcontradiction to the suggestionsand Instructions of the Ecclesiologrsr.In clear stronglanguage the journal stated,"Galleries: None can be permitted in any part of the chancel. where necessaryin other areas'they should not enclose the columns againstwhich they rest,so as to break the uprightlines of the shaftsfrom the floor to the roof."36 yet, in the chancelat Grace.
10 Upjohn designedinset blind archesfilled with wood and resembling a type of gallery.
ffigure O/ Although it is not possibleto climb up into the spaceand overlook into the
chancel,they mimic a type of combinedgallery and clerestory.No evidenceremains as
to why Upjohn includedthese aspects which contradictCamden Societies guidelines."
GraceEpiscopal Church predictably includes many stain-glassedwindows, which
the CamdenSociety strongly endorsed.Likewise, the navecontains three sections of
simplified box pews containing a swing door. ffigure P] Unlike earlier colonial models
however,these pews are alignedin rows that do not force membersto face sidewaysor
backwards,as the Ecclesiologrslstrictly forbids.
Upjohn's church in Providenceserved as the catalyst for future Episcopal
structuresin the future, yet his understandingof woodenGothic would continueto
develop. As his careerevolved and his commissionsincreased, his traditionalscalloped
trussesfor church ceilings would becomeeven more graceful and artistic. ffigure Ql
As a congregation,St. JamesChurch, New London, Connecticutwas already
more thanone hundredand twenty yearsold when the membersof the seasidetown
suggestedthe erectionof a new church. Foundedin 1725,the New London Episcopal
church had outgrown its original houseof worship by the middle of the nineteenth
century. In Septemberof 1846,they congregationmet to draft a resolutionthat
establisheda building committeeto securefunds, purchasea lot, and hire an architectfor
a new stonechurch to hold at least 500 people. A year later the cornerstonewas setat the
intersectionof Huntington andFederal Streets near the city's downtown.3Tffigure Rl
" Likewise it unclearas to which changesoccur as a result of the Cram, Goodhue,Ferguson renovation of l9l l.
ll The one-hundredand fifty year history of the church written by RobertHallam,
then rector of St. James,states that RichardUpjohn was the clearchoice as architect
having, "alreadymade a namefor himself in the erectionof the Church of the Ascension
and Trinity church in New York...". As RecrorHallam wrote in 1873,Upjohn had
indeedbecome the "father of church architecturein the United States".38
St. Jamesasked Upjohn to preparea design,and furnish a plan of a "simple early
English church, not ornate,but gracefuland pleasing." According to churchhistory, it
was the congregationwho urgedUpjohn to include an entrancealong the north sideof
the building in additionto the main west entrancefor "ornamentaleffect as well as
convenience".3eThus, St. Jamesstands as the first Upjohn churchof the threeevaluated that includesffansepts. ffigure Sl
Directly to the left of this north entrancestands Upjohn's characteristic smaller side door, carefully articulatedin the Gothic manner. In the caseof St. Jameshowever, this smallerdoor leadsnot to the vestry but into the basementof the church. Today, this door leadsto a lower level chapelnot originally in the Upjohn design. ffigure TJ
In 185l, a yearafter the completionof St. James,the New York Ecclesiologist extensivelyreviewed the Upjohn church. A memberof the New York Ecclesiological
Society describedthe physical characteristicsof the structureas well ascriticizing its design. "The west sidecontains in the lower stagea door with a segmentalhead under a pointed arch,the tympanumbeing less plain... The west front is certainly the weakest part of the exterior, asis too frequentlythe casein the works of this architect,where he doesnot build a westerntower."40 [figure UJ
t2 As with many of his otherchurches, including GraceProvidence, Upjohn chose
New Jerseyred freestoneon the exterior. He had becomeknown for his use of the
reddish-brownstone, and its useat St. Jamesdemonstrates Upjohn's familiarity with the
material. The Suggestionsand Instructions of the Ecclesiologist clearly state that the
walls are, "to be constructedof stone,either squared, or rubble,or flint; or of brick
where no good stonecan be procuredwithout greatadditional expense." It goeson to
clarify that, "no cementor plasteringof any kind to be usedas a facing of the walls, or of
any externalpart of a churchor chapel."al The CamdenSociety's strong desire for
honestyin expressionof materialscan be heardin this last statement.Upjohn had
plasteredthe vaults and lower portionsof the navewalls at Trinity Churchin New York,
and a later issueof the English printed Ecclesiologrsrharshly criticized his decisions.a2
The resultsat St. Jamesclearly indicatethat Upjohn heededthe remarksof the journal
and followed their advice in his churchesthat followed.
"Flat ceilings are inconsistentwith Gothic Architecture. Next to a stonevaulted roof none has so good an effect internally as an open roof, exhibiting the timbers. It is desirablethat this shouldbe of high pitch, the transversesection forming an equilateral triangle",declares the Ecclesiologist.a3 Upon enteringthe naveat St. James,it is clear that Upjohn clearly agreedwith the guidelines. [figure V] The ceiling in St. Jamesis beautifully arnazingcombinationof springingwooden members, delicately cut arches, elaboratemoldings, and reflectionsof color. The interior of St. Jamesreveals Upjohn's ability to translatethe dramaof a Gothic church ceiling madefrom stone,into a Gothic
Revival church madewith wood. But the 1851 issueof the New York Ecclesiologisralso criticizesUpjohn's treatmentof the ceiling. "The roof consistsof archedbraces and
l3 collars,the arch being septfoiledand doublefeathered, looking more like Moorish than
Pointed/sfc/ work."aa ffigure Wl
Despitethe criticism of Upjohn's ceiling, the nave and ceiling at St. Jamesare
considerablybrighter than GraceProvidence. In additionto the more complicatedtruss-
work and vaulting, the ceiling of St. Jamesis paintedblue and the navewindows are wider and extendfarther up pastthe navearcade. Upjohn'sability to manipulatelight and color by stretchingthe sideaisle windows to heightsabove the elaboratewooden carving shows a maturingin design. The interior tubularcolumns, which by then had becomecharacteristically Upjohn creations,rise and meet to form a pointed arch. Above them rests an eccentric wooden triforium. ffigure X/ This elaborateuse of carved wood can clearly be tracedback to Upjohn's early training as a cabinetmaker. In construction drawings that remain from Upjohn's office in the mid-nineteenthcentury, he treats the building as a total work of art designing each detail.
At the front of the church,the sideaisles extend beyond the transeptsto form open spaceson eitherside of the chancel. Upjohn designedthe left sideto accommodate the tomb of Bishop Seabury,the first Bishop of the EpiscopalChurch in America.
Although church recordsshow that it was Upjohn who designedthe monument,it almost appearsas an afterthought.The New YorkEcclesiologist harshly complained about the
:urangementstating, "The chancelaisles are empty,excepting that the northernone containsBishop Seabury'stomb, which standsnorth and south! It is a low, panelled[sic] tomb underan ogeecanopy, standing out from the wall and looking asthough it were a temporaryerection."4s The open spacenext to the chancelon the right side containsonly a door to the vestry. In orderto containthe chanceland makeit appearmore private,
t4 Upjohn addeda woodenscreen on the north and southsides. However,when the choir stallswere moved to the right transeptaround 1906,the spindieswere shortened,and now resemblependants.a6
Regardlessof its harshcriticism, St. Jamesdemonstrates that at ageforty-eight
Upjohn had achievedthe ability to quickly and elegantlydesign Gothic Revival churches that adheredto the principlesof correctchurch designset forth by the Anglican Church.
Author PhoebeStanton writes, "Not until the 1850'sdid Gothic architecturein wood attainthe originality and the brilliant understatementof which it was capable,and then it was largely becauseof Upjohn'sexperimentation with its possibilities."4T
Despitethe continualand often patronizingreviews of his churches,the New
York Ecclesiological Society in 1852 named Richard Upjohn among the three architects whom it approved.The other two architects,Frank Wills andHenry Dudley were in partnership. Wills had servedas the official architectto the Society since 1847 and his
Englishpartner Dudley joined him in 1851.48
Although he designedstructures for other Protestantand Catholicreligious denominations,his intimate knowledgeof Anglican traditions,liturgy, and architectural precedenceled to commissionsfrom hundredof Episcopalchurches in this country.ae
His religiouszeal combinedwith his architectural,artistic, and craftsman skills secured his placein American church architectureof the nineteenthcentury. As his great grandson,Everard Upjohn wrote in 1939,"To a peculiardegree the maturestage of the
Gothic Revival is his [Upjohn's] own work.... Previousto him the stylehad beenan amusingand sentimentalaffection. After him therecould be no doubt of its seriousness."50
l5 Notes
t EverardM. Upjohn, Richard Upjohn,Architect and Churchman (New York: ColumbiaUniversity Press, 1939),30.
2 Ibid.,3r.
3 tbid.,12.
o lbid.,48.
5 Calde. Loth and Julius Trousdale Sadler, Jr., The Only Proper Styte:Gothic Architecture in America (Boston:Little Brown andCompany,1975),60.
6 Phoebe Stanton, The Gothic Revival& American Church Architecture, an Episode in Taste: 1840-;,856 (Baltimore and London: The JohnsHopkins University Press,1968), 62,63. 7 lbid., 69.
8 rbid.,t6. e CambridgeCamden Society,The Ecclesiologist (Cambridge: Metcalfe and Palmer,November 1841- August 1842),2. to Ibid., 82. t r Judith S. Hull, "The School of Upjphn': RichardUpjohn's Office, " Journal of the Socieryof Arc hitect u ral H isto rians 52 (September 1993) : 305. 12 CambridgeCamden Society, The Ecclesiologist,152.
13 The New York EcclesiologicalSociety, The New York Ecclesiologist(New York: H.M. Onderdonk, 1848-1853),269. rn Nancy C. Chase,History of the Church of theHoly Cross,1844-1977 (Middletown:privately published, 1977'),3. r5 Ibid.
16 Hull, The School of Upjohn',292. tt Upiohn, Architect and Churchman,93. tt Hull, The School of tJpjohn',292. re G.E. Kidder Smith, The BeaconGuide to NewEngland Housesof Worship(Boston: Beacon Press, 1989),83.
'o Chut", History of the Church of the Holy Cross,3. 2' Wayne Andrews, American gothic: its origins, its trials, irstriumphs (New York: RandomHouse Inc. 1975),63.
22 informationtaken from Holy Crosshistorical photos.
l6 ts CambridgeCamden Society, The Ecclesiotogist,155,156.
z lbid.
25 Rev. William Scott, "On Wooden Churches,"The Ecclesiolog,r/ 9 (August 1848 - June 1849), 14-15. 26 Richard Upjohn, Upjohn's Rural Architecture: Designs, Working drawings, and Specificationsfor a woodenchurch and other rural structures(New York: GeorgeP. Putnam,1852), I ff.
2t Upiohn, Architect and Churchman,90.
28 CharlesMorris Smith, Grace Church in Providence,Rhode Island: 1829-1929,a brief summaryof the first one hundredyears (Providence:privately printed, 1969),6-8.
'e Ibid. 30 Ibid., 6.
3t Upiohn,Architect and Churchman,74.
32 Ibid., z5.
33 CambridgeCamden Society, The Ecclesiologist,154.
'o Smith, Grace Church, 8.
35 Ibid., t3.
36 Cambridge Camden Society, The Ecclesiologist, 156.
37 Robert A. Hallam, Annals of St.James Church, New lnndon, for One Hundred and Fifty Years (Hartford, Connecticut:The Church PressM.H. Mallory & Co., 1873), l0l-103.
38 Ibid., lo2.
3e Ibid.
o0 The Ne* York EcclesiologicalSociety, The New York Ecclesiologist,26g. ar CambridgeCamden Society, The Ecclesiologist,153. a2 Stanton,The Gothic Revival, 183. a3 CambridgeCamden Society, The Ecclesiologkt,153. no The Ne* York EcclesiologicalSociety, The New York Ecclesiotogist,26g. ns lbid. a6 personalinterview with Father Bill Gregg, New London, Connecticut,l6 March 1999. a7 Stanton,The Gothic Revival,259. n8 Ibid.. r85.
t7 oe A study Gwen W. Steege,"The Book of Plansand the early RomanesqueRevival in the United States: (September in Architectural Patronage," Journal of the Societyof Architectural Historians 76 1987):215. to Up3ohn,Architect and Churchman,l9l.
l8 Bibliography
Andrews,Wayne. American gothic: its origins, its trials, its triumphs. New York: Random House,lnc., 1975.
Cambridge Camden Society. The Ecclesiologist. Cambridge: Metcalfe and Palmer, November 1841-August1842.
Chase,Nancy C. History of the Church of the Holy Cross,I844- 1977. Middletown: privately printed,1977.
Curl, JamesStevens. Book of Victorian Churches.London: B.T. BatsfordLtd / English Heritage,1995.
Hallam, Robert A. Annals of St.James Church, New London,for One Hundred and Fifty Years. Hartford, Connecticut:The ChurchPress M.H. Mallory & Co., 1873.
Hull, Judith S. "The School of Upjohn': RichardUpjohn's Office." Journal of the Societyof Architectural Historians 52 (September1993): 281-306.
Loth, Calder, and Julius Trousdale Sadler, h. The Only Proper Style: Gothic Architecture in America. Boston:Little Brown and Company, 1975.
New York EcclesiologicalSociety. The NevvYork Ecclesiologist.New York: H.M. Onderdonk, I 848-1853.
Scott, Rev. William. "On WoodenChurches." The Ecclesiologist9 (August 1848-June1849): t4-27.
Smith,Charles Monis. GraceChurch in Providence,Rhode Island: 1829-1929, a brief summnry of thefirst onehundredyears. Providence: privately printed, 1969.
Smith,G.E. Kidder. TheBeacon Guide to NewEngland Houses of Worship.Boston: Beacon Press,1989.
Stanton,Phoebe B. TheGothic Revival & AmericanChurch Architecture, an EpisodeinTaste: 1840-1856.Baltimore and London: The Johns Hopkins University Press, 1968.
Steege,Gwen W. "TheBook of Plansand the early Romanesque Revival in theUnited States: A Studyin ArchitecturalPatronage." Journal of theSociety of ArchitecturalHistorians 76 (September1987): 215-227 .
Upjohn,Everard M. Upjohn. RichardUpjohn, Architect and Churchman.New York: Columbia UniversityPress, 1939.
Upjohn,Richard. Upjohn'sRural Architecture, Designs, Working Drawings and Specifications for a woodenchurch and other rural stnrctures. New York:George P. Putnam, 1852.
t9 figureA-RichardUPjohn figure B - Holy CrossMiddletown, RI figure C - Holy Crossnave figure D - Holy CrossMiddletown, RI
figure E - Holy Cross altar figure F - Holy Crossnorth door figure G - Holy Cross ceiling figure H - Holy Cross,Middletown, RI
figure I - Richard Upjohns designsfor a woodenchurch figure J - GraceProvidence, RI
Providence,RI figure K - Richard Upjohn'soriginal drawing of Grace M - Grace north door figure L - Graceside aisle figure /igureN-Gracenave
figureO-Gracechancel - historical interiorphoto of Grace figure P - Grace box Pews figure Q figure R - S/. JamesNew London, Connecticut
figure S - Richard Upjohn'soriginal drawing of St.James New London, Connecticut westenftance figure U - St.James figure T - St.James north door figure V - St.James nave figure W- St.James ceiling figure X - St.James nave