Our Facilities

Built in 1858, the stone chapel was modeled afler a small English church. It has two beautiful Tiffany windows and a Rieger organ that takes advantage of the building's excellent acoustics. The chapel is used for the early service on Sunday, the afternoon healing service on Sunday, weekday services, and other special services. People often choose to use its serene space for weddings and funerals.

By the 1950s, a larger building was needed to accommodate a growing parish, and planning for a new church began. It was built next to the parish hall, on the site of the original rectory, which was torn down and its stones used in the walls of the new church. With attention to detail characteristic of the parish, the new church was oriented so that the steeple of the original chapel remained the focal point.

Designed by the architect Pietro Belluschi and completed in 1958, the character of the stone and wood structure is established on the inside by the stained glass altar screen, which was produced in Chartres, France. An exquisitely subtle cross hangs suspended above the altar. The most recent significant change in the church came in the summer of 1993 with the installation of a new slate floor.

The design of the church underscores the importance of the congregation in the life of the church. The altar is freestanding and the priest faces the nave. Ample seating in unusually wide transepts insures that people are truly "gathered around'' the altar, reinforcing the understanding of liturgy as the "work of the people."

All of the facilities are in almost constant use not only by the parish, but by the community. The church, because of its capacity, is used by the diocese for important gatherings. Other spaces are used on a weekly or monthly basis for a wide range of purposes, from children's play groups to AA to exercise classes for seniors. Some of these activities, such as Boy Scout Troop 35, are sponsored by Redeemer; others are community groups that pay rent for use of the space.

Tour of the large church (1958)

The congregation grew as the city extended North. Precisely 100 years after the first church was built, the new church was built to hold a burgeoning parish. The original church seats about 250. Multiple services had been held to accommodate the large congregation, so the new church was built to hold about 850. Its size has made it a site for important diocesan events.

Seeking an architect, the church invited replies from fifteen of the most prestigious firms in the country, and all but five indicated interest. Of these, Pietro Belluschi was the unanimous choice of the building committee. He showed sensitivity to the spiritual as well as the physical needs of the congregation; and he recognized the deep affection with which the chapel was regarded. He designed a complex of buildings for the site, and the church was among the first modern church structures in Baltimore.

'Bennett Sims, the rector in 1958, wrote in the dedication program for the church the goais of the Building Committee:

Any new building must complement,the old, not, compete with it. The existing spire: would remain as the exterior climax of a composition of buildings. There must be a restful and inviting blend, a wholeness which would convey a unified architectural message. This dictated several details about the new church: it must be of stone; it must have fundamental simplicity; it must hug the earth so as not to overpower the smaller'structure.

Chapel and church - the buildings could not be more different; each is a fine example of its style -- but architecture had changed over the intervening century. There are, however, three important links between the two buildings. When the new church was to be built, its site required that the old rectory be torn down. The stone from that rectory - which, like that of the 1858 building, had-come from the Perine quarry - was used in the construction of the stone walls of the Belluschi building. The arches in the interior of the modern church reflect the arches over the doors on the small church. And the new church has no tower, no fleche, nothing to compete with the wonderful steeple which dominates the entire church complex.

The entry doors to a church are frequently on the West wall; old tradition said this was so the last rays of the setting sun would fall upon the altar. But the new church is set in reverse; the architect did not want a doorway which would compete with that of the beloved chapel. So, from one of the courtyards created at the junctions of portions of the building complex, you enter the new church from the East.

Begin your tour of the church from the narthex, the lobby entry at the back of the church. A handwoven memorial tapestry echoes the colors used in the windows within. The floor of the church, originally covered with lavender carpeting, was refinished in l993 with more enduring material - slate with green and purple tones which also repeat the colors in the strip windows.

It is the altar window which first catches the eye of the visitor. Designed by Gyorgy Repes of MIT and made of inch-thick glass from Chartres, each piece chipped for facets, the window exemplifies a modern stained glass technique. At first, the window seems merely a burst of color, vibrant and exciting. Further study reveals a subtle and symbolic cross. Many parishioners have sat facing the window trying to decide which squares were their favorites - and then changed their'minds the next week. Having the altar window on the West wall means that the altar window is at its finest in the afternoon when the sun shines through it. Lighting systems behind the window give it sparkle for morning services.

Great~wooden arches hold up the slate roof and give stability to'the church. These arches and~the~wooden roof remind us that nave comes from the Latin word for ship. The feeling of being in a great vessel is reinforced when there is a strong wind and the boards and beams creak eerily. The stone walls are really curtain walls, enclosing the space bu bearing little weight. Evidence of this is seen in the strip windows which give the impression of a roof floating above the sturdy stone walls which hug the earth. In the windows of the South and East transept, the wooden crossmembers repeat the arch which we saw over the entry gables of the chapel.

Above the altar, you will find a subtle hanging cross made of nickel and silver alloy. Designed by Ronald Pearson of Rochester, NY, it reminds the viewer of the crown of thorns. Visitors wonder why it is not shiny; if it were, it would reflect the dark wood of the roof and would be less visible than in its present form.

The pews, the pulpit and lectern and the sanctuary furnishings are made of imported black afara; each pew holds ten persons comfortably. The great arches are of Douglas fir, 27 layers laminated. Watching those arches rise before the walls were built is one of the great memories of those who were there in 1958.

The altar is a solid block of marble with no carving, no decoration. The placement of the altar differs greatly between the two churches. In the old church, the altar is placed traditionally against the wall; the officiating clergy face the altar, their backs to the congregation. In the new church, a free-standing altar allows the clergy to face the people gathered in the pews, from all of which the altar is visible. Such an arrangement was a new idea in 1958; but it echoed the early Christian custom of using a communal family table for Holy Communion.

The altar and many of the church furnishings, as in the earlier church, are memorials or gifts. But in the plain simplicity of the new church, plaques are held to a minimum; small white metal plates match the hardware of the building.

As in the smaller church, the organ is impressive. The gift of a parishioner (Alexander Cochran who as an architect was most important in the early planning for the church), it was made by the Austin Organ Company of Hartford, Connecticut. A 44-rank instrument, it has 43 stops and 3,66B pipes. And at the rear of the church, also a gift from Mr. Cochran, is a "trompette-en-chamade"; when these pipes sound during a service, it is easy to spot visitors from the way they jump in surprise. To complement the organ music, the Church of the Redeemer has developed a talented and faithful choir; its weekly music and its occasional special performances bring us visitors and acclaim. Two organist/choirmasters have brought great choral and organ music to this newer Church of the Redeemer - first Arthur Rhea and now Henry Lowe.

Leaving the church by the South transept door, visitors find themselves near St. John~s courtyard - adjacent to the link and near the original side wall of the chapel. On both the North and South sides of the chapel, a recently added columbarium may be found. In this manner, the parishioners have fulfilled the request of Mr. Perine that no cemetery ever be placed upon the land which he gave, while allowing them the option to remain linked with their church after death. Pleasant plantings and benches encourage family and friends to spend time in memory or meditation.

Tour of the small church (1858)

Construction of the small church - now called the chapel - began in 1858. A visit to the church should begin at Charles Street. There, two stone pillars with lion's head rings mark the original entry lane. A later path to the church door leads through a cross of boxwoods. Above the Charles Street door, you will see the date 1858; a recorded 1870 cornerstone for the church tower has vanished in the ivy. The stone - all from the Perine quarry - has weathered well; a graceful detail in the design is the arch and pendant cross over the entry doors. The outstanding architectural element of the exterior is the lacy steeple with its gilded cross and clock and chimes. The height of the tower, unexpected for a small church, the elevation of the site and recent evening illumination make this spire outstanding.

When the church was built, it sat among scattered homes and farms. Its postal address was the village of Govanstown to the East. And the early congregation erected a church like those in English villages; it is compact, full of tablets and memorials, and very dear to those who have worshipped here for many years.

When you enter the church, you notice first the altar window; but before you near the front of the church, look at some of the memorial plaques - to those who served in wartime; to those who have contributed to the organ fund; to those who have-helped to maintain the church in one way or another. On the walls are memorials to former rectors - and one bishop whose connection with the church is familial. The pews were never purchased or rented, so the pew numbers serve for identification only. The side windows date from the church's early years, but are not known to be original. Grisaille glass lets in light, and maintains privacy; the small colored bands send shafts of light throughout the church.

As you near the front of the church, you will note some touches of gilt and color on the moldings, the only decoration to the light walls. The altar window, in traditional style, depicts the Resurrection; made in London by a firm named Gibbs, it was added to the church in 1871, a bequest from the daughters of David M. Perine, parishioner and benefactor. Adjacent in the South transept is a window showing a later style of stained glass; from the Tiffany studio, this window was originally made for St. Peter's Church in downtown Baltimore. When that building was deconsecrated in 1912, the window was given to Redeemer as a memorial to John E. Hurst and his wife, Mary. Mr. Hurst had been a vestryman for thirty-three years, and was the owner of the building in which the great Baltimore Fire began in 1904, about a month after his death. The Angel Gabriel appears in the one side window which differs from the others; this, too, was a memorial.

The urge to donate to the church in memory of loved ones has added greatly to the charm of the building. The marble floor, the mosaic floor in the sanctuary, the altar, the altar rail, the font, the pulpit and lectern - all are memorials from early in the l900s. And as in English village churches, the brass is kept highly polished and many of the memorials are marked with inscriptions or small plaques. In the North transept we find two large plaques, one to an early rector and another to David M. Perine who gave the land upon which the church and subsequent buildings were erected. His plaque is interesting because it is carved upon applewood taken from trees in his orchard which lay to the east of-the church property.

In early years the church was lighted by candles or oil; gaslights were installed in 1878, electricity in 1909. There is no mention of heating in the earliest days, but there would have been few services in winter. The country homes of the parishioners were summer retreats from the heat of the city.

Originally, the small choir (usually a paid quartet) sat in the South transept. The early records of the Woman's Guild, which paid for the church music, report difficulty in transporting singers to the country site; they also talk of hiring a man "to blow the organ" for $15 a season. (This was not the organist, just the power source for the organ.) The organ, encased in elaborate cabinet work, was in the area now occupied by a newly decorated Memorial Chapel. Early pump organs needed constant repair; a later electric organ was not completely satisfactory. Church notes report at least two occasions when the organ caught on fire during a wedding.

From the front of the church, turn to look at the rear balcony. Originally built to house servants, it was elaborately reinforced when, to solve the organ problems, the Rieger organ was installed in 1972. Funded by a successful fund drive, the Austrian-built instrument was installed by a team of workmen who stayed in:Baltimore for several weeks to be sure that all was done properly. The 32-rank organ has 18 stops and its approximately 1600 pipes were arranged to echo the circular West window with its dove-of peace. Rieger organs are considered very fine and the masonry walls of the chapel enhance the music beautifully.

The chapel is used every Sunday for early service and often for funerals, weddings, healing services and midweek communion services.

If you leave the original church by its main door, walk North around the buildings to Melrose Avenue and the entry to the new church. It is also possible to leave the old church by the door in the North transept which leads to the link (now a choir room), and then into the parish hall - where a meeting, play rehearsal, lecture, aerobics, luncheon, flower show or dance class may be in session. From the parish hall, one can eventually reach the main church.