St. Paul’s Presents: “Fat, Fat Jehoshaphat”

Today we turn from St. Paul’s long history to an event that many of us remember well: the performance of “Fat, Fat Jehoshaphat” on April 8, 1990.

“Fat Fat Jehoshaphat” Program Cover

This “musical that teaches the the power of prayer” required the efforts of several dozen parishioners of all ages, as well as our choirmaster, Albert Melton, and the rector, Bruce Rodgers.

“Fat Fat Jehoshaphat” Rehearsal

Our first photograph shows a rehearsal, with the choir and their director, Jennifer Johnston, on the left side of the altar. Left to right, they are:

  • Jennifer Johnston (Choir Director, with guitar)
  • Beth Mahony
  • Kirk Hauser
  • Judy Condo
  • Grace Dennis
  • Sarah Feedore (in front)

To the right of the altar are:

  • Chris Kleinman (Page)
  • Happy McPartlin (Chief Priest)
  • Julie McPartlin (High Priest)
  • Jon Bugler (King’s Guard, in front with head turned)

“Fat, Fat Jehoshaphat” set construction

Here we see part of the stage crew building the set. They are:

  • Martha Murphy
  • Andrew Murphy
  • Ann Jaquish

“Fat, Fat Jehoshaphat” Luncheon

And here is a photograph of the luncheon that followed the performance. On the left is Donna Williams, the only person we have been able to identify so far.

Finally, here is the complete cast listing for this performance.

“Fat, Fat Jehoshaphat” Cast List

“Fat, Fat Jehoshaphat” Cast List

 

Easter 1967

On this Easter morning we share two slides taken on Easter Sunday fifty years ago, March 26, 1967.

Easter Sunday 1967

Easter Sunday 1967

 

 

 

 

 

 

 

 

 

 

And here are four undated photographs, mostly likely from Easter, and possibly also from Easter Sunday 1967. The rector, J. Raymond McWilliam, is clearly visible. Does anyone recognize the server or the other priest?

Altar, possibly Easter 1967

Altar detail, possibly Easter 1967

Procession, possibly Easter 1967

Altar party, possibly Easter 1967

 

 

 

 

Palm Sunday 1967

Tomorrow is Palm Sunday, the first day of Holy Week. Today we share five slides taken fifty years ago, on Palm Sunday 1967, the congregation’s first Palm Sunday in the new building. The high altar had been consecrated on Maundy Thursday of the previous year.

The first slide shows the nave, at the beginning of the service.

Palm Sunday 1967

Then we see two servers at the rear of the nave preparing for the procession. Can anyone tell us who these two are, or identify the chorister just behind them?

Palm Sunday 1967

Next, we see the rector,  J. Raymond McWilliam, reading the gospel from the liturgical north end of the altar, as was then the custom.

Palm Sunday 1967

The final two slides show Father McWilliam receiving the offering. We have been able to identify only two others in these shots: of the men facing the altar, the two on the left are Herb Brown and Jim White. Can anyone identify others in the pictures?

Palm Sunday 1967

Palm Sunday 1967

 

The Albany Diocesan Choir Festival

A few weeks ago, St. Paul’s choir sang “Christ whose glory fills the skies,” one of the most popular works of T.Frederick H. Candlyn, our organist from 1915 until 1943.

T.F.H. Candlyn 25th Anniversary at St. Paul’s

As we finished singing the piece (one that we regularly perform with pleasure), I noticed the note on the last page: “Copyright 1942. Commissioned by the Eleventh Albany Diocesan Choir Festival, Albert F. Robinson, director,” and wondered (not for the first time) what the Festival was. Within the past ten years, the Cathedral of All Saints has hosted an Epiphany choir event, in which the choirs of Albany deanery parishes joined. Was the 1942 Festival similar to this more recent “Battle of the Choirs?” No one seemed to know, but the answer was to be found in newspapers of the time. And a very interesting story it was.

T. Frederick H. Candlyn at St. Paul’s organ.

The Albany Diocesan Choir Festival was begun in 1931 by J. William Jones, organist and choirmaster at All Saints Cathedral from 1929 until 1939. In the early years, these were small events, with just a few local choirs. But by the fourth annual Festival in 1935, with 22 choirs taking part, the festival had become a huge occasion, with (as a contemporary newspaper reported) “hundreds of voices” that was “attended each year by throngs.”

The 1935 festival was the culmination of a six-day “Festival Week of Music” at the Cathedral, including a concert of Candlyn’s compositions, sung by St. Paul’s choir and Candlyn’s chorus from the State College for Teachers. The week’s schedule was:

  • Monday: recital by the Cathedral choir featuring works of Palestrina
  • Tuesday: organ recital by Ernest White of Trinity Church, Lenox, Massachusetts
  • Wednesday: recital by Major John A. Warner piano, Earle Hummel violin
  • Thursday: concert of works of T. Frederick H. Candlyn
  • Friday: a chorus of American Guild of Organist choirs, conducted by Dr. Russell Carter. The  massed choir was composed of choirs from Reformed, Methodist, Presbyterian, Baptist congregations in Capital District.
  • Saturday: Fourth Annual Diocesan Choir Festival, conducted by J. William Jones. Part of this service was broadcast on radio station WGY.

Candlyn was again involved in the 1936 event as accompanist. That year also he was also president of the Albany Diocesan Choirmasters’ Association, which was very active in promoting and organizing the festivals, but also in sponsoring recitals, conferences and in commissioning choral works. The Association even published a newsletter, “The Chorister.”

Cover of “The Chorister,” May 1941

Candlyn was also accompanist in 1937, when twenty massed choirs sang his work “Thee we adore,” which he dedicated to the Festival choir.

St. Paul’s Choir, with T.F.H. Candlyn, 1937

By 1938, the Festival had “grown to be of national importance,” and had become the model for other festivals across the United States. That year, the Albany Diocesan Choirmasters’ Association conducted district festivals in each of the diocese’s deaneries, preparing the parish choirs for the diocesan event in Albany. The Ogdensburg event, for example, gathered 200 choristers from 14 choirs to St. John’s, Ogdensburg for rehearsals and for a choral service presided over by Bishop G. AShton Oldham.

George Ashton Oldham, Bishop of Albany

1938 was also the first year that the Albany Diocesan Choirmasters’ Association commissioned new works to be performed at the festival. The composers and their works were:

  • Healey Willan (1880 – 1968) of Church of St. Mary Magdalene, Toronto: “Before the ending of the day”
  • Everett Titcomb (1884 – 1968) of Church of St. John the Evangelist, Boston, Massachusetts: “Benedictus es, Domine”
  • Gardner C. Evans (1897 – 1951) of Church of Our Savior, Brookline, Massachusetts: “Thy kingdom come”

The Association arranged for publication of these works (as well as “Magnificat and Nun Dimittis” by Titcomb) by Carl Fischer, Inc., in Series I of The Albany Diocesan Choir Festival Series.

Healey Willan, “Before the Ending of the Day” cover obverse

In 1939, the Choir Festival was again part of “Festival of Music Week.” That year, the schedule was:

  • Monday: Albany Federal Orchestra (an organization supported by the Works Project Administration)
  • Tuesday: Liszt Choristers, Booker T. Washington Choral Society, Schenectady NYA Choir
  • Wednesday: chamber music recital, again with pianist Major John A. Warner, as well as a violinist, a horn player and four cellists.
  • Thursday: J. Stanley Lansing, Dean of the Eastern New York Chapter of the American Guild of Organists conducted a massed choir from nine area congregations
  • Friday: organ recital by Thomas Mathews of St. Martin-in-the-Fields, Philadelphia
  • Saturday: Albany Diocesan Festival, with 50 choirs, Mr. Jones conducting

William Jones, whose energy had moved the festival from small beginning into a project that “has spread throughout the length and breadth of the Diocese of Albany, with a fine organization of choirmasters and clergy as its sponsor and its own magazine which now has a national circulation” resigned from the Cathedral staff effective December 1, 1939, his tenth anniversary at the cathedral.

“Cathedral of All Saints” by Earle L. Kempton

Jones’ place as director of the Festival was taken by Albert F. Robinson, organist and choirmaster at Trinity Church, Potsdam. Albert F. Robinson oversaw the district festivals that year. We have a record of the Albany deanery festival, which drew 10 choirs to St. Andrew’s Church in Albany.

The 1941 Festival may have been the grandest of them all, with 50 choirs and 500 voices joined. Two new anthems were commissioned for the service:

  • Alfred Whitehead (1887 – 1974) of Christ Church Cathedral, Montreal: “Come Thou Almighty King”
  • Gardner C. Evans (1897 – 1951) of Church of Our Savior, Brookline, Massachusetts: “O Saving Victim”

These, along with the following piece (probably commissioned for the 1940 Festival) were published by the Diocesan Choirmasters’ Association in Series II of Fischer’s The Albany Diocesan Choir Festival Series:

  • Charles O’Neill (1882-1964), professor at the State Teachers’ College at Potsdam, New York (now the Crane School of Music): “I will extol Thee”

As mentioned above, Candlyn’s work “Christ whose glory fills the skies” was commissioned for the 1942 festival. It also was published in Series II of the Fischer series. With the war on, this was a smaller event, held in conjunction with the Diocesan convention “to aid in conservation necessitated for war measures.” We assume that this refers to gasoline rationing, which would have made it very difficult to transport 50 choirs for a separate event. This year was to be Candlyn’s last at the Festival: in 1943 he resigned from St. Paul’s to become organist and choirmaster at St. Thomas Church in Manhatttan.

Healey Willan, “Before the Ending of the Day” cover reverse

The Diocesan Choir Festivals for 1943 and 1944 were again held in conjunction with the diocesan convention. There seems to have been a break during the last years of World War II.

The first Festival after the war was in 1947, when 500 singers from all parts of the diocese were directed by Duncan Trotter Gillespie, of St. George’s, Schenectady, and accompanied by organ and a brass choir from Albany High School. In 1950, in a sign that the festival had returned to its former glory, the regional festivals were held once again: the Albany deanery met at St. Andrew’s, and other events were held in Cohoes, Staatsville, Morris and Ogdensburg.

1951 was a slightly smaller event, with 25 choirs attending, but scheduling the festival with the newly-organized Tulip Festival helped with attendance: the audience, we are told, filled the cathedral to overflowing.

All Saints Cathedral (credit: Albany Group Archive)

Starting in the 1954, when the Choir Festival was again held in conjunction with the Tulip Festival, the director was W. Judson Rand Jr., organist and choirmaster of St. Peter’s church, who had been the festival’s organist back in 1941. The Diocesan Choirmasters’ Association continued to organize the event, which attracted 200 singer in 1955.

The last reference to the Festival that I’ve been able to find is an advertisement from 1965. It is a pity that we have lost this element of diocesan life. With smaller congregations and smaller choirs in many Episcopal churches, it would be difficult to organize such a festival today. But think of the benefits of bringing together musicians from across the diocese to meet, to form friendships, and to join together in song.

 

The Geer Memorial Pulpit

Last year St. Paul’s Church celebrated its fiftieth year in the Hackett Boulevard building. Some parishioners have wondered why there are so few items from the previous church in this 1966 building. Today we discuss one item from the Lancaster Street Church that could not be incorporated into the new building, and how it came to be preserved and protected for future generations.

When St. Paul’s vestry met on September 12, 1962 with William F. Meyers, New York State’s Assistant Commissioner of Housing, he told them that they would have three years before the building was demolished. It was to be a far shorter time. Because St. Paul’s property (church, parish house and rectory) were in the area designated for the South Mall’s central air conditioning and main transformer vault, the demolition had to occur early in the mall’s construction. In May 1964 the vestry was told that they would have to vacate the building by the end of August of that year. After some negotiation, the congregation agreed to hold their last service in the building on July 26, 1964. That same day, ground was broken for the Hackett Boulevard building.

Architect’s rendering, Swann Street Building, South Mall

Father Nelson Parke had passionately argued for the value of the many memorials in the Lancaster Street building. And Grace Gunderson, a member of the Temporary State Commission on the Capital City (the organization that was planning the South Mall), had proposed “to save and move the sanctuary and memorial objects such as the stained glass windows, and build a new church around them.” The vestry had to quickly determine which objects from the Lancaster Street building could be moved to the Hackett Boulevard church.

J. and R. Lamb windows, Hackett Boulevard Narthex

A dozen of the stained glass windows from the Lancaster Street building would be placed in the new church’s narthex. Room was also found for brass plaques honoring Harry Van Allen and those who lost their lives in World War II. Many items from the chapel could be used in the new building; many other memorials would be buried under the new altar.

Harry Van Allen Memorial Plaque

Memorial plaque for World War II Dead

The solution, however left a large number of other objects which could not be used in the new building. All of these objects were the property of New York State, which had taken the entire church by eminent domain on March 27, 1962. The State sold fifty-five lots of items at auction held in the last days of July 1964, including smaller stained glass windows, pews, paintings and doors. Lot number 44 “Pulpit – decorative sold oak” went to the Champlain Conference of the Wesleyan Methodist Church for $13.00.

The pulpit had originally been donated in 1883 by Robert Geer, in memory of his two wives: Mary Sophie Gere (1837 – 1868) and Rhoda Kellogg Shed (1837 – 1882). Robert Geer was born in Ledyard, Connecticut in 1837. He worked as a druggist in Norwich, Connecticut, then in Syracuse, New York. In 1865, he moved to Albany, where he represented the Salt Company of Onondaga, in which his first wife’s family played a prominent role. In Albany, Robert Geer was also president of the Board of Trade and served as a bank director.

In 1883, six months after the death of his second wife, Robert Geer wrote a confidential letter to St. Paul’s vestry, explaining that during her last year Rhoda S. Geer had “several times expressed the wish that some one would place a new memorial pulpit in St. Paul’s Church.” Both women had been confirmed at St. Paul’s and were communicants of the congregation. Having consulted with the rector, J. Livingston Reese, Geer commissioned the pulpit in memory of his wives, and asked the vestry’s permission to place it in the church.

J. Livingston Reese

From church records, we know that work was designed by Robert W. Gibson, architect of All Saints’ Cathedral, and designer of the pulpit in St. Peter’s Church. The pulpit was executed by Annesley & Co., the Albany firm that also made the bishop’s throne at the Cathedral of All Saints.

The Geer memorial pulpit remained in place in the Lancaster Street building for the next 81 years, but its future in summer of 1964 was far from certain. If the pulpit was not claimed by the Wesleyan Methodists before demolition began, it would become the property of the demolition contractor, to be disposed of as the contractor saw fit.

Flora Myers Brady Gavit Memorial Organ and Geer Memorial Pulpit

But two weeks following the sale, Hugh M. Flick, Associate Commissioner of State Department of Education (and State Historian) intervened. In an August 14, 1964 letter to General C.V.R. Schuyler, Commissioner of New York State Office of General Services, Frick wrote:

“…I have personally examined the carved wooden pulpit in St. Paul’s Episcopal Church on the Mall. This pulpit was carved by Camillo Kramer and is an unusually fine example of Albany handicrafts. Miss Camilla Kramer is still living and we will seek to glean from her reminiscences concerning her father and other woodcarvers in Albany.”

Flick formally requested that the pulpit be preserved, and transferred to the collection of the State Department of Education. General Schuyler responded positively the next day, and within the week, arrangements had been made to remove the pulpit from the church and place it in the Department of Education warehouse at 1260 Broadway. If it had not been for Hugh M. Flick’s intervention, the pulpit might have permanently left the city of Albany, or might even have been destroyed.

Geer Memorial Pulpit

It is certainly a impressive piece of furniture: almost seven feet from base to top of the lectern, and monumental in scale. But it must have been the angels that impressed Flick. Each figure is carved in fine detail, with very distinctive features, as though each were based upon a real individual. How did Flick recognize it as the work of Camillo Kramer? We have been unable to locate any further documentation from the State Education Department, though I have not yet checked Hugh M. Flick’s correspondence from this period. I have been unable to find other examples of Kramer’s work, but Flick was too careful a historian to make an attribution without some evidence.

Geer Memorial Pulpit: Angel with hands clasped

Camillo Kramer was born in Prussia in 1846, and emigrated to the United States about 1870, settling first in New York City. He must have trained as a wood carver in Germany, because that is the first occupation listed in city directories. Kramer came to Cohoes about 1877, working as a carver for a furniture manufacturer. He came to Albany in 1882, the year our pulpit was built. He does not appear in business listings for several years, and we assume that he was working for other firms, possibly including Annesley. He established a shop at 8 Green Street (on the corner of Beaver Street) in 1888. That first year he is listed as a wood carver, but by the next year he had switched to another line of business: bicycles. Kramer sold bicycles and tricycles in the Green Street shop from 1889 until 1891. By 1893 he was back to wood carving, the occupation he continued until his retirement in 1912.

Geer Memoiral Pulpit: Angel with crossed arms

Camillo Craver was not only a craftsman. Even as a young man in Cohoes he obtained a patent for a table, and over his lifetime was granted other patents for a velocipede, velocipede wheels, a pipe wrench, and a shoe fastener.

Geer Memorial Pulpit: Angel with harp

Geer Memorial Pulpit: Angel with cross

The pulpit remains in the State Museum collection. In October 2015, thanks to Department of Education staff, I was able to see the pulpit in their Rotterdam storage facility, and take the photographs that accompany this post. The pulpit was most recently displayed in the museum in the mid-1990s. We can hope that Flick’s promise of inclusion in new museum displays can continue to be fulfilled, and that it will be displayed regularly, as envisioned in Flick’s 1964 letter to General Schuyler:

“In the light of the historical interest of this unusual example of the work of an Albany artisan, I would like to most sincerely request that consideration be given to the preservation of this pulpit and that it be included in the historical collections of the State Education Department. It is anticipated that when the new museum rises on the Mall, exhibits such as this will add a good deal to the value of the exhibits.”

 

 

 

 

 

 

 

 

 

 

From St. Paul’s Church to San Quentin: the Life of William Henry Hill

William Ingraham Kip (portrait attributed to Asa Weston Twitchell )

In his first decade as rector of St. Paul’s, William Ingraham Kip saw three young man enter the ministry from the congregation. We have already spoken of Sylvanus Reed, but the first of these three was William Henry Hill, who was not only an active member of the congregation, but also followed Kip to California. How Hill came to serve eight years at San Quentin Prison is only one of the fascinating things about this son of St. Paul’s Church.

William H. Hill was born in Connecticut in 1816, and came to Albany at age 15. He became a communicant of St. Paul’s in 1839, shortly after Kip arrived here as rector. Hill was soon busy in the life of the parish, particularly as “chorister” (then used to mean the leader of the church choir) intermittently from 1841 until 1845, while the organist was composer Oliver J. Shaw. He also represented the congregation at diocesan conventions in 1844 (during the contentious discussion of the fate of disgraced Bishop Benjamin T. Onderdonk) and again in 1846. During this period, he worked as a reporter and assistant editor for the Albany Evening Journal, owned and edited by the powerful Whig politician Thurlow Weed.

William Henry Hill

William H. Hill became a candidate for ordination in 1844, and was ordained deacon in 1846 and priest the next year. His first pastoral assignment was St. Paul’s, Brownville (Jefferson County, New York), where he served from 1846 until 1851. Interestingly, the Brownville church’s first rector was William Linn Keese, who was also the second rector of St. Paul’s, Albany. William H. Hill was then rector at Zion Church, Morris (Otsego County, New York) from 1851 until 1855.

California Clipper advertisement (image credit: Wikimedia Commons)

William Ingraham Kip was elected Missionary Bishop of California in late 1853. A year later, William H. Hill followed him to the far distant west, which was still in the throes of the Gold Rush of 1849—1855.

Nevada City, California about 1856 (image credit: Wikimedia Commons)

Initially he served the church in Nevada City, and next was rector of Grace Church, Sacramento (where he also served several terms as superintendent of the city schools) from 1856 until 1871. His final parish assignment was at St. Athanasius, Los Angeles from approximately 1871 until 1878.

 

 

 

 

William H. Hill (San Francisco Chronicle 28 Oct 1896)

Have you been worrying about how Hill came to serve time at San Quentin? Well, you can relax, because he was definitely on the right side of the bars. William H. Hill was chaplain at San Quentin from 1878 until 1885. After a few years as a traveling missionary, he retired to Berkeley, where he died in 1896.

San Quentin Prison (image credit: Wikimedia Commons)

 

 

 

Child’s Hospital and the Good Samaritan Center

For the past 51 years, St. Paul’s address has been 21 Hackett Boulevard, at the corner of an inconspicuous street called Samaritan Road. Samaritan Road is not much to look at now, but its name is the last reminder of the Good Samaritan Center, a group of Diocese of Albany institutions that once clustered along it.

Between 1966 (when the Hackett Boulevard church was completed) and 1999, our building was paired with Child’s Hospital, the two buildings balanced on either side of Samaritan Road. When ground was broken for our building on July 26, 1964, you can see the then-new Child’s Hospital building directly to the west.

Groundbreaking at Hackett Boulevard, 26 July 1964

Groundbreaking at Hackett Boulevard, 26 July 1964

To understand the significance of the hospital and the entire Center, however, we need to look farther back, because in many ways, the Good Samaritan Center was the recreation of an earlier complex of diocesan institutions created in the late 19th century by Bishop William Crosswell Doane on Elk Street near the Cathedral of All Saints.

William Croswell Doane, Bishop of Albany (courtesy Library of Congress)

William Croswell Doane, Bishop of Albany (courtesy Library of Congress)

The Elk Street complex represented Bishop Doane’s plan for a cathedral with ancillary “institutions of learning and mercy that will gather about it.” This outgrowth of the social gospel was similar to the way in which his father, Bishop George Washington Doane, had surrounded his cathedral in Burlington, New Jersey with a group of institutions concerned with education and health care, particularly for the needy.

Child's Hospital Elk Street (credit: Albany Public Library Pruyn Collection)

Child’s Hospital Elk Street (credit: Albany Public Library Pruyn Collection)

The Elk street institutions were incorporated in 1871 as “the Trustees of the Corning Foundation for Educational and other Christian Work.” The corporation’s goals were “the establishment, maintenance and management in the City of Albany of a school or schools, and other educational, religious, and charitable works and institutions, with a church or chapel and other convenient buildings in connection therewith; the same to be maintained and conducted in accordance with the doctrines, discipline and worship of the Protestant Episcopal Church in said Diocese of Albany.”

Child's Hospital Elk Street

Child’s Hospital Elk Street

Child’s Hospital’s name requires some explanation. You might reasonably think it was called Child’s because most of its clients were children, but that is not the case. Nor was it named for a wealthy Mr. or Mrs. Child who endowed it. No, Child’s Hospital was named for the order of Episcopal nuns who ran it from 1874 until 1949.

Mother Helen Dunham, Mother Superior of the Sisterhood of the Holy Child Jesus

Mother Helen Dunham, Mother Superior of the Sisterhood of the Holy Child Jesus

The Sisterhood of the Holy Child Jesus was founded by Doane and Helen Dunham in 1873. Its constitution included this description of its goals: “The objects of the Sisterhood are to provide for the care of the sick, and the sound training and teaching of children, and as God shall give the means and the opportunity, to undertake such other works of charity and mercy, as our hands shall find to do.”

The institutions that they managed on Elk Street near the cathedral were St. Agnes School (founded 1870), Child’s Hospital (founded 1874) and St. Margaret’s House for Babies (founded 1883). All of these institutions were located on the north side of Elk Street, between Hawk and Swan.

Elk Street Diocesan Institutions in 1892

Elk Street Diocesan Institutions in 1892

When it was founded, Child’s Hospital was the only hospital for children between New York, Montreal, Boston and Buffalo. While it was affiliated with the Episcopal diocese, Child’s services were offered without regard to religious affiliation, and many services were offered free of charge. In addition to routine patients, Child’s Hospital also served children who needed long-term care for chronic conditions.

Child's Hospital Elk Street (credit: Albany Group Archive)

Child’s Hospital Elk Street (credit: Albany Group Archive)

Child's Hospital Elk Street (credit: Albany Public Library Pruyn Collection)

Child’s Hospital Elk Street (credit: Albany Public Library Pruyn Collection)

If you grew up in Albany and remember the old Child’s Hospital, you probably also remember why you (or a sibling) were there. For Albany children in the first half of the twentieth century, Child’s Hospital was the place for tonsillectomy. In 1950, Child’s set a tonsil-pulling record: 102 pairs in a single month.

The Sisters’ trio of institutions on the corner of Elk and Hawk began to break up in the 1930s. In 1932, with several of the buildings threatening to slide down into Sheridan Hollow, the diocese offered to sell all three buildings to the State. The State declined that offer, but St. Agnes’ School moved to Loudonville that same year, and St. Margaret’s House (by then known as St. Margaret’s House and Hospital for Babies) moved to the former Pest House (used by the city for isolating those with contagious diseases) in 1936. This site, located halfway between New Scotland Avenue and what is now Hackett Boulevard, would become the Good Samaritan Center campus.

St. Margaret’s official mailing address was 100 New Scotland Avenue, but it was much more easily reached from an unpaved section of Hackett Boulevard. A rough path then led the visitor north up the incline. This rough path became Samaritan Road.

1953 topographic map of Albany's University Heights section (credit andyarthur.org)

1953 topographic map of Albany’s University Heights section (credit andyarthur.org)

Child’s Hospital, however, remained on Elk Street for another twenty years. The Sisterhood ran the hospital until Sister Lydia’s death in 1949. Bishop Oldham then brought the Order of St. Anne from Kingston; they administered the hospital until 1958. In 1959, the Episcopal diocese again offered to sell the property to the State to build a much-needed parking lot. The State accepted this offer, and the diocese closed the Elk Street building in summer 1959. The building was demolished in August 1960.

Knickerbocker News August 22, 1960

Knickerbocker News August 22, 1960

With the closing of the last of the Elk Street institutions, Bishop Frederick L. Barry had a vision of a similar grouping of Episcopal institutions near the St. Margaret’s site. The location was selected both because it was near to St. Margaret’s, but also because the land was not settled and was easy to purchase. Before construction of the buildings, much of the land was used by squatters for garden plots.

Bishop Frederick L. Barry

Bishop Frederick L. Barry

As described in the Knickerbocker News for February 4, 1960, pride of place for the Good Samaritan Center was to be given on the Hackett Blvd entrance to the new Child’s Hospital and a chapel. The remainder of the 17 acre complex was to include a home for the elderly, a nurses’ residence and possibly nursing school, an addition to St. Margaret’s House, an administration building, and possibly a doctor’s building.

Knickerbocker News February 4, 1960

Knickerbocker News February 4, 1960

The first element to be built the Center was the new Child’s Hospital. This was accomplished speedily, and it received its first patient on October 23, 1961.

For unknown reasons, plans for the chapel did not progress. This was all for the best for St. Paul’s, because in September 1962 New York State bluntly informed our vestry that the congregation would not be able to stay on Lancaster Street. The vestry chose to relocate to the proposed site of the chapel at the Samaritan Center.

Over the next decade, other elements were added to the center: Nelson House (the home for the “well aged”), the Child’s Nursing Home, additions to St. Margaret’s House and a doctor’s building.

Good Samaritan Center (credit: Albany Churchman, March 1981)

Good Samaritan Center (credit: Albany Churchman, March 1981)

St. Paul’s and Child’s Hospital were Episcopal partners, siblings on Hackett Boulevard for our first 33 years on Samaritan Road. The Diocese of Albany sold Child’s Hospital in 1999, and it became the Albany Medical Center South Clinical Campus. The profits from that sale (over 10 million dollars) went to create Episcopal Charities of Albany Inc., which now provides “health care services and health care-related educational and religious programs” at the Spiritual Life Center in Washington County.

St. Margaret’s still sits on Samaritan Road, although it has long since become an independent institution. The diocese’s sale of Nelson House to the Albany College of Pharmacy in 2003 leaves only the street name to remind us of the Center. Perhaps we should change St. Paul’s address to 1 Samaritan Road as an appropriate nod to our history, and to the history of a laudable diocesan effort.