Category Archives: Lancaster Street Building

The Windows of St. Paul’s: The Baptism of our Lord

Last Sunday we celebrated the Baptism of our Lord. St. Paul’s has had two windows depicting the baptism of Jesus by John the Baptist, and I’d like to tell you about both of them.

We saw the first depiction in an earlier post, because it is a section of the window donated by Donald Shore Candlyn. This window was originally placed in the Memorial Chapel on Lancaster Street, and brought to the chapel on Lancaster Street building in 1966. Like all the chapel windows, it was designed and built by the Wilbur H. Burnham Studios of Boston. This section is titled “The Baptism of Christ,” and a pamphlet on the windows by William S. McEwan refers to the account in Mark 1:9-11.

“The Baptism of Christ.” in St. Paul’s Chapel

The other window was originally installed in the nave of the Lancaster Street church. It was donated by “a large number of persons who received the Rite of Holy Baptism in St. Paul’s Parish,” and dedicated on Palm Sunday 1914. This donation was probably one response to the 1906 appeal of our rector, Roelif Hasbrouck Brooks to the congregation “to repair and beautify their church by memorial gifts.” Titled “The Baptism of Christ,” it was designed by Frederick Stymetz Lamb, and built by the Studios of J. and R. Lamb, New York City.

 

“Baptism of Chris”

 

 

Detail, “Baptism of Christ”

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

This window, along with eleven other windows from the Lancaster Street nave, was brought to the Hackett Boulevard church in 1966, and installed in the narthex.  In the photograph below, you can see “Baptism of Christ” in the lower right corner.

Early photograph of the Hackett Boulevard narthex, with stained glass windows.

These windows remained in the Hackett Boulevard narthex until about 2005, when the deteriorating condition of the window supports forced our vestry to sell the windows and replace them with new glass.

 

Captain John Cooke

It is Veterans’ Day again, and time to remember those of the St. Paul’s family who served in the military. We have mentioned veterans of two twentieth century wars. A year ago, we celebrated our one-time organist and choirmaster, T.F.H. Candlyn, who served in World War I. And we have mentioned those from St. Paul’s who died while fighting in the Second World War. Today, we reach back into the preceding century, to a man who fought with the United States army in two wars. But there are other reasons to remember this man, who contributed significantly to Albany’s entertainment and musical life in the middle third of the nineteenth century.

John Cooke was born in England about 1797. He came to the United States in 1820 as part of the circus band with the Page, Austin and Tufts Menagerie. By 1825, he was in Providence, Rhode Island, where he formed his first band.

National Band of New York, performing with the Menagerie of June, Titus, Angevine& Co., 1834

Shortly afterward, he moved to Albany, where his first job was again as a band musician, with a circus situated on North Pearl Street, now the site of the Capital Repertory Theater. Settled in Albany by 1830, John Cooke quickly established two institutions that formed an important part of the city’s entertainment: the Albany Brass Band and Castle Garden.

The Albany Brass Band (often referred to as Cooke’s Brass Band), was Albany first wind band, and during the antebellum period the only source of popular wind music here. Between 1830 and 1861, the band played at many public events, and sponsored concerts, military events, dances, cotillions and balls. The band was also associated with Albany’s Republican Artillery. The band drilled with the soldiers, and accompanied them on a formal visit to New York City.

In 1833, Cooke created Castle Garden, a pleasure garden located on State Street, near Dove “from whence a spacious view of the river and the surrounding countryside for several miles can be had.” But the view was hardly the only entertainment. Castle Garden was known for its fireworks, some designed by “Mons. T. Alesander, from Paris, an artist well known, and who has distinguished himself as a pyrotechnist.” Displays included such exotic and extravagant exhibitions as The Battle of Algiers, Bengola Lights, The Chinese Lychenaise, and Zannia Peruvia. There were also balloon ascents (one conducted by Louis Anselm Lauriat “the celebrated aeronaut”), and refreshments, including “ice cream, soda water and many other delicacies of the season.”

Neither the brass band nor Castle Garden produced much income. But their popularity, and the personal affection felt for Cooke, can be gauged by the numerous benefits for him, each attempting to cover the losses of the season.

Cooke volunteered for the army during the Mexican War of 1846-1848. He was appointed a First Lieutenant in the 2nd Regiment of the First New York Volunteers. Cooke ended that conflict as a captain of artillery, and used that title for the rest of his life.

Albany Morning Express 31 Jul 1857

During the 1850s, Cooke’s Brass Band continued its busy schedule of balls and cotillions. Castle Garden had closed as a pleasure garden in 1845, but for much of this period Cooke continued a smaller business as a bowling saloon at the same address. “Saloon” should not be understand to mean Captain Cooke was serving alcohol: advertisements make it clear that this was a soda parlor, serving ice cream during the summer months to quench the thirst of the bowlers.

With the advent of the Civil War in 1861, John Cooke joined those responding to President Lincoln’s call for 75,000 volunteers. When that three month enlistment expired, Cooke, now 64 years old, volunteered as a captain in Company F of New York’s 91st Infantry Regiment.

Two years later, in May 1863, while leading his men on an assault of a Confederate battery, Captain Cooke was injured at the siege of Port Hudson, Louisiana. A bullet struck his right shoulder and lodged against the bone, shattering the arm. Cooke was evacuated to St. James Hospital in New Orleans, where he spent 44 days. He was mustered out on June 22, 1863 and by August of that year had returned aboard ship to New York City, on his way home to Albany.

Captain Cooke wanted to return to military service, but his health would not allow it, nor it seems was he able to return to work with his band or his saloon. In 1867, a newspaper reported that he was “in the most indigent circumstances.” It had been hoped that the Constitutional Convention of 1867 might award him a pension, but that did not happen. Instead, his friends held yet another benefit, this time a concert at Tweddle Hall.

Tweddle Hall, northwest corner of State and Pearl Streets (image credit: Albany Institute of History and Art)

In 1870, Captain John Cooke was appointed a messenger in the Adjutant General’s Office, and he held that position until his death in December 1875. Cooke’s funeral was held at St. Paul’s church on Lancaster Street, the service read by our rector, J. Livingston Reese. The building was crowded with his many friends, and particularly the musical and military groups with which he had been associated. A contemporary newspaper praises the music, both choral and instrumental, which would have been led by our organist and choirmaster, Edward Savage.

St. Paul’s Chancel before 1901

St. Paul’s, Late 19th century

The procession from St. Paul’s to Albany Rural Cemetery must have been very impressive, with uniformed enlisted men and officers of the Ninth Brigade, the 10th and 25th Regiments and the 91st Volunteers, as well as Albany’s Burgesses Corps. Klein’s Band was joined by 45 bandsmen of Doring’s Band and the Albany City and Tenth Regiment Bands. Veterans from Post 21 of the Grand Army of the Republic were represented as well. From St. Paul’s, the process moved west on Lancaster to Swan, north on Swan to State, east on State to Broadway, and thence to the Albany Rural Cemetery. We are told that “[a]ll along the route of the procession the streets were occupied by an immense concourse of people.” Cooke’s tombstone at Albany Rural reads simply “Capt. J. Cooke.”

Captain John Cooke’s tombstone, Albany Rural Cemetery

A final memorial was made to the old veteran the next year, with the publication of “Captain Johnny Cooke’s Grand March,” by James Haydn Waud, organist at Albany’s Cathedral of the Immaculate Conception. It is dedicated “to the surviving members of the Albany Brass Band.” The cover displays the only likeness of Captain Cooke that we have been able to find. It shows him late in life, heavily bearded, with his crippled right arm supported in a sling.

“Captain Johnny Cooke’s Grand March,” by J. Haydn Waud

The Oil Painting of St. Paul’s Lancaster Street Church

Painting of Lancaster Street Building signed “J. Lyons”

Thanks to our energetic building and grounds committee, the Blue Room has been freshly painted, and for the first time in years is actually blue! With that done, the oil painting of St. Paul’s home on Lancaster Street has been hung once more, so this seems a good time to share what we know about it.

The view is of the church in winter, with many of the houses surrounding it on the south side of Lancaster between Hawk and Swan Streets also visible. It is particularly nice that we can see a bit of the rectory  to the right of the church. As I’ve mentioned before, we have only one good photograph of that structure.

St. Paul’s Church and Rectory

 

 

 

 

 

 

 

 

We can date the scene very precisely. You will notice that the church’s brick, originally buff-colored, has been painted white. This painting was done in the summer of 1960, in an effort to help spruce up the declining neighborhood. That gives us the earliest date for the view.

Father Parke supervises painting [Times Union 9 Jul 1960]

 

 

 

 

 

 

 

 

 

The latest possible date is sometime before spring 1964, by which time all the buildings to the west of the church (including the recotry) had been demolished. We can say then, with certainty, that the artist shows the church as it looked between 1960 and late 1963 or early 1964.

St. Paul’s Church and Rectory, 1963 or 1964 (photo credit: Times-Union Archive)

St. Paul’s Church after demolition of Rectory, 1963 or 1964 (photo credit: Times-Union Archive)

We also know who donated the painting. According to an article in the Knickerbocker News for May 18, 1966, it was the gift of Dr. Susan Seabury Smith, then associate professor of Library Science at the State University of New York at Albany (now University at Albany), and director of curriculum and library services for Columbia High School in East Greenbush.

But who was the artist? The painting is clearly signed “J Lyons,” but there is no other identification. The 1966 Knickerbocker News article says only that the painting was “by an artist named Lyon.” I’ve looked in period newspapers for a Capital Region artist named Lyons, but found nothing so far. One possible direction for the search would be to colleagues or friends of the donor, Dr. Smith. I noticed that the chair of the art department at Columbia High School  in East Greenbush was Lawrence Lyons. His wife’s name was June. Is it possible that June Lyons was the artist?

 

Where was St. Paul’s Lancaster Street Building?

Where was St. Paul’s Lancaster Street building? Sounds almost as silly as asking “Who is buried in Grant’s tomb?”

The answer of course, was on the south side of Lancaster Street, halfway between Hawk and Swan. But the building (and 98 acres in the heart of Albany), was demolished in 1964 to make room for the South Mall. So let’s reframe the question: where, in what we now call the Empire State Plaza, was St. Paul’s building? Many think it was near where the Center for the Performing Arts (popularly known as “the Egg”) now sits, but we’ve known for some time that it must have been farther west, somewhere between Agency Buildings 3 and 4.

Thanks to the New York Public Library, we can now answer the question precisely and definitively. The NYPL web site has images of a detailed 1876 map of Albany showing the church’s location. And they recently added software that allows the user to lay the old map precisely over the current Google map of the same area. The result is below.

1876 Map of St. Paul’s neighborhood, with overlay of 2014 Google map

The darker portions of the image are from the Google map. You can clearly see the edge of the Plaza Concourse in blue near the bottom right corner; the large green rectangle is the park-like area on the Plaza’s northwest corner, between South Swan Street and Agency Building 4 (shown in dark gray). In the bottom left in orange is the South Mall Arterial and immediately above it is Agency Building 3, also in dark gray.

The older map appears in lighter shades of gray, showing the streets, lots and major buildings as they existed in 1876.  And yes, hovering  just off the north corner of Agency Building 3 is the ghostly  St. Paul’s, labeled simply “Church.”

St. Paul’s Church and Rectory

The Plaza’s Central Air Conditioning Plant and Transformer Vault lies beneath what was once an entire city block, the block on which St. Paul’s stood. As we’ve mentioned before, St. Paul’s hopes for staying in their building as part of  the South Mall  were dashed when the block was chosen for the cooling and heating facility. St. Paul’s rector, Nelson F. Parke, reported that at a meeting with St, Paul’s vestry in September 12, 1962, the State’s Assistant Commissioner of Housing

told us quite bluntly that plans for the South Mall in the block bounded by Lancaster, Hawk, Jay, and Swan Streets were such that the continued existence of the Church at its present location was entirely impossible, that the demolition of the Church was inevitable, that we would have only three years in our edifice before it was torn down, and that the possibility of our being able to relocated in the South Mall area was extremely remote.

But St. Paul’s was not to have even three years. In May 1964, the Commissioner of the Office of General Services wrote St. Paul’s new rector, J. Raymond McWilliam, to inform him that

Our present schedule calls for the completion of construction plans and specifications for the Central Air Conditioning Plant and Main Transformer Vault by July 1, 1964. They would then be advertised for bids calling for initiation of work by about mid-August. The site extends from Chestnut Street on the north to Jay Street on the south, and the area to be excavated includes the entire Church property.

This work will require the severing of underground utility lines (gas, water, sewer), the relocation of the underground telephone duct system, and the closing of Jay, Lancaster and Chestnut Streets. The extensive excavation (which at the site of the Church will average about 30 fee in depth) and the other construction activities will create such disturbance in the general area that even if it were possible to program the construction so as to delay the need for the Church property as long as possible, I believe the conditions would soon become disheartening to your congregation.

The commissioner ended the letter by asking that St. Paul’s vacate the building by the end of August 1964, almost a year earlier than had been promised. The last service in the Lancaster Street building was held July 26, 1964, and the building was demolished in October of that year.

Diagram of proposed Empire State Plaza microgrid

St. Paul’s location has been in the news again lately, when it was announced that the main switchgear for the new heating and cooling system would be placed int the central air conditioning plant, precisely where St. Paul’s stood until its demolition in October 1964,

St. Paul’s Episcopal Church is demolished to make way the South Mall Oct. 19, 1964, in Albany, N.Y. Historic buildings and streets 1960s, Empire State Plaza. (Times Union archive)

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.”

 

 

 

 

 

 

 

 

 

 

The Windows of St. Paul’s: Epiphany

"The Visit of the Wise Men to the Manger Cradle"

“The Visit of the Wise Men to the Manger Cradle”

This window, titled “The Visit of the Wise Men to the Manger Cradle,” was given in memory of Andrew Barton Jones and of his wife, Alice Tucker Jones by their children, and dedicated on Trinity Sunday, May 18, 1913. The window was designed by Frederick S. Lamb and executed by J. & R. Lamb, New York.

Detail of "The Visit of the Wise Men to the Manger Cradle"

Detail of “The Visit of the Wise Men to the Manger Cradle”

Andrew B. Jones (19 May 1840 — 29 May 1909) was a St. Paul’s vestryman  from 1892-1902 and warden 1902-1909. He and Alice Tucker Jones (13 May 1843 –10 Jun 1891) had five children, one of whom was also a long-time member of the congregation.

Sydney Tucker Jones

Sydney Tucker Jones

Like his father, Sydney Tucker Jones (1878-1958) was a St. Paul’s vestryman and warden, serving forty years in those roles, most of them as senior warden. He married  Gwenola Smith, and the couple’s daughter Alice Tucker Jones married George A. Taylor, St. Paul’s rector from 1932 until 1948.

George A. Taylor

George A. Taylor

The Windows of St. Paul’s: Christmas

It’s Christmas Day, and a proper time to appreciate the rose window in St. Paul’s chapel, which reproduces a painting titled “Madonna and the Holy Children, Jesus and John.”

"The Madonna and the Holy Children, Jesus and John"

“The Madonna and the Holy Children, Jesus and John”

The rose window was originally installed in St. Paul’s Memorial Chapel on Lancaster Street, and dedicated on March 29, 1942 by G. Ashton Oldham, bishop of the Episcopal Diocese of Albany.

Memorial Chapel, Lancaster Street

Memorial Chapel, Lancaster Street

It was given in memory of Randall J. LeBoeuf, St. Paul’s vestryman from 1914 to 1930, and warden from 1930 until his death in 1939. LeBoeuf (born 1870) was an attorney specializing in banking and corporate law, the founder of the Albany Trust Company (later First Trust Company) and a justice of the New York Supreme Court.

Randall J. LeBoeuf

Randall J. LeBoeuf

Did you notice the brilliant blue glass that surrounds the figures? The Times Union for March 27, 1942 tells us the story of  that glass, which was shipped from England to Boston during World War II:

The first ship carrying the glass was torpedoed in the Atlantic, but was beached and the cargo saved. The glass was placed on another ship which also was torpedoed and again the cargo was reloaded, and this time the glass arrived at its destination. When delivered, the packing case was still wet and on it was painted, “Great Britain Delivers the Goods.”

A small miracle that the glass arrived safely, and that on a Christmas Day almost seventy-five years later it still graces our chapel!