[ Up ] [ Legacy of Mendon Presbyterian Church ] [ One member's viewpoint ]
OUR LEGACY
MENDON CHURCH
Originally written: 2/24/96 as a booklet. Last
updated: 3/21/97
Saved here for historical prosperity.
A HISTORY OF THE CHURCH'S ORIGINS, ARCHITECTURE & SYMBOLISM
This is an outline of the early days of Mendon Church and focuses on the
building's design and symbolism, as well as its history. On occasion we may take the
beauty of our church setting for granted; perhaps it adds a richer dimension to our
worship if we appreciate the building itself in greater depth, and understand its visual
language, and its origins.
In the Beginning: The Early
Years and the First Meeting House
[NOTE: The history portion is taken primarily from the following sources: (1) a history
written by Mr. Robert Peck for the 1990 Pictorial Directory; (2) a history written by the
Reverend Theodore Nace, a former pastor of Mendon Church, for the 1986
Directory; and (3) the Town of Mendon's 1963 "Sesquicentennial Souvenir Program and
History."]
First, to set the historical scene, beginning in the year 1809: Thomas Jefferson was
succeeded by James Madison as President, and there were only 15 United States. Western New
York was just beginning to be settled, a mere generation or two after our War of
Independence. Some of the Mendon area's "first settlers were Revolutionary War
soldiers who had admired the lovely rolling hills, the great forests and fertile and well
watered soil" (source 1). Imagine Mendon as a frontier town, with former Indian
trails through densely wooded areas (most of the Indians had by then been forced farther
west). There would have been a few homesteads here and there with land cleared for
farming, and the nearest settlements (such as Victor) were probably at least a half day's
journey distant on horseback. It was to this setting that some transplanted New Englanders
came to build new lives for themselves. "Pioneers worshipped first in log cabins with
itinerant missionaries to administer to their spiritual needs. With the influx of settlers
and steady commercial and industrial growth, they turned their thoughts to building
churches" (source 3).
"The story of the Mendon Church begins in the year 1809, when a
common life of Christian worship, singing, prayer, and Bible preaching began to be shared
by a handful of the early settlers of our community. This led to the establishment of the
First Mendon Congregational Society on January 5, 1816, at a meeting [on the site of] the
home of Ezra and Eunice Sheldon, the cobblestone house at 21 Mendon Ionia Road [opposite
St. Catherine's Catholic Church]. The congregation was received under the care of the
Presbytery of Rochester on July 2, 1823... In January 1819, subscriptions for a Meeting
House were authorized, a cornerstone was laid July 13, 1825, and a Meeting House was
dedicated June 26, 1827, on a site in the vicinity of the property at 3804 Rush Mendon
Road [one mile west of the present church]. This Meeting House was built and furnished in
two stages, except for the pulpit and painting, for a total of $2230" (source 2). The
building measured 54' by 38'.
The Meeting House is what came to be known as "The Mendon Grange", as the
building was owned by the Grange League Federation, a social and economic organization for
farmers in the early 1900's. More recently, it was an auction house, and it was
transformed into a retail establishment in October 1995.
"In 1839 the church was moved from the hilltop site west of Mendon [possibly for a
more central location] to a new site in the village, in the swamp, as it was known,
because of the marshy conditions caused by several springs here. Thirteen members
constituted the first church membership. Supporting a minister in those early days was no
problem -- the minister was paid 1/4 in cash and 3/4 in produce. In periods of depression
they hired a minister for as many Sundays as funds would permit. Elders and teachers took
over the balance of the Sundays" (source 3).
"In 1839, moneys were subscribed to erect a `Parsonage House,' the home at 3880
Rush Mendon Road, or the `manse,' the house to the west of the present church for an
amount not to exceed $1000. As of this writing, MPC and two other Mendon churches are
transforming the house into "Benincasa," a home for the terminally ill. The pews
were rented for several years and then made free... In 1888, a portion of the church
property was sold to the Lehigh Valley Railroad, and for many years, a sidewalk went
through the church property to the Mendon Depot to accommodate railroad passengers. The
Meeting House, which was remodeled in 1878 at a cost of $600, was the home of the
congregation until the present church building was erected and dedicated on February 15,
1900, free of debt" (source 2).
According to the Session Minutes dating to April 10, 1899, the congregation had been
considering building a new church since at least 1898. The Session Clerk, Samuel Whitcomb,
stated that the "revival of the project of building a new church was again begun and
a committee appointed to solicit subscriptions for the same." A later paragraph
mentions that "At the annual meeting held in the old church January 2d., 1899 it was
decided to build a new church; committees were appointed and the work begun as previously
recorded. The work progressed favorably and on the 15th day of February 1900 the church
was dedicated free of debt at a cost of $11,318. Attendance at service is good. Sunday
school in a prosperous condition" (written in spring of 1900).
It is interesting that a congregation of approximately 120 (as listed in the 1899
Session Minutes) felt it could afford a new church, as opposed to fixing up the Meeting
House. Mr. Nace offers this explanation: "...the decision to build a new Presbyterian
Church in Mendon in 1899 represented a desire, in the community and congregation, to keep
one step ahead of the new German and Irish immigrant groups who arrived and built St. Mark
Lutheran and St. Catherine's Roman Catholic Church at about this time." Apparently
the church's subscription approach, which sounds remarkably like today's public television
station fund drives, enabled them to raise sufficient funds to complete the church
building free of debt.
Architectural Style and
Artistic Details
Mendon Church was built in what is typically referred to in America as the
"Gothic Revival" style, reminiscent of the European Gothic cathedrals.
The pointed Gothic vaults reaching "heavenward", allowing the construction of
taller and taller buildings, were revolutionary when that style came into being, as was
the use of stained glass windows. Our church, which is made of red brick and Medina Stone
(a reddish sandstone used for decoration, and quarried in Medina, NY, in the 1800's), has
a steeply pitched roof, a 100-foot brick bell tower at the southeast corner, and a tall
pointed steeple.
Especially when filled with sunlight, the interior of the church has a sense of
openness, as there are no columns or balconies to break up the space. Yet it is small
enough to allow a sense of intimacy.
The Woodwork
The Woodwork is especially noteworthy, with several recurring motifs. One is the
quatrefoil, which can be seen as a stylized cross, or symbolizing the Four Evangelists;
the quatrefoil motif runs around virtually the entire perimeter of the sanctuary. A
slightly different form of quatrefoil appears in the decorative horizontal pieces above
the pulpit and over the door. These are reminiscent of the dogwood blossom, a symbol of
Christ's crucifixion (the red tinged edges of the petals recall the blood of Christ; there
are markings that are reminiscent of the nails that held Him on the Cross; and the central
part resembles His crown of thorns). The crenellations of the horizontal pieces, which are
probably oak or chestnut, repeat those at the top of the bell tower. Crenellations were a
part of medieval fortresses and castles, and perhaps could be taken as a reminder that
"a mighty fortress is our God."
The trefoil, that is, with three "leaves" instead of four for the
quatrefoil--is a symbol of the Trinity; this symbol appears on the hymn board and above
the entrance to the church. The pews, which are probably made of oak, repeat the pointed
Gothic vault design. The old account books reveal that the pews and the stained glass
windows were purchased through a company called the Wabash Church and School Furniture
Works (in Wabash, Indiana). This company, which became the Wabash Cabinet Company, later
manufactured TV cabinets for General Electric and was purchased by that company. The
stained glass was not made there; it would have been purchased from another source,
according to the curator of the Wabash County Museum.
Oak was also used for the doors, the pastor's chair and pulpit, as well as the organ
casing. The oak tree was once considered sacred by the ancient Celts and, over time, was
creatively transmuted into a Christian symbol. The oak can symbolize Christ or the Virgin
Mary and also represents solidity and endurance. According to one source on Christian
symbolism, oak symbolizes "the endurance of the Christian against adversity".
Oak leaves are represented on the ends of each pew and also at the base of the Gothic arch
above the chancel. Various furnishings, including the communion table and baptismal font,
date from more recent times; some of the original pews in the front of the sanctuary were
removed to accommodate them.
The pine floors, along with the pressed tin ceiling and less expensive furnishings than
might be seen in a larger, more urban church gave rise to an earlier historian's
description of "Country Gothic." In addition, the church's interior has a
simpler design than those which have a central nave crossed by a transept.
The Ceiling
The Ceiling is made of pressed tin, which has been painted. There are many designs,
including palms (the "Palms of Victory"), and a repeating
"fleur-de-lis" motif. This means "flower of the lily" in French but
apparently can refer either to a lily or an iris. This design is symbolic of both the
Trinity and the Virgin Mary; many of us know it as a symbol of French royalty. The
fleur-de-lis is a very old symbol going back to ancient India and Egypt. It was selected
by King Clovis of France as an emblem of his purification by baptism in the fifth century.
According to legend, he had a vision of a lily, signifying purity. The fleur-de-lis symbol
was adopted by subsequent French kings. One source stated that Clovis is an old form of
the name Louis, and some sources claim that the derivation of "fleur-de-lis" is
"flower of Louis".
The Stained Glass
The stained glass windows are one of the church's most beautiful features. They were
given as memorials and, interestingly, there are no human figures at all. Symbols of
communion and baptism, the two sacraments in Protestantism are portrayed, as are symbols
of Christian faith. In fact, many can be taken as symbols of Christ. The selection of
colors is intriguing, as well. The color yellow seems to predominate, giving a glorious
effect on sunny days. The yellows are set off by other colors, including darker golds,
browns, purples, pale lavenders, greens, and blues. The color scheme contrasts with many
churches' more traditional reds, blues, and greens. According to another church's
pamphlet, gold is symbolic of the Glory of God; blue and brown represent heaven and earth,
respectively. White means purity, green means hope, and purple represents sorrow or
majesty.
Mendon Presbyterian's account books reveal that the cost of an individual lancet window
through the Wabash Company described above, was $25.00 in late 1890's prices. Each of the
lancet windows features a central medallion with decorative motifs above and below.
Three repeating designs look like stylized fleurs-de-lis (symbolizing the Trinity),
harps (symbolizing music), and scallop shells (symbolizing baptism). Some are set with
"jewels", which are colored glass nuggets. Some of the windows contain painted
glass, for example, the Lamb described below. Most of the others are plain or inset with
rippled glass, which provides a contrast in texture. A few windows have pieces of
opalescent glass in shades of blue and green; the use of opalescent glass came to be
typical of the "Tiffany School".
Below is a description of the windows, with possible interpretations of the symbolism
of the various motifs; of course, you may have your own ideas as to what they mean. In
art, there is no "right" interpretation.
The North Windows' Lilies
If you are seated in the pews to attend a church service, your primary view is of the
lilies. In the chancel, there are three Gothic-vault-shaped panels with lilies: what look
like two Calla lilies in the central one flanked by panels with three Easter lilies (also
called regal lilies). Lilies are a common Christian symbol and are associated with the
Trinity (hence, the use of three lilies, perhaps). They are also associated with the
Virgin Mary, purity, immortality, the Resurrection and, of course, with Easter, the most
important event in the Christian calendar year.
Biblical references include the "lilies of the field" (Matthew 6:28) and the
"lily of the valleys" (Song of Solomon 2:1). The lily panels, like the other
stained glass windows, were given as memorials. These in particular were given in memory
of members of Mendon's Cole family, who were instrumental in building this church.
The choice of the Calla lily is fascinating. Possibly it was used simply to contrast
with the Easter lily panels; according to one member of this church, Callas were very
popular in flower gardens at that time. Various sources link the Calla with Easter, or
with marriage, or modesty. They also may have been associated with funerals in Victorian
times. If in fact the Calla was associated with death, it was flanked by the Easter
lilies, symbolizing "the Resurrection and the Life." Unfortunately, no sources
from that time period have come to light to explain the choice of these windows for the
congregation's main focus. Perhaps the lilies were chosen in part as flowers representing
the beauty of God's creation.
One tiny detail all but the most observant may have missed is high above the central
Calla lily panel: a "mandorla" or almond shape (usually associated with the
Trinity) shows an open book, with the words "Holy Bible". An open Bible
is a symbol of "the authority of the written Word, basic to [the Westminster
Confession's] teachings." This might be taken as a reminder that the Word of God
should be at the center of our lives.
The South Windows'
Crosses & Anchors
The windows closest to the road were a gift from The International Order of Kings'
Daughters, a philanthropic organization. These are interlocking Gothic arches, with three
parts making up a whole, larger arch, possibly another reference to the Trinity. The
central panel is unusual, displaying not the traditional Celtic cross of Presbyterianism,
but a symmetrical one. If you look very closely, you will see something else you may have
missed: the letters "I-H-N", which stand for "In His Name", part of
the Kings' Daughters' insignia.
The two side panels display an anchor with a cross through it, with the anchor being an
ancient symbol of hope. One source on symbolism explains further that "Christ [is]
the anchor of the church and faith". Above the central panel is another mandorla with
two fleurs-de-lis. A previous historian pointed out that the two anchor panels, like the
Easter lily panels described above, are identical panels, not mirror images, evidence that
they were not custom made for our church but purchased, as one might say, "off the
shelf".
The Side Windows' Symbols of
Faith
On the west side: a Crown, representing Christ's sovereignty over sin and death
(another source explains this symbol as the "crown received by the devout upon entry
into God's realm"); the Alpha, the first letter of the Greek alphabet which
stands for "the beginning," as in "I am the Beginning and the End"
(the symbol looks like a compass, which would also be an appropriate symbol of faith); a Sheaf
of Grain, representing fruitfulness and, by extension, bread, the first element of
Communion; and a Crown with a Cross, representing Christ's sovereignty through His
death on the Cross (another church pamphlet describes the "Cross Crown" as a
symbol of salvation).
On the east side: an Anchor, a symbol of hope; the Omega, the last letter
of the Greek alphabet, meaning "the end" (the symbol looks somewhat like a ring,
a symbol of marriage); and a Bunch of Grapes, representing the vine and the
branches and, by extension, wine, the second element of Communion. There are two obvious
pairs of windows, one opposite the other: the Alpha and the Omega, and the Grain and the
Grapes. The latter, of course (representing the bread and wine), are themselves symbolic
of the Body and Blood of Christ.
In the chapel: a Lamb with a Cross Banner, representing Christ as the Paschal
Lamb, as Sacrifice for our sins (the banner itself is an "emblem of the
Resurrection"); a Star, whose special significance is not immediately
apparent; and a Descending Dove, representing the Baptism of the Holy Spirit. It
has been suggested that since the Lamb and the Dove represent two of the Persons of the
Trinity (God the Son, and God the Holy Spirit), perhaps the Star can be seen as a
representation of God the Father, the Creator of the heavens and the earth. God is
generally depicted in art in a symbolic rather than representational way. One source on
Christian signs and symbols describes the star as a symbol of "divine guidance and
favor". One image that comes to mind is the Star of Bethlehem, which was how God
guided the Wise Men to the place of Christ's birth. The Star panel in the chapel is
unusual, as it shows a white five pointed star superimposed on a purple one; perhaps its
full significance must remain a mystery.
With the passage of time, some of the stained glass windows were in need of repair,
with some of them buckling or becoming loose. A study was completed about what was needed;
the windows on the outside were protected with "Plexiglas" and other repairs
were made. The church takes seriously its responsibility to preserve the legacy of these
magnificent windows, as it approaches its 100th birthday in the year 2000.
The Organ
The pipe organ was given in 1906 by Mrs. Olive A. Cole in memory of her husband, Noah
Henry Cole. As mentioned earlier, the Coles of Mendon contributed significantly to the
building of the church. It is a two-manual tracker action pipe organ of eight ranks built
by C. E. Morey, Utica, New York (this company built organs from 1885 until 1940). In the
1950's, the organ was partially rebuilt, and a 2' flute was added to the swell manual. A
set of chimes was also added; these hang on the back wall of the chapel. The organ
currently has three couplers: swell to great, swell to pedal, and great to pedal (these
enable the organist to bring the sounds from one keyboard to another). Most of the
pipework is in a swellbox which allows volume change. Underneath the organ is a 27-note
flat pedalboard, which the organist operates with his feet.
The organ casing, as described above, is oak, and there are decorative motifs on it
which resemble circular wreaths of leaves. These may be laurel crowns, a classical symbol
of victory. The laurel was sacred to Apollo, the sun god, who was also the god of music.
Furthermore, the laurel also, "because of its evergreen leaves and aromatic
fragrance, is a symbol of heavenly bliss;" the crown is also called "the crown
of life."
The reference to "tracker action" refers to the mechanical linkage to air
valves, as opposed to pneumatic valves or electrical relays. The linkage is connected with
small pieces of leather. Art Sheeler, one of our congregation's long standing members,
recalls being one of several young men who pumped the organ by hand in the days before
electricity (prior to 1927, when an electric blower was added to wind the organ). Mr.
Sheeler remembers that he was paid 20 cents a morning for this job; it wasn't difficult,
but the pumpers had to maintain a certain level or the organ would fade out. If anyone
slacked off at the pump, the organist would knock on her knocker to make him pump faster.
As was the case with the stained glass windows, there are serious concerns about the
organ. Its present condition is such that it is becoming questionable whether the church
should continue to spend funds to repair it. A group called the Organ Task Force, formed
in 1995, is considering whether the church should replace it or possibly make some
creative adaptations which would enable the church to keep this beautiful instrument.
Westminster Hall
This wing was added in 1954 as a Christian Education and Fellowship Hall. The church
sold the "manse" or parsonage in order to obtain funds. There was a contest to
name the new wing; the name recalls the Westminster Confession, the preeminent expression
of the Presbyterian faith, dating back to the 17th century. In addition to being the
primary social gathering place and housing the Sunday School rooms and the Church Nursery,
this wing also houses the Pastor's Office, the Choir Room/Secretary's Office (a creative
use of limited space!), a kitchen, a Library/ Meeting Room, a small upstairs library, a
storage room, and a furnace room. This space is also utilized by community groups such as
Scouts, Mendon Town Meetings, and the Garden Club.
The Reverend Jay Miller, who grew up attending this church and was later ordained here,
remembers attending Sunday School in the chapel, one class in each of the four corners
(apparently Session meetings took place there as well). Prior to Westminster Hall being
built, Sunday School classes were held there, in the basement, and in the manse.
Gathering in Westminster Hall after the service for coffee and refreshments and, of
course, fellowship, is an important part of Mendon Church's Sunday routine.
The congregation looks forward to such annual events as the Spaghetti Dinner, the Women's
Christmas Dinner, and numerous Parish Life functions which are also held in Westminster
Hall.
Those of us who have made Mendon Church our "church home" definitely find it
a very special place to be, as a place to worship, have fellowship, be ministered to, and
to minister to others. In the words of the Church's Mission Statement,
"our church strives to:
