History of the
Unitarian Society of Germantown
The Unitarian Society of Germantown was founded in 1865. Never blessed with any divine charter or blueprint, the members have always had to rely on their own individual and collective capacity for self-generation or self-renewal.
Early Unitarianism in Philadelphia was inspired by English Unitarianism, embodied in teachings brought to these shores by the Rev. Dr. Joseph Priestley. Dr. Priestley's religious ideas took root in the First Unitarian Church of Philadelphia in 1796. Historically Unitarianism incorporated the ideas of God as one (Unity) and Jesus as great prophet and teacher. Many members of the new congregation in Germantown had been members of the First Unitarian Church of Philadelphia.
In the early years, from 1865 to 1871, our founders braved an unwelcoming community climate to gather a new congregation. Our first minister had difficulty finding a place to live because of this. However, the church gained strength in the years up to 1883. A church building was constructed in 1867 at the corner of Greene and Chelten. We pioneered in community help with the Germantown Relief Society. The Sunday School was formed and grew, and today's Women's Alliance took shape first as the Samuel Longfellow Alliance.
The period from 1884 to 1916 was one of marking time. Still surviving from that age, remarkably, is the Nicetown Club for Boys and Girls, first conceived of by our minister, the Reverend Oscar Hawes in 1902.
A resurgence followed in the years from 1917 to 1935 when the enthusiasm generated brought members in such numbers as to require a new church building. This was constructed at 6511 Lincoln Drive and was dedicated in 1928. Included in the new building were several stained glass windows from the former building. Three lancets, once separate windows, were placed together as Clark Window I on the east transept wall. The Clark Window II graces our south transept wall. Many successful programs flourished, but the notable survivor today is the Unitarian Universalist House, our home for senior citizens, now greatly expanded from the original Joseph Priestley House. This warm urban retirement community is non-sectarian. It is supported by all the UU churches in the Delaware Valley. Unitarian Universalist ministers in the Delaware Valley provide Vespers Services.
The Ecumenical Pulpit era from 1936 to 1964, with a ministerial stewardship, was a remarkable period that brought some of the most highly respected theologians, philosophers and thinkers to visit with us on Sunday mornings. The congregation involved itself in humanitarian efforts related to World War II, and the church became the center for Red Cross work for the Germantown/Mt. Airy section. It bought and rehabilitated 6503 Lincoln Drive as a total Religious Education building [since sold], and created the Austin Youth Lodge out of a caved-in stable. It put a specially designed tracker organ in the balcony, established a church pension plan and built a badly needed parking lot. It grew past the 800 mark and withdrew from the Philadelphia Council of Churches because of a newly imposed creedal test.
The 1965 Centennial Celebration of the Society's existence was a high point of reaffirmation and rededication to liberal religion. The publication of an updated church history was a significant aspect of the celebration. The years from 1965 on may be seen as a time of reformulation and redefinition. There has been constant ministerial leadership with growing emphasis on denominational identification. The Religious Education program for young people has continued to provide development and meaning in an exciting and rewarding church school curriculum. A network of committees has been staffed with on-going volunteer support for many activities. These have ranged widely, including adult education, social events, potluck suppers, membership receptions,leadership conferences, support for selected community projects, social and political awareness through legislative letter-writing tables, fairs, auctions and other fund-raising projects, and a book table and circulating library.
Some of the Society programs and social events have been internal; others have been oriented toward community outreach. The Society is a member of the Northwest Interfaith Movement (NIM). The Society has adopted a neighborhood school (Lingelbach) and participates in the Northwest Philadelphia Interfaith Hospitality Network (NPIHN), an interfaith program which provides shelter, support, and encouragement for homeless families. The Society is a host-church for NPIHN and a member of the Interfaith Coalition for the General Welfare. The Society has also emphasized environmental education in its social action. In an effort to become more inclusive, the Board of Trustees established the Welcoming Congregation. Its Social Action Committee has a continuing emphasis on racial justice and multicultural concerns.
In April of 1978, the congregation celebrated the present church building's Golden Anniversary. A meaningful portion of the ceremonies included the deposit of mementos and messages in a time chamber that was later embedded in the chancel floor, to be opened in the year 2028.
The Unitarian Society of Germantown provides an ideal place for people with a variety of experiences and backgrounds to come together confidently to examine what each has to offer in the search for self and larger meaning. It continues to be a place for love and fellowship, a place for understanding and tolerance for human frailty, a place for growing and improving inwardly, and for living our faith in the surrounding community and world.
The Church Building
Built on a wooded hillside, around a courtyard; Sanctuary to right; Sullivan Chapel/Sunday
School to left; parish building at center (two large and two small meeting rooms, stage,
offices, and kitchen). Exterior walls are Bedford limestone and local Germantown gneiss;
roof and spire are copper. General style is Georgian, reminiscent of work of Christopher
Wren, but with a mild reflection of the Italian Baroque in details such as the pulpit and
curving lintels over the exterior doorways. English 18th Century interior is finished oak
with carved ornamentation; ceiling of nave is Chinese Tea-Paper aged to a patina of silver-gold;
eight chandeliers are suspended on long chains (each has six upper tiers, six lower tiers).
Architect: Edmund B. Gilchrist
Historical Note
The Sullivan Chapel was re-named in 1936 for Dr, William Laurence Sullivan, USG minister
from 1929 to 1935; later the ashes of Dr. and Mrs. Sullivan were place in a receptacle in
the wall of the chapel and marked with a plaque
Photograph by Glo Delamar
Front half of Sanctuary: Taken from Choir Loft
Stained Glass Windows of USG
Worship in the Unitarian Society of Germantown sanctuary is enhanced by the glow of
prisms of color. Stained glass windows created by artists of four studios show distinct
differences in designs and even in hues. In each, however, there is a balance of warm and
cool colors, brilliant and neutral tones, and large and small elements, with an interplay
of shapes and sizes that adds to the window's message.
Stained Glass Artists
Heaton, Butler, and Bayne
Multi-generation London studio, 1855-c1960, from pre-Raphaelite to Art Nouveau; known world-wide.
Nicola D'Ascenzo 1871-1954
Primary designer, D'Ascenzo, was a member of USG. He was internationally renowned for both religious and secular windows; among works are Valley Forge Chapel; Cathedral of St. John the Divine, NY; National Cathedral, DC; Folger-Shakespeare Library, DC.
William Willet 1867-1921
Portrait painter, then expert in medieval stained glass. (Studio continued under heirs, whose design-teams were mainly anonymous.) Willet did windows of Cadet Chapel at West Point, 1910-1976, longest continuous commission in U.S.
Paula Balano 1877-1967
Balano first trained at D'Ascenzo Studios, then set up her own studio.
Odell Prather 1912-2001
Was advertising artist and children's story illustrator before she turned to stained glass. Joined Willet in 1951.
Colum Sharkey 1922-2000
Designer of church interiors and stained glass. (His father was head designer for D'Ascenzo.) Joined Willet in 1967.
Numbering Key:(as per Philadelphia Historic Preservation Corp.)
Nave level = #1;
second level = #100;
third level = #200;
C = Chancel; R = Right; L = Left;
ST = Stairs;
F = Front;
CH = Chapel.
Memorial-names
Names given in parentheses. Windows indicated as "available" may still be given as full-size memorials, or in clerestory, as medallion insets.
Information here is adapted from the "Stained Glass Windows" brochure, 2000.
Primary window research: Mary Calwell
Sanctuary drawing: John Pron
Editor; Research: Gloria T. Delamar
The brochure is always available in the pew-racks.
Chancel
C100: Good Shepherd (Cyrus H. K Curtis)
Apse of Chancel: Jesus the Shepherd with lamb at each side; angels; three women representing faith, prayer, charity. Arched design by Nicola D'Ascenzo of D'Ascenzo Studios, 1928.
Surround of mosaics designed in an ancient process containing tiny pieces of gold and colored glass; USG was the first church in the world to have in it gold mosaic made in America; by Nicola D'Ascenzo, Jr., 1930.
R101: Lyre (In honor or gift of Curtis?)
Red medallion of lyre; symbols and printers' marks. By Nicola D'Ascenzo of D'Ascenzo Studios, 1928.
Transept
R102: Virtues of the Heart (Clark I)
Three lancets, once separate windows: Devotion depicts woman with cross; Love shows woman with flaming heart; Hope has woman holding anchor. Moved from first USG building in 1928.
Designed and made by Heaton, Butler, and Bayne, England, 1883-1904.
R103: Virtues of the Intellect (Clark II)
Four-lancet window in Gothic setting: central female figure with other figures representing Justice, Charity, Purity, Truth. Moved from first USG building in 1928. Designed and made by Heaton, Butler, and Bayne, England, 1909.
L101: Motherhood (Beck)
Palladian shaped window: large center panel of mother and child; side panel of cross and crown; side panel of open book and lilies. By Nicola D'Ascenzo of D'Ascenzo Studios, 1928.
Nave
All "empty" nave windows are mouthblown glass with stenciled ornamentations; They are "empty" only in the sense that they are not dedicated.
R1: (empty; available)
R2: (empty; ventilating window)
R3: Lilies (Meehan)
Female figure carrying and casting flowers; bird flying into nest. By Nicola D'Ascenzo of D'Ascenzo Studios, 1928.
R4: (empty; ventilating window)
R5: Red Gothic Medallions (Nietzche II)
Six varied medallions in bright hues, with red predominating; set two across/three down. By Paula Balano of Paula Balano Studio, c1962.
L1: Landscape (Forster II)
Landscape with flowing blue river; tree; various kinds of flowers; symbol of candle and entwined rings (troth). Designed by Colum Sharkey of Willet Studios, 1985.
L2: (empty; ventilating window)
L3: Parenthood (Forster I)
Mother and children with halos; older child offers dove; spinning wheel at side; symbol below of crown. By Nicola D'Ascenzo of D'Ascenzo Studios, 1928.
L4: (empty; ventilating window)
L5: Blue Gothic Medallions (Nietzsche I)
Six varied medallions in bright hues, with blue predominating; set two
across/three down. By Paula Balano of Paula Balano Studio, c1962.
Narthex
R/ST1; R/ST101; L/ST1; R/ST101
Stairwells leading down and up from narthex; clear glass, 1928.
R109; L107: Small Portholes
Can be seen only from outside (at sides of loft, but concealed when Rieger tracker
organ was put in loft in 1963); by Nicola D'Ascenzo of D'Ascenzo Studios, 1928.
Clerestory
Clerestory windows in nave have stenciled backgrounds plus grisaille; acid-etched to
lighten shades; geometrical octagon pattern designs randomly set from window to window.
Each window has a medium-sized oval memorial medallion with a smaller oval medallion,
plus footing for memorial text.
As in all the stained glass windows, there are traditional symbols representing various
traits, virtues, and ideals.
All backgrounds are by Nicola D'Ascenzo of D'Ascenzo Studios, 1928.
R104: Daniel (Robertson)
Daniel kneeling in prayer in prison flanked by two lions; alpha and omega symbols; palm (martyrdom). Medallions: D'Ascenzo, 1928.
R105: Knowledge (Allison)
Woman holding child; candlestick; lighted lamp (knowledge). Medallions: D'Ascenzo, c1944.
R106: Jesus Blessing Children (Hallas)
Jesus and three children; tulip; three lilies (purity). Medallions: D'Ascenzo, 1928.
R107: Come Unto Me (Dowd)
Seated Jesus with outstretched hands; oxen; yoke. Medallions: Odell Prather, Willet Studios, 1960.
R108: (empty; medallions available)
L102: (empty; medallions available)
L103: (empty; medallions available)
L104: Truth and Justice (Brady)
Jesus seated on bench; cherub holding book as in last judgment; scale of
justice; sword, scale, Medallions: D'Ascenzo, 1928.
L105: St. John (Vine)
St. John the Evangelist writing on parchment; city in background (New Jerusalem?);
eagle. Medallions: Odell Prather, Willet Studios, 1961.
L106: Choir (gift of Elizabeth Madeira)
Three choir figures in front of organ pipes on bright blue background;
scroll of musical notes. Pennant with three triangles on deep red background.
Medallions: Colum Sharkey, Willet Studios, 2000.
Tower
F100: The Sower (Taylor)
Male figure with bucket of seeds; birds; sun; tree. In loft; concealed
by organ; can be seen from outside front; designed and made by Heaton,
Butler, and Bayne, England, 1930.
F200: Tower Porthole
High tower porthole with limestone carved tracery; seen only from outside; by
Nicola D'Ascenzo of D'Ascenzo Studios, 1928.
Sullivan Chapel
CH/F1: St. Francis
Three-panel door of stained glass; St. Francis figure with outstretched arms; bird at left
hand and birds above him; at his feet a wolf (dog); at right a flamingo; at lower left rabbit
and squirrel. "Danziger Glass" panels to each side. Though this remarkable window is accessible,
it is rarely seen, as it is protected by a movable screen.
Designed by Odell Prather of Willet Studios, 1959.
CH/L1; CH/:2; CH/L3; CH/R1; CH/R2:Other chapel windows are soft brown-rose,
hand-blown top metal "Danziger Glass" (a combined "special glass" from England; West
Virginia, USA; Danzig, Poland); striations, bubbles, waves, special textures; installed
by Willet Studios, 1959.
Photograph by Glo Delamar
Good Shepherd (#C100)
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Photograph by William Delamar Virtues of the Heart (#R102) |
Photograph by Glo Delamar
Blue Gothic Medallions (#L5)
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Photograph by Sarah West
Landscape (#L1)
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Photograph by William Delamar
Choir (#L106)
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Photograph by Sarah West
Detail of Sower (#F100)
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