BRIGHAM YOUNG UNIVERSITY
American Nationalism Reflected in the Parish of Trinity Church
By Ali Bartholomew
ARTHC 345
Dr. Swensen
November 16, 2017
Trinity Church, originally built in 1697 in New Amsterdam (now New York City), has a deep history. Together with St. Paul’s chapel, built in 1766, Trinity Parish has become the final resting place for one of the United States Founding Fathers, Alexander Hamilton and boasts the attendance of President George Washington on inauguration day in 1789. Trinity Church has seen three different buildings because of the “Great Fire” in 1776 during the Revolutionary War and in 1838 the support beams of the second Trinity Church buckled. The third and final version of the church is built in the Gothic Style by early American architect, Richard Upjohn. Scholars acknowledge the importance of Trinity Church in the history of America, yet have failed to consider that the eclectic nature of the architecture and decoration of the Church itself is a reflection of early American nationalism. The history and work of Trinity’s architect, Richard Upjohn, demonstrates America’s opportunity for achievement and success. Upjohn was born in Britain and became a cabinetmaker against his parent’s wishes. After accumulating a large amount of debt, he moved to America. Upon arriving in Massachusetts, he became an architect and began constructing Gothic Style churches. In the beginning, Upjohn worked solely by himself. With his commission for Trinity church he not only was the architect, but he also became the supervisor of building, approver of bills, mover of the graves, producer of drawings and keeper of records. Within a short period of time he had several assistants and established his own architectural firm. He became an influential figure in the revival of Gothic architecture, attracting religious commissions in the Northeast, South and Midwest. In 1857, he became the co-founder of the American Institute of Architects and served as the first president influencing many. The principals established by Upjohn as a mentor became fundamental for American architects and architectural education during the nineteenth century. Critics of his time declared that his work on New York’s Trinity Church was greater than Gothic buildings in Europe. Architect Arthur D. Gilman, who specialized in European architecture and theory, said in regard to the building of Trinity Church, “in size, in the delicacy and propriety of its decoration, and in the beauty of its general effect, we are inclined to think, that it surpasses any Church erected in England since the revival of the pointed style.” Gilman’s quote emulates nationalism. Although considered to be extreme nationalism, he is suggesting a feeling of superiority, in regard to architecture, over other countries. This distinct feeling of nationalism towards Britain during this time was not uncommon. Because of the church’s grand scale and highly decorative nature it emanates beauty, as described by Gilman. Interestingly, during the time of its construction, protestants with the “low Church” ideal found it to be too extravagant. Yet Upjohn did not include the Gothic tradition of flying buttresses in his design resulting in a slightly simpler design. The exterior of the Church demonstrates remarkable engineering techniques as well as imagination. The tall vertical walls are adorned with spires and tall arches. The whole structure seems to be reaching for the heavens. The tallest spire is adorned with a gilded cross. When dedicated in 1846, Trinity Church stood as the tallest building in New York City. The exterior of the Church shows striking masonry with sandstone as the material. The “Brown Decades” in New York City were titled as such because of the use of sandstone from quarries in Portland, Connecticut. The sandstone used in the building of Trinity Church actually came from a quarry in Little Falls, New Jersey. During the Gothic Revival, sandstone became the primary building material. This specific material was a reflection of the arts and literature of Romanticism during the mid-nineteenth century in America. Writers such as Henry Thoreau, Ralph Waldo Emerson and Walt Whitman encouraged a call back to nature. In Henry Thoreau’s essay Walden, he explains the importance of a relationship with nature and how it can bring spiritual awakening with technology in a busy society. Concerning the call back to nature within architecture Andrew Jackson Downing, an advocate for the Gothic Revival wrote,
“The practical rule… is, to avoid all those colors which nature avoids. In builds, we should copy those that she offers chiefly to the eye – such as those of soil, rocks, wood and the bark of trees, – the materials of which houses are built.”
Downing also adds importance of the sandstone by saying,
“The two most satisfactory stones yet extensively used in this country… are the light-brown sandstone or ‘freestone’ of Connecticut and New Jersey [of which Trinity Church in New York is built].”
Trinity Church and its use of sandstone as its material not only reflects the national Romantic movement of the time but also demonstrates a call to a true American style. The notion of an ‘American Style’ is problematic considering America’s eclecticism. In addition to Gothic elements the Church contains many references to the Renaissance. The lavish bronze doors that adorn the entrance of Trinity Church imitate Renaissance artist, Lorenzo Ghiberti’s, famous Gates of Paradise (fig. 2). Donated by William Waldorf in memory of his father, John Jacob Astor III in 1890, Trinity’s doors have been an important aspect of the Church itself. The doors were produced by Karl Bitter after his immigration to the United States from Austria. Like Lorenzo Ghiberti, Bitter competed to be the sculptor of the doors of the Church – and won. Bitter’s use of bronze metal demonstrated bronze ability to take on any molded impression, making it a wonderful example of American metal. The six panels on the front doors illustrate the theme, “Thou didst open the Kingdom of Heaven to all believers.” The scenes include: Expulsion from Paradise, Jacobs Dream, The Empty Sepulcher, The Annunciation, The Worship of the Church in Glory, and the Triumph of Divine Justice. The theme as demonstrated through the scenes of the doors directly relates with the notion of defending religious freedom as established in the First Amendment to the Constitution in 1791. Amendment I states,
“Congress shall make no law respecting an establishment of religion, or prohibiting the free exercise thereof; or abridging the freedom of speech, or of the press; or the right of the people peaceably to assemble, and to petition the government for a redress of grievances .”
The freedom of religion as outlined in the First Amendment brings to mind the many different religious organizations that sought refuge in the United States. The United States became a land that not only allowed but encouraged “all believers.” The bronze doors of the Church are a rich source of American nationalism being reflected at Trinity. Additionally, it once again shows America as being labeled as a land of opportunity – for Karl Bitter a penniless immigrant sculptor, was able to win the Trinity doors competition through “sheer dint of merit” as described by H. Greer. His persistence and praiseworthy work exudes American nationalism. Another example of American nationalism is illustrated on the bronze doors at the south entrance sculpted by American born artist, Charles Henry Niehaus. The six scenes on the doors illustrate the history of Manhattan and Trinity Church. One scene in particular emphasizes the reflection of nationalism within the Church – George Washington Entering St. Paul’s Chapel after his Inauguration as President (fig. 3). St. Paul’s Chapel is part of the Parish of Trinity Church in New York and served as the main Church during the rebuilding of Trinity Church after 1776 and 1838. The scene depicted shows President George Washington climbing the steps of St. Paul’s to pray after his inauguration on April 30, 1789. Two figures, a church priest and a male of seemingly political authority, are inclined towards President Washington, as if to bow before him. The image of President Washington replicates the Athenaeum Portrait by Gilbert Stuart (fig. 4). In the article, “Not a Man but a God– The Apotheosis of Gilbert Stuart’s Athenaeum Portrait of George Washington”, Adam Greenhalgh discusses Gilbert’s Athenaeum Portrait of George Washington as being a cult object in America’s civil religion. Gilberts Portrait is an identified image within America’s culture since it was established as the official image of the dollar bill in 1869. In addition to its commercial use, Greenhalgh declared that the Athenaeum portrait “has been used at times of national need in rituals of commemoration and veneration.” Just like Jesus Christ was depicted on the front doors of Trinity Church recalling “one nation under God,” President Washington is depicted as a God who established our nation. The nationalism surrounding President Washington at Trinity Church is very similar to how people venerate deity figures. By examining the bronze doors of Trinity Church, one can see that it is a reflection of America and the long-awaited freedom she provides. Trinity’s doors mirror the renaissance ideal of human potential and suggest the potential of the individual who stands on American soil. They also make a direct reference to American nationalism by using the most recognizable image of the Founding Father, President George Washington. The fact that Trinity Church references George Washington in its ornamentation shows that it is not only dedicated to the religious God but America’s secular one as well. Additionally, this can be argued with the Church of St. Paul’s (fig.5). As mentioned before, St. Paul’s is a part of the Trinity Parish in Manhattan. St. Paul’s, located north of Trinity was built for a matter of convenience in 1766 – the congregation at Trinity was rapidly increasing in size and many of its members were moving uptown. The St. Paul’s is built in the eighteenth century Georgian Classic- Revival style by Andrew Gautier. At the time the colonists were still British citizens and thus the architecture within their buildings reflects the style of Britain. Georgian style being named after the three King Georges. However, the style in which St. Paul’s Church was built mirrors the neoclassical design as well as enlightenment ideals being spread during this time. Located on the wall of St. Paul’s Church is a large oil painting of The Great Seal of the United States. Although scholars have already acknowledged the significance of its destination within the church it is highly applicable to this particular argument regarding American Nationalism. The seal itself was established to be a symbolic reflection of the beliefs which the Founding Fathers wished to establish as a new nation. The U.S. Department of State Bureau of Public Affairs has recorded that the Continental Congress passed a resolution before it adjourned on July 4, 1776, stating that a committee consisting of Benjamin Franklin, John Adams and Thomas Jefferson “bring in a device for a seal for the United States of America.” After three committees and the help of Charles Thomson, The Great Seal of the United States was completed in 1782. The depiction of the seal hanging in St. Paul’s was commissioned in 1785 and is one of the earliest known representations. The seal shows an eagle in the middle of the composition with a shield directly in front. The shield boasts the colors of the American flag: red, white, and blue. In regard to the colors used, Charles Thomson in his “Remarks and Explanation,” adopted by the Continental Congress in June 20, 1782 explains, “The colours of the pales are those used in the flag of the United States of America; White signifies purity and innocence, Red, hardiness & valour, and Blue, the colour of the Chief signifies vigilance, perseverance & justice.” The thirteen arrows clasped in the claw of the eagle allude to the thirteen colonies while the olive branch denotes “the power of peace & war which is exclusively vested in Congress.” The eagle holds a scroll in its mouth with the phrase, “e pluribus unum”, the United States motto, meaning ‘out of many, one’. The significance of this painting within the church directly reflects American nationalism. By having the seal displayed prominently on its white walls, St. Paul’s Church and Trinity Parish as a whole are acknowledging American values and beliefs in connection to their own religious ones. Furthermore, by displaying the Great Seal of the United States, Trinity Parish is showing independence. The U.S. Department of State Bureau of Public Affairs said the seal was “an emblem and national coat of arms to give evidence of a sovereign nation and a free people with high aspirations and grand hopes for the future.” From the establishment of the first Trinity Church in 1697 to Richard Upjohn’s structure that still stands today, Trinity Church has undoubtedly played an important role in the history of America. This paper has argued that scholars have recognized the importance of Trinity’s history yet have failed to consider that the eclectic nature of the architecture and decoration of the Church is a reflection of early American nationalism. Nationalism is evident in the history of the architects and artists who contributed to the Gothic Revival style building and unique décor. The structure and materials used within Trinity and St. Paul’s church reflect both Enlightenment and Romantic styles of the time. The decoration that alludes to both Christ and major political figures, specifically George Washington, reflect freedom. Trinity Parish in New York has come to be a symbol of the values and beliefs established by the Founding Fathers. During times of hardship, whether it be the Revolutionary War in 1776 or terrorist attacks on September 11, 2001, Trinity Parish stands for freedom, perseverance and hope in America as a nation.
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Fig. 1. Richard Upjohn. Trinity Church (New York City, New York), c. 1847.
Fig. 2. Karl Bitter. Trinity Church Bronze Front Doors, c. 1890.
Fig. 3. Charles Henry Niehaus. George Washington Entering St. Paul’s Chapel after his Inauguration as President (Trinity Church Bronze South Doors), c. 1890.
Fig. 4. Gilbert Stuart. Athenaeum Portrait, c. 1796.
Fig. 5. Andrew Gautier. St. Paul’s Church (New York City, New York), c. 1766.