New Views of Larchmont Avenue Landmark

by William McGuire

As history buffs know so well, sometimes the best way of celebrating a special occasion is to simply take stock of what we have. Larchmont Avenue landmark St. Augustine’s Church was officially dedicated by Cardinal Hayes, Archbishop of New York, on May 27, 1928, Pentecost Sunday. The church marked its 75th anniversary on Pentecost Sunday, June 8, 2003, with a special noon mass celebrated by Monsignor Walter Kenny, the pastor. The annual backyard picnic followed, and the weather cooperated.

The pastor’s homily noted that as part of the anniversary celebration each household in the 111-year-old parish, which began on Beach Avenue, was mailed a beautiful 8 by 11, 28-page commemorative book: “The Art and Architecture of St. Augustine’s Church.” The soft-cover publication, containing more than 40 full color and black and white illustrations, traces the evolution and 1990 renovation of the church building, and represents an explanation and appreciation of the Gothic revival structure, its many features and religiously-inspired art.

As the book elaborates, the church was completed in the English perpendicular style, after 16th century provincial models. The architect was Thomas Dunn; the builder was a local contractor and area resident, Michael Hannan, who died during construction. The building contains exceptional stained glass art designed and created by the noted German-American architectural muralist and decorator Rudolf Scheffler, for the famous firm of Emil Frei Art Glass of St. Louis. The nave windows were fabricated in Munich.

Geometric pattern in stained glass created by Rudolf Scheffler;
in the same style as the great window over the choirloft

Scheffler came to America in 1924 and established a studio in Brooklyn, NY. His known American work includes murals, mosaics and stained glass commissioned for churches, synagogues and public buildings in 19 states. He was also an accomplished painter whose American work was the subject of a 1989 retrospective at the Florence Griswold Museum in Old Lyme, Ct.

The book contains stunningly detailed close-up photography of many of the church’s great windows, as well as various aspects of the building’s architectural and liturgical features. A handy floor plan diagram pinpoints the subjects of each of the windows and statuary. The text includes profiles of Scheffler, Edward Albee II, an important non-Catholic benefactor (and the grandfather of the Pulitzer Prize-winning playwright), as well as many newsy sidebars about the 1928 period. A number of parishioners as well as art and architectural experts contribute to the narrative.

The church is also exceptional for its fine woodwork, both in the exposed beams and trusses of the nave ceiling and roof, and in the carvings on the choir loft base and screen at the Larchmont Avenue end of the building. The book illustrates both, and examines how the ceiling woodwork eliminates any need for the flying butresses so often associated with great high-roofed Gothic churches.

Most of the interior details were created by the Daprato Statuary Company of Italy, defunct since the 1970s. The French Caenstone stations of the cross, Italian marblework altars, devotional statues and flooring, Gothic revival pulpit and original oak confessionals are all discussed. The main altar reredos, or Gothic altar backdrop, features its own ornate spires and bright mosaic tile inlays of blue, red and gold tessera.

The book also covers “some of the additions and changes brought about by time, new liturgical emphases and the evolving needs of a modern congregation… these have always been made with great care and respect for what has existed.” Such changes include the removal of most of the original marble communion railing (1990), which was then fashioned into legs for a new altar table. And the conversion of the original Baptistry into a modern Reconciliation Room or Confessional space. Other changes include air conditioning, new lighting and a wheelchair entrance ramp. The history of the great Estey organ and the tower belfry’s Deagan tubular bell chime carillon is also recounted.

The church is in many ways a study in contrasts, of stark simplicity and rich complexity, in its spaces and surfaces. This, as the architect Thomas Dunn explained 75 years ago, is a feature of the 16th century models he loosely followed in designing the building. To his lasting credit, the artist successfully balances these seeming opposites in an overall effect of deep abiding calm and lofty spirituality. Such themes are taken up in the text and elaborated by a number of voices.

The book’s principal photography is by William Irwin, who spent a good part of his youth in Larchmont. Additional photos are supplied by Kate Fleming. Design is by Tun Aung. Research by Rev. Joseph De Santo of St. Augustine’s and parish trustee John Spollen. It was written and edited by William McGuire.

“This is a wonderful example of putting part of our community history to good use to come to a richer understanding of our shared legacy,” says Spollen. Additional copies of “The Art and Architecture of St. Augustine’s Church” can be obtained by the public in person at the church Rectory at 18 Cherry Avenue, or through the mail for $10.00 per copy. If writing, please specify the quantity, and return address, along with your check. Proceeds will help cover production costs. The book will also be available at Anderson's bookshop.

All photos appearing in this article by William Irwin. Altar photo does not appear in the book.