The History of St. Anne’s

Pictured above are just some of the 600 prayer kneelers used at St. Anne’s. Each was handcrafted by parishioners & needlepoint experts in 1992 to celebrate the 300th anniversary of St. Anne’s Parish.

Who was Saint Anne?

Anne was by legend the grandmother of Jesus Christ, the mother of the Virgin Mary. Mary’s birth is not, in fact, recorded in the Bible. The earliest account of her birth is recorded in the apocryphal Infancy Gospel of James, written about 150 AD. The story bears similarities to other Biblical miraculous births.

Childless until advanced in years, Anne is said to have prayed for a child and pledged to the Lord that her child would serve Him. With the birth of Mary, blessed as God’s servant, Anne was rewarded. Her daughter was destined to serve God in the most important role to humankind, the mother of his son, our Savior Jesus Christ.

 A window pictured is in the south wall of the church. It depicts Anne instructing Mary at her knee, and was designed and built by the Tiffany Glass and Decorating Company about 1894.

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Early History of St. Anne’s Church

In 1692, on order of the king and queen, William and Mary, Maryland became a crown colony, and the Maryland provincial assembly, then located in St. Mary’s City voted “the Establishment of the Protestant Religion within this Province.” Thirty Church of England parishes were set up throughout the colony, one of which, Middle Neck Parish, later became St. Anne’s. Sheriffs were required to collect taxes, paid in tobacco, to be turned over to parish vestries to build necessary churches and chapels and then to use the proceeds to support the clergy.

Silver communion pieces gifted by King William III in 1696 are used every Sunday.

Silver communion pieces gifted by King William III in 1696 are used every Sunday.

The First St. Anne’s Church (1704-1775)

The first St. Anne’s was built about 1700. Once complete, it served as the Chapel Royal for Maryland until 1715, when the Crown returned the province to Lord Baltimore. No known pictures of it were made during its existence. Often in succeeding years additions were made to accommodate the growing population. Finally in 1775 the building was taken down in anticipation of constructing a new, bigger church in the Circle, paid for by the provincial government.

The Second St. Anne’s Church (1792-1858)

Materials for building the new church were purchased, but the start of the Revolution put building plans on hold. Services were held first in a theatre and then in King William’s School (which later became St. John’s College). Both the new government and private citizens appropriated some of the materials for their own uses. After the War the State replaced the construction materials. Building began in the late 1780s and a new, larger and more elegant building was consecrated in 1792.

The Third St. Anne’s Church (1859-Present)

The second church building burned down in a spectacular fire on Valentine’s Day evening, 1858. In less than two months, the Vestry adopted a plan for the present church drawn up by C. Harrison Condit, a young architect from Newark, New Jersey, who was the nephew of the Bishop of Maryland. The style is Romanesque Revival, newly popular for churches and public building in the 1840s and 50s. Construction proceeded quickly. Services in the new church were held beginning in July 1859. The work was essentially complete, save for the tower, which was not completed until late 1865. The bell, which tolls on the hour, was installed then.

History of St. Anne’s Cemetery

Under the planning of Governor Francis Nicholson St. Anne’s church was placed on the second highest piece of land in Annapolis; the highest was reserved for the State House. The burial ground around the church was at first the only cemetery in the city. It was much larger than the present churchyard. Annapolis’ growth and especially the construction of the street around the circle, have reduced the churchyard cemetery to but a representative sample of what existed in the 18th century. It is reported in an early 20th century newspaper article that graves extended all the way to the old Post Office building and Government House. In 1790, the main cemetery was located down Northwest Street from the Circle, on College Creek.

Archives

The archives at St. Anne’s are located primarily in the Parish House and in the Maryland State Archives. Articles have been written from documents found in the Archive Room in the Parish House, as well as from dated newspaper articles. Some of these articles are available on this website. Questions about the history of St. Anne’s Parish may be emailed to archives@stannes-annapolis.org.

Church Interior Slide Show

The Vestry Act 1779

About the Compass Rose

The St. Anne’s Compass Rose adorns the top of the church steeple and signifies the universal call of the Gospel of Jesus Christ and the mission of St. Anne’s Parish to our entire city and county.

St. Anne’s Rectors

Since its founding. St. Anne’s has had 45 rectors in its 329-year history. Nearly half, 21, served before the Revolution. In the pre-Revolutionary period, the Church of England was “established” and the colonial governor was responsible for appointing rectors upon recommendation from the colonial proprietor and/or the Bishop of London. Pre-Revolutionary St. Anne’s did not pay well relative to other parishes and some of the early rectors left for alternative positions within a year or two. In contrast, in the last 150 years, St Anne’s has had only nine, including The Reverend Manoj Mathew Zacharia, Ph.D., who became rector in August 2019. Below is a chronological list of Rectors as well as 10 others who were in interim charge of the parish. Also below are brief biographical essays on some of the longest serving rectors and on some of the most controversial.

St. Anne’s Windows

St. Anne’s has 24 stained glass windows plus a mosaic, most of them in place more than 100 years ago. All but four are memorials to clergymen and to lay people, some of whom played important roles in the history of the church.  Their stories are told in the essays below.  In the nave there are ten windows, including the transom window over the side entrance on the south side and the full-size window in the side entrance on the north side. Above the altar in the chancel are eight clerestory windows.  The remaining six windows are in the church’s four side rooms.  Finally, there is the mosaic, which is in the narthex over the entrance to the nave.

 Interior Features & Furnishings

Essays written by: Eric Fredland

In the interior of St. Anne’s are many notable features. Some like the reredos (the ornamental screen behind the altar), the font and the altar, were created by artists who were world renowned in their day. Many are memorials to parishioners who were prominent citizens of Annapolis. One, the lectern from which scripture is read, is a memorial to a parishioner who is today controversial because of his association with the Confederacy. The stories of the furniture and features, and the people memorialized, are told in the essays below.

THE ALTAR, THE FONT & WILLIAM HENRY RINEHART

Our church was quickly built and furnished in 1858-9 after the disastrous Valentine’s Day fire of 1858 completely destroyed the previous building.  Two of the most important furnishings, the altar and the baptismal font, along with the capitals on the columns in the nave, were designed by William Henry Rinehart, then a young sculptor who grew up in the Baltimore area, who subsequently became regarded as one of the greatest sculptors this country has ever produced. 

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The frontispiece of the sandstone altar has three panels, representing Instruments of the Passion.  In the center panel is the cross; on the right three nails used to nail Christ to the cross (the number of nails is not Biblical); on the left the hammer used to drive the nails and the pincers used to remove them. The panels are surrounded by grape vines. The altar top is supported by ten fluted, scrolled consoles topped with elaborate capitals, depicting passion flowers.  These scrolled capitals are repeated on the eight columns and four pilasters in the nave.

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The font, also sandstone, is in the shape of a goblet supported by a fluted column on a round base decorated with figs. The goblet’s lip is decorated with olive branches. Below the lip around the goblet is inscribed “For by One Spirit Are We All Baptized Into One Body” (Corinthians 12:13).  Around the goblet are four carved images of living beings from Revelation 4:7: a lion, an ox, the face of a man, and an eagle.  Early on these were interpreted as representing the four evangelists.  The most common association, first laid out by St. Victorinus in the 3rd century, associates the lion with Mark, the ox with Luke, the human face with Matthew and the eagle with John.

William Henry Rinehart, the son of a farmer, was born in 1825.  Because he showed no interest in farming, his father put him to work in a marble quarry polishing and lettering blocks for tombstones and making window and door sills. At 21 he went to work in a Baltimore stone-cutting firm and immediately showed considerable talent. He caught the attention of William T. Walters, whose collection later became the foundation of the Walters’ Art Museum. Walters became his lifelong patron and friend.  Although he received some acclaim for several pieces, he decided Baltimore was not the best place to nurture his talent, and so, in 1855, he went to Florence, Italy, courtesy of Walters.  Unable to build much reputation there, he returned to Baltimore in 1857, where he was able to secure a number of commissions, including the Greek-style figures supporting the clock in the U.S. House of Representatives.  However, he stayed but a short time, returning to Italy in late 1858, this time to Rome, where he maintained his principal studio for the rest of his life.  Before he left though, he accepted a commission from St. Anne’s building committee, led by Alexander Randall, to do our altar and font.  While the design of both were the work of Rinehart, probably cast in plaster, Robert Thompson, who worked in Baltimore, did the actual execution of the pieces.  They were delivered to St. Anne’s in the spring of 1859. Rinehart returned to the U.S. only twice more in his life — in 1866 and 1872, both for short periods.  His reputation grew very rapidly and he executed several hundred commissions before his premature death in Rome from tuberculosis in 1874.  Among his most famous works is the now infamous statue of Roger Brooke Taney, which until recently stood outside the Maryland state capitol building.

MR. KIRCHMAYER’S REREDOS

On Prince George Street, across from the Brice House is a church building.  Now residential, it was completed in 1886, in important part by donations from the Randall family, as a mission chapel of St. Anne’s.  It was dedicated as a memorial to Alexander Randall, arguably the most prominent 19th century lay member of St. Anne’s, who died in 1881.  It served St. Anne’s for the better part of four decades, until it was sold in 1919 to the Jewish congregation in Annapolis. It served as Kneseth Israel synagogue until 1962. Part of the proceeds from the sale was designated for a new memorial in remembrance of Alexander Randall.  The reredos (pictured) behind the altar was the result.

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The reredos is a triptych (three panels). On the side panels are large crosses, outlined in gold leaf. The carved figure of the Risen Christ in the center panel holds the Book of Life against his chest with his left hand, with his right hand extended in a welcoming, palm forward, gesture.  The Book of Life, mentioned six times in Revelation and once by St. Paul (Philippians 4:3) is said to contain the names of all persons destined for heaven.  Christ is flanked by six kneeling angels.  Above the crosses on the two side panels are elaborately carved vines of passion flowers.  The passion flower, named for the Passion of Christ, is a native of the Americas.  Sixteenth century Spanish missionaries brought it to Europe and introduced it as a Christian symbol, with parts of the flower representing aspects of His crucifixion.  For example, the radial filaments, often numbering nearly 100, are said to represent the crown of thorns; the ten petals are said to represent the ten faithful apostles (less Peter, the denier, and Judas, the betrayer).  At the very top of the reredos is a carved pelican. In legend that pre-dates Christianity, the pelican pecks its breast to feed its young if food is scarce. It is thus a symbol of unselfish love and sacrifice and therefore of Christ who gave His life to save humankind.  The first known Christian mention is in the anonymous book Physiologus, probably from the 2nd century.  This contains Christian interpretations of various animals, including, for example, the eagle, the ant, and the viper, in addition to the pelican.

The reredos was carved by Johannes (or John) Kirchmayer, described by some contemporaries as the greatest wood carver since the Middle Ages.  Kirchmayer was born in Oberammergau, Germany — a town still famous today for its once a decade Passion Play, in which Johannes participated as a young boy, and for producing master wood carvers.  Johannes immigrated to the United States in 1880 at the age of 20.  He began work with firms making home decorations and furniture, but within a decade was employed by architects who were designing church buildings.  In addition to reredos, he produced statuary, pulpits, bishop’s chairs, rood screens, doors, and other pieces of ecclesiastical art and decoration.  Although primarily a wood carver, he also worked in stone.  His work is seen in at least 40, mostly Episcopal, churches.  Many of these are in the greater Boston area, where he lived, but some are located further afield.  For example, he carved a wall panel of St. Augustine in the National Cathedral, a pulpit in St. Mark’s Cathedral in Minneapolis, and numerous pieces for St. Paul’s Cathedral in Detroit.  In 1914-19 he worked with architect Woldemar Ritter on a major makeover of Emmanuel Episcopal Church in Baltimore. Kirchmayer executed a reredos in limestone, and carved a wooden lectern, the pulpit, the door carvings on the church’s Christmas Tower as well as stone carvings on the door surround, and a triptych in its Peace Chapel.  The Ritter/Kirchmayer team was subsequently engaged to design and execute our reredos. 

The reredos was dedicated on May 24, 1920, in a service conducted by the Right Reverend G. Mott Williams, who was on the staff of the Presiding Bishop. Our rector, Edward Darlington Johnson, eulogized Alexander Randall, drawing on a sermon preached by former rector William Southgate at Alexander’s funeral.  Noting that reredos was replacing the mission chapel as a memorial to Randall, Johnson said, “And so it has come to pass that the chapel memorial to Alexander Randall which was of necessity limited to one phase of the church’s work in this community, has become a thing of beauty in the larger religious home of the parish.”  Bishop Williams said, “It is a fitting memorial for a saintly person; a continuation of the life of such a one who has found that ‘to live is Christ, and to die is gain.’ “

TEN COMMANDMENTS TABLET

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One of the most prominent architectural features in St. Anne’s is the large stone tablet (pictured) just to the right of the pulpit.  It contains a Latin cross with the Greek monogram IHS, for Jesus Christ, in the center.  Under the arms of the cross are the Ten Commandments from Exodus 20.  The stone used was selected to match the interior stonework in the church and the whole rests on brackets similar in design to the capitals of the stone pillars.  An inscription is carved on the stone below the brackets:

In Loving Memory of
WEEMS RIDOUT
1852-1913
Vestryman 1896-1913
“Perfect in Every Good Work”
Erected by his Family

Installed and dedicated in May 1916, the tablet was the work of T. Roland Brown, a local sculptor, who had earlier executed the Southgate memorial fountain on the north side of the church.

Weems Ridout and his brother Grafton were for a number of years the owners and proprietors of Ridout Bros., a dry goods and clothing store, on Main Street.  Active in local politics as well as in church affairs, Weems served as second ward Alderman.  The Ridouts were great grandsons of John Ridout, who came from England as private secretary to Royal Governor Horatio Sharpe in 1753, and were lineal descendents of King Edward I.  Weems married Edith Marden, a member of another prominent Annapolis family, the Brices, in 1899.  He died of a heart attack on September 7, 1913, while waiting for a train to return to Annapolis from an Atlantic City holiday.

 The passage on the memorial, “perfect in every good work,” drawn from Hebrews (13:21) served as the text for the Rector, Joseph McComas’ sermon at the dedication service. McComas closed, noting that Weems “Was a good citizen, a loyal churchman and faithful vestryman, but best of all and from which all else came, a religious man, and so perfect in every good work.”

The Evening Capital, on the day after his death, published an obituary as an editorial, ending, “Coming from a distinguished ancestry, Weems Ridout bore the marks of innate refinement, and along the walks of life his consideration for others always marked him a man of gentility and one of God’s true noblemen.  He despised snobbishness, and never flaunted his ancestry in the faces of others.  He lived on what he was himself, not what and who his forebears had been. By his death Annapolis loses one of its best citizens and a man whom everybody loved and respected.”

LECTERN AND CAPTAIN WADDELL

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The lectern has been part of the furnishings of St. Anne’s for more than 130 years, having been first used on Easter, 1890. Appearing in early Christian art, the eagle was believed to be the bird that flew highest and therefore was the closest to heaven. It is traditionally used to represent the inspiration of the gospels, particularly John, whose gospel most clearly witnesses the divinity of Christ. Eagle lecterns in English churches predate the Reformation.

Made by the Gorham Silver Company, our lectern has an inscription around the base, at the eagle’s feet, reading, “To the glory of God and in loving memory of my husband, James Iredell Waddell, entered into rest March 15, 1886. Make him to be remembered with thy saints in glory everlasting.” Anne Sellman Waddell’s maiden name was Iglehart — a prominent Annapolis and St. Anne’s family. Her brother, William, is commemorated on a plaque in the chancel, and both he and her father, James Jr., served on the Vestry, as subsequently did her nephew, Eugene.

James Waddell, a native of North Carolina, entered naval service in 1841. After several years of service, he was made assistant professor of navigation at the Naval Academy in 1858. He married Anne Iglehart in 1848. He served in the U.S. Navy until 1861, then resigned and officially joined the Confederate Navy in March 1862. In his resignation letter, he noted his “unwillingness to bear arms against his father’s home and relatives” but declared explicitly that he had no property in the Confederacy; that he was not hostile to the Constitution; that he venerated the flag, and that he wished he could defend it against some foreign foe. It is likely that his resignation was also motivated by the strong Southern sympathies of his wife’s family, the Igleharts. Three of her four brothers served in the Confederate military. One of these, her brother James, died in the Battle of Gettysburg.

After serving in the James River and in Charleston Harbor, Captain Waddell went to the Madeira Islands in the fall of 1864, where he took command of a British commercial steamer, Sea King, that had been sold to Confederate interests. The ship was refitted as a warship and renamed the C.S.S. Shenandoah. It immediately set out in October 1864 around the Horn of Africa to Australia. His mission was to destroy the U.S. whaling fleet in the north Pacific. He destroyed about three dozen ships, all but four after the war was over, later contending that he had no credible news of the war’s end until learning of it from a British ship. Several captains of the destroyed whalers testified that Waddell had been presented with plenty of credible evidence of the collapse of the Confederacy, but he said that he did not believe them. When learning of the war’s end, he raced the Shenandoah to England and surrendered to the British in November 1865, the last official surrender of the Civil War. He was condemned in the U.S. press as a pirate. The British government, however, decided to believe Waddell and released him and his crew from custody. The British turned the Shenandoah over to the U.S. Consol. The U.S. sold it at auction in Liverpool.

Anne joined her husband in England and they lived there and in Paris for some time after the war but returned to Annapolis by mid-1870. In 1881, the Waddells built the striking, British-inspired Queen Anne style house, facing St. John’s College at the corner of Prince George Street and College Avenue.

In 1875-76, he was captain of a commercial steamer, the City of San Francisco, which operated as a mail carrier between Australia and New Zealand and Hawaii and San Francisco. Two years before his death he was appointed commander of the Maryland State Marine Police in the Chesapeake. When he died, the state legislature adopted a joint resolution: “The people of this State are today called upon to mourn the loss of an esteemed and highly valued citizen and a faithful public officer in the death of Capt. James I. Waddell, commander of the State fishery force of Maryland.” An arrangement was made for the members of both houses to attend the funeral.

HOLY FAMILY CHAPEL

The Chapel of the Holy Family was established in 1984 in memory of John Baldwin Rich (1898-1971) and Harriet Randolf Gray Rich (1898-1972) by their daughter Harriet Rich Sheehy. The Riches were prominent citizens of Annapolis and parishioners of St. Anne’s for many years. The room behind the chapel, now the clergy vesting room, housed the church’s organ before the current organ was purchased and installed in 1975. The wall behind the altar of the chapel was the façade of the old organ and was on the side wall of the chancel before being moved to its current location. The brass altar rail supports model decorative floral designs on the frames that enclose the images on the stained-glass windows on the left side of the nave, second and third from the rear. The first of these shows Mary visiting Elizabeth (Luke 1:39-55); the second, the Presentation of Christ at the Temple (Luke 2:22-38) The kneeling cushions were designed for the chapel by the then Annapolis artist Jennifer Wharton. They depict four Christian symbols. Each symbol is bordered by floral designs somewhat similar to the rail supports and resembling a bouquet of lilies seen in the Mary and Elizabeth window. Next to the outside wall is a pedestal with a brass flower vase. The vase is dedicated in memory of Abraham A. Shimer, the patriarch of a Wilmington DE family, some members of which have lived in Anne Arundel County beginning in the 1940s.

John B. Rich, a Baltimore native, was an investment banker, serving as a director of the Mercantile Safe Deposit and Trust Company at the time of his death. His avocation was hospitals. He served 27 years associated with Anne Arundel General Hospital as trustee, including five terms as president of its board of management. He was also president of the Hospital Council of Maryland, for 18 years a director of Blue Cross, and a director of Blue Shield for a four-year term. At the time of his death, he was a member of the state Board of Hospital Licensing. Harriet Rich was active in many civic organizations, particularly the Auxiliary of Anne Arundel General Hospital and the Four Rivers Garden Club.

John Rich served on the St. Anne’s Vestry in the early 1950s, but the family association with our church extends back much further. In June 1921, the couple married at St. Anne’s. The Bishop of Maryland, John Gardner Murray, performed the service, with the rector, Edward Darlington Johnson assisting. This special treatment stemmed from Harriet’s background. Her father was the Reverend John Charles Gray. Her mother was Frances Southgate, eldest daughter of our longest serving rector, William Scott Southgate. John Gray and Frances Southgate were married at St. Anne’s in 1893 by Frances’ father, the Reverend Southgate.

THE KNEELER PROJECT

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In 1990, retired Rear Admiral Robert Geiger, a needlepoint enthusiast, proposed to the Vestry that the Naugahyde-covered kneelers at St. Anne’s be rebuilt and given needlepointed covers as a contribution to the 300th anniversary celebration of the parish in 1992. Work began in 1990, led by Admiral Geiger and Shirley McFadden, with a goal of “500 [kneelers] for the 300th.” Ultimately, the goal became 600. The plan was to involve large numbers of parishioners, skilled and novice, in producing a complete set of kneelers for the church. McFadden, a needlework historian and collector, taught Sunday and Tuesday evening classes for anyone needing help. Kits, including yarn and canvas were sold for $25 to anyone interested in doing the work. Kits were also sold to parishioners who wanted someone else to do the actual stitching for them. When the Geigers moved to Florida in 1992, McFadden became the project chair, managing the project for the next nine years. Two hundred and ninety-one were completed by the time of the formal dedication of the kneelers September 27, 1992. The 600th one was received October 31, 2001. Most people completed only one kneeler, but some people, particularly committee members, did far more. Anna Maria McFadden completed a remarkable 35. In addition to the work of hundreds of parishioners, canvases were contributed by needlepoint experts from outside the parish and by those representing other churches, including among others, St Margaret’s, St. Mary’s, First Presbyterian, and the Naval Academy Chapel. Our sister parish in Guatemala, Maya Quiche, contributed one.

The first kneelers completed for use were actually those at the Holy Family Chapel, designed by Annapolis artist Jennifer Wharton. The eight long benches in the front pews and in the choir stalls, designed by Suzanne Beyda, each depict seven different crosses on a burgundy background. No two of the 56 crosses on the eight benches are exactly alike. The project committee initially produced three standard designs for those who did not want to design their own: a depiction of the three church buildings that have been on Church Circle, usually on a blue background; the cross on the spire of the church flanked by two lilies, usually on a burgundy background; and the word “Holy” flanked by the lilies, also on burgundy. Additional standard kits were later added, the most popular being a large Maryland cross on the left of the canvas, with “St. Anne’s Parish 1692-1992” stitched on the right. Some people started with a standard design and modified it in some way, changing yarn color or modifying the image. About 300 kneelers using standard designs can be found today throughout the church. The other 300 or so are individual, original designs. The committee reviewed each design. The designs are very diverse. There are biblical scenes, religious symbols, family coats of arms, memorials, images of other churches and more unusual depictions, including the logo of the SPCA, the “Save the Bay” Maryland license plate, a crab, the Hubble telescope with the words “another step-by-step journey to the stars,” and a cartoon logo of the Women’s Air Space Patrol that operated during WWII.

THE ORGAN

The magnificent organ, built by Freiberger Orgelbau of Freiberg, Germany, was put in place in the fall of 1975 on a platform especially designed for it by Annapolis architect, Harry Ewald. It is a traditional tracker organ where the commands of the console are transmitted to the pipes by mechanical means. It replaced an electro-pneumatic organ, where a network of wires and switches conduct electrical impulses from the console to the pipes.

The organ is the third used in the present building. Following the 1858 fire that completely destroyed the church, a two-manual (i.e., keyboard) organ, built by the E.&G.G. Hook company of Boston, in its day the premier organ building company in the country, was installed in the newly constructed church in 1859. This instrument was housed in what is now the clergy vesting room to the left of the chancel. In fall 1906, the organ was completely rebuilt, with three manuals, by the M.P. Moeller company of Hagerstown, later the largest organ-building firm in the world. In 1910 further upgrades were made, and some further rebuilding was done in the 1930s. By 1943 it was clear that the organ needed replacement. Moeller was selected to build a new three-manual electro-pneumatic instrument, which was dedicated October 13, 1946. This organ, again in the present clergy vesting room, was situated such that it projected sound across the chancel instead of directly into the nave.

Around 1970, the organ, although only 25 years old, showed significant signs of deterioration. The Vestry at first leaned toward rehabilitating it, but ongoing repair costs for this particular type of organ promised to be high. The possibility of replacing the organ with a similar one was also considered. However, a decision was finally made to obtain a three-manual traditional tracker organ. Although a more expensive instrument, the purity and clarity of the sound of a tracker organ is superior, and some aspects of its maintenance are easier as well. The new organ was placed in its location at the rear of the nave to accommodate its size and to project sound directly into the nave. On one of his business trips to Germany in 1972, parishioner Manfred Leckszas, a member of the ad hoc Organ Committee, was visiting family near Freiburg where he had grown up. Through a music store he knew there, he learned of Freiberger Orgelbau, and made contact with the firm. The firm ultimately made the winning bid. After three decades, the organ needed refurbishing. In 2007, Freiberger Orgelbau extensively rebuilt it.

LIGHTS

On the wall next to the side door on the south side of the church, there is a small wall plaque that reads:

“To the Glory of God and in Memory of
Edward Darlington Johnson D.D.
Rector of St. Anne’s Parish
January 1, 1917 — February 28, 1943
The Lighting of this Church is Dedicated April 22, 1945
“Let Light Perpetual Shine Upon Him, O Lord"

On February 28, 1943, Dr. Johnson, who had been rector for 26 years, died at home in the rectory of a massive heart attack. He had guided the church during the Depression, obviously a “dark” period, when the church, like most every person and institution, suffered. Pledges shrank significantly, maintenance was delayed, staff was laid off. Johnson himself took a substantial pay cut. The new rector, the Reverend C. Edward Berger, and the Vestry decided that a new lighting system would be a fitting memorial. Delayed nearly two years by the war, the 16 ornate lanterns which we have today were installed and dedicated in early 1945, replacing the first electric lights, which were attached to the columns. The dedication service was front-page news in The Evening Capital of April 23, and the paper’s editorial the next day, entitled “A Man to Remember,” was a long tribute to Johnson, noting his quietly effective approach to ministry. “In his own quiet way, he probably did more to bring the light of Grace and salvation, than many ministers who voice verbal lightnings every Sunday.” The then recently retired Bishop of Maryland, the Right Reverend Edward Helfenstein, delivered the sermon, choosing for his text, “He was not the light, but came to bear witness to the Light” (John 1:8). The congregation filled the church and included many people who were not St. Anne’s members —testimony to Johnson’s impact on Annapolis.

The lanterns are familiar to anyone who has ever entered St. Anne’s. Another light fixture goes unnoticed by most. In the narthex, where one enters the church, is a round light fixture suspended from an ornate arm. This fixture was installed over the pulpit in 1899. It did not have the small light bulbs that now surround it. When the new lanterns were installed in 1945, this fixture was moved to the narthex.

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SEDILIA

Sedilia (plural of Latin sedile, “seat”) are ceremonial seats for officiating clergy, almost always on the south side of the altar. There may be one, two, or most commonly three seats, as we have in our chancel (pictured). In medieval English churches they were usually made of stone built into a niche in the wall. An architectural luxury rather than a liturgical necessity, they apparently fell out of favor in colonial churches, but became more common in the late 19th and early 20th centuries.

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In 1915, the ladies of the St. Anne’s Society, noting that they had set aside sufficient funds, proposed to the vestry to purchase a sedilia set as a memorial for Carrie Jennings Willcox, who had died in 1910. Carrie Willcox was a close friend of Mrs. J. M. Worthington (Margaret Taylor Randall), the founder of the society, whose mission was charitable outreach. Carrie was her assistant. The sedilia were dedicated in March 1916. They are the work of R. Geissler Co. of New York, which made church furniture, stained glass, candlesticks, brass crosses and other items. The company, or its successor, is in existence today, now located in Eagle, Idaho, specializing in choir chairs. A small round plaque on the right side of the sedilia reads:

“To the Glory of God and in loving memory of Carrie Jennings Willcox by the members of St. Anne’s Society”

Carrie Jennings Willcox (1867-1910) was the youngest of three children of William H. Willcox (1823-1870) and Catherine J.S. Willcox. William Willcox, a retired Naval officer, was a professor of mathematics at the Academy. He died in 1870. Catherine survived her husband, but apparently later suffered from dementia before dying in the 1880s. Carrie’s siblings were older than she, and independent by 1880, but Carrie moved in with her grandfather, George Wells, her mother Catherine’s father by his first marriage, together with his three children by his second marriage. George Wells was a prominent Annapolitan, the president of Farmers National Bank, and probably the owner of more property than anyone else in the area. An active member of St. Anne’s, he donated the bell in our church tower in 1865. George died in 1881, and his Charles Street house was inherited by his son, George, who became a physician. Carrie continued to live there with her uncle, Dr. George, and also her aunt Annie, until her death.

Carrie was an active member of St. Anne’s. In addition to her work with the St. Anne’s Society, she played a leadership role with the Ladies Cemetery Association, which was responsible for the upkeep and improvement of our cemetery. She worked as a private teacher to children of prominent families in Annapolis and at the Naval Academy. She was only 43 when she died of bronchial pneumonia on August 2, 1910. A long obituary, published on the front page of Evening Capital on August 3, closes, “She was a woman of high culture and deep learning and rare intellectuality. She was beloved by all who knew her.”

THE BISHOP’S CHAIR AND THE PULPIT

One of the most prominent furnishings in the church is the Bishop’s Chair (pictured) to the left of the altar. No one may sit in that chair except a bishop. Our diocesan bishop’s home church is of course the cathedral in Baltimore. However, as the Episcopal Handbook says, “bishops get out a lot, regularly visiting parishes, which is why they have a seat reserved. This is a reminder not only of the authority of the bishop, but of the congregation's relationship with the bishop. The empty chair is a reminder to pray for and with our bishop.” Thus, St. Anne’s, like parish churches that can afford it, has a bishop’s chair. It was installed when or soon after the present church was opened for services in 1859, 18 months after the fire that destroyed the previous building. The chair was not purchased as a memorial, but like the altar, the font, the pews, the organ and the first stained glass windows, was incorporated into the church at the outset. Unlike some of those features, notably the altar and the font, we do not know the artist who created the piece. The carved arms complement the carvings on the capitals of the pillars in the nave. The decorative carving in the center of the chairback (pictured) is a bishop’s mitre (ceremonial headgear) crosier and keys. The carving’s style closely matches the carving on the pulpit (pictured), which features a heart, fishhooks and a cross.

The history of the pulpit is less clear. Like the Bishop’s Chair, it is not a memorial and was likely produced and installed at the same time as the chair. But there is an intriguing alternative story. An 1888 publication by the Anne Arundel County Historical Society notes that the “mahogany pulpit and prayer desk” in the second church are among the relics in the church saved from the fire. Perhaps the pulpit was rescued, and the chair was made to match it. However, a pen and ink sketch of the pulpit in the church before the fire does not resemble the present pulpit. If that sketch is at all accurate, it is not the same furnishing. In any case, the pulpit in the church after the fire was replaced by a new, brass and oak pulpit, installed in the March 1891 as a memorial to Mrs. Adeline D. Miller by her husband, Judge Oliver Miller. That pulpit, less architecturally compatible with other furnishings, was in turn replaced probably with the original pulpit, about 1910. All the other new features and furnishings installed in the early 20th century are memorials, but our pulpit is not, so it seems unlikely that it was new then. The Miller pulpit was put in storage and in 1918 was given on permanent loan to Trinity Episcopal Church in Elkridge.

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