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How Lovely Are Thy Dwelling Places |
Psalm 84
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© John Ewing Roberts |
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INTRODUCTION Picture 1. Interior, Woodbrook Baptist Church, Adam Gross and Glenn Neighbors, 1997 I have three texts today: "How lovely is your dwelling place, O Lord of hosts!"[1] "The lines are fallen unto me in pleasant places; yea, I have goodly heritage."[2] "...look to the rock from which you are hewn, and the quarry from which you were dug."[3] Picture 2. Eutaw Place Baptist Church, Eutaw and Dolphin Streets, Baltimore, Thomas U. Walther, 1871 What follows is a bit different, but I justify it on the grounds that it is summer when we often experiment, that on the last two Sundays you have gotten out a total of 20 minutes early, and finally because this is for me a very special day, and I ask your indulgence. Today is the 40th anniversary of my ordination to the gospel ministry. Next Sunday is the 40th anniversary of the beginning of my relationship with this church, my first Sunday as your summer Assistant Pastor. What follows is a kind of thank you note and love letter occasion. Picture 3. John E. Roberts, Assistant Pastor, Eutaw Place Baptist Church, June 1959 I knew you would laugh when you saw this picture. Any resemblance between the person standing before you and the skinny, unseasoned kid leaning against the wall of Eutaw Place Church is purely coincidental. We will not dwell on this image except to note that serving you, while gratifying, ages a man and is a broadening experience. But seriously...leaning on the stones of Eutaw Place represents the support and nourishment I have received since 1959 from this church and the tradition in which it stands, a tradition represented by the church architecture in this presentation. At Eutaw Place I found a special church, a church which was first Christian and then Baptist, a church which emphasized things shared with other Christians and things distinct in the best of the Baptist heritage. I found Christian commonalities and a tradition of excellence. These are listed in the old church handbooks under "Doctrines Which We Hold In Common with Other Denominations,"[4] the subject of another sermon on another day. As we go on a visual tour and look at these pictures, be mindful that a church is more than a building; it is people, the people who built the buildings, the people whose faith was built up at worship, in study and in fellowship in these buildings, the people who went forth from these buildings to build the kingdom of God, the people who worshipped there across the years, and the people who still worship there. ST. MARTIN IN THE FIELDS - THE BRITISH CONNECTION The Baptist story begins in England; here is one of the best known of British churches, St. Martin-in-the-Fields. Picture 4. St. Martin-in-the-Fields, Trafalgar Square, London, James Gibbs, 1721-1726 One of England's greatest architects, James Gibbs, built the church, located on Trafalgar Square; the dates were 1721-1726. This is still a great church, architecturally influential, a base for inner city ministry to the homeless and the homeless veterans between the two World Wars, an air raid shelter during World War II, burial place for great artists like William Hogarth and Joshua Reynolds (not to mention Charles II's mistress, Nell Gwynn, a setting for great musical programs which gave birth to the music of Sir Neville Mariner and the Academy of St. Martin-in-the-Fields. Probably unbeknownst to architect Gibbs, the church was built during a time of ferment and development in Baptist life in England and the colonies. Picture 5. St. Martin-in-the-Fields General Baptists had emerged in England in 1611, led by Thomas Helwys, and by the time St. Martin-in-the-Fields stood on Trafalgar Square, Particular Baptists had surfaced (a terrible pun on immersion!), and Baptists were established in Providence, Rhode Island, Charleston, South Carolina, Philadelphia, Pennsylvania, and would organize a church in Maryland in 1742. Picture 6. St. Martin-in-the-Fields The first Baptists in Maryland made crystal clear their connection to Britain. They noted their ties in particular to the Church of England and Scotland to what they called "the Protestant Religion" in general. They were not arrogant religious isolationists. Listen to the Covenant of the oldest Baptist Church in Maryland, Saters, now known as Chestnut Ridge Baptist Church: We, the humble professors of the Gospel of Christ, baptized on a declaration of faith and repentance, believing the doctrine of general redemption (or free grace of God to all mankind), do hereby, seriously, heartily and solemnly, in the presence of the Search of all hearts, and before the world, covenant, agree, bind and settle ourselves into a Church to hold, abide by and contend for the faith once deliver to the saints, owned by the best reformed Churches in England, Scotland and elsewhere, especially as maintained in the forms and confessions of the Baptists in England, differing in nothing from the articles of the Church of England and Scotland, except in infant baptism, modes of Church government, the doctrine of absolute reprobation, and some ceremonies...[5] Picture 7. Portico of National Gallery with St. Martin-in-the-Fields in background (Should I tell you that they go on to say, "We do also engage with our lives and fortunes to defend the crown and dignity of our gracious sovereign King George, to him and his issue forever, and to obey all his laws, humbly submitting ourselves to all in authority under him, and giving custom to whom custom, honor to whom honor, tribute to whom tribute is due....And further, we do bind ourselves to follow the patterns of our brethren in England...." The year was 1742. Now, indulge me while I "chase a rabbit." Here is a painting called London Visitors by James Tissot (1873-1874). Picture 8. London Visitors, James Tissot, 1873-1874 In the background you see the spire of St. Martin-in-the-Fields; notice the clock; the time is 10:30. In the foreground is a couple, tourists, standing on the portico of the National Gallery, one of the greatest art museums in the world; the man consults his guidebook, trying to figure out what sight to see next. Tissot is poking fun at such people; the museum opened at 10:00; in half an hour they have "done" the National Gallery, and are ready to move on, in this case, on to the tower of St. Martin - it is the visible symbol of the British connection to Baptist Christians in the new world. MEANWHILE BACK IN THE NEW WORLD Picture 9. Heroic Statue of Roger Williams overlooking Prospect Park, the First Baptist Church in America, and Providence, Rhode Island In 1638 Roger Williams founded the First Baptist Church in the new world in Providence, Rhode Island. Here we see an heroic statue of Williams overlooking the city and church he founded. Picture 10. The First Baptist Church in America, Providence, Rhode Island, Joseph Brown, 1774 A great tradition in American Baptist church architecture begins here, the First Baptist Church, Providence, Rhode Island. The official name of this congregation, "The First Baptist Church in America," indicates its proud heritage. Founded by Roger Williams in 1638, the church worships in a Meeting House built in 1774. The architect of the Meeting House was Joseph Brown. He based his plans on James Gibbs' Book of Architecture. The steeple is reminiscent of Gibbs' design for St. Martin-in-the-Fields on Trafalgar Square in London. The builders were ships' carpenters, men who were out of work because the English parliament had closed the port of Boston as a punitive measure after the Boston Tea Party.[6] A painting of this church hangs in the Eutaw Place Room. Picture 11. fbc-prov-interior For many years the pastors of this church were also the presidents of Brown University, then a Baptist college; Brown still holds graduation ceremonies here. In some ways this colonial meeting house, embellished by a Waterford crystal chandelier, is very different from the room in which we are worshipping today; but there are fundamental commonalities; both are places of light, openness, simplicity and order, representing the thoughtful, open, freedom of the earliest and best portion of the Baptist tradition. THE CHARLESTON TRADITION Picture 12. First Baptist Church, Charleston, South Carolina, Robert Mills, 1822 The oldest Baptist church in the south dates from 1682, the First Baptist Church, Charleston, South Carolina. Here Baptists were just as eager as those in Rhode Island to have a worthy edifice. In 1822 they erected the present building. The architect was Robert Mills, the first American trained specifically to be an architect. He must have been quite pleased with his work. Of the church he said, "It is purely Greek in style, simply grand in its proportions and beautiful in its detail." Mills was a leading figure in 19th century American architecture. He designed the Washington monuments both in the capital and here at Mt. Vernon Place. To this church we trace "the Charleston tradition," which stands for order in all areas of church life - thoughtful worship, educated clergy, freedom of the individual and of the congregation, praise of God with the mind as well as the heart. The classic symmetry and reasoned proportions of Greek Revival architecture were appropriate for the Charleston tradition's emphasis on order. Picture 13. The Baptist Church of Beaufort, South Carolina, Roberts Mills (?), 1844 The Baptist Church of Beaufort, South Carolina, appears to be a modified form of Mills' design of the First Baptist Church of Charleston. Both buildings are graceful Greek Revival structures; unlike the Charleston church the Beaufort edifice has a steeple. The pastor of the Baptist Church of Beaufort at the time of its construction in 1844 was Richard Fuller, a man with close ties to the First Baptist Church in Charleston. Fuller was a Renaissance man, first in his class at Harvard, trained to practice law, an organizer of the Southern Baptist Convention, the first to preach the prestigious Convention sermon, and president of the Convention during the Civil War. In the midst of all these activities he seems to have had a great interest in architecture. Fuller embodied and brought to Baltimore what Baptist historians call the "Charleston tradition." (A watercolor painting of this church hangs in our church office. The artist, W. Jackson Causey, was a member of Eutaw Place Baptist Church while a student at Maryland Institute.) Picture 14. Brick Baptist Church, St. Helena's Island, South Carolina While he was pastor at Beaufort, Fuller led in ministry to slaves. In fact, of the 3,700 members of his church, 3,500 were Africans. On the islands around Beaufort, the most famous being Hilton Head, Fuller built churches, well designed buildings of quality materials; among them is this building, the Brick Baptist Church on St. Helena's Island. A Beaufort resident tells me there are old timers who can still sing a kind of spiritual, "Cap'n Richard Built the House." Picture 15. First Baptist Church, Augusta, Georgia (1902) At the First Baptist Church of Augusta, Georgia, Fuller helped found the Southern Baptist Convention in 1845. Like the churches in Providence, Charleston, and Beaufort, the architecture speaks of a tradition of order, reason, openness, freedom and light. Dr. Jack Robinson, father of Woodbrook member, Charlotte Smith, has served here as pastor. Picture 16. First Baptist Church (demolished), Lombard and Sharp Streets, Baltimore, Robert Mills, 1817 We see this tradition in architecture and Baptist life in another building designed by Robert Mills, architect of the church in Charleston. Mills planned this 1817 building of the First Baptist Church of Baltimore, located at the northeast corner of Lombard and Sharp Streets until it was demolished in 1877. Although this structure was very expensive and had terrible acoustics, congregants affectionately called it "Old Roundtop" because of its resemblance to the Pantheon in Rome. Remember the Pantheon - we'll come back to it in a bit and chase another rabbit. THE CHARLESTON TRADITION HEADS NORTH Picture 17 First Baptist Church, Charleston, South Carolina The Charleston tradition endured; Fuller who often preached there brought his heritage to Baltimore when he came to be pastor of Seventh Baptist Church in 1847. Picture 18. Seventh Baptist Church (now Shrine of St. Jude), Paca and Saratoga Streets, Baltimore, 1847 Fuller brought his high standards in church architecture to Baltimore when he came as the first pastor of Seventh Baptist Church. There he influenced several generations of lay persons who would eventually go out from Seventh to found the Eutaw Place (now Woodbrook) Baptist Church in 1871 and the University Baptist Church in 1917. When Fuller was considering the call to leave the Baptist Church of Beaufort to come to Seventh Baptist Church, he wrote the Baltimore church that he would not come as pastor as long as the congregation continued "to do so suicidal a thing as to occupy that shell on Calvert Street."[7] Accordingly, the church appointed a committee to submit a plan for a new "house of worship, which shall be creditable to the denomination and satisfactory to the pastor elect."[8] Picture 19. Seventh Baptist Church, Baltimore, Maryland, line drawing from History of Baptist Churches in Maryland Connected with the Maryland Baptist Union Association [Baltimore: J. F. Weishampel, Jr.] 1885, p. 97 The new pastor did not come directly from Beaufort to Baltimore. Apparently Fuller was not willing to take charge of his flock until the new sanctuary was complete. His nephew and biographer wrote (in the historical present tense for effect): "...feeling it would be better to wait for the completion of the new building, he lingers on the way to preach the gospel in Richmond and Petersburg."[9] That building "satisfactory to the pastor elect" was the original house of worship for the Seventh Baptist Church. It still stands at Paca and Saratoga Streets, currently housing the Roman Catholic Church of St. John the Baptist which serves as the Shrine to St. Jude of the Pallotine Fathers. Like First Baptist Church of Charleston, the Baptist Church of Beaufort, and "Old Roundtop," it bears the stamp of Greek or Roman architectural influences. Picture 20. Eutaw Place Baptist Church, Eutaw and Dolphin Streets, Baltimore, Maryland, Thomas U. Walther, 1871, line drawing from The Story of Baptists in All Ages and Countries, by Richard B. Cook [Baltimore: R. H. Woodward & Co.] 1889, p. 46. (This rendering hangs in the Eutaw Place Room.) Fuller resigned as pastor at Seventh Baptist Church to become the first pastor at the new Eutaw Place (now Woodbrook) Baptist Church. When it came time for the selection of a design for the Eutaw Place building, Fuller and the architect Thomas U. Walter spent a "portion of a summer in a tour through New England, inspecting buildings of the most approved style of architecture. They finally agreed on a church in Cambridge, Massachusetts, as the nearest approximation to the desired model."[10] Picture 21. Eutaw Place Baptist Church, Baltimore, Maryland Apparently in their judgment Victorian Gothic had supplanted Greek Revival as the most desirable architectural style. The Old Cambridge Baptist Church near the Harvard campus may be the building favored by Walter and Fuller on their New England excursion. The architect of our original building at the foot of Eutaw Place was Thomas U. Walter, architect of the dome and wings of the U. S. Capitol and a founder of American Institute of Architects. Walter was the great-grandfather of our current member, Emily Long. A gift from her, Walter's color drawing of the church, now hangs in the Eutaw Room. Picture 22. Eutaw Place Baptist Church, Baltimore, Maryland The friendship of Walter and Fuller, our first pastor, is the basis for the report that the architect donated his services. They worked together to erect the Victorian Gothic building which was our home until we relocated in 1969. It still stands at the foot of Eutaw Place, and is now the home of City Temple of Baltimore - Baptist. Picture 23. Interior of Eutaw Place Baptist Church, Baltimore, Maryland Of the Eutaw Place sanctuary, Fuller's nephew and biographer wrote that "as long as men differ in taste and character, they will differ as to the appointments of worship. Where the imaginative faculties predominate, men will seek to aid their devotional feelings by the embellishments of art and the attractions of music, and the Catholic ritual will prevail; where a ... spiritual and intellectual view obtains....the interest will centre around the prayers and hymns and sermon....while with others...devotion becomes a severe abstraction. The first is the Catholic type, the second the Protestant, and the third...Quaker... There is a modicum of truth in each, and the due combination and just proportion of all is the ideal of New Testament worship."[11] I hope you appreciate how far ahead of its time such thinking was! This respect by a Baptist for the strengths of the Catholic, Protestant and Quaker approaches to worship was and is remarkable. But it was precisely that kind of eclectic combination which Fuller and Walter sought to integrate in that building marked by its Victorian Gothic idiom, elegant appointments, and straightforward presentation with the baptistery on the congregation's level to its left and the choir to its right. The pulpit and the communion table held positions of prominence. The historian reported that the Eutaw Place building signaled the opening of "a new period of Baptist progress. The denomination here now assumed a braver front, enlarged its aims, and become more liberal in contributions of money for God's work." [12] The Eutaw Place building was a center for missions. Eutaw Place people helped start many churches. With most of the human and financial resources coming from Eutaw Place, University Baptist Church of Baltimore came into being. The congregation worships in this building finished in 1927. Picture 24. University Baptist Church, Charles and 34th Streets, Baltimore, John Russell Pope, 1926 The concern for houses of worship which are "creditable" and "suitable" - whatever the architectural style - must have carried over from Fuller to those who had grown up under his leadership first at Seventh and later at Eutaw Place, and who were to be the nucleus of the founders of University Baptist Church. Like their forbears, they turned to an architect with a national reputation, John Russell Pope. Pope had been the architect of the Jefferson Memorial and the National Gallery of Art (West Building) in Washington. He was partially responsible for some other notable Baltimore buildings, such as the Engineering Society Building (largely the work of Sanford White) on Mt. Vernon Place, the Baltimore Museum of Art, and the Scottish Rite Temple at Charles and 39th Streets. University Baptist Church is a neighbor of these last two buildings. The handsome edifice harmonizes well with them. "Like Old Round Top it is Roman Revival in design, with a great dome, and also like Old Round Top it has been plagued with acoustical problems."[13] Picture 25. First Baptist Church, Charleston, South Carolina Again we see the Charleston tradition in architecture and in church style. Picture 26. University Baptist Church, Baltimore, Maryland As in Providence, Charleston, Beaufort and this room, the space suggests light, order, openness, simplicity and freedom. Now for that other rabbit chase. Picture 27. Pantheon (Church of St. Mary and All the Martyrs), Piazza Della Rotunda, Rome, Hadrian, circa 125 When we were looking at the old building of the First Baptist Church of Baltimore, I mentioned that it was modelled on the Pantheon in Rome, a building with which University Baptist Church also has some similarities. The emperor Hadrian built the Pantheon in the 2nd century A. D. Picture 28. Pantheon (18th century painting by Bernardo Bellotto) But in the Renaissance the architect Bernini thought he could improve on a classic by adding two towers. Scornful critics quickly named the towers "Bernini's asses' ears." Now there is another Pantheon inspired building in Baltimore. Picture 29. Basilica of the Assumption, Cathedral Street between Franklin and Mulberry Streets, Benjamin H. B. Latrobe, 1808-1821 The wonderful Roman Catholic basilica on Cathedral Street is about to be renovated. What do you think the chances are that the Bernini inspired towers will be removed? End of rabbit chase! We're almost finished. THE PRESENT BUILDING, A BUILDING FOR THE FUTURE Picture 30. eutaw place (repeat of no. 2) When the Eutaw Place Baptist Church was in the process of moving to Stevenson Lane and building what is now known as the Woodbrook Baptist Church, the long range planning committee was mindful of much of this architectural heritage. Two committee members, Dr. Samuel Asper, chairperson, and I, then associate pastor, suggested that the committee consider as architect Pietro Belluschi, then Dean at Massachusetts Institute of Technology. Picture 31. Church of the Redeemer, Charles Street and Melrose Avenue, Baltimore, Pietro Belluschi, 1954-1958 (original building, 1858) Asper had admired Belluschi's work at the Church of the Redeemer on North Charles Street. I had studied Belluschi's church architecture in the Care of the Parish course at Yale Divinity School. Picture 32. St. Mary's Cathedral, San Francisco, California, Pietro Belluschi, 1963-1970 Belluschi had the same esteemed reputation as Mills, Walter and Pope, a factor which influenced in part the decision to turn to him to design the new building. We are looking at a cathedral Belluschi built in San Francisco. Notice in a far grander fashion the same feature you see in this room - verticality, light from open, the placement of table, pulpit and chairs. Among his Baltimore structures are the Goucher College Center and the Meyerhoff Symphony Hall. Belluschi worked on the site planning for Lincoln Center in New York City and designed the new Julliard School there. On April 18, when Deidra Conklin and Noel Lester sang and played at Lincoln Center, they performed in a Belluschi room. His outstanding work in designing churches and synagogues is the subject of Spiritual Space - The Religious Architecture of Pietro Belluschi by Meredith L. Clausen (University of Washington Press, 1992). Picture 33. Model, Woodbrook Baptist Church, 25 Stevenson Lane, Baltimore, Pietro Belluschi, 1969 In 1969, we entered part of what Belluschi planned for us, the Educational Building. When it came time to build the sanctuary, Belluschi's model was no longer practical - codes and computers had changed things. And 25 years of worshipping in a open, light room conditioned us to expect something other than Belluschi's proposed sanctuary with diminished light to emphasize mystery. We needed a worship room in harmony with Belluschi's Educational Building and with the tradition going back to Providence of light, openness, order, simplicity and freedom. Picture 34. Woodbrook Baptist Church, Baltimore, Maryland, Adam Gross and Glenn Neighbors, 1997 Adam Gross and Glenn Neighbors of Ayers-Saint-Gross, Architects and Planners, an old Baltimore based firm with an impressive record of awards won in the 1990's, designed the new sanctuary, office space and renovations completed in 1997. Ayers-Saint-Gross enjoys an outstanding reputation nationally for its academic architecture; e.g., they are the architects for the new Law School building at "Mr. Jefferson's School," the University of Virginia. Gross and Neighbors appreciate strong simplicity in religious buildings and traditions. Belluschi had asked Eutaw Place committee members what they considered to be the two most important material objects in each of the two Testaments of the Bible. After citing the commandment against worshipping graven images, he answered his own question by suggesting that the most important artifact in the Hebrew scriptures was the Holy of Holies in the Temple, a room empty except for the Ark of the Covenant. For the Christian scriptures Dean Belluschi cited the garden tomb, empty because of the resurrection of Jesus Christ. We can see how well Gross and Neighbors matched Belluschi's style when we compare the exterior of our sanctuary with a Belluschi church which our architects had not seen until after they designed our building. Picture 35. St. Matthew's Lutheran Church, Beaverton, Oregon, Pietro Belluschi, 1982-1984 Picture 36. Woodbrook Baptist Church, Baltimore, Maryland Picture 37. Woodbrook Baptist Church, Baltimore, Maryland Picture 38. Interior, Woodbrook Baptist Church Gross and Neighbors stressed the importance of honoring the values, rhythm, movement and materials of Belluschi's 1969 building. Their sanctuary design is consistent with Belluschi's philosophy: Early in my professional practice...I did find "simplicity" as a philosophy to be a most direct and effective means of enhancing the central drama of worship. But I soon found out that it must be an eloquent simplicity, possessing deeper implications. Like poetry, through the magic of words, it must seek the very meaning of space. Its emptiness must suggest a quality of holiness, precious enough to remind the worshipper of the infinity from which it was wrested; space that is more than a shelter, space that gives a hint of other more satisfying purposes.[14] The interplay of shadow and light from multiple sources honors the congregation's commitment to the historic Baptist passion for freedom and diversity. The lines of convergence in the ceiling meet above the place where we celebrate life's rituals of convergence and meaning - Christian commitment, marriage, family dedication, and burial. Woodbrook congregants worship the God whose Son is the same, yesterday, today and forever (Hebrews 13: 8) in a building with traditional elements of ecclesiastical architecture - a cross, a nave, a pulpit, a baptistery, a choir, organ pipes, and a tower. But in a setting which is unique and contemporary we offer our praise to One who said, "Behold, I make all things new." (Revelation 21: 5) The rear projection screen for displaying great religious art and photographs of biblical sites illustrates current technology in support of "the old, old story." Perhaps no feature of the sanctuary better represents this blending of the traditional and the contemporary than the communion table. The wooden table fabricated in 1997 cradles the black marble rectangle which was the top of the communion table at Eutaw Place from 1871-1969. The black center of the pulpit reading surface relates the place where the word is spoken to the table where the bread is broken. There are number of unifying elements in the sanctuary and its appointments. The baptistery and choir are in the same areas of the Woodbrook sanctuary which they occupied at Eutaw Place. The round baptistery echoes the other water element, the fountain in the courtyard. The wooden grill of the courtyard is the inspiration for the wooden screen at the back of the sanctuary. The top of the communion table is raised above its base to reflect the space between the walls and ceiling created by the clerestory windows. The long base of the chancel cross corresponds to the shape of the cross of the tower. Let Pietro Belluschi have the next to last word. Religion and art are both a search for truth, which is forever eluding, forever challenging, never fully possessed, only intuitively felt, and the very essence of God's mystery. The fruits of this continuous search, when made in earnest and not by repeating worn-out formulas, carry the deepest and most durable meaning through the ages. That is why the church in its glorious past has often been the fountainhead of creative arts - architecture, mosaics, painting, sculpture and music.[15] CONCLUSION The last word is not about buildings but the people who do the building, the people who come into the buildings to be built up in the Christian faith, the people who build the Kingdom of God, using buildings as tools, not mere tools, but objects whose beauty inspires the beauty of holiness. Daniel Webster put it this way: "If we work with marble, it will perish; if we work upon brass, time will efface it; if we rear temples, they will crumble into dust; but if we work upon immortal minds and instill into them just principles, we are then engraving that upon tablets which no time will efface, but will brighten and brighten to all eternity."[16] Notes: [1] Psalm 84: 1 (NRSV) [2] Psalm 16: 6 (KJV) [3] Isaiah 51: 1b (NRSV) [4] The Manual of the Eutaw Place Baptist Church, January 1906 edition, pp. 8-12 [5] History of Baptist Churches in Maryland Connected with the Maryland Baptist Union Association [Baltimore: J. F. Weishampel, Jr.] 1885, pp. 24-25 [6] Marguerite Appleton, A Portrait of the First Baptist Church in America [Providence: The First Baptist Church in America] 1975, p. 7 [7] J. H. Cuthbert, Life of Richard Fuller, D. D. [New York: Sheldon and Co.] 1878, p. 163 [8] History of Baptist Churches in Maryland Connected with the Maryland Baptist Union Association, by J. F. Weishampel, Jr., p. 100 [9] Cuthbert, op. cit., p. 165 [10] Cuthbert, op. cit., pp. 278-279 [11] J. H. Cuthbert, op. cit., p. 284 (emphasis added) [12] Weishampel, op. cit., p. 164 [13] Rosalind Robinson Levering, Baltimore Baptists, 1773-1993 - A History of the Baptist Work in Baltimore During 200 Years [Lutherville, Maryland: Baltimore Baptist Association] 1973, p. 76 [14] Meredith L. Clausen, Spiritual Space - The Religious Architecture of Pietro Belluschi [Seattle and London: University of Washington Press, 1992], p. 199 [15] Pietro Belluschi, "The Churches Go Modern," Saturday Evening Post, October 4, 1958, pp. 36-39, reprinted in Clausen, op. cit., p. 193 [16] Tyron Edwards, A Dictionary of Thoughts Being a Cyclopedia of Laconic Quotations [Detroit, Michigan: F. B. Dickerson Co.] 1905, pp. 347-348 |