Table of Contents
The Parish of St. Paul the Apostle is blessed with an architecturally significant building, designed by John Sutcliffe, which is conducive both to the celebration of the liturgies of the Church throughout the Christian year and the teaching of the faithful through art and sacred space. It lends itself to private devotion, parish liturgies and ceremonial extravaganzas. We encourage you to kneel and pray, light a candle and join us in praying for the peace and unity of the Church, the nation and all in authority, the welfare of the world, the needs of local communities, those who suffer, and the departed.
As you enter the main doors of the church into the narthex there is a statue of our Patron, St. Paul. Carved from linden wood in northern Italy by the studio of Conrad Moroder, it was given in 1990 by Sam Paul Simpson in memory of his mother. St. Paul is dressed in the robes of a teacher and the cloak of a traveler. He is shown with a large sword, the instrument of his martyrdom, and a large book of scripture, from which he preached and to which his epistles would be added by the Church.
Upon entering the Nave, from the Latin navis for ship, look up and you will see roof trusses, which resemble a ship’s hull.
Immediately in front, as you enter the nave door, is the baptismal font. Made of stone in the Romanesque style it previously served the work and witness of the Church of St. John the Evangelist, Boston – staffed for many years by the Society of St. John the Evangelist, popularly known as the Cowley Fathers. St. John’s was the site of Mary and Fr. William’s wedding in 1982 and the Font was erected at St. Paul’s in memory of the Dean’s parents, Doris Jean Lindsey and William Willoughby II in 2017 when the congregation was merged with the Cathedral of St. Paul, Boston. It is near the entrance of the church building as a physical reminder that through baptism we enter the Body of Christ, which is the Church. The previous Font which dates from the 1907 construction of the building now serves as the pedestal for the Holy Water Reservoir in the chapel of Our Lady of Walsingham.
The addition of the font from St. John the Evangelist led to a complete makeover of the west end of the Nave. Just to the right of the font, on the west wall, is paneling and casework by the Master Craftsmen, Pembroke Faucette in memory the Reverend Canon George M. Maxwell. It contains a stain glass triptych which includes a window of St. Paul flanked by two non figurative windows, all topped by the Trumpet en Chamade. The window of St. Paul came from the previous church building at Duffy and Barnard Streets, built in 1888. The flanking windows came from the old Church of the Atonement, Augusta and were a gift of Louise and Bishop Harry Shipps. All three are excellent examples of southern Victorian painted glass. A striking feature of the center window is the use of pieces of faceted glass, which give the ensemble a jewel-like quality. The center panel was rediscovered during remodeling of the Chapel of Our Lady of Walsingham, where it had been hidden behind the reredos for 87 years. This discovery is discussed in the history portion of this guide. The Trumpet en Chamade was added to the Fratelli Ruffatti Organ by A.E. Schlueter Pipe Organ Company in 2019. It is a gift of David W. Mason in memory of his wife Elizabeth R. Mason and includes 61 pipes of flared bells and hooded reeds accompanied by an Antiphonal Division.
To the right of the 1888 window is an icon written in Greece depicting St. George the Martyr slaying the dragon. From earliest times St. George has been venerated as a soldier saint, and became patron of England because of his popularity among crusaders who encountered his cult in Palestine.
Above the 1888 window of St. Paul is the second oldest work in stained glass to be found in the building. Executed in 1907 by the Franz Mayer stained glass studio of Munich, Germany, it was given by the Grainger family in memory of their infant son Andrew. This is the only window, which dates from the building of the present structure. It was not until much later that the temporary leaded art glass that once filled the windows was replaced by the current stained glass created by Whipple-Mowbray of Exeter, England.
If you look east from the west end of the building your eyes will be drawn to the central architectural focus of the building, the High Altar surmounted by a reredos and the great east window. Entrance to this space is gained by passing through the Great Rood and the attendant screen, which dominate the nave. The rood, the screen, and the reredos, which dominates the chancel and sanctuary, were fashioned as a piece by master craftsmen trained in Oberammergau, Germany and worked for the Manitowoc Church Furnishing Company of Wisconsin, established by Bishop Charles C. Grafton. The three-dimensional image of Christ on the cross, flanked by the Blessed Virgin and St. John, is a spectacular backdrop for the liturgy of the Word. Framed by a great brick arch that separates the nave from the choir, the stark simplicity of the carved and stained oak speaks powerfully of the centrality of the Cross.
The Rood’s haunting and embracing depiction of the Crucifixion is held in tension with the Cross of the Resurrection reigning over the sanctuary from the reredos of the High Altar. In contrast to the rood, the Cross of the Resurrection is gilded and polychrome. This venerable art form enhances the beauty of the church and focuses our attention on the triumph of our Lord over the power of death that we share in our Baptism.
At the center of this Cross is the Lamb Triumphant carrying the banner of the Resurrection, surrounded by a quatrefoil. The circle that encompasses the quatrefoil at the center of the Cross emphasizes the unity of God. Out of the circle grows a passion vine, which forms the four arms of the Cross. This indicates that the good news of the resurrection is rooted in the passion of our Lord upon the Cross.
The reredos is flanked by statues of St. Peter and St. Paul, which were added during the Second World War. St. Peter is holding the keys of the kingdom and St. Paul carries the sword of his martyrdom.
To the right of the reredos and above the wainscoting is an icon of Jesus, Mary and John the Baptist, known in the language of iconography as the Deis. Written by Ramona MacKinnnon it focuses on the Incarnation and the three persons most intimately involved in unfolding the mystery so central to the proclamation of Christianity and Anglican spirituality.
On the south wall of the Sanctuary, above the Sedilia is a Silk Altar cloth embroidered in gold bullion which was made for the high altar of the Catholikon in the Church of the Anastasis, Jerusalem (often known as the Church of the Holy Sepulcher). Crafted in the early twentieth century it was a gift of Constance Lynes in 1992, to mark the 100th anniversary of St. Paul’s second admission as a Parish of the Episcopal Diocese of Georgia.
The chancel and the sanctuary contain several pieces of furniture, which originated with the 1888 church building. These include the eagle lectern on the left side of the rood screen, the Bishop’s Throne on the dais against the north wall of the sanctuary, the Sedilia on the south wall of the sanctuary and the Dean’s Sedilia in front of the Rood Screen and to the left of the lectern. While we do not know the origin of these pieces of church furniture, they are common examples of the type produced by many English and American church-furnishing companies of the period. The eagle lectern is a fine example of late Victorian carving. It lends dignity and power to the space set aside for the reading of scripture. The chairs bear the mark of machine turning, using a small repertoire of crosses, triangles and quatrefoils that coordinate nicely with the later work.
The present organ is a combination instrument. The pipes and wind chests were manufactured by Fratelli Ruffatti, Famiglia Artigiana of Padua, Italy. The three manual console, built by Rodgers of Hillsboro, Oregon, controls the pipes and provides the electronic sampling which fills out the 45 ranks, which the organist can use in creating music. The Ruffatti family has been building instruments since 1936 in the 300 year tradition of late Medieval and Renaissance Venetian Organ building. Their scaling’s are based on the insights of the great organ builder, Gaetanon Callido (1760-1810)and current research from around the world. Fratelli Ruffatti work’s include all of the organs in the Vatican as well as many Cathedrals in Europe and the Americas.
The Italian pipe organ tradition is an art form which places its emphasis on gentle song like quality. Italian principals have always been buoyantly warm and round-toned and the flutes have a distinctive “singing” quality. Designed for the American market it is an eclectic instrument, which has the ability to successfully play all periods of organ composition, making it excellent for recitals as well as the support and encouragement of congregational singing. The basic instrument was built in 1976. It currently contains 43 speaking stops, 16 of which are electronic. Twenty-four ranks of 1,403 individual pipes comprise the heart of the organ. It is divided into five divisions — the great, the swell, the Trumpet en Chamade/Antiphonal, the pedal, and the choir/positive The Antiphonal and last two are digitally sampled. In 1998 the instrument was overhauled and restored by A. E. Schlueter Pipe Organ Company of Lithonia, Georgia. A digital console manufactured by Rodgers Organ Company was made available through the generosity of the people of St. Paul’s and a generous gift of Gordon C. Carson, III, MD, sometime organist of St. Paul’s. Also, through the generosity of Arthur and Susan Schlueter, the restorer added a nine-bell zimbelstern and upgraded the speakers and amplifiers to take advantage of the full capacity of the new Rodgers Console. Because of storm damage in 2009, A.E. Schlueter Pipe Organ Co. rebuilt the Swell Chest, restored the Great and reconstructed the wind regulators, as well as cleaned the pipes. In addition new relay and interface driver boards manufactured by Walker Technical Company were used to replace the original Rodgers components that connect the console to the pipes.
To the left of the chancel and the sanctuary is the entrance to the Chapel of Our Lady of Walsingham. Classically the chapel to the left of the high altar in English churches is dedicated to the Virgin Mary, Mother of our Lord. The title under which this chapel is designated refers to the 11th century appearance of the Blessed Virgin to the Lady of the Norfolk Manor, Walsingham Minor.
Carved in 1963, the statue of Our Lady of Walsingham, to the right of the body of the chapel, depicts her as enthroned on the seven-post chair of Wisdom. Crowned, holding a scepter of lilies and pointing to the child Jesus, she presents her Son to the world. It replaces a Statue carved in 1977 for St. Paul’s, given by Ann and Clint Morris that became wholly charred during Lent of 2006 when a votive candle glass broke and caught the Lenten veil on fire. The 1963 statue came from All Saints’ Church, Orange NJ where it had been secured by Fr.William Wetherall, long time Secretary-General of the Confraternity of the Blessed Sacrament, when he was Rector of the Parish. Upon the closing of All Saints we were given the privilege of giving the statue a new home, partly because the Dean has served as Secretary-General of the Confraternity since 1997. The previous 1977 statue now resides under a glass dome in the Canon T. Porter Ball Memorial Parish House Vestibule where she greets most visitors who have business with the Parish.
To the right of the statue, above the rack of seven-day vigil lamps, is a triptych recounting our Lady’s visitation at Little Walsingham Manor, painted by Ann Gilkey Morris; a lifelong member of the parish. The left panel shows the Lady of the Manor, Richeldis de Faverches, being told by the Blessed Virgin to build a copy of the Holy House of Nazareth in Walsingham Minor, the middle panel shows the current configuration of the Pilgrim’s Church which contains the Holy House and the Well, and the right panel depicts the sign of Holy Water given to Lady Richeldis to mark the site of Holy House.
In addition to the objects of devotion associated with the Shrine of Walsingham the chapel also contains a carving of the Holy Family by the Swiss Artist, Carl Moser given in memory of Charles Lupica given by his family. An icon of St. Joseph on the north wall, written by William Willoughby III – Dean and Rector, in 1998, is present because of the important role St. Joseph played in the unfolding of the mystery of the incarnation. This icon shows the foster father and guardian of our Lord presenting the child Jesus to the world. It reminds us of the important role men play in the nurture and rearing of children.
On the west wall a painting of our Lady of Guadalupe, patroness of the Americas, and bears witness to the gifts and witness of the Latino/Hispanic members of the Parish; she was painted in Peru in 2000 and was a gift in memory of Allie Tootie Wright given by her family.
In the Chapel Sanctuary are the statues of Martha of Bethany and Elizabeth of Hungary on either side of the reredos. Martha of Bethany, sister of Mary and Lazarus, calls to mind all who have served the Lord in this parish and community. Elizabeth of Hungary, patroness of the Third Order Franciscans and lover of the poor, challenges the parish to consider the needs of those less fortunate than ourselves and the needs of all God’s creatures. The noted muralist Barry Thomas, a native of Glasgow, Scotland, painted the Tabernacle Door at the heart of the reredos in 1988. Until his death in 1991 he maintained an active studio in Savannah for more than twenty years. This was one of his last works. The focus of the painting is a chalice and host, surrounded by adoring angels — reminding us that we sing “with angels and archangels and with all the company of heaven.”
The Shrine of St. Panteleimon to the left of the chapel reredos contains the holy oil used in the Sacrament of Unction, which is practiced regularly at St. Paul’s. A Martyr and Physician, Pateleimon was murdered by other physicians because he made his skills available to the poor for free. The Icon was written in 1994 at the St. Petersburg Theological Academy, Russia and is a gift of Jan and Canon Robert Carter.
The Icon of St. Mark the Evangelist to the right of the reredos is written in the style of the ancient Coptic Orthodox Church. Author of the Gospel of Mark and apostolic founder of the Church in Egypt, St. Mark is shown writing in the presence of the Pharos, the great light house of Alexandria (the See of the Patriarch) and a Lion, which is his heraldic symbol. The Icon was given by St. Abanoub’s Coptic Orthodox Church which met regularly at St. Paul’s until they moved into their own House of Worship. It is a thank offering to the people of St. Paul’s in recognition of our providing a home for them in Savannah for more than sixteen years.
Moving back to the Nave we find in the north transept, two icons of note and a Christus Rex. On the freestanding altar dedicated to St. Augustine, first Archbishop of Canterbury and Apostle to the Anglo-Saxons, is an icon of Jesus Christ, the True Vine. Written in Bethlehem and brought back from the Holy Land by Mary and Dean Willoughby in 2009. This icon depicts Jesus as the True Vine (John 15:5) and the Apostles are the branches that went out in the world to preach the Gospel to the ends of the earth. Jesus is at the center of the vine with outstretched arms giving a Blessing in the manner of the Eastern Church with fingers of both hands forming the Greek letter ” IC XC”, an abbreviation for Jesus Christ. In our Lord’s lap is an open Book of the Gospels and in His halo are the Greek letters of the words “I AM”, reminding us that He is the God of Abraham, Issac, Jacob, Moses and the Prophets – the groundwork of Existence itself and the source of life, as well as the root of faith. On either side of Jesus Divine face is the four Evangelists with their gospels open. They are surmounted by the leaders of the Apostles, Peter and Paul and above our Lord’s Head is the Father and the Holy Spirit, while the rest of the branches are occupied by Apostles holding Epistles and blessing all who honor the name of Jesus.
The Christus Rex (Jesus reigning from the Cross as King) reminds us that the sacrifice of the Mass is not just about our Lord’s death and passion but Jesus mighty resurrection and glorious ascension (BCP pg.335). An ancient symbol of the Church it emphasizes the Lord of Glory. To quote Richard Harries, sometime Bishop of Oxford, “his eyes are open and head upright, and his arms stretch firmly outwards. He looks boldly to the front, not so much constrained by the cross, as superimposed upon it. The contrast is deliberately made with Judas hanging on the tree, the thirty pieces of silver spilled onto the ground at his feet. . .Judas is dead and defeated, but Christ is alive with the life of triumphant love. . . .Over. . .anger and sadness and death the love of God wins through.” It was given in memory of James L. and May Perry Bracey in 1976.
The second Icon depicts the Blessed Virgin Mary, our Lady of Tenderness. Written by Louise H. Shipps, Artist and Iconographer, it was given in celebration of her husband, Harry Woolston Shipp’s, ministry in Georgia, on Epiphany 2007, the anniversary of his ordination to the Episcopate.
In the south transept of the Nave, is the shrine of Our Lady Queen of Peace, erected during the Second World War by the acolytes of the Parish as a place of special intercession for those serving their country in the armed forces. Every Tuesday a Mass was said at this altar with special intention for those serving from the Parish. A bronze plaque was erected in memory of those who did not return from the various theaters. Starting with the first Gulf War and continuing with the wars in Iraq and Afghanistan a Mass is celebrated at this altar every Monday with special intention for those who serve in our Armed Forces, especially those in harm’s way. The statue at the heart of the shrine was carved by a Sister of the American Mother House of the All Saints Sisters of the Poor in Catonsville, Maryland.
Just to the right of the Shrine altar is the icon of Holy Wisdom written by Peter Pearson, Iconographer and Priest. It was given in memory of Billie Carpenter Petway, longtime Director of Christian Education, by the children and teachers of the Church School in 1995. Wisdom (Hagia Sophia) is shown in this icon as coming from on high through the mediation of Jesus Christ, the second person of the Trinity. She is seated on a throne supported by the seven pillars of wisdom and is attended by John the Baptist, forerunner of our Lord, and Mary, Mother of God (Theotokos). Surrounded by water and the firmament, Wisdom connects the uncreated with the created.
Around the perimeter of the nave is a set of fourteen Stations of the Cross for devotional use in the service known as the Way of the Cross. Traditionally the stations are made before a series of plain wooden crosses, which can be seen above each pictorial representation. The representations are meant to be aids in carrying out this ancient devotion so closely associated with the holy city, Jerusalem.
The Windows of St. Paul’s
The windows, unless otherwise noted, were designed and produced by Whipple-Mowbray and Company of Exeter, England. All are made from stained and leaded glass, and were installed beginning in 1968.
The great east window, over the high altar at the front of the church, depicts the life of St. Paul. The central image is of the conversion of St. Paul, as written in the Acts of the Apostles. Surrounding this image are depictions of the martyrdom of St. Stephen, at which Paul was present before his conversion, a ship surrounded by chains symbolizing Paul’s journey to Rome as a prisoner, Paul preaching the Gospel, and an image of Paul writing the Epistles, again surrounded by chains, signifying his captivity.
In the south transept, to the right as you face the high altar, are two windows, depicting Abraham and Moses. In the window on the left in the south transept Abraham is shown at the moment the angel intervened, just as he was about to sacrifice his only son Isaac, as told in chapter 22 of Genesis. The surrounding scenes symbolize the expulsion from the Garden of Eden, the wandering of the people of Israel in the wilderness, the destruction of Sodom and Gomorrah, Noah’s ark (which is also a symbol of the Church), and a symbol of God’s promise to Abraham to make his descendants “as numerous as the stars of the sky” (the stars are surrounded by the oak leaves of faithfulness). These images are all contained and unified in the symbol of the rainbow, God’s first covenant with his chosen people. Above all is the Star of David, symbolizing the both the Jewish faith and the six days of creation.
Over the Abraham window is a smaller window depicting Mary Queen of Saints, surrounded by her monogram, a lily symbolizing purity, the mystic rose, and the fleur de lis symbolizing the Trinity.
To the right of the Abraham window is the Moses window. Moses is shown holding the tablets of the law and leading the people of Israel through the divided Red Sea, being pursued by Pharaoh’s chariots, as told in Exodus, chapter 14. His calling at the burning bush is symbolized by the flames and leaves in the background. This window contains symbols of four of the twelve tribes of Israel, and symbols for the other tribes are found in neighboring windows. The flower symbolizes the Tribe of Reuben. The Tribe of Simeon is depicted as a city wall. The Tribe of Levi is shown as the breastplate of the High Priest, and the Tribe of Judah is seen as a lion.
On the south side of the nave are three windows, depicting David, Isaiah and the Annunciation. In the central image of the first window David, the psalmist, is shown playing his harp in front of the Ark of the Covenant. In the smaller scene to the left the younger David is shown playing for King Saul, who threatens him with a sword. David succeeded Saul as King of Israel, and their story is found in the first book of Samuel. To the right the wisdom of Solomon, David’s successor as King of Israel, is shown, as found in the first book of Kings. These images are enclosed in and supported by a depiction of the tree of Jesse. At the top of the window is the one of the sacred monograms, the Chi Rho, signifying Christ, who was foretold by Isaiah and called “a shoot from the stump of Jesse” in chapter 11 of the book of Isaiah. Four tribes of Israel are also symbolized in this window: the Tribe of Naphtali is shown as a hart, the Tribe of Gad is symbolized by tents, the Tribe of Dan’s sign is the scales, and the tree signifies the Tribe of Asher.
The main image in the next window is the vision of Isaiah where he saw the Lord seated upon a throne, surrounded by seraphim. One of the seraphim has come down from the Throne of God with a coal, which he touches to Isaiah’s lips to cleanse his iniquity and sin. This story is found in chapter 6 of the book of Isaiah. To the left is a depiction of Isaiah meeting King Ahaz to whom he prophesied the birth and reign of the Messiah, symbolized to the right. The remaining four tribes of Israel are shown in this, the last of the Old Testament windows: the Tribe of Issachar is the servant, the Tribe of Zebulun is symbolized in the ship, the Tribe of Joseph is shown as a unicorn (which is also a symbol of the Incarnation), and the Tribe of Benjamin appears as a wolf.
Imagery of the New Testament appears in the last window on the south wall of the nave. The Annunciation is shown, with the Angel appearing to the Virgin Mary to announce that she has been chosen by God to bear his Son. This lesson is found in the first chapter of Luke. The angel holds a lily, a symbol of purity, and Mary holds an open book, symbolic of the Law and her submission to God, “according to Thy word.” The smaller scenes all symbolize other experiences of the Angel of the Annunciation, who came to Joseph in a dream to tell him that Mary’s child was the Son of God, appeared to Zacharias to foretell the birth of John the Baptist, and who also came to the shepherds and kings to tell them of the birth of Jesus.
On the west wall at the back of the church are three windows. The window to the left depicts the young Jesus preaching in the Temple and astounding the elders of the Temple with his wisdom, as we read at the end of the second chapter of Luke. This is the first time that Jesus suggests he is the Son of God, because when his parents ask him where he has been he says he was “about my Father’s business.” Surrounding him are symbols of Jewish faith and worship: the Torah scrolls of the law, the seven-branched menorah, the shofar that called the faithful to worship, and a censer symbolizing prayer. All these symbols of Jewish faith and worship serve to remind us that Jesus is the fulfillment of the Law and the Prophets.
The great west window depicts Jesus calling the little children to him. It is the only window in the church that dates from the original construction of the building. It was executed in 1907 by the Franz Mayer studio of Munich, and was given by the Grainger family as a memorial to their infant son.
To the right of the great west window is the depiction of the baptism of Jesus by John the Baptist, as told in the three synoptic Gospels (Matthew, Mark and Luke). The dove symbolizes the Spirit of God descending upon Jesus and stating “This is my beloved Son.” The book and cross symbolize the word of God. At the top of the window are found the symbols A and W, Alpha and Omega, the beginning and the end.
On the north wall of the nave are windows symbolizing the transfiguration and the feeding of the multitude. In the transfiguration window Jesus is shown with Moses and Elijah, who symbolize the law and the prophets. His raiment became whiter than snow, and his face was transfigured by glory. Again, this incident occurs in the three synoptic Gospels. Below Jesus, Moses and Elijah are the Apostles Peter, James and John. At the top of the window is a depiction of the Hand of God, symbolizing the Voice of God that said, “This is my Son, my Chosen, listen to Him.”
The other window on the north wall of the nave shows the feeding of the multitude, as told in the synoptic Gospels. The symbols in this window include the lamp which reminds us that Christ is the light of the world, lilies for purity, daisies for innocence, the anchor cross of faith and hope, and the net which symbolizes Jesus making the Apostles fishers of men.
In the north transept are 2 windows that symbolize the life of the Church in the world. The first, on the west wall of the north transept, is specific to the life of the English Church and depicts the conversion of Ethelbert, King of Kent, and his wife Bertha, by St. Augustine of Canterbury. St. Augustine arrived in England in 597, converted and baptized King Ethelbert and his court, and went on to become the first Archbishop of Canterbury. Symbols in window include the cathedral and seal of the See of Canterbury, the dove of the Holy Spirit, a shield with a caduceus, and an open bible symbolic of prayer and the Word of God.
On the north wall of the transept is the window depicting the seven sacraments of the Church: The Eucharist is central, as it is in the life of the Church, surrounded by Baptism, Confirmation, Matrimony, Holy Orders, Penance and Unction (also known as the Last Rites). A laurel wreath surrounds Confirmation, symbolic of victory over self and sin, and a stylized crown of thorns surrounds Penance, to remind us of Christ’s agony and sacrifice, which was and is caused by our sins. Above the sacraments are symbolic depictions of the Trinity — the Hand of God, the Cross of Christ, and the Dove of the Holy Spirit.
Over this window is a smaller window depicting the Kingship of Jesus over Creation. Jesus stands on the globe of Earth, holding an orb. The scroll of the Law, the sacred monogram Chi Rho, a ship symbolizing the Church surrounds him, and a branch of palm surrounded by a golden crown, symbolizing the resurrection.
There are three charming windows in the Chapel of Our Lady of Walsingham, showing the story of Jesus in the Nativity on the left, the Resurrection in the center, and the Day of Pentecost, when the Holy Spirit, in tongues of fire, descended upon the Apostles to fulfill Christ’s promise of a Comforter on the right.
As you can see by walking through this Parish church and contemplating its windows the story of the Body of Christ, the Church, begins with the revelation of God to Abraham, continues with the gift of the Law to Moses, is celebrated in the glorious Psalms of David, is foretold in the vision of Isaiah, is announced by an Angel, and begins in the teaching in the Temple. The public ministry of Jesus begins with his Baptism, is told through parables like the feeding of the multitude, and moves through the transfiguration. The Church then moves into the whole world, and is supported and fed through the sacraments that sustained the faithful in the past, sustain us today, and will continue to empower the Men and Women of God. It is clear that the designer of these windows felt no need to include imagery of the crucifixion or resurrection, as they had already been so clearly, beautifully and movingly portrayed in the fabric of the building itself in the great rood and high altar reredos.
St. Paul’s is a place where music abounds.
As one of the few Savannah Episcopal churches celebrating a weekly sung Eucharist, you’ll have an opportunity to hear the Parish Choir each week, accompanied by organ and piano.
The present organ is a Fratelli Ruffatti pipe organ, from Padua, Italy. A three manual pipe organ console, built by Rodgers of Hillsboro, Oregon, controls it. The Ruffatti family has been building instruments since 1940. The firm is deeply rooted in the 300 year history of organ building in Padua. Ruffatti has built instruments all over the world, including all of the organs in the Vatican as well as many Cathedrals in Europe and the United States.
Designed to be an eclectic instrument, it has the ability to successfully play all periods of organ composition, making it excellent for recitals as well as the support and encouragement of congregational singing. Built in 1976 the organ contains 25 ranks of 1,403 individual pipes divided into four divisions — the great, the swell, the pedal and the choir/positive. In 1998 the instrument was overhauled and restored by A. E. Schlueter Pipe Organ of Lithonia, Georgia, at which time a new Rodgers console was added. The new console was made available through the generosity of the people of St. Paul’s and a generous gift of Gordon C. Carson, III, MD, sometime organist of St. Paul’s. Also, through the generosity of Arthur and Susan Schlueter, the restorer added a nine-bell zimbelstern.
The 7′ Kawai competition grand piano was given to the church in 2008 through the generosity of an anonymous member. The piano is the first placed in the church.
In addition to providing a place for weekly music in worship, St. Paul’s provides a home for a variety of local musical groups.
The Savannah Children’s Choir was founded in 2006 by parishioners of St. Paul’s, and met there from 2006 until 2014 until the choir grew so large it needed to find larger rehearsal space.
The Goliards are a group of early music enthusiasts who rehearse at St. Paul’s as they prepare their productions. Recent concerts include “La Sirena de la Mer”, a program of pre-expulsion Sephardic love songs, and “The Golden Age of the Troubadors”, a program of troubadoran hits.
In addition to providing rehearsal space for a variety of groups, St. Paul’s also makes its’ architecturally beautiful church available for concerts.
As a popular concert venue, St. Paul’s welcomes inquiries from those wishing to use the space as a recital or concert location. Recent concerts have featured I Cantori, Noteworthy Duo, Armstrong Atlantic State University Chamber Choir, and others.
For more information, contact St. Paul’s Music Director.
Longtime Georgia iconographer and iconography teacher Louise Shipps has helped direct many in the diocese to express the glory of the Christian story through art. And one of her icons has received special recognition from the archbishop of Canterbury.
When she and her husband bishop Harry Shipps attended a Compass Rose Society meeting for the worldwide Anglican Communion, she heard Archbishop of Canterbury George Carey express a desire for an icon of St. Augustine of Canterbury.
By the time the society met again in London, she had finished the icon for him. Receiving it, the archbishop told Mrs. Shipps he would put it in his chapel at his residence in Canterbury.
It and an icon she did of the Virgin and Child were featured in Anglican World magazine.
>Developing the design for the icon, Mrs. Shipps studied ancient prototypes and research materials in an effort to remain faithful to tradition. In the central panel the saint appears in traditional frontal pose robed in chasuble embellished with Canterbury crosses. Draped around his shoulders, its end hanging from the left shoulder front and back, is the pallium ornamented with crosses. It wraps over the left hand which holds an icon of Christ.
For scale and pictorial clarity, Mrs. Shipps represented the smaller icon as Christ Pantocrator, whose right hand is formed into a traditional gesture of blessing, as is the hand of St. Augustine.
The left margin depicts St. Gregory of Rome holding a jeweled Book of the Gospels as tradition indicates St. Augustine carried with him to Britain. St. Gregory wears a chasuble, pallium, mitre, and pontifical sandals.
In the right margin, St. Augustine is twice depicted as a monk arriving in a boat with two others representing his group of fellow monks and as standing on the ground of Kent. He holds a replica of the present cathedral. Archangel St. Gabriel in green carries the cross while St. Michael in red holds the bishop’s staff.
With the continued interest in iconography evident throughout the diocese, Mrs. Shipps continues to lecture and teach.