After attending Morning Prayer at Christ Church during the summer of 1873, a visitor wrote:
The church bells ring at half past nine, and speak in suggestive and pleasant tones to those who are accustomed to answer their call. The bells are rung again at a quarter past ten, and soon after the streets present a scene to delight the heart of any Christian. The multitude of those who go forth, embraces people of all ages, from the prattling child to hoary and tottering old age, and including all conditions, from the affluent to the humble poor. . . .
We are favorably impressed as we approach the edifice [of Christ Church] by its massive and substantial front. We are met at the door by attentive ushers, and feel at once that though strangers we are welcome. An appropriate voluntary upon the organ is in progress, and as the worshippers come in one after another and proceed quietly to their places all about us and engage, as is the beautiful custom of the denomination, in silent prayer, we feel the truth of the sentiment which spans the arch above the chancel. “The Lord is in His Holy Temple. . . .”
The musical part of the service—aside from the metrical hymns—is sometimes in anthem and sometimes in chant form, and is at present under the direction of the organist, Mr. Horace H. Scribner. One will hear many fine adaptations here by Warren, Thomas, Buck and others. Among the worshippers are Hon. Timothy P. Redfield, Hon. B. F. Fifield, Dr. J. Y. Dewey, Hon. Charles Dewey, Hiram Atkins, T. C. Phinney, Fred E. Smith, and J. W. Ellis. . . .1
Christ Church was the fashionable parish in the capital city. It was the place where people of affluence, culture, education, prominence, and social stature went to church. The Hon. Timothy P. Redfield (1812–1888), an 1836 graduate of Dartmouth College, was a justice on the Vermont Supreme Court.2 The Hon. Benjamin F. Fifield (1832–1918), a staunch Republican and an 1855 graduate of UVM,3 was the primary legal counsel for the Vermont Central Railroad.4 Dr. Julius Y. Dewey (1799–1866) was a notable Vermont physician who, after the state issued an 1848 charter for the National Life Insurance Company, became its chief medical officer.5 Of his sons, Charles Dewey (1826–1905) served as president of the same company between 1877 and 1901.6 Another son, the Admiral George Dewey (1837–1917), surpassed both of them in national fame when he became an American naval hero during the Spanish-American War. In May 1898, his squadron decimated the Spanish flotilla near the Philippines without the loss of a single American life.7 Hiram Atkins (1831–1892), a prominent Vermont Democrat, was the editor and publisher of the Argus and Patriot, a Montpelier weekly.8 Truman C. Phinney (1827–1901) served 25 years as the sergeant-at-arms for the Vermont State Legislature.9 Fred E. Smith (1836–1907), who later figured prominently in the narrative of Christ Church and its organs, was the president of the Vermont Life Insurance Company.10 And J. W. Ellis was an illustrious Montpelier banker. Christ Church was the society church in central Vermont.
In addition to its influential parishioners, Christ Church was also known for its fashionable music. The parish has owned six different pipe organs during its 178-year history, more than any other congregation in the state. The first was a small instrument probably made by organbuilder William Nutting, Jr. (1815–1869), who had a shop in nearby Randolph. In 1854, it gave way to a larger, two-manual organ built by Stevens & Jewett of Cambridge, Massachusetts. In 1902, accepting the recommendation of a former organist, Samuel B. Whitney (1842–1914), the parish bought a two-manual Hutchings-Votey organ. In a freakish twist of fate, that instrument was lost in a fire less than a year later, so the Vestry turned again to the firm for a replacement. In November 1927, their second Hutchings-Votey organ was wrecked in the Great Vermont Flood, so the following year, the parish ordered a new instrument built by the Estey Organ Company in Brattleboro. The Estey remained until 1972, when the current elegant instrument—the “Abiel M. Smith Organ”—was built for the parish by Karl Wilhelm of St.-Hyacinthe, Québec, Canada. Christ Church has the bizarre “distinction” of losing two of its pipe organs to natural disasters!
Christ Church has also had its share of fine organists. The prominent Mr. Whitney served between 1862 and 1866,11 followed by George W. Wilder (1825–1901), the proprietor of a Montpelier music store.12 Horace H. Scribner (1849–1895) was the parish’s organist for twenty-five years and is memorialized by a stained-glass window in the church.13 Cecil George Egg, a native of Ontario, Canada, served Christ Church from 1908 to 1916. He was an 1899 graduate of Dominion College in Montréal and had played between 1900 and 1908 at Trinity Church in Shelburne, Vermont.14 Abiel M. Smith (1897–1967), who became organist in 1941, served twenty-five years and was held in high esteem;15 the 1972 Wilhelm was posthumously named in his honor. Jack Russell followed Smith; he was the consultant for the Wilhelm organ and played the dedicatory recital on June 4, 1972.16 Dr. Brian P. Webb (1948–2014), a native of New Zealand, was the organist until his tragic death on August 23, 2014, in a boating accident on Lake Champlain.17 He was a distinguished graduate of both the University of Auckland and Indiana University, the music director and conductor of the Vermont Philharmonic, and served as associate dean, Master of Arts, at Union Institute and University in Montpelier. Carl Schwartz served seasonally as associate organist between 1998 and 2015, and twice as interim organist/choirmaster, first in 2013 and then between December 2014 and June 2015. Since the summer of 2015, the parish has been ably served by Lynnette Combs, a distinguished graduate of Swarthmore College and one of Vermont’s better-known organists.18
The origins of Christ Church
The organizational framework for the parish was laid when the Rt. Rev. John Henry Hopkins (1792–1868), the first bishop of the Diocese of Vermont, visited the capital in 1839 and officiated at confirmation. Almost a year later, he reported the event to the diocesan convention:
On Tuesday, the 15th of October , I visited Montpelier, at the request of some friends of the Church. . . . The desire was expressed by many that a parish might be organized in this important place, but no immediate action was resolved upon.19
Montpelier residents were said to be rowdy, unchurched, and uncatechised. Cryptically, one mid-nineteenth-century author opined that “Puritanism was then rampant here, and it is said very many were so ignorant of the fasts and festivals of the church as to suppose Christmas a day appointed by the Governor!”20
The bishop reported again in September 1842:
I commenced my visitation on Friday, January 7th, of the present year , at Montpelier; where I preached, morning and afternoon, at the Methodist Chapel, which was kindly offered for that purpose, on the following Sunday, being the first
after the Epiphany. There was considerable conversation held with our friends upon the building of a Church, but nothing concluded. My second visit was on Friday, the 15th July, on which occasion I was rejoiced to find a subscription actually begun, and now a handsome and appropriate edifice is so far advanced that it is expected to be ready for consecration by November.21
Christ Church had been organized in 1840 by Deacon George B. Manzer (1803–1862), then a candidate for Holy Orders who, after his ordination, became the founding rector of the parish. Manzer was a New Haven, Connecticut, native, who graduated from Dartmouth, Class of 1825, Middlebury College, and later received his Doctor of Divinity degree from Norwich University in 1853. After leaving Montpelier in 1849, he became the rector of St. Peter’s Episcopal Church in Bennington, Vermont,22 where he served until his death.23
The Christ Church Vestry was elected on Easter Monday, 1841, and the first representatives of the parish attended the diocesan convention in September 1842.24 A modest frame building with a small bell tower in front was begun in the fall of 1842. When it was finished, the consecration ceremony was announced in the local newspaper:
The Episcopal Church, erected in this village the past season, will, by favor of Divine Providence, be consecrated to the public worship of God, on Thursday the 19th inst. Services to commence at half past ten o’clock, forenoon.
Montpelier, 14th Dec. 1842.25
Recalling the event, the bishop wrote:
On Thursday, December 29th, 1842, I was called to perform the most acceptable duty of consecrating, to the service of Almighty God, the building in which we are now assembled, the Rev. Messrs. Clap, Hicks, Sabine, John T. Sabine, Hoit, Sprague, Bostwick, and Manser, assisting.26
Little is actually known of the architecture, cost, furnishings, interior arrangements, or seating capacity of the building, but a circa 1865 stereograph of the exterior shows a modest, clapboard structure.
An organ by an unknown maker, before 1850
To date, only one reference has surfaced to the first organ in Christ Church. The 1850 parochial report to the diocesan convention reads:
Among other measures of improvement in externals, may be mentioned the renovation of the organ, the purchase of a fine-toned Bell from the excellent establishment of A. Meneely, Troy, N. Y., who kindly contributed $12.00 to the sum elsewhere specified.27
Use of the word “renovated” suggests that the organ had been in service awhile, perhaps since the consecration of the building, but it was surely a small organ. The geographical proximity of Montpelier to Randolph supposes that it was possibly the work of William Nutting, Jr., but there is no evidence to confirm or deny that presumption. Nor is it known what happened to the organ when it was replaced.
An organ by Stevens & Jewett, 1854
Much more is known about the second organ at Christ Church. It was built in Cambridge, Massachusetts, by Stevens & Jewett, a partnership of William Stevens (1808–1896) and James Jewett (1810–1890). William was the younger brother of George Stevens (1803–1894), and Jewett was a carpenter turned organ builder. The partnership lasted only a few years during the 1850s, although Jewett returned to work for William Stevens during the 1860s, after the firm had moved to Boston. In December 1862, Stevens & Jewett built another large organ for a Vermont congregation—First Congregational Church in St. Albans.28
The instrument was completed in December 1854, and a notice in the Patriot provided some details:
New Church Organ.
We take especial pleasure in being able to state that the new Church Organ, contracted for some two months since by the Episcopal Society in this village, has been completed, and now stands in its place in the Church, ready for use. It is, to both eye and ear, a beautiful and perfect instrument. In the variety of its stops, and the number of its pipes, it is perhaps seldom equaled, except in the cities. It is built with extended Keyboard and has two banks of Keys, twenty-eight registers and about one thousand pipes. Its compass is from c c to G in alt., exclusive of a pedal bass which runs down to c c c—a sixteen feet pipe.
A few individuals were invited to the Church, last Wednesday evening [i.e., December 20], to hear it played. The exhibition was eminently satisfactory. All were delighted who heard it. We have never heard better or purer tones from any organ. It was manufactured at the Establishment of Messrs. Stevens & Jewett, Boston [sic, Cambridge], and cost about $2000. It reflects great credit to the builders, as well as on the enterprise of the Society and individuals by whose very liberal subscriptions it has been purchased. Long may they live to enjoy it.29
A similar notice appeared in the Montpelier Watchman.30 Indeed, a manual compass of 56 notes, CC to g3 was “extended” when compared to CC to f3, 54 notes, then the current standard. Bishop Hopkins noticed the organ when he reported to the 1855 diocesan convention: “Here I was gratified to find a splendid new organ, the most costly in the Diocese. . . .”31 For its time and place, the Stevens & Jewett organ must have been a remarkable acquisition.
In 1868, following the completion of the new building, the organ was installed in a right-hand chamber beside the chancel and presumably lost its original case. An 1885 notice of the instrument remarked:
The organs of Bethany [Congregational, Wm. A. Johnson, Op. 264 (1868), 3m] and Christ churches have been tuned during the past week by Mr. [Henry J.] Poole of Boston, assisted by Mr. [Wm. A.] Briggs. . . .
Mr. Poole expressed much satisfaction with the working of the Perry & Canning [water] motor at Christ church.32
The removal of the Stevens & Jewett occurred in February 1902, just before the congregation acquired a new organ from Hutchings-Votey: “The new organ for Christ Church has arrived from Boston and the old organ will be placed in the boxes in which the new organ came, so that it can be readily shipped wherever a sale is made.”33 What happened to it next is undocumented, but Edgar A. Boadway (1936–2016), Vermont’s foremost organ historian, asserted that it was moved second-hand to Montpelier’s First Baptist Church. It remained there until replaced by another second-hand organ about 1920.34
The new church, 1868
In March 1866, the wooden edifice of Christ Church was in such dilapidated condition that the Vestry proceeded with plans to erect a new building. Nine days later, land was acquired on the south side of State Street near the Vermont State House, and a subscription list was opened to raise funds for the project.35 The Vestry appointed a committee, and by May 4, 1866, the design for a new building was in hand: “The plan for the new Episcopal Church by J. J. Randall, of Rutland, is a very neat one, in the Gothic style. We learn that the intention is to build of granite.”36 By November, the foundation had been laid, and the cornerstone ceremony was reported in the local newspaper:
The cornerstone of Christ Church will be laid with appropriate ceremonies, according to the ritual of the church, at eleven A.M. of Thursday the 8th inst., Providence permitting. If the day prove stormy the ceremony will be delayed until the same hour on Friday. There will be Divine service in the old church, on Thursday evening, at half-past seven o’clock.37
In September 1867 the interior was nearing completion. The tower was finished during the summer of 1868, and the pews were sold in May 1868.38
Abby Maria Hemenway (1828–1890), Vermont’s audacious lady historian, described the interior:
The ground plan includes nave and aisles, chancel, organ chamber and sacristy, the tower being engaged in the northern end of the east aisle. Exterior, 108 by 55 feet; tower and spire, 100 feet; interior—nave, 22 feet wide, separated by two colonnades from two aisles, each 11 feet wide; chancel, 17 feet wide by 23 deep; whole exterior, except roof and clerestory,
light-colored Barre and Berlin granite; aisle walls without buttresses; clerestory, timber slated outside. The north front is the most imposing part of the exterior. . . .39
Hemenway also mentioned the placement for the organ: “The organ chamber, on the west, opens by a narrow arch in the church, and by a broader one into the nave; the organ is a powerful instrument.”40
A newspaper mentioned the music at the consecration, which occurred on June 2, 1868:
The singing on the occasion, under the direction of Mr. A. J. Phillips, the excellent tenor, whose effort was handsomely sustained by the fine soprano of Mrs. C. J. Gleason, the alto of Miss Laura T. Field, and the bass of Mr. L. T. Gleason, and the organ-playing by Mr. George W. Wilder, were remarkably good, and added much interest and solemnity to the occasion.41
By the late 1890s, there was increasing dissatisfaction with the Stevens & Jewett organ. A report in the archives of Christ Church dated November 30, 1898, outlined some of the issues. The unsigned document was typed on stationery from the Vermont Mutual Fire Insurance Company, and was surely written by Fred E. Smith, the same Mr. Smith noticed by our 1873 visitor to Christ Church at the start of this essay. He wrote:
On account of the continued trouble with the mechanical attachments to our organ, the repeated breakings of the trackage [sic, trackers], and failure of the valves and slides, we must recognize that some important change must be made at no distant day or we shall be obliged to give up our organ entirely and face the question of procuring a new one. From the best advices [sic] I can obtain I am satisfied that we cannot install a new organ of proper size and quality for a cost less than $2500, to $3,000.00. From equally good sources of information I am led to believe that by the expenditure of from $500, to $800, our own organ can be put in just as good condition for practical service with a prospect of finer tone than we could get from a new one. . . .42
Smith then asserted that the old pipework could be placed on new wind chests with tubular-pneumatic playing action.
An unsolicited letter from organbuilder Geo. S. Hutchings (1835–1913) arrived a few months later:
Boston, Apr. 28, 1899
Mr. Frederick E. Smith
Mr. Almar Green, who is familiar with my work, has suggested that I address you regarding an organ for your church to cost between $3,500 and $4,000. I have therefore taken the liberty of handing you under separate wrapper my catalog, together with other printed matter which may interest you.
Before I can make a definite proposition I need to know what space in height, width and depth can be given to the organ, because the cost of building depends materially upon this. I would also like to know about when the organ would be needed. If you will inform me on these points, I shall take pleasure in making a definite proposal for your consideration.
I desire very much to build the organ for you and shall await your reply with interest.
Trusting you will command me freely for any information in my line.
Yours truly, Geo. S. Hutchings43
Enclosed was a proposal for a small, mechanical-action organ of twelve registers distributed over two manuals and pedals.
On February 1, 1899, organbuilder Emmons Howard (1845–1931) visited Montpelier to inspect the organ. Again, it was Smith who issued the report, stating:
. . . after examining the Church and organ with Mr. Hutchinson [not Geo. Hutchings] and myself, he quite positively gave his opinion that we would not be warranted in going to such expense on our organ as we had contemplated. He found the value of the organ much less than we had supposed, and was quite positive that it would cost $1500, to $2000, to make the changes we had talked about, with the new additions which would be necessary—such as tubular pneumatic action, new bellows, air-chest, etc.—saying that our organ would still be an old one and imperfect in many features. . . .44
With the prospect of repairing the organ increasingly unfeasible, an organ committee was formed in September 1901 for “the purchase of a new organ.”45 Within a week, financial canvassers were at work,46 and a “final” reference to the Stevens & Jewett appeared in the local newspaper during February 1902, when: “The organ builders are at work in Christ Church, taking down the old organ. . . .” 47
Hutchings-Votey Organ Co., Opus 1538, 1902
In November 1901, former organist Samuel B. Whitney was consulted. Writing to Smith on October 29, 1901, Joseph A. De Boer, another committee member communicated the substance of a meeting he had had with Whitney in Boston. Whitney recommended Hutchings-Votey. Two letters from John H. Waterhouse, the treasurer at Hutchings, to Smith indicated that acquiring an organ was underway:
Boston, Nov. 7, 1901
Col. Fred E. Smith
We received your letter of Oct. 31st and have been considering what we should be able to do. After Mr. De Boer left the other day, Mr. Whitney seemed very anxious to have us put in 49 notes of the Vox Celestis. When upon receipt of your letter we went over our figures very carefully, but do not feel that we can really afford to make any difference in the price. We will, however, deduct $100 to assist you in the purchase of this organ. Will say, however, that this is very largely because we know that Mr. Whitney is very desirous that you should purchase one of our organs, and as his good opinion is valuable to us, we are ready to do the very best we can in a case in which he is especially interested. In looking over the scheme we do not feel that there is any stop which could be very well left out. The scheme is well balanced, and would make a very fine instrument.
We think the plan you sent us showing the key-desk and openings in the arches as you propose is very good, and that in this way the sound would come out into the church very well.
It would seem too bad in purchasing an organ which will last for several generations, to allow a few hundred dollars to stand in the way of a desirable instrument. Regarding the cost of our organ, we believe without question that it would be cheaper for you in the long run to purchase one of our make than it would to buy a cheaper grade, outside of the advantage you would have in the way of tone and voicing. We desire very much to build the organ, and trust you will see your way clear to meet us in this matter. I suppose we shall have to know before very long in order to begin this with the other instrument which we mentioned. We should be willing to allow the difference between the $3,900 and the sum which you have to stand for six months or a year without interest if it will help you out.
Yours truly, Hutchings-Votey Organ Co.48
Boston, Nov. 8, 1901
Col. Fred E. Smith
Regarding the position of the console, we could place the console in practically any position you may wish, and this would have no bearing on the building of the rest of the organ; so that if we should start to build the organ we would not necessarily have to know the position of the console for a couple of weeks. Mr. Whitney suggests that it be placed where we have drawn it in pencil, his reason being that from this position the organist could see the altar, which is quite necessary, and it would be possible to get into the space where the quartet would sing on the other side or on the front, we presume. This would make the quartet, if you had one, at the side of and back of the organist, but as they would be very close, it would not be very hard and perhaps considering all things, this position would be the most advantageous.
Yours truly, Hutchings-Votey Organ Co.49
The contract for the organ has not survived, but it was apparently signed around November 10, 1901, for on November 29, Waterhouse wrote Smith asking, “Have you decided the matter of decorating the front pipes for the organ?”50
The completed organ was shipped on March 1, 1902, and a notice in the Argus related:
S. B. Whitney, formerly organist of Christ church in this city, but now occupying a similar position with the Church of the Advent in Boston, has had the oversight of the new organ which has been built for Christ Church, that instrument having been finished. Mr. Whitney says of it that he is sure that it will delight everyone who hears it. It is now being taken down to be shipped, having been tested twice by Mr. Whitney. . . .”51
The installation took the better part of a month, and on March 24 the Evening Argus stated: “The new organ has been installed in Christ Church and will be ready for the rehearsal Thursday and Friday and for Easter Sunday.”52
The organ was described in detail on the front page of the Argus on March 26:
The new organ for Christ church is fast reaching a state of completion and will be ready to peal forth its inspiring sounds to the worshippers Easter morning.
Everything is in readiness now with the exception of three sets of pipes which will be in position at the close of this week.
The new organ is one of the best in the State and combines all of the latest improvements of stops, copulas [sic], pistons and action, making it as easy of action, even with the great [and] swells on, as a piano.
Charles Bowen, of Boston, has had charge of setting up the instrument. It is so adjusted that the very lightest touch will produce strains of harmony.
A little over four weeks ago Mr. Bowen, who is assisted by W. H. Colbath, commenced installing the organ, which was made especially for Christ Church by the Hutchings-Votey Organ company, of Boston. The old one had to be taken out and this was also done by them. The work has been done in a very short time, considering the amount of it.
The organ occupies the same position as the old one, at the right of the chancel, but the key desk has been moved so that it sets at the left across the chancel. The lower part of the organ is of antique oak, with a dark finish, and above this is a row of speaking pipes, gilded.
The key desk is a model of convenience and is equipped with all the modern improvements. The stops are set in such a way as to face the player and be of the easiest possible access.
The organ has 1,098 pipes. Lead tubing runs underneath the floor from the key desk to these pipes and nearly a mile and a half of it was used for this purpose. Through these tubes the air passes and the quickness of the response to the touch of the player is remarkable. The desk has two manuals of 61 notes each. The combination pistons are placed under each manual, four of them operating the swell stops and three the great stops.
An indicator is placed a little to the right of the center of the front of the desk, which shows which piston is being used. At the right of the desk is the pedal and great stops, while at the left are the swell stops. All told there are 18 speaking stops. Seven cupolas [sic] are placed just over the upper manual in the center of the desk.
A full set of pedals, 30 in all, occupy their place, and in connection with these there are two pedals, a crescendo, which brings on the stops one at a time and closes them in a similar manner: also the balanced swell pedal, operating two sets of shades. To the left of these pedals there are three smaller ones, the reversible great to pedal, full organ and Tremulant.
The whole action is tubular pneumatic, compressed air being produced by a hydraulic water motor. This motor was adjusted by Allen D. Moore and is controlled by a wire running from the bellows to the shut off. The water motor can be controlled by the organist, as there is a valve at the left of the organ desk.
All who have seen and heard the organ say it is one of the finest that they have ever listened to.
Mr. Whitney, of Boston, will give a recital. . . .53
The organ was a cause of jubilation when it was first heard on Easter Day 1902: “Prof. A. J. Phillips with Miss Laura A. Rugg as organist, and Christ church vested choir of about forty mixed voices outdid, if possible, previous efforts in preparing an Easter musical program. His efforts were augmented to a large extent by the magnificent new pipe organ which was recently placed in the church. . . .”54 On April 2, the two installers, Bowen and Colbath, returned to Boston.55
Whitney opened the organ on May 20, and the program was billed as “the finest musical feature of the season.”56 The program opened with Miss Rugg at the console, followed by the church choir processing to “The Day Is Gently Sinking to a Close.” Whitney played selections of Guilmant, Handel, Lemaigre, Rinck, and Wagner, but it was Master John B. Findlay, a solo boy treble from the choir of the Church of the Advent in Boston, who stole the show with his rendition of “With Verdure Clad” from Haydn’s Creation. A newspaper reported that “The recital and concert was a thorough success musically. . . .”57
The project had taken years of planning, and everyone at Christ Church was delighted by the outcome.
The 1903 Fire
Taken in context, imagine the congregation’s distress when only seven months later the chancel end of the church was gutted by fire. The headline in the Daily Journal said it all: “FIRE! Discovered 3:30. This afternoon in Christ Church. Organ Will Be Ruined.” An unnamed author in the Inter-State Journal put the disaster into larger perspective:
For a season when coal was unobtainable at any price and wood had to be used in coal furnaces, as during the past winter, it is not surprising that many destructive fires have occurred and that many incipient blazes were discovered just in time to save the property. Among the cheifest [sic] conflagrations in central Vermont was that of the partial destruction of Christ’s (Episcopal) Church, at Montpelier, on Jan. 24.58
Although the interior and roof were badly damaged, the building was not destroyed. The organ, however, was a total loss.59
Months passed before the congregation could rebuild, and then a number of construction problems caused further delays. An August 1903 announcement in the Argus and Patriot noted that the stained-glass was late, the black walnut wainscoting around the altar was being installed, and painters had finally completed their work on the interior.60
Hutchings-Votey Organ Company, 1904
A second contract with the Hutchings-Votey Organ Co. was signed on June 29, 1903, for a replica of the previous instrument, but the organ did not arrive until January 1904. An announcement in the Daily Journal remarked:
The work of installing the new organ at Christ church is progressing rapidly, but is not sufficiently advanced to permit the holding of services in the church next Sunday.61
Two weeks later, this notice appeared:
Will Be Opened Sunday.
Mr. Mendal of Boston is at work today tuning the new organ in Christ church, which has been in the process of installation for several days. Services have been held in the church for a few weeks only since the burning of the church a year ago this month. They had to be suspended on account of work of putting in the new organ. The organ is one of the finest Hutchings & Votey makes and the melodious sound of the instrument will be a welcome part of the services, long dispensed with. It is planned now to have the church in readiness for services on Sunday if nothing unforeseen obstructs the plans of those in charge of the work. The rehearsal for the Sunday music will be held in the church on Saturday evening instead of Friday.62
A final report stated:
A very large congregation attended the morning service at Christ church Sunday at which time the instrumental music was furnished by the organ, for the first time since the fire last January.
The instrument had been placed in position and although there is still three or four days’ work to be done upon it, it was possible to use it at the services, and the result was wholly satisfactory. The musical part of the service was especially fine and those who participated were highly commended. . . .63
The tubular-pneumatic action organ cost $4,000.64 It remained in the church until it was water-damaged on November 3, 1927.
The 1927 Flood
Following a particularly wet autumn, there were torrential rains in the days leading up to November 2–4, 1927. Montpelier is located at the confluence of the North Branch and the Winooski River, and late on November 1, 1927, the rivers began to rise. By November 3, the water on State Street in downtown Montpelier was 12 feet high, up to the top of the first story on most of the buildings. For church buildings at ground level, the flooding caused considerable damage, including the loss of two church organs: the 1868 Wm. A. Johnson at Bethany Congregational Church and the 1904 Hutchings-Votey at Christ Church. The 1927 Flood is universally considered the worst natural disaster in Vermont’s modern history. It resulted in 84 deaths, crippled communications and transportation networks throughout the state, and the property losses were reported to be some $21,000,000,65 a staggering amount for the time. Montpelier was particularly hard hit.
Estey Organ Company, Opus 2730, 1928
After the waters receded, it was obvious that Christ Church needed a new organ. The Vestry looked south to Brattleboro and ordered an instrument from the Estey Organ Company. Estey reused the case front of the old organ so the new instrument did not look any different, but the mechanism was entirely new. The Estey organ was actually smaller than the 1904 Hutchings-Votey had been, with 4 ranks on the Great, 7 in the Swell, and 2 in the Pedal. The shop order specified a luminous console (which soon malfunctioned and was replaced!), and many of the ranks were extended to either 73 or 85 pipes to speak at multiple pitches. The finished organ was due for delivery on June 15, 1928, but it was not completed until early in the following year.
A February 9, 1929, notice in the Evening Argus related: “The new organ at Christ church will be dedicated Sunday evening at 8 p.m. by Ruth Bampton, member of the American Guild of Organists and instructor at [the] Montpelier Seminary.”66 She was a sister of the famed Metropolitan Opera soprano, Rose Bampton. Two days later, another report stated:
The new organ is a 21-stop Estey organ, modern in every way, of a fine quality of tone well adapted for the Christ church, and Miss Bampton, who commenced playing the organ as soon as it was set up by representatives of the Estey company, handles it easily, for she is much at home with pipe organs, being not only an organist but composer as well. By some it was said that last evening the recital was the equal of any given in Montpelier in a long time. Miss Bampton played the program that she announced in Saturday’s edition, which included a variety that brought the best tones out of the organ, showed its soft sweet low tones as well as the volume that can be produced.67
The program included works by Bach, Borowski, Chadwick, Karg-Elert, Tchaikovsky, and Widor, and was well received.68
By the 1960s, the Estey was showing signs of age. Cracks and splits had developed in the windchests, and after studying the situation, a parish committee recommended buying a new organ.69 The Estey remained until it was replaced in April 1972.
Karl Wilhelm, Opus 27, 1972
The desire for a new organ actually came earlier than April 1969, when it was announced to the annual diocesan convention that Christ Church was embarking on a capital improvement program involving an expenditure of some $50,000. The parish had just celebrated the centennial of the building, and work on the narthex was necessary. The project was expanded to include painting, reorganization of the choir space, a new organ, and the building of a chapel where the former Estey organ had stood. The new organ was dedicated in memory of Abiel M. Smith, who for twenty-five years had been the organist of Christ Church.70 The project was the visionary effort of Jack Russell, then the organist, and the rector, the Rev. David Brown.
The contract went to Karl Wilhelm of St.-Hyacinthe, Québec, Canada. Following an energetic discussion regarding the placement of the organ in the building, the two-manual, mechanical-action instrument was installed in the spring of 1972. Christophe Linde designed the instrument, and Jacques L’Italien did the tonal finishing. Boadway described the installation in the Boston Organ Club Newsletter:
The new organ stands free in the right side aisle, the front of the case facing the opposite side wall of the nave, and the choir is thus seated with the congregation. The tall and shallow case of white oak displays five flats of Prinzipal pipes, the tall central group being a tower above the Brustwerk doors. The pipe shades and doors are carved, and the appearance of the case is indeed very handsome. . . . The attached key desk has manuals with black naturals and ivory-capped sharps; the Pedal sharps are capped with rosewood; the plain, large, flat drawknobs are arranged in double columns at each side with, unfortunately, machine-engraved labels that are not of ivory; the hitch-down brass coupler pedals are labeled as indicated in the stoplist above; there is no combination action; the stop and key action is mechanical but the Tremolo is electric; the very silent blower is within the case; the bass 12 pipes of the Subbass are exposed at the rear of the case with the access doors above; the lowest 12 pipes of the 8′ Rohrflöte are of stopped wood; and the Fagott is of half-length cylindrical spotted metal pipes.71
The noted Canadian organist Bernard Lagacé played a program for the Vermont Chapter of the American Guild of Organists on May 7, 1972, including works of Alain, Bach, Buxtehude, Reger, and Sweelinck.72 The organ was described in The Diapason73 and remains in the church today. A. David Moore is the current caretaker of the instrument.
Despite the loss of two instruments to natural disasters, Christ Church remains at the forefront of Montpelier’s musical, religious, and social culture today. The choir, led by Lynnette Combs, is one of the finer church choirs in central Vermont. The parish’s six pipe organs have mirrored the progression of style and taste in American organ design, and the church’s fine musical program has been a beacon of culture in central Vermont for 178 years. ν
Sidebar I: Stoplists
Stevens & Jewett, 1854
Great, CC–g3, 56 notes
16′ Tenoroon, TC, 44 pipes
8′ Open Diapason, 56 pipes
8′ Dulciana, 56 pipes
8′ Keraulophon, TG, 37 pipes
8′ Melodia Treble, TG, 37 pipes
8′ St. Diapason Bass, 19 pipes
4′ Principal, 56 pipes
4′ Flute, TC, 44 pipes
22⁄3′ Twelfth, 56 pipes
2′ Fifteenth, 56 pipes
8′ Trumpet, TC, 44 pipes
Swell, CC–g3, 56 notes,
16′ Bourdon Treble, TC, 44 pipes
16′ Bourdon Bass, 12 pipes
8′ Open Diapason, TC, 44 pipes
8′ Viol de Gamba, TC, 44 pipes
8′ St. Diap. Treble, TC, 44 pipes
8′ St. Diap. Bass, 12 pipes
4′ Principal Treble, TC, 44 pipes
4′ Principal Bass, 12 pipes
2′ Fifteenth, TC, 44 pipes
II Cornet, TC, 88 pipes, 12th and 17th
8′ Hautboy, TC, 44 pipes
Pedal, CCC–FF, 18 notes
16′ Sub Bass, 18 pipes, an Open Diapason
Couplers and Mechanicals
Swell to Great
Pedal to Great
Pedal to Swell
Pedal Check (see notes below)
No combination pedals
The Pedals are coupled to the Swell when the Pedal Check is drawn (no ‘Pedal to Swell’ stop), except when Pedal to Great is drawn out. Pedals cannot be coupled to both manuals at the same time, nor can they be uncoupled from both of them.
Source: Reconstructed from notes made in 1898–1901 by Almar Green, when the organ was to be rebuilt, sold, or replaced; and “A correspondent from Montpelier is loud in his praises. . . .,” (Boston) Daily Evening Traveller [sic] 10, no. 257 (Feb. 2, 1855): 1.
Estey Organ Company, Opus 2730, 1928
Great Organ, CC–c4, 61 notes
8′ Open Diapason (Leathered Inside
Bass), 73 pipes
8′ Dulciana, 73 pipes
8′ Melodia, 73 pipes
4′ Flute Harmonic, 73 pipes
Swell Organ, CC–c4, 61 notes
16′ Bourdon, 97 pipes
8′ Stopped Diapason, 73 notes
4′ Flute d’Amour, 73 notes
2′ Flautino, 61 notes
22⁄3′ Nasard, 61 notes
13⁄5′ Tierce, 61 notes
8′ Open Diapason, 73 pipes
8′ Salicional, 73 pipes
8′ Aeoline, 73 pipes
8′ Vox Celeste, TC, 61 pipes
4′ Violina (use top board wide enough
for Cornopean), 73 pipes
8′ Oboe, 73 pipes
Pedal Organ, CCC–G, 32 notes
16′ Open Diapason, 44 pipes
8′ Octave (Fm. Ped. Open), 32 notes
16′ Bourdon, 44 pipes
8′ Flute (Fm. Ped. Bdn.), 32 notes
16′ Lieb. Ged. (Fm. Sw. Bdn.), 32 notes
Gt. to Gt. 4
Sw. to Gt. 16–8–4
Sw. to Sw. 16–4
Sw. to Ped. 8–4
Gt to Ped.
Gt. Uni. Sep.
Sw. Uni Sep.
Source: Estey Shop Order
Karl Wilhelm, Opus 27, 1972
Hauptwerk, CC–g3, 56 notes
8′ Prinzipal, 56 pipes
8′ Rohrfloete, 56 pipes
4′ Octav, 56 pipes
4′ Koppelfloete, 56 pipes
22⁄3′ Nazard, 56 pipes
2′ Waldfloete, 56 pipes
11⁄3′ Mixture IV, 224 pipes
8′ Trompete, 56 pipes
Brustwerk, CC–g3, 56 notes
8′ Holzgedackt, 56 pipes
4′ Rohrfloete, 56 pipes
2′ Prinzipal, 56 pipes
11⁄3′ Quinte, 56 pipes
Sesquialtera II, 78 pipes
2⁄3′ Zimbel II–III, 150 pipes
8′ Regal, 56 pipes
Pedal, CCC–F, 30 notes
16′ Subbass, 30 pipes
8′ Offenfloete, 30 pipes
4′ Choral Bass, 30 pipes
16′ Fagott, 30 pipes
Mechanical key and stop action
Source: Dedication program
Sidebar II: Mr. Whitney’s Recommendations
October 29, 1901
Hon. F. E. Smith
Chairman, Organ Committee
Dear Mr. Smith:—
Conformably to your wishes, I met Mr. Whitney, the former organist at Christ Church, on the 24th. inst. in Boston. He was extremely kind and courteous and exhibited the greatest possible interest in our affairs of a new church organ, having evidently given the subject, as the result of your correspondence with him, close and critical attention. All told, we spent two and one-quarter hours together, at my rooms in review of the various specifications, at his church in concrete illustration of the organ there, and at the shops of Hutchings & Votey, where I met the elder Mr. Hutchings and also your correspondent, Mr. Waterhouse, as I recall the name.
Mr. Whitney’s advices, summarized, may be expressed as follows:
(1) He is a strong advocate of Hutchings & Votey of Boston as the proper manufacturers of the proposed organ upon the grounds that their work is absolutely of the highest grade, sure of giving the church the best possible quality and finish, and is beyond all doubt of chicanery or misdirection.
(2) He believes that a good two manual organ is the thing to buy and declares that such an instrument, particularly with all the special connections set forth in the Hutchings & Votey specifications, will afford a wide range of both volume and harmony and prove eminently satisfactory in our church.
(3) He strongly advises the use of what he calls the tubular pneumatic action, particularly this action as supplied by the aforenamed firm, claiming that it does not get out of order, that it is strong in character and that it vastly contributes to the ease of playing, apart from the consideration that it enables you to locate the keyboard anywhere you wish.
(4) He emphasizes particularly the positive value and high importance of “putting the organ out”, meaning by its removal out of the present box and placing the pipes clear out, flaring with the music stand of the choir loft, that is, directly filling the arch facing the church. He also urges the making of an arch above the wainscoting in the chancel, the same to be filled with pipes, in order that volume and quality of tone may be conserved. The organist “should sit in the chancel” he claims, able to see and direct, if necessary, the choristers and in a position which will enable him to hear the organ and the singers. This is his advice upon this point, although in conversation he was ready to admit that want of space might force us to modify his wish in this respect, but on the whole he thought that we could so arrange it and, if we could, it certainly ought to be done.
(5) He was of the impression that we could satisfactorily arrange for the organist in the chancel, especially if there was a possibility of using a small choir for the purposes of the church. He thought in respect to this point that the object should be to get and hold a small, effective choir, effectiveness being the great point rather than numbers, and to keep reserves in hand out of which to supplement and recruit the regulars. I did not discuss this particularly but make it a part of this report as his suggestion in connection with our discussion of space limitations.
Permit me further to state the following items as bearing on the subject. Mr. Whitney had had this talk with Hutchings & Votey on the supposition that the church had $4,000 to spend for the purpose of an organ. That firm made its specifications to you in view of its now having a second organ to build, thus making a saving on both. They stated that possibly something might be saved on pipes and particularly on the case, a suggestion growing out of my statement that we had command of only $3500.00, but if there is to be a saving on the pipes and case it will depend upon where the organ is placed.
The matter was therefore left in this way: Mr. Whitney was to write you in substance all that he had said to me and return your papers. We are to send Hutchings & Votey full, exact and detailed measurements of all spaces affected, in order to enable them to refigure the price and to make any suggestions which their experiences may determine. I would suggest that this matter of making measurements be placed in charge of Mr. Phillips of the committee and that all measures be independently checked before being forwarded to Boston.
It is right to add that Mr. Whitney showed intense interest in this matter, often referring to his early work here and to old memories, and repeatedly expressed his wish to have Christ Church possess an organ of unquestioned merit, “and when it is installed”, said he, “I will come up and give an organ recital, bringing one of my best boy soloists”, adding with a smile, “without cost to you except for transportation of the boy”.
Trusting that all this may be found satisfactory by the Committee, I remain,
Yours very truly, Joseph A. De Boer
Sidebar III: Hutchings-Votey Organ Co., Contract, 1903
Boston, Mass., June 29, 1903.
MEMORANDUM OF AGREEMENT made this day by and between Hutchings-Votey Organ Co., Organ Builders of Boston, Mass., party of the first part, and Christ
P. E. Church of Montpelier, Vt., party of the second part.
The party of the first part shall build an Organ according to the annexed specifications, of the best materials and in the most thorough manner, and set it up in the above church in good working order, ready for use, warranted perfect in every respect on or about October 1st, 1903, barring any detention from labor troubles.
The party of the second part shall prepare the place for the Organ, and allow suitable convenience and opportunity in the church for the work of setting up and tuning it; shall fully insure it in the name of the party of the first part as soon as it or its parts shall have been deposited in the Church; shall keep said insurance in force until title to the organ shall be transferred to the party of the second part; and in full consideration for the finishing and delivery of the Organ as above, shall pay to the party of the first part, the sum of three thousand, four hundred and seventy-one dollars and sixty cents ($3,471.60), payable as follows—at least $1771.60 to be paid on completion of the organ in the church and the balance in two installments of $850 each in six and twelve months without interest, in Boston or New York funds.
It is agreed that the title to the organ shall be vested in the party of the first part until all payments and obligations, cash and deferred, have been paid in full, whereupon the title shall be given to the party of the second part.
John H. Waterhouse, Tres.
Hutchings-Votey Organ Co.
Fred E. Smith, Jr. Warden
Christ Church, Montpelier
SPECIFICATION OF AN ORGAN
Hutchings-Votey Organ Co., Organ Builders, of Boston, Mass.
Christ P. E. Church, Montpelier, Vt.
Two manuals, Compass from C to c 4, 61 notes
Compass of Pedals from C to f1, 30 notes
1. 8 ft. Open Diapason metal 61 pipes
2. 8 ft. Dolcissimo " 61 "
3. 8 ft. Melodia " 61 "
4. 4 ft. Octave " 61 "
5. 2 ft. Super Octave " 61 "
6. 8 ft. Trumpet " 61 "
7. 16 ft. Bourdon Treble wood 61 pipes
8. 16 ft. Bourdon Bass
9. 8 ft. Open Diapason
wood and metal 61 "
10. 8 ft. Salicional " 61 "
11. 8 ft. Stopped Diapason wood 61 "
12. 8 ft. Vox Celestis metal 61 "
13. 4 ft. Flute Harmonique " 61 "
14. 4 ft. Violina " 61 "
15. 2 ft. Flautino " 61 "
16. II Rks. Dolce Cornet " 122 "
17. 8 ft. Oboe " 61 "
18. 16 ft. Open Diapason wood 30 pipes
19. 16 ft. Bourdon " 30 "
20. Swell to Great
21. Swell to Swell 4 ft.
22. Swell to Swell 16 ft.
23. Great to Swell
24. Great to Pedal
25. Great to Great 16 ft.
26. Swell to Pedal
1) Operating on Great and Pedal
1) Operating on Swell and Pedal
1. Reversible Great and Pedal
2. Balanced Swell
4. Sforzando (Full Organ)
5. Balanced Crescendo
Tubular pneumatic action
The builders are to have the privilege of using such parts of the old organ as can be used without detriment to the new instrument.
1. “The Sabbath at the State Capital,” The Rutland (Vt.) Daily Globe 1, no. 92 (Aug. 16, 1873): 1.
2. Jacob G. Ullery, Men of Vermont: An Illustrated Biographical History of Vermonters and Sons of Vermont (Brattleboro, Vt.: Transcript Publishing Company, 1894), 160.
3. Universitas Viridis Montis; or, The University of Vermont.
4. “Hon. Benjamin Franklin Fifield,” Genealogical and Family History of the State of Vermont: A Record of Achievements of Her People in the Making of a Commonwealth and the Founding of a Nation (New York and Chicago: The Lewis Publishing Company, 1903), 1–4; and “Hon. Benjamin F. Fifield,” The Vermonter 4, no. 7 (Feb. 1899): 112.
5. The Vermont Encyclopedia s.v. “Dewey, Julius Y.”
6. “In Memoriam—Charles Dewey,” (Oak Park, Ill.) Life Insurance Courant 11, no. 2 (Sept. 7, 1905): 47–48.
7. The Vermont Encyclopedia s.v. “Dewey, George.”
8. Norwich University, 1819–1911, Her History, Her Graduates, Her Roll of Honor (Montpelier, Vt.: The Capital City Press, 1911), 1.
9. “Phinney, Truman C.,” Men of Vermont: An Illustrated Biographical History of Vermonters and Sons of Vermont (Brattleboro, Vt.: Transcript Publishing Company, 1894), 312–13.
10. “Col. Fred E. Smith Dead,” (Montpelier, Vt.) Argus and Patriot 57, no. 17 (Feb. 27, 1907): 3; hereafter AP.
11. The Bicentennial of the Pipe Organ in Vermont, 1814–2014. Richmond, Virginia: OHS Press , 70–79.
12. “Old Business Man Gone,” AP 51, no. 23 (Apr. 17, 1901): 3.
13. George A. McIntyre, The History of Christ Episcopal Church (Montpelier, Vermont: Christ Church, 1982), 35; hereafter McIntyre.
14. Encyclopedia [of] Vermont Biography: A Series of Authentic Biographical Sketches of the Representative Men of Vermont and Sons of Vermont in other States (Burlington, Vermont: Ullery Publishing Company, 1912), 180.
15. “Rites for Mr. Smith,” The (Montpelier) Times Argus 71, no. 75 (June 12, 1967): 2.
16. “New Wilhelm Tracker to Montpelier, Vermont,” The Diapason 63, no. 11 (Oct. 1972): 10.
17. Amy Ash Nixon, “Body of Local Orchestra Conductor Found,” (Montpelier) Times-Argus (Aug. 28, 2014); and “Brian P. Webb, Obituary On-Line,” Guare & Sons, Barbar & Lanier, Funeral Service, 30 School St., Montpelier, Vt.
18. Organ Handbook (2013): 66.
19. John Henry Hopkins, “Address,” Journal of the Proceedings of the Fiftieth Annual Convention of the Protestant Episcopal Church in the Diocese of Vermont; Being the Eighth Annual Convention Since the Full Organization of the Diocese; Held in St. James’ Church, Woodstock on the Sixteenth and Seventeenth Days of September (Burlington: Chauncey Goodrich, 1840), 5; hereafter Vermont Convention Proceedings.
20. “Historical Sketch of Christ Church, Montpelier,” AP 18, no. 25 (June 11, 1868): 3.
21. Hopkins, “Address,” Vermont Convention Proceedings (1842), 6.
22. The New England Historical and Genealogical Register, Issued Quarterly, Under the Direction of the New England Historical Genealogical Society for the Year 1863 17 (Albany: J. Munsell, 1863), 177.
23. John Spargo, The Consecrated Century: An Outline History of St. Peter’s Protestant Episcopal Church, Bennington, Vermont (Bennington: Vestry of St. Peter’s Church, 1934), 16–17.
24. McIntyre, 25–26.
25. “Consecration,” (Montpelier) Vermont Watchman & State Journal 38, no. 16 (Dec. 23, 1842): 3; hereafter VWSJ.
26. Hopkins, “Address,” Vermont Convention Proceedings (1843), 7.
27. Vermont Convention Proceedings (1850), 29.
28. “New Organ at the Congregationalist Church,” The St. Albans (Vt.) Messenger 26, no. 7 (Dec. 25, 1862): 3; hereafter SAM.
29. “New Church Organ,” (Montpelier) Vermont Patriot & State Gazette 30, no. 1 (Dec. 22, 1854): 3.
30. “Church Organ,” VWSJ 49, no. 6 (Jan. 5, 1855): 3.
31. Hopkins, “Address,” Vermont Convention Proceedings (1855), 9.
32. “The organs of . . .,” The (Montpelier) Vermont Watchman 80, no. 29 (July 1, 1885): 1; hereafter VW.
33. “Montpelier Mere Mention,” AP 52, no. 16 (Feb. 26, 1902): 3.
34. E. A. Boadway, “An Annotated Catalog of Known Pipe Organs in Vermont,” The Bicentennial of the Pipe Organ in Vermont, 1814–2014 (Richmond, Virginia: OHS Press, ), 200.
35. McIntyre, 27.
36. “The plan for the . . .,” VWSJ 61, no. 27 (May 4, 1866): 2.
37. “The cornerstone of . . .,” VWSJ 62, no. 2 (Nov. 9, 1866): 2.
38. “State Items,” (St. Albans) Vermont Daily Transcript 1, no. 2 (May 14, 1868): 3.
39. Abby Maria Hemenway, The History of the Town of Montpelier, Including that of the Town of East Montpelier, for the First One Hundred and Two Years (Montpelier, Vt.: Published by Miss A. M. Hemenway, 1882), 412.
41. “Historical Sketch,” AP 18, no. 25 (June 11, 1868): 3.
42. MS, Church records, Report from an Organ Committee, November 30, 1898. Christ Church, Episcopal, Montpelier, Vermont [photocopied during the 1970s by E. A. Boadway; cited with permission].
44. Ibid., undated Organ Committee Report, likely Feb., 1899.
45. “Organ For Christ Church,” AP 51, no. 43 (Sept. 4, 1901): 3.
46. “Christ Church Organ,” AP 51, no. 44 (Sept. 11, 1901): 4.
47. “The organ builders. . .,” Montpelier (Vt.) Daily Journal 53, no. 70 (Feb. 24, 1902): 3; hereafter MDJ.
48. MS, Church records.
51. “New Organ For Christ Church,” AP 52, no. 16 (Feb. 26, 1902): 3.
52. “The new organ . . .,” The (Montpelier, Vt.) Evening Argus 5, no. 122 (Mar. 24, 1902): 4; hereafter EA.
53. “New Organ Placed in Christ Church,” EA 5, no. 124 (Mar. 26, 1902): 1; a similar article appeared as “New Church Organ,” MDJ 53, no. 100 (Mar. 31, 1902): 2.
54. “Glad Easter,” MDJ 53, no. 100 (Mar. 31, 1902): 1.
55. “Montpelier and Vicinity,” MDJ 53, no 102 (Apr. 2, 1902): 4.
56. “Organ Recital,” AP 52, no. 26 (May 2, 1902): 3.
57. “Whitney Organ Recital,” AP 52, no. 29 (May 28, 1902): 3.
58. “A Recent Fire at Montpelier, Vt., and its Probable Origin,” Inter-State Journal: An Illustrated Monthly of the Connecticut Valley 5, nos. 10–11 (Jan.–Feb., 1903): n.p.
59. “Christ Church Badly Damaged by Fire and Water,” MDJ 54 (Jan. 26, 1903): 1.
60. “Work on Church Delayed,” AP 53, no. 42 (Aug. 26, 1903): 4.
61. “Montpelier Locals,” MDJ 54 (Jan. 7, 1904): 4.
62. “Will Be Opened Sunday,” MDJ 54 (Jan. 21, 1904): 4.
63. “Services at Christ Church,” EA 7, no. 73 (Jan. 25, 1904): 4.
64. Vermont Convention Proceedings (1904), 122.
65. The Vermont Encyclopedia s.v. “Flood of 1927.”
66. “Christ Church,” (Montpelier, Vt.) Evening Argus 32, no. 87 (Feb. 9, 1929): 4; hereafter EA.
67. “Dedication Services Occurred Sunday Including an Organ Recital,” EA 32, no. 88 (Feb. 11, 1929): 8.
68. “Christ Church,” EA 32, no. 87 (Feb. 9, 1929): 4.
69. MS, Vestry minutes. Christ Church, Montpelier, Vt. [custody of the church; cited with permission].
70. “Annual Episcopal Convention,” SAM 109, no. 85 (Apr. 30, 1969): 10.
71. E. A. Boadway, “Christ Episcopal Church, Montpelier, Vermont.” The Boston Organ Club Newsletter 8, no. 4 (April, 1972): 6–7.
72. “Capital Organ Concert Sunday,” The (Montpelier-Barre, Vt.) Times-Argus 76, no. 43 (May 4, 1972): 24.
73. “New Wilhelm Tracker to Montpelier, Vermont,” The Diapason 63, no. 11 (Oct. 1972): 10.