The historic stenciling project

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Egbert Hancock
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The historic stenciling project trinity episcopal church on the new haven green part two Students from the Cooperative arts & humanities high school

Engaging About Half of the Students Work This unique historic stenciling project has been underway and is almost completed at Trinity Church, one of

The Project has been a dual grant-supported project focusing on the archaeological discovery and re-creation of a band of late 19thc ornamental

Matching funding for this preservation has been provided by: Under these grants, Canning Studios came in April, 2014 and uncovered one repeat of this

1 The historic stenciling project trinity episcopal church on the new haven green part two Students from the Cooperative arts & humanities high school Tools of the Stenciling Project Panoramic Photograph of Trinity s Nave at Conclusion of the Dual Grant Period, looking east Southeast Corner of Nave, Engaging About Half of the Students Work This unique historic stenciling project has been underway and is almost completed at Trinity Church, one of three churches on the New Haven Green, all included in the New Haven Green National Historic Landmark District. The Project has been a dual grant-supported project focusing on the archaeological discovery and re-creation of a band of late 19thc ornamental stencils in Trinity s nave. Matching funding for this preservation has been provided by: Under these grants, Canning Studios came in April, 2014 and uncovered one repeat of this stencil band. Having received training from David Riccio of Canning Studios, MJ (Peg) Chambers, AIA, our Consultant who is an architect with a specialty in Preservation, lead parishioners, New Haveners and twelve public high school students (with an arts & humanities focus in their education) in replicating the patterning.

Trinity thanks the co-op students for all their help and enthusiasm Trinity on the Green is celebrating its Bicentennial, as its cornerstone was laid in 1814 and its new

It has been the matching grant from the National Trust for Historic Preservation (NTHP) that has made possible the inclusion of students from the Cooperative Arts & Humanities

As the Co-op students began to learn how the interior evolved from its first nave to its present nave, they were simultaneously introduced to historic stenciling materials and

As we worked, we often chatted about local issues of preservation regarding not only the Green s three churches but of the New Haven Green itself.

2 Trinity thanks the co-op students for all their help and enthusiasm Trinity on the Green is celebrating its Bicentennial, as its cornerstone was laid in 1814 and its new building was consecrated in The Historic Stenciling Project has been part of our celebration. It has been the matching grant from the National Trust for Historic Preservation (NTHP) that has made possible the inclusion of students from the Cooperative Arts & Humanities High School (the Co-op) in the work of our Historic Stenciling Project. As the Co-op students began to learn how the interior evolved from its first nave to its present nave, they were simultaneously introduced to historic stenciling materials and techniques and their contemporary counterparts as used by Canning Studios. As we worked, we often chatted about local issues of preservation regarding not only the Green s three churches but of the New Haven Green itself. They were encouraged to bring their own knowledge of local, national and world history to our chats. They came to realize that this parish hopes to always honor with care and preserve this historic building called Trinity and that they can always be a part of that preservation process. Trinity Interior in 1816, print, n.d New Haven Museum. Trinity at the 50 th Anniversary, 1866 Trinity s Interior c 1884 Trinity s Interior at the 100 th Anniversary, 1916 Trinity s Interior in 2013 (photo by John Kane)

it looked in 1871 and still looks now As mentioned in the Part One of this online presentation, Rev.

and its pinnacles to Ithiel s original stone tower base.

See the captions below and to the right.

photo on far right) Detail of stencil band we have uncovered and are recreating between top of stringcourse and bottom of sill.

3 The rev. edwin harwood s refinishing of the nave at trinity Trinity on the Green, Amos Doolittle print, 1817 Trinity on the Green, as it looked in 1871 and still looks now As mentioned in the Part One of this online presentation, Rev. Harwood saw to removing Ithiel s rotting 1815 wood crenellations and wood tower top followed by the addition of the final stone tier and its pinnacles to Ithiel s original stone tower base. But most important to the Historic Stenciling Project, Edwin also brought about the decoration of the entire nave. See the captions below and to the right. David Riccio (Canning Studios) & Peg Chambers (our Consultant) expected the lowest stencil band to consist of a floral pattern repeat. It proved to be simple and geometric! Edwin Harwood period ceiling with geometrically derived floral stencil motifs similar to those on the walls (detail above from 1884 photo on far right) Detail of stencil band we have uncovered and are recreating between top of stringcourse and bottom of sill. Note second band up; it s floral. (detail above from 1884 photo to right) Trinity s Interior c 1884 at end of Harwood s refinishing campaign. This photo is our Primary documentary source. (above) Tudor roses and tulips form the imagery on the brass fence of Trinity s 2010 Columbarium are an homage to Rev. Edwin Harwood s nave! An Edwin period stencil still exists behind the organ pipe cabinets in the Chancel! It shows the Tudor rose & crown of henry VIII and the pomegranate of Catherine of Aragon. Of course, there was much more to the Protestant Reformation in England than the King s antics! (above)

how plato & aristotle fit in So the stencil elements in each repeat of the pattern proved to be simple geometries, all of one dark color against a lighter ground.

A Platonic abstraction in the lowest band, the one re-created by this project, seems to support an Aristotelian natural world manifest in all the other stencil bands in Edwin s nave!

it is important to note how the Co-op students came to understand this potential meaning inherent in this stencil form they were working at re-creating in Trinity s nave.

4 how plato & aristotle fit in So the stencil elements in each repeat of the pattern proved to be simple geometries, all of one dark color against a lighter ground. From the primary photographic document, we know the next stencil band above consists of representational floral elements, of many colors, forming quite a contrast. A Platonic abstraction in the lowest band, the one re-created by this project, seems to support an Aristotelian natural world manifest in all the other stencil bands in Edwin s nave! How such interpretation relates to the precepts of the Neo-Platonist group of theologians within the Anglican Oxford Movement of the late 19thc is another story for another presentation, but for now it is important to note how the Co-op students came to understand this potential meaning inherent in this stencil form they were working at re-creating in Trinity s nave. The Co-op students were encouraged by their teacher, Peg Chambers, our Consultant, to share examples of their own work. Two brought samples of their photography, one brought her poetry and another his drawing. We talked about meaning inherent in their own artistic forms, a process they then allowed me to apply to our understanding of our simple stencil band s repeat. See captions to right. Pope Julius II s Library, Stanza della Segnatura, the Vatican, early 16thc Raphael, The School of Athens, fresco, 1505, Stanza della Segnatura, the Vatican Plato on left points with assurance to the sky, asking us to zoom out and see things more abstractly, distilled from particulars, while Aristotle on right points all his hand s fingers to the earth around him. Together, their dual approaches suggest we all keep a balance in how we understand our world. Detail from fresco to left.

Co-op students contribute mightily to the historic stenciling project

Vincent & Christian paint and peel off quatrefoil stencils Dierra at

She helped Peg at stenciling sessions with parishioners during the

All other photos this slide except the blocks are by Ra;ph Stroup.

the Co-op, & Alex Flanders, just above Kjerstin, a Yale senior who

About half way thru their ten session course, Peg brought in her set

Lloyd Wright s mother purchased in 1876.

contributed to the invention of Saturday or Sunday School in

Harwood was inspired by Froebel s teaching tools and felt it timely to

5 Co-op students contribute mightily to the historic stenciling project at trinity on the new haven green Robert places a quatrefoil stencil Vincent & Christian paint and peel off quatrefoil stencils Dierra at the April training workshop with Canning Studios. She helped Peg at stenciling sessions with parishioners during the summer of Photo by Libby Earle. All other photos this slide except the blocks are by Ra;ph Stroup. Caitlin cleans a stencil with mineral spirits Janice inks a roller with oil paint To left, Mark Fopeano. far left, back row, Kjerstin Pugh, far right, both of Dwight Hall and the Co-op, & Alex Flanders, just above Kjerstin, a Yale senior who helped Peg Chambers, join the students. Peg is at center. Eddie & Cassandra were absent. The Co-op students put all their being into their work. About half way thru their ten session course, Peg brought in her set of reproduction Froebel Blocks, consisting of the boxed gifts Frank Lloyd Wright s mother purchased in Froebel began the Kindergarten Movement in 1844, and by 1880, it had contributed to the invention of Saturday or Sunday School in Judeo-Christian America. It is easy to imagine Rev. Harwood was inspired by Froebel s teaching tools and felt it timely to give his simple stenciling band more than one reason for inclusion. Building blocks, indeed! Caitlin & Janice place stencils on the wall Above, Izaiah shows Kjerstin how to place the vertical stencil on wall. Way above at right, he rolls paint over the stencil, and above to right, Izaiah removes stencil from wall. To right, some of Froebel s Gifts of Platonic solids to be used by children. Far right, Fifth Gift Box set, circa 1870

23/10/2016. High Renaissance Painting. Sunday, October 23, 2016 Course Outline. Or, Genius at work St. Lawrence, 10/23/2016. The High Renaissance

23/10/2016. High Renaissance Painting. Sunday, October 23, 2016 Course Outline. Or, Genius at work St. Lawrence, 10/23/2016. The High Renaissance High Renaissance Painting Or, Genius at work St. Lawrence, 10/23/2016 Sunday, October 23, 2016 Course Outline The High Renaissance Leonardo da Vinci Michelangelo Raphael 1 1492 Columbus reaches the West