CHRIST CHURCH
C A T H E D R A L
FREDERICTON, NEW BRUNSWICK

A Self Guided Tour

DESTRUCTIS VINCULIS MORTIS
CHRISTUS AB INFERIS VICTOR ASCENDIT

THE EXSULTET

CHRIST CHURCH CATHEDRAL

A National Historic Site

Construction of the Cathedral begin in 1845. The design of the building. chosen by Bishop John Medley, first Bishop of the newly formed Diocese of Fredericton, was based on the parish church in Snettisham, England. Drawings were prepared by Mr. Frank Wills, a young English architect who followed Bishop Medley to New Brunswick to supervise the erection of the Cathedral.

In order to adapt the structure to the climate of the country, changes had to be made to the design of roof, tower, and spire. Scone quarried in the province was used for exterior walls and for the nave columns. Butternut was used for most of the interior woodwork and furnishings. The soft sheen of this wood lighted by the aisle windows and the brilliant glow of the east and west windows does much to give the Cathedral its restful, reverent atmosphere. The Cathedral was consecrated August 1853.

In July 1911 the Cathedral was struck by lightning. The resulting fire razed the spire, severely damaged the roof. melted the bells, and ruined the organ. With courage and with the financial help of many friends, restoration was immediately undertaken. Among the many gifts was that of Sir James Dunn who had 15 belts cast which gave the Cathedral the peal of bells for which it is noted. The work of restoration was completed in just over a year, and a service of rededication was held in August 1912.

The EAST WINDOW over the High Altar catches the eye immediately upon entering the Cathedral. Its subdued brilliance enhances the central figure of Christ with three of His apostles on either side. This window was a gift from members of the Trinity Church, Wall Street in New York. The design artist, Mr. William Wailes, also contributed. The upper part represents our Lord enthroned, surrounded by adoring angels. The arms of the seven British North American dioceses at the time of erection occupy the lower panels of the window, and read from left to right: Toronto, Quebec, Nova Scotia, Newfoundland, Rupertsland, Montreal, and Fredericton.

Turning about, the WEST WINDOW with sun shining through is almost overwhelming with its many steaming colours. It represents the parallel between the Old Testament and the New. On either side are the martyrs Abel and St. Stephen, with Elijah and John the Baptist above. Remaining figures are Hannah with child Samuel, Mary with the Divine Infant, Moses with the Law, and Jesus as the Good Shepherd.

The aisle windows are similar to windows in various English churches with which Bishop Medley had been associated. They admit a subdued but cheerful light creating the feeling of religious mystery which the first Bishop intended to permeate the building.

The FONT stands near the door signifying that baptism is the entrance to Christian life. It is a superlative example of carving by the Master Mason of Exeter Cathedral. All the Caen stone work in this church was carved in England under his direction and brought over by ship.

The WAINSCOT PANELLING along each side of the nave has two distinct designs. All pews and panelling were done by local craftsmen in butternut.

In 1854 a CLOCK. the actual prototype of Big Ben, was installed. supervised by the clockmaker who had placed Big Ben in Westminster. Only the dial of the clock is visible to the congregation: the large works are hidden above the choir ceiling, but are accessible for winding manually twice a week.

The BRASS EAGLE LECTERN near the choir steps stands 7 feet 6 inches in height. The Holy Bible rests on the wings of this mighty bird symbolizing the Word of God being carried to the ends of the earth. Design of the lectern was by Mr. William Butterfield who also designed the Cathedral silverware.

Near the lectern is the MEMORIAL BOOK, hand lettered and decorated by a member of the congregation.

The INITIALS F.S.M. at the base of the south west tower pier conceal the identity of three maiden Ladies whose gift of £500. made construction possible when the work was nearly brought to a halt for lack of funds.

An EFFIGY OF BISHOP MEDLEY in exquisitely carved marble lies upon a catafalque. His episcopal robes with mitre and pastoral staff as sculptured are fully equal both in design and execution to examples of this kind anywhere in the world. The sculptors were Bacon Bros. of London. The first Bishop of Fredericton was buried outside the east end of the Cathedral beneath the Chancel window.

Above the altar of the Chapel hangs a CARVING, the work of John Hooper of Hampton, N.B. A full description of the carving may be found on the wall to the left of the Chapel steps. The fine needlework on the KNEELERS and CUSHIONS in both Chapel and the Sanctuary is the work of the ladies of the congregation.

The beautifully simple CANON'S STALLS, sixteen in number on either side of the Sanctuary, were designed by Mr. William Butterfield. The stalls are of butternut and escaped damage in the 1911 fire.

The HIGH ALTAR is of black walnut with an altar stone of fine Devonshire marble. The silk damask frontals, one for each of the four Church seasons, were designed and embroidered by Lucy McNeill.

The REREDOS over the altar is a memorial to Bishop John Richardson. The central figure is of Christ reigning in glory, on either side of whom are St. John and St. Andrew. On the extreme right is St. Alban, the first British martyr. To the left is St. Augustine, first Archbishop of Canterbury.

A SEDILIA of richly carved Caen stone with supporting pillars of polished marble and needlepoint backing is located to the right of the High Altar. This triple canopied design provides seating for officiating clergy.

On the wall above the Credence is a magnificent SCULPTURED HEAD OF THE SAVIOUR crowned with thorns. It formed part of an earlier stone reredos which was damaged and never erected.

TWO BISHOP'S CATHEDRA OR THRONES are present in the Cathedral. One is located to the left of the High Altar. Unlike most bishop's thrones, this was not elaborately carved, at Bishop Medley's request. Early in the twentieth century a second and much more ornate throne was installed in memory of Bishop Hodingworth Kingdon, the second Bishop. It is unusual for a cathedral to have two Bishop's thrones.

The SANCTUARY WALLS are decorated with texts and symbols and various patterns in colour and gold leaf. In a shield low in the left corner of the Sanctuary appear the words "Designed and painted by John Lee, 1877". Lee is believed to have been a carriage painter by trade. Attention is drawn to the ceiling over the choir.

The sound of the CATHEDRAL BELLS is greatly treasured by all within hearing distance. At completion of the tower about November 1849, eight bells were installed. the gift of friends in England. These weighed. about 5 tons; the tenor or largest bell weighing 2800 pounds. They were cast by the celebrated firm of Warner of London. and were full and mellow in tone. Each bell was etched with a latin inscription. The fire of 1911 melted these bell. Sir James Dunn then presented a chime of 15 bells, eight being exact duplicates of the original bells and each inscribed with the same inscription. The bells were cast by the same firm and on each of the new bells another inscription, was engraved.

The structural members supporting the ROOF OF THE NAVE are red pine in a "hammer beam" design. These carved wooden supports were all hand-sawn by two local craftsmen. At the base of each support is a heraldic shield.

Upon leaving the Cathedral by the South Porch, TWO SMALL CIRCULAR WINDOWS are worth examining closely. They are located on either side of the inner portion of the porch and are quite beautiful stained glass miniatures.

POINTS OF INTEREST ON THE EXTERIOR

The Cathedral, at the time it was completed, was the largest of the Revival Gothic edifices in North America. It became important to the erection of future Cathedrals and other church buildings because it set a number of precedents in North American ecclesiastical architecture. Chiefly, it demonstrated the impracticability of exact imitation of European Gothic, and the necessity of adapting design to meet the differences in climate

Above the entrance to the South Porch is a stone mason's rendering of the Diocesan coat-of-arms. The carved heads on either side of the doorway capture the flavour of mediaeval work with their beady eyes and straight pouty mouths. It is believed that the one on the left was intended to represent Bishop Medley, and on the right a droll reference to Queen Victoria.

Weatherings and buttresses are of stone quarried from Grindstone Island in the Bay of Fundy. Walls are of local sandstone.

The spire is octagonal and together with the tower reaches a height of 198 feet. Flying buttresses from the tower to the base of the spire provide necessary additional load and wind support

At the East end of the building are four tombs; two for Bishop Medley and his wife and two for Bishop Richardson, third bishop of the Diocese, and his wife.

The West door of the Cathedral is sheltered by a Galilee or triple porch, its 3 arches symbolizing the Trinity. Carved in the stone fascia panel over the arches is the inscription -"DEO ET ECCLESIE A.D. MDCCCXLIX".

THIS CATHEDRAL AND ALL YOU
SEE THEREIN IS DEDICATED
TO THE GLORY OF GOD.

G.B.M. & F.E.D.
May 1989

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