Stanford Memorial Church

Stanford Memorial Church

Introduction

            The Stanford Memorial Church strategically stands at the center of California’s Stanford University. The church was the masterpiece plan of Jane and Leland Stanford. However, when Leland died in 1983, Jane decided to construct the church in memory of her husband. Due to financial constraints and legal lawsuits, the construction was delayed for several years. In 1899, the church’s construction commenced, and it was completed in 1903. This paper will provide an analysis of the work by detailing the materials used in its construction, the architecture’s input, how it compares to the Basilica of Saint-Sernin, its acceptability as well as the impact that the 1906 and 1989 earthquakes had on its structure.

Discussion

            Identifying the work

            The Stanford Memorial Church was designed by Charles Allerton Coolidge. The structure was constructed during the American Renaissance. More specifically, the church’s groundbreaking took place in May 1889. However, its construction did not begin until January 1900. On January 25^th, 1903, the church was finally dedicated after almost one year of delay (Stanford University 4). The Church’s dedication was characterized by impressive ceremonies and celebrations.

The Stanford Memorial Church’s exterior was constructed using buff sandstone, which originated from the Greyson/Goodrich Quarry. The church’s construction using rough-hewn stones is similar to the materials used by Romanesque churches (Joncas 21). Its roof is comprised of terracotta tiles of the Italian tegula and imbrex form. The church’s stonework is carved using twisted-cable moldings, stylized flora as well as bosses of sculpted cherubim. Interiorly, the Stanford Memorial Church’s windows are made of stained glass while its ceiling is made of wood. The doors are made of bronze, while others are wooded. Additionally, the walls are decorated with mosaics as well as stone carvings (Stanford University 5).

The Stanford Memorial Church served as a centerpiece of the Stanford University Complex.  The Stanfords were profoundly religious and intended for the church to be strategically located to facilitate non-denominational worship. As such, the church had two original purposes; to provide strength as well as comfort to the community, and to provide Stanford students with a platform to develop their studies and ethics (Stanford University1 2). Currently, the church’s purpose is to serve and attend to the university’s spiritual needs in a non-sectarian way.

Architect’s life and personality

            Charles Allerton Coolidge was born in 1858 in Boston, Massachusetts. After attending private schools, he graduated from Harvard University in 1881, after which he joined the Massachusetts Institute of Technology for additional studies in architecture. He worked for H. H. Richardson, the church’s original designer. According to publications, Charles was Richardson’s student and protégé (Back Bay Houses. 2). When Richardson died in 1886, Charles took over the design and completed them to come up with the final plan used to construct the Stanford Memorial Church.

Charles Coolidge was therefore inspired by Richardson’s works to come up with the final design. More specifically, Charles’ model of the Memorial Church was loosely based on his mentor and teacher’s previous designs. Coolidge’s training under Richardson led him to adopt his mentor’s Romanesque revival style of architecture. For instance, the church’s round turrets, rough-hewn stonework, heavy red tile roofs, and low arches match the designs and structures of other buildings in the Quad, which were designed by Richardson (Stanford University3 6). For these reasons, Coolidge’s life encounters with Richardson as his teacher and mentor affected his creation and design of the Stanford Memorial Church.

Fitting in the history of art

            The Stanford Memorial Church was constructed during the American Renaissance period, the time between 1876 and 1917. The arts and architecture constructed during this period are characterized by renewed feelings of national confidence. Additionally, during this period, the artwork was expressed by technology and modernism. The church’s design was influenced by the Romanesque era. The church reflects this theme, as seen in its application of rough-hewn stones, which is similar to the materials used by Romanesque churches (Joncas 26). Also, the church’s ground plan is identical to that of a Roman Basilica, created based on the structure of a crucifix.  

            The Stanford Memorial Church shares some similarities with the Basilica of Saint-Sernin in Toulouse, France. The two structures share similarities in their ground plans, which are in a cruciform shape. Additionally, the Saint-Sernin comprised of red bricks while its front facade has two rounded arches in its main entry. Similarly, the Stanford Memorial Church also features round arches, a conspicuous similarity.

On the other hand, the Stanford Memorial Church and the Basilica of Saint-Sernin have some apparent differences. For instance, while the Stanford Memorial Church has mosaic craftings which were used to decorate its interior, the Basilica of Saint-Sernin lacks this feature. Also, the Basilica of Saint-Sernin has no round room, whereas the Stanford Memorial Church does. Furthermore, while buttresses were placed in the Basilica of Saint-Sernin, the same was not done at the Stanford Memorial Church. Lastly, the Stanford Memorial church does not have radiating chapel or ambulatory. Still, the Basilica of Saint-Sernin has five radiating chapels as well as an ambulatory around the church’s apse. The chapels and the walkway were essential for displaying important relics (History of Arts 7). In these ways, the Basilica of Saint-Sernin and Stanford Memorial Church share some similarities as well as notable differences.

Cultural, political, economic and social environment

             As mentioned above, the Stanford Memorial Church was created during the American Renaissance period in Stanford, California, the United States of America. During this period, the country’s cultural, political, and social identity was expressed by academic classism and modernism. Economically, the United States was self-confident in its ability to incorporate new technologies. These elements are reflected in the Stanford Memorial Church’s architecture and its prominence. Culturally and socially, the church’s chaplains sought to change the institution from a secular university to one depicting the renaissance of learning and faith at Stanford (Stanford University3 3).

Architect’s philosophy of building

            Charles Coolidge concentrated on public architecture. After working for H. H. Richardson, Coolidge formed his practice. His firm underwent various name changes over the years, including Coolidge & Shattuck, Coolidge & Hodgdon and Coolidge, Shepley, Bulfinch & Abbott (The U.S Commission of Fine Arts 1). His philosophy of building was to design libraries and academic buildings, as well as hospitals. More specifically, besides the Memorial Church, he also designed libraries and buildings at Brown, Yale, and Stanford Universities.

Additionally, Coolidge designed medical schools and hospitals at the University of Chicago and Vanderbilt University. Also, at Harvard University, he designed the medical and law schools as well as the Fogg Art Museum. Coolidge’s other outstanding design works include Chicago’s public library and the Art Institute of Chicago. He served as the lead consulting architect during the construction of the Constantinople College in Turkey (The U.S Commission of Fine Arts 1). Based on these works, it is evident that Coolidge concentrated on public architecture. Based on Coolidge’s work on the Stanford Memorial Church, it is evident that rough-hewn stones were an essential material in the architect’s style.

Architectural Perception

            The piece received criticism from some members of the public. In this regard, critics argued that the church should not have been the university’s focal point. Instead, they advocated for the establishment of a library to serve as the institution’s central building. However, Jane Stanford defended the choice to construct the church. She stated that while the education that the students were receiving was secondary, the church provided a spiritual and religious influence, which was primary to their development (Stanford University2 4). She, therefore, countered the critics’ arguments by calling upon all individuals seeking spiritual comfort to visiting the church.

However, the church is now regarded as a crucial element of Stanford University. The church is viewed as the University’s architectural crown jewel. The church is also perceived as one of the earliest and most prominent churches in the West. Additionally, the church is termed as the most critical element of the initial Stanford architecture. The reason for this perception is the church’s precious and unique design. Additionally, its recognition as an essential and integral monument to the identity of the university contributes to its favorable perception today. Coolidge’s work was generally perceived favorably at the time in which it was produced (Donnelly 7). Having learned from his experienced mentor, H. H. Richardson, Coolidge went ahead to design outstanding works in public architecture as detailed above.

            Architect’s contribution to the history of architecture

            Coolidge’s architectural work was recognized both in the United States and the world at large. He contributed to the history of architecture by designing some of the most renowned structures in the United States, as listed above, including the Stanford Memorial Church.  These contributions led him to receive several awards in his lifetime. His input on the Paris Exposition of 1899 earned his the title of Chevalier of the French Legion of Honor. Harvard University also awarded Coolidge with an honorary doctorate of arts in 1906 (The U.S Commission of Fine Arts 1).

The Stanford Memorial Church is so unique that it can be distinguished from similar structures. Its uniqueness can be attributed to Mrs. Stanford’s attention to detail. Having traveled through Europe with her husband visiting churches as well as museums, Mrs. Stanford was impressed by the outstanding depth of the relieve that was carved into stone by outstanding craftsmen through the age. She developed a habit of often checking the carving’s depths with the parasol of her hand. The keen attention to detail was translated into the construction of the Stanford Memorial Church. The church is so unique that, as one approaches the church from any point within the inner quadrangle, they are marveled by the church’s magnificent mosaics that adorn the exterior façade (Stanford University2 6).

Earthquakes in California

            Coolidge may have underestimated the extent to which earthquakes in California would have on the church. Although he employed various materials of construction to minimize potential damage, the earthquakes still significantly damaged the structure. The materials included the buff sandstone, which was intended to be strong enough to hold the other materials and decorations in place (Stanford University3 6). However, some detail of the design compromised the church, as evidenced in the 1906 earthquake.

Coolidge’s design failed to attach the church’s crossing structure to the roof and surrounding masonry structures. Consequently, when the earthquake of 1906 hit the structure, the crossing structure moved freely from its attachment to the building. It gouged gaping holes on the roof above the west and east transepts, chancel and nave. The original spire, as well as the clock tower, toppled over and landed on the chancel roof. The debris fell and ruined the twelve apostles’ marble structures, which had been placed as a decoration of the altar (Poland and Reis 5341).

Additionally, when the crossing structure pushed the nave’s roof forward, the façade fell into the Quad courtyard. The back of the church, which had hundreds of feet of the arcade was not spared either as it completely leveled since it was not connected to the rest of the structure. The only mosaics that were spared in the earthquake were the angels that decorated the crossing. The extent of the destruction was so extensive that the entire building has to rebuild afresh (Poland and Reis 5342). The primary source of these damages can be attributed to the church’s poor original construction.

During the Loma Prieta earthquake of 1989, the church experienced damages again, although they were not as severe as those of 1906. While the structural integrity remained, the crossing structure buckled, resulting in the slip of several stones in the West and east arches. The four mosaic angels decorating the walls below the done were severely damaged. The damage caused by the angels’ destruction caused glass and mortar chunks to fall twenty-four meters to the floor below. The quake also caused the eight-foot section of one of the angel’s wings located in the northeast corner to fall twenty-one meters to the floor (Poland and Reis 5342). Stones from the church’s east arch wall fell in the balcony, causing the organ-loft railing to collapse inward.

Conclusion

            The Stanford Memorial Church was constructed between 1899 and 1903 by Jane Stanford in memory of her husband, Senator Leland Stanford. Architect Charles Allerton Coolidge designed the structure after his mentor H. H. Richardson passed away. It was constructed using buff sandstone, which originated from the Greyson/Goodrich Quarry. The use of rough-hewn stones is similar to the materials used by Romanesque churches. The main purposes of the church when it was constructed were to provide strength as well as comfort to the community and to provide Stanford students with a platform to develop their studies and ethics. Today, the church serves and attends to the university’s spiritual needs in a non-sectarian way. Coolidge’s life encounters with Richardson as his teacher and mentor affected his creation and design of the Stanford Memorial Church. The church’s design was influenced by the Romanesque era.

Works Cited

Back Bay Houses. “Charles Allerton Coolidge”. Geologies of Back Bay Houses. Retrieved from https://www.backbayhouses.org/charles-allerton-coolidge-2/

Donnelly, Lu. “Architecture Around Us: Haciendas in Western Pennsylvania, Part 2.” Western Pennsylvania History: 1918-2018 (2007): 8-11.

History of Art. “History of Architecture and Sculpture” Retrieved from https:www//all-art.org/Architecture/10.html

Joncas, Richard, David J. Neuman, and Paul V. Turner. “The Original Campus: 1886–1906.” Stanford University (2006): 20-53.

Poland, C. D., and E. M. Reis. “The repair and strengthening of historic Stanford Memorial Church.” Tenth World Conference. 1992.

Stanford University. “Repair of Monuments: Memorial Church”. Stanford University and the 1906 Earthquake, Centennial Commemoration. 2019. Retrieved from https://www.quake06.stanford.edu/centenial/tour/stop4.html

Stanford University1 . “Centennial Commemoration”. Stanford University and the 1906 Earthquake, Centennial Commemoration. 2019. Retrieved from https://www.quake06.stanford.edu/centenial/galerry/structures/memchu/index.html

Stanford University3. “Memorial Church History”. Stanford University, Office for Religious Life. Retrieved from https://www.religiouslife.stanford.edu/memorial-church-history

The U.S Commission of Fine Arts. “Charles A. Coolidge.” The United States Commission of Fine Arts. Retrieved from https://www.cfa.gov/about-cfa/who-we-are/charles-coolidge