Christ Church in Short Hills: A 140th Anniversary Commemorative Guide

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Christ Church in Short Hills

A 140th Anniversary Commemorative Guide


“Worship the Lord in the beauty of holiness” Psalm 96:9

Christ Church in Short Hills is blessed with beautiful buildings and grounds, windows and gardens. From the frst chapel built on land donated by Stewart Hartshorn, through decades of care and expansion, to new developments and plans for the future, we strive to be good stewards of this church and campus from generation to generation.

140th Anniversary Commemorative Guide will give you an introduction to the art and architecture of Christ Church and

insight into the signifcance and history of individual aspects of the building. A “SelfGuided Tour” from the 100th anniversary, produced on a typewriter with hand drawn illustrations, was the source and inspiration for this new book with updated text and color photographs! We look forward to spending the next decade expanding the contents and telling the story of this congregation for our sesquicentennial celebration.


The Rev. A. Bowie Snodgrass, Rector


BEGINS WITH THE FOUNDING OF SHORT HILLS .................. 1 CLERGY AT CHRIST CHURCH IN SHORT HILLS .... 10 THE CHURCH...................................................................... 12 THE ORGAN ........................................................................ 23 THE WINDOWS .................................................................. 25 BUILDINGS & GROUNDS................................................ 44 CONTINUALLY GROWING THROUGH FAITH AND HOPE ....................................... 50 ACKNOWLEDGMENTS .................................................... 55


The incorporation of the Morris and Essex Railroad in 1835 and the laying of the frst wooden tracks westward from Newark marked the beginning of a new era for a busy little mill town that had been fourishing at the foot of the Watchung Mountains. In fact, the frst trial run of a wood-powered M&E steam engine was conducted in August, 1837, from Newark to Millville, as the area was then called, launching the start of great new possibilities for the growing community.

Almost 50 years before the arrival of the railroad, the area began to attract a number of manufacturing pioneers who recognized the power potential of the streams and rivers rushing down from the mountain as well as the water force of the nearby Rahway River. They constructed mill wheels along the banks of the streams and dammed the Rahway to provide even more sites for harnessing the valuable water-power.

The frst mill, a paper mill, was completed in 1790. Additional mills were constructed, and eventually the wheels were churning out power for grinding grain and for manufacturing products such as fabric, wallpaper, and even felt hats. For more than a century, the mill factories dominated the business of the community.

Because so many Scots had settled in the community, the name Millburn was eventually adopted, describing the presence of mills on the “burn” - the Scottish Gaelic for river.

On March 20, 1857, the community (pop. 1500) acquired the rights and responsibilities of an offcial municipality when it was christened by the New Jersey State Legislature as The Township of Millburn in the County of Essex.


As a prosperous industrial town, now benefting from enhanced transportation and commerce as well as the validation of becoming a legislated community, the stage was now set for even greater growth and prosperity for Millburn.


One man can be credited for expanding the Millburn community to its present boundaries. Stewart Hartshorn was born in Knoxville, Tennessee, in 1840 and moved with his family to New York City when he was a teenager. By the time he was twenty-four he was already a wealthy man, having patented his invention for the roller mechanism used in window shades. The Stewart Hartshorn Company had factories in four states to manufacture his product, the basic principles of which are still in use today.

Hartshorn was not only a successful businessman, he was also a visionary and aesthetic who loved fne art, literature, and nature. Since boyhood he had held a dream to create an ideal planned community that would be free from congestion and overdevelopment and allow its inhabitants to enjoy the beauty of nature. Now a rich man, he could begin to make his dream a reality.

Originally considering other locations, but fnding them inadequate for his purpose, Hartshorn decided that Millburn Township, which not only had a railroad for transportation into his company headquarters in New York City but also a beautiful undeveloped wooded area to the north of town, would be the perfect area for his community. By 1877 he began buying property in the township, ultimately purchasing 1,552 acres. Hartshorn built a home on what is today 18 Crescent Place and moved his wife and baby daughter there in 1874.

Stewart Hartshorn and friend

Hartshorn hired some of the most prestigious architects of the day to design and build homes in the various styles of the 1880s. To accommodate the buyers and renters who would occupy the homes, he persuaded the railroad to schedule two daily stops in the community and even commissioned the construction of a station to be built at the side of the tracks. More than 60 homes were eventually constructed under Hartshorn’s direction. His boyhood dreams of a “harmonious community for people who appreciated nature” had been realized, and, describing the gently rolling topography of the area, he named his community “Short Hills.”


Stewart Hartshorn was among the group of eighteen men who gathered on March 28, 1882, to discuss the formation of a new parish to serve their growing community. At that time, Short Hills had a population of not more than thirty-fve people, so the concept of a new church clearly began with a majority of residents’ support. The meeting was held at the Music Hall (later to be called the Casino and eventually known as The Short Hills Racquets Club), which was designed by architect Stanford White and commissioned by Hartshorn to be built within sight of the railroad station, providing a pleasing welcome to those arriving by train.

Although Christ Church was the frst parish to be created in Short Hills, it must be noted that St. Stephen’s Church in Millburn had been serving the Episcopal community since 1851. As one of the oldest parishes of the Episcopal denomination in northern New Jersey, St. Stephen’s was a thriving congregation when the proposal for a new church in Short Hills was made.

If, as history suggests, there was some reluctance on the part of the St. Stephen’s vestry to endorse the development of a new church in the same township, those concerns are understandable; the

older church’s growth, membership, and support could be affected. Yet, as history has also shown, the interests of the North Jersey Episcopal Diocese, which was deciding on the matter, would beneft by the establishment of a new parish in a new and growing center of church membership. Clearly, the members of the Standing Committee made the correct decision for the diocese so many years ago. For 140 years, both St. Stephen’s Church of Millburn and Christ Church of Short Hills have successfully served the Episcopal community.


Four days later, the minutes of that meeting, including an application for the formation of a new parish in Short Hills “according to the doctrine, discipline, and worship of the Protestant Episcopal Church,” were forwarded to the Standing Committee of the Diocese and to Bishop Thomas A. Starkey of the Episcopal Diocese of Northern New Jersey.

A hearing on the application was held by the Standing Committee on April 19. The committee questioned the petitioners’ plans for obtaining fnancing for property acquisition and construction costs for a new church building as well as their plans for how to support the new parish. Committee members also expressed their desire that the new church and property be conveyed to the Trustees of the Episcopal Fund.

In response to the concerns of the Standing Committee, Stewart Hartshorn, always interested in the welfare and advancement of the community, offered to donate a half-acre of land as the site for the new church and $1,000 cash to be used toward construction costs. The Short Hills petitioners solicited donations from the community for the proposed church and raised an additional $1,140 to support the parish through its frst year.

Having succeeded with these show-of-good-faith accomplishments, the petitioners returned to the Standing Committee. They assured the committee that the new parish would continue to be fnanced through the support and attendance of residents of all branches of the Protestant faith until such time that the population of Short Hills will have grown to support other places of worship, and that the Episcopal residents alone could then support the church.

The Standing Committee set May 17, 1882, in the Newark residence of Daniel Dodd, Esq., as the date and place for the fnal hearing of the application of the incorporation of the new parish. The people of Short Hills waited nearly two months for the committee’s decision.

On July 8, a letter was received from Robert N. Merritt, secretary of the Standing Committee, stating that the committee gives its approval for the formation of the new parish of Christ Church at Short Hills, pending the delivery of the deed for the property on


which the church was to be built to the Trustees of the Episcopal Church. That deed was delivered to Mr. Merritt on September 16, 1882, along with a letter from Bishop Starkey stating his approval for the “formation of a new parish in Short Hills, Township of Millburn, County of Essex, to be known as Christ’s Church (sic). Having been duly considered by the Standing Committee and approved by them, I do hereby give my canonical consent to the formation of said parish.”


The organizational details of the new parish were completed on September 20 with the election of the frst vestry of Christ Church in Short Hills. John H. Bradley and De Lancy Cleveland were selected as wardens of the vestry, and vestry members included Stewart Hartshorn, William M. Deen, James R. Fitcher, Devereux Toler, and George H. Rose. The vestry held its frst meeting on September 29, 1882, and appointed committees for Minister, Music, Church Fittings, and other areas of necessity.

And so Christ Church in Short Hills was born. But a minister and a place of worship were still needed, and community members wasted no time in providing for the frst service of their cherished new parish. The ground foor of the Music Hall was outftted as a chapel, and on the morning of October 15, 1882, the members of Christ Church in Short Hills gathered for their frst worship service.

The service was conducted by The Rev. Frank L. Humphreys of the neighboring village of St. Cloud, which is now an area of West Orange. Mr. Humphreys apparently made an extremely favorable impression on the small congregation that morning because in less than two weeks he was invited to the rectorship of Christ Church at a salary of $1,000 a year. Mr. Humphreys accepted the call, and on December 1 assumed charge of the parish.

A collection was taken up at that frst service amounting to $15.26. That apparently was quite a generous sum, because it was not equaled on any subsequent Sunday collection for the next two years.


Many tasks still lay ahead for the vestry in organizing a new parish and planning for and fnancing the construction of a permanent place of worship. At its meeting of December 1, 1882, the vestry hired Mr. D. Spinning as sexton at a salary of one dollar per week, a position he was to hold for the next 40 years.

By its meeting of April 18, 1883, the vestry presented Charles Rich, then a partner of the New York architectural frm Lamb and Rich, the task of designing and planning a church to seat 200 people and to cost not more than $5,000 “and as much less as possible.”

A young man at that time, Rich went on to become well known in the feld of “collegiate architecture.” His most notable achievements include the core group of buildings at Barnard College and twenty buildings on the campus of Dartmouth College.

Mr. Rich returned to the vestry on July 14 with his plans for the new church and offered his services as architect and supervisor of construction as a donation. His generous offer was accepted, the plans approved, and Mr. Rich appointed as supervisor.

With construction contracts quickly obtained, the cornerstone of the new church was laid on Thursday, September 18, 1883, in a ceremony led by the Rt. Rev. Thomas A. Starkey, D.D., Bishop of the Diocese of Northern New Jersey.

Despite the vestry’s expectation to obtain a new building for a maximum cost of $5,000, construction issues and overruns meant unexpected expenses. At the time construction began, the vestry had secured $4,275 in donations for the building. In the end, the price of the new church came to a little over $7,500, and that did not include the cost of an organ, for which $1,500 was later donated. With a parish of not more than 40 members, the costs were daunting. Eventually, with the help of contributions made by friends of the parish living in New York City, the funds were secured.

The 1883 cornerstone is now located at the right end of the front of the church.


Christ Church in Short Hills, 1884. The entry porch faces Forest Drive and is topped by a bell tower. The bell, now located in the Memorial Garden, is still rung before Sunday services.

In March, 1884, Rev. Humphreys resigned the rectorship. He had been severely unsettled by the passing of his wife earlier in the year. In addition, the lack of a parish rectory prevented him from living in Short Hills. Because of these circumstances, he felt he could no longer successfully serve the parish. In June, the offer of the rectorship was accepted by Rev. M. M. Fothergill. In August, a parishioner offered his furnished home on Old Short Hills Road to be used as a rectory for a rent of $40 per month, an offer that the vestry gladly accepted.


Although construction of the church was not quite complete, the frst service in the new building was held on Trinity Sunday, June 8, 1884, and services have been held there every Sunday since.

By the end of October, the building was complete. On Thursday, November 13, 1884, Christ Church in Short Hills was consecrated by Bishop Starkey in the presence of thirty-two priests from the North Jersey Diocese and other adjoining dioceses along with a congregation that flled the new church to capacity. The deed to the church was ceremonially presented to the bishop by Stewart Hartshorn. The Rev. Parker Morgan of the Church of the Heavenly Rest in New York City preached the sermon.

The local newspaper of the time reported:

A new Episcopal church has recently been built and consecrated at Short Hills, New Jersey, a pleasant village on the Morris and Essex Division of the Delaware, Lackawanna and Western Railroad. It is a pretty stone church with nave, chancel, vestry, and organ chamber. The architecture is Gothic, with low walls, after the manner of many churches in Wales. The bell turret rises only 34 feet, while the height from the floor of the chancel to the peak of the roof is only 20 feet. Short Hills a few years ago consisted of less than six houses. Now there is a cluster of 50 around the church.



Up until the time of the completion of the church, fnancial support depended upon the small collections taken at Sunday services and donations secured by a vestry fundraising committee. The vestry voted at its May, 1884, meeting to raise additional funds by renting the pews in the church at the following yearly costs: the frst six pews, $100 each; the next eight pews at $75 each; the following six at $50 each; the next two at $40; and the fnal three pews at $25 each, for a total annual income of $1,655. In August, the Vestry Pew Committee reported that all pews were rented.

For the next 25 years, the chief support of the parish was obtained through the rental of the pews. The cost of rentals increased during those years, but at no time did the income exceed $2,200. In May, 1909, the vestry voted to eliminate the pew


fee, but added a qualifying statement to the resolution: “In the event of the failure of the plan to make the pews free, the present pew-holders shall have the frst choice of re-renting pews.”

However, there was no need for concern as the plan proved successful from the start.


Because of diffculties resulting from the end of the lease of the furnished rectory, Rev. Fothergill resigned his rectorship of Christ Church after one year and returned to his native Canada. In August, 1885, the vestry voted to invite Dr. Napoleon Barrows of Huntington, Long Island, at a salary of $1,400 per year along with an unfurnished rectory. Dr. Barrows accepted the call and began his duties on October 1, 1885. Dr. Barrows served as rector for almost nineteen years and, under his kindly ministry, the parish grew steadily, welcoming all those of the Protestant faith.

Following Dr. Barrows’s retirement in 1904, the vestry then invited Rev. Charles Malcolm Douglas to fll the vacancy. He assumed the rectorship on November 1, 1904, and for the next thirty-fve years successfully led the parish in growth and relevancy into the new century. The Charles Malcolm Douglas Chapel, located on the front, south side of the church, is dedicated in his honor. Urns containing the remains of Rev. Douglas and his wife, Maude, are interred at the church.

The early rectors of Christ Church – Rev. Frank Humphreys, Rev. F. F. Fothergill, Dr. Napoleon Barrows, and Rev. Charles Malcolm Douglas – laid the foundation for today’s church community, leading it from a small country parish through its growth into one of several hundred families today.


This has been a glimpse back into the early years of Christ Church. A complete history of the church will be researched and written to mark the 150th anniversary of our parish to be celebrated in 2032.



served with us and have given their time




The Rev. Frank L. Humphreys

The Rev. M. M. Fothergill

The Rev. Napoleon Barrows

The Rev. Charles Malcolm Douglas

The Rev. Dr. Herbert Hannan Cooper


– 1884


– 1903

– 1939

1940 – 1971

The Rev. George MacCray 1972 – 1979

The Rev. David B. Earnest

The Rev. Cn. Leonard Freeman

The Rev. Dr. E. Bevan Stanley

The Rev. Scott Holcombe

The Rev. Dr. Timothy Mulder

The Rev. A. Bowie Snodgrass

1980 – 1989

1991 – 1998

1999 – 2007

2008 – 2009

2010 – 2018

2019 –

We recognize and
the many clergy members who have
to our
......................................... 1882
........................................... 1886
..................................... 1904


The Rev. Dudely D. Zuver

The Rev. John Matthew Greene, Jr.

The Rev. Robert F. Beattie

The Rev. Robert C. Derr

The Rev. Gerald M. Cover, Jr.

The Rt. Rev. Theodore Ludlow

The Rev. William C. Harvey

The Rev. Wiley Merryman

The Rev. Carolus Webb

The Rev. David St. George

The Rev. William Murray Hargett

The Rev. Richard B. Anderson

The Rev. Tracy Wilder III

The Rev. George Poffenbarger II

The Rev. Alfred N. Niese, Jr.

The Rev. Gary Langston

The Rev. Kenneth Poppe

The Rev. Paul E. Gilbert

The Rev. Paul Christopherson

The Rev. H. Ross Green

The Rev. Douglas G. Tompkins, Jr.

The Rev. Joyce Tompkins

The Rev. Robert Morris

The Rev. Philip H. Kasey

The Rev. Polly McWilliams Kasey

The Rev. Charles Cesaretti

The Rev. Mark Pendelton

The Rev. Judy Baldwin

The Rev. Victoria McGrath

The Rev. Dr. Diana Lee Beach

The Rev. Dr. Charles Rice

The Rev. Richard N. Ottaway

The Rev. Mary Frances Schjonberg

The Rev. Elizabeth Wigg-Maxwell

The Rev. Allison Read

The Rt. Rev. Herbert Donovan, Jr

The Rev. Leslie Smith

The Rev. Karen Rezach

The Rev. Lisa Green

The Rt. Rev. Richard Shimpfky

The Rev. Susan Schink

The Rev. Ellen Kohn-Perry

The Rev. Krista Dias

The Rev. Matthew Welch

The Rev. Nancy Hennessey

The Rev. Dr. Tommie Watkins

The Rev. Dr. John Stonesifer

The Rev. Dr. Peter Savastano

The Rev. Dr. R. Kevin Johnson

The Rev. Tristan Shin



Above the double doors leading into the nave is a wooden cross carved with many Christian symbols. At the top of the cross, a dove points downward representing the Holy Spirit descending upon Christ. The sheaf of wheat represents the bread of the Eucharist. The crown of thorns symbolizes the crown placed upon Christ’s head before His crucifxion. The bunch of grapes is symbolic of the Eucharistic wine. The Greek letters Alpha and Omega are at the bottom of the cross. In the Bible the Lord says, “I am the Alpha and the Omega, the frst and the last.”

The hand of God is on the left crossbar and points downward to His beloved son. On the right, the crown in blue resembles a French bishop’s mitre with a circle around it symbolizing the crown of Christ Victorious. The wings on the crossbar represent the fight of Christianity throughout the world.



The Baptismal Font was presented to the church on Christmas, 1882, and is one of the items that remains from the original building.

In the original church it stood at the rear of the building, aligned with the present baptistery, but where the center aisle is now.

The font cover was dedicated in 1961 in memory of Bessie Gabriel Royer.



Each of the fourteen pillars within the nave of the church support a shield representing a saint or a martyr.

St. Stephen, one of seven deacons appointed by the Apostles to help the poor, was the frst Christian martyr. He was falsely accused of blasphemy by a violent mob that threw down their coats to enable them to stone him to death. His shield shows the stones and one of the coats.

Legend tells us that when St. Andrew the Apostle was crucifed he asked to be placed on an X-shaped cross because he was unworthy to die on the same type of cross as Jesus. His shield contains an X-cross and also a fshhook because Andrew was a fsherman before he became a disciple.

The shield of St. John the Apostle shows a serpent coiled inside a chalice. This is a symbol of the story that a pagan priest gave John a cup of poisoned wine to drink. But when John made the sign of the cross over the chalice, the poison escaped in the form of a serpent. John was the only apostle to die a natural death.

St. Bartholomew brought Christianity to Armenia. He was martyred for converting a king of Armenia to Christianity. Enraged by the conversion and fearing Rome’s backlash, the king’s brother ordered Bartholomew to be fayed and beheaded. The three knives on his shield represent the knives used to fay him.

St. James the Lesser, or Younger, was the frst Apostle to see Jesus following the Resurrection. It is said he died as a Martyr and his body was sawed to pieces. His apostolic symbol is a saw.

St. Thomas the Apostle is known as Doubting Thomas because he was reluctant to believe that Jesus was resurrected until he saw him with his own eyes. St. Thomas’s shield bears a carpenter’s square and a spear because, according to tradition, he built a church and was martyred by being stabbed with a spear.

St. Philip the Apostle was present at the miracle of the loaves and the fshes. A cross and loaves of bread adorn his shield.


St. Matthew was working as a tax collector, a despised profession at the time, when Christ came to him and said, “Follow me.” Matthew was martyred in Palestine. His shield displays bags of money, symbols of his profession.

St. Jude responded to the mandate given to the Apostles at Pentecost and left his home to preach in Judea, Samaria, Syria, Mesopotamia, and Libya. His travels to spread the good news of the gospel are symbolized by the ship on his shield.

St. Matthias was not one of the original twelve, but was chosen by the apostles to replace Judas Iscariot following Judas’s betrayal of Jesus. St. Matthias preached the gospel and was martyred for his faith. The axe on his shield is a symbol of his martyrdom.

St. Simon is surnamed the Zealot because of his rigid adherence to the Jewish law before he became an Apostle. The symbol on his shield is a fsh lying on a Bible indicating he was a former fsherman who became a fsher of men through preaching.

St. James the Greater is represented by a sword and a scallop shell. The shell is the symbol of pilgrimage and stands for his missionary journeys. The sword is a reminder that St. James was beheaded at Herod’s command. He is the only Apostle whose death is recorded in scripture.

St. Peter was one of the frst disciples to follow Jesus in his ministry and was one of the frst leaders of the early church. Jesus declared Peter to be the rock upon which his church would be built. St. Peter’s shield displays the keys of the kingdom.

Paul was the name taken by Saul of Tarsus after he was converted to Christianity by a vision of Jesus that took place on the road to Damascus. St. Paul was the author of the New Testament Epistles. His shield displays an open Bible and a sword, symbolizing the Word of God as the sword of the Spirit.



Located in the left transept, the War Memorial and Book of Remembrance were added in 1951. On the wall on the left side of the memorial is a plaque listing the names of parishioners who, as members of the U. S. Armed Forces, lost their lives in World War II. On the wall on the right are the names of those parishioners who were killed during service in Vietnam.

The Book of Remembrance, kept in the glass case, is updated annually to record signifcant gifts given to the church.

The central feature of the reredos, the carved wooden wall piece, is a cross and crown symbolizing Christ Victorious. The shield on the left is the Alpha and Omega. On the right is the Staurogram, a ligature of the Greek letters Tau and Rho (T and P), that represents the crucifed Christ. Along with this symbol is the letter N for the Greek word Nika, or victory. It is another symbol for Christ Victorious.

Above: Vietnam War Memorial


World War Two Memorial



The Charles Malcolm Douglas Chapel stands in the right transept. The chapel honors The Rev. Charles Malcolm Douglas, who was rector of the church for thirty-fve years, from 1904 to 1939. Urns containing the ashes of Rev. Douglas and his wife, Maude, are interred in the south wall of the church.



The lectern is set on the wings of an eagle, which represent St. John the Evangelist. The eagle clutches a globe signifying that the Word of God takes fight like an eagle and travels throughout the world.

On the chancel railing below the lectern are two carvings of the hand of God. On the left side is the Latin hand gesture for blessing. The two extended fngers and thumb represent the Trinity. The two folded fngers represent the dual nature of Jesus.

On the right is the “IC XC” gesture of blessing used in the Eastern Church. Each fnger is associated with a Greek alphabet letter. The index fnger is the letter I; the curved middle fnger is the letter C; the third fnger, crossed by the thumb is the letter X; and the curved little fnger is the letter C. These letters represent the Greek initials of Jesus Christ..

Latin form Greek form


Bunches of grapes are carved on the pulpit, symbolic of the wine in the Eucharist. Just below the grapes are sheaves of wheat, symbolic of the bread.



On the left side of the sanctuary is the bishop’s chair. The seal of the Diocese of Newark hangs above it. The date on the left side of the seal, 1785, is the year the Diocese of New Jersey was established. The date on the right side, 1874, is the year the Diocese of Northern New Jersey was established. The top carving on the seal portrays the mitre worn by the bishop as the head of the church in the diocese along with the keys of the kingdom given to St. Peter. The peacock in the center of the shield is a symbol of the resurrection, because when the peacock molts it grows new feathers more beautiful than those it lost.




Christ Church’s Aeolian-Skinner Opus 1347 organ was dedicated on Easter Sunday, April 17, 1960. The neo-Baroque style organ was designed by John Whiteford, the successor of G. Donald Harrison as tonal director of Aeolian- Skinner.

With only minimal maintenance, the organ served the church well for almost 50 years.

But age and use began to take their toll. In 2014, a committee was formed to address the condition of the organ, the church’s music program, and the acoustic issues in the building. Replacement of the organ was considered, but, because of its fne quality, a restoration was launched, not only to address the physical breakdown of mechanisms after decades of continual use, but to also maximize the instrument’s strength through tonal additions and revisions.

Over a period of three summers, work was done on the church to upgrade its acoustics and provide other improvements. During the fnal stage of the project, the organ was restored.

The original console of the organ was built into the structure of the chancel. A new console in the style of the original was constructed that allows it to be movable. Two antiphons were added to the back of the church under the Transfguration window. An antiphon is an enclosed division of an organ situated some distance from the main enclosure that allows antiphons or answering effects. When played with the main organ, the antiphons pull the sound to the back of the church - an added encouragement for congregational singing.

The organ was rewired. The wood received a thorough cleaning and, where appropriate, a new coating of shellac. The pipes were removed and individually cleaned and polished by hand. The


keyboards, music desk, and walnut key supports were retained. For festivals and weddings, a horizontal reed was added under the center of the Transfguration window.

The renovated organ, boasting 63 ranks and 3625 pipes, was rededicated with an American Guild of Organists workshop and recital in November, 2015.

| PAGE 24



Right-side facing altar, front to back

1. The Church Militant

2. The Church Triumphant

3. Christ the Teacher

4. St. Paul

5. Jesus with Children

6. St. Francis of Assisi

7. Baptism of Jesus by John

8. The Calling of the Disciples

9. Sermon on the Mount

10. Jesus Healing


Left-side facing altar, back to front

11. Jesus Praying in Gethse mane

12. Jesus in the Temple with Teachers

13. The Presentation of Christ in the Temple

14. Mother and Child

15. Joan of Arc, WWI Memorial

16. St. Louis of France


17. The Musicians

18. Sedalia Windows (south wall Upper Sanctuary)

19. Chi Rho Window (above altar}



20. The Transfguration


21. Lamb of God with Four Evangelists (lunette window)

22. The Triumphant Entry

23. On the Via Dolorosa

24. The “Welcome Door” Windows

25. The Resurrection Flowers


26. The Garden Windows (Triptych)


27. The Heavenly Christ

28. The Cross and Flowers Window



29. King of Kings

30. The Garden Windows

WINDOWS | PAGE 27 SANCTUARY NARTHEX NAVE SOUTH SIDE NORTH SIDE GARTH KITCHEN ACOLYTE’S ROOM 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 26 20 21 22 23 24 25 19 17 18 BELL ORGAN


1 2 3


These two windows, The Church Militant and The Church Triumphant, were the second to be donated to the original church, where they were installed on either side of the main altar. They were given in memory of Dr. Julius D. Rosé in January, 1891. During the 1951 remodeling of the church, they were moved to the south wall of the Rev. Malcolm H. Douglas Chapel.

The angel bearing a sword in The Church Militant window represents the members of the Christian church on earth who are struggling against sin in order to be welcomed into heaven after death. The

members of The Church Triumphant, represented by the angel holding palms, have triumphed over sin.

Dr. Julius D. Rosé was born in 1834 in Germany, earned a doctorate in medicine and one in languages, and was ordained an Episcopal priest in 1849. During the Civil War, Dr. Rosé served as chaplain for the 7th New Jersey Volunteers. For the last nineteen years of his life, Dr. Rosé devoted himself to service to Christ Church as senior Presbyter, until his death at age sixty-six from injuries sustained in the Civil War. He is buried at St. Stephen’s cemetery in Millburn.


This window, “Christ the Teacher,” shows Jesus standing on a balcony, overlooking the city of Jerusalem. The scene recalls His words, “Oh Jerusalem, Jerusalem, killing the prophets and stoning those who are sent to you! How often would I have gathered your children together as a hen gathers her brood under her wings, and you would not let me.”

Originally installed in the chancel of the church in March, 1917, the window was moved to the right-hand side of the chapel during the 1958 remodeling of the church.

The window was given in honor of the Reverend Napoleon Barrows, third rector of Christ Church, who served from 1885 to 1904.

Right-side facing altar, front to back


St. Paul was originally a Jewish Pharisee who participated in the persecution of the early disciples of Jesus. While Paul was traveling on the road to Damascus, Christ appeared to him, chastising him for his treatment of Christians. Following this experience, Paul converted to Christianity and became one of the most infuential leaders of the early church. He is believed to be the author of at least seven books of the New Testament. His missionary journeys, symbolized by the ship depicted in the window, took him throughout the Roman Empire. This window was installed in January, 1925, and is dedicated to Edith Bates Gannett.


As Jesus was teaching, some people brought children to Him, asking for His prayers. The disciples scolded the people for bringing the children, but Jesus said, “Let the children come to me and do not stop them, because the Kingdom of heaven belongs to such as these.” This story is told in Matthew 19:14, Mark 10:14, and Luke 18:16, and the scene is often described during Baptism.

In memory of Florence Wood Corcoran. 1969.



St. Francis of Assisi, a man of simplicity and self-sacrifce, was the founder of the Order of the Franciscans. Scenes from his life are depicted in this window, where his “little brothers,” the lamb and birds are near him. A banner bearing words from Psalm 142 is draped around him, “Bring my soul out of prison that I may praise thy name.”

The window was given by parish subscription in 1928 “In loving memory of Archie Monroe Quarrier” (1903-1928), a young candidate for the priesthood.

4 5 6


Right-side facing altar, front to back

“In loving memory of Ida Gebner Schreiber and Elise Loomis Davis”


The central window of the Baptistery, located on the south side of the church, is the Baptism of Jesus by John. This event, which marked the beginning of Christ’s ministry, is described in the gospels of Matthew, Mark, and Luke. John is shown standing on the banks of the River Jordan and pouring water from a shell over the head of Jesus in baptism. Scripture says the Holy Spirit came down in the form of a dove and a voice came from heaven saying, “This is my beloved Son, with whom I am well pleased.” John is carrying a staff in the form of a cross. This window contains multiple layers of opalescent glass.

The central window and two complementary side windows were given in 1916 by Otto Schreiber, an importer of woolen goods, and his wife, Elizabeth Mitchell Schreiber, in memory of their mothers, Ida Gebner Schreiber and Elise Loomis Davis. The side windows indicate these dedications. The Schreibers lived in Short Hills from about 1900 through 1920 before moving to New York City. The three Baptistery windows were designed by J & R Lamb Studios.

“This baptistery given by their son and daughter”


In this window, Jesus is shown calling his disciples to become “fshers of men.” Jesus is at the right in a red robe. With him are Peter and his brother, Andrew, whom He called to join Him while they were casting their fshing nets. Above them are James and John along with their father, Zebedee, in their boat and mending their nets. Jesus calls the brothers, and they leave their boat and their father to join him. This story is found in Matthew 4:18-22 and Mark 1:16-20.

This window was installed in 1959 and was given in memory of Albert Bingham, 1895-1957.


The Sermon on the Mount, found in Matthew 5-7:27, is the longest recorded sermon of Jesus and includes some of His most well-known teachings. It is in this sermon that Jesus preached the Beatitudes.

Dedicated to Mary Liz Kemerer and Anne Bumsted in 1963.


This window, installed in 1962, depicts two of the many healing miracles Jesus performed. At left is the lame man whom Jesus met at Bethesda in John 5:2-9. Jesus cured him with the words, “Rise, take up your bed and walk.” At right is the blind beggar Bartimaeus, who is healed by Jesus in Mark 10:52. Jesus tells him, “Go your way. Your faith has made you well.”

In memory of Anna E. and John F. Egner.

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The story of Jesus praying in the garden the night before His crucifxion is told in Matthew 26:36-46 and Mark 14:3242. While He prays, the disciples Peter, James, and John have fallen asleep. An angel carrying a cup reminds us that in Mark 14:36, Jesus prays, “Father, all things are possible for you. Remove this cup from me. Yet not what I will, but what you will.”

Dedicated to Annie B. and Herbert A. Hallcock in 1963.


In Luke 2:41-52, we learn the story of Jesus in the Temple with the teachers, one of the few gospel stories about Jesus’s childhood. Mary, Joseph, and the twelve-year-old Jesus make a Passover trip to Jerusalem. After heading for home, Mary and Joseph realize Jesus is not with them. They return to the Temple and fnd Him talking with the teachers, who were amazed by His knowledge. Mary tells Him that she and Joseph were worried by his absence. Jesus replies, “Why is it that you were looking for Me? Did you not know that I had to be in My Father’s house?” But they do not understand.

This window was dedicated in 1960 to Philip Brooks Marsden.


This story is in Luke 2:22-40. Mary and Joseph brought Jesus to the Temple when he was eight days old to present Him and dedicate Him to God. Two prophets, Anna and Simeon, were in the Temple praying and recognized Jesus as the Messiah.

In this window, Jesus is sitting in Simeon’s lap. Simeon is quoted as saying the prayer we still sing as the Nunc Dimittis, “Lord, now let thy servant depart in peace, for my eyes have seen Thy Salvation.” Mary, at right, holds the Alpha and Omega. Joseph, at left, holds a staff and a sacrifcial bird.

The window was installed in 1960 in memory of and Aubrey Gilpin Lanston and Helene P. Lanston.

Left-side facing altar, back to front
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In this window, the Virgin Mary is seated with the child Jesus on her lap and is attended by two angels standing in adoration. Above them is the Star of Bethlehem. In the lower left panel is the lamb, symbolic of Jesus, and on the right is a crown symbolizing Jesus as King. This window was given in 1959 in memory of Mattie H. Suydam.


Joan of Arc, born around 1412 in France, was a young girl when she led her countrymen to victory in battle against the English. She died a martyr at the age of 19 when she was burned at the stake.

This window, installed on Christmas Eve, 1918, is in tribute to the similarly brave young men of Christ Church who served in the Army and Navy of WWI. Their names can be found in the bottom panel of the windows.


In this window, installed in 1931, Saint Louis of France wears the pilgrim robe of the Crusades and has removed his crown. Shown in the background is SainteChapelle, which St. Louis built in Paris as a shrine for fragments of the Crown of Thorns, which he is holding, and for three nails from the True Cross, depicted on a red shield on the right The words of his biographer, de Joinville, are shown at the bottom, “It is not given to many to carry virtue further.”

Names from the

Joan of Arc window 14 15 16



In the chancel, above the organ, is “The Musicians” window, installed in 1951 and given by the choir in “memory of departed choir members.”

Saint Gregory (Pope Gregory the Great c. 540-604), at left, was the supposed inventor of Gregorian Chant. This chant, which originated in monastic life, accompanied the celebration of the Mass and was frst written down in the 10th century. He is shown wearing the pallium, an ecclesiastical garment originally worn only by popes.

The center window depicts King David, shepherd, warrior, and king, who is credited with having written the Psalms. He is shown with his harp, which he played for his predecessor, King Saul.

At right is Saint Cecelia, the patron saint to musicians and church music. She is shown carrying her organ. Martyred in the second century in Sicily, St. Cecelia praised God in song as she was dying.



On the south wall of the sanctuary there is an indented seat for three called a Sedalia. As the nearest seat to the altar, it was traditionally for the priest, the next for the reader of the Gospel, and the third for the reader of the Epistle. Above the seat are these three lancet windows. The chalice on the left and the ciborium on the right are vessels used in the Eucharistic service. They fank the Agnus Dei (Lamb of God), which is how John the Baptist refers to Jesus in John 1:29. “Behold, the Lamb of God, who takes away the sin of the world!”

The windows were installed in 1956 in memory of Rufus E. Zimmerman by his family and friends.



“I am the Alpha and the Omega,” says the Lord God, “who is and who was and who is to come, the Almighty.”

These words from Revelation 1:8, reference the Alpha and the Omega, the frst and last letters of the Greek alphabet. The letters are displayed in this window along with Chi and Rho (XP), the frst two letters of Christos, the Greek word for Christ. The window, one of the earliest of Christ Church’s windows, is prominently displayed above the main altar, and the symbols have become the logo for Christ Church.

The window became a subject of interest during a renovation of the church in 2006. At that time, the window was covered by an interior wall, but could still be seen from the outside of the church. When the window was originally installed, it was

mounted off-center above the altar. Also, it was set deep into the wall and did not receive the light of the morning sun. It was assumed that for these two reasons - the distracting off-center mount and the lack of outside light - the window was covered up. The decision was made to restore the window. The inside covering wall was broken through, and the window was removed, cleaned, and re-leaded. A new wooden frame was created, and the window was hung in the chancel centered above the altar. It was lit from behind to display its beauty and to make it a focal point above the altar. To fll in the hole left in the exterior stone wall by the removal of the window, a photograph of the window was printed on glass and

installed in the opening. Its beauty is particularly obvious at night when its glow contrasts against the dark stone wall.

The Chi Rho window mounted above the altar repeats the symbols that are also carved into the front of the altar. A set of green vestments, for Ordinary Time and Epiphany, embroidered with the Chi Rho symbol, was also purchased at the time the window was re-mounted to reinforce the adoption of the Chi Rho as the emblem for Christ Church.

The Chi Rho window places Christ at the visual center of our worship and provides the perfect symbol for the story of Christ Church.



The Transfguration, a focal point of the western end of the nave, was installed in 1916 during a remodeling of the sanctuary.

According to the Gospel stories of the Transfguration in Matthew, Mark, and Luke, Jesus went up into the mountain with three of his disciples - Peter, James, and John. While there, Jesus was “transfgured before them; his face shining as the sun, and his garments became white as the light.” Then Moses appeared, holding the tablets of the law, as did Elijah, representing the


prophets. After they spoke with Jesus, a bright cloud overshadowed them and a voice from the heavens spoke, “This is my beloved son, with whom I am well pleased. Listen to Him.” The disciples fell to the ground, flled with awe. But Jesus said, “Rise and have no fear.” When they looked again, they saw no one but Jesus.

The color effects of this opalescent window are obtained by using more than one layer of glass. The faces are painted on a single layer. This technique originated in the United States after the Civil War and was used until the 1920s.

The window was donated by Louis Graveraet Kaufman in memory of his mother, Juliet. Louis Kaufman was born in Michigan in 1870. He was a banker and one of the original investors in the Empire State Building.

The window was designed and created by the J. & R. Lamb Studio for the sum of $1,500. Vestry minutes indicate that members were in favor of painting the interior of the church a light brown “to be in greatest harmony with the Kaufman memorial window.”



All of the windows in the vestibule leading to Forest Drive – the fan window over the door, The Triumphant Entry, and On the Via Dolorosa - were given in the 1960s by John W. White in memory of his sister, Florence White Faitoute.


This lunette window over the door to Forest Drive depicts the symbol of Christ as the Lamb of God (John 1:29), center, surrounded by the four evangelists from the Book of Revelation (Rev 4:7-11). The symbols for the evangelists are, from left, a winged man for Matthew, a winged lion for Mark, the winged ox for Luke, and the winged eagle for John.


Each of the synoptic Gospels - Matthew, Mark, and Luke – tells the story of Jesus’s entry into Jerusalem on Palm Sunday. A crowd of people lay palms and their cloaks in his path to honor him saying, “Blessed is he who comes in the name of the Lord!”


Jesus walks the Via Dolorosa, the “Sorrowful Way,” to be crucifed at Golgotha. He is shown in this window being accompanied by his mother, at left. From the crowd of curious onlookers, the Roman soldiers forced Simon of Cyrene, in the green cloak, to help Jesus carry the cross. The story is found in Matthew 27:32.

The window is installed in the narthex wall in front of a light box.

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These windows of roses and anemones are installed in the doors of the Narthex leading to Highland Avenue. They were dedicated in 2001 to the memory of Richard and Elizabeth Baiter. Mr. Baiter, a long-time usher, stood at these doors on Sunday morning to greet people as they entered the church.


These windows, located at the northern end of the Narthex, are symbols of the joy of Easter. They complement the windows at the southern end that depict stories of Holy Week leading up to the sorrow of the Crucifxion.

The lily, at left, is symbolic of the Resurrection, and the pomegranate, with its many seeds, symbolizes the regeneration of life. The other fowers in the windows are red carnations symbolizing love, daisies representing innocence, snowdrops depicting purity, and violets for humility.

The windows were installed in 1983 in memory of Marjorie E. Wynne.

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Located in the Acolyte Room, this tryptych was installed in 2000 in memory of Rosalind Lanier.



This window of a cross and fowers, made of opalescent and machined glass, is one of the earliest windows installed in the church. It is now located in the eastern dormer of Parish Hall.


This is believed to be the frst window given to Christ Church. It was frst installed in the wall facing Highland Avenue in the small, original building around the beginning of 1885. The window was given by Mr. and Mrs. Franklin H. Tinker in memory of their son, Wyatt Bell Tinker, who died at the age of three in April, 1882. The scene shows Christ in heaven, surrounded by angels. Two angels seem to be welcoming children into heaven. The child on the right, being carried, is presumed to be Wyatt. The realistic child’s face is unlike others in the window and is the only fgure directly facing the viewer, as if the young child is looking at his parents as he is entering heaven. The legend of the window is that Wyatt is being welcomed into heaven by his friend, the child being led by the angel at the left, who passed away prior to Wyatt.

The window was later moved to the far end of Parish Hall in the dormer facing Highland Avenue.

Franklin Tinker was a proprietor of the successful New York business of Root & Tinker, a prolifc, late 19th century publisher of prints in the tradition of Currier & Ives. About fve years after Wyatt’s death, the Tinkers had another son, Harold Wyatt Tinker, whose middle name was likely intended to honor his deceased brother. In March, 1890, an article in The Item of Millburn-Short Hills describes a birthday party for Harold at what was then called the Casino. The family’s joy was short lived. Franklin died two months later, at the age of 36, from spinal meningitis. His obituary of May, 1890, notes that he “was reputed to be the possessor of presumably the fnest collection of the frst editions of the works of Charles Dickens in America.”

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This window shows Jesus holding a staff topped by a triangle and three circles, the symbols of the Trinity. He also holds an orb topped by a cross, symbolizing Christ as King of the World.

When Christ the King Cathedral in Paterson was being demolished in the 1950s, a stained-glass artist who had done work for Christ Church called thenrector Dr. Cooper and told him about the window. Christ Church purchased the window, and the orb was substituted for the original rosary beads. The window was then installed in the hallway leading to the Memorial Garden Chapel.

In Memory of James Pyle 1877-1962


This panorama of windows, facing Highland Avenue, illuminates the Memorial Chapel, which leads to the Memorial Garden. The garden motif of the windows, with lilies, pansies, and morning glories, mimics the windows on the opposite side of the chapel that face the Memorial Garden.

The windows in the Memorial Garden Chapel were given in memory of Jeremy and Sara Jane Auchincloss Gordon.

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The Highland Avenue entry door, known as the “Welcome” door, leads into the cloister, which extends the length of the church to the St. Mark’s Room. The cloister windows look out into a garden area known as the garth, which was created in 1936. The focal point of the garth is a statue of St. Francis of Assisi, patron saint of animals and nature.

Before the garth was created, this area was a drive-through for carriages and cars. One of the arches in the cloister has four windows rather than three. This wider arch was used from 1916 to 1935 as a gate for vehicles to drive through as they passed from the front of the church and turned left to go behind what is now Parish Hall.

When the garth was frst built, it was wider than it is today, and the overfow of congregations at Easter services often sat outside in the garth in good weather. Some of the width of the garth was lost in 1957 when the walls of the church were extended outward by 12 feet.

The walls of the main part of the church can be seen from the cloister windows. The piers, or buttresses, help to bear the outward pressure exerted by the weight of the roof. This side of the church differs from the side facing Forest Drive in two respects. On Forest Drive there is a capstone on the top of each buttress and a parapet at the top of the wall. The plain buttresses and parapet on this side are Norman in design. The pointed arches above the windows are characterized as Early English Gothic. The church does not conform to a single architectural style, but incorporates features found in British churches of several periods.



The Forest Drive entrance, topped by a tower, was added in 1957.



Parish Hall was added to the church building in two stages. The portion with the hardwood foors was constructed in 1916 and given the name Guild Hall. It was accessed through the transept of the main church through open cloisters. The carpeted area was added in 1936. During the building programs in 1951 and 1957, the pews from the church were moved into Parish Hall, and the area was used for worship services.

The room was extensively remodeled in 1971.

Parishioner Jane Reidel painted the mural surrounding the doors.


The Memorial Chapel was added in 1962 and honors the Reverend Doctor Herbert H. Cooper, who was rector of Christ Church from 1940 to 1971. The chapel is octagonal in shape and opens into the Memorial Garden.

The door on the left of this photo leads from the Memorial Chapel to the Memorial Garden. To the right is one of the plaques on the wall of the chapel listing the names of those whose remains are interred in the garden.


The Memorial Garden was completed in 1962. Urns containing the ashes of those who are interred here are placed in cylinders beneath the slates of the garden foor.

The bell remains from the original church building, where it hung in a tower located above the front entry porch that was on Forest Drive. Made in Troy, New York, in 1886, the bell was given in honor of Nathaniel Barrows, who was rector of the church from 1885 to 1904. The inscription on the bell reads, “Let everything that hath breath praise the Lord.” The bell is still rung before Sunday services.



The Saint Mark’s Room was added to the building in 1915 and was used as the frst choir room. Originally much smaller, the room was doubled in size in 1935. It is now used for meetings and other gatherings.



This area was added to the church in 1951 and has been used as the choir room since 1962. Choir practices are accompanied by the room’s Steinway Model M piano. The church’s complete music library, Malmark handbells, and the choir members’ robes are stored in the room. Its walls are decorated with photos of past choirs and programs from concerts held throughout the years. Christ Church’s frst permanent choir was established in April, 1906.



“For there is hope for a tree: If it is cut down, it will sprout again, and its shoots will not die.” –Job 14:7-9.

Deeply rooted - Branching out - Such a ftting theme for the 140th anniversary of Christ Church in Short Hills.

Our roots have surely burrowed deep throughout 140 years of service and growth. Christ Church has become an integral part of the community and beyond, responding to the needs of our parishioners and of others through outreach. Our foundation is sturdy, providing the momentum and strength for fruitful growth.

We continue to branch out, expanding our reach to encompass a broader, diverse congregation and to extend and strengthen our faith into a world so different from that of 1882, when Christ Church frst opened its doors.

The logo for our 140th anniversary is a Christ-centered tree with strong roots and full, healthy branches. Thanks to parishioners Gary and Peggy Shilling, we have been given a gift that symbolizes our anniversary tree.


Mr. Shilling stands beside the felled tree.


A black oak tree stood on the property, donated in 1882 by Stewart Hartshorn, on which Christ Church was built. Over the years, additions were made to the original church building, and the distance between the oak tree and the church narrowed. A few years ago, it was discovered that the tree had a serious root fungus, and if it were to fall, could cause signifcant damage. Therefore, the decision was made to have the tree removed.

Mr. Shilling, realizing the age of the tree and the historical signifcance of its life and growth so closely connected with Christ Church, decided to save the wood of the old oak rather than have it face the future as a pile of wood chips. His plan was to turn the trunk and limbs into something useful for the church, and he decided that the best use for the wood was to have it fashioned into a vestry table.

Removing the tree, which was about fve feet in diameter, was a massive undertaking. When the tree was felled on November 1, 2017, by Sav-A-Tree, 175 growth rings could be counted - making the tree approximately forty years old when construction began on Christ Church in 1883.

A large crane and a number of trucks and cherry-pickers were required to reach the limbs and to move the wood as it was cut. The oak’s trunk alone was 16 feet tall and weighed approximately 12,000 pounds.

Nature’s Fell was contracted to remove the trunk and limbs from the church property and to cut them into slabs for drying and milling at their wood yard in Middlesex. The trunk was too wide for their sawmill, so it had to be cut into slabs by two men using a six-foot chain saw. The milling produced nine slabs of beautiful, clear, unblemished black oak measuring thirteen feet long, four feet wide, and three inches thick.


Oak that thick must be dried carefully to avoid splitting and checking. The nine slabs were piled up with wood strips between them to allow for air circulation and covered with tarps to air dry for two years. They were then put into a kiln for several months for fnal moisture removal. Faster kiln-drying would have ruined the beautiful oak grain.

The kiln-drying was done by Real Antique Wood in Irvington, headed by Anthony Saraceno, who also built the table. The table was designed by David Rosen of the Summit architectural frm Rosen Kelly Conway Architecture & Design.

The table top is constructed from two book-matched pieces of oak and measures fve feet wide, twelve feet long, and three inches thick. It has a clear fnished top. The table was designed to be used primarily for vestry meetings and comfortably seats fourteen people.

At either end, the tabletop is supported by metal Chi Rho symbols, the Greek letters that are the frst two letters in the Greek word for Christ. The Chi Rho is the emblem for Christ Church. The symbols for the table were designed by David Rosen and Nicholas Giuliano of Rosen Kelly Conway.

No plans have yet been made for the wood that remains from the oak tree, but it will be used for items for the church and parishioners.

The church community was saddened by the loss of the oak tree, but the new table and its signifcance in our 140th anniversary celebration is a healing balm for the loss and has opened a new chapter for the Christ Church campus.

Considering the many people who will sit at this table in the years to come, the plans that will be made at it, the Bible studies learned, the discussions held, and the life of the church moved forward - this table, made from the wood of the black oak tree, is the perfect symbol of Christ Church’s continued “branching out.”



Here ends this incomplete but heartfelt history of Christ Church in Short Hills. We, the authors, invite you to help us continue the work. Tell stories, send photos, and share artifacts which expand our knowledge of and gratitude for this place in which we worship the Lord our God.

Contact us at to contribute in any way.



140th Anniversary Commemorative Guide

Catherine Fernandez, editorial, photography

Libby Clarke, layout and design

The Rev. Bowie Snodgrass

Chris Whitaker

Georgeann duChossois

The Rev. Dr. Timothy Mulder

Terry Finan

John Fernandez

140th Anniversary Committee

Sarah Rosen, Chair

The Rev. Bowie Snodgrass

Sinead Bennett, Chris Bennett, Libby Clarke, Alison Corbin, Georgeann duChossois, Helen Dwyer, Bobbi Engler, Catherine Fernandez, Terry Finan, Joanne Gordon, Relly Jacob, George Mathew, Cynthia McChesney, Andrew Moore, Dara Near, Larry Neugebauer, Arnie Peinado, Lillian Rountree, Jim Sammartino, Patricia Shewmaker, Peggy Shilling, Gary Shilling, Arlene Sommer, Gaye Torrance, Chris Whitaker

Wardens and Vestry

Sarah Rosen, Senior Warden

Arnold Peinado, Junior Warden

Rob Kao, Clerk

Jacob Cherian, Treasurer

Diane Cabush, Libby Clarke, Heather Finan, Jean Funk, Adrianne Harrison-Surgeon, Winston Kung, James McBride, Larry Neugebauer, Chuck Nwachuku, and Patricia Shewmaker


The Rev. Bowie Snodgrass, Rector

The Rev. Canon Robert Griner, Assisting Clergy

Dr. Andrew Moore, Organist and Choir Master Chris Whitaker, Director of Communications, Youth, and Outreach

The Rev. Dr. R. Kevin Johnson, Children and Family Minister Georgeann duChossois, Parish Administrator

James Johnson, Plant Supervisor

Lydia Zapico, Finance Manager


• A Self-Guided Tour of Christ Church in Short Hills. 1982. Malcolm MacKinnon with assistance from the Rev. David Earnest, Owen and Hope Lampe, Ann Klemme, and Joan Mebane.

• A History of Christ Church in Short Hills, 1882-1920

• The Stained Glass Windows of Christ Church in Short Hills, Their background, secrets, and donors. February 2009. Juli Towell, Lynne Raineri, and Terry Finan.

• The Diapason. August, 2016.

• Millburn. The Millburn Centennial Committee. 1957.


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