Introducing Fairhaven
Beyond the exquisite architecture, Fairhaven attracts travelers to its natural seaside beauty: beaches, bike paths, historic homes, plentiful parks, and much more.
While this little town of about 17,000 residents is steeped in American history, it balances the old world with contemporary amenities such as shops, restaurants, marinas, medical facilities, and even the worldwide headquarters of Titleist/Footjoy.
Just a short walk across the Acushnet River brings you to New Bedford—a diverse mecca for artists, musicians, fishermen, and anyone who wonders about the great whalers of yore.
We have so much to offer that you’ll only believe it when you see it!
The Benefactor
Nestled in the historic center of Fairhaven, Massachusetts, our Unitarian Memorial Church (1901) conjures up images of 15th Century England, with its gothic spires, intricate carvings, and colored marble floors. A monument to Standard Oil tycoon Henry Huttleston Rogers’ mother, Mary, the church is quite elaborate and not what you might expect to see in a Unitarian Universalist church. Yet, it stands as the crown jewel in a series of similarly constructed buildings such as Fairhaven Town Hall (1894), The Millicent Library (1893), Fairhaven High School (1906), and Roger's School (1885) given by Mr. Rogers to his beloved hometown.
Did you know? At the time of his death in May of 1909, Henry Huttleston Rogers was worth between 100 and 150 million dollars, placing him at number 22 in the list of the top 100 wealthiest people in American history. His fortune, adjusted to today’s dollars, would be worth more than $40 billion.
Henry Huttleston Rogers, c. 1900
The Unitarian Memorial Church
in Fairhaven Massachusetts was built, financed and donated to the Unitarians in 1904 by Henry Huttleston Rogers in memory of his mother, Mary Eldredge Huttleston. The architects Brigham, Coveney and Bisbee of Boston designed this church in the 15th century Gothic perpendicular style.
The Unitarian Memorial Church is one hundred fourteen feet in height, one hundred feet long in body and fifty-three feet wide. The nave is thirty-two feet wide and seventy-one feet long. The main aisle is sixty-two feet long and six feet wide.
The church, parish house and former parsonage (now Harrop Center) of the Unitarian Society are so placed as to form three sides of a quadrangle, set among well-kept lawns and shrubbery.
Locally quarried granite and Indiana limestone decorative carvings dominate the exterior while marble and limestone carvings dominate the interior. All stonework artistry was created by forty-five Italian craftsmen brought to Fairhaven by Rogers.
The Harrop Center
The Harrop Center, formerly the parsonage, is like that of an Elizabethan cottage. The first story is built of local granite and limestone, and the second story is of open timber construction with plaster panels. The woodwork is a fine quality of Indian teak, most quaint in its decoration of carved figures, the panels being adze-finished. The interior is comparatively simple, with the exception of the hall, where the woodwork of teak is elaborately carved. This building is now used for the Church School with one room for primary worship and another room a combined library and office.
To the right is the Harrop Center with Fairhaven Town Hall in the distance. Photo by Frank C. Grace
The very top of the Great Tower which is over one hundred and sixty-five feet high. Photo by Frank C. Grace
Parish House on the right, Harrop Center (middle), and Fairhaven Town Hall in the distance. Photo by Frank C. Grace
To the right is the Harrop Center with Fairhaven Town Hall in the distance. Photo by Frank C. Grace
Photos by Frank C. Grace
It's All in the Details
The Great Tower
A landmark for many miles, the tower is over one hundred and sixty-five feet high of sparkling granite and carved limestone. There are one hundred eighty granite steps leading to the tower. In this tower is a finely adjusted D Chime of eleven bells. They weigh a total of 14,000 pounds and are played (struck) by iron hammers. The bells were cast by Chester Meneely of the Meneely Bell Company of Troy, New York. The original ringer’s gallery is still in the tower even though the bells are now played both by hand or electronically from a small room in the Sanctuary.
Woodwork
The wood used throughout the buildings is English Bog oak, quarter-sawn to display a lovely grain. Forty-five craftsmen from Bavaria were hired by the architects Brigham, Coveney, and Bisbee of Boston to produce very intricate carvings under the direction of John Kirchmeyer (March 31, 1860 – November 29, 1930). John was one of the most significant wood craftsmen in the United States in his time and is credited with the canopy over the baptismal font and the carving of the molds for the magnificent bronze doors and the cloister gates. These carvings portray our Unitarian Universalist history and values.
On the choir screen are shields depicting Old Testament stories and children holding symbols of Faith, Reverence, Kindness, Spiritual Strength, Ten Commandments, Learning, Wisdom, and Hope.
Nine-inch figures of Old Testament prophets holding biblical verses that are printed in gold leaf adorn the pulpit. Above the prophets are angels that symbolize purity of soul, reverence, prayer, speechmaking, ecstasy, concentration and medicine.
All of the pews are uniquely carved; the aisle ends and bench backs are different. Variation exists even within each medallion. Similar variety can be seen on the railings beside the pulpit and on the organ cases with the muscians and singers.
The ten angels in the rafters symbolize subjects studied in higher education. Education was a sincere focus of H. H. Rogers. It is in evidence in his philanthropies everywhere.
In addition to the woodwork throughout the sanctuary, the detailed carvings in the parish house and the former minister’s house are equally magnificent.
Bronze Doors
At the South entrance to the Sanctuary are the great bronze doors, extremely rich in design, each leaf is solid bronze weighing 2 1/4 tons.
Following the Gothic outline of each leaf is a series of niches. Those on the exterior are canopied, each containing a finely modeled figure nine inches high. The thirty-eight statues represent great characters in the history of Christianity, covering a period of nineteen centuries.
Baptismal Font
From the Cloister with its ornate bronze gates and marble mosaic floor, we enter what architect Charles Brigham labeled the "Tower Entrance" which houses the Baptismal Font. The room is laden with traditional Christian symbols. The four corners of the inlaid marble floor hold bronze medallions representing the four Evangelists: Matthew, Mark, Luke, and John. The walls of the entrance are of limestone with carved medallions bearing Christian symbols specifically related to the crucifixion. Varying from the preponderance of Christian symbolism in the room, the four corners of the room below the majestic fan-vaulted ceiling contain limestone carvings symbolizing the four stages of woman: Infant, Youth, Maturity, and Old Age.
Organ
The organ, manufactured by the Hutchings - Votey Company, was installed in 1909. With 3,000 pipes, it was considered one of the finest in the country at that time. The Organ was improved by Roche in the 1970’s and the digital upgrade was accomplished by B. Turley. Today, with 3,400 pipes the Organ remains among the finest for its size.
All the ornamental pipes on the Organ case are covered in beaten gold, the color of clouded sliver. They are decorated very ornately.
Stained Glass
The stained glass windows are the work of American Impressionist artist, Robert Reid (1862 - 1929). His extraordinary technique and detailed style covered the theme of the birth of Jesus in the Memorial Window utilizing color and shading from cool blues to warm earth tones through the nine clerestory windows from East to West. Seven of these windows are titled with one of the Beatitudes (or Blessed Be’s) which Jesus was teaching his Disciples as illuminated in the glorious twenty-four foot high Sermon on the Mount window located on the West wall.
One notable effect of the windows is the natural flesh quality in the figures. Two years were spent in their designing and execution. These stained glass windows were Reid’s most prized work, a masterpiece set and his only effort in stained glass.
Preservation
The Memorial Church Preservation Team was created to ensure the preservation, restoration, and maintenance of the Unitarian Memorial Church in Fairhaven Massachusetts.
The buildings of the Unitarian Memorial Church are a challenging preservation task. Our main enemy has been water infiltration. This has been an issue since early in the building's life. Extensive work has been done to address this, especially in the Sanctuary, in the last ten years. Large areas of copper roofing have been replaced and extensive repointing has been accomplished. We hope that that has solved the water problem for the time being. Unfortunately, such problems are never solved for good but resolved for some unknown length of time, knowing that they will reoccur. The limestone interior of the Sanctuary has been badly stained by repeated water incursions.
The Stained Glass windows are the most expensive challenge facing us. We have had the windows professionally surveyed and have a prioritized list of the restoration necessary. Unfortunately, the congregation is unable to fund this restoration and is seeking alternative means.
Donations toward the preservation of the Unitarian Memorial Church can be made by writing a check payable to the Unitarian Universalist Society of Fairhaven. Please write MCPT in the check memo and mail to:
Memorial Church Preservation Team
Unitarian Memorial Church
102 Green Street
Fairhaven, Massachusetts 02719
CONTACT US
Phone 508 992 7081
Email office@uufairhaven.org
CONNECT
ADDRESS
102 Green Street
Fairhaven, MA 02719
HOURS:
Tues-Thurs 9:30-2
Fri 9:30-4
Sunday Service @ 10 a.m.
Additional hours by appointment
©2024 by UNITARIAN UNIVERSALIST SOCIETY FAIRHAVEN