The Evangelical Lutheran Church
of the Atonement
First Avenue and Heck Street
Asbury Park NJ 07712
(732) 776-5727
A overview of the Church describing its furnishings and explaining their symbolism, together with a short historical sketch of the congregation.
Introductory Note
John Ruskin called the beautiful Gothic cathedral at Amiens, 'The Bible of Amiens." Especially appropriate for all great cathedrals, this figure of speech to some extent applies also to the parish church for wherever attention is given to the tradition and symbolism of the church, there the embroidery, carvings, appointments, and ornamentation become, as it were, pages from the Word of God - a graphic proclamation of the Gospel.
The symbols and devices employed in church art and decoration, like the pages of Scripture, are rich in meaning. Unfortunately, they often go unnoticed and unappreciated because we have not taken the time to "read' and consider them. Both in design and making they are a sacrifice of beauty to the Glory of God. Reflecting the faith and the devotion of the church, they are for us also, a source of inspiration, directing our thoughts from the temporal delights of this world to the eternal truth of God.
It is the purpose of this presentation to serve as a guide to understanding and appreciating the symbols and ornaments of this church. They cannot be learned overnight. It is only as we live with them closely, ever more intimately, that our understanding and appreciation of them will lead us to a deeper devotion and an enriched worship. If this booklet is an aid to this end, it will have served its purpose.
Other information is also presented here. A brief sketch of the history of the congregation has been included, containing items of interest concerning the construction of the new church and parish hall. Memorials and the names of donors, artist, and craftsmen are also listed.
It is our hope that these pages may help towards a deeper understanding and appreciation of the symbolism and beauty of this "habitation of God," which through His grace, we have erected to His Glory.
THE EXTERIOR
THE STYLE OF ARCHITECTURE - The building is designed in a modified Georgian style of architecture (popularly called "colonial".) Georgian architecture flourished in England during the reigns of the early George's, and is itself an adaptation and simplification of the Renaissance style.
It is marked by its simplicity and classic lines, and has been compared favorable with the ancient basilica, for both are simple and chaste with a floor plan especially suitable for the needs of worship. The large windows fill the interior with light, symbolizing the joy and brightness of Christian hope. The design of the interior lends itself well to churchly and harmonious decoration.
THE STEEPLE CROSS - The cross on the steeple, designating that this building is dedicated to our Lord, is given by Mr. Emil Grosser, in loving memory of his wife.
The cross is six feet high and made of monel metal. It is a Celtic Cross, called also an Irish Cross or Cross of Iona. It is very ancient, used by the Celtic Christians whose origin goes back to the very earliest centuries of Christianity. The cross with its intersecting circle symbolizes that Jesus Christ, the eternal Son of God, who by the cross reigns forever as Lord, is present in our midst.
THE CORNERSTONE - The cornerstone, made of white limestone, was given to the church by James W. Mancuso, architect for the building. It was laid on Sunday, September 2 1, 1952 and bears the following inscription-
Scaled in the box are a Common Service Book, a Campaign Brochure, a photograph of the former building, the current Membership List, and the following editions of the Asbury Park Press: Saturday, July 1, 1916 (article about cornerstone laying for the former building); Saturday, April 5,1952 (article announcing the building program with a picture of the architect's rendering); and Saturday, September 20, 1952 (article about cornerstone laying for the present building.)
THE NARTHEX
WROUGHT IRON SHELF BRACKET - The shelf bracket done in wrought iron on the west wall of the narthex was presented by Arend Luttman and Mr. and Mrs. Edwin Colborne, in memory of wife and daughter, Lillian Luttman. In the former building it was placed in the sanctuary for use as a credence bracket.
The back of the bracket culminates in a simple Latin cross, know also as the Crux Immissa. Below this are the letters IHS, which are a partly Romanized rendering of the first three letters of the name, Jesus, as written in Greek (IHCOYC.)
THE NAME PLAQUE - The bronze building plaque over the entrance into the nave of the church was given by S.J. Day Associates, and bears the following inscription;
THE INTERIOR OF THE CHURCH
INTRODUCTORY NOTE
The furnishings of a church must fulfill more than simply a functional and decorative purpose. In a sense, they are a part of the congregation's worship and devotion. They must provide the necessary "equipment" for the services of the church, but in such a way that through beauty and honest craftsmanship they also honor God, creating an atmosphere which is in keeping with the church's worship and which at the same time, directs the worshiper to God and the treasures of his faith.
The furnishing and decorating of the church has been guided by the desire to be in harmony with this symbolic or "spiritual" purpose and to follow in every respect the finest traditions and best practices of the Lutheran Church and its worship.
The artists and craftsmen for the furnishings and hangings deserve mention here, for almost without exception they have used their skills not simply to make a livelihood, but first of all they have labored out of a sense of devotion that the fruits of their labors might be to the Glory of God.
The furniture was designed and made by the Walter Ipsen Woodworking Company, Bronx, New York; a Lutheran firm specializing in church furniture and decoration. The dossal and kneeling cushion at the altar rail were secured through Mr. lpsen.
The wrought iron appointments on the altar and in the sanctuary are from the Guild Studios, New York City,
The hand-carved wood cross suspended over the altar was made by an unknown carver in Italy and imported through Carl Moser Company, New York City, one of the leading importers of liturgical arts in this country.
The altar frontal, bursas and veils were designed especially for our congregation by Rev. Francis Jones, a specialist and authority in this field, who is also a Lutheran pastor. They are embroidered all by hand by Sister Grace Jones, a deaconess in Philadelphia Motherhouse. Together, Pastor Jones and Sister Grace maintain the St. Nicholas Shop, located at the Lutheran deaconess home in Philadelphia.
The altar linens (the fait linen and corporal) and the linen covering the credence table were made and embroidered by the members of the Guild of St. Mary Magdalene, Altar Guild of the Evangelical Lutheran Church of the Atonement. Mrs. William Major gave the linen.
THE SANCTUARY
THE DOSSAL (or Dorsal,) CURTAIN AND TESTER - The dossal and tester were given by Mildred Weber to the memory of her father and mother. The word dossal or dorsal, comes from the Latin word, dorsum, which means back. It is the permanent hanging behind and above the altar when there is no reredos.
The Tester is a canopy made of wood, which projects from the wall and is large enough to cover both the altar and the footpace. Here the tester is greatly modified.
The dossal, hung with one hundred per cent fullness, is of an ecclesiastical blue (symbolizing the beauty of heaven) and is woven in a pattern of two symbols.
The first of these is made up of three symbols:
The other symbol also contains three elements:
Taking all these together, the symbolism of the dossal may be suggested to be: Jesus Christ, the Sun of Righteousness, the Morning Star, by virtue of His cross and passion reigns forever in heavenly glory.
The shield on the tester, polychromed in red and gold, bears two of the most ancient Christian symbols.
The central symbol is a combination of the Greek letters chi ("ch") and rho ("r") and are the abbreviation of the Greek for Christ (XPICTOC,) The symbol is known simply as the "Chi Rho."
The letters at each side of the Chi Rho are the Greek alpha and omega, the first and last letters of the Greek alphabet. Their use in Christian symbolism stems from Revelation 1:8, "I am Alpha and Omega, the beginning and the ending, saith the Lord, which is, and which was, and which is to come, the Almighty." (cf. Also Revelation 1-11,17; 2:8, 21:6; 22-13.) This title undoubtedly has its origin in the oracles of God spoken by Isaiah, cf. Isaiah 41-4- 44:6 and 48:12.
The alpha and omega, when correctly used, cannot stand alone, for alone they make no sense. They must always be used with a symbol designating our Lord. The meaning of the symbols on the shield of the tester, when considered in the light of their origin in the Scriptures, is that Christ, the first and the last, the beginning and the ending, is true God.
THE ALTAR - The Altar is given by Myrtle Weber to the Glory of God and in memory of her father and mother. He hath showed thee, 0 man, what is good; and what doth the Lord require of thee, but to do justly, and to love mercy and to walk humbly with thy God? Micah 6-8."
The altar which has no retable is built in the Sarum style, so called because of its association with the Sarum usage in England. It is in size 7'3" long, 30" deep, and 39" high.
On the mensa, or top of the altar (from the Latin word meaning table) five Greek crosses are incised, one at each of the horns (comers - the name is derived from the Old Testament use of rams' horns at the altar corners) and one in the center. These represent the five wounds our Lord suffered on the cross. The front panel bears the Greek abbreviation of the name Jesus, IHC, polychromed in gold. The marks above and below these letters are the signs used by ancient scribes to indicate an abbreviation.
THE CLERGY STALLS - The clergy stalls, made in the same style as the pews, are given by the Women's Missionary Society in memory of Miss Emma Van Gilluwe.
THE ALTAR CROSS: CHRISTUS REX - The suspended cross above the altar (below) is given by Mr. and Mrs. Alexander Grant, in memory of their son, Alexander Grant Jr. This cross, called the Christus Rex (Christ the King), is a purely symbolic cross, quite distinct from the crucifix which is naturalistic and realistic in its tone and intent, and represents our Lord as the Conqueror of sin, death and the grave, reigning triumphantly over the cross.
The figure of Christ is fully clad in the historic vestments of the church and with crown upon the head. These symbolize the Three Offices of Christ, so much a part of Lutheran teaching:
At each end of each arm of the cross is carved the symbol of one of the four Evangelists:
Winged
man (A) - Matthew
Winged lion (B) - Mark
Winged ox (C) - Luke
Winged eagle (D) - John
The stoles (E) - Christ as Prophet
The chasuble (F) - Christ as Priest
The crown (G) - Christ as King
These symbols, known and used already in the fourth century, were perhaps suggested by the description of John's vision of the four beasts who "give glory and honor and thanks" to God before the glory of His throne, Revelations 4:6-1 1. F- R. Weber, in Church Symbolism, pg. 188, gives this explanation of the symbolism:
The winged man is the symbol of St. Matthew, because that Evangelist begins his Gospel by tracing the human descent of our Lord. The lion denotes St. Mark, because that writer opens his inspired Gospel by describing St, John the Baptist, who was the voice of one crying in the wilderness. The ox is a representation of St. Luke, because he gives a very full account of the sacrificial death of our Lord. The symbol of St. John is the eagle, because from first to last his Gospel soars on eagles' wings to the very throne of I leaven.
On the orphrey of the chasuble (H in Figure 4) there is carved a vine with its branches. Its meaning is derived from Jesus' words in John 15, where lie declares that He is the True Vine and His followers are the branches. The clusters of grapes suggest the wine of Holy Communion and so also the blood of the Lamb by which we are redeemed and made clean.
On the left arm is the maniple (from the Latin manipulum, meaning towel.) This represents the towel Jesus used when washing the disciples' feet. It is the symbol of service and humility. John 13.
This cross has been called by some, "the Lutheran cross par excellence," - "a distinctively Lutheran cross," for in pure symbolism is expressed the essence of the Gospel: Jesus the Christ! Who as Prophet proclaimed the Word of God, who as Priest gave Himself on the cross as a ransom for us, who as King is Lord of all, reigning triumphantly over death, and who is witnessed by the Four Evangelists. To all languages and peoples the cross says: We preach Christ crucified - even the Risen One, who is King of kings and Lord of lords, the eternal Word of God.
CANDLESTICKS AND CANDELABRA - The wrought iron candlesticks and candelabra are the gift of Mrs. Margaret Cordes and Mr. and Mrs. Harold Coutlee, in memory of loved ones.
The use of candles on the altar probably began from the very practical need for light. They soon came to have the symbolic meaning of the Light of the Gospel, or Jesus Christ, the Word of God, the light of the world.
The two single candlesticks, also called Eucharistic or Sacramental lights, are lighted only at the service, which is properly a Communion Service. They are sometimes said to symbolize the two natures of Christ: true God and true man.
The five branch candelabra, also called office or Vesper lights, are lighted whenever a service is held in the church.
THE MISSAL STAND AND VASES - The wrought iron missal stand to hold the missal, or altar book and the vases for the altar were given by Mrs. Margaret Cordes and Mr. and Mrs. Harold Coutlee, in memory of loved ones.
THE MISSAL BOOK - The missal, or altar book, is given by Mrs. Henry Schultze, in memory of her son, Henry.
This book contains all the liturgy, the minor offices such as Matins and Vespers, the Litany, the Psalms, collects and propers for the days.
ALTAR LINENS - The altar linens are made and given by members of the Guild of St. Mary Magdalene, Altar Guild of the Evangelical Lutheran Church of the Atonement.
The fair linen, covering the mensa of the altar and extending down to about six inches from the floor, is the topmost cloth on the altar and is always kept there. It is made of the finest linen (hence, the name "fair" or 'fine') hand-hemmed, and embroidered with five white crosses representing the wounds of our Lord. The fair linen symbolizes the winding sheet used in the burial of our Lord's body.
The corporal (from Latin corporaler, pertaining to the body) is a cloth of fine linen, twenty inches square, which is laid on the fair linen. On the front edge center, a small white cross is embroidered. The Sacramental vessels are placed on it at the celebration of the Lord's Supper. As the fair linen, it symbolizes one of our Lord's grave clothes.
THE ALTAR FRONTALS - The altar is covered with richly embroidered paraments called frontals and superfrontals. The frontal (A) covers the entire front of the altar and the superfrontal (B) only the upper part of the altar front. The orphreys (C) are wide bands of contrasting cloth or embroidery, separating the frontal into three panels.
THE VIOLET FRONTAL This frontal is given by Mrs. Alva Dom Cobb, in memory of her father and mother.
The violet color, used during Advent and Lent, is the color of. Christ our King. It symbolizes penitence, affliction, suffering, but also loyalty, justice and royalty.
The frontal and superfrontal are done in violet Agnus Dei (Lamb of God) damask, with orphreys and lining of magenta.
The superfrontal bears the inscription, Ecce Agnus Dei Qui Tollit Peccata Mundi (Behold the Lamb of God the taketh away the sin of the world) the ascription concerning Jesus, made by John the Baptist in John 1:29. These words form the basis for the Agnus Dei in the Communion Liturgy.
In the central panel of the frontal is embroidered the Lamb of God in triumph (cf. Revelation 5) with a banner with the words Pax (peace) signifying the peace which Christ has brought. Behind the Lamb is a cross with the letters FNRI standing for Jesus Nazarenum Rex ludorum (Jesus of Nazareth, King of the Jews.)
The left panel has the Greek abbreviation for Jesus (IHC) and the right panel, the Greek abbreviation for Christ (XPC); both have over them the ancient sign of an abbreviation.
The set is appropriate both for Advent and Lent, for the ascription of John, who prepared the way for the coming of Christ, that Jesus is the Lamb of God, who through the cross removes sin and brings the peace of God, is fulfilled in our Lord's passion.
THE WHITE FRONTAL - The white frontal is given by Mrs. Cora Baker, in loving memory of her husband, Berthold W. Baker.
White is used on the altar for all festivals of our Lord and for the festivals of Holy Trinity, St. John the Evangelist, and St. Michael and All Angels. White is the primary liturgical color, at once the simplest and the purest. It symbolizes purity, joy, spotlessness, holiness, mercy, victory and glory.
This unusual frontal makes use of no superfrontal and the embroidery is entirely confined to the two wide orphreys. Cream colored St. Nicholas damask is used for the panels. The orphreys are of Madonna blue Fairford damask (which is a woven pattern of the bursting pomegranate symbolizing the Resurrection.) The orphreys are edged with black and gold galloons, and whole is lined with blue.
The embroidery on the orphreys, done mostly in white and gold, depict the genealogies of our Lord: the Root of Jesus showing His human and royal descent and the Rod of Aaron indicating by typology, the Offices of the Messiah
The Greek abbreviation for Jesus (IHC) appears in the "flower" of the root, and just below it, and a part of the stem, are the letters IR, standing for the Latin ludorum Rex, King of the Jews.
THE GREEN FRONTAL - The green frontal is given by Mr. and Mrs. Francis A. Young, in memory of loved ones.
Green, which is used during the trinity and pre-Lenten seasons is the color of growth, prosperity, and restfulness. It teaches the truths of Christian growth and immortality.
The design for this set takes its inspiration from the great vision of God in Isaiah 6. It is made in a moss green Florence damask and lined in brown.
The central panel is a combination of two symbols of the Holy Trinity superimposed upon the symbol of the Son of Righteousness. The P,F,S, within the circles, which symbolize eternity, stand for Pater (father) Filius (Son) and Spiritus (Spirit) The triangle is an ancient symbol of the Trinity.
In the side-panels are embroidered two cherubim in an attitude of worship. The angels and the symbol of the Godhead are surrounded by stars, symbolizing the glory and the hosts of Heaven.
The superfrontal bears the words Sanctus, Sanctus, Sanctus (Holy, Holy, Holy) which is the Cherubim hymn as described in Isaiah 6:3, and which is the source for the Sanctus of Holy Communion.
THE RED FRONTAL - This frontal is given by the Lutheran Guild of the Evangelical Lutheran Church of the Atonement.
Red is the color of bloodshed and fire. It tells of the price of sin, the vigorousness of life, zeal for God, labors of love, sacrifice, thanksgiving, praise, and prayer. Most especially, it is the color of the Holy Spirit, by whose power Christians come to faith and leave a good witness. Hence, red is the color used on Pentecost, martyrs' days, apostles and evangelists days (except St. John), at dedications and special anniversaries, harvest and thanksgiving.
Fairford damask, with the woven pattern of the pomegranate symbolizing the Resurrection, is used for this set. The orphreys are of red and gold Hart damask (cf. Psalm 42) an old medieval pattern, with galloons of gold and black and fringe of red, gold and black. The set is lined in black.
The central panel contains the symbol of the Son of Righteousness (cf Malachi 4:2) with the abbreviation, XP (Christ) in the center. It is surrounded by jeweled stars representing the glory of God and the saints, the faithful who by the Holy Spirit have been healed by the Son of Righteousness and having left a good witness are now Lord in glory.
The superfrontal bears the symbols of the four evangelists. For a fuller description, see the discussion above concerning the altar cross.
BURSES AND VEILS - With each set of frontals and superfrontals, there is a matching veil (to cover the communion vessels) and a burse (to hold the veil, when it is not in use.) These are embroidered with crosses in keeping with the design of the matching frontals. They are given by the donors of the ftontals and superfrontals.
THE COMMUNION VESSELS - The silver chalice, paten and flagon were given in memory of Gottfried Krueger Plym, 1902. The host box was given in 1923, in the memory of Arend F. and Johanna C. Luttman. The trays and glasses were given by the Confirmation Class of 1931.
THE CREDENCE TABLE - The credence table is given by Mrs. William Major, in loving memory of her parents and brother, Arthur Neilsen.
The credence table on the Epistle (right) side of the altar is of wrought iron with a marble top. The communion vessels and supplies of bread and wine are kept on it. There is also a place where the offering plates may be set. The top is covered with a linen cloth.
OFFERING PLATES - The six offering plates and the alms bason, finished in oxidized silver, were given by Mrs. William Major, in memory of Amo Bessemann and Ralph Dangler.
THE PRIE DIEU - The kneeling desk, or Prie Dieu, in front of the clergy stall on the Gospel (left) side of the altar was given by Mrs. Carl Miller, in loving memory of her parents, Mr. and Mrs. W.C. Heidelberger. The Prie Dieu is used for the devotions of the clergy and for special prayers and litanies.
THE ALTAR RAIL - The altar rail was given by Mrs. George Brophy, in loving memory of her father and mother, Mr. and Mrs. Samuel A. Archibald.
THE ORGAN - The organ, built in 1942, by M.P. Moller, bears the following names as memorials: Lt. G. Franklin Coble, Harold T. Guenther, and Philip Longstreet. For the new building, the organ was enlarged from four to six ranks of pipes. The specifications of the organ were as follows-
THE PULPIT - The pulpit is given by Robert and Agnes Bornemann, to the Glory of God and in memory of loved ones.
The pulpit, situated on the Gospel (left) side of the chancel, is of very simple design and bears in a wood-carving, the symbol of Luther's rose. Ingeborg Stolee, Luther's Life, pg. 133, gives this summary of Luther's own explanation of his seal:
The first thing expressed in my seal is a cross; black, within the heart, to put me in mind that faith in Christ crucified saves us. 'For with the heart man believeth unto righteousness' Now, although the cross is black, mortified, and intended to cause pain, yet it does not changes the color of the heart, does not destroy nature...i.e. does not kill but keeps alive. "For the just shall live by faith" - by faith in the Saviour. But this heart is fixed upon the centre of a white rose, to show that faith causes joy, consolation and peace. The rose is white, not red, because white is the ideal color of all angels and blessed spirits. This rose, moreover, is fixed in a say-colored ground, to denote that , such joy of faith in the spirit is but an earnest and beginning of heavenly joy to come, is anticipated and held by hope, though not yet revealed. Around this ground base is a golden ring, to signify that such bliss in heaven is endless and more precious than all joys and treasures, since gold is the best and most precious metal Christ, our dear Lord, He will give grace unto eternal life. Amen.
THE LECTERN - The lectern was given by Mr. and Mrs. Carl Ross, in memory of loved ones.
The lectern, located on the Epistle (right) side of the church, is similar to the pulpit in design and size. On its front panel is a wood-carving of the Book and Sword, suggested by Paul's description of the Word of God as the Sword of the Spirit. While it symbolizes the Word, it has become the most frequent symbol for the Apostle Paul.
Taken together the symbols are suggestive in that the symbol of the Word is set where God's Word is read, and Luther's Seal, which in symbol epitomizes the Gospel, is set where the Gospel is preached. At the same time, the two symbols stand for two of the greatest theologians of Christendom, Paul and Luther, who also stand in the same stream of theological thought.
LIGHTING IN THE CHANCEL - The lighting in the sanctuary and choir has been given by James W. Mancuso, the architect for the building, as a memorial to his wife.
THE PULPIT BIBLE - The pulpit Bible was given "in memory of the Holy Communion Service, conducted by Pastor G.A. Genzmer, Holy Thursday, April 4th, 1912."
THE LECTERN BIBLE - The lectern Bible was given in memory of Hilda Walker by her husband.
THE FLAGS AND STANDS - The United States and Christian flags were given by Mr. and Mrs. Henry Schultze and the stand by Mr. and Mrs. William Cordes, in memory of grandparents.
THE FONT - The font in the alcove on the Gospel side of the church is of marble, made by Mr. Julius Hansen, The carved wood cover and the base were originally designed and made by W. F. Coble. Carved in the marble are the words: 'One Lord One Faith-One Baptism" (Ephesians 4:5)
On the baptistery bracket is an ewer, given by the Girls Guild in 1930, and a silver candlestick given in memory of Bernard and Anna Van Guiluwe.
THE NAVE
BUILDING SHARES - Two nave shares have been given by William E. Hefier and Florence H. Hefter. One share was given by Raymond R. Hefter, in memory of loved ones.
WINDOWS - One stained glass window has been given in memory of Arthur Reines, former member of the church council, by his son, Arthur Reines. (The installation of this window waited until the complete sketches and plans for all windows were made.)
PEWS - Memorials given in the form of pews in the former church are being continued in the new church by attaching those names to the new pews. These memorials and gifts are as follows:
RUG - The original carpeting in the church was given by the Lutheran Guild.
PARISH HALL: MAIN FLOOR
STAGE - The Brotherhood and Senior Intermediate Luther League has shared in giving the stage.
KITCHEN - The Ladies Aid Society has given the kitchen. The responsibility of furnishing the kitchen has been share by the Ladies Aid Society and the Lutheran Guild.
PARISH HALL: GROUND FLOOR
This area is used as the principal Sunday School, Choir, council and nursery meeting places.
CLASS ROOM - The furnishing of one classroom was given as a memorial by Mr. and Mrs. Joseph Bryan.
THE CHAPEL
A permanent chapel for the use of the church school and the congregation in general is projected for under the nave of the church. When completed the furnishings and appointments, which could not be used in the new and larger church will be used here. Following is a general list of some of the memorials, which will find their place and use in the chapel.
ALTAR, PULPIT, LECTERN, AND CLERGY CHAIRS - The plans and designs for these furnishings were made by Mr. W. F. Coble and Mr. John L. Schnieder. The woodcarving was done by Mr. Schneider's brother, Louis. The two clergy chairs were given by Mr. and Mrs. W. P. Steinhauser.
ALTAR CROSS - The altar cross was given by the Van Guiluwe family, in memory of Otto Bernard Van Guiluwe.
THE CANDLESTICKS - The gold-filled candlesticks were given by Mr. and Mrs. J.H. Haaren, in memory of Walter
THE MISSAL STAND - The brass missal stand was given by the Confirmation Classes of 1925, 1926, and 1927.
THE MISSAL - The Missal Book was given in memory of G. Franklin Coble, Lt. U.S. Army, 1918.
THE PARAMENTS - The superfrontals and Bible markers were made by Mrs. Meta Embley (white and red) and by Mrs. Nora Riggs (green, violet, black) When the original white silk became worn, Mrs. Riggs cut out the original embroidery and applied it on new material. New pulpit and lectern falls in white were given by Mrs. William Major.
ALTAR RAIL - The altar ra was given by Mr. and Mrs. W.P. Steinhauser.
OFFERING PLATES - Two brass offering plates were given in memory of Henry Ficken, by Mrs. Margaret Cordes. One offering plate was given by the Confirmation Class of 1935, and another by Mr. E.J. Haaren.
OTHER MEMORIALS FROM THE FORMER CHURCH
WINDOWS - The memorial windows in the former church building bear the following names of persons memorialized or donors- Arthur Neilson, Adolph G. Ashbrand (3), Harold T. Guenther, Henry F. Lange, A.W. Cornelius and family, Johanna C. and Arend E. Luttman.
ALMS BOX - The Alms Box or "Mission Box" was designed and carved by Mr. W. F. Coble.
HYMN BOARD - The hymn board was designed and carved by W.F. Coble.
RUG - The carpeting in the former church was given by Mrs. Francis Young and Mrs. William Cordes, in memory of Paul Hamme and William Cordes.
SUNDAY SCHOOL PULPIT - The pulpit, which has been used by the Sunday School, is the first pulpit of this congregation, given by John L. Schneider on March 9, 1890.
WALL PLAQUES
Here follow the inscriptions of the four wall plaques from the former building. They will be place in the new building when suitable places can be found or made.
- HIGHLIGHTS IN HISTORY OF
- THE EVANGELICAL LUTHERAN CHURCH
- OF THE ATONEMENT
1889 - Sunday School meetings held in home of Louis Van Gilluwe and other.
February 16, 1890 - First service in the YMCA building (Appleby building at Mattison and Main Streets, Asbury Park) Soon moved to room in rear of Asbury Park National Bank and Trust Co. building, Emory Street.
October 1891 - Ladies Aid organized at the home of Mrs. Louis Van Gilluwe.
1891 - Ground bought by Dr. Ashmead Schaeffer, mortgage of $5,000, transferred to church.
May 29, 1892 - Dedication of first church, Grand and Monroe Avenues. Cost (with furniture) $3250, $2850 paid at time of dedication. Forty communicant members.
1893 - First pastor, Rev. H.D. Spaeth, called.
April 30, 1916 - Last services held in first church building. Services held in YMCA building (English, German, Sunday School) Britton's bid for $6,932. Accepted, additional cost of $400 to move old church to Heck Street site. $8,000 total goal for building project.
June 24, 1917 - Dedication of church building, Heck St. and First Ave. Participating: Rev. G.H. Bechtold, Rev. H.E. Meyer, Rev. H.G. Davis, Rev. Walter H. Grunow, pastor.
January 31, 1932 - Burning of mortgages: Grand and Monroe Avenues property (paid off November 28, 1904) and Heck St. and First Avenue property (with aid of James A. Bradley bequest of about $5,000.) Rev. Carl H. Miller, pastor. Mortgages burned by Louis Van Gilluwe, papers handed to him by Edwin Hamme, candle held by Helen Cordes.
June 20, 1950 - Joined newly-formed Evangelical Lutheran Synod of New Jersey, leaving old connection with New York Synod.
May 4, 1952 - Ground breaking for construction of new church and parish house, Heck St. and First Ave.
May 1952 - Beginning of demolition of old church.
July 1952 - Beginning of construction of new church and parish hall; financial campaign for $76,000, successfully completed, over all cost about $160,00.
September 21, 1952 - Cornerstone laid for new church.
March 22, 1953 - Dedication of new church and parish hall. Participating: Rev. Dr. Edwin H. Knudten, President of Evangelical Lutheran Synod of NJ, Rev. G.H. Bechtold, Rev. Henry E. Kraft, and Rev. Carl H. NWier. Pastor, Rev. Robert
E. Bornemann.
Additional highlights added as of March 1997
October 1959 - Congregation holds special meeting and votes to purchase the property at 807 Bergh St. the property adjoins the rear of the parsonage's lot. Cost was $13,000.
October 1962 - Congregation votes to erect a parsonage for $26,000, at the comer of Lakeview and Colonial Aves, Colonial Terrace, Ocean Twp. The lot had been donated to the church by Miss Mildred Weber of Bradley Beach. Contract was awarded to Mr. William Major. who agreed to erect the house, when his builder, Walter Hurley, was unable to complete the agreement. The action of the congregation included the demolition of the present parsonage at 807 Bergh St. and construction of parking lot.
March 3, 1963 - A ground breaking ceremony for the new parsonage was held at the site with Miss Mildred Weber and Eugene Calafato assisting the pastor.
June 27, 1963 - Pastor Forker and family moved from old to the new parsonage.
August 1964 - The ground floor under the nave was finished off. An office was provided. Cost $5,765.
February 14, 1965 - Congregation celebrated its 75th Anniversary at worship service. Rev. Robert Bomemann, former pastor, was guest preacher.
May 16, 1970 - A testimonial dinner was held at the Terrace Gardens in Wanamassa, to honor Rev. Walter Forker, on the occasion of the 25th anniversary of his ordination.
January 21, 1973 - The congregation held a mortgage burning service at 10:45 am, at which time Dr. Edwin Ehlers, president of the NJ Synod was the preacher and held the mortgage facsimile, while it was burned. The congregation paid off all debts in October 1972.
May 12, 1974 - A lounge downstairs was dedicated to the memory of William and Florence Major.
September 22, 1974 - Dedication service was held for our rebuilt and enlarged pipe organ with entirely new console and great organ.
April 1978 - Congregation began holding one service at 10 am with church school at 9 am.
January 1981 - Initiated retirement fund for Pastor Forker.
February 1986 - Rev. Stephanie S. Steele's ordination, Atonement's first female pastor. Co-pastor with Rev. G. Stanley Steele (husband & wife).
1989 - Renovations made to Atonement, in preparation for Centennial Celebration. Original Altar restored and placed in chapel downstairs. Centennial Quilt (hanging in back of church) was designed and crafted by each church organization,
February 1990 - 100 Years Celebration of Atonement Lutheran Church, celebrated dinner at Barclay in Belmar, NJ. Organist and choir director, Arthur Reines wrote Centennial Hymn 'Thank you Lord, for I 00 Years'
March 7, 1993 - Rev. James S. Vargo, called as pastor, presides over his first worship service at Atonement.
March 14, 1993 - John Schoening, soloist, sings his 1,500th solo during worship service.
May 5, 1996 - Arthur Reines celebrates his Golden Anniversary (50 years) with Atonement Church, as organist and choir directors.
June 9, 1996 - Rev. James S. Vargo, celebrates his 30th ordination. Celebration service at Atonement Church.
PASTORS OF THIS CONGREGATION
MEMBERS OF CHURCH COUNCIL DURING BUILDING PROGRAM
MEMBERS OF THE BUILDING COMMITTEE (formed in Spring 1951)
The Architect for the new church and parish hall was James W. Mancuso, Long Branch, New Jersey.
The Builder for the new church and parish hall was S.J. Day Associates, Asbury Park,
New Jersey.