I Have Seen Some Churches - III - The Churches of New England

First Congregational Church on the Common - Townsend, Vermont
Built in 1790 (today affiliated with United Church of Christ)
Copyright Andy Richards 2010 - All Rights Reserved

THE FIRST two posts in this series illustrated some of the very grandiose churches, Cathedrals, Mosques and Shrines I have had the privilege of seeing in person over the past few years. The majority of them have been in Europe. Some are thousands of years old. Some are fairly new. Some (particularly shrines and temples of Asia) are colorful. All are architecturally  striking.

Congregational Church - Middlebury, Vermont
Copyright Andy Richards 2006 - All Rights Reserved

I WANT to turn a corner for a minute and look at some very much simpler churches, but every bit as symbolic. The churches of New England. By comparison, the architecture of these churches are very simple. There are a number of reasons behind this, I think.

United Church of Westford, Vermont
Copyright Andy Richards 2006 - All Rights Reserved

THE RELIGIOUS philosopy in the early New England Colonies consisted of a very simple, straightforward set of core beliefs. "Grandiose" was not part of them. Many of the citizens who started and built these churches came from Europe to escape some of the grandiose and imperious approaches to religion prevalent in Europe. Freedom to worship as they see fit. Simplicity of beliefs translated into simplicity of design. In the early days of the colonies in the 17th century, the Puritans heavily influenced the design of "churches" (they called them "meeting houses" rather than churches), with a square, unadorned building being the central feature.

Sharon Congregational Church (UCC) - Sharon, Vermont
Copyright Andy Richards 2010 - All Rights Reserved

DURING THE 18th century, design slowly evolved, with towers (bell towers) and/or steeples becoming common. The primary style over the years has been Gothic, or has evolved from Gothic. The design of many of these later churches has been classified as "federal" or "colonial." Architectural touches were borrowed from Europe including the architecture of Londons' famed Christopher Wren, seen primarily in the and steeple/bell towers of many of the churches.

Stowe Community Church - Stowe, Vermont
Copyright Andy Richards 2005 - All Rights Reserved

A SECOND highly relevant factor was the availability of building materials, construction equipment, architects and builders. Trees - and therefore wood - were plentiful in the northeastern United States. Wood was comparatively easy to work with, and cheap, given its abundance.

West Hill United Methodist Church - Chelsea, Vermont
Copyright Andy Richards 2015 - All Rights Reserved

IN KEEPING with the early simplicity of the Puritan beliefs, churches were - if painted at all - painted in plain colors. The white that we so often see today in "postcard" images did not actually come into being until the 20th century! The pigments available before were more of an off-white (or perhaps whitewash).

The East Orange Union Church is a non-denominational Church built in 1819 - It is perhas the most uniquely painted church I have photographed in New England. New growth from the Ridge Road above has rendered it nearly impossible to photograph today.
Copyright Andy Richards 2006 - All Rights Reserved

THE DISCOVERY of Titanium Dioxide in the 1920's gave forth to the bright white paint that we see on so many of today's New England churches. This happened at about the same time as the so-called, "Colonial Revival" architectural movement. The Colonial Revival period idealized the colonial history of New England, creating  the iconic postcard image of the white church on the town common. However, as some of my images show, sometimes they are painted colors other than white.

Baptist Church - Sutton, Vermont
Copyright Andy Richards 2025 - All Rights Reserved

NOT ALL of these picturesque churches are still in use today as religious meeting houses. Many of them have been preserved as important local landmarks, like the West Hill Methodist Church above, which was closed in 2016, but is still operated by The Methodist Association as a historical site.

The Village of East Corinth, Vermont is often photographed from numerous perspectives, but you will seldom see a shot without the white, East Corinth Congregational Church and its Christopher Wren-inspired steeple anchoring it.
Copyright Andy Richards 2026 - All Rights Reserved

FOR LANDSCAPE photographers, the simple, often white, geographic structures of these churches make a wonderful element, anchor point, or even subject in these idyllic rural villages. The East Corinth shot above has a lot going on, but without the church, it just doesn't work. But in many instances, there is not only one centrally featured church but two, or even more. This makes for a number of good photographs from distance - from the perspective that my good friend and mentor, John Knox calls: "steeples in the hills."

The Village of Barton, Vermont - In this shot from up on Kinsey Road, you can count 3 steeples
Copyright Andy Richards 2010 - All Rights Reserved

Twin Steeples of these churches are actually across the road from each other in the Village of Chelsea, Vermont (credit to John Knox for showing me this scene)
Copyright Andy Richards 2021 - All Rights Reserved

IF ANY readers here are classmates of mine from Hillsdale College back in the late '70s - early '80s - and if they were fortunate as I was to have Dr. John Willson as their Freshman American History (required course for all Hillsdale grads in those days) professor, they will (presumably fondly) remember the phrase: "family, church, and local community" drilled into them on an near-daily basis in his class. As you travel throughout our country - particularly in rural and first-settled parts, you will see two-thirds of that trilogy grandly illustrated. Every community has at least one church and it is always a central feature. Indeed in many cases, that church spire is visible from every angle. And in the case of the New England Churches, it is always the white steeple that shows up.

The Peacham Congregational Church's prominent and oft-photographed steeple can be seen prominently, both from afar, and from every angle around the village
Copyright Andy Richards - All Rights Reserved

NOT EVERY "New England" church is found in New England. Indeed, it seems that wherever settlors moved west and to some extent, south, they carried those building traditions with them. In my couple trips to Great Smoky Mountain National Park in Tennesee, the former community of Cade's Cove has 3 churches - all with the similar styling of the New England churches above. The Cade's Cove Methodist Church is perhaps the best known of them.

Cade's Cove United Methodist Church - Great Smoky Mountain National Park, Townsend, Tennessee
Copyright Andy Richards 2023 - All Rights Reserved

Sainte Anne's Church - Mackinac Island, Michigan
This splendid copy of the Gothic Revival style New England Church is a long way from New England
Copyright Andy Richards 2007 - All Rights Reserved

THE ARCHITECTURE of these churches fascinates me. As I briefly touched on above, the earliest churches were very simple, rectangular buildings called "meeting houses." At some point, cupolas, belfries and then steeples were added. My conjecture is that the main reason for these additions were as a bell tower, as churchbells were certainly an important part of the culture. The Cade's Cove church is - in my mind - as close to the early Puritan "meeting houses" as you can find today. It is very simple, both inside and out.

Churches on the Common; Newfane, Vermont
Copyright Andy Richards 2010 - All Rights Reserved

THE TWO side-by-side churches on the Newfane, Vermont Common are a perhaps "fun" illustration of two very popular "versions" of New England Church architecture. The church on the left, in the very traditional Gothic Revival style, was the town's first meeting house, built in 1832. Today it is known as "The Union Hall." Shortly afterward, in 1839, the Newfane Congregational Church was built directly next door. Whild also mostly Gothic Revival style, this one sports the then-increasingly popular tall steeple reaching - presumably - for "the heavens," inspired by England's famous 18th century architect: Christopher Wren.

Strafford Meeting House - Strafford, Vermont
Copyright Andy Richards 2010 - All Rights Reserved

HIGH ON a hill above the Strafford, Vermont Common, sits The Strafford Meeting House; perhaps the most photogenic of these churches that I have ever seen. It is also perhaps my best example of the evolution of some of these churches to the more grand "New England classic revival," or "federal" style. Note how much more detailed and palatine the steeple complex is.

Trinity Church - St. Anne's Square - Newport, Rhode Island
This late 17th century church is Rhode Island's oldest Episcopal Church
Copyright Andy Richards 2016 - All Rights Reserved

THIS BLOG post might lead you to believe that I am suggesting the only place there are great examples of classic, colonial New England style churches is Vermont. I have spent many years stomping around Vermont with my camera in hand. Unfortunately, I haven't spent much time in the neighboring New England states, so I don't have any personal examples of them. Something I would like to do someday. I know that, particularly in New Hampshire, Massachusetts, Rhode Island and Connecticut, hundreds more examples of these churches exist in the many small bergs and villages. At this point, my only image that comes close is of the Trinity Church Steeple in Newport, Rhode Island. I hope to add to the collection in future years.

I Have Seen Some Churches - II

Torii Gate - Fushimi Inari Shrine - Kyoto, Japan
The Torii Gate is a traditional entrance to *usually) a Shinto Shrine
Copyright Andy Richards 2015 - All Rights Reserved

IN 2015, we had the great fortune to spend a little over a week in Japan. It was my first trip to Asia (save for the ever so brief touch in Istanbul on a cruise stop a couple years previously in 2013). In a way, that is surprising, as my dad spent some time in Korea and Okinawa during his stint in the service. My oldest sister was born in Okinawa, and my parents fondly remembered friends and cultural experiences there. Ironically enough, I have never (yet) been to Okinawa. We did visit Japan again, though, for a fairly long period in 2024, spending a week in Tokyo, and then a two-week cruise around the main island. A very memorable trip.

Seiryu-ji Temple - Aomori, Japan
The Buddhist influence is often incorporated into a Shinto Shrine - This is the largest bronze statute in Japan
Copyright Andy Richards 2024 - All Rights Reserved

MY SON was married in Tokyo in August, 2015, and our daughter-in-law's parents (some truly wonderful people), took us to Kyoto, where we stayed for 2 nights and toured for most of 3 days - mostly with a private tour guide. It was a truly memorable time.

Seiryu-ji Temple - Aomori, Japan
Copyright Andy Richards 2024 - All Rights Reserved

RELIGION, SYMBOLISM and Shrines are an inherent part of the Japanese culture. There are two primary religions observed in Japan: Shinto and Buddhism. A large part of the population actually observes a mixture of the two. Less than 1% of the Japanese population observes the Christian religion which is so prevalent in the U.S. and Europe. There seems to be general agreement among observers that Shinto, which represents nature worship and spiritual purity, is the central influence, with many 100's of years of Buddhism also exerting its influence and often inter-mixing with Shinto symbolism and practice.

Fushimi Inari Shrine - Kyoto, Japan
A typical modern Shinto Shrine - Repeating patterns, bright colors and geometric shapes modified with (often upward) curves
Copyright Andy Richards 2015 - All Rights Reserved

GEOMETRIC SHAPES and often bold colors carry much religious and cultural symbolizm in Japan. Repetition is often seen in architectural design, which also carries with it a certain appealing simplicity. In keeping with the nature worship, many (if not all) shrines (even those in the center of large population hubs) are significantly affected by natural things like ponds, plants and flowers. For the photographer, these shrines and their surroundings make wonderful fodder.

Temple Rokuan-ji - Kyoto, Japan
Doing my research for our planned trip in 2015, I came across this image and immediately committed to visit and photograph this very beautiful temple - and yes, that is real gold!
Copyright Andy Richards 2015 - All Rights Reserved

IT IS not unusual to find shrines and temples set in natural settings, often right smack in the middle of high-population metropolitan areas. The Asian culture is very oriented toward nature, gardens, water, and ornate plants.

Torii Gate - Koishikawa Korakuen Garden - Tokyo, Japan
A more traditional example of an older Torii Gate, often painted white and of natural materials
Copyright Andy Richards 2024 - All Rights Reserved

AROUND THE 6th century, Buddhism, and along with it, architecture from mainland Asia came to Japan, bringing the bright colors to the temples and shrines so oftgen seen in Japan today. Though there are several important colors, perphaps the most important and symbolic is that wonderful red/orange color: vermillion. The vermillion pigment was derived from the mineral, cinnabar, which is a rather bright, red color. Cinnabar contains large percentages of mercury, and thus, is highly toxic. That probably wasn't very well-known centuries ago, and I would venture to guess that today's "vermillion" pigment is probably some type of synthetic which does not contain mercury. One of its positive qualities was that mercury was a natural preservative for wood. Vermillion was rather rare and expensive, and thus, reserved for things like temples and shrines for many years. The color has become more common today, but it probably explains why most of what you see on display in Japan and other parts of Asia are shrines.

Temple Todai-ji - A more traditional shrine with natural materials and looks - Nara, Japan
Copyright Andy Richards 2015 - All Rights Reserved

TRADITIONALLY, JAPANESE Shrines were (and often still are) built from natural, mainly wood materials, and are often left unfinished in their natural state. But the addition of vermillion in the 6th Century to many of these buildings was partly a consequence of the prominence of several "sacred" colors in the Shinto/Buddhist/Taoist religions (including green, black, and purple, which we also so a fair amount of in Japan).

THESE TEMPLES/shrines are often more than just a "church" or building. The Ikuta Shrine in Kobe, Japan is a wonderful example of how the grounds are a combination of landscape and multiple architectural examples of the Shinto tradition.

Main Entrance - Torii Gate - Ikuta Shrine - Kobe, Japan
Copyright Andy Richards 2024 - All Rights Reserved

Ikuta Shrine - Kobe, Japan
Copyright Andy Richards 2024 - All Rights Reserved

Ikuta Shrine -Kobe, Japan
Copyright Andy Richards 2024 - All Rights Reserved

Ikuta Shrine - Kyoto, Japan
Copyright Andy Richards 2024 - All Rights Reserved

BECAUSE THEIR approach to their religion is more holistic and communal with nature, their "places of worship" or often not confined to "churches" or gathering halls and examples can often be found in parks and gardens. In fact some of the shrines and temples themselves are part of a larger complex of garden and parklands.

Kiyomizo Temple - Kyoto, Japan
Copyright Andy Richards 2015 - All Rights Reserved

REPETITION IS often a tenet of Asian art and architectural design. In the context  Asian temples and shrines, the repetition is not only within the elements of design but also often seen as a motif in the overall landscape. The tiny Kiyomizo "mini-temple" above is a very small, but very similar copy of the much larger Fushimi Inari Shrine and grounds at the bottom of the mountain (this shot is the only time during that year's Japan visit that I felt a bit under-equipped - I would have liked to have had a telephoto lens for this shot - but it does, nonethelss, show the landcape in context).

Kaminarimon Gate - To Buddhist Shrine Senso-ji - Tokyo, Japan
Copyright Andy Richards 2024 - All Rights Reserved

ONCE THE largest city in the world by population (now third behind Jakarta, Indonesia and Dhaka, Bangladesh), but squeezed into a relatively small land mass for its 330 million inhabitants, it is amazing to me just how much "parkland" Tokyo has preserved. And much of it is associated with the various shrines and temples around the massive city. But not always. There is one example where one of the most significant and famous temples is compressed right into one of most populous, and crowded urban areas. I shot the images composited above in 2024 in front of the very crowded Kaminarimon ("Thunder") Gate, which is the entrance to the Buddhist Senso-ji Temple in the Akasuta Prefecture of Tokyo. As you can see from the image below, rather than tranquil, "commune with nature" surroundings, the walkway leading up to the temple is lined with very commercial shops! This is the only place I saw anything like this near a shrine or temple.

Behind the Kaminarimon Gate, approaching Senso-ji - Tokyo, Japan
Copyright Andy Richards 2024 - All Rights Reserved

JUST AS often, it seems, there is a mix of all the elements discussed above, some bright color, some natural materials and the traditional shapes blended into the natural landscape, like the small shrine that is one of many elements of the Seiriyu-ji Shrine in Aomori Japan, below.

Seiryu-ji Temple Complex - Aomori, Japan
Copyright Andy Richards 2024 - All Rights Reserved

I NOTED above that there are a few "sacred" colors in the Shinto-Buddhist belief system. Red (or vermillion), we said, may be the most common. It is thought to ward off evil and is a signal of strength. It has become a symbol of wealth in Japan, also, in great part because during its earliest introduction it was too expensive for all but the weathiest (which often translated to emperors and other high up leaders). Perhaps the second most common color I have seen is green (midori). Green symbolizes nature, harmony, and peace. It not only compliments the rich color of vermillion artistically, but is thought by architects to be a blend of the strength and power with nature and harmony. Perhaps my favorite example of this was the small temple at the entrance of the Seiryu-ji Temple complex in Aomori. I absolutely love the Vermillion and green mix here, with the geographic elements.

Seiryu-ji Temple - Aomori, Japan
Copyright Andy Richards 2024 - All Rights Reserved

AS MUCH as I love the bright colors, there is certainly a peaceful "vibe" about the use of the more traditional, natural colors of natural wood and white. In the Shinto belief system, white symbolizes spiritual and physical purity. What impressed me about the Seiryuden Temple below, however, was its elegant simplicity. There were only the colors you see here - inside and out - and the interior was very "spartan," in its furnishings. The glass block benches gave the temple a very modern, yet still elegant look and feel. Like the more traditional European Churches in the first blog in this series, I know I will be back in Japan at some point. I also have my eyes on a more extend visit to South Korea some day soon. So there will be more pictures.

Seiryuden Temple - Kyoto, Japan
Copyright Andy Richards 2015 - All Rights Reserved

I Have Seen some Churches!

Prominent Steeples in Zurich, Switzerland
Copyright Andy Richards 2024 - All Rights Reserved

MAYBE TOO many. 😊 It is not hard to see why churches figure so fully into sightseeing around the world. They tend to be the foremost specimina of the historical development of art and architecture, being possibly rivaled only by some of the impressive palaces around the world. I have seen some pretty cool churches, from simple to ornate, and have only sometimes felt that my photography of them did them justice. The shots in this blog are by no means all of my images. I have shot 100's of churches over the world. And I will continue to add to that collection as time goes on. These are just a few of them That "curated" just for this post. This is the first in a series of posts where I showcase some of the very different "churches" I have had the pleasure of visiting all over the world.

St. Colman's Cathedral - Cobh, Ireland
Copyright Andy Richards 2019 - All Rights Reserved

ONE OF my favorites around the world, and perhaps the most imposing steeple I have observed, is St. Colman's Cathedral in Cobh, Ireland. The tall, gothic steeple reaches around 300 feet into the sky. It is the tallest church in the Republic of Ireland.

St. Patrick's Cathedral - Dublin, Ireland
Copyright Andy Richards 2019 - All Rights Reserved

THAT IS - to my way of thinking - the major positive of seeing all these churches around the world. They tend to make wonderful photographic subjects, if you can find an interesting viewpoint. They stay put, and so with few exceptions, you can try to time your shooting to the rigth conditions. Lighting (both natural and artificial) often lends drama and depth to them.

St. Paul's Cathedral - London, England
Copyright Andy Richards 2021 - All Rights Reserved

CHURCHES AND similar religious architecture, as is true of religion in general, have always been front and center in every civilization. No matter the religious leaning, it is nearly impossible to visit any primary city (as well as most smaller towns) without a steeple or spire (or more) being prominently seen from nearly everywhere in the vicinity, reaching - as it were - to the heavens.

Westminster Abbey - Westminster; London, England
Copyright Andy Richards 2021 - All Rights Reserved

CHURCHES REPRESENT every developing phase of architecture, beginning with the ancient pyramids and continuing through the Middle Ages (with such Medieval "period" architecture as Gothic, Byzantine, and Romanesque), the Renaissance ("neo-Gothic," Baroque), the Neo-Classic and modern periods. At the same time, particularly during the Medieval and Renaissance periods, there were also many examples of Moorish architecture, largely brought by the Muslims from Africa, Asia and the Middle East, and in the eastern Asian part of the worlds, influence from Asian architecture (particular Japan, China and Korea).

Chandeliers and stained glass windows lend color to the otherwise very gothic appearing La Segrada Familia in Barcelona, Spain
Copyright Andy Richards 2015 - All Rights Reserved

WITH THE notable exception of Asian (Japan, Korea, China) shrines, bright colors are not a primary feature of most churches. It does, however, serve its ornamental purpose in the form of paintings, tapestries, and stained glass windows.

Understated but nonetheless colorful chandelier and stained glass windows highllight the monotone organ pipes and organic interior of Trondheim, Norway's Nidaros Cathedral
Copyright Andy Richards 2025 - All Rights Reserved

IN MY own travel experience, architecture seems to inform history, and the architecture of Northern and Central Europe, Eastern Europe, Asia, Africa , North America and South America are all quite different. And churches generally are the first buildings erected in any historical civilization. Thus "European" churches tend to come more from gothic traditions and origins, as modified by subsequent periods, like neo classic.

One of the oldest churches in the world; The Chruch of the Holy Apostles sits in the center of the Roman Agora in Athens, Greece
Copyright Andy Richards - 2015 - All Rights Reserved

OFTEN MUTED organic materials are used inside and out. Earthy colors are common. While very old churches were often constructed with wooden timbers, newer churches into the middle ages and the renaissance replaced them with more durable materials such as stone. Stone masonry was - of course - very important part of the building trades. And these materials were inherently more resistant to nature disaster like wind and fire.

The Front side of Notre Dame Cathedral in Paris, France - photographed in 2019 shortly after the fire. The back side was all scaffolding and charred timber remnants. Hopefully my upcoming trip to Paris in 2026 will afford the opportunity to photograph the newly completed building.
Copyright Andy Richards 2019 - All Rights Reserved

TWO OF Europe's keystone churches, St. Paul's Cathedral in London and Notre Dame in Paris were substantially destroyed by fire: the older, much smaller, original St. Paul's by the 17th century great fire of London, and Notre Dame (which sustained major damage to its wood framed upper story and roof) in the more recent, 2019 fire.

The distinctly gothic "St. Vitus Cathedral" in Prague, Czech Republic, built in the 14th Century
Copyright Andy Richards 

EUROPEAN CHURCHES  seem to me to be more grandiose. Large and imposing, they almost always reflect the trends of art and architecture of the times, often designed by some of the great, European artists. I believe symbolism is a huge part of the design of all churches. Grandiose shows, in my view, the power of the god for which the church was built. Many of the European churches are also packed with small instances of what might be called "micro" symbolism.

St. Mark's Cathedral - Venice, Italy
Copyright Andy Richards 2019 - All Rights Reserved

IN OTHER parts of the world, churches symbolize a much simpler approach and view of the religion, though perhaps also highly influenced by practicality (like the availability of building materials). Thus, we see a huge proliferation of simple, white-steepled ("New England" styled) churches in the small communities around the United States, and in some parts of Northern Europe. Photographically, I am often drawn to these simpler structures by their straightforward lines and shapes. As they are often white, I look for context that will frame and give the photo some variety and interest.

What remains of the original St. Paul's Church, London, England
Copyright Andy Richards 2021 - All Rights Reserved

NOWHERE HAVE I ever experienced symbolism more starkly, however than in Asia (in my case, primarily Japan, but I know Korea, China, and I am certain other countries in that part of the world showcase similar architecture).shrines' most salient characteristics are the characteristic shapes, and bright colors (particularly red, vermillion, green and golds).  And they are next.