Christ Church is hidden in the backstreets surrounding Galata tower and walking into the entrance is to be suddenly transported to England by its neo-gothic style. It is normally known as the Crimean Memorial Church or simply the Crimean church, as it was built in commemoration of those who fell in that war. The whole church serves as the memorial although there is also a small plaque inside. This decision was taken by Stafford Canning aided by the desire to provide a place of worship for the small but growing Anglican community in Istanbul in the 1850s. Designed by George Street, the brain behind the Royal Courts of Justice, it was finally consecrated in 1868 but the magnificent rose window was not added for another decade. Its position at the East end of the church is traditional: the East where the sun rises has the association of light and purity and as worshippers enter at the West end they leave their sins behind at the door.
The window itself has Christ at its centre in a large circular panel, surrounded by another circle, divided into four sections with by symbolic depictions of the evangelists. The outer ring consists of twelve individual round windows portraying the apostles. Or, more accurately, eleven of them for Judas’ likeness is replaced with the simple XXX: Roman numerals of the number 30, representing the 30 pieces of gold which he was paid for his betrayal.
From the 1920s onwards the window, along with the church itself was in a state of steady decline and by the 1960s was almost completely abandoned. It was finally deconsecrated in 1973. During this time much was stolen from the church and the window, far more fragile than the building that housed it, sustained significant damage. The lead that keeps the glass in the frame softened considerably and the abandoned church was often used as a place to congregate by people in a very different way to its original intention, some of whom saw it as a perfect target for their slingshots.
It was only in 1989 when Ian Sherwood, at the time the vicar at church at the nearby British consulate, fought for its preservation and prevented it from being handed over to the municipality. After a dramatic campaign to save the church, including a period of (appropriately) 40 days during which he slept in the Church, he set about the process of restoring it to become a living church once more. When he first entered the church the window was largely in shattered pieces lying on the floor. As part of the long process of re-establishing the church the fragments were returned to their position as best as could be managed.
However, large amounts of the glass was missing and at the time it was not a priority given the vast amount of work that had to be done in other areas. The church was in a state of total disrepair, having not been used for over 60 years: it had been left for so long that when the electricity was turned on an explosion ensued as the voltage had changed.
A pane of glass was placed behind what remained of the entire window to prevent the church from becoming a nesting place for birds, although it now seems to have some welcome members of its congregation in a pair of chickens (Meghan and Harry) and a cat who were fondly greeted. The church is now at a stage where the window once again can be a priority and it has found somebody willing to restore it for a more reasonable fee than the amount quoted 25 years ago. As the church receives no funding from the Turkish state, all money for the restoration has come from donations – those who have provided money have windows dedicated to them.
The artist tasked with undertaking this task, Yadigar Alkan, has completed the first of four commissioned windows, showing St Peter, and it has now been returned to its place, waiting to be joined, eventually, by the rest of the window. The process has not been easy, especially as the original cartoons, the drawings of the designs, for the window, kept in London by the original designers, Clayton and Bell, were destroyed by bombing during the blitz.
It is the first stained glass window she has made for a church and is of exemplary standard. Several years ago one of the windows at the side of the church was smashed and the replacement looks markedly different as it was only baked on one side.
The process of restoring the Rose Window is a complicated one. The windows had to be carefully dismantled. Whatever could be saved of the old glass, the pieces that were only broken into two pieces were put into new lead. It is exceedingly difficult to find the same glass as was used 150 years ago. Leaded glass is then baked at 570 degrees Celsius. The second window was only recently handed over to Yadigar. This one proves to be even more of a challenge as the facial expression does not remain intact. The central window depicting Christ is going to be taken to Bologna as Yadigar is in contact with a famous stained glass restorer there and she plans on seeing what can be learned from this master.
The broken pieces which are too damaged to be returned to the window are being planned on being used as part of an exhibition which will take place in the church after the windows completion. As the windows are completed they are dedicated to their owners.
With the help of donations it won’t be long before the Crimean Church’s window will have been replaced, and in the process not only will the last vestiges of the church’s long period of dereliction be removed but it will also have contributed to moving the arts in Turkey in a new direction.