Historically, St. Mary's owes her existence to one person:
The Rev. Dr. William Francis Brand.

He conceived the idea of building a church, prepared the plans for her organization, interested the incorporators in the project, and raised the money as it was needed. He was the first rector of the church, and his tenure continued until the day of his death spanning fifty six years.

Dr. Brand was born in New Orleans June 17, 1814. He was educated at the University of Virginia and received his theological training at the General Seminary in New York City. He was ordained to the priesthood in the Episcopal Church 3 March 1844 and married Miss Sophia Hall of Harford County in 1845.

It was no secret that "Parson Brand" held a very dim view of vestries in general and his own in particular. The Vestry of Saint Mary's met only four times during his fifty six year tenure: first, under his leadership, to organize the congregation, second, to officially call him as rector, third, in 1889 (there are no records from this meeting), and finally, at his death bed to formally accept his resignation.

Dr. Brand died at the rectory February 18, 1907 in his ninety third year, nine days after the death of his wife, Sophia. They are buried side by side, together with their only child, McHenry Boyd Brand at the east end of the church in the churchyard.

The church building, begun in 1848 was never fully completed. It still lacks the Bell Cote on the west end. She was one of the earliest American churches to be built in the Gothic Revival style and is one of the most authentic restatements of the Early English period, the earliest period of the Gothic style which flourished in England during the thirteenth century. The style is characterized by a general simplicity of form and ornament with narrow lancet windows, lacking the complexities of later periods.

St. Mary's is situated, as tradition would dictate, with the altar facing east. This custom was adopted by the early Church and symbolized its anticipation of the Lord's return to the Holy City of Jerusalem. Until the Reformation, this tradition was followed in Europe without exception. The same tradition was carried on in the American Colonies until after the Revolution.

There is no record of an architect having been hired as a designer of Saint Mary's and there is the strong possibility that Dr. Brand himself was the planner and supervisor of all construction.

The structure is of locally quarried gray rubble stone with Port Deposit granite trim; much of the trim having been covered with copper. The main entrance to the church is through a south porch, in the English medieval tradition. A small sacristy with a separate entrance extends from the north side of the building.

The west wall is buttressed as a base for a bell-cote which was never completed. A large stone cross of recent date has been installed in its place. The fleur-de-lis is one of the traditionally accepted symbols for St. Mary and it is in evidence throughout the church. It is carved in the stone of the main chimney, wrought in the iron of the hardware and carved into the furniture.

The crown jewels of the church are the stained glass windows. They were designed by William Butterfield, one of the most important English architects of the Gothic Revival movement, and were executed by the Gibbs Studio in London. It was the initial shipment of these windows to America which gave birth to legislation which admits church art into our country free of duties as fine art. Unique in America, the matched set of period glass depicts the life of Christ as set forth mainly in the gospel, According to Luke.

A second person integral to the existence of St. Mary's as we know her today is the Rev. Dr. Johannes A. Oertell. Born in Bavaria and trained as a steel engraver, he came to the States to pursue a career as an artist. Dr. Oertell was ordained a deacon of the Episcopal Church in 1867 and was eventually ordered to the priesthood and awarded his Doctor of Divinity degree from Sewanee in 1899. In 1899 he painted for Dr. Brand the work which now hangs on the north wall of the chancel, The Breaking of Bread on the Road to Emmaus.

In 1893, due to the rector's illness, Dr. Oertell was called to be the assistant to Dr. Brand. Oertell's family followed him to Bel Air a year later, and a studio was opened on Main Street. As a gift to the rector on his fiftieth anniversary of ordination to the priesthood, Dr. Oertell painted the series of works which now grace the chancel. For the face of Moses, Oertell chose none other that Dr. Brand. Other faces in the works are those of persons active in the early life of the congregation.

In addition to the paintings, Dr. Oertell carved the lectern and built the pulpit which are still in use. Dr. Oertell's wife returned to Virginia in 1889 where she was joined by her husband a year later.

This information and more can be found in "Saint Mary's Church, a History" by McHenry Mitchell and Esther Everitt Dombrowski. Architectural information can be found in a work by James Thomas Wollon, Jr. A.I.A. delivered to the Harford County Historical Society, 11 January 1981.

For over one hundred and fifty years, Saint Mary's has served as a house of prayer and a resource to the community which surrounds her. That tradition carries on today. In addition to regular services of worship, pastoral care, and Christian education, Saint Mary's opens her doors to community associations, self-help groups, pastoral counseling services, scouting organizations, civic associations, and non-profit charitable groups.

Through the efforts of Dr. Phoebe B. Stanton and others, St. Mary's was placed on the National Register of Historic Places in 1973.