HERITAGE VIDEO DOCUMENTARY - WILL BE AVAILABLE AFTER SEPT. 20TH PREMIER

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Heritage Video Narration Text:

 

"Unless the Lord builds the house, the builders labor in vain." Psalm 127:1 (NIV)

 

"Go up into the mountains and bring down timber and build my house, so that I may take pleasure in it and be honored," says the Lord. Haggai 1:8 (NIV)

 

The Story of St. Peter’s Church

The History Behind a Toronto Heritage Treasure

 

St. Peter’s Estonian Evangelical Lutheran Church of Toronto was built in 1955 by a group of Estonians who had settled in Toronto. But who were these people, and what journey brought them here?

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Estonia is a small country in the Baltic region of Northern Europe. It is bordered by Russia to the east, Latvia to the south, the Gulf of Finland to the north, and the Baltic Sea to the west. In addition to its mainland, Estonia includes more than 2,300 islands and islets scattered across the Baltic Sea.

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Estonians are a Finno-Ugric people who have lived along the Baltic Sea for over 5,000 years.  Their history spans a long, complex timeline, and is intertwined with the histories of many nations.  It tells the tale of conquest and defeat, hardship and heroics. 

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Although their first ancestors settled the area around 9,000 BCE, the 13th century marked the beginning of a 700-year period of successive foreign conquests.  They were ruled by Denmark, Germany, Poland, and Sweden.

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After briefly falling under Nazi occupation from 1941 to 1944, Estonia was reoccupied by the Soviets. Both occupiers committed such atrocities:

the Nazis deported thousands, including Estonian Jews, to concentration camps, while the Soviets sent tens of thousands of Estonians to Siberia.

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75,000 to 80,000 Estonians fled their homeland during World War II, primarily driven by the advancing Red Army in the late summer and autumn of 1944 to escape a repeat of Soviet terror.

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Coming to Canada - St. John's Church

 

Despite centuries of foreign occupation and political upheaval, the Estonian people demonstrated extraordinary resilience, preserving their language, traditions, and national identity across generations. It was this enduring cultural heritage that they carried with them to Canada after the Second World War.

By 1947, approximately seventy Estonians were living in the Toronto area.  They  gathered weekly at St. John’s Church on Concord Avenue.

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Recognizing the needs of this growing immigrant community, Pastor Ernest Hahn enthusiastically supported worship services in the Estonian language. As there were no Estonian Lutheran ministers in Canada at the time, Pastor Hahn contacted Pastor Rudolf Kiviranna in New York for assistance in organizing a new Estonian congregation. He also sought financial support from the Ontario District of the Missouri Synod to help establish and nurture the fledgling community.

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Its first Estonian-language worship service was held at St. John’s Church on August 29, 1948, led by visiting Pastor Rudolf Kiviranna and attended by approximately 170 Estonians. Five weeks later, a second service was conducted by Pastor Oskar Puhm, who was appointed the congregation’s first resident pastor in October 1948.  Rev. Oskar Puhm would go on to serve St. Peter’s for thirty-four years, from 1948 to 1982.  These early efforts laid the foundation for what would become one of the most important centres of Estonian religious and cultural life in Toronto.

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The Estonian Evangelical Lutheran Church in Toronto was formally established on August 3, 1948. In later years, the congregation adopted the name St. Peter’s Estonian Evangelical Lutheran Church.

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As new waves of Estonian immigrants arrived in Toronto, the congregation grew rapidly.  Under Pastor Puhm’s leadership, the congregation grew to approximately 4,000 members, making it, at one time, the largest Estonian Lutheran congregation outside Estonia.

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Within a few years, it became clear that St. John’s Church could no longer accommodate the expanding community. On September 24, 1951, the congregation resolved to begin fundraising for a church of its own.

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A Church of Their Own

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An important step toward realizing the dream of a permanent church home came in February 1953, when Pastor Puhm’s wife, Meta, on a morning walk, identified suitable property at the corner of Roehampton Avenue and Mount Pleasant Road across the street from Northern Secondary School.

The purchase price was $38,000—a formidable sum for the young congregation, which had only $1,500 on hand and just twenty-four hours to secure the remaining funds. At this critical moment, the Missouri Synod of Lutheran Church–Canada came to their aid by providing a loan for the balance, enabling the congregation to complete the purchase successfully.

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A building committee was established, and the search for an architect began. In 1954, the congregation commissioned one of its own members, Estonian-Canadian architect Mihkel Bach, to design the new church.

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Bach, regarded by Toronto's Estonian-Canadian community as one of its most distinguished architects, was an instructor in the Faculty of Architecture at the University of Toronto. Among the first generation of Estonian architects to settle in Toronto after the Second World War, he went on to play an influential role in the development of Modernist architecture in the city.

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Bach’s architectural vision was strongly influenced by Scandinavian Modernism. Its Mid-Century Modern design was characterized by clean lines, careful proportions, and an emphasis on natural materials, creating a building that was both architecturally distinctive and deeply expressive of the values and aspirations of the community that built it.  Bach deliberately rejected traditional ecclesiastical forms. As he explained at the time:

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“No stereotyped style could reflect the forward-looking spirit of the congregation, whose struggle for freedom brought them to a new homeland from the political strife which was once their home. It was this freedom sought for, and this break from tradition on the part of the congregation, which led to the progressive design.”

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Even so, the church's sweeping roofline has often been compared to an overturned boat—a poignant image that recalls the perilous journeys made by many Estonian refugees across the Baltic Sea in search of freedom.

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Bach presented his design to the congregation, where it was enthusiastically approved. With the plans in place, the building committee proceeded with construction, which began in earnest in November 1954 under the direction of contractor Leeds.

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Progress was rapid. The distinctive Mid-Century Modern A-frame church was completed in less than ten months after construction began.  By March of 1955 the congregation gathered to celebrate the blessing of the cornerstone.

 

The church was conceived as a memorial to the thousands of Estonians who lost their lives in the First and Second World Wars, the Estonian War of Independence, and the refugee exodus that followed the Second World War.  Twelve hundred people attended the service in which the cornerstone of St. Peter’s was laid.  The sermons were delivered and the acts of laying the cornerstone performed by Pastor Oskar Puhm in Estonian, and by Pastor H. H.  Erdman, Field Executive, in English.  Prayers were spoken by Pastors Geo. Bornemann, J. Teras, and E. Lootsma.  Assisting in the ceremony were Pastors M.J. Michael, A.F. Pollex, A. Kristo, T. Pelikan, and A. Lusis as well as Oskar Paas, chairman of the congregation, and J. Markus, acting consul of Estonia.

A time capsule was placed in the wall with the cornerstone bearing an inscription in both Estonian and English that read as follows:

 

"St. Peter's Estonian Evangelical Lutheran Church of Toronto was founded on August 3, 1948, by Estonian immigrants who were forced to leave their homeland to escape the godless and tyrannical regime.  Faith and democratic principles were the only possessions many could take with them.  Through countless difficulties and hardships, through many lands and countries, these Estonians began to arrive in Canada in 1944 to start a new life.  As a result of the horrible work of the enemies of the Christian faith, thousands of our people have been deported to Siberia and there have died of starvation and inhumane treatment.  These enemies have pressed our native Estonia under the yoke of Bolshevist slavery.  Bitter experience has made this well known to those who were able to escape and has given us the strength to hold high the banner of faith.

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Our St. Peter's Church has been built to the glory of God and is a memorial of our escape to a free country.  This church is being erected in memory of the thousands of Estonians who have died in World Wars, the Wars of Liberation, and the dangerous escape.  This temple of the Lord shall be our spiritual home where the Gospel of Jesus Christ shall resound.  It shall be a place where we pray for heavenly blessing for those who are heavy-laden and those who are in bondage.   It is a place where we shall pray for true peace and the deliverance of all oppressed.

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Our deepest thanks goes to the Lutheran Church-Missouri Synod, especially the Ontario District, Department of Missions and Church Extension, which from the beginning has reached out its brotherly  helping hand and whose assistance has made this church a reality."

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Construction Continues

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Construction continued through the summer of 1955, and by September the nave had been completed and was ready for its dedication service.

2500 congregation members and guests attended the three services of dedication.

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Not every aspect of architect Mihkel Bach's original vision could be realized at that time. Although the initial design was estimated to cost $183,000, financial realities required the budget to be reduced to approximately $133,000 – a $50,000 difference. To achieve these savings, the building's overall size was reduced, and construction of the basement hall and bell tower was postponed until a later date.

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Bach's plans also called for the organ to be installed on a suspended balcony. However, municipal building officials, unfamiliar with the engineering principles behind the innovative design, declined to approve the proposal. As a result, the organ was placed at the front of the sanctuary as a temporary measure rather than in its intended location on the balcony.

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Finnish Boys Memorial

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An important memorial within St. Peter’s Church honours the Finnish Boys (Soomepoisid), whose courage and sacrifice shaped the lives of many Estonian Canadians.

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More than 1,700 Estonian volunteers served in the Finnish Army during the Second World War. In 1944, they made the difficult decision to leave the relative safety of Finland and return to Estonia to defend their homeland against the advancing Soviet forces. Most perished in the fierce battles of Sinimäed (the Blue Hills) that autumn, but their determined resistance delayed the Soviet advance for nearly a month. This time allowed for more than 100,000 Estonians to flee their homeland, many of whom would later find refuge and rebuild their lives in Canada.

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In the years following the war, surviving members of the Finnish Boys established a strong and active veterans’ organization in Toronto. While the fellowship of the group helped ease some of the physical and emotional burdens of their wartime experiences, many carried deep personal memories and trauma in silence. Few spoke openly about what they had endured. One person who understood their struggles was Rev. Oskar Puhm, who had shared those wartime experiences with them. Through his compassion, guidance, and support, he remained a trusted source of comfort, and they continued to regard him affectionately. Pastor Puhm referred to them as “his boys” until his death on March 28, 1990.

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In September 1957, the veterans resolved to create a memorial honouring their fallen comrades. St. Peter’s Church, which had long served as a spiritual home for the Finnish Boys, provided a place of honour for the memorial on the south side of the altar. The commission was entrusted to fellow veteran and artist Alfred Karu.

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Dedicated in October 1958, the memorial was crafted from polished Swedish granite and features a simple flame symbolizing hope and remembrance. Its inscription is taken from the flag of Infantry Regiment 200 (Jalaväerügement 200): “For the honour of Estonia, as a pledge for the future” (Eesti auks, tuleviku pandiks).

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In 1969, a matching granite altar, also designed by Alfred Karu, was added to complete the memorial. Beside it rests a small container of soil from homeland Estonia, alongside a continuously burning memorial flame—a lasting symbol of remembrance, sacrifice, and the enduring connection between generations of Estonians.

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Running Short on Space​

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In 1958, Pastor Oskar Puhm observed that although the new sanctuary had been designed to accommodate approximately 500 worshippers, attendance at major holiday services often exceeded 1,000 people. The church quickly became much more than a place of worship; its facilities were in constant use by a wide range of community organizations, including the Sunday School, Estonian Supplementary School, pre-confirmation and confirmation classes, Scouts, and Guides.

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St. Peter’s soon gained a reputation as a vibrant centre of Estonian-Canadian life—a true hub of activity. The church hosted celebrations, concerts, meetings, exhibitions, coffee gatherings, lectures, and seminars, becoming a gathering place for both religious and cultural events. By 1958, congregation records showed membership had grown to approximately 4,000 people. Reflecting the community’s youth and vitality, births among congregation members exceeded deaths by a ratio of seven to one.

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As soon as the initial construction was completed, plans began to realize the remaining elements of the architect’s vision, including those features that had been postponed due to financial constraints. By the summer of 1961, the small basement hall had been completed, along with the foundation for the bell tower, at a cost of $26,000.

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In 1970, Estonian-Canadian architect and church member Ants Elken oversaw the construction of a two-storey ancillary north wing, based on Mihkel Bach’s preliminary design.  The addition included an apartment, the Guild Room, a pre-cast concrete bell tower, and a courtyard enclosed by a garden wall. The total cost of these improvements was $111,449.71. By the completion of the church, the combined cost of the land and construction had reached approximately $195,000. The congregation had successfully raised $52,000 through its own fundraising efforts, while the remaining balance was financed through a loan from the Missouri Synod.

 

New Altar & Moving Organ

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In 1975, the original vision for St. Peter’s Church was brought to completion with the final phase of construction, again overseen by Ants Elken.  The eastern wall originally featured a large polygonal window, the lower third of which contained stained glass. This space had been intended to house the modern artwork Peter on the Waves by Ernő Koch, a Hungarian-born contemporary artist and a colleague of architect Mihkel Bach. Unfortunately, the work remained unfinished following Koch’s untimely death.

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As part of the final renovations, the nave was extended by seven feet, the unfinished stained-glass window was replaced with brick, a new altar was constructed, and the organ was relocated to its originally intended position on the suspended balcony after the necessary municipal approvals had been obtained. The hanging balcony itself remains a remarkable architectural achievement, particularly considering the engineering challenges of the era in which it was built.

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During the 1975 renovations, Endel Loo provided the design concepts for the altar and guided the interior design of the sanctuary. His vision included the creation of the church’s light-wood altar and pulpit, which were crafted by master builder Karla Betlem.

 

Columbarium

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A columbarium was established in 1975 and expanded in 1982. It now contains 311 double niches with a capacity for 420 interments. It serves as the final resting place for many of the individuals who helped establish the church, as well as generations of dedicated members and contributors to the church community, including Pastor Oskar Puhm. The columbarium is also the resting place of many members of the Finnish Boys (Soomepoisid), whose legacy remains closely connected to the history of St. Peter’s.

 

Stained Glass

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During the late 1980s, the Ladies Guild initiated a project to replace the Nave’s window coverings. After reviewing proposals from three artists, including Sarah Hall and Lutz Haufschild, the congregation commissioned acclaimed Austro-Canadian stained-glass artist and painter Ernestine Tahedl to design and create a series of stained-glass windows. Installed between 1987 and 1990, each window required nearly eight months of meticulous craftsmanship and fabrication.

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The stained-glass program was developed around the theme of the “Fruits of the Spirit,” as described in Galatians 5:22–23.  Alongside this spiritual theme, the windows celebrate Estonian cultural heritage.

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The close connection between the Estonian people and the natural world is reflected in the seasonal colour palettes: the north-side windows represent Spring and Summer, while the south-side windows portray Autumn and Winter.  The project included nine Nave windows, as well as a Memorial Window depicting the Crucifixion and Resurrection and a smaller south-side window at the rear of the church dedicated to St. Peter.

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One of the greatest strengths of the St. Peter’s stained-glass program is the harmony between the individual panels and the overall composition. While each window stands as a distinct artistic expression, together they create a unified visual narrative that evokes a range of emotions—from sorrow and contemplation to peace, strength, and joy.  The arrangement of the windows also complements the architecture of the church by drawing the eye toward the altar, the focal point of the entire sanctuary. The north-side windows feature lighter colours, selected both to reflect their themes and to compensate for the reduced natural light of the northern exposure. Opaque white glass helps soften views of the exterior and the roof overhang. In contrast, the south-side windows use deeper, richer colours that respond to the stronger natural light entering from the southern exposure.

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The windows were crafted from high-quality, hand-made antique glass in a rich palette of colours. Their beauty and visual impact are achieved entirely through the use of coloured glass, without the application of painted details or traditional silver-staining techniques.

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Continued Maintenance

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Maintenance and improvements at St. Peter’s have continued over the years to ensure that the church remains accessible, functional, and welcoming for future generations. These upgrades have included making washrooms wheelchair accessible, adding ramps for improved building access, expansion of the side-door foyer and basement areas, and installing a lift connecting the front foyer with the basement, the addition of office space within the small basement hall as well.

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To recognize and commemorate the generosity of those whose donations made these improvements possible, the “Giving Tree” was created as a lasting tribute. The tradition continues today, and the church welcomes ongoing support from members and friends whose contributions help preserve St. Peter’s Church, maintain its facilities, and ensure that it remains a vibrant home for worship and community life for generations to come.

 

St. Peter’s Nave was designated a heritage property on June 25th, 2026 by Toronto City Council.  In 1958 Pastor Puhm wrote:
 

“It is with gladness in our hearts, that here on foreign soil we have been able to establish our own congregation and church in our mother-tongue. Stretching toward the heavens, this building is not only a religious temple, but also a national building – where all which is familiar, holy and dear to us, we may teach and inherit to our children."
 

 “Rõõmustame südamest, et ka võõral pinnal oleme võinud rajada oma emakeelse koguduse ja kiriku. See taeva poole sirutuv hoone pole mitte üksi usuline tempel, vaid ka rahvuslik koda – kus me tohime kõike, mis meile on omane, püha ja kallis õpetada ja pärandada oma lastele.”
 

Heritage designation brings esteem and community recognition to St. Peter’s while protecting the church's historical, cultural, and architectural significance. At the same time, it provides our congregation with a sense of security and permanence in knowing that St. Peter’s will continue to be there for them as Pastor Oskar Puhm envisaged it, as a “house of the people” for worship, special religious occasions and family celebrations, and finally community activities.

How proud he would be to see his beloved St. Peter’s continuing to serve the entire community.

 

With congregation and community members working together, and by drawing on the many gifts, talents, and perspectives within our community, may St. Peter’s continue to enjoy a vibrant and sustainable future. May God bless and protect all those who dedicate their time and efforts to enriching the life of the church and preserving this cherished building for generations to come.