Art, Architecture and SymbolsFirst-Plymouth
Congregational Church
|
|
The building that houses First-Plymouth Congregational Church, United Church of Christ, is one of the architectural gems of Nebraska. It attempts to express visually the Christian faith of the congregation it houses. This web page gives you an introduction to the architecture and to the symbols and artwork found within its walls.
|
THE ARCHITECTURAL DESIGN |
|
|
 Inspired by agricultural
interests, and by the friendliness of the people and their pioneer
spirit, the sanctuary of the church is intended to be a bright,
welcoming place with no dark, gloomy corners. It is a spacious room
filled with light. The open vestibule at the back of the sanctuary, and
the halls leading into it, give people a chance to greet each other
before and after services.The approaches to the building are wide in order to welcome all to the worship services, activities, and other gatherings held in the space. Yet, the structure has a note of distinction and greatness suggesting the universal character of the Christian faith and of God’s relationship with people. Native colors of Nebraska are used throughout: old rose and tawny gold – one the color of the sunset sky, the other the color of the harvest fields. Red brick, in seven sizes and five shades, was used in the construction. A colonnade encloses a large courtyard, allowing for outdoor activities. These architectural qualities were preserved when the addition containing the chapel, nursery, classrooms, and elevator was completed on the east side of the building in 1966. |
 In 1994, an additional wing
connected to the northwest end of the parish hall was dedicated. This
15,000 square foot structure includes space for church school classes,
children’s weekday programs, nursery, music rehearsal rooms, and
meeting rooms. It also contains a wide entrance on 20th
Street, a lobby, an elevator, and specially designed restrooms to make
the building accessible to all. The architectural design by Davis Design
firm of Lincoln began in February 1989, and received a design award from
The American Institute of Architects, Nebraska Chapter, in 1995.The Church is located in the Mount Emerald Historic district of Lincoln, therefore the exterior design had to be reviewed and approved by the Near South Neighborhood Association and the Lincoln Historic Preservation Commission. To be faithful to the brickwork on the façade of the original building, it took nine months to find and select brick for the new addition. This ultimately involved obtaining five different sizes of brick from four different manufacturers! |
|
The present structure was built in 1930 and was
dedicated on Easter Sunday, April 5, 1931.|
THE CARILLON TOWER |
 The 171-foot tall, sixteen-sided "Singing
Tower" dominates the building. It houses Nebraska’s oldest true
carillon, one of only three in the state. The original contained 48
bells cast in the Taylor and Sons Foundry, Loughborough, England. The
bells range in size from the largest of 4,592 pounds to the smallest of
130 pounds. A major renovation project in 1990 added nine bells and
replaced 26 of the smaller bells which are now located in the Chamber
Carillon.Sculpted figures representing the evangelists Matthew, Mark, Luke, and John are located at the tower’s four corners, symbolically elevating the gospels of the New Testament, which are central to the Christian faith. Below each evangelist is a figure that represents the Gospel account associated with him: Matthew, the winged man – messenger of God’s good news in Jesus; Mark, the winged lion – the royal character of Jesus; Luke, the winged ox – the sacrifice of Jesus; and, John, the eagle – soaring high into the heavens. |
|
|
HISTORIC STONES Three unique stones located on the church grounds commemorate the church’s religious heritage. |
 The Martin Luther Stone, at the base of
the Carillon Tower, was taken from the house where the Reformation
leader was born. This stone, a gift from the city of Eisleben, Germany,
symbolizes the beginning of Protestantism and our roots in the Reformed
traditions of the Christian faith. |
 The Pilgrim Stone, also at the base of the Carillon
Tower, was a gift from Plymouth, England. It was taken from the house in
which the Pilgrims stayed before setting sail for the North American
continent in 1620 on the Mayflower. |
 The Bethlehem Stone, which comes from the
town of Jesus’ birth, is found at the top of the chancel steps in the
sanctuary. It’s placement gives witness to the centrality of Jesus
Christ to the congregation’s faith, life, and ministry. |
|
|
THE COURTYARDS
|
|
Aside
from its aesthetic value, the main courtyard provides an open space
suited for both formal and informal gatherings. An outdoor pulpit is
located in the base of the Carillon Tower so that the area can be used
for open-air services. The cloister walkway around the courtyard
provides a space for people to stroll and meditate away from the noise
of the outside world, or to meet and greet other people. |
On either side of the rose window are two large, square, glazed polychrome tiles. The one on the left shows a peacock in a grape vine. The one of the right is of a phoenix rising from the ashes. Both are early symbols of the Resurrection. Small tiles representing various ancient Christian symbols are found beneath the large tiles. They include: the fish (an early symbol used by Christians to identify themselves), the open book with the first and last letters of the Greek alphabet "alpha" and "omega" (God who is "the beginning and the end" of all things), the Christmas rose (Jesus’ birth in Bethlehem), the Star of David-interlocking triangles (Jesus’ lineage as a descendent of the House of David/symbol of the Trinity), the dove (the Holy Spirit of God), the pomegranate (symbolic of the Jesus’ resurrection and the spread of the Gospel), and several crosses—"Chi Rho" (from the first two Greek letters in the word "Christ"—XP), Jerusalem (the wounds of Jesus on the cross and the mission of the church to proclaim the Gospel to "the four corners of the earth"), anchor (Jesus Christ, our sure anchor), and Coptic or Egyptian (modeled after the Egyptian ankh representing immortality) . |  |
 |
 |
|
 |
 |
|
 |
 |
|
 |
 |
|
|
|
|
THE CHAPEL COURTYARD The Chapel Courtyard, to the east of the
main courtyard, was redesigned as a memorial garden in 1990. The east and
south walls contain columbarium niches for urns containing the ashes of
those who have been cremated. |
|
|
|
SYMBOLS The narthex (entry area at the back of the sanctuary) and the nave (the main part of the worship area) of the church have a variety of Christian symbols. |
|
 |
A Jerusalem
Cross is found in the stone mosaic on the floor of the narthex as one
enters through the main doors. It was used on the coat of arms of the
first ruler of the "Latin Kingdom of Jerusalem". It has come
to represent the five wounds of Jesus on the cross and the mission of
the church to carry the Gospel of Jesus Christ to the "four corners
of the earth."
Stenciled on the arches at the sides of the nave are a series of ancient Jewish and Christian symbols. |
 |
The Star of David or the double triangle reflects both our Old Testament heritage of the People of Israel as well as the New Testament understanding of "One God in Three Forms." |
 |
The "Chi Rho" (XP), the first two letters of the word "Christ" in Greek, form the monogram which was the earliest and simplest symbol representing Christ. It was commonly used on the tombs of the early Christian martyrs. |
 |
The Jerusalem Cross (as noted above) has come to represent the "Latin Kingdom of Jerusalem," the five wounds Jesus received at his crucifixion (John 20:25), and the mission Christ calls us to in this world (Matthew 28:19). |
 |
The fish is an ancient and universal symbol of the Christian faith. During times of religious persecution, early Christians had to use secret signs to indemnify themselves to other believers while hiding their identity from the foes of Christianity. A person might draw a simplified picture of a fish in the dirt while talking to someone else. If the other individual recognized the figure, the two would know of their common bond in the faith. The Greek word for "fish" (pronounced ichthus) became an acrostic for the Greek phrase that is pronounced though not spelled Yasous Christos Theou Hyos Soter, which means "Jesus Christ, Son of God, Savior." |
 |
When the top part of an anchor is in the shape of a cross, it is a symbol of Jesus Christ, our sure Anchor. It was first used as a Christian sign from the years of persecution before Constantine established the Christian faith as the state religion of the Roman Empire in 324. The anchor recalls the words of the Epistle to the Hebrews that the hope God gives through Jesus Christ is "a sure and steadfast anchor of the soul." (Hebrews 6:19) This hope is what keeps us from being carried away by the storms of life. |
 |
The Christmas rose symbolizes the birth of Jesus and the promise of the coming of God’s messiah because it withstands the snow and storms of winter. |
|
|
|
WINDOWS Light shines through the windows of the nave throughout the day, a fitting symbol of the Light of God shining in world. Ten different kinds of English white glass add a radiant quality to the light. Silhouetted in the light of the windows are the repeated patterns of twelve fine-spun lead inserts, representing some aspect of Jesus Christ’s life, ministry or divinely guided purpose. |
|
 |
The grapes repeat one of the themes found in the Courtyard. They represent Holy Communion (Matthew 26:9), the passion of Jesus (1 Corinthians 11:26), and the mission of the followers of Jesus in the world (John 15:5). |
 |
The lighted lamp stands for the light from God’s Word (Psalm 119:105). Jesus used it as a metaphor for the faithful acts of God’s people in a dark world (Matthew 5:14-16). It is also an emblem of our pioneer faith; as John Robinson, pastor to the Pilgrims before they sailed for the North American continent in 1620, said, "The Lord hath yet more light and truth to break forth from His Word." |
 |
The crown of thorns and nails symbolize Jesus’ death. The crown of thorns stands for the abuse he received from his enemies (Matthew 27:27-31). The three nails recall the nails that were used to secure his arms and legs to the cross for crucifixion (Matthew 27:35). |
 |
The crossed saws remind the viewer of Jesus’ profession as a carpenter before he began his three-year ministry (Mark 6:2-3). |
 |
The wafer and chalice represent the bread and wine used by Jesus in his last supper with his disciples (Mark 14:22-24). They are also symbols for the Christian sacrament of Holy Communion. The crown of thorns associates Communion with Jesus’ passion and death. |
 |
The crowing cock recalls the story in the Bible of Peter’s denial of Jesus three times before the cock crowed on the morning of the day Jesus was crucified (Luke 22:55-61). |
 |
The ram’s head is an ancient Hebrew symbol of sacrifice (Leviticus 5:15). It reminds the viewer of God’s love and sacrifice in Christ for all people (Romans 3:21-26). |
 |
The phoenix is a mythical bird that has long been associated with the theme of death and rebirth. It dies in the flame of a funeral pyre to be reborn again out of the fire’s ashes. The early Christians appropriated the phoenix as a symbol for resurrection. |
 |
The crossed shepherd’s crooks or staffs recall the biblical images of God as the faithful shepherd of Israel (Isaiah 40:10-11) and Jesus as the Good Shepherd (John 10:11). |
 |
The castle or fortress, reminds us that, "God is our refuge and strength, a very present help in trouble." (Psalm 46:1) It represents the belief that faith in Christ is our fortress against the forces of evil in the world. |
 |
Probably the most difficult insert to make out is the bursting pomegranate, symbol of the resurrection of Christ—who burst forth from the tomb. It’s many seeds stand for the fruitfulness of the Gospel of Jesus Christ as it is spread throughout the world and for the richness of God’s grace. |
 |
The cross is the most universally recognized symbol of the Christian faith. It represents both Jesus’ death and his triumph over the grave. The stylized Alpha and Omega, the first (alpha) and last (omega) letters of the Greek alphabet (the language in which the New Testament was originally written), which are found on the crossbar, stand for Jesus Christ, "the first and the last, the beginning and the end" (Revelation 22:13), "the same yesterday and today and forever" (Hebrews 13:8). |
 |
At the bottom of each window is a border that incorporates vine leaves and lily plants. The lilies are shown complete with the bulbs that are buried in the ground (representing Christ’s death and entombment—Matthew 27:58-60), the green stalks and leaves symbolic of resurrection, and the white flowers (purity). |
|
|
 |
LORD’S PRAYER SCULPTURE In the center of the nave is the suspended low-relief sculpture of the Lord’s Prayer. William Saltzman of Minneapolis was commissioned to do this work. The inspiration for the piece was the words of the prayer that had been painted on the front wall of the chancel, which was visible to all who entered the sanctuary. Copper and braised welding techniques were used for the warm, earthy qualities. The vertical lines accent the spiritually uplifting nature of the prayer. The letters touch one another to bring about a sense of the oneness of the total prayer. Behind the words, and yet central to them, is a cross. |
|
|
WALL HANGINGS Two tapestries hang on the walls of First-Plymouth. They are the "Plains Spectrum Tapestry" and the "Genesis Tapestry." |
|
 |
The
Plains Spectrum Tapestry hangs in the alcove to the right of the
narthex as you enter the building from the Courtyard. Ann Raschke
Seacrest, who completed it in April 1982, wove it for the church. Ann says of her work, "My sources were varied, encompassing the physical layout and design motifs of the building, its architectural concepts, and also my interpretation of the spirit of the congregation." The geometric design was influenced by the patchwork of the tile floor and its central cross theme, found throughout the interior surfaces of the building. The colors reflect the brightness, energy, and vitality of the people in the congregation; the spectrum offers a harmony of contrasts, yet a sense of belonging, culminating in a focus of strength and sunlight. The weaving technique (kilim tapestry) and materials (linen and wool) reflect American heritage in rug making. |
 |
The
Genesis Tapestry hangs in the Chapel. This work, by Muriel
Nezhnie Helfman, is a depiction of the story of creation as found in the
first chapter of Genesis. The field is divided into twelve panels. In the top set of panels are found the sun and moon—the warm and cool lights of heaven; hand and foot prints representing traces of people on earth; birds in flight or inhabiting the air; flowers or the blossoming of the earth. The center panels contain animal tracks, with the division of the waters, along with a central "cherubic device" signifying God’s presence and power. The fruitfulness of the earth is portrayed with the grape and vine, insects, and butterfly, all under the stars of heaven. The bottom panels show wheat, the bounty of the earth, derived from a microscopic view of a fertilized stigma of wheat. Sea life, both plant and animal, and rock formations complete the worldview as animal tracks are continued up the panels. The lighter central vertical panels are in the shape of a cross. The tapestry, when viewed behind the Communion Table, represents the Word of God in creation. The inscription on the front of the Table stands for the Word of God that is revealed in Jesus Christ: "And the word became flesh and dwelt among us full of grace and truth." (John 1:14) The open Bible, resting on the Table, links the tapestry and Communion Table—the creative word God speaks to call creation into being, the Word of God in scripture, and the Word become flesh in Jesus Christ. |
 |
The
Pleasant View Sampler Quilt that hangs in the west lobby
was created in 1999 by Laura Franchini and Sandi McMillan. It was made
as a visual representation of a cycle of seven hymns by the same name
that was premiered by Abendmusik: Lincoln in October of that
year. It was awarded Best of Group at the Nebraska State
Quilt Competition and exhibited upon invitation at the American Quilters
Association Year 2000 Show in Paduka, Kentucky. Click here to learn more about the quilt. |
|
|
THE PRAYER ROOM
Displayed in the Prayer Room, to the west of the narthex,
are eight original paintings by Lincoln artist, Nadine McHenry. They were
commissioned as part of an Abendmusik concert piece of eight original
poems set to music by eight local composers. Each painting represents a stage of
human development first theorized by Erik Erickson.
Nadine has written, "Site plays an important part in how
these paintings are viewed. The prayer room is a round room just off the
sanctuary. It is small and intimate. When you enter it, these ‘contemplation
panels’ encircle you, beginning on the left with infancy and continuing
clockwise to the right ending with old age. They fit in architectural niches
with the wooden supports of the room framing them.
"The best way to view these panels is to take your time.
Don't be too eager. Let them come to you. Think of the period in life each one
represents. Think of the human development occurring at each stage, the primary
relationships, and the issues and feelings. There is nothing in the paintings to
remind you of a figure, or of anything you could touch or pick up. They are
about feelings. They were done for a quiet place to encourage centeredness and
contemplation."
Click here to view the
Prayer Room paintings.
|
|
 |
THE SCHLICKER CHAPEL ORGAN The chapel organ, built by the Schlicker Organ
Company, Buffalo, New York, is a unit organ with two manuals and pedal.
This instrument was designed for the room and draws its resources from a
specification of seven registers, composed of eight ranks of pipes and
two extensions. There are 500 individual pines, housed in the casing
next to the console. |
|
|
 |
THE RUTH MARIE AMEN GALLERY ORGAN The Gallery Organ, found in the balcony at the
back of the sanctuary, was given to First-Plymouth Church by Ruth Marie
Amen in memory of her parents, Henry J. and Maria Barbara Wacker Amen. |
|
|
 |
THE LIED CHANCEL ORGAN The Lied Chancel Organ, made possible by a grant
from the Lied Foundation Trust and through the purchase of pipes and
stops by members and friends of First-Plymouth, was completed and
dedicated in October, 1998. Also designed by Schoenstine & Co., it
was described as the "Magnum Opus" in the then 121
years of building by the company. |
+ + + + + + +
First-Plymouth church not only contains much symbolic art to inspire people upward, but its rooms and facilities are open to numerous community and service-oriented groups. The hallways are full of sounds of worship, prayer, study, fun, laughter, crying, care, support – all those sounds of life which are welcomed and encouraged. The church remains dedicated to serving the people of Lincoln, Nebraska, the United States, and the world.
+ + + + + + +
Pictures for this page were contributed by Britt
Bailey and Matt Geiger.
Additional information was provided by Robert C. Ripley.
|
Top
of Page |
05/03/08 |