UNIVERSITY OF PITTSBURGH
LIBRARY THIS BOOK PRESENTED BY First Baptist Church of Pittsburgh Title: THE FIRST BAPTIST CHURCH OF PITTSBURGH publ. 1925 (FROM ITS FOUNDATION TO THE BUILDING OF THE NEW CHURCH ) The following presents just those parts of the book about art and aesthetics THE FIRST BAPTIST CHURCH OF PITTSBURGH so simple modifications the ancient cruciform Gothic lends itself with all its beauty and power to the needs of Baptist and other non-ritual- istic congregations of to-day. Mr. Goodhue's development of what may he termed a New World type of pure Gothic church architecture is a work of genius. This is the verdict of architects. Even a layman can appreciate that this church is no lt put-together" assemhly of the different types and details of different countries and periods, but is throughout in harmony with itself. To the great evangelical congre- gations who hold the major future of American Christianity Mr. Goodhue has given a type of church structure the noblest and most spiritual, and also better suited to non-ritualistic worship and to insti- tutional needs than are the half-way theatre unchurchlv "edifices." [ 52 ] THE SYMBOLISM OF THE DETAILS OF THE BUILDING MAIN' ENTRANCE FROM BELLEFIELD AVENUE Showing the emblem! of the -Trinity and of the Twelve Apostles, the n-erse from Revelation xxii, 14, the Foreign Mission Society seal, also the carvings of the star, and the crotc-n of thorns with the nails over the south turret windows. THROUGHOUT the church is found that constantly sym- bolic quality of ornament which does so much to make the ancient Gothic churches of perpetual interest. It is safe to assert that no Baptist church in America has such a wealth of symbolic interest in its architectural details. Yet this symbolism is most unob- trusive and must be sought to be found. The first impression of the building is its beauty, not of details, but of unity. The ornamental value of its details is evident when they are noticed. But their symbolic significance demands search and is well worth careful study. Here is a religious education not yet known to manyof the worshippers, even though they may be among the most faithful and regular in attend- ance. EXTERNAL SYMBOLS Over the east, main entrance of the church, carved in stone, a vine bears shields and symbols ; in the middle panel, of the three per- sons of the Trinity : God the Father represented by an outstretched protecting hand; God the Son by the Agnus Dei (Lamb of God) standing on the seven-sealed book ; and God the Holy Ghost by the descending dove. On the branches of the vine, thus illustrating our Saviour's words "I am the vine, ye are the branches," are suspended shields with the traditional devices of the twelve apostles; beginning with the upper row, from left to right: a ship for Thaddeus (Jude) ; a sword for Paul ; two keys crossed for Peter; a chalice and coiled serpent for John; the X-shaped cross for Andrew; the patriarchal double-barred cross and spear for Philip; and in the lower row, a car- penter's square and spear for Thomas; a saw for James the Less; a knife for Bartholomew; three purses for Matthew; a fish on a closed [ 55 ] hook for Simon ; and a scallop shell for James the brother of John. It will be noticed that no place is given to Matthias, who was chosen SEAL OF AMERICAN BAPTIST HOME MISSION SOCIETY awed in the stone at the left of the mam entrance SEAL OF AMERICAN BAPTIST FOREIGN MISSION SOCIETY way lot to take the place of Judas the traitor, and this space is given to Paul, who calls himself an apostle born out of due time. Below on the arch moulding is the text, Revelation xxii, 14: Blessed tire they that do his commandments, that they may have right to the tree of life, and max enter in through the gates into the city. * A moulding below the text is formed by an exquisitely carved vine with foliage and clusters of grapes. On the sides to left and right of the entrance are cut in low relief * The other and perhaps the better authenticated reading of this verse, " Blessed are they who have washed their robes," was not used because it might be imagined that this reading has reference to baptism. The two readings are the result of a close resemblance of Greek (w; robes). (doing the commandments), and "plui [ 56] SYMBOLISM OF DETAILS OF THE BUILDING the seal of The American Baptist Home Mission Society with its motto " North America for Christ " and the device of a map of North America, and the seal of The American Baptist Foreign Mission So- ciety with the figure of an ox standing between an altar and a plow with the motto "Ready for Either." On the upper portions of the stair turrets are six shields with emblems of Christ's life on earth : Alpha, the Beginning ; a star for the Nativity ; the nails and crown of thorns for the Passion ; the cross for the Crucifixion ; the peacock for the Resurrection ; and lastly the Omega. Above on the mouldings of the great window arch, seven emblems depict the seven virtues; from right to left : the sword of Fortitude; the anchor of Hope ; the padlock of Prudence ; the heart of Charity ; the bridle of Temperance; the cross of Faith; the steelyards of Jus- tice. The emblem at the right is supported by the figure of the Good Shepherd, and that at the left by the figure of John the Baptist; and these stand upon carved corbels of oak leaves and acorns. At the sum- mit in the gable, above the arcaded gallery, and at each side of the traceried opening, are carved in relief the words " Verba autem mea lion transibunt" (But my words shall not pass away). On the north transept, the central emblem is of man's Fall — a serpent entwining an apple-tree; and lower at the right the seven- branched candlestick, distinctive of the Jewish dispensation; and on the left a ship, distinctive of the Christian church. The word nave of a church comes from the Latin navzs, a ship. On the south transept, the central emblem represents the estate which, lost by the Fall, is regained for man — the "Civitas Dei" (City of God, or Heaven), with its gate from which flows, not the four rivers of Eden, but the four-branched river of life as found in the four gospels. At the right is Noah's ark, used in the First Epistle of Peter as a type of God's long-suffering; and at the left a pelican, an ancient symbol of Christ's giving his blood for man's salvation. Over the parish house entrance, at the angle of the building, arc [ 57 ] THE FIRST BAPTIST CHURCH OF PITTSBURGH the letters I. H. S., the initials of the Latin title of our Saviour, Jesus Hominum Sahator (Jesus Men's Saviour). At the north, on the end of the carriage porch, is the church seal with its motto, e< Quodcumque dixerit vobis facite" (Whatsoever he saith unto you do), the words of the mother of Jesus atCana of Galilee. On the west side of the archway is a lamp and the words LUX Veritas (light — truth), and a sword hilt with broken blade — a prophecy that wars shall cease ; on the east side of the archway are two heads. On the rear wall of the church are carved two emblems; one a de- scending dove over a monogram of the Greek letters Chi and Rho, which are the first two letters of the word Christ, and are placed upon THE CARRIAGE PORCH AND NORTHEAST ENTRANCE To the front vestibule and shoiving the seal of the church on the gable end. [ 58 ] SYMBOLISM OF DETAILS OF THE BUILDING rays indicating water, this signifying the Bap- tism of our Lord in the river Jordan. The other emblem is a cov- ered cup, the Holy Grail, signifying the Last Supper. These two symbols of the two church ordinances on either side of the nar- row upright rear win- dow make the figure of a cross. On the south porch entrance to the front vestibule is the appro- priate Latin motto: "Benedkat vobis Do- mi >i us ex Sion" (The Lord bless you out of Zion), from the one the bride's porch - ill- r U South entrance to the front vestibule.The detail of the clerestory windows is hundred thirty-fOUrth shown with their depth of setting. These windows extending from buttress P. T i i ., to buttress form a mesh of spirited and delicate tracery upholding a wall Salm. JJl trie SpanarilS „f gl ^. w g glass. Half the majesty of the outside is due to there, very oj i .1 rr . .. l this old device, and half the glory of the church within is produced by the beneath are lilies and vas( exfa „ se / s0 much larger than in most churches, lighted up by the sun pomegranates. The • / """ "" '" "*"• doors leading into the church and to the vestibule may be closed to form a small room to be used at weddings, and this entrance is known as the Bride's Porch. The cornerstone is at the right of the front entrance, with the in- scription: The First Baptist Church of Pittsburgh: mdcccxii-mdccccx. Other foundation can no man lay than that is laid. ['59 ] THE FIRST BAPTIST CHURCH OF PITTSBURGH On two sides of the fleche are crosses lighted at night by electri- city, the gift of Mr. and Mrs. Scott Alexander White. These crosses are seen by many people, and are a silent testimony that our Sav- iour's cross is as dear to Baptists as it is to all other Christians, and is a symbol of His lordship over all, "especially of such as are of the household of faith." SYMBOLS OF THE INTERIOR THE WINDOWS The stained glass windows were designed and made by Charles J. Connick in the Studio of Horace J. Phipps and Company. Their symbolism is full of biblical story and teaching, yet treated in such fashion as to be subordinated to the securing of abundant light for usefulness and of color and tone for beauty. Any one expecting to see great figure windows would be disappointed. The emblems are parts of the geometrical designs and an opera glass is helpful in studying them from the floor of the building. These windows have a remarkable quality of coloring and of light effect. The separate pieces of glass that join together to form the repeated patterns do not match exactly in color ; the tones are intentionally used somewhat at random. This diverts the eye from undue emphasis on the pattern designs and gives — without the eye knowing why — an impres- sion of individual workmanship quite different from any factory product. This impression and the general light effect are enhanced by the removal at irregular intervals, especially in the darker places, of small patches of color, exposing completely or partially the plain <,dass surface. Thus a diffused effect of light and color is gained which is similar to the impression of softened light and spacious- ness of some of the church windows of the Old World where the ancient glass with its tones modified by centuries of sunlight has been injured and replaced without reference to the original design. [ 60 ] SYMBOLISM OF DETAILS OF THE BUILDING This treatment may not be as ecclesiastical as more costly figured windows of saints and apostles, but more churchly and more use- ful, and more directive of one's mind toward "the heavenlies." The great front window is of three panels. In the centre are emblems of the Trinity: the Triangle for God the Father; the Lamb for God the Son ; and the descending Dove for God the Holy Ghost. On one of the side panels is the figure of an ox for Luke and of an eagle for John, with the text: The word was made flesh and dwelt among us . . . full of grace and truth. On the other side panel the lion for Mark, and a man for Matthew, and : In the beginning was the word and the word was with God and the word was God. There are eight clerestory windows with appropriate texts of the eight beatitudes, each with an open book significant of the recorded words of our Lord surmounted by the crown of victory. In each window are four small shields with emblems appropriate to the beatitude. Beginning on the south from east to west, they are as follows : Blessed are the poor in spirit, symbols of humility, the lamb, ass, dove and ox ; Blessed are they that mourn, a broken sword, a poppy, a broken column and an inverted torch, symbols of sorrow and of death; Blessed are the meek, a basket with bread, a pilgrim's scrip, two fishes crossed, a pilgrim's flask, symbols of goodness and of the simple life ; Blessed are they that hunger, a dagger and book (Paul), a chalice or cup (John), a crowing cock (Peter), a vase*" and book (Mary of Magdala), symbols of eager, ac- tive spiritual life. On the north, from east to west, Blessed are they that have been persecuted, the martyr's wheel (St. Catherine), a serpent entwined around a dagger (St. John the Evangelist), the martyr's coat (St. Stephen), the gridiron (St. Lawrence), all emblems of early mar- tyrs ; Blessed are the peacemakers, a flying dove, a beehive, an olive branch, a distaff, emblems of peace and industry ; Blessed are the * This vase follow? a mediaeval tradition of the Roman Catholic Church which confuses the "Magdalen" with Mary the sister of Lazarus and identifies both with the unnamed woman who was "a sinner." This h an untrue, unjust -lander upon Mary of Magdala. [ 6, ] ' THE FIRST BAPTIST CHURCH OF PITTSBURGH pure in heart, a rose, the high priest's robe, a lily, the ark of the covenant, em- blems of purity and right- eousness; Blessed arc the merciful, the sun symbolic of God's goodness to all, a wine-glass and napkin sym- bolic of the good Samar- itan, a rainbow symbolic of everlasting promised mercy, a broken sword and shield symbolic of appeal for mercy. The north transept win- dow has seven divisions with emblems of our Lord's Na- tivity: a shepherd's scrip; a white rose; an angel kneel- ing; Bethlehem and the star; an angel kneeling; a white lily; the three crowns of the Magi. The south transept win- dow has seven divisions with emblems of our Lord's earthly ministry: two vases — the water and the wine of the first miracle; a ship, emblematic of Christ's followers among fishermen; two crowns on a reversed cross, sym- bolic of his disciple Peter; the letters I. H. S., with vine leaves and grapes — Jesus the Saviour of Men, the true vine; a lamb upon a sealed book — Christ's forerunner, John the Baptist; a fish and an anchor, symbolic of hope through our Lord, the letters of the Greek [ 6a ] THE NORTH TRANSEPT WINDOW A photograph cannot shoic the light effect and the color blending. The repeated decorative designs jinte prominently sho-zvn by tin eye of the camera are largely int sight of hy the human eye because the mind is impressed by the blended colors and light. The sei-en symbols of our Lord's Aatii-ity and their size as related to the de- tails of the design are sho-zvn. SYMBOLISM OF DETAILS OF THE BUILDING word for fish, ichthus (iota, chi, theta, upsilon and sigma), forming the initials of the Greek title of our Lord Jesus Christ, God's Son Saviour; a cup and plate — the wine and bread of the Last Supper. The two chancel windows represent our Lord's passion. In the north window, three angels kneeling bear shields showing the pillar of scourging, the cup and the grave clothes; and in the south window angels with shields with the scourge, the crown of thorns and the scroll I. N. R. I. (the initials of the Latin inscription upon the cross, Jesus of Nazareth the King of the Jews) and the spear. In the tracery above one window are the Greek letters Chi and Rho — the first letters of the Greek name Christ ; and at the opposite window the Greek letters Alpha and Omega — the beginning and the end. In the oriel window of the ladies' parlor are medallions of four notable women of history, em- bodying four attributes of the ideal woman: Anna of Asa with the Latin word Sapientia (the schol- arly woman) ; Martha of Bethany, Industria (the domestic woman) ; Elizabeth of Hungary, Caritas (the charitable woman) ; Kather- ine of Siena, Pictiis (the devout woman). On the lower part of the centre panel of the great front window is the inscription : INTERIOR CARVINGS AND DECORATIONS The thirteen panels of the organ gallery have, surrounded by dec- orative designs, painted symbols of events in the story of our Saviour ; beginning at the left: the Annunciation, a lily ; the Visitation, the in- [ ^ ] THE FIRST BAPTIST CHURCH OF PITTSBURGH itials of Mary the Mother of our Lord and of Elizabeth the mother of John the Baptist; the Nativity, a star; the Epiphany, three crowns signifying the Magi ; the Purification, two turtle doves, sacrificial flame and a lily ; the Flight into Egypt, a pyramid, a star and lilies ; the Baptism, a descending dove ; the Transfiguration, three taber- nacles on a hill ; the Last Supper, grapes and wheat ; the Crucifixion, three crosses; the Resurrection, a pomegranate; the Ascension, an ascending dove ; Pentecost, three flames. All of these are conventional and unless their significance is studied, would escape notice as a part of the general decorative effect. The four posts of the organ gallery terminate in exquisitely carved quaint little demi-figures suggestive of music; on the left a trumpeter and a choir leader beating time, as shown herewith; on the (^ right a woman chorister and a man chorister. n !i ^& The organ front has beneath the pipes on its central sec- ^J tion seven painted panels with Latin words and above each word a conventional decorative flower or fruit; from left to right: Honor (honor), a hawthorn; Sanctitas (purity), a lily; Pax (peace), an olive branch; Fructificas (fruit- fulness) , a pomegranate ; Pudicia (modesty), an iris ; Amor (love), a red rose; and Spes (hope), a cluster of grapes. Above in the centre is a carved figure with a scroll per- sonifying Music, and lower at each end a caryatid in the form of a singing angel with a scroll. The upright mem- bers at each side are formed by richly carved and decorated foliage. The two posts of the carved oak. chancel railing terminate in carved figures: on the left, of Moses with the tables of the law, and on the right, of John the Evangelist with the gospel scroll, representa- tives of the Old and of the New Testament. The rail is carved in open work, of lilies and roses. The head of Moses shows two small horns. [ *4 ] SYMBOLISM OF DETAILS OF THE BUILDING This curious freak is found in many statues of Moses. These horns are grotesquely conspicuous in Michael Angelo's great statue. They originated in a mistranslation of the Latin vulgate, and the blunder is perpetuated in the modern Roman Catholic Douay version in the absurd rendering of Exodus xxxiv, 29, 30 and 35 — " and he knew not that his face was horned from the conversation of the Lord. And Aaron and the children of Israel, seeing the face of Moses horned were afraid to come near." " And they saw that the face of Moses when he came out was horned." These "horns" were the rays of light when the face of Moses "shone." THE CHANCEL TILING In the wide step just before reaching the chancel floor are seven tiles with emblems; from left to right — a pelican, a type of Christ; a winged angel, instead of a man, for Matthew ; a winged lion for Mark ; Alpha and Omega, our Lord's title for Himself; a winged ox for Luke; an eagle with outstretched wings for John; and a lamb, a type of Christ. The chancel floor is enriched with geometric designs in smaller tiles. Of these tiles there are about four hundred, all with sym- bolic figures, including the fish, the ship, the lamb, the lion; quatre- foil four leaved figures of various sorts; also crosses of many tvpes, the usual or Latin cross, Saint Andrew's like our letter X, Saint Anthony's like our letter T, the Greek cross like the Latin except the arms are all of the same length, the three-armed cross like our letter Y, the pa- triarchal cross like the Latin except an additional shorter cross bar above, the eight armed cross combining the Greek cross and the Saint Andrew's cross, the Maltese cross with upright and transverse arms of equal length and wide at the ends tapering towards the centre ; the crosslet like the conventional cross with short bars across each arm near its end; also crosses of different shapes enclosed in circles, squares, diamonds and shields, and the cross surmounting a globe. [ 6 5 ] THE MVLER MEMORIAL PULPI] SYMBOLISM OF DETAILS OF THE BUILDING THE MYLER MEMORIAL PULPIT The Myler memorial pulpit is placed at the left of the chancel. It was designed by Mr. Goodhue and his associates. The woodwork is by Irving and Casson of New York. The pulpit is of octagonal plan and of oak, with a stone base and with a canopy of open work. It is the most lovely, graceful feature of this beautiful church. The treatment is simple rather than florid. The details are not ornament for ornament's sake, but have a worth-while message. On six sides of the pulpit are six exquisitely carved figures in canopied niches ; from left to right : Augustine of Hippo with mitre and crozier; Ber- nard of Clairvaux in monastic robe ; Luther with scholar's cap and gown; Roger Williams in early New England costume and in his hand his translation of the bible into the North American Indian language ; Zinzendorf in Moravian dress and holding the bible which he printed in cheap form and distributed widely; and Adoniram Jud- son with hand extended in the attitude of preaching the bible trans- lated by him into the language of Burma. All of these six men, al- though of different types of religious development and of different periods of the church, were true preachers of God's bible to all the world. Baptists claim the right of heirship to all Christian faith, and acknowledge themselves to be only a part of what in the so-called Apostles' Creed is termed "the Holy Catholic Church." Here is a witness in oak that the word of God will forever bind together in ser- vice Christians of all times and all places. It would be strange if any minister preaching in this pulpit should cherish any unkind feeling toward those of a different branch of God's kingdom. The pulpit is enriched with tracery and relief carvings of vine leaves and grape clusters, lilies and roses and thistles, all of which, with many other plants and flowers, were used by our Lord in his teaching. The can- opy, which is also of practical usefulness as a sounding-board, has on six sides an openwork of tracery, and in low relief heads and em- [ 67 ] rHL FIRST BAPTIST CHURCH OF Mffinr^ tob€b® .atyceK ffiefflOJE0ffj& £#EP&S € p e cd v e b In Jj o\i i n^ (D em o r-y By ^isX&ife ' *•'-'-'- , (Deny Dennison <X>t](W 1920 heel ; Peter with a key; John the Baptist with a lamb and a cross of reeds; Paul, a sword; Isaiah, a lion; and Elijah, a raven. The canopy support is spi- rally twined with hands of vines and grape clus- ters, lilies, roses, pome- granates and thistles. The Reading-Desk, placed at the right in the chancel, is of oak of graceful simple design with carvings in relief in harmony with the other carved work. It is the gift of the children of Mr. and Mr*. George K. Stevenson, for many | vears most useful members of J "^ sra: PITTSBURGH blems of six bible he- roes: Jeremiah with a potter': INSCRIPTION CARVED ON TIER AT LEFT OF PULPIT Tip- and the church, and bears the in tion : In Loving Remembrai George Keeport Stevenson Mary Brown Stevenson. The Communion Table is of oak with open work panels and carvings in tracery and relief of vine leaves and grape clusters, and upon it are carved the words of our Lord, 'This Do in Remem- brance of Me. It bears the in- scription: The Gift of William A. Scobie in Memory of his Father and Mother. MEMORIAL READING-DESK SYMBOLISM OF DETAILS OF THE BUILDING THE WILLIAM SCOBIE MEMORIAL COMMUNION TABLE AND THE CALVIN KING MEMORIAL BAPTISTRY The former communion table of black, walnut, given to the church many years ago by Deacon William Scobie, the father of Mr. William A. Scobie, is treasured as a precious memento of the Fourth Avenue Meeting House. The Baptistry is of marble with marble inlay and bears the in- scription The Baptistry the Gift of Calvin King. For many years Doctor Calvin King was a deacon of the church. The Ladies' Parlor. In the carved oak mantelpiece of the ladies' parlor are three recesses with miniature figures of Faith, Hope and Charity. Above the mantel on the Bankhart plaster ceiling in raised letters is the text: Whatsoever things are true, whatsoever things are honest, 'whatsoever things are just, -whatsoever things are pure, whatsoever things are lovely, whatsoever things are of good repute, if there be any virtue, if there he any praise, think of these things. Phil, iv, 8. The two posts of the stairway leading from the north entrance at the angle of church and parish house to the upper class-rooms and to the north transept gallery terminate in two carved half figures, a little hoy and a little girl, emblems of the purity and innocence of childhood, and appropriately placed near the bible school room. The paneled rail of the passage above has posts with corbels. On two of these a childish winged demi-figure is carved holding in its hands a scroll. On one scroll is the word "Labor" and on the other "Honor," words applicable to all true scholars, youthful or adult. -- -- Centroids: The Center of the Radical Centrist Community <[email protected]> Google Group: http://groups.google.com/group/RadicalCentrism Radical Centrism website and blog: http://RadicalCentrism.org --- You received this message because you are subscribed to the Google Groups "Centroids: The Center of the Radical Centrist Community" group. To unsubscribe from this group and stop receiving emails from it, send an email to [email protected]. For more options, visit https://groups.google.com/d/optout.
