Our Wondrous, Problematic Mosaic by First Baptist Church, Huntsville

OUR WONDROUS, PROBLEMATIC MOSAIC By Joseph M. Jones Huntsville First Baptist Church historian

OUR WONDROUS, PROBLEMATIC MOSAIC By Joseph M. Jones Huntsville First Baptist Church historian When that modern source of all universal knowledge is queried as to the word “mosaic,” Google presents as the first example a depiction of the “mosaic of Jesus” which adorns the front of the sanctuary of the First Baptist Church, Huntsville, the first among more than 350 images shown in grand color to illustrate that type of art. What would the church’s leaders of the last mid-century think of that presentday elevation of the most troublesome aspect of their momentous building project? (True, Google writers sometimes fashion their product to match the biases of local or regional readers, but nonetheless that evaluation of our mosaic is impressive.) Although no such claim is made for it, this depiction of the cosmic Christ, covering an area of more than 6,000 square feet—a third the size of a common football field--must be among the largest in the world. While it is thought to be the largest such art in the U. S. and maybe the world, it would not win prizes for its longevity, for it had not been up long following its completion in 1973, years behind schedule, when a few of the small tiles of which it is composed started popping off, falling to the pavement below. It wasn’t long afterwards when the church realized it had a major maintenance problem, for some of the 1.4 million small glass tiles kept falling, and with increasing intensity. Some of the sharpest minds in the technical world have labored to devise a “fix” for the past 40 years and have finally arrived at an answer that has been apparent, although of reluctant and dreaded acceptance, for most of those years—just replace it; duplicate most of the work that required seven years originally, using new technology and master craftsmen from the Old World where the art form originated. That decision was made two years ago and by now is well advanced. The main purpose of this present documentary account by the church historian is to assemble in one place from many sources a summary of the years-long effort that preceded the present replacement project, which is to cost $1.65 million, many times larger than the original effort. The story is told here in little dribbles over a 40-year period, often disconnected but presented in as natural and sequential a fashion as is reasonably possible. Our “new” pastor, the most able and highly-respected Travis Collins, was the inspiration of this telling. Like many others of us, he had a difficult time assembling these disconnected and often torturous events into a coherent whole. There is no evidence in the written record or in the corporate memory of the church that First Baptist set out to break records in creating such a large mosa-

ic. It just sort of happened as an integral part of a very large, impressive building program undertaken by the oldest missionary Baptist church in Alabama. The church was started, a decade before Alabama was formed, in an open cotton field several miles from what eventually became the Madison County seat of Huntsville; the church finally moved to town 50 years later. For much of that half century there was no Baptist witness in Huntsville. The church continued through the decades bereft of any ideas of grandeur. The church was simply trying to minister in Christ’s name to the people of the county seat, which, as it happened, was the first incorporated town in Alabama, that is, the birthplace of Alabama, and was known everywhere as a cotton planting/ growing center, a major manufacturer of cotton goods, as well as “the watercress capital of the world,” as the Chamber of Commerce loved to say. So, the two dozen pioneers who started the church on the banks of the West Fork of the Flint River, had grown through five increasingly large church houses, had amassed a Sunday School enrollment of 3,000 with average attendance of 1,800, and needed new quarters on the outskirts of the town, a town which in the last mid-century was rapidly minimizing its cotton and watercress past, focusing on going to the moon. Decisions relating to the mosaic were made quite independent of, and much later, than those relating to the main construction of the new facilities on Governors Drive. In fact it might be said the mosaic, or “facade” as it was first ordinarily called, was an afterthought. Its planning and financing, like that of a new organ, was separate from and occurred much later than the main building. In fact, it might be further said, accurately, that the congregation seemed to place little emphasis on this decorative aspect of the sanctuary structure until the novelty of it drew wide attention–and until it started falling to pieces in earnest and cries were sounded for its restoration. All that occurred years after its dedication in 1973, about seven years after formal dedication and use of the sanctuary itself. (For the first few years the vast concrete space above the sets of massive front-west doors of the sanctuary were simply painted, awaiting the installation of the mosaic.) Substantiating this apparent lack of mosaic interest, it is noteworthy that the 1984 400-page history of First Baptist pays scant attention to the mosaic. Today’s reader finds no entry regarding it in the lengthy appendix and index sections; a large color picture of the mosaic, however, is included, with some tiles notably missing after a decade of life, the number much smaller than was later observed. But that structural anomaly was not mentioned. Strangely, just to further emphasize the pedestrian attitude with which the church seemed to regard the deteriorating mosaic, the more recent written church history, issued in 2009 on the occasion of our 200th anniversary, appears to have totally ignored the art on the front of the sanctuary. It seemingly was not mentioned at all! (And that reportorial project was one the present writer had a hand in, it should be acknowledged.) This is not to suggest that the subject was totally ignored. Multiple attempts by several sets of trustees (responsible for building maintenance) through the 3

years took note of the problem and made ineffectual efforts toward finding and applying a solution, but correcting the mosaic was so enormous a task, projected remedies were expensive and there were so many needs for available dollars that it was acceptable to just set aside such a non-urgent problem. Parenthetically, it should be noted the whole effort to construct facilities and relocate to the Governors Drive address required about 35 years, from 1954 when the longrange study committee began planning until the last structures, the carillon tower and the Christian Life Center were completed. The project got underway physically in January 1957 when the church voted to move its entire program to what was then the southern edge of the city, near the Huntsville Hospital, on acreage which had been bought the previous year. This was one year after the arrival of Dr. Alvin H. Hopson, the pastor who served nearly 27 years, the longest tenure of any pastor in the church’s 200 years. A word about planning and construction management. There was, of course, a building committee—in this case a virtual army of planners dealing with the many parts of the project. It would be terribly troublesome if not impossible to reconstruct the details of that effort, but it can be guessed that in the course of the years from the late 1950s to the early 1970s, far more than 100 persons served on the building committee or subgroups thereof. In the beginning, the congregation recommended 215 members for assignment to the building committee. In April 1957, 75 persons were chosen to serve; Earl Cloud Sr. was the chairman, Guy R. Lynn was the vice chair and Mrs. Virginia Murphree the secretary. The others were assigned to one of seven sub-committees, depending on their individual competence and preference. The subgroups were Plans, Legal, Grounds, Construction, Publicity, Equipment and Finance. (The structure of the group changed as new elements came into play, such as organ, mosaic, communication/public address, etc. By far the vast majority of these men and women are now deceased. Among those known to have served, and still among us, are Dr. William R. Lucas, Pete Apple, Harvilee Harbarger, Charles Carter, Carolyn Miller, Steve Chambers and Jack Lucas. And possibly others. (The 1984 history book of FBC carries a picture of the building committee as it existed in 1966. At that time the group was 73 strong. A note revealed that seven original members had deceased.) In charge of this total effort for decades—he had also earlier headed the Long Range Planning Committee--was Attorney Earl Cloud, himself the son of a prominent Huntsville builder and therefore versed in that important art as well as legal and business aspects. Cloud was chairman of the committee when he introduced to the congregation, in July 1958, the noted Birmingham architect, Lawrence S. Whitten, for a presentation of preliminary plans for the entire facility – which, by the way, may have been the first occasion when the word “mosaic” appears in the church record. And Brother Cloud was still serving in 1987 when the final element of the massive construction project, the carillon tower, was dedicated. This means, presumably, he served at least a total of 33 years, from 1954 as a long-range planner to 1987 as building chairman. Among the many hard, basic decisions the building committee had to make was the general shape and fashion of the building. There was sentiment toward selecting a conventional type structure, perhaps presenting columns in the manner of many 4

church and other such public structures. But there was also an inclination toward a more modern, airy and light edifice, particularly in the main, sanctuary aspect, one that could portray artfully something of Huntsville’s new role and ambition, the pursuit of the exploration of space which could be seen as complementing the area’s newfound role – the heart and soul of the city and the church was devoted of late to the development of the Saturn moon rocket and other types of spatial machinery and functions. One thought put forth was that the large stained-glass windows as well as the proposed front artwork in tile complement each other in suggesting the beauty and majesty of the celestial realm, as well as the person of the cosmic Christ as presented in the New Testament book of Revelation. At a special called conference of the congregation at both morning services July 13, 1958, Whitten presented a broad outline of all of the proposed new facility. The first element to be built was the three-story education building, mainly to accommodate the rapidly expanding Sunday School. It was built first, and was occupied in 1963, before the beginning of the sanctuary, which was of a less conventional design. This building was described as being wedge -shaped with a sort of scalloped roof, having a very high profile, with massive front doors facing westward. The high profile provided a large open space above the doors which allowed the attachment of a large “Venetian Glass Mosaic in front to blend with the brick and to add color.”

After the presentation Earl Cloud, according to the minutes, returned to the front and said: “The Building Committee of the First Baptist Church unanimously recommends to the church that the preliminary plans and design be accepted.” They were accepted. It would be most of a decade before the mosaic, which is our present subject, would enter the picture as a major aspect. There will follow, here, notations of some of the major steps that led to the fruition of the mosaic plans introduced that day, and in consequence down to the present. 1965, July 22: With the education building having been completed and occupied and the sanctuary construction advancing, the church’s newsletter, The Messenger, reported that leadership had been named and a move placed in force to raise $110,000 for a new organ and the “facade,” or mosaic. 1966, September 17: The Messenger reported that in a business meeting it was announced that 12 art firms had been invited to submit proposals on the mosaic. 1967, April 26: The newsletter reveals that the church had been told of the mosaic design concept and that formal approval would be sought the next Sunday. It was also announced that Gordon William Smith of Fort Worth, Texas, had been chosen to design the mosaic. “Smith was the artist for the windows at Woodlawn Baptist Church, Birmingham, Alabama,” it was said. On Sunday, June 2, 1968, the church entered a business meeting, hearing from Chairman Earl Cloud of the building committee a proposal that “stained, faceted glass windows be installed in the sanctuary. A motion from the floor was 5

made to include the facade (mosaic). After lengthy discussion the church voted to enter into contract with Smith Stained Glass Studio, Fort Worth, Texas, to install stained, faceted glass windows and to complete the facade…. The artist will make some minor changes in the design submitting all changes to the committee for approval.” That same week, The Messenger printed a large artist’s concept of the complete facade –presumably a drawing shown to the Sunday business meeting, and perhaps the first such view of the entire mosaic shown to the congregation—and concurrently carried a letter from the architect, Whitten, to church members which said in part: “I regret my inability to be with you on Sunday, June 2,…I was delighted to get the report of your action in approving the design for the faceted stained glass windows and the tile facade for your fine sanctuary….I think the new design for the facade based on the vision of St. John in the book of Revelation will be a great witness for Christ, your love for him, and your dedication to His service. I will continue to work with the artist, Mr. Gordon Smith, on the development of these details for these works of art….”

During the 10-year period he served as associate pastor of First Baptist Church, Dr. Ed Culpepper wrote an interpretation of the mosaic design. It was in large part based on the much longer article written by Dr. Alvin Hopson for the church’s “public relations” use much earlier. That Culpepper piece is presented here; the longer writing from which it is largely drawn appears as Appendix A in this presentation: “The mosaic which adorns the facade of the sanctuary was created by artist Gordon Smith, of Smith Stained Glass Studios, Fort Worth, Texas. This art work began in 1966 and was finished in 1973. “The mosaic was designed to express the Biblical theme, "Creation and Redemption." Revelation 1:12-20 serves as the primary biblical text inspiring the design. The artist makes use of many references to the person of Christ expressed in the great Christological passages in Colossians, Ephesians, Philippians 2, ll Corinthians 4:6; ll Corinthians 5:16-21, Romans--Chapters 1, 2, and 8, John 1:1-16, and Hebrews-Chapters 1, 11, and 12. They supply important ideas and combinations of ideas basic to the

symbolism of the mosaic. The huge symbol of the cross laid over the Christ figure is an example. “The artist exhibits the central position of Christ in relationship to creation and man in the use of contrasting colors which are deep and fiery at the center, but surrounded by cool blue shades with their sweeping effects on the circumference. The distinct traces of pure white sweep like ribbons of mercy around the center portion. The sinless character of Christ is mingled freely with the whole creation. He is the source of all moral perfection and holiness. “In the midst of the seven churches, symbolized by lampstands, Christ stands. He is ever present to encourage them as they battle with opposing forces. This is the scene of the most striking colors in the design. The Christ figure occupies the center panel. This is the focus of the confluence and movement of the mosaic as a whole. Nothing less could represent the scriptural references to "the Cosmic Christ." The Greek letters, Alpha and Omega, are superimposed on the bosom. The kingly crown is suspended above the head ready for that final coronation "Day of the Lord" II Thessalonians 2:2-3). Redemption is complete when He shall be crowned Lord of all creation in the consummation of the ages to come (I Cor. 15:24, 25). “Various components heighten the interest of the Christ figure pictured in the center panel. He holds the seven stars in His right hand. A beam of light representing Revelation's twoedged sword, God's Word, spreads from His mouth. The Alpha and Omega are superimposed across His breast as is the cross. In each of the other panels there is a lampstand. These represent the churches which orbit around the Christ figure. The churches are luminaries in a dark world (Phil. 2:15). “While the primary emphasis is on Christ, the seven churches as mentioned in Rev. 1:4 are represented by 7

lampstands in each panel or bay. they function as a visible part of the glorious destiny over which Christ Himself presides and Who is the center. Both the becomingness of the lampstands and their orbital movement seem to illustrate the same truth. Inherent in the design is an impression of the process of creation, of order evolving out of disorder. No doubt is left about the ultimate destiny of all things in Christ whether past, present, or future (Colossians). In the background of the upper part of the Christ figure is an expanding dimension of depth where the colors and lines flow together, forming a horizon of mystery lying behind the head and shoulders. “Furthermore, the art may be viewed as a symbol of the expanding work of the church in all the centuries since Jesus first sent forth His disciples. The viewer can see and feel the centrifugal force of the mosaic. Jesus of Nazareth is the Lord of Creation. He initiates the movement of all redemptive forces. The centrifugal viewpoint appears obvious, as all things appear to move outward from Christ as Source. The grandeur and the mystery of His power are represented by radiations which project and mingle in the whole design. “On the other hand, if the idea of movement is reversed, the design as a whole further suggests a centripetal movement-a pulling toward the center of all the galaxies orbiting around Christ. Christ is the center of the universe. He is the Lord of life and the Lord of history. No element of the historical process-past, present, or future--escapes His judgment or obstructs the manifestation of His love. “The Christ figure stands 43 feet high. The head is more than 5 feet high, and each eye in the Christ figure is about 8 inches in diameter. About 1.4 million pieces of Italian tile - none larger than a man's thumbnail - comprise the mosaic. Each piece was set in place by the artist with tweezers and/or fingers. 8

“The hands of Jesus are extended and appear to be engaged or involved in the motion and process of everything depicted in the mosaic. The art work is a strong reminder of the presence of Christ, Whose work of redemption is not only past, but always present and continues toward the future. The facade has been designed not only to capture the attention of the eye, but to issue a strong invitation to come inside the church.”

The reader should also be aware of what the artist himself said of the design, expressed to FBC members in a long article published in The Messenger on April 12, 1967, a key excerpt of which follows: “The mosaic for the facade of the church is designed to complement the airy lightness and grace of the structure. It seeks to express basic Christian truths in a new way. Like the building itself, it draws upon the past to illuminate the future.

“Inherent in the design is an impression of the process of creation, of order evolving out of disorder. In the center is sensed the brilliant, intense light of God. The cross and crown recall God’s presence in the world through Jesus Christ, and the promise of Resurrection. Radiating from the center and pressing outward, successive waves of color suggest the flux of creativity and the imposition of God’s will upon the matter of the universe. There are hints of nascent celestial bodies and of galaxies being formed in the far reaches of space. There is a feeling of planets in orbit around the suns and of the complex structure of atoms. There is, above all, the impression that God through his church touches each of us, that his love envelopes us and draws us to Him. Thus the mosaic attempts to gain the attention of the passersby and draw him, both physically and spiritually, into the church. The anchor represents the hope and steadfastness of the Christian in his faith as stated in Hebrews 6:19. These ancient symbols are utilized in a new way to speak more forcefully to the complex personality of modern man. “On another level, the entire design of the mosaic may be viewed as symbolizing the work of the church in the centuries since Jesus first sent forth his disciples. There is something in the convolutions that suggests the power and movement of the church in its outreach, in its never-ending missionary zeal. “The First Baptist Church at Huntsville has an opportunity afforded few churches—because few churches have the courage and imagination necessary for leadership. Part of that opportunity has been fulfilled in Mr. Whitten’s lovely and timeless building. The remainder of the opportunity lies in the art which goes into the building. The art must be of the same high caliber as the building. It must point to the future in the same way. The result will be a bal9

anced whole which will look for inspiration in years to come.”

1967, March 12: In a church business meeting, Dr. Hopson said that Smith, the artist, had prepared two additional faces of the Christ, for possible use instead of the one that had been submitted with the completed picture of the central panel of the mosaic. The pastor told the church the pictures were available in his office, and invited attention to them, with a decision to be made later, “after the Revival.” This is one of two remembered occasions in which the artist sought, or was given, instruction on how the figure of Christ was to be presented. The other occasion occurred much later, and is so totally forgotten that this writer was not able to affix a date, for it apparently was never entered in the written record. The subject was the change in the appearance of Christ’s feet in the first full image of the Savior. Nowhere in FBC records is it registered when or why the feet of the Savior were erased and an “eggbeater” image substituted therefor. Not only was this question unanswered by the records, but none of the old-time members queried by this writer were unable to explain; all failed but one: Dr. William R. (Bill) Lucas. Lucas did not remember who objected to the showing of Christ’s feet, or other details, but he did recall the basic reason. Someone or some group of members thought Christ’s feet should not be shown because that made Him appear too human, Lucas said. Christ was not limited to humankind locomotion. He was a spirit and could appear in many ways, in ANY way He desired. It is out of character to suggest he was dependent on feet. Lucas’ remembrance is that this was not a problem for Dr. Hopson, or for the artist, in any magnitude. Smith just erased the feet and drew an abstraction which someone, possibly a Huntsville Times writer, later referred to as an eggbeater. Therefore, a nickname was chosen which has prevailed for decades, and will continue, as the present church trustees and other church leaders declined to seriously consider the alteration of that aspect of the art in its re-creation. They decided quickly that the image would not be altered in any respect. A picture of that drawing, with feet visible, appeared in the June 6, 1968 edition of the church newsletter, The Messenger, and that picture is reprinted below, apparently the only extant image of Jesus with feet in our mosaic collection.

In a church business meeting, Pastor Hopson brought a discouraging report on the mosaic project. Dr. Hopson and others had visited Smith Studios in June and were encouraged at that time that the project would be installed at Huntsville before the end of 1970. However, a letter from Smith in response to a Hopson request for an update now explained that labor problems had caused a further delay, that it would be the spring of 1971 before the project could be finished. “Dr. Hopson stated that this firm had told him that they have already lost $24,000 on this contract….Dr. Hopson concluded by saying that he hoped that the delay and our patience will justify the quality of the finished product.” (The actual finishing date would be nearly three years later than this letter projected.)

In mid-1971, after the Smith firm in Texas had been working on the mosaic for more than three years, there appeared in The Messenger an article that may have convinced some First Baptist members that their church indeed had a major art project under way. Their newsletter of August 8 carried a long excerpt from a Fort Worth Star Telegram story that had appeared earlier that month. The excerpt started: “What is probably one of the largest mosaics ever created in the United States is nearing completion at the Smith Stained Glass Studios, 3209 Bryan Ave. It encompasses 6000 square feet and is dominated by a 40-foot tall figure of Christ. The mosaic was designed by Gordon William Smith, founder of the firm in which his brother J. Hulbert Smith is also a partner. It is being executed 11

by him and his associates from the brilliantly colored glass tiles, or tesserae, which the firm imports from Italy.”

If there were still some church members unimpressed by the magnitude of the undertaking, this story out of Texas, where big doings often originate, this news may have been seen as significant. The excerpt continued: “The work was commissioned by the First Baptist Church in Huntsville, Ala., and measures 46 feet tall and 140 feet wide. The mosaic will cover virtually the entire facade of the contemporary multi-million-dollar church building. A boulevard approaches the front of the church and when the mosaic is secured to the surface it should provide an inspirational picture for all those who approach. Members of the church and their pastor, Dr. Alvin H. Hopson, feel that the work reflects the forward-looking atmosphere of Huntsville and its Marshall Space Flight Center where the Saturn moon rocket is built. “According to the artist, the design of the mosaic is based on the first chapter of Revelation in which Christ is described as ‘galactic and universal – the Christ of earth, of space, of eternity.’ The mosaic was designed to complement the airy, lightness and grace of the contemporary church structure. It seeks to express basic Christian truths in a new way. Like the building itself, the artist states, “it draws upon the past to illuminate the future….”

Dr. Alvin H. Hopson, left, First Baptist pastor, and Gordon W. Smith, artist, pose with a mockup of the Christ mosaic in the artist’s Fort Worth workshop. The excerpt continues for most of a page describing the mosaic and presenting interpretations of the design before ending with this paragraph: “Thus, the artist attempted to capture this feeling in the mosaic with its swirls of color surrounding the dominant figure of Christ. The outside sections of the work are in graduating shades of blues, greens and purples while the center is alive with the glowing of yellows, oranges and the brilliance of white surrounding the Christ figure Whose face and hands show the bronze coloring of the sun, and Whose eyes show the piercing insight they possess and the gentle expression symbolic of His love.”

Happening about the same time in 1971, an appearance in a business meeting by Building Committee Chairman Earl Cloud gave evidence that further trouble in the mosaic work might be brewing. The minutes state: “Questions have been raised as to whether or not the procedure that Smith’s Studios proposes to follow will lend itself to a permanent bond on the front of the church.” Because of this Cloud brought a recommendation from the deacons that if in the opinion of John Schell, a church member, a trip is necessary to Smith Studios, Fort Worth, to discuss the method of application of the bonding process to be used to fasten the tile to the church, that such a trip be authorized at an expenditure not to exceed $300, after which Schell would report to the deacons and Cloud. The matter was approved. (John Schell in professional life was a chemist employed by the Marshall Space Flight Center’s material engineering division, headed by Dr. William R. (Bill) Lucas, superintendent of the FBC Sunday School and a member of the building committee. Contacted in 2017, Dr. Lucas remembered Schell fondly. Lucas hired him to his present job, he lived near Bill and Polly Lucas in Huntsville’s Thornton Acres, and they were good friends. Schell’s specialty, Lucas said, concerned the weathering effect on materials; the mosaic was to require continual outdoor exposure of the tiles, presenting radical differences, and his concern in this case had to do with the different expansion coefficiencies of concrete and plastic or glass as would be experienced in this application.) Six months later a written report from John Schell was presented, the delay having been caused in part by the continued delay of reception of tiles from Italy, “actually the only place in the world where it is manufactured.” Schell explained the processes used by Smith to do the work. He wrote approvingly of the long-delayed visit, observing that “all-in-all, this project is in good hands, that they are doing a good job, and that the art work will be something which members of First Baptist Church will be very proud to have on the front of our Sanctuary.”

About a year later, Oct. 15, 1972, The Huntsville Times did a major article on the mosaic and portrayed the person of Christ in the central of the seven panels or bays. The artist was quoted as saying, “I doubt that I will ever do a mosaic this size again. It is a once-in-a-lifetime opportunity.” He went into some detail about the project, and his approach. “The psychological problems of working of a single piece of art for three and a half years in the studio was a problem. It was a study in perseverance,” said Smith. He said the work is one of the largest art mosaics in the United States, weighs six tons. He said technical problems created by the sheer size of the mosaic, and rising labor problems had caused the cost to soar since the 1966 contract was signed. The article said the Smith firm employed about 12 artisans, working on as many as 15 projects at a time. About 90 per cent of their work is with churches. Smith had been a practicing artist for 20 years, ever since receiving a master’s degree from Columbia University, where he studied sculpture. Smith also designed the huge 1,500 square feet stained glass windows. As to the mosaic, they expect installation to require another three months. “Since the latex they use can’t be worked below 50 degrees, operations may have to be suspended this winter, and finished in March,” it was said. As to technique, “Smith had a 3-16 scale painting, and divided it into numbered squares representing one square foot. The painting was photographed and projected on a huge sheet of paper on the wall. A cartoon outline was made from the projection, and the mosaic pieces were pasted on the cartoon. Then a sheet of paper masking was pasted on the face of the tile, and it was cut into 2 square foot sections which were carefully numbered so that their reference point would permit proper placement on the church face. “Smith says the technique is an old one, dating back to the Italian renaissance. As a matter of fact, the special glass tiles he uses instead of ceramic ones, ‘because of their brilliant colors, can be obtained only in Venice’ it was said.” Then, in the Huntsville Times story comes a suggestion as to how the concept of the huge mosaic originated. The First Baptist architect, Lawrence S. Whitten of Birmingham, had used Smith earlier to do art work on two projects in Birmingham, Woodlawn Baptist Church and the chapel of the Baptist Medical Center there. “Whitten had planned some sort of art work for First Baptist from the beginning. He wanted random colors and a simple design in the center panel. After a number of trial designs had been rejected, a mosaic was decided on. Whitten and Dr. Alvin Hopson, pastor of First Baptist Church, made a thorough search before locating Smith. The artist developed a design working with Dr. Hopson on the matter of theme. The church planning committee, a 20-member group headed by Dr. Raymond Christian, wanted a mosaic and stained- glass windows to complement each other, and to be designed by the same artist. Gordon Smith was one of the few artists willing to try both.” It is not clear, but Smith’s earlier work in two Birmingham projects must have been of art other than mosaics, but Whitten must have known he also did mosaics. In either event, Whitten apparently was the person through whom Smith 15

became known to First Baptist. Seemingly, the FBC planners were interested in Whitten’s acquaintance with Smith, but the church planners were careful to survey the field by advertising their project to other artists, as reported earlier in this account, before making a selection. Regardless of whom is credited with the original thought, it is obvious that Pastor Alvin Hopson had a major role in the development and execution of the project, as has been broadly believed by First Baptist members through the years. (For the reader’s information, brief biographies of both Hopson and Smith, as well as the overall chair of the planning committee, Earl Cloud Sr., appear in the appendices of this paper.) Smith Studios had indicated to The Huntsville Times, as reported in its Oct. 15, 1972 article, that the firm was facing monetary and scheduling hardships. Six months later, on May 17, 1973, a two-page layout in The Messenger informed FBC members that hard times had arrived on the mosaic contract, that work had essentially stopped. Smith had advised the church that many unanticipated problems had arisen—a dock strike had caused delays in arrival of materials from Italy, the firm had experienced labor problems, unfavorable weather had delayed installment of components in Huntsville, the company was foreseeing a financial deficit of about $50,000 in completing the project. A request came from Smith that the company be allowed to appear before the church deacons to explain their problems. Many visits by church committee members, including several of Committee Chairman Cloud, to the Smith facilities had had no effect, nor had the many phone calls. That Smith visit occurred and resulted in a summary admission that the work on the mosaic “was a much larger undertaking than ever anticipated,” as the FBC members were told. Smith said he “would appreciate consideration of a renegotiation of the contract at some later date to help him defer some of his loss.” Extensive negotiations followed, along with careful assessment by the church of the validity of the claims. In the meantime, the Smith firm increased its projected loss on the mosaic project to approximately $69,000. It appears, if present evaluation of the complex contract modification is accurate, that the church agreed to supplement the contract by $15,000, this done as a magnanimous action by the church. The original 1968 contract was for $100,000 for both mosaic and windows. The mosaic work continued, and later the same year, on December 5, 1973, the deacons recommended a committee be appointed by the church to plan a dedication of the mosaic on January 13, 1974. The committee consisted of Earl Cloud, Bill Stone, Steve Tondera, Bill Lucas and Bill Murphree.

The 1984 First Baptist history book gives January 13, 1974 as the date of the mosaic’s dedication, but the church’s Sunday order-of-worship for that date gives no indication of dedicatory activity. Nor does that week’s Messenger. Therefore, one must conclude there was no formal dedication of the mosaic. It leaves one to conclude the church leadership was so disillusioned and disappointed about the mosaic--the great expense and the inordinate delay--that they decided to forego a dedication of the single element of the building pro16

gram that otherwise had been simply magnificent and had become the pride of the entire state Baptist populace. That the church was so proud of its accomplishments was very evident in a statement The Messenger had published much earlier, Jan. 30, 1968, summing up what had happened since the program was undertaken eleven years earlier: “Approximately 3.5 million dollars has been spent for property, building and equipment by members of First Baptist Church to provide a place of worship, fellowship and religious education. We have a building covering 3 acres, containing 255,000 bricks, 2 miles of duct work, 400 tons of steel, 25,000 cubic yards of concrete, and approximately 2.5 million dollars has been provided on our debt. And that was before the carillon tower and the Christian Life Center were added years later. (The same article did point out that remaining debt to be paid was $1.056 million.) Regarding the planned dedication that did not happen, Dr. Hopson wrote at a different time and place that it was avoided because of “several valid considerations.” (See Appendix A.) The date he cited was wrong; he said the delay occurred in the Spring of 1974, whereas it was actually January 13. Hopson said no one had taken the time and interest to prepare interpretative material such as a brochure to explain the mosaic, satisfying the inquiring interest that was bound to come—the pastor at that time was preparing such material to hand out. Those “considerations” leading to avoidance of formal dedication seemingly did not include non-availability of the time, for the mosaic had required seven years to build, and was finally finished three years behind schedule. This leaves today’s observer wondering if the above assumed reason for avoidance of formal ceremony was not the strongest consideration. If the decision to skip a formal dedication was as guessed, it is all the more amazing that 40 years later the mosaic of the cosmic Christ is cited by Google to be the number one example of the mosaic art, in spite of all the problems attendant to the fallen tiles, price overruns, etc. that had been experienced, and the ultimate planned correction – an account that begins now in this telling.

Although such irregular problems might have occurred earlier, the first occasion in the written record of mosaic tiles having broken loose from the facade and fallen to the pavement --the first “officially recorded” occasion was reported as a part of the trustee’s report to a business meeting April 7, 1976, a little more than two years after the mosaic was completed. Apparently, no action was taken to discover the cause of that abnormal occurrence and fix it. The next recorded occasion was to the effect that Rod Hersey, soon after he was employed by FBC (as building and business manager) in 1978, “He and two teenagers worked three months gluing about 2,000 pieces of tile back in place.” It is not clear whether the tile they replaced was the self-same tiles which had fallen, or new tiles which was reported in 17

the same document as having been bought from a company in West Virginia due to the unavailability of tiles from Italy due to labor problems. But it was also said “a sealant was purchased at Engineering Maintenance Services and was rolled onto the mosaic to seal the tile in place.” So the first attempt at repair and recovery was a home-made do-it-yourself approach. Although the tiles continued to fall to the pavement at some frequency, the next entry in the available written files is a letter dated Feb. 13, 2003 from J. Piercey Studios, Inc., Orlando, FL, addressed to Debbie Bell, FBC business manager, responding to a request for help. Piercey was continuing conversations of recent weeks with Bell, confirming a price of $8,500 for inspection and consultation regarding the mosaic “with the following conditions: you, the owner, will need to furnish a boom lift for the inspection.” He recalled that in 1996 a certain equipment company offered to provide a lift, so this seemingly was an approach considered nearly a decade earlier. Available written records do not affirm this offer was accepted, but it is noteworthy that this Florida firm is one being dealt with in 2017 for the eventual complete replacement of the artwork. Just to show the problem still existed, and its solution was never far from the minds of those in charge, the trustees’ meeting minutes of May 19, 2004, divulges that Trustee Bill Stone brought in a product that might possibly preserve the tiles in the mosaic. “This product is made by Golden Artists Colors….is called Hard Mineral Spirit Vanish. When spray applied it functions well as a fixative and might hold the mosaic tiles in place for several years. Bill is asking Golden Artists…to send information on the cost of this product. Also, Trustee Wes Blake brought in an estimate on the use of scaffolding which was so expensive (that) he recommended the use of lift buckets….” Evidence of still another approach to a solution is in a letter of July 12, 2007 from Conrad Smith Studios of New Berlin, WI. The project manager spoke at some length about evidence “both visual and physical…tiles that are failing primarily at the first level of adhesive…glass tile (being) glued to the amber resin or ‘fiberglass’ type of material with a silicon type of material….” He went on a few paragraphs in technical discussion before saying “the way to find the best solution to the problem is to try several techniques in a few controlled areas and check them periodically. As we have discussed, to restore the entire mural would be cost prohibitive.” The sooner you try a few techniques the sooner you can evaluate the results and move closer to restoration, he said. A year later, August 8, 2008, came a letter from Miotto Mosaic Art Studios, Inc., Carmel, NY. Miotti referred to a Conrad Smith contact and proposed to visit the Huntsville site “and do a detailed inspection of the mosaic mural….to identify the cause of the damage to the mosaic and to come up with a solution to fix the damage and to prevent any further damage.” He estimated he would spend four days, including travel, would charge $2,400 plus travel, air fare, car rental, hotel, meals, a lift and the purchase of any materials he would need. Too, he needed to be told what city to fly into. So far as was discovered, nothing came of this proposal. 18

Debbie Bell resumed her correspondence with Conrad Schmitt Studios in 2007-2009 on several subjects. She requested an evaluation (current replacement cost) of the FBC mosaic, data needed to comply with a requirement from the city of Huntsville. A notification from the Schmitt studios that there does not seem to be a “fail-safe” method to stop the tile failures, but a general recommendation was given that an annual or more frequent maintenance was called for. “Because of the nature of this project (the lack of historical information about how the tiles were adhered), there is no way to prepare a sample and calculate if the method works or not…You may want to allocate an allowance for key areas and if that goes well, expand the area.” Another letter from Schmitt informs that they “sent photos and descriptions to several ‘mosaic houses’ to see if they had ever seen this type of installation.” They had not. A letter from Schmitt Studios Dec. 10, 2010 to Bill Stone, chairman of trustees, thanked Stone “for continuing the much-needed evaluation of the church’s wonderful mosaic.” They presented several ways of testing and documenting restoration efforts, with types of products and techniques, which will go unreported here, and ended with the apology: “We’re sorry we can’t give you much more direction, but this is something we do not specialize in.”

The FBC Trustees, charged to preserve and maintain our facilities, had been working with diligence since 2003 toward finding a solution to the mosaic problem. “Two different companies,” they told the congregation, “performed an evaluation. Both companies found that there is no real viability in repairing it – only in replacing it. To delay any further only conveys to the community that we have no interest in maintaining and artistic and architectural integrity of our facility.” That conclusion was reached by 2015. One of the two detailed studies concluded: “it appears the mosaic was installed by someone with good intentions but lacking in experience.” The trustees, in intense conversation with the pastor and the deacon body, had decided it was time to mount an effort to redo the forty-year-old mosaic. Finally, the chemistry was right and a drive was mounted in early 2016 to convince the membership to begin action to fully replace the mosaic. The trustee committee, headed at that time by a newcomer, Todd Westbrook, and the pastor, Travis Collins, another newcomer, together with the staff of the church – all worked carefully and thoughtfully to explain the circumstances and inspire a positive response. It should be added that the membership was ready, virtually all had been aware of the problem for years and were superready for action. The Messenger ran a series of questions and answers as a technique to present the matter, divulging much of the details of the studies, pertinent portions of which are digested here: What caused the demise of our current mosaic? There are multiple points of failure in materials, preparation and installation. The material used was pressed glass tiles (machine-made) which do not have enough surface area for proper bonding of the cement, therefore the tiles were not “locked” in place. The preparation of the tiles with some sort of netting, bonded by epoxy 19

was another problem. The epoxy did not bond well to the cement for installation because the surface was so smooth. Another point of failure in the preparation was in regards to the substrate wall. This wall needs to have some “tooth” to allow the mounting cement a chemical, as well as a mechanical bond. As far as to installation, the glass tiles were placed too closely together; therefore, there was not enough room for cement to bond between the sides of the tiles. Who would do the work? We have been consulting with J. Piercey Studios in Orlando, FL. Mr. Piercey and his workmen will make measurements necessary to reproduce the existing mosaic, remove the artwork and prepare the surface for replacement. Piercey will act as general contractor for the Barsanti Marble Bronze Mosaic, located in Pietrasanta, Italy, a fourthgeneration company which originated in 1882.This firm will contract for the manufacture of the glass tile and will assemble the mosaic. When they make their multiple trips to the U.S for installation, they will be assisted by Manrico, Bertellotti who is their most experienced worker; he and his father own Ferri & Bacci Mosaics, also in Pietrasanta. What experience to these contractors have in this type project? Piercey has been fabricating and installing mosaics since 1981. The Barsanti firm has designed and installed hundreds of mosaics from the hot deserts of the Middle East to very cold areas like Moscow. They are experts with four generations of artisans. Bertellotti, who will be our on-site installer, has vast experience, including an 11 million tile (of the type we’ll be using) Life of Christ mosaic in Orlando, FL. Will they warrant their work? Yes, a 10-year warranty to begin after the last installation. They will also guarantee the present price of the installation for five years. How confident are you in this work lasting? If a mosaic is installed properly, it should last 100, 200, 300 years or longer. The important factors are that the mosaic must be fabricated and installed correctly by experienced “mosaicisti” (worker), using proving techniques. How long will the whole process take? After the contract is signed, they will begin making the proper glass, called smalti. These are hand-cut pieces of glass about ¼”x 5/8”x ¼” thickness. They will cut about 4.3 million pieces of glass to replace our present mosaic, which has about 1.4 million pieces. We will plan to complete one bay (of seven) at a time, working toward completion of the project in five years. It Is necessary to take this much time to allow the manufacture of the glass and the fabrication of the mosaic. They have to make a “cartoon” drawing of the actual size of each bay. This cartoon is laid out on a floor (they will have to rent a gym) and the smalti are glued to the paper. It is then divided into much smaller sections, numbered and packaged for shipment. So, what you will see is Piercey and crew taking down one bay of the mosaic and scraping off the remaining cement/mastic. Next the surface will be pressure-washed, followed by application of a “scratch coat” over the concrete wall. Then Barsanti and company will install the mosaic. All 20

of this will be done from scaffolding and will likely require about one month per bay to complete. Will it look the same? The trustees remain very cautious about making changes to the original design. We have all heard that “beauty is in the eye of the beholder” and this true for any work of art, our mosaic included. We have heard people refer to our mosaic as “Jesus in an egg beater” or some such. We’d rather no title like this be applied to something so dear to our hearts. However, we as trustees must also insure we do not make design changes that create some new unbecoming reference in the future. As the project progresses we will consult with the artisans about minimizing the “eggbeater” aesthetic while maintaining its original intent. However, our first and foremost mission is preservation and any changes must keep this mission in mind. What is the cost and how will it be paid for? The projected cost is $1.4 million with another $100,000 for contingency and upgrades in lighting for the mosaic – a total of $1.5 million. The trustees have allocated $250,000, taken from estate gifts. We have a commitment of $500,000 in matching memorial gifts—for each dollar given, another dollar will be matched up to a maximum of $500,000. The church would be asked to pledge gifts of $750,000. This special giving would begin in early summer and continue over the five years of the mosaic installation. Why spend so much this way? Can’t we do something else that is more cost effective or more mission-minded? We are charged to preserve and maintain our facility. Unfortunately, our current mosaic was done by a firm which did not have tried and true techniques—resulting in the deterioration we see today. Since the current mosaic cannot be restored, the trustees are recommending that we maintain the architectural and artistic integrity of our facility by replacing the mosaic. While we must weigh the cost, we must also weigh the historical, missional, artistic and iconic significance of what was created when the church elected to commission such a work of art. The mosaic tells our story as a church, it tells our story as a community and it glorifies and honors our God with its spiritual significance. If it is just a matter of cost, we have already ceded the debate. If the church does not want to go in this direction, then we can come back at a later date and research other motifs such as glass walls, steel, paint, lasers, etc. However, the trustees believe that the restoration and preservation of the vision this church had back in the 1970s is still relevant today and deserves our attention.

The pastor, Dr. Collins, meantime spoke and wrote forcefully about the importance of finally tackling the mosaic problem, and doing so without hindering our missions’ efforts. An example of his utterances was this statement: “I remember driving down Governors Drive in Huntsville as a teenager. A magnificent work of art, still fairly new, drew my attention. It was, I believe, 21

my first sight of what we call simply, “the mosaic.” I remember my first thought being, “What a creative church that must be to display that on its building! I also remember driving that same direction on Governors Drive four decades later, when I was Interim Pastor of FBC, and looking over at the mosaic. This time I thought ‘The mosaic looks tired.’

“Then, in my first business meeting as Pastor the congregation voted overwhelmingly to renew our beloved mosaic. It was a big decision, and the Trustees had been working on the plan for a long time. All of us were aware of the financial implications of a decision, yet the church affirmed the trustees’ plan enthusiastically. “Al.com picked up on the story, and several media outlets followed suit. When we had our “tile giveaway” people from all over the city came to get their piece of history. And the artwork featuring the tiles has become wildly popular. “I’m thrilled that we are able to restore the mosaic without diverting any missions money to the project. In fact, the money raised from the sales of the ‘tile art’ is going to support fresh expressions of church! (See Appendix E.) Art has, through Christian history, been one of the primary means of worship. Our mosaic is not only a Huntsville landmark; it is a reflection of the glory of the Cosmic Christ, Ruler of the Universe.” On March 16, 2016, Trustee Chairman Todd Westbrook announced that on April 3 the trustees, along with the finance committee “will present a proposal concerning the future of our beautiful mosaic.” That momentous meeting was delayed until May 11. Pastor Collins wrote in the newsletter preceding that occasion that it was a most important vote, that “I’m so glad for all those who have studied this issue over the years. I’m also glad for our present trustees who led us to the decision to renew the mosaic.” He quoted current Trustee Chairman Todd Westbrook as saying, “This mosaic has been studied by First Baptist more than anything except the Bible.” The meeting was conducted, well attended and positively responsive. The pastor characterized it in the newsletter as “a marvelous experience. We made major decisions without conflict. It was absolutely a God-moment.” On April 19, the J. Piercey Studios, Inc., had submitted a detailed bid to remove and replace the mosaic, the major provisions of which are given in the series of questions and answers presented in the paragraphs preceding. On August 9, 2017 in a church business session, Trustee Todd Westbrook, as promised in an earlier session, brought up the matter of possibly changing the 22

design of the mosaic, perhaps eliminating the portion of the image that brought about the objectionable “eggbeater” nickname. The trustees gave a two-page defense of the present design that centered upon: the design is iconic and there is no guarantee a change in design detail would eliminate the nickname; the mosaic is a work of art and should remain true to the original version; legal authorities find that FBC does not possess paperwork proving that ownership of the design belongs to the church --we would have to clear up the question of ownership before changing the design through legal maneuvering that might be quite extensive and expensive, and there’s no assurance that the current owner, if other than FBC, would agree to the alteration of design. So, the design will remain unchanged. In the same session, Westbrook recommended that the church agree to increasing the previously approved mosaic rebuild contract from $1.5 million to $1.65 million, due to two factors, the cost of scaffolding needed for the work is more than was anticipated, and the number of tiles as well as the number of colors has increased. Church Clerk Bettye Pugh reported in the minutes: “the motion passed unanimously.” The members had been writing notes for a long time to the business manager and the trustees, urging restoration action. They were overjoyed that the beloved, iconic representation of the cosmic Christ embedded on our building’s front was now being remade, to last indefinitely, thanks be to the Lord God.

This mid-2017 view of workmen preparing to remove the original tiles in one bay will be replicated several times by 2021, as the original art is removed and another installed incrementally.

Acknowledgements:

It is rare that one finds a person or persons as able and resourceful as are Jim Harrison and his wife Nancy. Jim has been chairman of the First Baptist history committee for a dozen years and Nancy has been right in the course of action with him, fully involved and capable. They have been indispensable in researching our past; this mosaic task could not have been done without such skill and dedication. Jim is not only functional in gathering the details of our past and dispatching them to the Samford University library for permanent filing in their state system; he keeps the same materials in our church computer system and his own personal computer. He also retains the Samford-provided microfilm of our materials.

Similar helpfulness in this mosaic undertaking came from Debbie Bell, business manager of the church who has myriad responsibilities extending far beyond helping keep up with our past. Debbie turned over to the writer an armload of documentation she has acquired concerning the mosaic in the more than quarter century she has been in her position. Debbie’s important functions are compounded when you consider she is also the ex-officio member of the nine-member committee of trustees, simply meaning she is the sole paid member of the staff responsible for executing the trustees’ numerous tasks assigned to her in acquiring real and personal property of the church, overseeing the building, grounds, computers and all equipment including vehicles as well as executing fiduciary/legal responsibilities. And our thanks go most sincerely to staff help provided by Lisa Wilson, Bailey Long and others. Lastly, the writer’s limited computer abilities were aided immeasurably by son Alan Jones, whose competence is remarkable. To all, our most heartfelt appreciation.

Appendix A

its value

HE SCRIPTURAL BACKGROUND

way

of identification and authority

vision cally imposing

use

majesti-

“ribbons

1:4

hold

Appendix B Gordon W. Smith Gordon William Smith, 1920-2010, was an artist and a collector of American Indian art and ethnographic materials who lived in and was a native of Fort Worth, Texas. Born in Fort Worth as the grandson of a pioneer family that had moved to North Texas in the 1870s, his collection of American Indian art was featured in a special exhibition at the Houston Museum of Natural Science in 2008 and 2009. Since then it has been at the Fort Worth Museum of Science and History. Smith was also a publisher, author, and an officer in the U. S. Navy during World War II. In WW II, he served in the Navy as a captain of two ships in the Pacific. He was made captain of his first ship, LCT 68, IN 1943 at age 22, and was spot promoted to full lieutenant at age 23 upon taking command of his second ship, LSM 37. He participated in 13 landings on Japanese-held islands. After the war he obtained an MA in English literature (’50) where he also studied art with noted Italian sculptor Oronzio Maldarelli. He also had a BA in English literature from Southern Methodist University. 33

Primarily known for his works of architectural art in the media of stained glass, mosaic and sculpture, for 41 years Gordon Smith was the principal and chief designer of Smith Studios (previously Smith Stained Glass Studios), a firm he founded in Fort Worth. Between 1962 and 2003, he designed and created more than 800 commissioned works, including stained glass windows, sculptures, and mosaics in churches office buildings and private homes in 14 states. His works of art included one of the largest mosaic installations ever created in the U. S., depicting a “Cosmic Christ” on the front of the First Baptist Church of Huntsville, Ala. That work took seven years to complete (1966 to 1973) and is approximately one-third the size of a football field. About l.4 million pieces of Italian tile—none larger than a man’s thumbnail—comprise the mosaic, each piece having been set in place by the artist or one of his workers, in some cases with tweezers. Smith’s final installed work produced at Smith Studios was a stained-glass window depicting the story of Noah’s ark commissioned by Cook Children’s Health Care System in Fort Worth, and dedicated in 2003.

Appendix C Earl E. Cloud, Sr.

Earl Edward Cloud, Sr. was born May 5, 1924 in Huntsville, Ala., where he lived all of his life. He was a prominent attorney. He graduated from Joe Bradley High School and was a World War II veteran with service in India, Burma and the Pacific Theater. He graduated from the University of Alabama School of Law and began his Huntsville practice in 1950. While he had a notably long and successful practice of the law, his “claim to fame” with regard to this document was that he headed his home church’s major building effort for a seemingly-unbroken 33 years. He was made chairman of a long-range planning committee that in 1954 was named to map a major expansion and move from downtown Huntsville to a larger suburban location on Governors Drive. When that planning committee was discharged after leading the church to buy property in the south of Huntsville, he was named chairman of the building committee, consisting of about 75 members in every aspect of the vast, expansive project. He was still serving as chairman in 1987, 33 years later, when the final aspect of the project, the carillon tower, was completed. The son of a Huntsville builder, he was knowledgeable of the building art, as well as practical and legal aspects.

Mr. and Mrs. Earl Cloud, Sr He also served for many years as a deacon, chairman of deacons, Sunday School teacher as well as other important function in his church, the oldest among more than 3,000 missionary Baptist churches in Alabama.

In other civic and community activities, he served as Alabama State Bar commissioner from 1978 to 1981. He was a member of the Alabama Trial Lawyers Assn., American Bar Assn. and the National Association of Criminal Defense Lawyers. Mr. Cloud was a trustee of Judson College, an Alabama Baptist school, serving on endowment and finance committees. He was involved in leadership roles in many civic and United Way projects and was a member of the Lions Club, Veterans of Foreign Wars, American Legion, the Industrial Development Association of Huntsville, the Huntsville Junior Chamber of Commerce and later the Chamber of Commerce. In 1943 he married Marjorie Brooks of Huntsville. They had three children, Earl Edward Jr, Susan Louise and Joseph Michael, all of whom became Huntsville attorneys, and still so serve. Earl E. Cloud, Sr., died May 22, 2002, at age 77. Mrs. Cloud died Feb. 12, 2008, at age 85.

Appendix D Alvin Holland Hopson Alvin H. Hopson was born Feb. 4, 1915 at Mound, Coryell County, Texas, the eldest child in a family of eight boys and five girls. His Christian experience began with his acceptance of Christ at the age of nine in the White Mound 35

Baptist Church. In 1933 he entered Howard Payne College in Brownwood, Texas, planning to study law, but soon felt a call to the ministry. After his home church licensed him to preach, he served a small church in Erath Association from 1933 to 1935. On Nov. 19, 1935, the Rev. Hopson was ordained to preach by his home church. In 1935 he transferred to Baylor University in Waco, where he served local churches until 1937 when he graduated from Baylor with an AB degree, after which he entered the Southern Baptist Theological Seminary. He became active in street preaching in downtown Louisville, Ky., and in the local jail. In 1939 he taught a study course at Buechel Baptist Church nearby. One of the students there was Miss Edna Baumgart. They were married the following year, 1940, at the same church. He continued seminary training and held two pastorates in Indiana. Mrs. Hopson attended the WMU Training School where she graduated in 1944. In 1941 the Rev. Hopson received the master’s degree in theology, followed in 1945 by the doctor of theology degree, which degree was upgraded in 1975 to doctor of philosophy. While in school in Louisville, Dr. Hopson pastored four different part-time churches. In 1945 he became pastor of the First Baptist Church, Lebanon, Tenn., where he served eight years. Membership increased by 55 per cent, a building was constructed and a mission started. Dr. Hopson became pastor of Huntsville First Baptist Church Sept. 1, 1953. His extraordinary service at that location is reflected throughout the pages of this report. One thing not previously reported: the Huntsville church baptized l,730 members during the more than a quarter of a century he served. Dr. and Mrs. Hopson had four children: Charles and Mary Jean, born during seminary years, Phyllis, born in Lebanon, and Philip, born in Huntsville. He served on the executive boards of both the Tennessee and Alabama state conventions of Baptists. He was a trustee of Cumberland University, Southern Baptist Theological Seminary, and Samford University. In 1961 he was vice president of the Alabama Baptist State Convention. He was a member of the board of the Huntsville Symphony Orchestra, an honorary member of the Kiwanis Club, and a member of the Chamber of Commerce. After Dr. Hopson announced plans for retirement, the church authorized a sabbatical year beginning on his birthday in 1979. On Nov. 10, 1979, he became “missionary-at-large,” and in 1980, pastor emeritus for life. He served several churches as interim pastor. On August 31, 1982, he died. He was buried in Huntsville’s Maple Hill Cemetery, his home city and state for the final 29 years.

Appendix E

Here are pictures of FBC ladies pursuing a unique hobby – making cross necklaces and other works of art from remnants of old tiles from the original sanctuary mosaic, now being replaced. About 500 women have participated thus far, and other “classes” are planned in 2018 and four or so years following. The women pay a $10 fee for “raw materials” sufficient for the making of five crosses, one for themselves and four for sale at $20 each by the church to benefit its local ministries budget, such as funding for new “fresh expressions” of the church, formed by persons related by occupational or cultural interests who are unlikely to ever enter a conventional church; several such small groups exist now. Aside from necklaces, Christmas tree ornaments and 16”x20” wall ornaments are being made. Hereafter the local Panoply arts group will facilitate the sale of such handmade pieces; non-member ladies are also invited to take part.

This document first was printed 2018 for limited distribution. It is here acknowledged some of the members identified have since passed from this life to the next. In that year, Pastor Travis Collins voiced satisfaction with the thoroughness of the account, and proposed that broader distribution be delayed until the completion and dedication of the updated version of the mosaic was to be accomplished. After many delays for a variety of reasons, that time has arrived.

This document first appeared, in limited distribution, in 2018 when Jones was church historian.