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Worship Environment

The Resurrection Sculpture

The 30 foot bronze sculpture on the front wall of the sanctuary was designed and fabricated by artist Edgar Boevé. Its design was inspired by two Biblical themes: the sun of righteousness which illumines, quickens and comforts; and wheat, a symbol of life out of death. The Resurrection sculpture was occasioned by the death of Mrs. Thelma Malestein, wife of North Hill’s first pastor Rev. John Malestein, and is in memory of her.


                                      The Sanctuary Windows

The three faceted glass windows at the head of each aisle represent the triune God: God the Father is portrayed in the west window by hands, the only symbol of the Father seen for the first eight centuries of Christendom. God the Son is portrayed in the middle window as a lamb. A banner of triumph streams from the cross where Christ’s victory for us was won. The nimbus, a bright cloud used in art to portray divine splendor, surrounds the lamb’s head. God the Holy Spirit is portrayed in the east window as a dove. The dove descended on Jesus at his baptism, empowering him for ministry. Jesus promises similar power to us who are to be his witnesses, a promise fulfilled at Pentecost and still being fulfilled in our lives.

The Pulpit Banners
Designed by Chris Stoffel Overvoorde © 2004
Hand-pieced by Greta Overvoorde
Appliquéd by Mrs. Ellie Van Harn
Photography by Christopher Ivey, © 2004 Greenleaf Studios
Text by Rev. Randall Engle © 2004
The banner on the lectern side of the pulpit is of an orb, an echo of the larger orb found in the bronze Resurrection sculpture on the front wall. The orb—or sun—is often a symbol of God, the  creator.

The banner on the pulpit side is of the same orb, only now it “flowers” as God’s word is preached.

The central 9-foot banner infuses symbols of the Trinity—Father Son and Holy Spirit—with our church’s mission statement to Glorify, Gather and Grow. Thus, three orbs are depicted. The bottom orb, God the Father, is the star of creation set against organic, earthy tones. The central orb, the Son, is a four-fold flowering cross done in green, the color of new life.  The top orb, the Spirit, depicts the seven gifts of the spirit symbolized by the seven doves. Across the entire banner the image of the cross is superimposed—the cross of Jesus Christ in which “all things hold together” (Colossians 1). This cross—now almost seen more as a visual pathway--leads the eye upward (glorify) through the cross (grow) from the earth (gather).


On the center of the Communion Table is another orb, this time piled with grapes. From the grapes burst 49 (a symbolic 7 times 7) wheat stems.


On the lectern side of the pulpit, where the Bible is read, an orb (“sun”) echoes the orb found in the bronze Resurrection (Edgar Boevé, 1978) wheat sculpture that hangs on the chancel wall. Throughout Christendom, the orb has been used as a symbol of God the Father. On the pulpit side, the same orb “flowers” into a cross as the word of God is preached. The table cover symbolizes another orb, its rays formed from forty-nine (a symbolic seven times seven) wheat stems gathering to a center cluster of grapes. Overvoorde uses predominately green, the color for Ordinary Time (June through November, approximately).