The Splendor of Immanuel's Architecture
Wow! ... Incredible! ... Unbelievable!
These words are frequently heard from visitors to Immanuel Church when they view the Byzantine-style sanctuary for the first time. The creation of Ernest Flagg (one of American's foremost architects at the turn of the twentieth century), this light-filled space, with its overarching dome and Tiffany mosaic depicting one of Jesus' best known stories — the parable of the sower — manages to convey both grandeur and simplicity. If it is true, as claimed by Winston Churchill, that "we shape the space, and the space shapes us," then the congregation that gathers in such a setting is inspired to live in the direction of lofty dreams, imaginative witness and the radiance of truth.
William Deloss Love, Immanuel's minister from 1899-1910, spoke of the impact of the church sanctuary upon those who would worship in its beauty: "The religious nature of humankind demands a home. Place and surroundings are generally as conducive to the happiness and restfulness of the soul as they are to our physical life. They influence our lives and sway our emotions. Even though we might not enter reverently into the worship, or listen to the preacher, there is a blessing in the quiet hour of reflection. We are at home. We can rest. Our hearts are apt to be in a receptive mood at such times...our better self is summoned from its seclusion. Truth steals into the soul, though the door be shut, and we find the glorified Christ in our presence."
In the following notes, we hope that you will become intimately acquainted with one of the most magnificent settings for worship in New England. More importantly, we hope that you will feel compelled to see this space for yourself, and to discover more about the unique community of faithful people that was shaped so magnificently in the workshop of Ernest Flagg's imagination.
The text below has been extracted, rearranged and edited from the pamphlet, "The Treasure Which is Ours", by Alexander M. Watson, a member of Immanuel.
(These notes refer to the architectural design of what was initially called "The Farmington Avenue Church" in Hartford, first used in 1899, and in 1914 to become Immanuel Congregational Church.)
How old is the concept of Immanuel Church's floor plan, patterned in the symbol of the Cross?
Flagg was greatly influenced by French architects who were experimenting with new combinations of materials, and he was fascinated by ancient buildings. When visiting the town of Poitiers in France, he saw in the bapistry of St. Jean an inspiration for his later church designs. The oldest Christian building in France, the Baptistry is a brick-type masonry block building whose original structure dates from about the 4th Century A.D. Round-arched windows and doors are featured, with dentil cornice moldings and decorative Byzantine exterior tile. The Baptistry is also an early representative of what was later to become the "cross-domed" church design, or which many very old relics have been found, particularly in Mediterranean areas.
Why did Flagg choose a design omitting interior central supporting columns?
Flagg pointed out that the Gothic design was really not suitable for a modern church building because of the long, narrow nave with its obstructing columns made for poor visibility and poor acoustics. He felt that his Renaissance design, with its large open room, fulfilled the Protestant objectives of stressing congregational assembly rather than church liturgy. That he was the son of a minister undoubtedly influenced him, and he specified central positions for pulpit and organ to best serve what he perceived to be the church's primary worship functions, preaching and singing.
What relationship does the Immanuel Church building have to the National Cathedral in Washington, DC, and to the Chapel of the United States Naval Academy at Annapolis?
In 1895, Flagg submitted drawings for the design of the Washington National Cathedral, which he felt if built in the "Renaissance" pattern would be the largest church of its kind in America. Although his plan was a first accepted, by 1905 it was dropped by the National Cathedral authorities for reasons that can only be described as political.
However, after creating the design for the "Farmington Avenue Church" (later to be called Immanuel Church), the project which Flagg considered his most monumental accomplishment was the design of the United States Naval Academy at Annapolis. This is a group of about fifteen buildings, including the chape as the key structure. The interior of the chapel was modeled after the design for the "Farmington Avenue Church".
What is the purpose of the dome or rotunda ceiling, and why are the principal windows so very large?
The core vertical structure of Flagg's design seems also to have followed a Byzantine concept, as used in the famous 6th Century Hagia Sophia, that being a central dome resting upon four principal arches to cover a large square floor space. Some centuries later, the floor plan of churches then being built in this manner took on the complete form of a Greek cross, which the dome sometimes covered by a wodden tower structure (as at Immanuel).
What was the probably principle reason window draperies were added almost immediately after the building was first used?
The early church members probably experienced some considerable shock from the many new elements around them, and one of these was undoubtedly the amount of light. They had just come from their prior building (Pearl Street Church) which was much more closed-in. In fact, the original windows left and right of the altar at Pearl Street had to be covered because of the brightness of the Eastern sky which faced the congregation!
What are the approximate interior dimensions of the Immanuel Church sanctuary?
The large size of the sanctuary is not apparent to the casual passer-by. This is partially due to the low viewing angle, but it is also a result of Flagg's genius in design proportion and perspective. The approximate interior length of the sanctuary is 112 feet; the height to the center of the dome is 70 feet; the width of the transept is 87 feet; and the large transept windows measure 32 feet high by 22 feet wide. Seating capacity is estimated to be over 700, including 100 in the balcony.
What are the "strings of shining beads", as they were called in the old church documents, and why do they have a special significance?
For supplementary interior illumination, the use of a string of bare electric light bulbs along the overhead cornices and moldings must have been inspired by the incandescent lamps which Flagg saw at the 1889 Paris Fair. Electric light, of course, was at the time still something of a novelty, since Edison had invented it only twenty years before.
How do Nature and the decorative arts play a part in the structural design of the church?
The repetitious use of circles in the plaster, as found in many ancient churches, is symbolic of the promise of eternal life. Also, in typical Beaux Arts style, classical elements of design are presented in new forms, usually symbols drawn from Nature. 
This can be seen in the leaf-embellished cartouches over the arches, in the talons at the bases of the exterior lamp posts, and in the use of simulated classic columns in decorative facades.
What is the story behind the 50,000-piece Tiffany mosaic, with its faint halo?
See our section on The Sower.
Why is there such a variety of unique red brick patterns on the outer walls?
The use of plain red brick on the exterior walls drew much criticism. Masonry had been used in rich patterns for many centuries-old church structures in Greece and Constantinople. However, in New England, brick was a material associated with factories and mills, and was considred too ordinary for a church. Nevertheless, the use of brick was a key feature of Flagg's design. By using it in new construction concepts and by featuring a variety of interesting patterns, Flagg attempted to remove the negative stereotype.
Why is there a "different" kind of cornerstone?
Many commemoratives from the Pearl Street church were carried forward to the new Farmington Avenue Church. These included the large 3,190 pound church bell, memorial plaques, some communion silver, and the contents of the 1851 cornerstone which are now placed with 1898 materials at the site of the "new" dual-dated cornerstone.
Supplementary building construction at Immanuel Church:
In the late-twenties and eary-thirties, several projects were undertaken to add space and to make revisions to the original building. One decision was to develop the original cruciform plan of the sanctuary. The overhead choir gallery and organ were removed, and the chancel with a new choir gallery were opened at a level a few steps above the main floor. A new Austin organ was installed, with the pipes moved to the east side, and the pulpit was moved from its former central position to the west side of the chancel.
An addition was made to the parish house and a memorial chapel was built, with its connecting wing. This provided classroom and office space, but eventually had to be expanded to be a two-story building in the 1960’s.
Who was the Immanuel Church architect, Ernest Flagg?
Ernest Flagg (1857 - 1947) had little formal education, but succeeded by virtue of his intelligence, ingenuity, and a determined individualism in his craft. Although he was accorded little formal recognition by his peers until very late in his life, Flagg made many important contributions to early 20th century American architecture.
Flagg was the son of a man who was a minister by vocation and an artist by avocation. He had a strong interest in the Hartford area and had spent a number of his early years here. His mother was Louisa Hart of New Britain, Connecticut, and his father, Jared Bradley Flagg, had studied for the ministry at Trinity College.
At the time of the Building Committee’s search for an architect in 1897, Flagg had recently returned from a study of architecture at the Ecole des Beaux-Arts in Paris, and was just establishing his architectural business in New York City. The Building Committee’s call was just what was needed to enhance Flagg’s career and professional image. Though he would later be known best as a leading proponent of economical construction, improved low-cost housing, modular design, and skyscrapers, his peers initially would not accept his design principles which were based on French architectural theory and considered quite revolutionary. Nevertheless, this was a period when architecture in America needed a new direction. The influence of England was waning, and Flagg was to ride the crest of the new wave.
