GOOD FRIDAY, APRIL 19, 2019 ENVISIONING THE PASSION

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THE CRUCIFIXION

Jesus, my gentle Jesus, Walking in the dark of the Garden— The Garden of Gethsemane, Saying to the three disciples: Sorrow is in my soul— Even unto death; Tarry ye here a little while, And watch with me.

Jesus, my burdened Jesus, Praying in the dark of the Garden— The Garden of Gethsemane. Saying: Father, Oh, Father, This bitter cup, This bitter cup, Let it pass from me.

Jesus, my sorrowing Jesus, The sweat like drops of blood upon his brow, Talking with his Father, While the three disciples slept, Saying: Father, Oh, Father, Not as I will, Not as I will, But let thy will be done.

Oh, look at black-hearted Judas— Sneaking through the dark of the Garden— Leading his crucifying mob. Oh, God! Strike him down! Why don't you strike him down, Before he plants his traitor’s kiss Upon my Jesus’ cheek?

And they take my blameless Jesus, And they drag him to the Governor, To the mighty Roman Governor. Great Pilate seated in his hall,— Great Pilate on his judgment seat, Said: In this man I find no fault. I find no fault in him. And Pilate washed his hands.

But they cried out, saying: Crucify him!— Crucify him!—Crucify him!— His blood be on our heads. And they beat my loving Jesus, They spit on my precious Jesus; They dressed him up in a purple robe, They put a crown of thorns upon his head, And they pressed it down— Oh, they pressed it down— And they mocked my sweet King Jesus.

Up Golgotha’s rugged road I see my Jesus go. I see him sink beneath the load, I see my drooping Jesus sink. And then they laid hold on Simon, Black Simon, yes, black Simon; They put the cross on Simon, And Simon bore the cross.

On Calvary, on Calvary, They crucified my Jesus. They nailed him to the cruel tree, And the hammer! The hammer! The hammer! Rang through Jerusalem's streets. The hammer! The hammer! The hammer! Rang through Jerusalem's streets.

Jesus, my lamb-like Jesus, Shivering as the nails go through his hands; Jesus, my lamb-like Jesus, Shivering as the nails go through his feet. Jesus, my darling Jesus, Groaning as the Roman spear plunged in his side; Jesus, my darling Jesus, Groaning as the blood came spurting from his wound. Oh, look how they done my Jesus.

Mary, Weeping Mary, Sees her poor little Jesus on the cross. Mary, Weeping Mary, Sees her sweet, baby Jesus on the cruel cross, Hanging between two thieves.

And Jesus, my lonesome Jesus, Called out once more to his Father, Saying: My God, My God, Why hast thou forsaken me? And he drooped his head and died.

And the veil of the temple was split in two, The midday sun refused to shine, The thunder rumbled and the lightning wrote An unknown language in the sky. What a day! Lord, what a day! When my blessed Jesus died.

Oh, I tremble, yes, I tremble, It causes me to tremble, tremble, When I think how Jesus died; Died on the steeps of Calvary, How Jesus died for sinners, Sinners like you and me.

JAMES WELDON JOHNSONFROM GOD’S TROMBONES: SEVEN NEGRO SERMONS IN VERSE, 1927

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The earliest Christians understood the importance of visual symbols—a scrawled cross or fish—as a code; a way of communicating vast concepts in a universally recognizable, memorable, and easily shared form. At moments when most of the population was illiterate, the most effective way to create a lasting image of the important ideas of faith was to create a picture. The paintings, frescoes, and sculpture which fill churches all over the world were often the illustrated Bibles of their times: inspiring devotion, telling uplifting stories, exhorting, and comforting. One of the great miracles of art is that they can continue to do so for us today.

One of the goals we have in selecting the images to use in this service is to acknowledge and honor the

many vibrant traditions within Christianity. This has inherent challenges, as the stark reality is that most of the surviving art that illustrates the Bible comes from the Western tradition. When the European missionaries took Christianity beyond Europe, they took their own representations with them, which in turn became the prototypes in new communities, and in many areas they established the Caucasian Jesus as the world-wide “picture.” Works of folk art, which likely presented more diverse depictions of the characters, were not always preserved either due to a conscious decision or because of the materials utilized. Further, many of the extant works remain in the families or communities whose ancestors created them, and it is rare that they are photographed and made publicly available.

Curiously, too, artists also do not necessarily portray biblical characters as belonging to their own race.

For example, Horace Pippin, a leading African-American artist of the 20th century, painted Jesus both with dark skin (Christ Before Pilate after Station 5) and with white skin (Christ Crowned with Thorns after Station 7). Both depictions are compelling, not for the details, but because they reflect the artist’s passion for his subject. Each image you will see today embraces concepts that reach far beyond the specific limitations of that particular work; in their collective diversity they illuminate a path to true understanding. These heart-felt works of art reflect not just one tradition, but one shared faith. We hope you will find these works as profoundly moving as we do.

About the Cover: Aaron Douglas, an emerging young artist in New York City, was commissioned to illustrate God’s Trombones: Seven Negro Sermons in Verse by leading Harlem Renaissance writer and poet James Weldon Johnson in 1927. The original illustrations were printed in black and white (left); in the decade following the volume’s publication, Douglas created larger versions of each in oil.

Aaron Douglas: Crucifixion (Simon of Cyrene) 1927, 48 x 36 inches, oil on masonite panel,

private collection

— Lucy Winters Durkin

AN INTRODUCTION FROM THE ARTISTIC COORDINATOR

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THE COMMUNITY GATHERS As the community gathers, may the music of the prelude draw your hearts and minds to God.

Prelude “Adagio for Strings” — Samuel Barber (1910–1981)

• Ivan Nikolayevich Kramskoy: Christ in the Wilderness, 1872, Tretyakov Gallery, Moscow

Call to Worship(From Psalm 22)

All are invited to read the bold-faced type; the liturgist will read the unbolded type.

O God, in you our ancestors trusted,to you they cried aloud.Since before our mothers bore us,you have been our God.Do not be far from us, for trouble is near.Source of refuge, come quickly to our aid.Lest we forget the cost of discipleship,let us remember faith’s hardest story to bear.With humble and open hearts,let us worship our God.

• Odilon Redon: Christ in Silence, 1897, Petit Palais, Paris

First Station

Jesus in the Garden of Gethsemane Matthew 26:36–41

• Eric Gill: The Agony in the Garden, 1926, wood engraving (British Museum, London)

Hymn “Stay With Me” — Jacques Berthier (1923–1994)

ENVISIONING THE PASSION12 PM • APRIL 19, 2019

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• Sybil Andrews: Gethsemane, 1951, linocut (British Museum, London)• Paul Gauguin: Christ in the Garden of Olives, 1889, Norton Museum, West Palm Beach• H. Siddons Mowbray: Gethsemane, 1915-25, Smithsonian American Art Museum, Washington, D.C.• Michiel Martens: Agony in the Garden, after 1945, St. Petrus & St. Paulu, Knokke-Heist, Belgium• Gustave Moreau: Christ on the Mount of Olives, 1875–80, Musée Gustave Moreau, Paris • unknown Ethiopian: Agony in the Garden, 1940s sketch for mural, British Museum, London• Michael O’Brien: The Agony in the Garden, c. 2009 (from John Paul II’s Biblical Way of the Cross)

Second Station

Jesus, Betrayed by Judas, is Arrested Mark 14: 43–46

• Joseps Maria Subirachs: The Betrayal of Christ from the Passion Façade, 1986–2010 Expiatory Church of the Sagrada Família, Barcelona

Third Station

Christ Before Caiaphas and the Elders Matthew 26: 57–66

• Vasily Polenov: He is Guilty of Death, 1906, private collection

Choral Music

“Adoramus te, Christe” — Felice Anerio (1560–1614) We adore you, O Christ, and we praise you; For by your Holy Cross you have redeemed the world.

• Matthias Stom: Christ Before Caiaphas, c. 1630, Milwaukee Art Museum• Rembrandt van Rijn: Christ Before Caiaphas, c. 1641–42, Cleveland Museum of Art• Duccio: Christ Before Caiaphas from the Maestà Altarpiece, 1308–10, Opera della Metropolitana di Siena• Nikolai Ge: Judgment of the Sanhedrin, 1892, Tretyakov Gallery, Moscow• unknown Northern European: Christ Before Caiaphas, 15th century Ancienne Collegiale de St. Martin, Colmar, France

Fourth Station

Jesus is Denied by Peter Matthew 26: 69–75

• Andrey Mironov: Denial of Peter, 2014, collection of the artist

Fifth Station

Jesus Appears Before Pilate Mark 15: 1–5

• John J. A. Murphy: Christ Before Pilate, 1921, wood engraving (Art Institute of Chicago)

Choral Music

“Kyrie eleison” from Mass — Vincent Persichetti (1915–87)Lord, have mercy; Christ, have mercy; Lord, have mercy.

• Nikolai Ge: Christ and Pilate, 1890, Tretyakov Gallery, Moscow• William Strang: Christ Before Pilate, 1914, drypoint (Smith College Museum of Art)• Andrea Schiavone: Christ before Pilate, 1555–58, Kunsthistorisches Museum, Vienna• Charles Bouleau: Christ Before Pilate (from La passion selon Saint-Jean), 1944, color lithograph (Fine Arts Museums of San Francisco)• Agostino Ciampelli: Christ Before Pilate, c. 1600, private collection• Horace Pippin: Christ Before Pilate, 1941, private collection • follower of Hieronymus Bosch: Christ Before Pilate, c. 1520, Princeton University Art Museum

Sixth Station

Pilate Condemns Jesus Luke 23: 13–14, 18–25

• Catherine Amelia O’Brien: Jesus is Condemned to Death, c. 1966, National Gallery of Ireland, Dublin

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Seventh Station

Jesus is Scourged and Crowned with Thorns Matthew 27: 27–31

• Fra Angelico: The Mocking of Jesus, c. 1440–45, Museo Nazionale di San Marco, Florence

Choral Music

“To Mock Your Reign” — Thomas Tallis (1505–1585), words by Fred Pratt Green (1903–2000)

• Horace Pippin: Christ Crowned with Thorns, 1938, Howard University Art Museum, Washington, D.C.• Paul Aizpiri: Head of Christ (frontispiece to La passion de nostre seigneur), 1960, lithograph• Armando Villegas: Christ with a Crown of Thorns, mid 20th century, Detroit Institute of Arts• unknown Northern Indian: The Flagellation from The Mirror of Holiness of Father Jerome Xavier 1602–04, Cleveland Museum of Art• David Jones: Jesus Mocked, 1922–23, National Museum of Wales, Cardiff• Michael O’Brien: The Scourging of Christ, c. 2009 (from John Paul II’s Biblical Way of the Cross)• Ben Denison: Jesus Takes Up the Cross, c. 1960 St. Isaac Jogues Church, Niles, IL

Eighth Station

Jesus is Helped by Simon the Cyrenian to Carry the Cross Mark 15: 21

• Bruce Onobrakpeya: Simon of Cyrene Carries the Cross, 1969, linocut (High Museum of Art, Atlanta)

Choral Music

“Adoramus te, Christe” — Giovanni Perluigi da Palestrina (1525–94)We adore you, O Christ, and we praise you; For by your Holy Cross you have redeemed the world.

• William Fairbank: Simon of Cyrene Carries the Cross (from the Forest Stations), 1998, Lincoln Cathedral, UK• Ken Cooke: Simon of Cyrene, c. 2009, St. George Martyr Anglican Church, Newbury, UK• Angelbert Vang: Simon of Cyrene, 1990s, Kekima College, Nairobi• Jean Charlot: Simon of Cyrene, 1956, St. Sylvester's Church, Kilauea• Aaron Douglas: Crucifixion (Simon of Cyrene), 1927, private collection

Ninth Station

Jesus Meets the Women of Jerusalem Luke 23: 27–31

• Jan Toorop: Christ and the Women of Jerusalem, 1916–19, St. Bernulphus Church, Oosterbeek, Belgium

Tenth station

Jesus is Crucified Luke 23: 33–34

• Abraham Rattner: And They Divided His Garments Among Them, 1973, Smithsonian American Art Museum, Washington, D.C.

Choral Music

“Adoramus te, Christe” — Lodovico Grossi da Viadana (1560–1627)We adore you, O Christ, and we praise you; For by your Holy Cross you have redeemed the world.

• Georges Rouault: The Executioner’s Helper Carrying the Boards of the Cross, 1936–39, lithograph (Art Institute of Chicago) • George Bellows: Christ of the Wheel, 1923, lithograph (Detroit Institute of Arts)• unknown Northern Italian: Preparation for the Crucifixion, early 1600s, Cleveland Museum of Art• Huberto Maestas: Shrine of the Stations of the Cross, circa 1990–95, San Luis, Colorado

Eleventh station

Jesus Promises His Kingdom to the Good Thief Luke 23: 39–43

• Michael O’Brien: The Good Thief, c. 2009 (from John Paul II’s Biblical Way of the Cross)

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Hymn “Jesus, Remember Me” — Jacques Berthier (1923–1994)

• William Johnson: Mount Calvary, circa 1944, Smithsonian American Art Museum, Washington, D.C.• Lucius Cranach the Elder: Crucifixion, c. 1506–20, Statens Museum, Copenhagen• William Blake: Christ Crucified Between Two Thieves, c. 1803-05 Fogg Museum of Art, Harvard University, Cambridge• Andrea Mantegna: Crucifixion, 1456, Louvre, Paris• William Herbert: Crucifixion (Jesus Dies), 1936, National Gallery of Art, Washington, D.C.• Pedro Orrente: Crucifixion, early 17th century, High Museum of Art, Atlanta• Fausto Pirandello: Crucifixion, 1934, Collection of Modern Religious Art, The Vatican

Twelfth station

Jesus Speaks to His Mother and the Disciple John 19: 25–27

• Daniel Mitsui: Crucifixion, 2012, Collection of Modern Religious Art, The Vatican used with the kind permission of the artist (http://danielmitsui.com)

Choral Music

“Agnus Dei” from Mass (Vincent Persichetti, 1915–87)Lamb of God, who takes away the sins of the world, have mercy on us.Lamb of God, who takes away the sins of the world, have mercy on us.Lamb of God, who takes away the sins of the world, grant us peace.

• unknown Ottonian: Crucifixion, circa 1000–1025, Getty Center, Los Angeles• Maerten van Heemskerck: Crucifixion, circa 1530, Detroit Institute of Arts • Frederick Wight: A Modern Crucifixion, 1931, private collection• unknown: Crucifixion with Sun and Moon, circa 1300?, British Museum, London• Matthias Grünewald: Small Crucifixion, circa 1511–20, National Gallery of Art, Washington, DC• Romare Bearden: Golgotha, c. 1945, Smithsonian American Art Museum, Washington, D.C.• William Lester: Three Crosses, 1935–36, Dallas Museum of Art

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Thirteenth station

Jesus Dies on the Cross Luke 23: 44–46

• Egon Schiele: Crucifixion with Darkened Sun, 1907, private collection

“Élégie”, Opus 24 — Gabriel Fauré (1845–1924)

Note: Thanks to the superb high resolution scans that the Prado Museum in Madrid has made available, we are able to explore this astoundingly complex work in clear detail. This large altarpiece, which dates to the early 15th century, was painted in oil on wood panel, and measures 7’3” x 8’7” (220 x 262 cm). In art historical terms, this is a transitional work—the gold background harkens back to the older Byzantine style, but the stunning naturalism of the figures is clearly part of the developing Northern Renaissance style. What is perhaps the most astonishing is how the artist captured the emotions of each of the participants with an intriguing mix of delicate sensitivity and devastating honesty.

• Rogier van der Weyden: The Deposition, c. 1435, Prado Museum, Madrid

Fourteenth station

Jesus is Placed in the Tomb Matthew 27: 57–60

• Sybil Andrews: Tenebrae, 1956, linocut (British Museum, London)

Hymn #288 Were you there? (vv. 1–2, 5)

Note: The photographs used in this section were taken in the wake of acts of violence in houses of worship around the world.

• Nikolai Ge: Crucifixion, 1892, Musée d’Orsay, Paris / October 31, 2010• Sybil Andrews: Father Forgive Them, 1964, linocut (British Museum) / March 15, 2019• Roy DeMaistre: Pieta, 1950, Tate Gallery, London / November 18, 2014• June 17, 2015• November 12, 2016• October 27, 2018• November 24, 2017• December 11, 2016• August 5, 2012

Closing Prayer

• Odilon Redon: Christ on the Cross, circa 1910, private collection

We respectfully request that you exit in silence. Your support of special services such as this is greatly appreciated. Baskets for your free-will offering are available at the exits.

Participants Liturgists: Rev. Dr. Stephen Cady II, Rev. Geri Judd, Rev. Mike Mullin, Rev. Jacqueline Nelson, Rev. Kathy ThielOrganist, Pianist: Duane PrillDirector, Schola: Dr. Carl JohengenSchola: Amy Cochrane, Juli Elliot, Ashley Danyew, Susan Huppe, Mary Mowers, Katie McInerney, Dan McInerney, Dean Ekberg, Steve Danyew, Jordan Bachman, Jim Jefferis, Eric TrumpowskiCellist: Brian DonatArtistic Coordinator: Lucy Winters Durkin

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MAGIC SQUARE

This “magic square” is part of Joseph Maria Subirach’s monumental sculpture of Judas’ betrayal of Jesus on the Passion Façade of the magnificent church in Barcelona, Spain known as La Sagrada Familia (Church of the Holy Family). It is a puzzle with roots that reach back centuries.

What is special about this particular magic square is that you can find 88 combinations of four numbers that add up to 33, the age, according to tradition, that Jesus was when he died. For example: each of the horizontal rows adds up to 33, and each of the vertical columns does as well, as do the diagonals.

According to the authorities at La Sagrada Familia, there actually are 310 possible combinations that add up to 33! There are 17 combinations of three numbers, 88 of four numbers, 131 use five numbers, 66 use six numbers, and there are 8 possible combinations that use seven numbers. (Note: all of the squares in a combination do not have to touch each other.)

You can find the answers to the puzzle and further information at https://blog.sagradafamilia.org/en/divulgation/the-magic-square-the-passion-facade-keys-to-understanding-it/

SUNDAY, APRIL 21

6:30 am Sunrise service held at Colgate Rochester Crozer Divinity School, 1100 Goodman Street, 14620 8:30 am* Traditional service celebrating Easter 11 am* Traditional service celebrating Easter

*CHILDCARE IS AVAILABLE AT THESE SERVICES

EasterSunday

Jesus said, “I came that they may have life and have it abundantly.” (John 10:10b)

Just as the Christian faith is about bringing life to the world, Asbury First is about bringing life to this community. We believe the only way to the fullness of life promised by Jesus Christ is through love—love of God and love of neighbor. Through love we find life. In a love-filled life, we are led to serve others. Through service to others, we find love fully expressed. Our mission at Asbury First

is to love God and neighbor, to live fully, to serve all, and then to do it all again.

Please join us as we live out our mission—we may not be a perfect place,but we are more perfect together than we are apart!

Love. Live. Serve. Repeat.

Ready to soak up the nice weather ahead? Join us throughout the summer (Memorial Day weekend through Labor Day weekend, inclusive) for our Sunday Worship on the lawn! Service starts at 8:30 am with some singing, a sermon, and Holy Communion. We look forward to seeing you out there! Prefer to worship inside? We also offer traditional indoor worship at 10 am each Sunday, all summer long!

Save the date for Sunday, June 2! Our annual church carnival will follow the 10 am worship service on the lawn outside of the church. It is the perfect way to begin the summer, with hot dogs, inflatable bounce houses, and a talent show!

Our Outreach programs offer food, clothing, medical care, and household goods to anyone in need every day of the week. We are always in need of volunteers! For more information about volunteering, contact the Rev. Jackie Nelson at jnelson@asburyfirst.org

Mark your summer calendars for Vacation Bible School at Asbury First—August 5–8 from 9 am–12 pm. Cost is $15/child ($40 max/family). Our message for kids is one of kindness, inclusion, and FUN!

After our success last summer in setting the world hopscotching record, we are dreaming big! Mark your calendars and invite your friends for Thursday, August 8 at 6 pm as we attempt to set the world record for the longest hug relay! We need 1,300 people! Come and help us spread the love!

WORSHIP ON THE LAWN

CHURCH WIDE CARNIVAL

VOLUNTEERS NEEDED

VACATION BIBLE SCHOOL

WORLD RECORD ATTEMPT

BETTER TOGETHER

A NEW OUTREACH CENTER

Above: Artist rendering of the updated Outreach Center. Left: Artist rendering of the new dining room space.

Thanks to the generosity of several leaders of Asbury First, we currently have a matching gift of $220,000. Any

gift made up to that amount will be DOUBLED. Make your pledge to the Better Together campaign today! We believe

this project has the chance to affirm our commitment to outreach and our community—to help us

Do More Good each and every day.

CHALLENGEMatching Gift

This year we hope to begin converting 1010 East Avenue into a newly renovated and accessible Outreach Center. This will allow us to centralize services, share resources, and put the needs of our guests first. It also marks a shift in our focus to a more holistic approach to caring for the needs of our guests.

Our goal is to break ground in the fall of 2019 so that we can dedicate the new Outreach Center on our 200th Anniversary in 2020. In order to do this, however, we need to raise another $1.5 million in commitments this spring. With your help, we can make sure that 1010 continues to be a home for community—a visceral reminder that we are better together.

COMPLETE A PLEDGE CARD AT ASBURYFIRST.ORG/BETTERTOGETHERPledge cards are also available in the red “Ritual of Friendship” tablet in the pew.In 2018, Asbury First: