The new Provo City Center Temple is by far one of the most unique and beautiful temples
of the Church of Jesus Christ of Latter-day Saints. The exterior of the temple was built
from the burned out remains of the old historic Provo Tabernacle, completed in 1898. To help
preserve the historical integrity of the old ravaged Tabernacle, the church architects
sought to incorporate many of the details from the original building. Here are just
a few of those interior details that one may observe while visiting the temple.
One of the first things that you will likely notice is the many beautiful stained glass
windows. The original Tabernacle had several window designs, including beehives, an open
book of scriptures, a single candle flame, and several different flower motifs. For the
most part, the outside window designs are the same as the original, minus sandstone
panels that were added to the main floor windows because the ceiling had to accommodate ductwork
between the floors.
When the Tabernacle was being built in the 1890s, electrical lighting was still an emerging
technology. Thus, exterior and interior windows were used extensively to naturally light the
Tabernacle. The new temple replicates this traditional lighting technique by having the
interior rooms lit through a serious of windows on the exterior. In addition, the design of
the interior windows replicates the same design as the closest exterior window, in other words,
if the closest outside window uses a book of scriptures as the design, the interior
window will also show this same motif.
Though not original to the old Tabernacle, a beautiful 120 year old stained glass window
was installed in the main entryway. The window depicts Christ holding a lamb and is patterned
after the illustration by O.A. Stemler entitled The Good Shepherd. The window originally was
from a Presbyterian Church in New York, which was then purchased by a member and donated
to the Temple. A very similar window can be found in the First United Methodist church
of Salt Lake City.
The design of the door handles, push plates and hinges were inspired by the floral and
scroll motifs found in the stained glass windows. In particular, the door handles of the Celestial
room are an almost exact duplicate of the beehive style windows. Notice how the metalwork
incorporates the beehive, the gothic arch, the flower-bud pillars and bases, and the
decorative scroll pattern on the bottom. In addition, the door handles include an acorn
on the top and bottom, a design found in the original door handles of the old Tabernacle.
The woodwork in the new temple is, to say the least, stunning. One of the most notable
details is the newel post design that was replicated from the original Tabernacle. These
posts can be found throughout the temple, including in the railings around the baptistry,
the grand staircase, and in the waiting area. A similar acorn pattern as found on the top
of the door handles, was also used on the corners of the altars and corner woodwork
of the sealing rooms.
In the original Tabernacle, a concentric circle pattern was used in the woodwork of the balcony,
choir seating area, and podium rostrum. The new temple uses this same pattern in the rostrum
of the new chapel, and in the staircases, in particular the grand staircase in the center
of the temple. The only original piece of woodwork found in the temple is an intricately
carved 4" tall piece from the original pulpit. "The tabernacle’s pulpit was removable and
had been moved for a musical performance when the fire occurred in late December 2010."
The gothic arch is also another dominate feature within the new temple and can be found in
the hallways, the windows, and other woodwork. One gothic arch motif in particular is based
off of the woodwork of the original organ base and was replicated in the terrestrial
room (including in the altar, walls, and chairs), the celestial room, and in the sealing rooms.
The columbine flower, native to the forests around Utah County, can be found throughout
the temple, from the woodwork in the walls, to the hand crafted chairs. In ancient Christian
tradition, the columbine represented the Holy Spirit, as it was thought by some to look
like a dove.
As with most temples, the Provo City Center temple includes the circle and the square
motif in many of the wood details. The circle represents eternity, and the square represents
earth, or the four corners of the earth, thus the symbol shows how heaven and earth combine
within the walls of the temple. Of similar design is the eternal circle pattern, found
on some of the furniture in the Celestial room.
When workers were combing through the wreckage of the Tabernacle, they discovered some of
the original stenciling patterns found beneath layers of paint on the burned walls. The design
was incorporated into the stenciling of the bride's dressing room. Workers also found
burned pieces of old Victorian style wallpaper. A similar patterned wallpaper was used throughout
the temple to replicate this historic detail. William Folsom, the architect of the original
Provo Tabernacle, also designed the Manti Temple and the Assembly Hall, among other
buildings. Many of the architectural details from these two buildings were likewise incorporated
into the design features, including the stencil designs and woodwork of the Terrestrial and
Celestial rooms.
As part of the endowment ceremony, participants learn about the plan of salvation, and how
to return back to the presence of God through the atonement of Jesus Christ. Much of the
design and architecture of the various rooms of the endowment symbolically convey the concept
of moving from an earthly existence to that of heaven. When you begin the endowment, you
start in one of two rooms on the main floor. Both rooms have beautiful murals that depict
the various days of creation shown as you progress around the room. It is worth noting the
cougar, BYU's mascot, in one of the murals, perhaps playing to the fact that both painters
are BYU alumni.
As you move from this first instruction room, to the second, and on into the Celestial room,
one climbs the spiral stairs to the next floor, finding that the ceiling height, size of the
room, amount of light, and ornate woodwork has increased with each new room. Again, this
design aspect is to show our symbolic progress moving heavenward back into the presence of God.
The ancient Tabernacle of Moses was designed to have three levels of progression, the outer
court, the holy place, and the holy of holies, moving from east to west as you progress towards
holiness. The new Provo City Center temple incorporates a similar three level progression,
with the progression from the Terrestrial to the Celestial room in a westward direction,
the same direction as the ancient Tabernacle of Moses.
Another unique aspect of the endowment rooms is the use of bench style seating. From behind
the rows are designed to look like the old tabernacle pews, but from the front, they
are individual cushioned seats.
As a final last note, when you visit, make sure to notice the interior lights and lamps.
There are numerous types of old oil lamps, converted to electric, to help add to the
historic feel. Even the modern exit signs were modified, giving them a more
Victorian style look so they would better fit the style of the building.
The new Provo City Center temple is truly amazing. It is a beautiful tribute and monument
to the sacrifices of the early pioneers who built the first structure,
and to the Lord, whose house it is.