Nestled in the picturesque landscape of New England, the South Solon Meeting House in Solon, Maine, might easily be mistaken for any traditional church with its white façade, single steeple, and encircling stone wall. However, its unassuming exterior guards a hidden treasure unknown even to some locals—a collection of fresco murals dating back 70 years, earning it the moniker “Maine’s Sistine Chapel” among the state’s art aficionados.
The inside walls of this historical edifice are adorned with vibrant frescoes, a legacy of the creative endeavors of artists in the 1950s. These murals, although long beloved by visitors, have gained renewed attention due to the efforts of Colby College students who recently launched a dedicated website, reigniting appreciation for this unique art.
Véronique Plesch, an art professor at Colby and a board member of the historical society overseeing the meeting house, expresses her hope that the building will cultivate a deeper admiration for fresco art. “I fell in love with the place, because I have studied frescoes all my life,” she shared, emphasizing that such artwork thrives in public spaces rather than hidden in private collections.
Established in 1842, the meeting house served its religious purpose until the 1940s, with intermittent closures during wartime. The building then stood idle until 1951, when Margaret Day Blake, an alumna of the nearby Skowhegan School of Painting and Sculpture, galvanized young artists to embellish its interiors with frescoes under the school’s guidance.
The artists embraced creative autonomy, with the only guidance being the rich potential of Biblical themes as suitable inspiration. Between 1952 and 1956, they transformed the meeting house with scenes such as Leonardo da Vinci’s “The Last Supper,” the narrative of Abraham and Isaac, and the Great Flood reminiscent of Michelangelo’s representation in the Vatican’s Sistine Chapel.
Of the 13 artists who contributed, Sigmund Abeles from New York and Sidney Hurwitz from Newton, Massachusetts, remain alive and both reflect fondly on the experience. Hurwitz recalls, “We would go out there and paint and then take a lunch break in the cemetery behind the building. It was a very idyllic time,” highlighting the tranquil charm of those creative days.
The meeting house, accessible to the public with doors never locked, continues to be a hub of community activity and artistic expression. Its historical charm remains, complete with original box pews suited to a bygone era.
Abeles reminisces about crafting the depiction of Jacob wrestling with an angel from the Book of Genesis, noting, “It’s a very, very special place, and it was a unique experience to work on the frescoes.”
During a recent gathering, Plesch delivered a lecture to members of the Maine Art Education Association as part of their spring conference. While yesteryear’s occupants may have prepared for Easter services, this day hosted educators drawn by the artistic allure of the frescoes.
Suzanne Goulet, an art teacher at a local high school, previously familiar with the murals, confessed to having peeked into the windows of the old building out of curiosity. She lauded the enduring inspiration the frescoes offer to art lovers and educators alike, stating, “The inspiration is that we bring it back to our students.”