Category: symbolism and artistry

Lost Sheep

dscn3170-2-e1520018971281.jpgHave you ever wondered why there is a lamb-themed window in the stairwell to the St. Francis de Sales Church choir loft?

Nothing in our church design is there by chance, but sometimes the symbolism is confused by history – as when, in 1965, a doorway between the foyer, or vestibule, and the Baptistery was blocked off to create space for a shrine honouring our patron Saint Francis de Sales.

What does that have to do with the lamb window?

The Baptistery (today’s Adoration Chapel – open 24/7 to anyone with a key from the rectory), in the east tower of the church, was originally designed for administering the sacrament of baptism. It contained the John-the-Baptist-themed baptismal font by sculptor Adolfo de Nesti (located in the rear of the church today) and a stained glass window, probably by Niccola D’Ascenzo.

john 001 (3)The Oxford Dictionary of Christian Art describes how John the Baptist “retired to the desert, living on wild honey and locusts and wearing a garment of camel hair with a leather girdle...” In Western art, “he usually holds a reed cross, which sometimes has a scroll attached reading Ecce Agnus Dei (Behold the Lamb of God) which is what he said to John and Andrew (John 1:35-36)…” when he baptized Jesus. Such depictions generally also include the symbol of the lamb.

Our Saint John the Baptist window – inspired by works such as Francisco Ribalta’s  17th century Spanish painting — shows him in a heroic pose, wearing a hairy garment over a cloth tunic. Pointing towards the heavens with his right hand, he carries the Ecce Agnus Dei staff-and-scroll in his left, and, just as in that painting,  there is a baptizing pool behind him. The one thing missing from our window is the lamb itself.

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San Juan Bautista by Francisco Ribalta (1565-1628)

Before the 1965 renovation, Saint John, with his “Behold the Lamb of God” banner, would have looked straight out through the Baptistery doorway, across the vestibule, to the Lamb of God window on the other side of the church.

How do we know that the two are intentionally related? The round tops and borders of both windows share the same cross-and-scallop-shell design. The scallop shell is generally recognized as  a symbol of pilgrimage, but it is also used as a symbol of baptism, since shells were sometimes used to pour the water and baptism marks the beginning of a spiritual pilgrimage.

That which was lost has been found – and today, our Adoration Chapel and heavenly choir music both provide avenues to connect with faith and experience spiritual “rebirth.”


Garden of Penitence

The wooden doors of the old confessionals at the back of our church were carved with a window box of botanical symbolism to inspire those waiting for the sacrament.

flowers 1In the center panel of the center door, the distinctive long tubular flowers of hyssop surround an IHS (first three letters of IHSOUS, or Jesus in Greek) monogram. Historically, the bitter herb was used in ancient Jewish purification rituals and at Passover. A woody shrub, it is the symbol of penitence.

The other flowers in that IHS panel — with four chubby, rounded, slightly notched  petals — appear to be dogwood. Four petals symbolize the cross and the crucifixion. Dogwood can also mean regret for sins (and, perhaps, in the modern era, one might find an added dimension of reflection on diversity and change, since dogwood growers have developed hybrids, combining characteristics from multiple varieties,  in an effort to preserve American trees against devastating fungus blight).

flowers 3In the bottom panel of the middle door,  gentian is a characteristically-shaped four- or five-petal  flower, often bright blue in color. It is said to have been named for King Gentius of ancient Illyria on the Balkan Peninsula, who is thought to have discovered its laxative medicinal properties. It is a symbol of penance and mortification.

The cutouts, or empty spaces in the same panel are in the shape of thistles. Thistles symbolize cause of sin so their absence suggests that the cleansing quality of the gentian is effective!

flowers 4The wreaths in the bottom panels of the two side doors are a little ambiguous. They could be acanthus, which would symbolize expulsion from Eden and a  fall from grace. They could also be laurel wreaths, symbolizing victory over temptation. The berry at the center of each panel is more characteristic of laurel, but perhaps how you interpret them depends on your state of mind!

The “Language of Flowers” was a popular notion in Victorian times, when friends and lovers were supposed to have sent secret coded love messages to each other using little bouquets of carefully-chosen symbolic flowers (not so secret, actually, since the symbols were pretty well understood by everyone at that time). In fact, floral symbolism has long roots, going back through history across cultures. The Bible is full of plant symbolism (faith like a mustard seed).  Also our patron Saint Francis de Sales once referred to Christians as “living plants of the church”!

Bishop’s Chair

DSCN4849 (2)What’s the difference between a bishop’s chair and a throne, and which one is in our Saint Francis de Sales Church sanctuary?

Theologically, every active Catholic diocese or archdiocese has only one Diocesan Bishop, one cathedral, and one cathedra or throne. According to Denis McNamara, Associate Director at the Liturgical Institute of the University of Saint Mary of the Lake/Mundelein Seminary – and expert on ecclesiastical furniture — “the cathedra is really a theological concept (seat of authority for a diocese) that gets externalized (cathedra).” Like the throne of a monarch, it’s a physical object that represents an idea. The cathedral is the church that houses the cathedra.

Our chair is not the Philadelphia archdiocesan cathedra. So what is it?

At consecration, each new bishop is appointed to his own unique diocese. All three of our long-ago bishops (Bishop Crane, Bishop Lamb, Bishop McShea) were titular bishops, which means each received the title to an inactive ancient diocese without associated duties, territory, cathedral, or throne. He could then assist in the Philadelphia Archdiocese but was not, by technicality, a local bishop.

But all bishops — even those holding title to obsolete districts — still need to sit down from time to time! McNamara remarks that “you often see chairs with a bishop’s coats of arms on them…in his office or home… (they were very fond of doing this in the 1920s). But that did not replace the one cathedra in the diocese.” He further notes that “Cardinal Mundelein’s dining room chair here on campus has his coat of arms on it. And it’s just where he ate dinner!”

Our mystery chair bears the insignia of Bishop Crane, our second pastor, who became Titular Bishop of Curium (ancient Cyprus) in 1921. Its crosses and scrollwork  match the ornamentation of our church, and a scallop-shell design on the front, just below the seat cushion, resembles decorations in the original parish Baptistry (today’s Adoration Chapel). This decoration suggests  a possible purpose, recalling that ancient European baptistries were sometimes furnished with a special chair to be used by a bishop administering the sacrament of Confirmation.

Our church is just one of several bishop-associated churches in Philadelphia. Before coming to Saint Francis de Sales in 1903, our Reverend Crane was assistant priest to Bishop Prendergast at St. Malachy. Bishop McCormick became Bishop while at St. Stephen’s in 1947 – our then pastor Bishop Lamb attended the consecration. Bishop Gerald McDevitt served at St. Alice in Upper Darby from 1962, and subsequent bishops have found their homes at various suburban churches.

Historical context: it makes a difference!

St. John the Omnipresent

harpies (2)Have you ever noticed how many times St. John the Apostle and Evangelist is represented in our church?

Saint John is the left-hand figure in Nicola D’Ascenzo’s Saint Cecilia window in the choir loft based on an altarpiece by Raphael. He is also the right-hand figure in the round stained glass window on the Mary side of the church, inspired by Andrea del Sarto’s “Madonna of the Harpies.” He kneels beside Jesus in the middle long window on that side of the church, as Jesus names Peter; and he hides in the bushes in the Agony in the Garden window. He is next to Jesus at the Last Supper on the freestanding altar from MBS and he kneels with Mary at the foot of the crucifixion mosaic.

johnEmblematically, Saint John’s apostolic symbol is near the 47th Street door; his Gospel is quoted above a former confessional; and he appears as one of the four Gospel-writing Evangelists, on the pillars supporting our dome. His sculptured eagle symbol also appears below the lectern on the old high pulpit, where the Bible would rest, since his gospel begins “In the beginning was the word…”

Why is St. John all over our church?

t007Beardless John is said to have been the youngest apostle and brother of James. As one of the original twelve, he was present at all the big moments in the adult life of Jesus. He also thought to have written one of the four Gospels, describing those events. According to his own account, he was the first to believe that Christ had risen from the dead. He is said to have written several Epistles, later,  from Ephesus (Turkey today). And his contributions have been studied and commemorated by scholars and artists through history.

Based on his identity as gospel-writer, various groups have adopted St. John as their patron over the centuries: he is invoked by writers, theologians, and those in the book trade. But all the attributions are based on traditions about him: we know very little about the real man. Scholars are not even  entirely sure that the Apostle and the Evangelist are the same person!  And debate continues over whether he also wrote the book of Revelations.

This mysterious “facelessness” allows John, known traditionally as the “Beloved Disciple,”  to be our symbolic representative.  When he participates in the Last Supper or kneels before the cross, we put ourselves in his place and share his experience. It’s a useful spiritual exercise, although  too much of a backward focus can also lead us away from the message that we need to act in the spirit of Christ today!

Our Man in Washington

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Adolfo de Nesti

If you’re ever in Washington DC,  stroll over to the Wilson Building (home to the offices of the DC Mayor and Council at  1350 Pennsylvania Avenue NW), look up at the facade, and say “Hi” to the artist who decorated our church!


Before crafting statues and friezes inside and outside our 1911 church, sculptor Adolfo de Nesti was commissioned to design classical figures to adorn what was then called the Municipal Services Building in Washington. The Washington Post, July 3  1908, reported that his 26 white marble statues, each over nine feet tall, represented “the arts, sciences, commerce, statesmanship, and other conceptions.”  One of the statues, depicting “a graceful-appearing young man with bared arms and a loose-fitting robe draped about his shoulders is Art…and De Nesti, it is said, has used his own head and figure as the model…”

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Art by Adolfo de Nesti (Photo (c) Bruce Guthrie)

De Nesti’s works were a small part of a much larger idea. In 1901, the MacMillan commission approved a development plan to re-make the nation’s capital as an idealized “City Beautiful” that would inspire “civic virtue…through important monumental architecture.” James Wasserman, author of a guide to Masonic Washington,  suggests that the many symbols incorporated in decorations throughout the city “silently communicate a curriculum designed to inspire, elevate, and teach eternal truth.

De Nesti, who came from Florence, Italy,  dreamed American in his Washington years. His business partner, Ernest Bairstow, would later be known  for his work on the Lincoln Memorial. De Nesti was on the Street Decoration Committee for the 1905 Inauguration of President Theodore Roosevelt. And in 1906, he married Agnes Campbell Gordon Armistead – the Great Granddaughter of Colonel George Armistead, whose 1812 defense of Fort McHenry inspired our National Anthem.

Statue of Our Lady by Adolfo de Nesti (Immaculata University)

In 1907, having finished his work on emblems of  “patriotic religion”  in Washington, de Nesti and his young wife began a new chapter of their lives in Philadelphia. Their son was born here in March 1908 and de Nesti began crafting inspirational symbols of Catholic faith in our church. In 1914, he sculpted a statue of the Blessed Virgin to top the dome at Immaculata University.

As far as we know, de Nesti  never became an American citizen, and likely returned to Italy in World War I. His wife remarried after a “tragedy” and divorce in 1921, at which point their son, Adolfo Napoleone Francesco de Nesti Junior changed his name to the all-American Armistead Greene.  Adolfo de Nesti’s American dream ended early but his sculptured likeness in Washington still wistfully overlooks every presidential inaugural parade. And Saint Francis de Sales Church in Philadelphia, the city of our nation’s Founding Fathers, is his memorial.

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The Wilson Building, Washington DC (Photo (c) Bruce Guthrie)

Eyes on the Skies

DSCN4599 (2)Look up and you never know what you might find — like this artwork near the roofline on the Farragut Terrace side of Saint Francis de Sales School!

The January 1927 St. Francis de Sales Parish Monthly Bulletin explained its symbolism when the building addition (by Henry Dagit’s firm) was newly-constructed:

Image (82)“The cross…is the sign of our faith, and it is used on all Catholic Churches and Buildings…”

“The two large carved limestone panels on the front facade of the School are emblematic of the spirit of the School. The panel on the south side represents Saint Francis de Sales, the teacher, teaching the boys the arts and sciences as the foundation of learning. It also illustrates the life and virtue of the patron Saint of the Parish, Saint Francis de Sales. The panel on the north side…represents the modern nun, the symbol of virtue, the guide and foundation of our schools, teaching the girls the arts of domestic science and training. The girl holding the vase represents the perpetual truths of the faith.”

OK, perhaps that reads as a little sexist nowadays, though the basic message of sound academics and Catholic values still stands.

DSCN4585“The carved limestone symbols at the top of the buttresses are emblematic of Knowledge, Astronomy, and Science, signifying the use and purpose of the building. The shield…(with) the open book and the torch represents the symbol of Knowledge. The Torch of Learning must be used to give light in order to (access) the knowledge in the book, and also to give light to our understanding.”

DSCN4581 (3)“The lined sphere with the zodiac…resting on the books, and the instruments about it, represent the study of Astronomy, and the study of the Universe and Geography.”

school emblemThe Lamp of Science, with the sun in back of it, represents the light given…upon all subjects by the study of the sciences. The lamp, resting upon the books, signifies the attempt to equal the light of the sun by the study of the sciences.

Why so much science? People were excited about new discoveries in the 1920s. Study of the heavens especially interested the church, which described a special star at Christmas and used the equinox to calculate the date for Easter. Guy Consolmagno, Astronomer to current Pope Francis, notes that the Vatican Observatory was founded in the 1890s, in part “to show that science and religion were not opposed to one another,” and further observes that “the reigning Big Bang theory of cosmology was devised by a Catholic priest named Georges Lemaître” in 1927. So keep looking up!


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SFDS Christmas Tour

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Welcome to our blended parish of St. Francis de Sales United By The Most Blessed Sacrament. We hope you enjoy this Christmas Story, as told in the architectural decorations of our 1911 church (You can also find another more traditional tour in the Self-Guided Tour tab on this site).

De Sales Photos Binder 06 030 (2)Let’s start at the very beginning…at the high pulpit on the Mary side of the church. When the Mass was simplified after Vatican II, our pulpit survived as a part of the architecture, but it was not used for many years. Today, it is reserved for special occasions, as when the Nativity Proclamation is read just before Midnight Mass on Christmas Eve. In the glittering light, the recitation of Jesus’ lineage connects us with all of the faithful down through the ages, while the eagle book rest – symbol of St. John’s Gospel – still reminds us that before everything, In the beginning was the word…”

And behold, you will conceive in your womb and bear a son, and you shall call his name Jesus.” (Lk 1:31)

A few yards to the right is the statue of the Blessed Virgin. Above her head, note the three entwined circles and triangle in the mosaic half-circle lunette. These represent the Holy Trinity of God the Father, Son, and Holy Spirit. The upside-down dove in the center of this lunette represents the Holy Spirit – especially significant for Mary, who was filled with the Holy Spirit when Jesus was conceived.

_MG_2621 (3)The first long window on the Saint Joseph side of the church commemorates The Annunciation, when Mary learned she would have a child. At the top of the window is Isaiah’s Old Testament prophecy (in Latin): Behold, a virgin shall conceive…and his name shall be called Emmanuel.”

(Crafted by D’Ascenzo Studios, the six long windows tell the story of the Life of Christ in the upper half, and that of our patron Saint Francis de Sales in the lower half. In the first window, young Francis is instructed in the catechism by his mother, Mme de Boisey in France in the 1570s, so both window sections highlight Motherhood and faith).

“And in that region there were shepherds out in the field, keeping watch over their flock by night. And an angel of the Lord appeared to them, and the glory of the Lord shone around them, and they were filled with fear. And the angel said to them, ‘Be not afraid; for behold, I bring you good news of a great joy which will come to all the people; for to you is born this day in the city of David a Savior, who is Christ the Lord.’” (Lk 2:8-11)

The middle window on the Saint Joseph side of the church shows the Adoration of the Shepherds. The quote at the top is Micah’s Old Testament prophecy (in Latin): “From you, O Bethlehem…shall come forth for me one who is to be ruler in Israel.” The artistic double cross designs in the bottom panel of each window on that side of the church symbolize Christ’s Divine and Human nature.

“And suddenly there was with the angel a multitude of the heavenly host praising God and saying, “Glory to God in the highest, and on earth peace to men of good will!” (Lk 2:13,14)

T006 At the back of the church, look for two angel sculptures above the holy water basins between the  doors. Henry Dagit, the architect who designed our church, had his daughters, Josephine Leonide and Anna, model for these exquisite pieces by Adolfo de Nesti back around 1910 (It is rumored that Josephine Leonide was also the model for the Blessed Mother).

lambA proper Nativity scene needs some animals. Step into the foyer, turn right, and look for the stairwell to the loft which the choir ascends to form a heavenly chorus.” The stairwell window features the image of a lamb – a perfect accompaniment to the shepherds, visiting the manger.

(Although this particular lamb, carrying a banner and perched on a book with seven seals, is a reference to the apocalypse – the end of the world — from the Book of Revelations).

Image (21)Whew! That was intense. Now go back to the middle of the church and look up at the decorations in the triangular pendentives that support the  Guastavino Dome. The four mystical creatures  ( also, incidentally, from Revelations) represent the four Evangelists – the saints who wrote the Gospels. Luke, who penned the story of Jesus’ birth, is the Ox – a traditional sacrificial animal and a very fitting addition to our Nativity story!

(Matthew, who related the story of the Three Wise Men,  is shown as an Angel, representing Christ’s human nature. Mark is the Lion who proclaims the dignity of Christ, since his Gospel begins with John the Baptist as a herald announcing the arrival of royalty.  John employs  the Eagle as the symbol of divinity because his Gospel begins in the heavens before Jesus came to earth..)

“And lo, the star which they had seen in the East went before them, till it came to rest over the place where the child was” (Mt 2:9)

dome-starObserve the stars in the sky-like dome! The six-pointed star  symbolizes the six days of creation. From the 18th century, it gained new significance as the “Magen David,” or “Shield of David,” representing the House of David – the lineage of Jesus. Enclosed in an eternal circle, our star of earthly lineage has a cross at its center, representing the Easter story,  turned into an eight-pointed star — the Star of Bethlehem – of Jesus’ birth.

(Gershom Sholem, a Jewish scholar, suggests that, ironically, it was the infamous yellow badges of the Second World War – long decades after our church was built —  which turned the Star of David into a universal Jewish symbol).

“Now when Jesus was born in Bethlehem of Judea in the days of Herod the king, behold, wise men from the East came to Jerusalem, saying, “Where is he who has been born king of the Jews? For we have seen his star in the East, and have come to worship him.” (Mt 2;1,2)

DSCN4470 (2)Near the 47th Street door, find the Builder’s Compass of Saint Thomas, the Apostle. One of Jesus’ original followers, Thomas is thought to have gone on to become a builder or architect for a King Gondophares in the region known today as Pakistan and Afghanistan. Tradition says Gondophares was Gaspar, of the Three Wise Men at the Epiphany.

harpiesAbove the Saint Thomas emblem, is a big round window showing Mary holding Baby Jesus in the middle, with Saint John the Evangelist on the right, and Saint Francis of Assisi on the left. Saint Francis of Assisi is remembered as the saint who loved animals. He is also  credited with organizing the first ever Nativity scene and pageant in the countryside of Assisi, so that everyone could experience the sense of wonder that came from interacting with the story.

(Our window is based on a long-ago painting by Andrea del Sarto commonly known as “The Madonna of the Harpies.” .  Why was the image chosen for our church? We don’t know for sure, but it is intriguing to note that the original painting was commissioned on May 14, 1515, and our parish was commissioned on May 14, 1890).

Finally, when you hear our eleven tower bells “on Christmas day, Their old  familiar carols play,” listen for the tune “I heard the Bells” based on an 1863 wartime poem of American poet Henry Wadsworth Longfellow — and join our prayers for peace on earth, goodwill to all this holiday season and always.



The Dragon of Saint Philip

_MG_2572 (2)Tales of long ago saints have, in modern times, been stripped of their more fantastical elements, often leaving us with confusing vague stories of good people with few distinguishing details. Such has been the fate of Saint Philip, whose cross emblem is on the St. Joseph side of our St. Francis de Sales Church. It’s time to reclaim him!

We know very little about Philip from the Bible. He is said to have been the third Apostle to be called by Jesus. He is quoted in the story of the Loaves and the Fishes from St. John’s Gospel, and he is thought to have been present with the other Apostles at Pentecost. His emblem in our church is the cross “by which he is said to have overthrown the statues of the idols in the countries which he converted.

A lost story of Saint Philip, handed down through the medieval mythical Golden Legends, described how he overcame a dragon in the ancient spa city of Hierapolis, in what is now Turkey. He was said to have been captured there and taken to a pagan (Roman) temple to make a forced sacrifice, when “anon under the idol issued out a right great dragon...” which killed several people who were preparing the sacrificial fire. Then “the dragon corrupted the people with his breath that they all were sick, and St. Philip said: Believe ye me and break this idol and set in his place the cross of Jesus Christ and after, worship ye it, and they that be here dead shall revive, and all the sick people shall be made whole.

It seemed implausible, until 2013, when archaeologist Francesco D’Andria uncovered an ancient Roman shrine called the “Gates of Hell” buried under the ruins of Hierapolis. A natural gas pocket, running beneath the shrine, produces a hallucinogenic and deadly vapor which issues from the doorway. The air is poisonous even today: as it was being excavated, birds and small animals were killed when they strayed  too close to the entrance. It is easy to see how this mysterious phenomenon could be interpreted as a giant beast hidden underground, breathing out  foul and murderous breath. Sealing its shrine and constructing a cross above it would likely have closed off the vent and stopped the poison – a miracle for its time.

Suddenly, the story of Philip gains colour and interest! And a piece of our Catholic culture is restored with a new appreciation of history.

The Art of the Kneel

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Who are these four people and what has brought them to their knees in the middle window on the St. Mary side of St. Francis de Sales Church?

Crafted around 1910, the long stained glass windows at the back of the church were one of Philadelphia stained glass artist Nicola D’Ascenzo’s first big commissions. Episodes from the life of St. Francis de Sales in the lower part of each window, were carefully synchronized to the life of Christ above them, and with an Old Testament prophecy at the top. But only a few of the Jesus windows have captions so we have to use other clues to find their meanings.

david (3)The prophecy above the middle window, from the psalms of David, translates: “The Lord hath sworn…thou art a priest…He shall judge among nations.” And the bottom part of the window shows St. Francis de Sales establishing the cloistered Sisters of the Visitation: “giving  St. Jeanne de Chantal and her first two companions the rules of visitation” (D’Ascenzo conveniently copyrighted that design with its description). The associated Jesus scene should, therefore, relate to religious life.

The four kneeling figures in the Jesus window have halos, so they are saints — and they are men, so probably apostles — and the picture represents a significant event between the Sermon on the Mount and the Agony in the garden. Why do they kneel? Wikipedia helpfully observes that  “Kneeling, similar to bowing, is associated with reverence,  submission and  obeisance, particularly if one kneels before a person who is standing or sitting: the kneeling position renders a person defenseless and unable to flee. For this reason, in some religions, in particular by  Christians and Muslims, kneeling is used as a position for prayer.

When Jesus lays his hand on the head of one of the respectful  men — like a monarch bestowing a knighthood – the meaning becomes clear: he is saying “Thou art Peter; and upon this rock I will build my church….” (Mt 16:18)

The early 1900s, when our church was built, were troubled times of local religious intolerance and rising European hostility to Pope Pius X – part of the simmering global unrest that led up to World War I. Our window reassured parishioners of their faith’s deep roots and enduring history. Further, it offered a social example. The 1909 Catholic Encyclopedia, current when our church was built,  suggested that kneeling and standing were both acceptable prayer postures, but the ancient gesture of bending the knee had a more profound significance as an expression of reverence, humility, and trust.


Stuccoed Stars

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St. Francis de Sales 1954

The side walls of Saint Francis de Sales church might seem restfully plain when the rest of the church is ornate, but it’s deceptive! Parish history is thickly layered beneath the surface.

When our church was built, the side walls showed the same bricks that you see today on the walls of the Sanctuary. Early pictures reveal mosaic medallions — a star in an eternal circle, and a Trinity triangle  — decorating each of the six arches. Eight-pointed Nativity stars adorned the middle arches; and the side arches appear to have featured six-pointed stars representing the six days of creation and the House of David — earthly lineage of Jesus.

In the 1920s, each triangle had a large round lightbulb at its centre, and a row of  lightbulbs lined each arch. That changed in 1940, when Bishop Lamb replaced the exuberant celebration of electricity with more elegant and “practical” metal sconces, fastened to cross-shaped brackets in the mosaic triangles, their shaded lamps dangling from metal chains.

The church decor was slightly altered in the 1950s by Bishop McShea, then heavily renovated for the Parish 1965 Diamond Anniversary under Monsignor Sefton. A story says that Monsignor Sefton came home from a trip to Europe, inspired by the cool blue lighting of Mediterranean churches, and wished to replicate the effect with blue walls. His chosen shade of tile was very fashionable in the 1960s and prevailing tastes were for streamlined modern decor. Diocesan-approved changes at that time included new pews; new flooring; and an electrical update to remove wall lamps (leaving wall holes?) and replace ceiling lamps with chandeliers. Unapproved tile walls quietly slid in, with two casual notations: “The price listed for the terrazzo floor also includes setting tile in six arches of the church” and “Belfi Brothers. This amount also includes setting tile in 6 arches of church.”

Skip forward to the 1990s, when the “blue bathroom tiles” began to fall off the walls, revealing the patchy tile-prepped surface underneath. Father Janton remarked that the bald patch looked like the African  continent drawn on an ancient map. When  it expanded to resemble Pangaea, it was time to do something. The mustard-coloured resurfacing was a simple, attractive solution (look above the sacristy doorway for the remaining blue tiles)

The walls of our church are layered with stories. Symbols changed their meaning over time. Technologies advanced. A richly ceremonial era gave way to the sleek modernism of the 1960s and early Vatican II. Hard times improved. And today we should find meaning in graceful continuity.