The Symbols of Holy Name Church
Christianity has always used symbols, both as decoration and for their educational value, in much the same manner as we use pictures in modern education. The writings of the evangelists and the parables of Our Blessed Lord are rich in symbolism. A symbol, however, must be a representative of something, not a representation. Thus a picture of St. Peter with keys in his hand is not a symbol of St. Peter, but the keys are.
This point is demonstrated in our church, where a picture of St. Peter occurs in the apse and his symbol (two keys saltire) on a disc on the baldachino pediment. The early Christians employed symbolism freely in the catacombs, but the Golden Age was reached in the Middle Ages when the Cathedral at Chartres in France was built. This church alone contains 1500 symbolic Bible figures. There are certain ideas too in our faith which cannot be pictured, which can only be represented by symbols. the Holy Trinity, God the Father, and God the Holy Ghost. Whoever saw a picture of the Holy Trinity of the Holy Ghost? Who would know how to picture them? And to picture God the Father as an aged man with a long white beard, a mistake quite often made, is puerile. God who is and was and always will be who has no age, cannot be picture since He Himself has said that no man might look upon His face and live.
Hence, His symbol is usually the six-pointed star, called the Creator's star or a hand recalling Divine Providence in the Hand of God. For the Holy Ghost a dove, familiar to all, is used as a symbol, or seven flames representing the tongues of fire which alighted upon the heads of the Apostles. The Holy Trinity is best represented by and equilateral triangle, the three equal sides for the three equal Persons, the whole figure representing Their unity. So it is with other mysteries and so the universal use of symbols by the Catholic Church from its beginning. When drawings for Holy Name Church were in their earliest stages, it was decided to use a style of architecture adaptable to symbolism and have the building itself stand a reminder of the teachings of our faith and a monument to the Most Holy Name. Consequently, the Byzantine-Romanesque, and early Christian style which flourished in Northern Italy and the Near East from the sixth to the twelfth centuries, was chosen. Details of the exterior were suggested by a number of these ancient churches, of which the red tile roof, brick walls and small arched windows are typical. The circular apse, ending in a semi-dome was likewise a customary way of treating the sanctuary in those ancient time, the early Christians adopting the idea from the Roman basilicas which they first used for worship, when in the year A. D. 313 the Emperor Constantine promulgated the Edict of Toleration, which put and end to the persecution of Christians in the Roman Empire. The Church, for the first time liberated from the catacombs and secret worship, found itself before the world with a complete liturgy, and without a proper place to conduct its ceremonies. Added to this difficulty was the general adoption by the Roman people, of Christianity. As a consequence, the early Fathers obtained various basilicas, which the Romans used for large gatherings of the people and as courts, and set up their altars in the apses, which were elevated above the general floor, just as our sanctuary is today, and in which the seats of the judges were originally placed. This arrangement of space proved so satisfactory from Christian worship that new churches were built along the same lines, and except for the addition of transepts and chapel, it is to this day the customary plan.
This point is demonstrated in our church, where a picture of St. Peter occurs in the apse and his symbol (two keys saltire) on a disc on the baldachino pediment. The early Christians employed symbolism freely in the catacombs, but the Golden Age was reached in the Middle Ages when the Cathedral at Chartres in France was built. This church alone contains 1500 symbolic Bible figures. There are certain ideas too in our faith which cannot be pictured, which can only be represented by symbols. the Holy Trinity, God the Father, and God the Holy Ghost. Whoever saw a picture of the Holy Trinity of the Holy Ghost? Who would know how to picture them? And to picture God the Father as an aged man with a long white beard, a mistake quite often made, is puerile. God who is and was and always will be who has no age, cannot be picture since He Himself has said that no man might look upon His face and live.
Hence, His symbol is usually the six-pointed star, called the Creator's star or a hand recalling Divine Providence in the Hand of God. For the Holy Ghost a dove, familiar to all, is used as a symbol, or seven flames representing the tongues of fire which alighted upon the heads of the Apostles. The Holy Trinity is best represented by and equilateral triangle, the three equal sides for the three equal Persons, the whole figure representing Their unity. So it is with other mysteries and so the universal use of symbols by the Catholic Church from its beginning. When drawings for Holy Name Church were in their earliest stages, it was decided to use a style of architecture adaptable to symbolism and have the building itself stand a reminder of the teachings of our faith and a monument to the Most Holy Name. Consequently, the Byzantine-Romanesque, and early Christian style which flourished in Northern Italy and the Near East from the sixth to the twelfth centuries, was chosen. Details of the exterior were suggested by a number of these ancient churches, of which the red tile roof, brick walls and small arched windows are typical. The circular apse, ending in a semi-dome was likewise a customary way of treating the sanctuary in those ancient time, the early Christians adopting the idea from the Roman basilicas which they first used for worship, when in the year A. D. 313 the Emperor Constantine promulgated the Edict of Toleration, which put and end to the persecution of Christians in the Roman Empire. The Church, for the first time liberated from the catacombs and secret worship, found itself before the world with a complete liturgy, and without a proper place to conduct its ceremonies. Added to this difficulty was the general adoption by the Roman people, of Christianity. As a consequence, the early Fathers obtained various basilicas, which the Romans used for large gatherings of the people and as courts, and set up their altars in the apses, which were elevated above the general floor, just as our sanctuary is today, and in which the seats of the judges were originally placed. This arrangement of space proved so satisfactory from Christian worship that new churches were built along the same lines, and except for the addition of transepts and chapel, it is to this day the customary plan.
The Exterior and Rose Window
|
|
The Rose window, the focus of interest on the main front of our church, is similar to that in the church of San Pietro in Toscanella. The colonnade above, surmounted by thirteen arches, symbolic of Our Lord and the Twelve Apostles can be seen, though in a different location, in this same church and in Santa Maria Maggiore in the same town. Beneath the arched opening at either end of this colonnade is a circle with the Greek letters Chi Rho, XP, the origin of which we will endeavor to explain later, the symbol of the Most Holy Name. The meaning of the cross surmounting the church is too well known to need explanation. The form used here is a type used in the early Greek and Italian churches.
The columns supporting the three arches at the entrance to the church are similar to some in the church of St. Vitale in Ravenna. The ornament on the arches and in the stone panels over the doors was inspired by ornament in St. Mark's Cathedral in Venice and the disc in the center panel contains another chi rho or symbol of the Holy Name. The discs over the end doorways contain the cross and I H S, meaning here "In this sign." The union of the three arched doorways, equal in all dimensions and similar in design expresses the idea of the Holy Trinity, which is also symbolized by the division of the facade into three parts vertically and horizontally. The arched windows on the side walls and the arcades at the east and west porches are typical of this period. |
The Stone Panels
|
In the stone panels above the east and west porch entrances there occurs the cross and orb symbol. This emblem signifies the triumph of Our Saviour over the sin of the world. It is the symbol of the world conquest of His Holy Gospel. The stone inserts in the arches over these doors contains various braided rope ornaments, arranged in unending figures, symbolic of eternity. The pilaster caps are ornamented with griffons, mythical beasts representing sin, which, it was the custom of the early Christians to place at their doorways to impress those entering with the idea that all evil and worldly thoughts should be left there, without the building. The triple arch near the top of the transept is another symbol of the Holy Trinity. In the stonework on the east and west turrets is a circle containing another form of the chi rho with the letter N superimposed upon it. This symbol means "Christ the Conqueror" the chi rho, Greek monogram for the Holy Name and the N meaning Nika, conqueror. Over the porch colonnades are stone discs with a braided cross symbolic of our Eternal Lord with the abbreviated Greek form of His name, I C for Jesus and X P for Christus with the usual Alpha and Omega.
|
Symbols in the Windows
The East Transept –
In the east transept the group of three windows depicts Our Lord's Resurrection from the dead. Our Blessed Saviour is shown carrying the banner of victory and at His feet is a palm branch also signifying victory. In the background behind the tomb, the rising sun silhouettes the hill of Calvary with the three empty crosses. At either side are the guards, placed there by the Jews, and the adoring angels. This group was placed on the east side of the church because the event it pictures took places in the morning and with the morning sun on it, the glass in these windows is more splendid than at any other time of the day. |
The West Transept –
The west transept group pictures the Crucifixion. Here Our Crucified Lord is shown at His death with His Blessed Mother, The Beloved Apostles and St. Mary Magdalene at the foot of the cross. The background with the reddened sun and darkened moon, the clouds and the fire, depict the upheaval of the elements upon the death of the Saviour. In the small window behind Our Blessed Mother is shown the Roman Centurian who acknowledged Christ's divinity upon His death. He represents the Gentile peoples. In the window behind St. John the soldier represents the Jews. Our Lord is shown with His face turned toward the Gentile representing the fact that the chosen people, having rejected Him, from thenceforth, He turned His grace to the Gentiles. |
The Aisle Windows
Each aisle window carries a medallion picturing some event in the life of Our Lord. Otherwise, they are similar. At the top each has a cross with the letters Alpha and Omega, the beginning and the end. Below it is the vine with birds pecking at grapes. The birds symbolize human souls, the grapes, the wine which Our Lord changed into His blood. The significance of the symbolism is obvious. Below the medallion are two peacocks drinking at a fountain. The birds here again symbolize souls, the peacock especially representing immortality, the whole idea being that of human souls receiving immortality from drinking the waters of eternal life. The following events are pictured in the medallions, starting on the west side with the window nearest the altar and proceeding around the church: The Annunciation, The Nativity, Christ taking leave of His Mother, Our Lord and Mary Magdalene, Jesus giving the keys to St. Peter, The Good Shepherd, Christ and St. Peter on the Sea, Gethsemane, Doubting Thomas, St. Paul before Tiberius. The Clerestory and Chapel windows contain a geometric pattern in which the only symbol used is the cross.