Art & Architecture
SAINT CLEMENT ART + ARCHITECTURE
When we enter Saint Clement Church, our eyes are drawn first to the white marble altar with its mosaic of the Lamb of God, and then up to the Tree of Life in the apse above the font. As we go deeper into the church, our eyes are drawn further up to wonder at the colors, gleaming gold and streaming light. Saints and angels gaze down upon us. And at the top of the main arch, Christ reigns in serene glory and we are awestruck by the beauty all around us.
The unique design of Saint Clement Church follows the canons of Byzantine art with symbols of the heavens and divinity in the highest sections, images of saints and sacraments in the transitional middle areas, and images of creation on the ground level, where the community gathers around the altar, ambo, and font.
We offer tours of the church for any who may be interested, including private groups. Contact Noemi Benavidas for more information.
ARCHES AND BARREL VAULT
Arches and pendentives, the triangular forms between the great arches, transfer the weight of the dome to the piers that support it. The art in these transitional sections expresses the many ways that the wisdom of God is revealed to us. As we stand on the floor and look up, the hierarchies unfold: saints, evangelists, apostles, prophets, angels, Mary, Clement, and Christ.
CHRIST ENTHRONED IN GLORY
The arrangement of the images of the Blessed Virgin Mary and Saint Clement, patron of this church, standing near the enthroned Christ on the main arch is called “prayer of intercession” in Byzantine art. The lower sections on either side depict palm trees and cities, echoing the mosaics in the main arch of San Clemente in Rome.
CHRIST THE KING
At the center of the main arch, Christ is depicted as a Byzantine Emporer. Seated upon a throne and garbed in royal robes, Christ holds the scepter and terrestrial sphere in his hands. His halo bears a cross with the Byzantine abbreviation in Greek letters for “he who is,” the name revealed by God to Moses (Exodus 3:14).
Beneath is a verse adapted from Psalm 29: “Bless all people O God with peace.” This text from the liturgy of the Baptism of the Lord adorns the arch above the baptistery.
MARY, MOTHER OF GOD
Mary stands in a posture of prayer, with her hands raised. Above her is the title Beatissima Virgo Maria Mater Dei: Blessed Virgin Mary, Mother of God. Mary is clothed in the traditional blue robe. The stars on her head and shoulders are symbols of her virginity.
SAINT CLEMENT OF ROME
Clement stands offering to Christ a model of this church and his prayers for this community. Clement is an important witness to life in the early church; some believe that he is the Clement mentioned by Paul in his Letter to the Philippians (4:3).
Clement is pictured holding a book inscribed “Ad Corinthios” (To the Corinthians). As bishop of Rome, Clement wrote a pastoral letter between 95 and 98 to the Christian community in Corinth, Greece, in which he reproves some members for rebellious conduct and urges order and submission to authority. This letter was highly regarded by ancient Christian writers and some considered it worthy of inclusion in the New Testament.
An anachronism in the painting is the triple papal crown, or tiara, lying at Christ's feet. Such a crown was not worn by popes until 1315 and was eliminated after the Second Vatican Council.
CITIES AND PALM TREES
On the lower sections of the arch, cityscapes may represent Bethlehem and Jerusalem.
Bethlehem is the city of Christ’s birth and symbol of the Jewish heritage of Jesus and all Christians. Jerusalem is the city of the death and resurrection of Christ and the place of the descent of the Holy Spirit and the beginnings of the church. The earthly Jerusalem became identified with the heavenly Jerusalem that comes down from heaven (Revelation 21:2). Followers of Christ are already citizens of the heavenly city.
TWO MIRACLES OF SAINT CLEMENT
The east and west arches illustrate two miracles described in the “Acts of Saint Clement.” The artist has created unique depictions of these events modeled after previous artistic renditions.
MIRACLE IN THE QUARRIES
In the east arch, we find a story from the "Acts." The emperor Trajan had banished Clement to the quarries, where he found over two thousand Christians condemned to hard labor and tormented by thirst, since the nearest drinking water was miles away. Clement prayed that he might be shown a spring nearby. When he saw a lamb on a hill he recognized it as an answer to his prayer. Clement struck the rock and water flowed, refreshing the suffering people.
MIRACLE UNDER THE SEA
In the west arch, we find a different story. In about the year 101, a Roman governor condemned Clement to death. He was taken aboard the governor’s ship and thrown overboard with an anchor tied around his neck. In answer to the prayers of Clement's followers, the sea rolled back to reveal a small shrine and Clement's tomb.
Every year, according to The Golden Legend, on the anniversary of Clement's death, Christians processed to the seaside and the water would recede to allow the faithful to pray at the shrine. One year, a boy was inadvertently left behind in the shrine. No one realized he was missing until everyone else had reached the shore and the water had covered up the shrine; he was given up for lost. But when the water receded again the next year, the boy was found safe in the shrine, sleeping at the foot of the altar. He was returned to his mother and the rejoicing townspeople.
In the center of the arch the artist created a papal crest for Clement with symbols referring to his life and death: the tiara and crossed keys for his office as pope, and the anchor. An anchor was the instrument of Clement’s martyrdom, but it is also a symbol of Christian hope.
THE THRONE OF THE TRINITY
On the south arch, we find a representation of the Trinity in glory surrounded by twelve saints. The empty throne is a Byzantine symbol for the presence of the Divine, first depicted in Saint Mary Major in Rome in the fifth century. In Revelation 4 the empty throne is a symbol of the last judgment and is often found on an arch or over the door of Byzantine churches.
Adoring angels on either side of the heavenly throne hold smoking thuribles. “The smoke of the incense, with the prayers of the saints, rose before God from the hand of the angel” (Revelation 8:4).
Upon the throne of the Trinity are symbols representing each Person: a dove for the Holy Spirit; a book for Christ, the Word of God; and a crown covered with a veil for the Father.
Twelve saints kneel in the traditional posture of those attending God in the heavenly court. Through their writings and evangelization, through the formation of religious orders and their personal prayer, these missionary saints brought the revelation of the mystery of the Trinity to the peoples of the world.
Patrick: Bishop, evangelizer of Ireland
Alphonsus Ligouri: Bishop, founder of the Redemptorists and doctor of the church.
Anselm: Bishop of Canterbury, doctor of the church
Gregory VII: Pope and reformer
Bonaventure: Regarded as second founder of the Order of Friars Minor (Franciscans)
Thomas Aquinas: Dominican priest, doctor of the church
Francis of Assisi: Founder of the Order of Friars Minor (Franciscans)
Dominic Guzman: Founder of the Order of Preachers (Dominicans)
Ignatius of Loyola: Founder of the Society of Jesus (Jesuits)
Benedict of Nursia: Abbot, founder of western monastic life
Bernard of Clairvaux: Abbot, doctor of the church, founder of Cistercian Order
Boniface of Mainz: Archbishop, evangelizer of Germany
BARREL VAULT: BENEATH THE MANTLE OF MARY
Under the barrel vault of the nave, the community is overshadowed by the ancient prayer to the Blessed Virgin known as the Litany of Loreto. The design in the barrel vault comprises thirty-five large squares, twenty of which are decorated with an interlocking scroll and floral ornament and the other fifteen with symbols and titles of the Blessed Virgin Mary taken from the Litany of Loreto. The Latin titles of Mary encircling the symbols are followed by the phrase ora pro nobis, pray for us.
ARTIST
For many years little was known about the Reverend Gleb Evgeniovitch Werchovsky who was selected by the founding pastor, Msgr. Rempe, to design and decorate the interior of Saint Clement Church. Shortly after the renovation of the church in 1988, Fr. Werchovsky's granddaughter visited our church and shared with us the life of this "mystery man" who was artist, priest, and father.
Gleb Eveniovitch Werchovsky was born on November 5, 1888, in St. Petersburg, Russia. His father was an engineer and architect as well as a wealthy landowner of noble birth. His mother, Marie Starck, was of German ancestry. As a young student at the Academy of Fine Arts in St. Petersburg, Gleb was drawn through his study of art to the Roman Catholic Church and at 20 he converted. He enrolled at the University of Innsbruck, Austria to study theology and completed his theological studies at a Jesuit college in Belgium. He was ordained a priest of the Ruthenian rite in 1914 in Lviv by Metropolitan Andrew Sheptycky. (Based in southwestern Ukraine, the Ruthenian Catholic Church, while closely related to the Ukrainian Greek Catholic Church in language, customs and traditions, is subject to the Holy See.) With the outbreak of the First World War he went to Constantinople to study Byzantine art. After spending some time in Rome, he returned to St. Petersburg to serve as chaplain to the Maltese community.
The Russian revolution in 1917 brought upheaval and oppression. Fr. Werchovsky went to the Ukraine where, under the Cossack leadership, he assisted in the preservation of cultural artifacts and artwork. In Kiev on February 20, 1920, Fr. Werchovsky married Natalia Evgeniovna von Stein, a professor with a diploma in the Faculty of Philology and History. Natalia (born on August 5, 1890 in Lgoff, Kursk, Russia) had converted to Roman Catholicism while studying at the Sorbonne in Paris. On February 26, 1921, their son, Ignatius was born.
After the Bolshevik takeover, Fr. Werchovsky aided Russian immigrants in Prague. He and his wife considered their options for the future: Paris, where many Russian artists were taking refuge, or Constantinople, with the opportunity to become more immersed in Byzantine art. The decision was made for him when Pope Pius XI, who assigned Fr. Werchovsky to St. Michael the Archangel Ukrainian Church in Woonsocket, Rhode Island, a French/Russian community that was in need of a liturgical artist. Fr. Gleb, Natalia and Ignatius arrived in New York on March 9, 1925, and spent four years in Rhode Island. Two daughters, Anastasia and Andronica, were added to the family.
By August 1929, Fr. Gleb and his family were in Chicago where he was assigned to St. Nicholas Ukrainian Catholic Church at Oakley and Rice. There he created various murals, some of which still remain in the sanctuary. He also decorated the church of Nativity of the Blessed Virgin Mary (which has since been sold).
In 1930 Msgr. Francis A. Rempe commissioned Fr. Werchovsky to develop a design for the interior decoration of Saint Clement Church. This appears to have been Fr. Werchovsky's main project in the Chicago area. To create the decorative program he drew upon his Russian background, his training as an artist, his knowledge of Byzantine art, and perhaps one can imagine, his personal knowledge of the Basilica of San Clemente in Rome. He created a symbolic Byzantine universe within the walls of a Romanesque building. The coordinating principle is a painting in the apse that replicates the eleventh century tree of life mosaic in San Clemente. This image recalls the fundamental mystery of our faith--our redemption in Christ which is celebrated at each liturgy. Fr. Werchovsky's creative touch is also found in this painting. The eyes of the figure of Christ are open, gazing at the viewer, whereas in San Clemente the form is of the dead Christ. Also, as a remembrance of the founding pastor, the figure of his parrot was added to a branch of the tree.
On the main arch is a painting of Christ in glory (Pantocrator) with Mary and Saint Clement in the orans (praying position) on either side. On the rear arch is an image of the adoration of the Trinity in heaven, symbolized by the throne, and adored by angels and saints. On the lateral arches are original depictions of two miracles attributed to Saint Clement. Under the four arches are portraits of saints on a rich, golden background, symbolizing their sanctity. In the dome, the canopy of heaven, are figures of angels, clouds, stars, and the traditional signs of the zodiac. On the pendentives under the dome are the four evangelists with their symbols. The placement and the style of all these figures follow the canons of Byzantine art.
The stenciled walls create the illusion of a shimmering screen of heavenly radiance, which flows into and unites the surrounding space. The thirty-one stencil patterns are variations of a cross within interlocking circles. The intricate pattern and carefully composed vibrant coloration give the space great visual energy. Trompe l'oeil stonework covers the piers in tan marble and the pillars in dramatic green and white marble. The barrel vault of the nave honors Mary with symbols from the Litany of Loreto within large interlocking circles.
In November 1930 in the Silver Jubilee Book, Msgr. Rempe described his search for an artist and the work of Fr. Werchovsky as follows:
Long and earnestly had he (Msgr. Rempe) sought for a design that would embody his ideas of a dignified interior with such pictures and symbols as would lift the minds of the people to the things on high. (He had a proposal from Arthur Hercz which he rejected.) By accident, if there is such a thing, he came upon a man who gave every promise of possessing the necessary ability for this work: the Reverend Gleb Werchovsky, a Russian priest, who before taking up his studies for the ministry had graduated from the Fine Arts Academy at St. Petersburg. The sketches he submitted presented subjects that were very fascinating, though unusual. It took some time to assimilate these. But after much thought and study, and extensive comparisons with old and new creations in the decorative line, the decision was finally made, and the work begun in June 1930. It is now completed. Of the impression that it has made it is probably best to say nothing at all lest we might seem to exaggerate. Let us rather take time to unlock the treasure-house of its rare symbolism. (He goes on to describe the art and it meaning.)
The extraordinary unity of the design and integrated color palette indicate the creative talent of the artist, Fr. Werchovsky. We are blessed to be wrapped in this treasure-house of rare symbolism, which can raise our hearts and minds in praise of God.
After suffering several strokes over two years, Fr. Werchovsky died on April 11, 1935, at Alexian Brothers Hospital at age 47. He was buried on April 13, 1935, from Nativity of the BVM Church with Bishop William D. O'Brien representing Cardinal Mundelein. Others in attendance were Most Rev. Abbott Valentine Kohlbeck, OSB of St. Procopius Abbey (Lisle), four monsignori and several priests of the Roman rite. Seven priests of the Greek rite were present. Fr. Sembratovich, pastor of a Ukrainian church in Detroit, preached the sermon. Fr. Werchovsky was buried among the priests in Resurrection Cemetery, Justice, Illinois--an artist, priest and father who died too young, but who left a living legacy in his children and in Saint Clement Church.
BAPTISTERY
Beneath the Tree of Life, in the apse of the church, is the baptistery. The art around the font is a visual image of the church into which we enter through baptism: apostles, angels, sacraments, saints.
THE FONT
The baptismal font is carved of Mariposa Danby-White marble with a rim of gold mosaic and stands on four pillars of green Verde Antique marble. The four pillars suggest the four rivers of life depicted in the Tree of Life painting above. The altar, ambo, and ambry also stand on pillars of green marble, emphasizing the relationship of the Eucharist, the word, baptism, and confirmation. The baptism of an infant may be celebrated by immersion – the naked baby is gently dipped into the warm water of the font. Adults being baptized at the Easter Vigil kneel in the recessed section of the base and water from the font is poured over them. The fullness of these rites evokes the invisible reality of the sacrament – dying and rising with Christ to new life. The shape of the font is octagonal, a traditional symbol of the eighth day- the day of new creation. It is also circular on the inside, symbolizing a womb and new birth.
THE APOSTLES
Above the twelve pillars of the ambulatory, below the Tree of Life are portraits of the apostles with their Latin names, painted by Professor Vladimir Shamberk. This placement reflects their foundational place in the church.
ANGELS
Seven stained glass windows in the apse depict angels, each holding a symbol of a sacrament.
The angel holding a shell with water flowing into a small font symbolizes baptism.
The angel representing confirmation holds a shield embossed with a dove, representing the Holy Spirit.
In the reconciliation window the angel holds keys, alluding to the power to “bind and to loose” from sin.
The sacrament of the Eucharist is represented by the center angel holding a chalice and a host.
The angel holding a lectionary and ciborium evokes the preaching and sacramental roles of the priest, communicated through the sacrament of holy orders.
For the sacrament of matrimony the angel holds a medallion with an image of a woman and a man, naked and innocent as in the Garden of Eden.
A vessel of oil and a stole are in the hands of the angel representing the sacrament of the anointing of the sick.
BYZANTINE STYLE MOSAICS OF THE DOCTORS OF THE CHURCH
Between the angel windows are Byzantine style mosaics depicting three early popes and three theologians or doctors of the church. All six handed on the teachings of the apostles and the first councils through their writings and preaching. All but Jerome, a priest, are depicted wearing an archbishop's white pallium with black crosses. The shimmering gold background of these mosaics represents heavenly glory in the Byzantine tradition.
THE PASCHAL CANDLE
The brass stand of the paschal candle is decorated with a Gordian knot symbolic of the covenant God makes with the baptized – a covenant that cannot be undone. At the beginning of the Easter Vigil each year, a new paschal candle is inscribed with a cross, the Alpha and Omega, and the numerals of the current year. The candle burns throughout the fifty days of the Easter season, at baptisms, and at funerals. Each newly baptized Christian receives a candle lit from this paschal candle with the reminder that they have been “enlightened by Christ.”
THE AMBRY
The brass ambry stands on a pillar near the baptistery. The Chi Rho with Alpha and Omega monogram for Jesus Christ on the front of the pillar relates the oils to the power of Christ in the sacraments throughout life. Within the ambry are housed glass vessels of the sacramental oils: holy chrism for post-baptismal anointing, confirmation, ordination, and the dedication of churches; the oil of catechumens which is used during the catechumenate for adults and before baptism for children; and the oil of the sick, used in the anointing of the sick. The vessels are marked with abbreviations for the Latin names of the oils: SC (sacra chrisma), OC (oleum catechumenorum), and OI (oleum infirmorum).
The carved image of a pelican recalls the pillar's previous use as a pedestal for a statue of the Sacred Heart.
BORDERS AND DESIGN
HEAVENLY SPLENDOR
A profusion of foliate borders and geometric designs, interlaced medallions and stars – over thirty-one stencil designs upon a gold background – cover the walls, ceilings, and other spaces, creating an aura of golden splendor.
The most prominent design is a variation of a cross within a circle. The wheel cross is an ancient symbol of the eternal movement of the sun and stars, created by divine power. Christians adapted the wheel cross to represent Christ as Lord of the Universe.
Panels between the stained glass windows of the clerestory are decorated with interwoven Greek crosses and stylized flowers. Panels at both ends contain grape leaves with stylized bunches of grapes, symbol of the eucharist.
Trompe l’oeil marble (faux marble) covers the piers and columns in variegated shades of paint. The piers are tan, and the ambulatory and side aisle colonnades are green, symbolic of the water in which Clement was martyred.
CLOSING THE EMBRACE
The embrace of Christ on the Tree of Life enfolds the community and completes the circle with the beautiful mosaic and marble of the former altar rail, now at the last pew. The interlocking circles of the altar rail and the holy water font, which was in former times the baptismal font of the church, evoke the unbreakable union with God and one another in the Body of Christ through the Holy Spirit begun in baptism, celebrated within these walls and lived beyond.
As we enter and leave the church of Saint Clement, the embrace of Christ on the Tree of Life recalls the words of Saint Paul: Nothing can separate us from the love of God in Christ
CHURCH BELLS
The bells were originally designed in 1938 to swing back and forth or they could be struck with hammers, depending on the purpose of the ringing. The original ringing equipment was updated in 1984. Unfortunately, the bells no longer swing due to the age of the yokes that support the bells. They are currently secured in place and metal hammers are mounted at the base of each bell to strke it. The rigning equipment is computerized for automatic ringing or they can be manually rung from a control panel in the sacristy or by a wireless remote control.
The bells ring everyday for the Angelus at 12:00 p.m. and 6:00 p.m. The largest bell is struck three times followed by a peal of three of the four bells. The bells also call us to worship. A single bell tolls for 9:00 a.m. daily Mass and all four bells peal prior to Saturday evening and Sunday Masses except at 8:00 a.m. The bells also mark the hour from mid-morning through the evening.
In church tradition the bells were given names. These names are found on the side of the bells, molded in the metal along with the name of the church:
Saint Michael • 60" 3,800 pounds
Saint Gabriel • 50" 2,300 pounds
Saint Raphael • 37" 1,000 pounds
Guardian Angel • 27" 460 pounds
CHURCH CENTER
In the center of Saint Clement Church, angels gaze down upon the altar, where the Mystical Body of Christ, the church, celebrates the Eucharist and gathers for prayer. It is at this center point where we visualize our prayer rising to the heavens.
THE HEAVENLY DOME
The eighty-foot dome atop Saint Clement Church appears to float on a ring of light. Thirty-two windows of pebbled translucent glass with borders of jewels ring the base of the dome, allowing natural light to enter. An encircled cross appears in alternate windows, a symbol repeated throughout the church.
Angels with classical features and headdresses hold a circular band carrying the twelve signs of the zodiac. Around the angels are stylized stars with comet-like tails and colorful wave-like lines suggesting clouds. In early Christianity, the zodiac, with its constellations that reappear at the same time each year, represented the heavenly cycle of time. Time is re-dedicated to God each year at the beginning of the Easter Vigil when the paschal candle is marked with the cross and the numerals of the current year.
THE ALTAR
The altar is the main architectural symbol of Christ’s abiding presence among his people. The altar makes visible what connects heaven and earth – the Body of Christ.
The mosaic on the front of the altar depicts the glorified Christ as the triumphant Lamb of God resting upon the Book of Life as described in Revelation. The Lamb holds a banner symbolizing Christ’s victory over death. The crosses on the banner and on the Lamb's halo recall the sacrifice that won that victory for us.
This mosaic was originally used in the high altar that was installed in the 1930s. It was carefully removed for reuse in this new altar when the church was renovated in the 1980s.
THE AMBO
The word of God is proclaimed to the assembly during the liturgy from an elevated reading stand or ambo. It is from this place that we share the stories of our faith. The Ambo is reserved soely for the proclamation of scripture since we believe that the God is present in the word that is spoken and shared.
THE BLESSED SACRAMENT CHAPEL
The Blessed Sacrament Chapel is in a shrine in the southwest corner of the transept, not far from the altar. Here, as has been done since the earliest days of the church, some Eucharistic bread from the Mass is reserved for the sick and dying. A traditional red sanctuary lamp in a brass holder burns to mark the presence of Christ in the Eucharist. Kneelers and chairs are arranged for private devotion and prayer. This chapel uses elements of the 1930 reredos or high altar in the manner for which they were originally created. It was created in the 1980s, when the church was renovated. The base was formed of marble and mosaics that were on the middle level of the reredos. The baldachin that originally topped the reredos now enshrines the tabernacle. This small stone canopy contains many beautiful symbols in mosaic and marble: an anchor for hope and a heart for the love of God embodied in the eucharist. On the blue mosaic dome, ancient symbols for Christ are joined in interlocking circles. The upper rear interior of the dome depicts a dove as a symbol of the Holy Spirit. The free-standing tabernacle is made of the same type of marble as the font and the altar. The brass door (part of the original tabernacle) contains designs of wheat and grapes, symbols of the bread and wine of the eucharist, and a cross. Over the tabernacle door are the words sanctus sanctus sanctus, sung at each Mass in our own language: “Holy, holy, holy.” The earliest reference to the use of this prayer in the liturgy is in Saint Clement's Letter to the Corinthians.
EVANGELISTS
The traditional figures of man, lion, ox, and eagle near each evangelist correspond to each one's Gospel. The same four creatures are associated with Ezekiel's vision of the fiery wheel, and are also described in Revelation singing before the throne of God. These images first appeared in Christian art in the fourth century. They are often used as symbols of the Gospels.
Because the Gospel according to Matthew begins with the genealogy of Jesus Christ starting with Abraham, the father of the Jewish people, and emphasizes Jesus' humanity, a human face is the symbol assigned to it.
The symbol for Mark is a lion since this Gospel begins with the fierce preaching of John the Baptist in the desert. The lion is also a symbol of Christ’s divinity and kingship proclaimed in this Gospel.
An ox, the sym bol of sacrifice, is assigned to Luke since this Gospel begins in the Temple with the priest Zechariah entering the Holy of Holies to offer sacrifice. The Gospel emphasizes the priestly and sacrificial aspects of Jesus’ life.
The Gospel according to John begins with a mysterious prologue that proclaims Jesus as the preexistent and incarnate Word of God who reveals the Father. A high-soaring eagle is its symbol. The eagle also may be a symbol of the Holy Spirit promised by Jesus in the Gospel.
ORGANS
Saint Clement is fortunate to have two fine mechanical action pipe organs in the upper church. The main organ in the gallery, and a small portable organ in the front of the church.
The Casavant Organ
Built in 1983, the main organ was built by the Canadian firm of Casavant Frères in St. Hyacinthe, Québec, and installed in the church's rear gallery. The organ's tonal design was conceived by Jean-Louis Coignet, and final voicing was done by Yves Champagne and Michel Jacques.
The organ has mechanical stop action and suspended mechanical key action, and comprises twenty stops (27 ranks/1396 pipes) over two manuals and pedal. Manual compass is 56 notes, and pedal 30 notes. The hand-made casework is solid oak; manual natural keys are made of ebony, with sharps of rosewood capped with ivory; pedal naturals are made of maple, with sharps of rosewood. The façade pipes are 70% polished tin, and the organ's wind pressure is 80mm throughout. The Casavant organ was originally tuned in an unequal temperament modified from Werkmeister III. In 2008 the temperament was changed to Kellner.
The Cassavant organ specification is as follows:
GRAND-ORGUE
Montre 8
Flûte à cheminée 8
Prestant 4
Flûte conique 4
Doublette 2
Fourniture V
Douçaine 16
Trompette 8
POSITIF (expressif)
Bourdon 8
Prestant 4
Flûte à fuseau 4
Nasard 2 2/3
Quarte de nasard 2
Tierce 1 3/5
Cymbale IV
Hautbois 8
Tremblant
PÉDALE
Soubasse 16
Octavebasse 8
Octave 4
Bombarde 16
GO/Ped
Pos/Ped
Pos/GO
Zimbelstern
The Taylor & Boody Organ
In 2005 Saint Clement acquired a magnificent five-stop portative organ built by Taylor & Boody Organbuilders of Staunton, Virginia. This small movable pipe organ is used primarily in the front of the church to accompany cantors, choirs and instrumentalists during the liturgy, as well serving as a complement to the larger main organ in leading hymn singing and other service music. The Taylor & Boody organ is also used as a continuo instrument in concerts with orchestra.
Constructed by hand from the finest woods and metals, the instrument was built according to historic organ building principles, with a keyboard of boxwood and ebony, and a case of superbly carved white oak. The organ stands about 3-1/2 feet tall, 2 feet deep and, 3-2/3 feet wide, and weighs about 200 pounds. Manual compass is 51 notes. The
case was designed to reflect many of the symbols and architectural elements of the Saint Clement church building, and features beautiful hand carvings on three sides.
The most essential part of any organ is its sound, and this one is no exception — the sounds in the Taylor & Boody organ range from sweet and gentle to brilliant and sparkling. Each sound has been voiced with utmost care, and even with only five stops, the combinations are varied and plentiful. The instrument's pipework features tuning sleeves, permitting the organ to be tuned in a variety of temperaments. In addition to several large instruments, Taylor & Boody have built many similar continuo organs in recent years, most notably for Harvard, Yale and Rutgers Universities, and for Saint Thomas Church in New York City.
The Taylor & Boody organ specification is as follows:
Gedackt 8 (wood)
Blockflöte 4 (wood)
Principal 2 (metal)
Quinte 1-1/3 (metal)
Sesquialtera II (metal, from middle c)
The keyboard is transposable to two pitch levels: A-440 and A-415. A-440 is the standard pitch at which most music today is performed. A-415 is used primarily with period instruments in early music.
SAINTS
The community of Saint Clement worships among a cloud of witnesses – surrounded by more than one hundred saints whose portraits, mosaics, and statues grace the church.
The saints are usually depicted against a gold background, evoking their place in heavenly glory. Often the image includes an identifiable attribute, an object that represents a particular aspect or unique quality of the person.
WOMEN SAINTS IN MOSAICS
Images of eight women saints appear in mosaics with a golden background on the piers that uphold the dome.
Agnes: Martyred by the sword in Rome. She holds a lamb.
Clare: Saved her community from a rampaging army by holding up the Blessed Sacrament.
Teresa of Jesus (of Avila): Reformer, doctor of the church. She holds a pen and a book with a dove in the background which represents the Holy Spirit, inspiring her writing.
Rose of Lima: Dominican tertiary, fist Saint of the Americas. She holds the Christ Child.
Catherine of Siena: Religious, doctor of the church. A visionary, she holds lilies and a cross.
Barbara: Third century virgin and martyr. She is the patron of architects.
Mary Magdalene: Apostles to the Apostles. She holds the crown of thorns and a vessel of oil.
Elizabeth of Hungary: A princess, married, mother and widow. She holds a sheaf of roses.
SAINTS IN SOFFITS
Portraits of thirty-eight saints, named in Latin, are painted on the undersides or soffits of the arches. These saints are grouped according to the categories the church uses for saints. The Latin name of the category is found in the center medallion followed by the refrain ora pro nobis, pray for us, as in the Litany of the Saints.
DOCTORS OF THE CHURCH
Doctors of the church are women and men distinguished by their wisdom, sanctity, and theological learning, captured in their writings. The doctors are depicted in the soffit of the main arch, above the steps to the baptistery.
The center medallion contains the prayer Omnes sancti doctores, orate pro nobis: All you holy doctors, pray for us.
Gregory of Nazianzus: Fourth-century patriarch of Constantinople.
John Chrysostom: Patriarch of Constantinople, doctor of the Eastern church.
Cyprian of Carthage: Third-century bishop, martyr, and theologian.
Hilary of Poitiers: Bishop and "Doctor of the Divinity of Christ.”
Basil the Great: Fourth-century bishop of Caesarea.
Francis de Sales: Bishop and author of Introduction to the Devout Life.
John Damascene: Priest and monk who defended sacred art.
Isidore: Archbishop of Seville and author of an encyclopedia entitled Origins.
Athanasius: Bishop of Alexandria and Greek father of the church.
Damasus I: Fourth-century bishop of Rome.
MARTYRS
A martyr is a witness to Christ who has died for the faith. The martyrs are depicted in the soffit of the east arch.
The monogram in the center medallion combined with a Greek cross stands for Christ the Conqueror. The Greek letters IC XC stand for Jesus Christ and NIKA is the Greek word for victory. Encircling the medallion is the prayer Omnes sancti martyres, orate pro nobis: All you holy martyrs, pray for us.
Fortunatus: Deacon, martyred at Smyrna
Stephen: Deacon, first martyr of the church
Ignatius of Antioch: First-century bishop and author
Blase of Sebaste: Fourth-century bishop and physician
Damian: Third-century physician, twin of Cosmas
Christopher: Third-century giant whose name means “Christ-bearer”
Fabian:Third-century pope who organized Rome under seven deacons
Cosmas:Third-century physician, twin of Damian
Lawrence: Third-century archdeacon of Pope Sixtus II
George of Lydda: Fourth-century soldier executed in Palestine
CONFESSORS
Confessors did not die for the faith, but in a time of persecution suffered torture, imprisonment, or exile. In time the title was extended to monks, bishops, and teachers who witnessed to the faith through lives of perseverance. In the west arch, we find confessors.
In the center medallion is the monogram IHS, the first three letters of the name of Jesus in Greek, encircled by the prayer, Omnes sancti confessores, ora pro nobis : All you holy confessors, pray for us. Above is a small cross and below are three nails.
Nicholas: Bishop of Myra and wonderworker
Aloysius Gonzaga: Jesuit novice, patron of people with AIDS.
Louis IX of France: King and Third Order Franciscan
Anthony of Padua: Franciscan priest and doctor of the church
Charles Borromeo: Cardinal archbishop and reformer after the Council of Trent
Vincent de Paul: Priest and founder of the Vincentian Congregation and Daughters of Charity
Henry II: Holy Roman Emperor and husband
Jean Marie Baptiste Vianney: Curate of Ars and patron of parish priests
Edward the Confessor: Peace-loving king of England and husband
Martin of Tours: Bishop, evangelizer of Gaul, founder of western monasticism
VIRGINS
The title virgin is given to women saints whose lives of dedication were considered a kind of martyrdom. In the south soffit we find the saints categorized as virgins. Women saints who are categorized as doctors of the church, married women, or rulers are depicted elsewhere in the church.
The monogram for Jesus Christ, Chi Rho with Alpha and Omega, is found in the center medallion, encircled by the prayer, Omnes sanctae virgines, ora pro nobis: All you holy virgins, pray for us.
Thérèse of the Child Jesus: Doctor of the church, known as the Little Flower
Joan of Arc: Martyr, patron of France
Catherine of Alexandria: Martyr, doctor of the church
Cecilia: Martyr, patron of musicians
Philomena: Early Christian martyr
Agatha: Early Christian martyr
Gertrude of Helfta: Religious and mystic
Anastasia: Matron and martyr
SHRINES
Places of devotion call us to an awareness of the mystery all around us. Three shrines of saints, where people leave flowers, lit candles, and prayers, and the Stations of the Cross are such places in Saint Clement Church.
SHRINE OF THE BLESSED VIRGIN MARY
In the shrine in the northwest corner of the transept, Mary is depicted in stone as the Immaculate Conception, with open hands and her foot upon a serpent with an apple in its mouth. This type of image dates from the sixteenth century, and is sometimes called Our Lady of Grace.
SHRINE OF JOSEPH, HUSBAND OF MARY
In the shrine in the northeast corner of the transept, a bearded Saint Joseph, spouse of Mary, is depicted holding a lily in one hand and in his other arm, the infant Jesus holding a cross.
SHRINE OF JUDE
In the southeast corner of the transept, Jude is depicted with a flame over his head and holding a club, instrument of his martyrdom, and a medal with an image of Jesus. The apostle has been identified with both the disciple named Thaddeus and the other disciple called Jude; he is often called Jude Thaddeus. Some believe he was the author of the last epistle in the New Testament. Some traditions identify him as a brother of James the Lesser and a relative of Mary. One legend credits him with preaching in Syria and Asia Minor with Simon the Zealot. Jude is invoked by those in desperate, perhaps hopeless, situations.
STATIONS OF THE CROSS
Fourteen brass Stations of the Cross marked with Roman numerals are mounted on the columns of the side aisles. Their design echoes the small stained glass windows on the outside walls of the aisles. This devotion recalls the Way of the Cross that Christ trod on the way to his crucifixion. The stations are purposefully crafted without images, allowing for different reflections upon the Stations of the Cross.
TREE OF LIFE
The centerpiece of the Tree of Life is the glorious cross, the throne from which Christ reigns and from which springs a vast acanthus vine. The cross is rooted in the earth and reaches to the dome of heaven, represented by the semicircular bands of color above the cross.
At the top of the cross, we find the Christogram, the Greek letters Chi and Rho, the first two letters of the word Christ. Early Christians adopted this monogram as a symbol of Christianity. On the cross are twelve doves, representing the twelve apostles. Beneath the cross on the left, Mary stands with lowered eyes and hands raised in the orans position of prayer. On the right is John the apostle.
The acanthus vine is an allusion to Christ and the church, based on the words “I am the vine, you are the branches” (John 15:5). Nestlings and birds of every kind, traditional symbols of souls enjoying the happiness of heaven, find their home within the vine. The curling tendrils of the vine terminate in stylized flowers and oil lamps, baskets overflowing with food, and vessels of oil and wine, symbolizing the richness of life in Christ. The unexpected appearance of naked winged sea gods riding on dolphins and Roman Jupiters (pagan images) are signs of the universality of redemption through Christ.
The figures in black and white robes, seated at desks with open books and quills in hand, are the four doctors or theologians of the Latin church: Saints Augustine, Jerome, Gregory, and Ambrose. Beneath the Tree, men and women engage in their daily occupations and workers feed their flocks and herds. They typify the Christian faithful who spend their day-to-day lives within the shelter of the vine that is the church. Nearby are peacocks, emblems of paradise and immortality.
The streams that flow from the foliage at the base of the Tree are symbols of the rivers of the Garden of Eden, which are associated by tradition with the four Gospels, baptism, and the Holy Spirit flowing from Christ to evangelize and nurture the world. Two deer drinking from the streams allude to the soul “thirsting for God” (Psalms 42:1, 63:1).
The text beneath the Tree of Life may be translated: “We compare the church to a vine which withers when rooted in the law but flourishes when rooted in the cross of Christ.” This text also appears in San Clemente.
In the center of the frieze under the painting is the Lamb with a golden halo, symbolizing Christ, and twelve other lambs, symbolizing the apostles. This motif appears in San Clemente and other Roman churches.
WINDOWS & STAINED GLASS
High in the transepts and the nave, three rose windows and the figurative windows in the clerestory are metaphors for the light of the creative, saving, and sanctifying love of God.
WHEEL WINDOWS OF THE TRINITY
What are often referred to as "Rose Windows" are called "Wheel Windows" in Byzantine architecture. Three wheel windows pay homage to the Trinity symbolizing the relationship of each Person, Father, Son, and Holy Spirit to humanity.
At the south end of the nave, behind the main organ, the center of the window contains Hebrew letters that form the biblical name of God: YHWH or Yahweh, translated Adonai or LORD.
In the center of the west rose window is the Lamb of God, a sacrificial symbol of Christ, a motif also found on the front of the altar and in the apse.
The east window contains a traditional sign of the Holy Spirit—a dove. It is this Spirit sent from the Father and Son that extends the redeeming love of God in the church.
HISTORY OF SALVATION WINDOWS
The windows in the clerestory above the nave depict six major figures in the history of salvation.
Christian typology understands each person portrayed as a foreshadowing of Christ, depicted in the sixth window as Christ the King.
Adam: In the Garden of Eden under the creative hand of God.
Noah: Contemplating the ark, symbol of salvation.
Abraham: Holding knife and fire for the sacrifice of Isaac.
David: King and author of the Psalms.
Jeremiah: Prophet and author of Lamentations.
Christ the King: The firstborn of all creation.
THE WINDOWS OF CREATION
Six windows in the east and west transepts depict the days of creation. In each, an angel holds a glassy disk in which a stage of creation is represented.
The windows of the six days of creation match the windows of the seven sacraments in the apse. Angels are messengers of God. Here the angels display symbols of creation and the sacraments- both gifts from God. The windows are in the style of Sir Edward Burne-Jones, a Pre-Raphaelite artist.
STAINED GLASS
A total of 73 art glass windows of various styles decorate the church. In the figurative windows, individual pieces of hand-blown, well-fired, painted antique glass are set in deeply channeled leading. Traces of gold paint indicate that the lead cames were once highlighted with that color on the inside, an unusual technique.
Six small arched windows in each of the side aisles have a faceted jewel cross in the center. On the east side the background is blue, harmonizing with the symbols of the Blessed Virgin Mary in the other windows on that side; on the west side the background is red, echoing the windows with the passion symbols.
The small stained glass windows in the east aisle honor Mary with titles and symbols derived from scripture and interpreted in an allegorical manner by Bernard of Clairvaux in the Middle Ages.
In the west aisle, the windows contain traditional symbols of the passion of our Lord.
The eleven small arched windows of the ambulatory are medieval in style. They are composed of intensely-colored faceted jewels of glass set in heavy carved lead.