Munich Stained GI~ and Jesuit Iconography in the Sacred Heart Church of Thmpa, Florida

Alice L.H. Co11'ea

In the late 1880s, the Vatican commissioned !he He. 10 her. The central window represents the fourth Munich-based stained glass workshop of Josef Mayer vision that occurred as she knelt before the Blessed Sacra­ (founded in 1848) to create a large window behind Bernini ·s ment exposed on the altar. At the request of Pere Claude la baroque ahar in the Basilica of St. Peter. This window was Columbicre, who was the superior of the Jesuit house which put in place in 1892 by the sons of Josef Mayer (Franz and wa$ associated with her convent, she later recorded the Josef) and so pleased Leo XIII !hat he designated the words Christ spoke to her: "Behold this heart which has so Mayer Company as a '·Pontifical Insti!Ule of Christian loved men. that it has spared itself nothing. even to An. "1 This extraordinary action was taken in recognition of exhausting and consuming itself in order to prove' its love to me workshop's growing repu1a1ion for excellence in design them ... This vision was instrumental in establishing the and for the finn ·s extensive knowledge of ecclesiology feast day in the Church for the pub I ic honoring of His Heart. which manifested ilself in the sublle iconography of !he Christ in this window does not raise His right hand in company's windows.2 the usual geslllre of greeting. annunciation, or blessing. Eight years after this honor was bestowed on the Mayer Instead, his left hand is raised. a stylistic device for making Company, the Church of St. Louis in Thmpa, Florida !he gcsl\lre towards His Heart by the right hand appear more ordered seventeen stained glass windows for !he newly­ graceful. The heart is depicted on the outside of His breast constructed Jesuit Sacred Heart Church located there (Fig­ (Figure 7) in accordance with the 1878 Congregation of ure I).' These seventeen windows are in outstanding con­ Rites that sanctioned this pose. A small cross of the Passion dition and illustrate the level of excellence anained by the is presented above it, encircled by a crown of thorns. The Mayer Company at the turn of the century. The windows are flames signify the burning pas.~ion of Christ's love and the dominated by large dramatic figures that arc enlivened by entire composition radiates with the light of the Heavenly carefully modeled drapery and forceful . The scenes Presence. The chalice, impressed with a cross. is a reminder are drawn in one-point perspective and are rendered in of Christ's sacrifice for mankind. while the sym­ dramatically rich colors. Of these seventeen windows. bolizes the meeting of heaven and earth. seven arc concerned with !he Jesuit tradition. l have chosen The two windows presenting the Annunciation and the 10 concentrate on these windows. five of which arc located are linked by the verses in the that de.~ribc in the apse of the church, while the oiher two are near the Mary's role as the mother of Christ. Christ ·s humanity end of the nave. through Mary is emphasized in Jesuit art, giving her a The five windows in the apse of the Sacred Hea.rt prominent place in art dedicated to Christ ·s earthly mis­ Church al first appear unrelated in subject. However, !he sion.• The basic pattern of the Annunciation window subjects are connected by a complex series of iconographic (Figure 3) follows the iconographic fonnula e.~tablished in relationships derived from !he central window (Figure 2) of the . The angel , who is on Mary ·s revealing Hjs Sacred Heart to St. Margaret Mary right. raises his right hand and holds a staff in his left hand . Alacoque (1647-1690). This window presents the theme of An ancient symbol of authority. the angel's staff symbolizes Christ's humanity as it manifested itself in the vision of the the impending birth of !he King of Kings . The dove , shown , an aspect that is central to Jesuit teaching. On either above, illustrates the intervention of the . Mary ·, side is presented the Annunciation to Mary and the Nativity, robe is !he traditional blue, while the open on !he events that dramatize Christ's human origin and precede His reading table symboli,.es her acquiescence to the will of divine mission on earth (Figures 3 and 4). The two windows . The vase of lilies indicates her purity. Outside the !hat ftank the Annunciation and Nativity present St. Ignatius open window is a rose bush, a flower associated with the and his followers and the Crusade of St. Louis (Figures 5 Vtrgin Mary, who is known as the "rose without thorns." and 6). These two scenes represent human efforts to This refers to an early legend mentioned by St. continue Christ's mission of on earth and are which tells how the rose grew without thorns until the Fall presented in opposition. The attempt by St. Louis to rescue of Man. pointing to the sinlessness of the . me through military means is contrasted with the Using the medieval technique of simultaneous nar­ peaceful mission of St. Ignatius Loyola, who chose lo rati ve, the nativity window (Figure 4) depicts the birth of conquer as Christ did, through teaching and his love for all the human Jesus. The who had appeared earlier to of humanity. the shepherds in the fields. carry a banner on which is The thematic concentration of Christ's humanity em­ wrinen GLORIA IN £XC£LSIS D£0. Between !he angels bodied in the symbol of the Sacred Heart as revealed to St. shines the star which will lead the Wise Men to the stable. Margaret Mary Alacoque became an object of ardent In !he lower part of the window arc three shepherds who devotion for me . She was a member of a have left !heir fields and have arrived at Bethlehem, where, Visitation Convent in , where between 1673 and 1675 according to Luke, they found Mary and and the

55 holds a staff. Mary wears a white robe covered with a blue symbolic of his personal crusade. With this motion he also mantle, and her halo is elaborated with stars. Looking out blesses the ground in front of him, as the knights in the on this tableau from inside the stable are the ox and ass, foreground gesture downward. St. Louis and his knights adjuncts not mentioned in the accounts, but which sought to regain Egypt for Christianity, and the gray cloaked are referred 10 in I :3 and in ~ragine 's Golden cleric kneeling in prayer beneath St. Louis' raised right hand Legend. a thirteenth century compilation of medieval reinforces the commitment. The palm tree behind the legends.' canopy may recall Christ 's triumphal entry into Jerusalem, The end window at the nonh side of the apse portrays while the ship in the upper right can be read symbolically St. Ignatius Loyola (1491- 1556) and his six followers in a and historically. It brought the Crusaders from France 10 chapel of St. Denis in Montmanre, an event that took place Egypt. and it is also a symbol of the Christian Church. on August 15, 1534 (Figure 5). They arc pronouncing their The iconography of Chris1·s humanity is continued in vows of chastity and poverty, and they arc indicating their the stained glass windows throughout the church. On the desire to make a pilgrimage 10 the Holy Land. an event south side of the nave is a window that is a direct link 10 the which was the effective beginning of the Society of Jesus, missionary purpose of the Society of Jesus. It depicts an which devotes itself "to promotion, in obedience to the event in the missionary effon of St. Patrick in Ireland Pope, the greater of God and the salvation of mankind (Figure 8). The Saint ·s rich ecclesiastical vestments refer 10 throughout the world. "6 his consecration as bishop in the year 432, after which he This window is a simple narrative. Loyola reads the was sent to Ireland to replace Palladius. vows before his six companions. Peter Faber, the only one An important encounter in Patrick's mission was his of the seven who was a priest at the time, holds the paten meeting with High-King Laoghairc at Tora in Meath, just and Host, signifying the sacramental nature of the occasion, north of Dublin. On his way to Tora, St. Patrick spent All but Faber wear subdued gray and blue university gowns. several days at the house of the chieftain, Seclrnan, in The lighted candle on the altar is a symbol of the light of Meath. Many members of the household were convened fai th and of Christ's words in the Gospel of John: "I am the and his son, Benen, became especially eager to join St. light of the world." As it does in the central window, the Patrick in his travels. This was the beginning of a long and open Bible symbolizes total acquiescence 10 the word of very close relationship, and Bcnen, because of his lovely God. voice, became known as "Patrick ·s Psalmodist. " St. Benen Additional iconography in this window recalls the holds the Celtic cross which was said to have been taken Virgin Mary. The blue flowers remind the viewer of the from what is now Ireland 10 the island of Iona in the sixth Virgin as docs the Rosary lying across the open book. The century. 7 St. Benen 's tonsured head indicates that he be­ Rosary is a form of devotion 10 the Virgin, consisting of a came a member of a monastic order of the secular clergy series of meditations and prayers centering about events in (Figure 9). her life and the life of Christ. This again points to the In this window, St. Patrick has reached Tora (indicated humanity of Jesus and the Virgin's role as the vessel for that by the buildings), the principal seat of the High-King and humanity. the Druids (Figure 8). Accompanied by St. Benen. St. In opposition to the St. Ignatius window is the one on Patrick is preaching to the High-King, his Queen, and the south sjde of the apse, which depicts St. Louis IX retainers (Figure 10). The converted Queen ga7_e_~ into the (12 14-1270) and his knights on crusade (Figure 6). This distance, her thoughts on the spiritual realm. On her finger window has local significance. since the church was ini­ she wears a wedding band, symbol of Christian marriage. tially dedicated to St. Louis, but it also has Jesuit connec­ The unconverted King and two of his retainers listen tions. While convalescing from a wound suffered during a intently to St. Patrick, while the elderly Druid in the battle in Spain in the early sixteenth century, Ignatius read a background leans on his harp in an attitude of defeat. The book on the lives of the . St. Louis and his crusade Druid can be identified by the harp and the oak leaves in the were an inspiration to the young knight, and he, too, desired band around his head. The oak was a symbol of Druidic to become a crusader for God. Although the two men shared presence in Ireland and the tree that dominates the upper a desire to re-establish Christianity in the Holy Land, St. right section of the window is a massive oak. The Christians Ignatius' means contrasted sharply with those of St. Louis. changed its meaning to one of strength of faith and vinue Rather than embark on a military crusade, St. Ignatius and the endurance of the Christians against adversity. As a intended to gain souls through love and Christian actions. result of this meeting, Christian teaching met with increased In contrast 10 the quiet simplicity of the window toleration. depicting St. Ignatius and his six companions, the St. Louis A camp fi re at the feet of the High-King is, in addition window is exotic, dramatic, and rich in iconography. Set to being a poetic reminder of the encounter in the wilder­ apan by a halo, St. Louis wears a crown and a vivid blue ness, also a symbol of the religious fervor with which St. robe patterned with the gold fleur-de-lis, the of Patrick preached 10 his listeners. Fabric in the canopy French royalty. The fleur-tie-lis was chosen by King Clovis overhanging the King and his Queen is also significant. This in the late fifth century as an emblem of his purification is not the traditional brocade used in the other windows, but through baptism, and became the symbol for the kings of a woven stripe, Celtic in origin. The narcissus in the dark France. lower left corner represents selfishness and self-love, cold­ St. Louis is surrounded by crusading knights clad in ness and indifference, qualities in opposition to St. Patrick's chain mail, wearing helmets, and carrying medieval weap­ preaching of divine love, sacrifice, and eternal life. Accord­ onry. Although most of the knights were French, the few ing to a late medieval legend, St. Patrick used the shamrock from Norway are represented by the Norse winged helmets to explain the 'llinity to the two daughters of the High• (Figure 6). St. Louis' raised right hand holds the crucifix, a King.• symbol of the church ceremony of the ··taking the cross," The last window in the south side of the nave depicts

S6 an event in the life of St. , a young Polish diousness. The open Bible symbolizes his responsiveness to nobleman bom in 1550, ten years after the founding of the the Word of God, while lhe gold light pouring in from the Jesuit Socie,1y (Figure 11). He began the study of the classics window on lhe left symbolizes the presence of Christ and in Vienna , while boarding at a Jesuit establishmem. After lhe sacredness of lhe event. its doors were closed by bankruptcy, he lodged at a The iconography of these seven windows in Sacred Lutheran house. He had wished to join the Society of Jesus Hean Church teaches Roman Catholic onhodoxy and places from an early age. but had met with unyielding re-sistancc Jesuit and teaching within !hat tradition. The events from his father. In his early teens he joined the confraternity in lhe windows move from the first century to the seven­ of St. Barbara, a legendary saint of the third century.9 teenth, from the origins of Christianity to the Saints who Stanislaus became very ill while living at the Lutheran embody ind ividual response to Christ 's love for all house and asked that Holy Communion be administered to mankind. him. Tite Lutherans would not allow a priest to enter the n,e task of 1he stained glass anist was 10 create a house. The window (Figure 12) represents St. Barbara with pictorial representation of the articles of faith and legend two angels appearing to St. Stanislaus as he prayed during that are central 10 the Christian tradition. At the tum of the this illness. One angel carries, the chalice and Host; the other century, the Mayer Company was one of the leading carries the tower, the attribute of St. Barbara . The tower has workshops in lhe stained glass industry and these windows three windows which symbolize the Holy . The are evidence of their skill. 10 The dramatic ponrayal of the angel's hands are covered with drapery, an indication that Christian message in the brilliant medium of 1he Mayer she was holding an object of reverence. The lily (Figure II) stained glass has a powerful effect on the individual is an emblem of St. Stanislaus' purity and chastity and worshipper and does much to enhance the beauty of the books in the lower right are an indication of his stu- Jesuit Church of the Sacred Hean.

University of South Florida

I Letter recci\'ed from Nicholas \\~ner. 27 February 1984. Nicholas 6 .. Supplement 10 the l)i\'ine Office fOJ the Society of Jesus ... p. 40. Wagner was the di.rector of the New York branch of Mayer and Company prior lO \\brld \\~ 11. His letter provided valuable infonna­ 7 Gertrude Grace Sill. A /Jmrdbo(,k of Symbols i,, Christian An (New tion on 1hc professional rclnlionship between Ma)'er and Company and York: Macmillan Publishing Co., Inc .. 1975). p. 32. the PaJXKY :u the lime the window, were commi.ssioncd. 8 H, Thurston a.od Donald Anwater, eds. . 8utltr·s 1.,frt!S of ,Ir~ S()ims 2 Lener l\."'(Ci\'ed from Nicholas Wngner, 27 February 1984. (New YO

3 Mary Floyd. Socml Hron Cl111rt:lt (South Hackensack: Custombook. 9 S1. Barbara's rela1ionship with her fa1hcr !)(ruck a sympathetic response Inc .. 1979), p. 15. in Stanislaus. Barbara was a beautiful young pagan whose falher built a tower in which 10 keep her so that no man would marry he.r. During a 4 -supplemcn1 to the Oi\'ine Office for the Soc-iety of Jesus·· (London: prolonged absence of her father. she was 1u1ored imd convened 10 English Province for lhe Soe:iety of Jes.us. 1974), pp. 13- 14. Christianity. On his return. her father was cnragc..-d to find his daughter a Christian and killed her. /\ charac1eristic of S1. Barbara was that she 5 Jacobus de \brag.inc. The Goldt11 Ugt11d. Ttans. Gmngcr Ryan and never al1owcd her clients to die without the Holy VialiC\lm. Hehnu1 Ripperger (New York: Longmans, Green and Co .. 1941), p . .50. 10 Lener rccci\'cd from Nicholas W.-..gncr. 27 Febf\lM)' 1984.

Bibliography

Correa, Rene. Telephone interview in Munich, W. Ger­ Labarge, Margaret \¼de. Saint Louis. Boston: Little, many. II April 1984. Brown and Company, 1968. Coulson, John, ed. The Saims. New York: Guild Pre-ss, Sill, Gertrude Grace. A Hantl/Jook of Sym/Jols in Christian 1957. Art. New York: Macmillan Publishing Co., Inc., 1975. Floyd, Mary. Sacred Hetm Ch11rch. So. Hackensack: "Supplement to the Divine Office for the Society of Jesus. " Custombook, Inc., 1979. London: English Province for 1he Society of Jesus, 1974. Hollis, Christopher. The Jes11its-.4 History. New York: The Thurston, H. and Donald Attwater, eds. Bwler's lfres of Macmillan Company, 1968. the St1i111s. \bis. I, IV. New York: P.J. Kennedy & Sons, Jo«lan, William Chester. Louis IX anti the Challenge ofth e 1956. Cr11satle. Princeton: Princeton University Press, 1979. \bragine, Jacobus de. The Golden legend. Trans. Granger Male, Emile. The Gothic illwge. 'frans. Dora Nussey. New Ryan and Helmut Ripperger. New York: Longmans, York: Harper & Row, 1958. Green and Co., 1941. Morris. J.U. "Iconography of the Sacred Heart." New Wagner, Nicholas. Letter 10 author. 27 February 1984. Catholic Encyclopedia. ~I. XU . New York: McGraw­ Hill Book Company, 1967.

57 Figure I, Sacred Heart Church, Tampa, Florida. Figure 2, Revelation of the Sacred Heart.

Figure 4, Na1ivi1y.

Figure 3 1 Annunciatjon .

Figure 5. St. Ignatius and Companions. Figure 6, St. Louis and His Knighls. Figure 7, Delail, Revelation of the Sacred Hean. Figur, 8. St. Patrick Preaching al Tora.

Figure 10, Detail, Sc. Patrick window.

Figure 12, Detail, SI. Barbara and Angels from Sc. S1anislaus window. Barbara Giving Holy Communion 10 St. •All photographs of Sacred Hean CMrch, Tampa, Florida are by Jan Robison (USF).

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