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Art Book Final Saint Steven’s Serbian Orthodox Cathedral SAINT STEVEN’S CATHEDRAL IS A PARISH OF THE WESTERN AMERICAN DIOCESE OF THE SERBIAN ORTHODOX CHURCH IN NORTH AND SOUTH AMERICA. THE CATHEDRAL WAS CONSECRATED ON OCTOBER 5, 1952. Saint Steven’s Serbian Orthodox Cathedral, 1621 W. Garvey Avenue, Alhambra, California Front Cover: The interior nave of the Cathedral Back Cover: The main external facade “This place of ours also has its own heaven. It is this holy church. For every holy church is also a piece of heaven on earth. And whenever you are in a church, behold, you are already in heaven! And what is a church for? It is for the sake of prayer to God, for serving God in justice and in the light of truth. In the Church of Christ, we entrust ourselves to God through prayer and He teaches us His eternal Justice, His eternal Divine Truth, His eternal Goodness. And this comes about because, through prayer, a man grows more and more in every Divine goodness, in every Divine truth and justice, and in every spiritual joy. And this joy of his, this blessing, no one can take away from him either in this world or in the other.” Our holy Father Saint Justin (Popovich), from “Velka Gospojina, 1963,” “Na Bogocovecanskom Putu” Above Left: Door panel in the vestibule Above: Center dome of Christ Pantocrator (Almighty) surrounded by the Apostles The words of the holy Father and the foundation for the church Justin—theologian, teacher, pas- was consecrated. In September tor true servant of our Lord, 1951, work resumed on the describe the mission of the building of the church which was Church—an identity which Saint completed a year later. On Steven’s Cathedral has strived to October 5, 1952, the new church maintain and preserve in every was dedicated to the Glory of way. This book is dedicated to God. Because of its beauty and the Glory of God, in honor of religious significance, the church those who through the mission, was proclaimed the Cathedral of liturgical life, art and architecture the Pacific. of Saint Steven’s Cathedral have grown in every Divine goodness, Saint Steven's Cathedral houses Divine truth, and spiritual joy, for many items of religious and the salvation of their souls. artistic importance. It is an original composition of 12th and Saint Steven's Cathedral is one of 13th century motifs of Byzantine the largest Orthodox churches in Los Angeles County and the and Romanesque architecture. United States. It includes These motifs were taken from characteristic elements from the several medieval churches and Middle Ages, and it stands as a monasteries throughout the fine representation of Byzantine Serbian lands among: Studenica architecture typical of Serbian (1183-1191), the King's Church on Orthodox churches in Byzantium. Oplenac, Sopochani (1265), Milesevo Surrounded by trees and flowers (1234), and Dechani (1335). and touched by a timeless serenity, it remains fixed in resplendent grace and beauty on a knoll in southern California. The parish was organized on May 14, 1946 and plans for constructing a new church began. In 1948, five acres of choice prop- erty were purchased. On October 9, 1949, the corner- stone for the new church was laid "Emmanuel-God With Us" The church is oriented towards the East, according to the Apostolic canon: "The house of the Lord should be oriented towards the sunrise, with annexes on both sides corresponding to the nave" (1, II, 57). The church is entered from the West and the faithful stand- ing in prayer face the East, the altar, the symbol of heaven, spiritual light and Christ—the Sun of Righteousness— who shall appear as lightning from the East at His second coming (Matthew 24;27). This style of architecture is also characterized by the attempt to reveal the fundamental experi- ence of Orthodox Christianity which is that Christ has come, that God is with us—Emmanuel. It is this fact which determined the form of the church building. God is with man in Christ through the Holy Spirit. In the New Testament, Saint Paul writes, "We are the temple of the living God..." and it is precisely this conviction and experience that Orthodox Church architecture conveys. Left: Medallion from the bronze doors of the cathedral Gazing at the unpretentious bronze doors of the entrance, upward to this massive structure of solid concrete, sober in line, somber in color, and finally to the great double gold domes with their sterling silver crosses glistening against the bright blue sky, the impression of Saint Steven's is one of strength and simplicity. One must open the doors and walk inside to discover its wonder and mystery. The contrast is almost overwhelming. Suddenly one is enveloped in a glory of artistic achievement. Every wall and vault is covered with paintings. From every vantage point there is a prospect of the artistry of religious compositions. They are not confined to the vertical surfaces; they continue and enrich the curved surfaces, the rounded vaults, the pendentives and the central dome. There is an irresistible awareness that 'God is with us.' Here there is a sense of oneness with all the saints, with martyrs and angels, all the Cherubim and Seraphim; indeed the whole community of heaven. In the Orthodox Church, the icons bear witness to this reality of God's presence with us in the mystery of faith. The Redeemer is inseparable from the redeemed. Right Insert: Icon of St. Steven, Byzantine style, c. 1996. Far Right Insert: Fresco in the choir loft. The church building is divided into three main parts the sanctuary, nave and vestibule. On the walls throughout are displayed images of the principle events of salvation history. All the events that eventually led to the salvation of mankind are depicted in one form or another throughout the church. This is a constant reminder to us that our salvation begins here on earth by our participation in the Body of Christ. The theology of the interior gathering place of the faithful is that of Christ sur- rounded by His Church in this world. Three artists gave of their talent and devotion to create this glorious communion of God and man. The iconostasis (altar screen) in the cathedral represents one of the great treasures of Serbian Church art, magnifi- cently painted by Paja Jovanovic, one of the most celebrated of modern Serbian artists. Born in Vrsac, Banat, Yugoslavia in 1859, he received his first education in art in his home town. As a young student Jovanovic went to Vienna, where he was graduated with honors from the Vienna Academy of Fine Arts. Acclaimed as one of the best illustrators of Serbian history and folkways, he was elected a member of the Royal Serbian Academy of Sciences in 1888. His works won prizes and recognition in many countries, especially at the art exhibits in Vienna in 1893 and in Berlin in 1900. In Serbian art circles, Jovanovic represents an entire school of thought and expression. On May 5, 1949 the first painting arrived from Vienna, it was his "The Last Supper," seen here over the Royal Doors of the altar. According to the artist, this painting was created to portray the New Testament description of the Supper as found in Matthew 26: 26-28; and Luke 22: 14-19. By the end of June, 1950 the last of the remain- ing eight paintings arrived. These included (from left to right) Saint Steven, (Simon), the First Crowned Serbian King, Archdeacon Stephen, The Most Holy Birth-Giver of God, the Archangel Gabriel, The Virgin Mary, Our Lord and Saviour, The Archangel Michael, and Saint John the Baptist. Royal Doors The arches on the southern and northern walls of the outer aisles contain the works of another famous artist, Marko Ivancevic. Here are depicted the four miracles of Christ: the changing of water into wine at the Wedding in Cana of Galilee (John 2:1-11), seen below, Christ walking on water (Matthew 14:22-33, Mark 6:45-53 and John 6:15-21), the healing of the Gadarene demonic (Matthew 8:28-34, Mark 5:1-20 and Luke 8:26-39) and the healing of the Apostle Peter's mother-in-law (Matthew 8: 14-17, Mark 1:29- 34, and Luke 4:38-41), and four parables of Our Lord: the Prodigal Son (Luke 15:11-32), the rich man and Lazarus (Luke 16: 1-31), the good Samaritan (Luke 10:25-37), and the Publican and Pharisee (Luke 18:10-14). The major contribution to the interior concept has been made by Jose Rodrigo de Soto. Through his artistic expression the cathedral has achieved the full measure of spiritual wholeness in its design. Born in Lugo, Spain, this revered artist devoted more than half a century to religious art. His hands had the talent and training of years of study at the Royal Academy in Madrid, in Paris, and at the Spanish Conservatory in Rome. The mastery of his work can be found in Italy, Spain, Canada, and throughout the United States. The Sanctuary the reliquaries which house the holy relics of Saint Steven (Simon, The sanctuary is the place of the the monk) and his mother, Saint altar, the mystical center of the Anastasia, side by side as are church. It represents and reveals their relics in the Church of the the Throne of God to which Christ Holy Virgin at the Studenica has raised us in His Glorious Monastery in Serbia. Ascension and before which we stand with Him in eternal The Mother of God, "The Image adoration; the Table of the Divine of the Church" Banquet, to which Christ has called us and at which He Seen over the altar in the sanctuary eternally distributes the food of this fresco is called “The Image of immortality and eternal life; and the Church," since Mary is herself the altar of His Sacrifice for us, of the prototype of the entire His total oblation to God and to assembly of believers in whom us.
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