Parishioners
of Notre Dame raised $40,000 ($545,000 in 2014) to commission the altar. The altar, pulpit and balustrade (altar rail)
in white Carrara marble, which took over two years to complete, are the work of
noted French sculptor and designer, Edmond Becker. Becker was a prolific engraver of medallic
jewelry and bronze commemorative plaques.
He also produced various carved objects for Boucheron. Becker’s exhibitions at the Société des
Artistes Français won him a Second Class Medal in 1902 and a First Class Medal
in 1911.
the Birth of Jesus
and Mary’s Coronation in Heaven.
Prior to alterations that were done in 1988, the vertical direction bas-reliefs were dedicated to the life of Christ; the front panel of the altar depicting the birth of Jesus (photo above, the face of Christ on the tabernacle door,
and His death on the Cross.
Two
statues in bronze; one of Mary,
the other of St. John the Evangelist,
stand on either side of the large central crucifix (pictured above). The arm extremities of the crucifix and aureole (the traditional head setting of the figure) are in stained glass, which is illuminated by rear electric lights. Similar stained glass aureoles ornament the heads of the two flanking statues. In designing the stained glass, Mr. Becker was striving for the effect of a particular retrospective style of enamel ornamented religious jewelry.
the other of St. John the Evangelist,
stand on either side of the large central crucifix (pictured above). The arm extremities of the crucifix and aureole (the traditional head setting of the figure) are in stained glass, which is illuminated by rear electric lights. Similar stained glass aureoles ornament the heads of the two flanking statues. In designing the stained glass, Mr. Becker was striving for the effect of a particular retrospective style of enamel ornamented religious jewelry.
Two
symbols of the Passion of Christ appear on the reredos; the Crown of Thorns and three nails,
and on the other side, the Veil of Veronica.
Immediately below the crucifix is a lamb,
symbolizing Jesus Christ as the sacrificial Lamb of God (John 1:29).
and on the other side, the Veil of Veronica.
Immediately below the crucifix is a lamb,
symbolizing Jesus Christ as the sacrificial Lamb of God (John 1:29).
On
the four points of the crucifix are bas-reliefs of the symbols for the four Evangelists (not pictured); the face of a man
(Matthew), lion (Mark), ox (Luke) and eagle (John).
Trailing
flowers and wreaths in gilt bronze decorate the various plane surfaces of the
altar, together with ears of corn, spikes of wheat and thorns. Stalks of wheat and clusters of grapes,
representing the sacramental bread and wine, adorn the antependium of the main
altar. The monogram of Notre Dame (ND)
is also engraved in gilt bronze on the sides of the statue pedestals.
The
bronze bas-reliefs on the pulpit depict the four Evangelists of the Gospels; Matthew,
Mark, Luke
and John.
On the pulpit railings, floral and garland embellishments are woven with the instruments of the Passion of Christ.
In
1988, renovations to the altar were made in order to comply with liturgical
changes mandated by the Second Vatican Council of 1964. The altar table was cut from the reredos
(back panel) and moved forward several feet, enabling the priest to face the
parishioners while celebrating Mass. In
addition, the altar was shortened by moving two panels that originally faced forward,
flanking the Nativity panel. The left flanking panel depicts a shepherd
The ornate bronze and wrought iron gate that closed the opening of the altar rail was also removed. This was done in order to allow communicants to line up single file rather than kneeling at the rail, and to allow clergy and lay servers easier movement between the sanctuary and main church during the Mass.
The
parish was divided over the decision to alter the altar, and a group of parishioners sued under
Canon Law to stop the process. Despite
protests, the alterations, performed by D’Ambrosio Ecclesiastical Art Studios
of Mt. Kisco, proceeded as planned. In
the process, the Trinitarian symbolism intended by the artist in carving the
altar, pulpit and rail from three whole pieces of marble was destroyed.
Images of the altar before deconstruction:
Altar on display in France (from Church of Notre Dame: 75th Anniversary : 1910-1985 : Morningside Heights, New York City, Park Publishing,1984.)
Altar in the church pre-Vatican II (from Church of Notre Dame: 75th Anniversary : 1910-1985 : Morningside Heights, New York City, Park Publishing, 1984.)
Postcards ca. 1930s showing the original altar
Sources
Articles
New York Herald (Paris - by cable). "Marble Altar For French Church in New York to be Shown Here," January 22, 1927.
New York Herald (Paris). Georges Bal, "New York Church Altar by Becker Inaugurated Here," January 26, 1927.
New York Herald (Paris). Georges Bal, "New York Church Altar by Becker Inaugurated Here," January 26, 1927.
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