When my wife and I travel to visit family, I always like to look into
local museums if time allows. Recently we spent the whole month of February in the San
Francisco bay area primarily to help our youngest daughter who was expecting
her first child. Although she was two weeks late in delivering, mother and baby
boy Jacob are doing well. We were doubly fortunate since our home state of
Connecticut experienced the worst February weather in years.
We did not get to visit any of San Francisco’s noted museums but we did
attend Mass regularly at St. Joseph’s Basilica on the island of Alameda across
the bay from the city. The large colorful stained glass windows of the Church
are interesting examples of Christian iconography, as well as a kind of window
into the art history of the early twentieth century in America. The original Gothic church in Alameda, that dated back to the latter
half of the nineteenth century burned to the ground in 1919. Back then the
church primarily served Alameda’s Irish community and it would appear that they
lost little time in rebuilding. The new church was built in California Mission
style and the new windows reflected a mixture of traditional Catholic themes as
well as a hint of the liturgical reform movement that had been launched by Pope
Pius X a decade earlier.
St. Joseph's Basilica, Alameda* |
All the windows depict events from the life of Christ. This may seem
obvious but it was not always the case back in an age dominated by glass
artisans like Tiffany. It was common then to see church windows devoted to the
lives of saints or even secular subjects like prominent men and women or pretty
landscapes. The spiritual revival that followed the end of the First World War
led many architects and designers to reject nineteenth century models and reach
back to the era of the early Middle Ages for inspiration.
So on one side of St. Joseph’s Basilica the windows depict scenes from
the infancy of Christ. The first is a depiction of the betrothal of Mary and
Joseph, a scene made famous by Raphael in his Sposalizio. Next is an
Annunciation, followed by the Visitation. In the latter scene the pregnant Mary
visits her cousin Elizabeth who is also with child. In a departure from
tradition Elizabeth kneels before Mary and her Child. I had never seen a
kneeling Elizabeth before.
The actual Nativity is saved for another place and the next window depicts the Presentation of the baby Jesus to the aged Simeon in the Temple. Then, the fifth window depicts the Flight into Egypt where Joseph leads Mother and Child astride the familiar ass to safety. Joseph, the patron saint of the Basilica, is in all of these windows.
On the other side of the church five windows depict an unusual
selection of scenes from the life of Christ. In the first he presents the keys
to St. Peter while the second is the healing of the blind man. Then we see
Christ with Martha and Mary followed by another miracle, the raising from the
dead of the son of the widow. Finally, Christ meets Mary Magdalen in the garden
after the Resurrection.
This last image deserves comment since it contains some unique
features. It could easily be mistaken for a meeting between Christ and his
Mother. Their attitudes are calm and both are dressed sedately. However, Christ
holds a staff that could represent a gardening implement. Mary Magdalen
initially mistook him for a gardener. Also, the Magdalen looks up into his eyes
in a way never associated with his Mother. Although there is no trace of the
nudity or flamboyance that can be seen in Titian’s “Noli me Tangere”, the
depiction is full of emotion.
With his right hand Christ firmly grasps the Magdalen’s wrist to
prevent her touching him, but the fingers of his left hand can be seen behind
her head in a very tender gesture. I have never seen this before and it seems
to me to be more moving than anything done by even the greatest Renaissance
masters.
The Basilica of St. Joseph was built in cruciform style and there are
three windows that can be seen in the transept. As one faces the altar the
right transept contains a Nativity, the beginning of Christ’s stay on earth,
and on the left there is an Ascension, the end of his earthly sojourn. Right
above the altar is a Crucifixion with Madonna, St. John, and Mary Magdalen at
the foot of the Cross. We can imagine the pastor, architect, and window artisan
agreeing back in 1919 that the image above the altar should coincide with the
sacrifice on the altar at every Mass.
There are five other windows that deserve mention. In the transept two
windows can only be seen from the Altar. One depicts the Good Shepherd, and the
other depicts “Christ Knocking at the Door”, a popular nineteenth century
subject. In the original baptistry at the back of the church there are two
windows, one a traditional Baptism of Christ, and the other a depiction of Mary
as the Immaculate Conception. Finally, in the choir loft there is a window that
depicts Christ pointing to his Sacred Heart and appearing to St. Margaret Mary,
a French nun.
The windows of St. Joseph’s not only depict traditional scenes from the
life of Christ but they also provide insights into the spirituality of the
people who rebuilt the church in Alameda after the fire of 1919. As I said
above, the church was primarily made up of descendants of Irish immigrants who
had come to California in the previous century. The choice of windows was
probably a joint decision between the pastor, architect, and window studio. The
laity were rarely involved but all the windows do represent contemporary
devotional subjects.
Today, the Irish priests are gone and the new pastor is a dynamic young
priest from India. The associate priest is from Vietnam, and a young Deacon is
of Mexican ancestry. They reflect an extremely diverse and enthusiastic
community that has arisen from many traditions. Still, the beautiful windows
link them all together to a history that goes back to the early days of the
Church.
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* Images by Richard DeMarco, a parishioner.
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