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Saint John Neumann Catholic Church

2008

635 Saint John CourtKnoxville, Tennessee

Reverend John R. Dowling, Pastor

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St. John Neumann Catholic Church

As you approach Saint John Neumann Catholic Church your eyes are drawn to the cross on thebell tower rising over 100 feet above the base of the tower. At the apex in the keystone is apomegranate, strategically placed directly above a statue of our patron saint. The pomegranatesymbolizes the Resurrection, and together with the cross and statue, remind us of Saint JohnNeumann’s motto, “Passion of Christ Strengthen Me.” By now the Texas limestone and terracotta tile have caught your attention. The stone conveys the strength and historical significance ofthe Catholic Church. The dome is intended to remind us of the unity and complementarity thatexists between the Latin and Eastern Rites of the Catholic Church. This architectural featuresignifies the fact that “the Church must breathe with her two lungs” (Ut Unum Sint; Article 54;Par. 2; Encyclical Pope John Paul II). This Byzantine feature reveals the intense desire that theunity that exists between the Catholic Church and the particular Churches of the East be broughtto perfection.

Walking a bit closer you begin to see three reliefs above the front doors. The central scenedepicts Jesus in a teaching position, revealing that He came to bring us abundant life. Theartwork over the left doors beckons us to assist the young in experiencing the Kingdom of Godnow revealed in the Person of Jesus. Over the right doors the heavy-laden, with physical orspiritual burdens, are invited to enter Jesus’ rest. Four square scenes, which bracket the frontrose window, reveal the Incarnational theme which permeates the art and architecture inside andout. The lower left relief reminds us that the Word became Flesh in Mary. Directly above is adepiction of a pelican feeding its chicks by the piercing of its breast. This is a traditional symbolfor the Eucharist and reveals another way that the Word takes Flesh in history. Directly across, athree-foot square encompasses a dove with thirteen flames reminding us of the Pentecost eventwhere the Church was born and is another manifestation of the Word taking Flesh in history.Coming full circle we see the angel revealing to John the heavenly Jerusalem, which symbolizesChrist’s bride, the Church, clothed in the glorified garments of the resurrection. The reason forthe Incarnation is fully realized.

The Saint John Neumann rose window over the main doors illustrates how the power of the Crossis the medium through which the life of the Risen One unfolds throughout history. At the verycore of the window is the Cross with the “I Am” banner draped across its arm. The eagle,preparing to take flight with a lily in its beak, symbolizes the beloved disciple at the foot of theCross taking the mother of Jesus to his home. The flight of the eagle with the lily is also areminder that the Church, as the New Israel, will be protected throughout her earthly pilgrimageas prefigured in Exodus 19:4 and prophesized in Revelation 12:14. The fire upon the eagle’s wingsymbolizes the power of the Holy Spirit, which is the supernatural fuel necessary to ignite theChurch’s mission and carry its message to the ends of the earth, and until the end of time. Thegood news of God’s love for the world is manifested by the power of the Cross and is transmittedby hearts filled with that same love.

The twelve symbols radiating from the center illustrate the twelve fruits of the Spirit revealed inSacred Scripture and Sacred Tradition: Love, Joy, Peace, Patience, Kindness, Goodness,Generosity, Gentleness, Faithfulness, Modesty, Self-Control, and Chastity.

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This is the “fruit” of the tree of life, which the new Adam gives to His bride the Church, the newEve. Looking clockwise, the outer limits of the window reveal in chronological order the life ofSaint John Neumann (1811-1860) and his work in America.

· Resolved to serve as a missionary, young John Neumann left his homeland and set sail forAmerica in 1836.

· The new priest, Father Neumann, was flooded with joy as he was ordained on June 25 ofth

that same year. · In 1842, he was the first priest in America to be professed in the Redemptorist Order. · John Neumann was consecrated fourth bishop of Philadelphia in 1852. · Bishop Neumann introduced Forty Hours Devotion of the Eucharist in America. · He mastered numerous languages, and even learned Gaelic in order to hear the

confessions of Irish immigrants. · Among churches built to meet the needs of immigrants, he created the first Italian parish in

America. · The Catholic school system was born through Neumann’s efforts. · During his eight years as a bishop he built eighty new churches and forty new schools. · Neumann himself founded a religious order and brought seven new orders to Philadelphia

for the purpose of teaching.· The saintly bishop lived his motto: Passion of Christ Strengthen Me. He was canonized

June 19, 1977. · St. John Neumann Catholic Church in Knoxville: A visible heritage of the saint’s life

which was totally offered in love for the glory of God, Who offers abundant eternal life forall.

It reveals in beautiful glass how this Bohemian-born saint came to our shores, and moved by thestrength from Christ’s Passion, preached the word, taught the faith, celebrated the sacraments,welcomed immigrants, and shepherded his flock. He did all of this while establishing Catholicchurches and schools and welcoming and supporting religious orders.

Upon entering the narthex (area between front doors and nave) you are greeted by two statues,one of Moses and one of Jesus. The inscriptions under both statues are meant to highlight theconnection between the Old and the New Testament and also between God’s law and His grace.The arches on either side, and between the statues, reflect the Romanesque architecture, whichemerged from the end of the first millennium and characterizes this present day church.

(From this point onward it will be helpful for you to have a Bible)

The short central pathway, which leads one from the narthex to the nave of the church, is meantto accentuate the experience of entering the church proper. Angelic statues allow one easy accessto the holy water that reminds us of our baptismal bath and entrance into the Church. A morepoignant reminder of our initiation into the Church is the baptismal font itself with eightdecorative symbols representing the effects of the Holy Spirit received at our Baptism. Twoquotations from St. Irenaeus are found at the base of the baptismal font. The first quotationindicates how the effect of the life of grace given at Baptism reflects God’s glory. The otherquotation indicates the destiny of human existence, which is impossible to attain without the lifeof God’s grace. This grace normally begins through the sacrament of Baptism.

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Geometric patterns of marble lead one toward the altar. As you walk you are flanked by theStations of the Cross, stained glass, marble columns, and scripturally based sculpted capitals.

The Stations of the Cross are made of beautiful mosaic tile. Fourteen individual stations providean opportunity for one to reflect on Jesus’ Sacred Passion, beginning with His encounter withPilate. This tradition began as a result of the tension that existed between Christians and Muslimsduring the Crusades when it was no longer possible for Christians to make a pilgrimage to theHoly Land to follow in the actual footsteps of Jesus. Since that time, Catholics throughout theworld have displayed these fourteen stations throughout their churches in order to show that eachChristian is to pick up and unite his/her cross to the unique Cross of Christ and to prayerfullymeditate upon His Passion and Death.

The stained glass windows help illustrate the need for the Divine light to penetrate the life of theChurch. This light reflects the beauty and goodness of Christ and His Body, the Church. Thetwenty upper windows (clerestory) depict the life of Jesus in the Mysteries of the Rosary. The tenlower windows are designed to present the plan of God for mankind, beginning with our beingchosen in the spotless blood of the Lamb before the world began, and culminating in the rewardand worship of heavenly life.

Going clockwise, the first and last windows depict the origin and goal of human existence.Looking from top to bottom, the first window shows that we are ransomed in the precious bloodof Christ like that of a Lamb without blemish (cf 1 Peter 1:18-19). This Lamb of God wasdestined before the world began, but has been made manifest now for our sake (cf 1 Peter 1:20).It further reveals that Mary, the mother of Jesus, will have a significant role in Christ’s victoryover sin, suffering, Satan, and death. The main section of that same window illustrates in foursuccessive panels the four transcendentals of goodness, truth, unity, and beauty, which profoundlyattract every rational human being, and are the necessary conditions that enable God’s revelationto be freely accepted. These natural dispositions are reflected in scenes from the first twochapters of Genesis and provide the framework for God’s revelation in Sacred Scripture andSacred Tradition as represented in the lower sections of the window.

The lower left and central sections of the next window present the Passover theme in both Oldand New Testament forms. The bottom right reveals the necessary response in faith to the salvificoffer of deliverance that comes about through God’s Lamb who takes away the sin of the world.The upper section reveals the culmination of the sacrificial theme by depicting the Lamb onceslain coming with the clouds and all who pierced him seeing him and wailing on account of him(cf Revelation 1:7). These first two windows signify the first pillar of the Catechism of theCatholic Church with all the necessary ingredients expressed in beautiful glass and images. Thispillar highlights the revelation of God’s love through creation and the necessary response in faithto the fullness of God’s revelation found in Christ.

The main and bottom right sections of the second window artistically reflect what Pope BenedictXVI states: “By contemplating the pierced side of Christ (cf John 19:37), we can understand“God is Love” (1 John 4:8). It is there that this truth can be contemplated. It is from there thatour definition of love must begin. In this contemplation the Christian discovers the path alongwhich his life and love must move.” (Deus caritas est., article 12, December 25, 2005)

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The following seven windows depict the seven sacraments. The institution of each sacrament isdisplayed in the central portion of each window with the bottom left area depicting a scene fromthe Old Testament, which prefigures the institution of this sacrament. The lower right windowexpresses the living out of that same sacrament as presented in the New Testament. The upperportion of each of the seven windows illustrates the orientation and culmination of each sacramentas revealed in the book of Revelation.

(As mentioned earlier, a copy of the Sacred Scripture will be helpful in following the movementand purpose of the various scenes, which are meant to correspond to the second pillar of theCatechism of the Catholic Church, which highlights the sacramental life of the church)

The design of the tenth and final window parallels the design of the first window and is intendedto communicate the third and fourth pillars of the Catechism of the Catholic Church in the leftand right sections respectively. In an attempt to show the significance and work of the Trinity inthe moral life and in the life of prayer the movement from bottom to top reveals the work of theFather, Son, and Holy Spirit in the life of the Church and in each Christian. The upper left sectionsymbolizes the heavenly reward given to those who fulfill the moral law, and on the right, incenseand a harp illustrate the life of unending worship and praise that will be given to God by all whohave persevered in prayer.

The following information will be helpful in relating the stained glass panels, located in the nave,to the appropriate Scriptural passages they represent. The first and tenth windows, which comefrom Willet Hauser Studios in Philadelphia, are divided into seven panels. The number oneindicates the top of each panel. The numbers two, three, and four from top to bottom indicate theleft side of each window. The numbers five, six, and seven from top to bottom indicate the rightside of each window.

1st Window: 1 1 Peter 1:18-20 10th Window: 1 Revelation 22:1

2 Genesis 1:31 2 Acts 1:8

3 Genesis 2:23-24 3 Matthew 25:40

4 2 Timothy 3:16-17 4 Luke 10:25;27

5 Genesis 2:16-17 5 Romans 8:27

6 Genesis 2:25 6 John 15:16

7 2 Thessalonians 2:15 7 Luke 11:1-4

The following information will be helpful in relating the stained glass panels, located in the nave,to the appropriate Scriptural passages they represent. The second through ninth windows, whichcome from Conrad Schmitt Studios in New Berlin, Wisconsin, are divided into four panels.

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LL = Lower Left Panel

C = Central Panel

LR = Lower Right Panel

U = Upper Panel

2nd Window: LL Exodus 12:13 3rd Window: LL Exodus 14:22

C John 19:9 C Mark 1:9-10

LR John 20:27 LR Acts 2:41

U Revelation 1:7 U Revelation 22:14

4th Window: LL Exodus 34:27-33 5th Window: LL Exodus 16:15

C Acts 2:1-4 C Matthew 26:26-29

LR Acts 8:14-17 LR Luke 24:30-32

U Revelation 22:7 U Revelation 2:17

6th Window: LL Leviticus 13:1-8 7th Window: LL Sirach 38:1-15

C Matthew 9:6-8 C Mark 6:12-13

LR John 20:22-23 LR James 5:14-16

U Revelation 21:27 U Revelation 22:2

8th Window: LL Genesis 14:18 9th Window: LL Genesis 2:21-24

C John 13:1-9 C John 2:1-11

LR 1 Timothy 4:14 LR John 19:26-27

U Revelation 1:12-13 U Revelation 19:9

There are twenty-four capitals throughout the church. Seven of these capitals depict scenes fromthe life of Christ, which relate to the seven sacraments. Eight additional capitals depict imagesthat symbolize either a calling from Jesus or a healing by Jesus, or both. In addition, the sculptedcapitals above each of the ten major marble columns in the nave correspond to the contentexpressed in the nearby stained glass windows. The middle section of each trio of arches abovethe capitals depicts the same reality previously expressed in the nearest stained glass and thesculpture below.

Looking high overhead your eyes carry you to the cupola eighty-five feet above the marble floor.There, a beautiful dove hovers within its open heavenly cage, signifying the mysterious descentand role of the Holy Spirit who helped realize the Incarnation. Directly beneath are the wordsfrom the first chapter of John’s Gospel which clarify the fundamental thrust of the art andarchitecture of Saint John Neumann Catholic Church: God has become one with man in theIncarnate Son of God. The two distinct, but related paintings could speak for themselves, but aresupported by two scriptural passages from Matthew’s Gospel, which complement the passagefrom Saint John’s Gospel; the Word became Flesh and dwelt among us, full of grace and truth(1:14). In relaying the truth of God’s irrevocable union with mankind in the Person of His Wordand Beloved Son, the dome sets the tone for the major theme of the Incarnation revealed insideand out.

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Directly beneath the main section of the dome is a beautiful design punctuated by the cross,anchor and heart which symbolize the three theological virtues of faith, hope, and love (1Corinthians 13:13). These virtues are found at the beginning and end of every faithful Christians’life. Descending farther from the cupola the four pendentives display four saints whose livesreveal the three tasks of the Church and the prayer that must accompany them. The roles ofteaching, governing, and sanctifying are expressed through the eyes of Sts. Augustine, ElizabethAnn Seton, and Pope Gregory I, while the fundamental power of prayer, which directs them in thelight of the Holy Spirit, has Saint Therese of Lisieux as its visible manifestation.

The crucifix is suspended directly above the marble altar revealing the intrinsic connectionbetween the “once and for all” sacrifice of Calvary (cf Hebrews 7:25-27) and the EucharisticSacrifice of the Mass. This Eucharistic Sacrifice makes present the sacrifice of Christ on Calvary(cf Catechism of the Catholic Church, para. 380) applying the fruit of the Cross to our daily lives.This enables all believers to not only “Behold, the Lamb of God, who takes away the sin of theworld” (John 1:29), but to “follow the Lamb wherever He goes” (Revelation 14:4b). “As often asthe sacrifice of the Cross by which ‘Christ our Pasch has been sacrificed’ (1 Corinthians 5:7) iscelebrated on the altar, the work of our redemption is carried out.” (cf Lumen Gentium, article#3)

The crucifix is a reminder not only of God’s love for the world (John 3:16) but the Father’s lovefor the Son (John 10:17). It is also a witness to the truth that Jesus who was raised for ourjustification is the same Jesus who was put to death for our sins (cf Romans 4:25). The crucifix isat one and the same time, the Cross in which we glory (Galatians 6:14), a sacred sign of theChurch’s mandate to preach Christ crucified (1 Corinthians 1:23) and a faithful reflection of thedying to self that is necessary for us today in order that we be united to the Crucified One(Galatians 2:20).

In the sanctuary we find the altar, which is the focal point in every Catholic Church. On the altarthe sacrifice of Calvary is made present in order that we be united to this once and for all sacrificeof Christ. This is in order that our “yes to” and “thanks for” the Father’s gift of His Son may beunited to Christ’s yes and thanksgiving to the Father at the Last Supper, and to His willingness togive his life completely on the Cross to which the Last Supper and each Eucharist are linked. Thesacrifice of Christ and the sacrifice of the Eucharist are one single sacrifice. In the Eucharist Christgives us the very Body, which He gave up for us on the Cross, the very Blood which He pouredout for man for the forgiveness of sins. (cf Matthew 26:28; Catechism of the Catholic Church,para. 1365).

The ambo (pulpit) has carved within it the symbols of the Four Evangelists and the cross. It is bythe power of the Cross that the Word of God is proclaimed and preached. The retable behind thealtar has carved within it the pelican feeding its chicks. This retable holds the tabernacle, which isenclosed by a magnificent baldacchino (canopy). Inside the tabernacle the sacred hosts arereserved for distribution to the sick, the dying and those absent. They are also reserved for thosewho want to pray before and adore our Lord, who is truly and substantially present in each of thehosts.

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The painting above the marble in the apse (back of the sanctuary) provides a beautiful backdropto the crucifix and complements its significance by symbolizing the Resurrection as the newcreation and the new dawn of human civilization.

Bracketing this painting are two carved capitals, the sacrifice of Isaac and the return of theProdigal Son, which elucidate the sacrificial and reconciling dimensions of the sacrificial banquetwe call the Eucharist. The transept (arms of the church) has four carved capitals. The twocapitals nearest the sanctuary highlight two monumental moments in the lives of two greatapostles, Saint Peter and Saint Paul. Two other capitals, opposite these two, depict the raising ofLazarus and the raising of Jairus’ daughter.

On both sides of the transept, beautifully carved confessionals stand as a strong testament to thefact that the Church has been given the authority and power to forgive sins in Jesus’ name (John20:21-22, Matthew 9:8, James 5:16). Within these walls sins are forgiven, God’s mercy isadministered, and the Church’s ministry of reconciliation is exercised (2 Corinthians 5:20).

The two large windows in the transept are designed to complement one another in their respectivesymbolic details. At the very heart of the south window (left side of the church) is depicted theburning bush, where God appeared to Moses, surrounded by the Four Major Prophets (Ezekiel,Isaiah, Jeremiah, and Daniel). Moving away from the center we find the symbols for the TwelveMinor Prophets (Hosea, Joel, Amos, Obadiah, Jonah, Micah, Nahum, Habakkuk, Zephaniah,Haggai, Zechariah, and Malachi). On the outermost regions of the glass are presented the twelve“I Am” statements of Jesus found in John’s Gospel and the Book of Revelation (Alpha, Omega,Light of the World, Good Shepherd, Gate, Vine, Bread of Life, Way, Truth, Life, I Am, andResurrection). Jesus, the great “I Am”, is the fulfillment of the Law and the Prophets. The entireOld Testament points towards, and finds its fulfillment in Jesus (cf Matthew 5:17)

Directly across, the northern window reveals a “burning bush” of a different nature. The doveand fiery flames descend upon Mary at Pentecost and spread throughout history to the inspiredEvangelists of the four Gospels, to the Twelve Apostles, and to the Creed that bears their name.In Christian tradition Mary is that “burning bush” who, being set aglow by the power of the HolySpirit, conceived without the loss of her virginity the “I Am” who revealed Himself to Moses onMount Sinai. She becomes the new holy ground where God reveals His name and begins a newExodus for God’s chosen ones.

The Four Evangelists (Matthew, Mark, Luke, and John) complement the four Major Prophets.The Twelve Apostles (St. Peter, St. Andrew, St. James, St. John, St. Thomas, St. James the Less,St. Philip, St. Bartholomew, St. Matthew, St. Simon, St. Jude, and St. Matthias), while chosen byJesus to show a link to the Twelve Tribes of Israel, also correspond to the Twelve MinorProphets. The twelve creedal statements found in the Apostle’s Creed complement the “I Am”statements of Jesus himself. In this way, the two large transept windows complement oneanother. Two remaining windows can be seen high above the apse. The Annunciation windowreminds us that we are called to open our hearts to the Word of God without fear in order that wemight bear fruit for God as Mary did. The window on the right side of the apse recalls the AngelGabriel’s appearance to Joseph in a dream. Both windows reflect Pope John Paul II’s openingremarks as Pope, which echoed the Risen Christ’s, “Be Not Afraid.”

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Six stained glass windows may be visited as one walks behind the apse along the ambulatory.These windows depict two saints from three distinct religious orders and are placed inchronological order from right to left. First we view Saint Benedict, the Founder of theBenedictine Order and Western Monasticism, along with his sister Saint Scholastica. Next, appearSaint Dominic, Founder of the Dominican Order, and Saint Catherine of Siena. Lastly, reformersof the Carmelite Order, Saint John of the Cross, and his soul sister, Saint Teresa of Avila are seen.

There are seven additional stained glass windows in the bell tower and three opposite the tower.There you will find etched in glass various angels, saints, martyrs, missionaries, popes, andChurch Councils. Most of the windows are easily seen from the stairs leading upward from theNarthex area of the church to the choir loft and beyond.

As parishioners ascend the north staircase they are able to see the stained glass window honoringthose who serve the poor. St Francis of Assisi, St. Elizabeth of Hungary, St. Frances of Rome,St. Nicholas, St. Martin dePorres, St. Vincent DePaul, St. Frances Cabrini, and Mother Teresaare examples of those who lived out Matthew 25:40. The next window depicts those who servedas kings and queens and have been recognized by the Church for their holiness of life. It isobvious that saints Helena, Stephen of Hungary, Hedwig, Wenceslaus, Margaret of Scotland,Louis of France, Clothilde, Alfred the Great, and Henry have benefited by the requests made bySt. Paul in 1 Timothy 2:1-2. In the upper window we find the biblical quote from 1 Timothy 4:12where St. Paul reminds his youthful companion that he should not be intimidated because of hisyouth. This upper window reveals examples of those who earned a martyr’s crown at a very earlyage or were instrumental in forming the young.

The stairwell ascending the southern side of the church reveals those who have taken Mark 8:35seriously. The early Christian martyrs Stephen, Barnabas, Lawrence, Ignatius of Antioch,Perpetua, Felicity, Agatha, and Lucy made their ascent into heaven through the dying to self andthe embracing of the cross. On the next floor, through the door, a stained glass window revealsthe eight popes who served in the twentieth century and are coupled with the eight beatitudes. Alittle bit of history will help you in recognizing the connection. The eight beatitudes areconsecutively linked to the following popes: John Paul I, Paul VI, John XXIII, Pius X, John PaulII, Pius XI, Benedict XV, and Pius XII.

Directly above this previous window on the next floor is the Knights of Columbus window, whichhighlights the four principles of the order, along with the image of Father Michael McGivney andthe K of C emblem. The significance of the spiritual and corporal works of mercy in the life of theKnights of Columbus is depicted here as well. On this same floor, through the door, twowindows can be visited. The first window lists the nine choirs of angels with biblical verses, whichindicate how they worship and serve God and humanity. ((Cherubim, Seraphim, Powers, Angels,(Archangels: Gabriel, Michael, and Raphael), Dominions, Thrones, Principalities, and Virtues)).The window to the right depicts those whose missionary zeal has contributed to the proclamationand spread of the good news. Saints Paul, Patrick, Boniface, Augustine of Canterbury, Cyril,Methodius, Francis Xavier, and Therese of Lisieux are names familiar to those who realize thesignificance of traveling far and wide in order to bring Christ to all people, and the necessity ofprayer that supports this essential work of the church.

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The final two windows can be seen through the door on the fourth floor. St. Jerome, St.Augustine, St. Bede, and St. Thomas Aquinas are seen as those who have fulfilled Matthew13:52. The last window finds the names of four saints who were instrumental in the first fourEcumenical Councils. These councils helped the early Church better describe the relationshipbetween the divinity and humanity of Christ with alternating foci. In doing so, they help us betterrespond to the question asked by Jesus in Matthew 16:15, who do you say that I Am?

We encourage you to direct any questions you may have about this church to the Saint JohnNeumann Church office located to the left of the school building. We especially welcomequestions about our Catholic faith and how one may become a member of our parish.

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Saint John Neumann Catholic Church (Rose Window)

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Saint John Neumann hearing Confessions (Rose Window)

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Saint John Neumann working with immigrants (Rose Window)

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Saint John Neumann giving Eucharistic Benediction (Rose Window)

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Saint John Neumann with Religious Sisters (Saint John Neumann Rose Window)

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Saint John Neumann, Bishop of PhiladelphiaOrdained to the Priesthood 25 June, 1836Professed as Redemptorist (C.Ss.R.) 1842Ordained to the Episcopate 1852

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The Episcopal Coat of Arms of Saint John Neumann is based upon that the Redemptorist Order towhich he belonged. Notice the implements of the Passion: the Cross, the nails, the spear, thesponge. The Bishop’s Miter and Crosier and Pastoral Cross are readily seen above the seal withthe green galero and its twelve tassels. Saint John Neumann’s motto “Passion of Christ ComfortMe” is in Latin.

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Saint John Neumann Rose Window with Fruits of the Holy Spirit (over main doors).The fruit of the Spirit is love, joy, peace, patience, kindness, goodness, generosity, gentleness,faithfulness, modesty, self-control, and chastity.(Galatians 5:22-23, Douay Rheims Version)

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Jesus: The Fulfilment of the Law and Prophets

“I AM/Prophets” Rose Window (Pulpit Side)

Jeremiah, Daniel, Ezekiel, Isaiah, Hosea, Joel, Amos, Obadiah, Jonah, Micah, Nahum, Habakkuk,Zephaniah, Haggai, Zechariah, Malachi

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Jesus Christ in His Church

“Creed/Apostles” Rose Window (Saint John’s Court Side)

Peter, Andrew, James, John, Thomas, James the Less, Philip, Bartholomew, Matthew, Simon,Jude, Matthias

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1 Peter 1:18-20

Genesis 1:31

Genesis 2:16-17

Genesis 2:23-24

Genesis 2:25

2 Timothy 3:16-17

2 Thessalonians 2:15

Revelation/Transcendentals

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Detail from Revelation /Transcendentals window.

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Revelation 1:7

John 19:9

Exodus 12:13

John 20:27

Revelation and Faith: The Paschal Mystery

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Revelation 22:14

Mark 1:9-10

Exodus 14:22

Acts 2:41

Baptism

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Revelation 21:27

Acts 2:1-4

Exodus 34:27-33

John 20:22-23

Confirmation

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Revelation 2:17

Matthew 26:26-29

Exodus 16:15

Luke 24:30-32

Eucharist

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Revelation 22:2

Mark 6:12-13

Sirach 38:1-15

James 5:14-16

Anointing of the Sick

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Revelation 21:27

Matthew 9:6-8

Leviticus 13:1-8

John 20:22-23

Penance

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Revelation 19:9

John 2:1-11

Genesis 2:21-24

John 19:26-27

Holy Marriage

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Revelation 1:12-13

John 13:1-9

Genesis 14:18

1 Timothy 4:14

Holy Orders

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Revelation 22:1

Acts 1:8

Romans 8:27

Matthew 25:40

John 15:16

Luke 10:25, 27

Luke 11:1-4

Morals and Prayer

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Saint Benedict (480-547) (Ambulatory)

Saint Scholastica (480-543) (Ambulatory)

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Saint Dominic (1170-1221) (Ambulatory)

Saint Catherine of Siena (1347-1380) (Ambulatory)

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Saint John of the Cross (1542-1591) (Ambulatory)

Saint Teresa of Jesus (1515-1582) (Ambulatory)

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Annunciation Rosary Window Luke 1:30-

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Visitation Rosary Window Luke 1:50-

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Nativity Rosary Window Luke 2:10-

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Presentation of the Lord in the Temple Rosary Window Luke 2:29-

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Finding of the Child Jesus in the Temple Rosary Window Luke 2:48-

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Baptism of the Lord Jesus Rosary Window Matthew 3:13-16

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Wedding Feast of Cana Rosary Window John 2:1-11

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Proclamation of the Kingdom and Call to Conversion Rosary Window Mark 1:14-15

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Transfiguration Rosary Window Matthew 17:1-8

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Jesus’ Institution of the Eucharist Rosary Window Matthew 26

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Jesus’ Agony in the Garden Rosary Window Matthew 26:38-

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Jesus is Scourged at the Pillar Rosary Window John 19:1-

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Jesus is Crowned with Thorns Rosary Window Mark 15:16-

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Jesus Carries His Cross Rosary Window John 19:17

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Jesus’ Crucifixion Rosary Window John 19:28-

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Jesus’ Resurrection Rosary Window Matthew 26:38-

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Jesus’ Ascension to Heaven Rosary Window Acts 1:9-

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Pentecost Rosary Window Acts 2:1-

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Assumption to Heaven Rosary Window Songs of Songs 2:3; Revelation 12:1a

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Mary’s Coronation Rosary Window Luke 1:51; Revelation 12:1b

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Annunciation to Mary (left of the sanctuary)

Annunciation to Joseph Matthew 1:20-24

(right of the sanctuary)

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Sanctuary from the Choir Loft

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The Altar, the Tabernacle with baldacchino and the steps into the Sanctuary

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Detail of the Tabernacle and baldacchino (sanctuary)

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Pulpit or ambo for the proclamation of the Word of God (sanctuary)

Detail of Eagle, symbol of Jesus’divinity as well as of Saint John the Evangelist (pulpit)

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Crucifix We Preach Christ Crucified (1 Corinthians 1:23)With Christ I am nailed to the Cross (Galatians 2:19)

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Cupola

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The Magi Adore Jesus: Epiphany (Dome, Congregation side) (Saint Matthew 2:1-12)

Great Commission/Ascension of the Lord (Dome, Sanctuary side) (Saint Matthew 28:16-20)

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Saint Augustine of Hippo (354-430) (Pendentive)

Pope Saint Gregory I, the Great (540-604) (Pendentive)

Saint Elizabeth Ann Seton (1774-1821) (Pendentive)

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Saint Thérèse of the Child Jesus and the Holy Face (1873-1897) (Pendentive)

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First Station: Jesus is condemned to Death

Second Station: Jesus takes up His Cross

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Third Station Jesus fall for the first time

Fourth Station Jesus meets His Mother

66

Fifth Station Simon of Cyrene helps Jesus carry the Cross

Sixth Station Veronica wipes the face of Jesus

67

Seventh Station Jesus falls for the second time

Eighth Station Jesus meets the women of Jerusalem who weep for Him

68

Ninth Station Jesus fall for the third time

Tenth Station Jesus is stripped of His garments

69

Eleventh Station Jesus is nailed to the Cross

Twelfth Station Jesus dies on the Cross

70

Thirteenth Station: Jesus is taken down from the Cross

Fourteenth Station: Jesus is laid in the tomb

71

Front Door Tympanum (left)

Front Door Tympanum (center)

72

Front Door Tympanum (right)

Matthew 19:3-9 CapitalJesus’ call to Marriage for life

73

Luke 19:1-10 Capital Mark 5:24-34 CapitalJesus’ call of Zaccheaus Jesus’ cure of the woman who touched

the hem of His garments

Luke 5:1-11 Capital John 8:3-11 CapitalJesus’ call of Peter Let him who is without sin among you

be the first to throw a stone

74

Luke 24:44-49 Capital John 4:21-24 Capital Jesus opens the minds of the Jesus and the Woman of Samaria Apostles to understand the Scriptures

John 3:3-8 Capital Mark 8:22-35 CapitalJesus and Nicodemus Jesus Cures a blind man at Bethsaida

75

Matthew 14:25-33 Capital Luke 8:40-55 CapitalJesus calls Peter to walk on water Jesus cures Jairus’ daughter

John 11:43-44 Capital Luke 15:11-32 CapitalJesus raises Lazarus Jesus’ parable of the Prodigal

76

Acts 9:1-20 CapitalJesus’ call and conversion of Saul/Paul

77

Genesis 22:10-13 CapitalAbraham’s Sacrifice of Isaac, prefiguring the sacrifice of the Eternal Father of the Incarnate Sonmade present sacramentally on the Altar. Note the ram in the thicket and the Angel of the Lordstopping Abraham’s hand

78

Pie Pelicanae (bas relief on facade)

Pentecost (bas relief on facade)

79

Saint John’s vision of the Heavenly Jerusalem (bas relief from the facade)

Annunciation (bas relief from the facade)

80

Holy Moses and the Sacred Heart of Jesus statues in the narthex of Carrera marble.

81

Baptismal Font, flanked by Holy Water Fonts held by angels carved in Carrera marble near maindoors of the Church.

82

Detail of Holy Water Font held by an angel carved in Carrera marble

83

Baptismal Font with Altar, Tabernacle and Crucifix in the background.

84

Detail from marble floor

85

Confessional

Statues of Our Lady of Fatima and Saint Joseph, Adoration Chapel

86

View from Grigsby Chapel and Saint John Court

87

View from the Parish Offices overlooking the school.

88

View from the parking lot

89

View from the parking lot

90

View from Saint John CourtView from Prince George Parish Drive

91

From the sanctuary looking into the nave. Note the Saint John Neumann Rose Window reflected onthe altar. Note too the vaulted ceiling.

92

View of the nave and sanctuary from the choir loft. The Altar and Ambo are prominent as are theCrucifix and Tabernacle with its baldacchino. Note the two pendentives, Saint Augustine on the leftand Saint Elizabeth Ann Seton on the right.

93

Architects:HDB Cram, Boston, MA

Contractors:Messer Construction, Cincinnati, OH

Paintings:Conrad Schmitt Studios, New Berlin, WI

Stained Glass:Willet Hauser Studios, Philadelphia, PA;Conrad Schmitt Studios, New Berlin, WI

INDEX

Descriptive Text 1-9Detail of Saint John Neumann Rose Window 10-16Saint John Neumann Rose Window 17Rose Windows 18-19Nave Windows 20-30Ambulatory Windows 31-33Rosary Windows 34-53Annunciations Windows 54Sanctuary 55-59Dome/Cupola/Pendentives 60-63Stations of the Cross 64-70Tympanums 71-72Capitals 72-77Bas relief from facade 78-79Moses and Sacred Heart Statues 80Baptismal and Holy Water Fonts 81-83Tile detail 84Confessional 85Exterior of Church 86-90Interior of Church 91-92