Tag Archives: Artist – Henry Schmidt

My Architecture & Design Photography: MCCARTHY, SMITH & EPPIG. St. Francis Xavier Catholic Church, 1939, 524 Ninth Street, Wilmette, Illinois. (19 Photos).

FEATURE image: St. Francis Xavier Church was erected in 1939 in an established well-maintained residential neighborhood in Wilmette, Illinois, just blocks inland from Lake Michigan. The attempt was made by the area’s Roman Catholics to fit in unobtrusively and harmonize with its neighbors on Chicago’s Northshore. 6/2014 3.56mb

The English Gothic-style church is usually associated with establishment mainline Protestants. The church is built to be sophisticated and simple. 12/2018 11.6mb

Built by the firm of McCarthy, Smith & Eppig, St. Francis Xavier Church is built in the style of a sturdy country church. It is characterized by low walls, massive external buttresses, and a sloped, elongated roof. 6/2014 4.64mb

Interior of St. Francis Xavier Church from the altar looking towards the main entrance. McCarthy, Smith & Eppig was a design firm that worked in the 1930’s extensively with Chicago Cardinal George Mundelein (1872-1939). Architect Joseph W. McCarthy (1884-1965), had been a young architect under Daniel Burnham (1846-1912), a major design force in Chicago. McCarthy built, under his own name and with various firms, churches and other church-related structures in the Chicago area from the 1910s to 1930s. In 1939, for instance, McCarthy built St. Francis Xavier Catholic Church and the more grandiose St. Joseph Catholic Church, both in Wilmette, about one mile apart. The design of St. Francis Xavier Church was handled by the firm’s younger partners, David Smith and Arthur Eppig (1909-1982). The church building’s simple architecture with its fine details cost $200,000 to construct in the waning years of the Great Depression – about $4 million in 2022 (see- https://www.dollartimes.com/inflation/). While the majority of McCarthy’s church buildings were built in the Chicago area, some of his important church projects included the cathedral church in Springfield, Illinois, (1928) and the parish church (1918) of what became the diocese of Joliet, Illinois. 7/2014 5.85 mb

Depicted in marble at the entrance to the sanctuary in Wilmette, Illinois, is St. Francis Xavier (1506-1552), the parish church’s patron and namesake. His feast day is December 3 and marks the day of his death at 46 years old on an island off mainland China.

With St. Thérèse of Lisieux (1873-1897), St. Francis Xavier to whom the Little Flower had a devotion, was named co-patron of all foreign missions in 1927 by Pope Pius XI. (see –
https://www.papalencyclicals.net/Pius11/P11APOST.htm).

Holding a crucifix, the Basque Jesuit priest is dressed in a black cassock draped by an alb and stole. St. Francis Xavier, a naturally magnanimous personality in life, became the first Roman Catholic missionary to the Far East, though the Jesuit order was only in the first decade of its official existence.

Through sheer audacity, St. Francis Xavier established the template of the Jesuit missionary and evangelizer: prayerful, prepared to go where the need is greatest, friendly, sincere, personally austere, hard-working, and joyful in the adventure of doing God’s will.

Leaving by ship from Lisbon, Portugal, St. Francis Xavier became the first Jesuit missionary to India in 1545 and Japan in 1549. For the next 100 years the Jesuits were the only Roman Catholic missionaries in Asia. The physical distances St. Francis Xavier traveled in the 1540s are remarkable. On his return trip to India from Japan – almost 6000 km by air – St. Francis Xavier’s ship was thrown off course in a seastorm where it stopped at an island near Guangzhou, Guangdong, China.

Back in India, St. Francis Xavier looked to return to China. After some delays, he reached Shangchuan Island a couple of miles from the mainland. On December 3, 1552, as the 46-year-old Francis waited for transport to mainland China, he died of fever. Francis was buried on Shangchuan in quicklime, a chemical compound used to speedily consume flesh and leave just the bones for easy transport. In February 1553, two months later when the saint’s remains were exhumed, his body had not rotted. Francis’s body was taken to Portuguese Malacca and, a year after his death in December 1553, it was taken to Goa in India which had been the saint’s headquarters. In Goa, Francis received a hero’s welcome.

In 2022 St. Francis Xavier is still buried in Goa’s basilica. Reports of miracles were made in India, Japan and beyond following his death. In 1619 St. Francis Xavier was beatified by Pope Paul V and canonized on March 12, 1622 by Pope Gregory XV.

Nave looking to main altar. There are no columns to obstruct the view to the marble altar with a crucifix above. With Vatican II reforms, the tabernacle was set in a niche to the right. Originally the tabernacle was on the main altar below the crucifix. An extra-wide altar rail with cross legs whose form served as “being at table with Christ” for the communicant was also removed. Though St. Francis Xavier Church is traditional in its architecture, its design elements are modern, chic, and streamlined, which makes the sanctuary flexible and adaptable to change. The ceiling is constructed like an upside barque. This evokes the missionary journeys of St. Francis Xavier, by sea to and in the Far East. 6/2014 5.99 mb

There are 8 major stained-glass windows in St. Francis Xavier Church: four in the west wall and four in the east wall.

Smaller stained-glass oculi and panels are scattered throughout the interior. These stained-glass windows were designed by Henry Schmidt, a parishioner. They are quite beautiful, scintillating in their pseudo-English Tudor style, illumined in usually soft eastern and tree-obscured western exposures, although their subject matter is somewhat chaotic and a hodge-podge in its traditional and idiosyncratic admixture of hagiography, scripture, and popular piety. One aspect of their enduring appeal is that the glass can be seen close up and at eye level.

ST. PETER WINDOW.

CENTER PANEL: Saint Peter, leader of the apostles, holds the keys of the kingdom of heaven (Matthew 16:19). Peter holds a book, a representation of St. Peter’s New Testament letters (1 and 2 Peter) and sermons (Acts). Below is St. Peter’s Basilica in Vatican City in Rome with its famous dome.

LEFT PANEL: Crowning of Mary as Queen of Heaven by Triune God (Father, Son and Holy Spirit). From the Council of Ephesus in 431, depicting the Blessed Virgin Mary wearing a regal crown was used in Christendom.

RIGHT PANEL: Assumption of Mary into Heaven is not in the New Testament though biblical texts point to the doctrine of Mary as Theotokos (Mother of God), taken (“assumed”) body and soul into heaven at death. Going “up” to heaven is imagery used to express the spiritual and related to Jesus’ Ascension (Acts 1:6-17 and Luke 24:50-53). The assumption phenomenon occurred in the Old Testament with Moses and Elijah who were also present at Christ’s Transfiguration (Matt 17:1-9; Mk 9:2-10: Lk 9:28-36; and 2 Peter 1:16-21). Below the panels are identical angel figures. 6/2014 4.98 mb

ST. BONIFACE WINDOW.

CENTER PANEL: St. Boniface (675-754) is the St. Patrick of Germany. He was a bishop who lived during Europe’s Dark Ages. Boniface was responsible for organizing the church in western Germany and established the bishoprics of Cologne and Mainz. On direction by the Roman pope, Boniface anointed Pepin the Short (714-768) — son of Charles Martel (c. 688-741) and father of Charlemagne (747-814) — as king of the Franks. Pepin’s coronation became the model for future royal coronations and the beginning of the modern European state.

LEFT PANEL: Jesus meets his mother is the fourth station of the cross. The Holy Face, below, is a devotion proclaimed by Pope Leo XIII in 1885.

RIGHT PANEL: Jesus mocked and crowned with thorns (Luke 22:63-65 and John 19:2-3) is the sixth station of the cross and an important marker of the suffering of Jesus. 6/2014 3.93 mb

ST. PATRICK WINDOW.

CENTER PANEL: St. Patrick (418-493) is one of the patron saints of Ireland (St. Brigid (c. 451–525) and St. Columba (540-615) are the others). In Wilmette, IL, St. Joseph Church was established in 1847 for German immigrants and St. Francis Xavier Church for Irish. The depiction of Patrick as the archetypal Irish bearded bishop — dressed in green with miter and staff – emerged in late 1700’s. St. Patrick’s symbology includes a book, refering to the Holy Scriptures and his own writings: the Confessio and Epistola to Coroticus, both in Latin. Patrick holds the legendary 3-leafed clover which he used to teach the Irish about the Holy Trinity. Below is the harp which is Ireland’s national emblem and one of the world’s oldest musical instruments.

LEFT PANEL: Jesus Christ’s Resurrection from the dead is the cornerstone of the Christian faith (1 Corinthians 15:17). His empty tomb is proof of Christ’s deity (John 5:26; Romans 1:4). By rising from the dead, Jesus Christ saved us from our sins (Romans 4:24–25; Hebrews 7:25), gave hope for our future resurrection (John 14:19; 1 Corinthians 15:20–23), and provides believers with spiritual power (Romans 6:3–4; Ephesians 1:19–21). The window depicts the resurrected Jesus holding the banner of victory over death as a Roman guard cowers in the dazzling light of a Risen Christ with an angel in attendance. Christ’s cruciform halo (elaborated in three parts) usually contains three Greek letters that in translation spell out “I Am Who Am,” again, a reference to Christ’s Divinity. All four gospels contain passages pertaining to the resurrection, but none of them describe the moment or essence of resurrection itself.

RIGHT PANEL: Crucifixion of Jesus with his mother Mary and John the Apostle at the foot of the cross. Above Christ’s head are the letters INRI, an acronym for Jesus Nazarenus, rex Judæorum. This was the charge against jesus written in Latin by Pontius Pilate who condemned him to death. It translates as “Jesus Nazarene, King of the Jews.” The title appears in the Passion narrative of John’s Gospel (19:19). Below each side panel are identical angel figures. 7/2014 7.58 mb

The altar design includes tall candlesticks and compact, detailed baldacchino. 6/2014 4.61 mb

A depiction of the crucifixion in basswood stands atop a rood beam at the ceiling line above the main altar. The scene includes the figure of a crucified Jesus, half-naked, wearing a crown of thorns, and the INRI inscription overhead. Three figures at the foot of the cross are (at left) his mother Mary and (at right) John, the Apostle. The bowed middle figure could represent the other named and unnamed women present at the crucifixion (John 19:25; Luke 23:27 and 49). The artwork is by Fritz Mullhauser. 12/2018 8.47 mb

MARY QUEEN OF HEAVEN WITH INFANT JESUS WINDOW.

CENTER PANEL: The Queen of Heaven who reigns from the right hand of her son, is depicted in her role as mother of Jesus Christ. Below a crown hovers above what may be a heart-shaped letter “M” for Mary’s first initial and/or her sacred heart.

LEFT PANEL: Presentation of Jesus by Mary and Joseph in the Temple and meeting with Simeon, the “just and devout” man of Jerusalem (Luke 2:25–35). The Presentation is the Fourth Joyful Mystery of the Rosary. In Luke, 40 days after Jesus’s birth, Mary and Joseph took the baby to the Temple in Jerusalem to complete Mary’s ritual purification after childbirth, and to perform the redemption of the firstborn, as prescribed by Mosaic Law (Leviticus 12 and Exodus 13:12-15).

RIGHT PANEL: Nativity of Jesus in Bethlehem (Luke 2: 1-7 and Matthew 1: 18-25) is the Third Joyful Mystery of the Rosary. Below each side panel are identical Angel figures. 12/2018 12.5 mb

ST. ANNE AND THE CHILD VIRGIN MARY WINDOW.

CENTER PANEL: Child Mary with Saint Anne, her mother. Nothing is known about Mary’s mother though early apocryphal writings provide information for stories about Mary’s lineage and early life that have resulted in a legendary tradition.

LEFT PANEL: Visitation of the Blessed Virgin Mary to her cousin Elizabeth (Luke 1: 39-45). After the Annunciation, Mary set out into the hill country to stay in the house of Elizabeth and her husband Zechariah for three months. Both women were miraculously pregnant at the time–-Mary with Jesus by virgin birth and Elizabeth with John the Baptist in her old age. Depicted is the moment when John the Baptist leapt with joy in Elizabeth’s womb at hearing Mary’s voice (Luke 1:41). The Visitation is the Second Joyful Mystery of the Rosary. Below is an ark (or tabernacle). Luke structured his narrative passages of the Visitation on stories in 2 Samuel and 1 Kings about the ark of the Covenant in the Old Testament. The Catechism of the Catholic Church identifies Mary as the Ark of the New Covenant (2276): “Mary, in whom the Lord himself has just made his dwelling, is the daughter of Zion in person, the Ark of the Covenant, the place where the glory of the Lord dwells. She is ‘the dwelling of God . . . with men.”

RIGHT PANEL: Annunciation to Mary by the angel Gabriel aanouncing that she would bear the Son of God, Jesus Christ. “Hail Mary, full of grace, the Lord is with you!” It is by Mary’s joyful acceptance of God’s will – “Behold, I am the handmaid of the Lord; let it be to me according to your word” (Luke 1:26-38) – that the Incarnation takes place. The Annunciation is the First Joyful Mystery of the Rosary. Below, the two angel figures are distinct. 12/2018 16.24 mb

ST. JOSEPH WINDOW.

CENTER PANEL: St. Joseph was the foster father of Jesus and served as Jesus’ guardian protector. Jospeh’s symbology includes his holding a carpenter’s square (Mt 13:55) and holds a white lily to symbolize his faithfulness and chastity to Mary (MT 1: 25) as well as his holiness and obedience to God (Mt 1:24; Mt 2:14, 21, 22). An angel figure Is below St. Joseph.

LEFT PANEL: Holy Family in Nazareth. Jesus was obedient to Mary and Joseph and “progressed steadily in wisdom, age and grace before God and men” (Lk 2:52). Jesus was instructed by St. Joseph in the carpenter trade and holds a wooden cross on his knees. Flowering grass below is decorative and could indicate the flowering staff of St. Joseph which symbolized that he was specially chosen by God to be Mary’s husband. That imagery was drawn from the Old Testament when Aaron’s staff, placed before the Ten Commandments, sprouted with almond blossoms as a sign that he was chosen by God (Num 17:22-23).

RIGHT PANEL: Mary and St. Joseph find Jesus at 12 years old in the Temple with the doctors of the Law (Luke 2:41-52). It is the Fifth Joyful Mystery of the Rosary. The event is the only time in the New Testament where Jesus makes a public appearance before His baptism in the Jordan by John the Baptist and the start of his public ministry at 30 years old (Matthew 3:3-17, Mark 1:9-11; Luke 3:21-23; John 1:29-33). Below the scene are the tablets of the Ten Commandments with a symbol of the Trinity, including the sacred eye, hovering above. 12/2018 12.34 mb

ST. PAUL THE APOSTLE WINDOW.

CENTER PANEL: St. Paul is depicted holding a sword, a symbol for this Apostle to the Gentiles. Describing spiritual warfare in his letter to the Ephesians, Paul writes, “Take the sword of the Spirit, which is the word of God” (Ephesians 6:17). In symbology of martyrs, they are traditionally depicted with the instrument of their death. Paul is a known martyr (c. 64-68 CE), though its details are not. Early Christian writers said St. Paul was beheaded using a sword.

LEFT PANEL: The Pentecost (Acts 2: 1-13) followed the Ascension, It is where the 12 Apostles with Mary, the Mother of Jesus Christ, gathered together to receive the Holy Spirit symbolized by a dove from Heaven.

RIGHT PANEL: Ascension of Jesus into Heaven is mentioned many times in the New Testament and primarily in Luke and Acts (Luke 24:50-53, Acts 1: 6-12, John 3:13, John 6:62, John 20:17, Romans 8:34, Ephesians 1:19-20, Colossians 3:1, Philippians 2:9-11, 1 Timothy 3:16, and 1 Peter 3:21-22). The Ascension is where the Resurrected Christ physically departed from Earth by rising into Heaven which was witnessed by eleven of his apostles (Judas betrayed Jesus). Heaven incorporates the resurrected fleshly body of Christ as the divine humanity of Christ enters into the intimacy of the Father and becomes the perfect God-Man. 6/2014 4.28 mb

**ST. PAUL THE APOSTLE WINDOW in situ on the east wall.**

**WINDOW DETAIL An angel figure graces one of the stained-glass windows in St. Francis Xavier Church. There are several different angel figures throughout the church’s stained glass panels.**

THE GOOD SHEPHERD WINDOW.

CENTER PANEL: Jesus called himself “the good shepherd” (John 10). In the Old Testament there is a prophecy about shepherds who are overseers for the sheep who are the people of God. Ezekiel prophesies of a shepherd to come who is the Messiah of Israel. Jesus is claiming to be the Messiah that the scriptures foretold. Christ’s cruciform halo (in three parts) contains three Greek letters that spell out “ I Am Who Am,” a reference to Christ’s Divinity. Jesus holds the shepherd’s staff and has a lamb slung over his shoulders referring to the people of God he cares for. A lamb in a bramble below refers to Jesus as “the lamb of God,” a title found in John’s Gospel (John 1:29; 1:36). It also alludes to the Old Testament when God sent a ram caught in a bramble to change places with Isaac who God called to be sacrificed as a burnt offering (Genesis 22:13). This Old Testament story foretold the sacrifice of the Son of God at Calvary.

LEFT PANEL: Scourging of Christ is the 4th Station of the Cross (John 19:1-3). It is part of the brutalities that Jesus endured in his Passion. Jesus was slapped, beaten, punctured by thorns, and whipped with a reed stick. Two of these torture instruments are depicted below the pillar. An angel figure is below that.

RIGHT PANEL: Jesus is depicted in the garden of Gethsemane following the Last Supper where, knowing of Judas’s betrayal, Jesus prayed: “Father, if you are willing, take this cup from me. Yet not my will, but yours be done” (Luke 22:42). With his prayer, “an angel from heaven appeared to him and strengthened him” (Luke 22:43). At the foot of the Mount of Olives outside Jerusalem all four Gospels relate that Jesus underwent an agony in the garden of Gethsemane where he was betrayed and arrested the night before his crucifixion. Below is an angel figure. 12/2018 12.6 mb

**Organ loft. St. Francis Xavier Church, Wilmette, IL. 12/2018 446 kb 25%**

SOURCES:

Heavenly City: The Architectural Tradition of Catholic Chicago, Denis Robert McNamara, James Morris, Liturgy Training Publications, Chicago, Illinois, 2005, pp. 138-140
Chicago Churches and Synagogues: An Architectural Pilgrimage, George Lane, S.J., and Algimantas Kezys, Loyola University Press, Chicago, 1981.
Saint Ignatius and His First Companions, Chas. Constantine Pise, P.J. Kenedy & Sons, New York, 1892, pp.105-151.
The Saints: A Concise Biographical Dictionary, edited by John Coulson, Guild Press, New York, 1957.
The New American Bible, Catholic Book Publishing Corp, New York, 1993.
Catechism of the Catholic Church, 2^nd Edition, Doubleday, New York, 1997.

St. Francis Xavier statue –
https://traveltriangle.com/japan-tourism/how-to-reach

St. Peter Window –
https://www.christianity.com/jesus/life-of-jesus/teaching-and-messages/what-are-the-keys-of-the-kingdom.html

Click to access Crowning_an_Image_of_the_Blessed_Virgin_Mary.pdf