Newspaper Page Text
Published by the
Catholic Lay
men’s Association
of Georgia.
“To Bring About
a Friendlier
Feeling Among
Neighbors Irre
spective of Creed”
VOL. XVII. No. 2.
AUGUSTA, GEORGIA, FEBRUARY 29, 1936
ISSUED MONTHLY—J2.00 A YEAR
Clemson Cc
►liege Chapel Example of Liturgical
Art
CAROLINA EDIFICE S
anctuary and Chapel of Clemson Chapel
Piedmont Dean
Father Michael Designed
Structure and Monsignor
Gwynn Sanctuary and Oth
er Appointments of Edifice
Saint Andrew’s Chapel at Clem-
son College, the State Agricultural
School of South Carolina, is the gift
of Mr. James F. Gallivan of Green
ville, whose death is recorded in this
issue of The Bulletin. Out of his
generosity of heart and zeal for re
ligion, Mr. Gallivan, with the consent
of Most Rev. Emmet M. Walsh, D,D.,
Bishop of Charleston, provided the
University with a fitting house of
prayer, and a place of worship for
its Catholic students. He has also
added somewhat to the beauty of the
village and has moreover provided
something of educational value for
the student body in general, inas
much as this chapel was erected and
furnished strictly according to the Li
turgical regulations of the Church.
Though small in size, it has quality,
and follows the custom of the Cath
olic Church, during many centuries,
of making U9e of the fine arts for
illustrating her traditions, explain
ing her : doctrines, and developing her
devotiohs through the medium of
symbols.
The site for the Chapel was select
ed with the assistance of Mr. F. H.
Clinkscales of Clemson and Mr. L.
P. Slattery of Greenville, alumni of
the college.
Saint Andrew’s is built in that style
which arose out of Christian thought
and ideals, namely, the Gothic. Tho
not a replica of any Old World struc
ture. it embodies the spirit of the.
Medieval English Country Chapel.
The exterior is reposeful and re
strained. Built of Elberton, Georgia,
granite, with roof covering of dark
red. mingled shade, clay tile, it rests
quietly upon a greensward which is
inclosed with low stone walls. From
this it rises up gracefully with
aspiring lines. Devoid of ornament,
except for a cross, the symbol of
faith, and the Bishop's shield, the
symbol of ecclesiastical authority, it
derives its character from the
arrangements of lights and shades,
and from the quality of the materials
used. The idea of the designer was
to produce a chapel which is an orna
ment, rather than an ornamental
chapel. The Sacristy projection at
the left, towards the rear, and the
Belfry in the angle are in keeping
with the spirit of the design. The
materials used throughout, such as
flag stone paving, granite walls, stone
window sash, burnt clay roofing tile,
and copper flashings, give a sense of
solidity and permanence which may
very well symbolize the lasting quali
ties of the doctrines laid down by
Christ and preserved, in His Church,
unchanged amid a changing world,
for twenty centuries.
Upon entering the Chapel one Im
mediately feels that he is in a
reverential atmosphere. No one thing
attracts his eye until it rests upon
the object of reverence; namely,
the Altar with its golden Tabernacle.
The Catholic Church believes and
teaches that the Priest offering the
sacrifice of the Mass on the Altar
has the power o changing bread
and wine into the body and blood of
our Lord; part of this Sacred Species
he consumes, and part of it is pre
served in the tabernacle for the
adoration of the faithful who also
frequently receive the sacred species
in the way of Holy Communion. This
they believe to be, not bread sym
bolizing the body of Christ, but
Christ’s body and blood really and
truly present.
Understanding the doctrine of the
Holy Eucharist, it is easy to see why
the Altar, and especially the Taber
nacle, should be the most magnificent
thing within the Chapel. It is the
focus of all eyes, the center of all
attraction around which all cere
monial activities radiate. It may be
said therefore that of all the embel
lishments created by the artists in the
sanctuary, though each in a sense
may possess quality, all but combine
to create a harmonious whole around
the Altar.
The Tabernacle rests on a plane
with the Altar table; it is hand
wrought of bronze, gold plated and
ornamented with a shield having
biblical symbols and crosses. It is
lined inside with red cedar wood, as
of the cedars of Lebanon; over this
the walls and ceiling are covered with
white silk, and the floor with purest
linen. This is the Tabernacle of the
New Law, of which the Holy of Holies
was but a symbol. It is the earthly
habitation of our Lord in the Holy
Eucharist, and though not always of
the same shape or design, It is always
the center of devotion in every Ca
tholic Church throughout the world.
In Saint Andrew’s Chapel, the altar
has the form of a tomb, solid block
of stone resting upon masonry, which
in turn is directly resting upon the
clay of mother earth. This Altar has
been cut from Salisbury Balfour Pink
Granite, noted for its delicate shade
of color, beautiful grainings, and its
great density and hardness which
permits of a very high polish.
The top surface used as a table
of sacrifice, a low ledge upon
which rests six candlesticks dene in
polychrome and a Gothic panel on
the front face, also the mouldings
have a smooth honed surface which
makes a pleasing contrast with the
elegantly polished surfaces of the Al
tar. The Gothic panel bears the mon
ogram CHI and RHO, the frst two
letters ofth e Greek word meaning
Christ.
The polychrome candlesticks are
particularly beautiful and interesting
having won a prize at the Liturgical
Arts Exhibit in New York City. Oth
er candlesticks of cast bronze were
made in China; the wrought iron
candelabra used during exposition of
the Blessed Sacrament were made in
Greenville.
Draperies are used in Saint An
drew’s Chapel, as in many of the
great Gothic Cathedrals. We might
call this form the vesting of the Al
tar, for in the same manner as the
vestments worn by a priest celebrat
ing Holy Mass are prescribed, so the
liturgical canons tell us exactly what
draperies must be used; namely, Al
tar cloths, antependium, tabernacle
veil, dossel, riddels and canopy. The
Altar cloths, of which there are three
layers, must be of purest linen. The
uppermost cloth, being the only one
visible, must be a plain piece of lin
en, must cover the Altar table and
extend down both sides to within
two inches of the floor. This Altar
linen must not project over the front
of the Altar table, nor may it have
any lace, gold fringe, or other lin
gerie of any kind.
The Tabernacle veil, the antepen
dium, hanging in front of the Altar,
the dossel, in back of the Altar and
extending up to the canopy, the can
opy itself, the riddels, extending from
the dossel on both sides of the Altar,
are all of the most appropriate, choice
and liturgical materials, appealing to
the eye because of their beauty and
to the mind by the manner in which
their symbolism is presented.
The Crucifix at Saint Andrew's is
placed to the rear and above the tab
ernacle with the rich dossel as a
background. The cross is of wood,
painted blood red. At its four ex
tremities are shields bearing the sym
bols of the four Evangelists taken
from the Catacombs.
The Corpus, the Body, which i3
fastened to the cross is wood carv
ed, original in design, and done es
pecially for the Chapel. Upon each
side of the Altar, where usually are
placed pedestals with statues of our
Blessed Lady and of St. Joseph, are
two plaques, fastened to the walls,
representing the same subjects. These
also were carved especially for this
Chapel. Each is a masterpiece of
coloring, in harmony with the Altar
appointments, and beautifully com
pleting an ensemble which fulfills all
the requirements of the liturgy,
wherein the artistic use of color,
stone, metal, wood, and needlework
have been harmoniously combined to
form a very handsome combination
which, it is hoped, will please the
eye of the critic and increase the de
votion of the congregation.
In the center of the sanctuary, and
before the altar, a light is kept per
petually burning as a sign of the
Real Presence in the tabernacle. In
many instances the light is red but
in Saint Andrew’s, following old tra
ditions, the light is white—symboliz
ing innocence and joy. Pure olive
oil is prescribed by the liturgy for
the lamp; beeswax is permitted. The
lamp itself was especially designed
for Saint Andrew’s, in size and style
to correspond. It is fabricated of
bronze and monel, having a white
glass as a container for the olive oil.
The success of all the work done
in and around the sanctuary, espec
ially that of the draperies, poly
chrome, wood carving, and all met
al work, is due in a large measure
to Monsignor Gwynn. He gave in
spiration; he designed the sanctuary
and its liturgical appointments; and
his intimate collaboration with the
architect and the other artists engag
ed in the work, made a harmonious
result possible.
The auditorium or nave is propor
tioned in the spirit of the general de
sign; it is rather long as compared to
the width, and has sufficient height
to be uplifting. Though diminutive,
it symbolizes the character of the
Medieval Cathedral, of which the
poet sang “Oh, the height, the might,
the depth, the glory”—“the dim re
ligious light” “aisles long drawn
out”.
The open timbered ceiling with ex
posed trusses and rafters gives the
impression of honesty, candor, and
rugged strength. The ship trusses re
call to mind, as does the word nave,
derived from the Latin navis, that
the church is still the Bark of Peter
out of which our Lord spoke on the
lake of Genasereth. Also, when He
called the Apostles from their nets
to the priestly vocation, He said,
“Henceforth you shall become fish
ers of men, come follow me.”
Lighting: This same symbolism is
(Continued on Page 3-A)
The Rt. Rev. Msgr. A. K. Gwynn,
V.F-, pastor of St. Mary’s Church,
Greenville, is dean of the Piedmont
section of the Diocese of Charleston,
in which Clemson is located, and was
a leading factor in its erection.
Clemson Pastor
The Rev. Henry L. Spiesman, pas
tor of St. Joseph’s Church, Ander
son, is in charge of the chapel at
Clemson, which is on the Anderson
missions, of which Father Spiesman
is also pastor. The Rev. Charles J.
Baum is assistant pastor.
J. F. GALLIVAN DONOR
OF CLEMSON CHAPEL
Generous S. Carolina Lay
man Fatally Stricken Short
ly After Its Dedication
James F. Gallivan, whose genero
sity made possible the erection of St.
Andrew's Chapel at Clemson College
through his generous donation of the
lot, the building and all its furnish
ings, including the vestments, chal
ice. ostensorium and other sacred ves
sels, attending the dedication of the
chapel shortly before his fatal ill
ness. He was a guest of honor at the
ceremony, at which the Most Rev.
Emmet M. Walsh. D. D., Bishop of
Charleston, officiated.
St. Andrew’s Chapel is on the An
derson missions, of which the Rev.
Henry L. Speisman is pastor and the
Rev. Charles Baum assistant; it is on
the Greenville deanry, of which the
Rt. Rev. Msgr. A. K. Gywnn, castor
of St. Mary’s Church, Greenville, is
vicar-foraine. The sermon at the ded
ication was delivered by Bishop
Walsh; the Rev. Thomas J. Mackin
pastor of St. Paul's Church, Spart
anburg. S. C., was master of cere
monies. The Rev. Michael Mclnerney,
O. S. B., of Belmont Abbey, disting
uished ecclesiastical architect, was al
so among the clergy present at the
dedication.