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PAGE 12 — The Southern Cross, September 12, 1985
The Cathedral Murals
Abraham and a group of Patriarchs, south transcept, west wall.
(Excepted from: Re-opening program of
March 24, 1963.
Murals have always played a
very important part in ec
clesiastical design. The early
Christians literally loved to be
reminded in every possible way of
God’s plan of salvation for the
human race. Then again, the
pulpit orator found paintings most
effective aids in presenting his
subject matter to his hearers. In
olden days books were hard to
come by, —only the upper class
possessed the few that were to be
had; hence, with widespread il
literacy, murals served very
usefully as picture catechisms. As
a result great artists over the cen
turies have vied with one another
in painting the most detailed and
symbolic paintings dealing with
man’s history of salvation. In this
regard the Cathedral of St. John
the Baptist stands second to none
in having the most beautiful and
detailed murals in this section of
the country. Christopher P.H.
Murphy, noted Savannah artist,
directed a New York firm of ar
tists in painting the murals in
1912.
SOUTH TRANSEPT MURALS
The story of God’s plan for the salvation
of mankind quite naturally begins with the
creation of Adam and Eve, our first
parents. In the south transept against the
west wall Adam and Eve, whose disobe
dience brought misfortune to mankind, are
depicted being expelled from Paradise by
an angel. In the second panel there is
Abraham, the father of all believers and
with whom the story of Salvation really
begins. Here Abraham heads a Group of
Patriarchs, Fathers of the Old Testament.
Directly below these two paneled murals is
“The Madonna”, the Blessed Virgin Mary,
with the Infant Jesus, angels, and reverent
persons.
On the east wall and immediately op
posite the afore-mentioned murals are
Moses, the great Law-giver, symbolized
by his emblem: the two tablets of the Ten
Commandments, given to him on Mt. Sinai
by Yahweh; next to him his brother Aaron,
Israel’s first High Priest, symbolized by
the Rod that blossomed through a miracle.
These two figures of the Old Testament
head the Procession representing the Pro
phets. Panel No. II is a continuation of the
procession of Prophets.
Directly below these are murals noting
the first Pentecost. In this mural the Holy
Spirit is seen descending, in the form of a
dove, on the Apostles and the Blessed
Virgin Mary, who is seated in their midst.
In the next panel, there is the Apparition of
the Infant Jesus to St. Anthony of Padua.
Immediately below this painting is the
Altar of St. Anthony. This altar is a
memorial to Bishop Gross, Fifth Bishop of
Savannah, and later Archbishop of Oregon
City. The inscription reads: “In Memory
of Archbishop Gross.”
Directly above the statue are symbols
proper to the life of St. Anthony. The lilies
represent his purity ; and the dove, a sym
bol of the Holy Spirit, marks the saint off
as a divinely inspired theologian. The
large Host recalls an incident when a non
believer was moved to conversion at see
ing an animal adoring the Blessed Sacra
ment being held in the hands of St. An
thony.
NORTH TRANSEPT MURALS
In the north transept and on the west
wall there is Saint John the Baptist, last
and greatest of the Old Testament Pro
phets. He is depicted as a small child with
his emblem: the cross-staff, symbolic of
the mission for which he was born. On
lookers in the painting are his father, the
priest Zachary; his mother, Elizabeth; the
Virgin Mary, Elizabeth’s kinswoman; and
St. Joseph, spouse of the Virgin Mary. In
Panel No. II, there is the scene of the
Presentation of Jesus in the Temple at
Jerusalem. Christ is here depicted in the
arms of the aged priest Simeon. Also in the
scene are: Anna, the aged prophetess of
the Temple, and Mary and St. Joseph, —
the latter carrying an offering of turtle
doves. Directly below these murals is the
Prodigal Son, showing Jesus comforting
the Sinner.
On the east wall, immediately opposite
these murals, there is St. Peter, Prince of
the Apostles, symbolized by his emblem:
Keys to the Kingdom of Heaven; next, St.
Paul, Apostle to the Gentiles, with a book,
significant of his Epistles, and a sword, the
instrument of his death by beheading.
These two lead the Procession represen
ting the Twelve Apostles, among whom,
recognizable by their emblems, are: St.
John, with a cup which refers to an at
tempt upon his life with a poisoned wine;
St. Philip, with a cross-staff, significant of
his travels and martyrdom; and, St.
Simon, with a saw, the instrument by
which his body was literally sawed
asunder. Directly below these murals you
see Jesus preaching to the multitude His
Sermon on the Mount; and, in Panel No. II,
The Flight Into Egypt, — Mary and
Joseph’s attempt to protect the Infant
Jesus from the cruel Herod.
Immediately below this second panel is
the Altar of St. Joseph. Made of Italian
marble, this excellent piece of workman
ship is a memorial given by Capt. and Mrs.
Henry Blun to the memory of their
daughter, Margaret. Centered directly
above the statue of St. Joseph are painted
symbols from the life of the saint. The staff
and the wineskin are significant of his
journey with Mary and the Christ Child in
to the land of Egypt ; while the instrument
of measuring and of squaring note him as a
carpenter. The lilies are significant of his
purity and of the legend which maintains ^
that St. Joseph was chosen to be the spouse
of the Blessed Virgin because of the lilies
which burst forth from his staff. The star
means that the saint is of royal lineage,
The House of David.
SACRED HEART CHAPEL
MURALS
The altar in the Sacred Heart Chapel
was given by priests from all over the
country in honor of their Great High
Priest, Christ. It is only fitting, then that
the murals in this side chapel
bear a resemblance to the priesthood. To
the left of the altar is Melchisedech, priest
of the Old Testament, who offered up wine
and bread. Bread and wine are still offered
today by priests in the Sacrifice of the
Mass. To the right of the altar is a Jewish
Priest of the Old Testament with his offer
ing of a lamb. Christ is called the “Lamb of
God” because He, too, was offered in
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