Wings Fall 09 - St. Scholastica Academy

Iconography
The chapel contains several works of art that are designated as “icons.”
In Greek, “icon” means “image.” Whereas in Western Christianity,
sculpture in conjunction with painting has been employed for liturgical
artistic expression, iconography is used throughout the Eastern
Christian world as the sole liturgical art form. An icon is much more
than a simple representation of events or persons of the past. An icon
makes present that which it depicts. Icons are, therefore, sacramental,
not simply works of art, much less decoration. Stylistically, icons differ
from traditional Western art in substantial ways. Perhaps most
noticeably, icons are “flat.” The bodies of the holy subjects depicted have
exaggerated features; typically almond-shaped eyes, enlarged ears, long
thin noses, and small mouths. Through such rendering of the human
form, iconographers attempt to indicate that the sanctified enjoy a new
existence. The use of techniques to create a sense of depth perspective
is shunned in iconography. Similarly, the frontality of the figures is
striking, even confrontational in a passive sort of way. There are no
shadows in icons. The image itself is the source of light. In short, icons
are not realistic but distort reality to present new possibilities. In
addition, icons are notably restrained and balanced yet multifaceted in
symbolic meaning. In the end, icons are able to invite contemplation.
As a final note on the subject, it must be mentioned that tradition
refers to the rendering of an icon not as “painting” but as “writing.” An
icon is understood to be the illumination of the Word of God. As a
“word,” therefore, it is written.
Crucifix
As with the Te Decet Laus of the frieze, the importance of Trinitarian
theology to Christianity is reflected in the crucifix that hangs above the
altar. In addition to a Trinitarian interpretation of the crucifix, a more
Christocentric understanding is also available. This depiction of the
Crucified Savior of the world presents the fullness of the mystery of
the Christian faith in the person of Jesus the Christ.
The upper section of the cross represents God the Father. The Manus
Dei (hand of God) represents the Father, who blesses his Son with
whom He is well pleased. God is hidden by clouds and darkness. The
eight-pointed stars represent his divinity. He “dwells in unapproachable
light, whom no man has ever seen or can see.” (1 Timothy 6:16)
The middle section of the cross shows God the Son, incarnate in the
person of Jesus. Here Jesus is affixed to the wood of the cross, but does
not hang or slump in death. In his humanity he has died. One sees the
wounds of his hands, feet and side, wounds that will forever bear
witness to his suffering. In his divinity he is straight, with eyes wide open.
One sees a King and Lord, wearing a crown and reigning. As sure as
Jesus is fully human, a man who suffered and died on a cross, he is also
fully Divine, incorporeal and insensate. He is, therefore, one and the
same inseparable “person” who at one and the same time lived in glory
and died in agony.
In the nimbus or halo of Jesus is a cross signifying redemption. On his
crown are pearls, sapphires and amethysts. On either side of his halo
are the Greek letters IC and XC. These are the first and last letters of
the name, Jesus Christ. It is essential the personages in icons be
identified with their names. The inscription establishes that the
archetype is present in the image. Also, note well that the hand of the
Father, from the heavenly firmament, and that of the Son, from the
earthbound cross, are both poised in a gesture of blessing. This simple
detail indicates that the Father and the Son are in fact One and
coeternal.
In the lower section of the cross The Holy Spirit, in the traditional form
of a dove, proceeds from the Father and the Son to both safeguard and
teach (Jn 16:12). The dove is the symbol of the Third Person of the
Trinity as cited in the Gospel of Luke 3: 21-22 “and when Jesus also had
been baptized and was praying, the heaven was opened, and the Holy
Spirit descended upon him in bodily form, as a dove, and a voice came
from heaven, ‘Thou art my beloved Son; with thee I am well pleased.’ ”
Our Mother of Perpetual Help
As the titular icon, Our Mother of Perpetual Help holds a prominent
yet appropriately demure position in the chapel. Of the many images
depicting the Mother and Child, this one demonstrates quite effectively
the dynamic relationship between the Virgin and the Fruit of her womb
and, therefore, the relationship between the Blessed Mother and those
who follow her Son.
The icon of Our Mother of Perpetual Help is often referred to as an
icon of the Passion. The angels holding the instruments of the Passion
have their hands covered with a protecting veil as a sign of reverence
in handling sacred objects. The Child Jesus is shown with an adult face
and a high brow, indicating his divine mind of infinite intelligence. As
God, he knew that the angelic apparition was prophetic of his future
passion. Yet in his human nature as a small child, frightened by the vision
of two angels showing him the instruments of the Passion, the Christ
Child runs hastily to his Mother for protection, almost losing one of his
tiny sandals. Mary holds him in her arms reassuringly, lovingly. Our Lady
quickly picks him up and clasps him to her bosom. The Child Jesus
clasps his Mother’s right hand with both of his, holding tightly to Our
Lady’s thumb as a reminder to us that, just as on earth he placed
himself entirely in her hands for protection, so now in heaven he has
given into her hands all graces, to distribute to those who ask her.
Our Lady’s face is of unspeakable majesty and calm, and yet her large
eyes, partly closed, express ineffable sorrow and sympathy. Our Lady is
not looking at Jesus, but rather on us, her adopted children, as if to
express compassion for us in our fears and sorrows. How better to
express Our Lady’s plea to us to love her Son.
The icon of Our Mother of Perpetual Help is a traditional Byzantine
type, but modified by the medieval softening of features in Cardiotissa
style, touching the emotion and showing an action story proper to this
art form. Little imagination is required to see how fitting this patroness
is for a school chapel.
Holy Family and Visitation Icons
Two additional icons commissioned for the chapel are equally suited to
the mission of Saint Scholastica Academy. The Holy Family and The
Visitation both represent the values of family and sisterhood stressed
during the student’s tenure of academic and spiritual formation.
Statue of St. Scholastica
Sculpted of cold cast bronze, the statue of St. Scholastica that stands
just inside the main entrance was originally commissioned by The
Benedictine Sisters at Sacred Heart in Cullman, Alabama. The Sisters
wanted a portrayal of their patron that captured her spirit and joy. The
title of the sculpture is “Release,” as she is releasing her spirit to God.
The model for the sculpture was a ballet dancer who travels the
country performing Christian/Spiritual Dance. The ballerina pose
portrays the image of Scholastica releasing the dove in flight just as
Benedict, her brother, witnessed his sister’s soul leaving her body and
entering into heaven in the form of a dove.
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