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THE ART
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INTERIOR
Entering the vestibule, which is seperated
from the church propper by screens of leather and stained glass,
one notes the solidity of the structure; the very steps to the
organ loft are without wood or nails. The vestibule window to
the right is Bishop Haid's coat of arms; the one to the left is
the coat of arms of Pope St. Pius X.
From the foot of the main aisle, inside the
church proper, one can realize the beauty of the ellipse and the
wonder of the dome. It is built wholly of tiles and is entirely
self-supporting. It has a clear span of 58 x 82 feet and is reputed
to be the largest freestanding elliptical dome in North America.
The four statues in the wall niches are from the Daprato Statuary
Company , Italy. On the left wall, St. Cecilia and St. peter;
on the right, St. Rose of Lima and St. Patrick.
THE MAIN
ALTAR
The visitor's next point of focus, at the head
of the center aisle, is the main altar and the Crucifixion tableaux
table. This group is a rare and fine example of Spanish woodcarving
of the middle seventeenth century, and represents Mary, the Mother
of Jesus, and St. John, at the Crufixion. The fresco of the Last
Supper and the flanking square panels made up the lower facade
of the main alter until 1968. At that timethey were seperated
from the base of the altar, moved forward and topped with 1,800-pound
block of Tennessee marble to form a new altar table.
The ornamental partitions that fill the entire apse wall above
the altar are made of polychrome terra cotta. Two archangels,
St. Raphael (with the fish in his right hand and a sword inhis
left) and St. Michael (grasping a sword in both hands), stand
on either side of the altar. To the left of St. Michael are the
evangalists Matthew and Mark; to the right of St. Raphael - Luke
and John. The evangelists' symbols are at their feet; the angel
for St. Matthew, lion for St. Mark, bull for St. Luke, and eagle
for St. John. The figures are more than seven feet high; the partitions
on each side measure 11 feet by 18 fett in length.
CHAPEL of OUR
LADY
To the left of the main altar is the Chapel
of Our Lady. The white marble statue depicts Our Lady of the Assumption.
Inserted in the upper part of the altar is a panel entitled The
Crucifixion, which is attributed to an old renowned pottery
in Capo di Monte, Italy. On either side of the tabernacle are
niches containing statues of the following: from the extreme left.
Ss. Margaret, Lucia, Cecilia, Catherine of Alexandria, Barbara,
Agnes, Agatha, Rose of Lima. Forming a frame around the altar
front is a series of tiles lettered with the names of Our Lady
selected from the Litany of the Blessed Virgin. In the center
is a fragment of Italian marble depicting the Nativity. Arching
over the altar are seven doves, which represent the seven gifts
of the Holy Spirit.
The large stained glass window is St. Mary of
the Sea; the small one above is St. Raphael, the archangel.
The ornately carved door to the sacrisy is of
Spansih design and is dominated by the theme of the Good Shepherd;
on the scroll is the Latin, Pastor Bonus. Above the door
is a 17th century painting of the Visitation. The artist is thought
to be Massimo Stanzione (1585-1656)
On the walls of the chapel are icons of the
Blessed Lady as: Our Lady of Perpetual Help, Virgin Mary of Guadalupe,
and the Annunciation.
At the rear of the chapel is the crypt of the
architect, Signor Rafael Guastavino. The door is of lustre-glazed
tiles framed in bronze.
The lustre-glaze process was discovered by Rafael
Guastavino, Jr. during ceramic experiments conducted at the Guastavino
tile factory in Woburn, Massachusetts.
EUCHARISTIC ADORATION CHAPEL
(Sacred Heart Chapel): To the right of the main
altar is the chapel originally called St. Joseph's, but it is
now referred to as the Eucharistic Adoration Chapel. Above the
altar is a stained glass window if the Nativity. The large window
on the east wall depicts the death of St. Joseph inthe arms of
Jesus and Mary. Both Windows were taken fromthe old wooden church
formerly on this site. The smaller window above on the right is
of St. Lawrence.
The altar and part of the apse wall are a mossaic
of broken bits of tile assembled and inlaid by Fathers Peter and
Patrick Marion, priests in residence during the construction of
the church.
THE WINDOWS
An appreciation of the windows and the full
effect of the dome can best be viewed from the center aisle, immediately
in front of the sanctuary, facing the rear of the church.
Just under the vault of the dome is a frieze
of ten semi-circular windows. Onthe west (right) wall, from the
front of the church toward the rear, the scenes represented are:
The Annunciation, The Visitation, The Nativity, The Child Jesus
Teaching in the Temple, and the conversion of St. paul. On the
east (left) wall, from the rear are: The Marriage Feast at Cana,
Raising to Life the Daughter of Jairus, The Calming of the Wind
and Waves, The Agony in the Garden, and the appearance of the
Risen Saviour to Mary Magdalene. The two large windows represent
Christ healing the afflicted 9east) and The Transfiguration (west).
In the Organ loft, the large window portrays
the Ressurection. To the lowerright is a window which has as its
subject St. Paul. The smaller one above commemorates the four
Fathers of the early church, Sts. Jerome, Gregory, Ambrose and
Augustine. To the lower left is a window with St. Peter as the
subject. The one above it honors the four evangelists.
All the windows, except thos from the first
church on the site and the Basillica coat of arms above the entrance
doors, were made in Munich, Germany.
WHAT IS
A BASILICA?
The title dates back to the early Greek and
Roman times and referred to a type of public building. In the
4th century, Basilicas began to be used as places of worship.
It was during this time that construction of the greatest Basilicas
of Rome were started. Today, the term Basilica is a special designation
given by the Holy Father to certain churches because of their
antiquity, historical importance or significance as a place of
worship.
Q: Are there other Basilicas in the U.S.?
At the time of the designation of St. Lawrence
(04/93) there were 33 other Basilicas in the United States.
Q: What are the conditions necessary for
achurch to obtain the title of Basilica?
The church must have been consecrated; the liturgical
rites (celebration of the Holy Eucharist, sacraments of penance
and other sacraments) should be executed in an exemplary way with
fidelity to liturgical norms, and the active participation of
the people of God (parishioners). It should be large enough and
the elements required for liturgical celebration (altar, pulpit,
and celebrant's chair) should conform to General Statues of the
Roman Missal.
It should have special significance in the diocese.
St. Lawrence, with its unique dome, is the only church designed
and built by the renowned Rafael Guastavino; and is considered
the mother church of western North Carolina.
The seasons of the liturgical year should be
properly celebrated with frequent Masses, with sufficient ministers
and a choir to assist the faithful in sacred music and song.
Q: What are the responsibilities of a basilica?
Because of the relationship betweena Basilica
and the Holy Father, Basilicas have the responsibility to promote
the study of the documents of the Holy Father and the Holy See,
especially those concerning the Sacred Liturgy.
Also, certain days in the liturgical year are
to be celebrated with added solemnity. Among these days are: Feast
of the Chair of St. Peter (02/22), the Solemnity of Sts. Peter
and Paul (06/29) and the anniversary of the election or coronation
of the Supreme Pontiff.
Additionally, a Basilica has the responsibility
to promote the active participation of the Faithful in the Mass
and the Liturgy of the Hours, especially Morning and Evening Prayers.
Further, approved forms of other devotions should also be promoted.
Other responsibilities include the taking of
great care inthe preparation for and execution of the celebrations
of the Liturgical year, especially Advent, Christmas, Lent and
Paschal Time.
During Lent the Roman custom of Stations
should be observed according to local circumstancs (see Roman
Missal nn. 260-262 regarding Lent ceremonies).
Since liturgical activities, when sung, have
a greater nobility, care should be taken that the Faithful be
accustomed to sing, especially those parts found in the Ordinary
(Constitution-Sacrosanctum Concilum, n.54; Instruction-Musicam
Sacrum, March 5, 1967). The decree also directs that the Word
of God be faithfully preached in homilies and special sermons.
An outward sign and privilege that comes to
a Basilica is the honor and opportunity to display the Pontifical
seal. This is the seal of the Papacy and its dominant feature
is the crossed keys, which symbolize the keys to the kingdom which
are held by the Supreme Pontiff, the successor of St. Peter.
The Pontifical seal may be displayed on the
facade (exterior) of the Basilica of St. Lawrence, and in banners,
and may also be used in the seal of the Basilica and on stationary.
Q: What are the privilages of a basilica?
Basilicas have certain privileges such as the
granting of plenary indulgances to the faithful who come to the
Basilica to participate in the celebration of specific days. At
the Basilica of St. Lawrence those days are: 1. Anniversary of
the dedication of the Basilica (10/01); 2. Feast of St. lawrence
(08/10); 3. Solemnity of Sts. Peter and Paul (06/29); 4. Anniversary
of the date of granting the title of Basilica (04/06); 5. Once
a year on a daychosen by each individual; and 6. Election day.
EXTERIOR
The style, chosen by the architect, is Spanish
Renaissance. The central figure on the main facade is that of
St. Lawrence holding in one hand a palm frond and in the other
a gridiron, the instrument of his torture. On the left of St.
Lawrence is the statue of St. Stephen, the first martyr, and like
St. Lawrence, a deacon; while to the right is the statue of St.
Aloysius Gonzaga, a native of Spain as was St. Lawrence. The lunette
over the main entrance is in polychrome terra cotta and represents
Christ giving Peter the keys and appointing him head of the church.
Immediately below this lunette is a stained glass window displaying
the Basilica of St. Lawrence Coat of Arms.
The massive stone foundations and the solid
brick superstructure give silent testimony to the architect's
desire to build an eddifice that would endure for generations.
There are no beams of wood or steel in the entire structure; all
walls, floors, ceillings and pillars are of tile or other masonary
materials. The roof is tile with a copper covering.