As I hopped on the St. Augustine’s Old Town Trolley to begin my tour of the city, I was excited for the frequent stops and to see many of the historic churches scattered throughout the city. Many of these churches were not open, however, being able to gaze upon the architecture of these sanctuaries was worth the ride.
Grace United Methodist Church, located on Carrera Street, looked a little familiar…not because I had been there before, but because it had the same appearance as the Ponce de Leon Hotel. Indeed, Henry Flagler built the church in 1887 in the Spanish Renaissance Revival style, using the same builders and architects of the historic hotel. The church was built to replace the wood-constructed Olivet Methodist Church, which stood on the site Flagler wanted for the up-coming Alcazar Hotel and it was donated to the people of the city. It is currently listed on the U.S. National Register of Historic Places.
A little further down the street, I found the Ancient City Baptist Church. Though not as ornate as Grace United, it offered a rather stately appearance on the corner of Carrera and Sevilla Streets. Dating back to 1887, the church was finally built in 1894, when Henry Flagler offered the charter members a parcel of land at no charge but with a few stipulations…the property could not be mortgaged, a bell could not be placed in the tower and the building had to be completed within two years. The Romanesque Revival church was completed after a year’s time and has served the community ever since.
Heading down a block south, I found a magnificent piece of architecture, the Memorial Presbyterian Church. Now, if I found Grace United to be familiar, I most certainly felt some deja vu when I stood in the front of this church. Florida’s first and oldest Presbyterian congregation, Memorial was established in June 1824, completed in 1890 and also designed in the Spanish Renaissance Revival style. What made it so familiar to me, however, was that I have a visited a famous church much like it…in Venice, Italy. Memorial Presbyterian Church was based on the Basilica of St. Mark and also built by the architects of the Ponce de Leon hotel by Henry Flagler. I would have loved to have seen its interior, but due to restrictions, it was not open at the time. I contented myself with a walk around the grounds, admiring each and every angle of this prestigious sanctuary.
As I finally made my way to Plaza de la Constitution, I came upon the petite Trinity Parish Episcopal Church. This church was also not open, but it made for a beautiful photo subject situated on the square on the corner of King and Saint George Streets. The church building was completed in 1831, is the oldest Protestant church in Florida and is known for having some of the oldest and most beautiful stained glass windows in the Episcopal Diocese of Florida.
At long last, I made my way across the plaza to the church that I most wanted to see, the Cathedral Basilica of St. Augustine. Thankfully arriving during its limited opening hours, I was able to inspect both the exterior the interior of Cathedral. Built in the Spanish Mission style (appropriating from St. Augustine’s inception) it is the oldest Catholic Church in the city and the seat of the Bishop of the Diocese of St. Augustine. First established in 1565, the church was built during the years of 1793 to 1797 and designated a U.S. National Historic Landmark. It is the oldest Christian congregation in the contiguous United States.
As I walked throughout the structure, I admired the burnt orange ceiling with its darkened wood trusses. Exquisite murals lined the walls depicting scenes from the history of the Catholic Church in the development of the New World and scenes from the life of Saint Augustine of Hippo. The stained glass windows were exquisite and allowed a filtering of light which highlighted the gold leafed statuary on the main altar and the orange and blue tile floor was extraordinary. One of the most unique cathedrals I have ever set foot in, I felt as though I should be in another country.
Hopping back on the Old Town Trolley, I finally set my sights on some of the other historical structures of the city.
Prayer time was over…
For more pictures, check out Facebook, Snapping the Globe and Instagram, @snappingtheglobe.
When I was a child, I remember my mother watching “The Song of Bernadette”.
The “Song of Bernadette” was about a young peasant girl, Bernadette Soubirous, who had visions of a beautiful woman in the city of Lourdes, France. Determined to be the Virgin Mary by the citizens of the town, she was later canonized as a saint by the Catholic church.
Though I have been to France many times, I always thought that it would be nice to visit Lourdes, one of the most important sites of pilgrimage in the world. Instead of the Grotto of Lourdes in France, however, I was able to visit a shrine which honors Our Lady of Lourdes, a little closer to home.
The National Shrine Grotto, located in Emmitsburg, Maryland, is a treasure that I had no idea existed until I was headed to Gettysburg. Passing Mount Saint Mary’s University on Highway 15, I noticed a glimmer on the mountain behind the school.
While scoping out the map for information on The Shrine of Saint Elizabeth Seton, I noticed the National Shrine Grotto on the map adjacent to the university. Deciding to check it out, I drove up the mountain road to the parking lot next to the St. Anthony’s Shrine Cemetery.
My anticipation was immediately appeased when I spotted what had caught my attention from the highway…the Pangborn Memorial Campanile, a 95 foot tower topped with a gold-leafed bronze statue of the Blessed Mother. Reflecting the dim light of the cloudy afternoon, it was breathtaking and I could only imagine what it would look like on a sunny day.
Making my way down the hill to the Dubois-Seton Garden, for a better view of the campanile, I made the circle from the Archbishop John Hughes cabin to the different statues and landmarks lining the walkway; the Celtic Cross, the Blessed Virgin Mary, the Sacred Heart, St. Joseph and the Child Jesus, Our Lady of Medjugorje, St. Vincent de Paul, Our Lady of La Vang and Monsignor Hugh Phillips.
Opposite the campanile, I reached the Chapel of St. Mary’s on the Hill or “The Glass Chapel” where mass is held daily at noon. Opening up my umbrella to shield me from the newly falling mist, I passed the St. Teresa of Calcutta Memorial Garden on the Seton Walkway enroute to Corpus Christi Lane. Assuming I was headed in the right direction to the grotto, I was not surprised to first find the Stations of the Cross set within the heavily forested pathway.
Stations of the Cross
Finding myself at a small fountain with a statue of Our Lady of the Esplanade in its center, I noticed the Chapel of Corpus Christi, built in 1905 on the site of the original grotto created by Father DuBois, just beyond. It is here that the Grotto mountain water springs forth and you are able to fill your own container. If you are lucky, you may find a grotto chaplain nearby to bless the water.
Passing the chapel, I finally came upon what I was in search of, the Grotto Cave. A replica of the Grotto of Lourdes in France, it was built by seminarians in 1875. There were enscribed pews lined in front of the grotto for prayer and reflection but because of the light rain, we found ourselves huddling under the nearby overhang while waiting for our turn to venture into the cave. Across from the cave is a statue of St. Bernadette Soubirous.
Taking a right, at the end of the lane I discovered the Calvary, Crucifixion Scene. The present crucifix replaced the old wooden cross erected by Father DuBois in 1815.
Making my way back down the mountain, I veered to the left at the fountain on to Rosary Lane. Instead of the stations of the cross, I discovered shrines to the fifteen mysteries of the rosary, Padre Pio, Our Lady of LaVang, St. John Paul II, St. Faustina, the Holy Family and others.
While it would have been nice to sit on one of the many benches and spend some time in silent contemplation, the rain was coming down harder and there was no cover along the pathway. Hoping to make it into the Richard and Mary Lee Miller Family Visitor’s Center, I discovered that, like many other things during this Covid crisis, it was closed.
The best discovery of the day, however, was that I didn’t have to travel all the way to France to pay homage to the Grotto of Lourdes. It had been nearby all along!
For more pictures check out Facebook, Snapping the Globe and Instagram, @snappingtheglobe.
As a Catholic school girl, it was de rigueur to learn about the many saints of my religion.
There are over 10,000 named saints and blessed people. Christians began honoring other Christians around 100 A.D. with many of the first saints being martyrs who had given up their lives during the persecution for their faith, a custom that was appropriated from the Jewish faith in which prophets and holy people were revered and honored with shrines.
While a schoolgirl, the most beloved saints, and the ones I remembered most, hailed from other countries; Saint Francis of Assisi (Italy), Saint Patrick (Ireland), Saint Anthony of Padua (Italy), Saint Christopher (Canaan), Saint Patrick (Ireland), Saint Theresa of Avila (Spain), Saint Bernadette (France). In 1975, just after I began third grade, I remember my teacher, Sister Mary Cecilia, giving us some important information. The first American-born saint had been canonized…Saint Elizabeth Seton.
I don’t remember learning much more about her at the time…learning to duplicate Sister Cecilia’s neat cursive handwriting seemed much more crucial.
Years later, during a visit to Gettysburg, Pennsylvania, a familiar name popped up on the map in the nearby town of Emmitsburg, Maryland…that of Elizabeth Seton.
The fact that a shrine to this American saint was located in a very small town in Maryland was quite puzzling as I knew that she was a New York native. Gettysburg had been my main destination on this trip, but once I learned of this shrine, it was a place that I simply had to visit and the mystery as to how St. Elizabeth Seton ended up here would be solved.
An arresting film in the museum presented St. Elizabeth Seton’s life in a brief twelve minutes.
Elizabeth Ann Bayley was born in New York City on August 28, 1774 in the Episcopal faith. Married at the age of nineteen to William Magee Seton, she had five children. During a trip to Italy with her husband, she was moved by the deep faith of those who practiced Catholicism. Before their return home, however, William passed away from tuberculosis, leaving her a widow. Seeking consolation and the desire to experience the deep faith that she had witnessed in Italy, Elizabeth decided to convert to Catholicism two years later, despite criticism from friends and family,
Portraits of the Seton Family, Mother Seton, top right
Working as a teacher for a short time, in order to support herself and her children, she was approached by a visiting priest, the Abbe Louis William Valentine Dubourg, a member of the French émigré community of Sulpician Fathers and then president of St. Mary’s College of Baltimore Maryland. Abbe Dubourg extended an invitation for Elizabeth to move to Emmitsburg and establish the Saint Joseph’s Academy and Free School, dedicated to the education of Catholic girls on land bestowed by Samuel Sutherland Cooper, a wealthy convert and seminarian at the newly established Mount Saint Mary’s University.
On July 31, 1809, Elizabeth Seton established the first congregation of religious sisters to be founded in the United States, which was dedicated to the care of the children of the poor. With the initiation of Sisters of Charity of St. Joseph’s, Elizabeth adopted the title of “Mother Seton”. Mother Seton, along with the sisters, worked tirelessly until her death on January 4, 1821, at the age of 46.
Touring the museum, I learned a great deal about Elizabeth Seton’s remarkable life from illustrations, anecdotes, 19th century artifacts and letters written by the saint. The 40 Years A Saint exhibit detailed how she became a saint and highlighted the event on September 14, 1975, when Pope Paul VI proclaimed her a saint.
“Elizabeth Ann Seton is a saint. St. Elizabeth Ann Seton is an American. All of us say this with special joy, and with the intention of honoring the land and the nation from which she sprang forth as the first flower in the calendar of the saints. Elizabeth Ann Seton was wholly American! Rejoice for your glorious daughter. Be proud of her. And know how to preserve her fruitful heritage.” –Pope Paul VI
This exhibit’s focal point is the actual banner which hung in St. Peter’s Square on the day of her canonization.
Moving on to the basilica located upstairs from the museum, I was extremely moved by the the artistic beauty of the building. Originally designed as a chapel for the sisters of the Daughters of Charity, upon her beatification it was decided that it would serve as her National Shrine. Completed in 1965, the main feature is the altar for Saint Elizabeth. Here, in the Altar of Relics, is where Saint Elizabeth Seton’s remains are entombed in a copper casket enclosed in marble and topped with a statue of the saint, sculpted in Italy and depicting Mother Seton dressed in the habit that she and the Sisters of Charity wore beginning in 1809.
Altar of Relics
Stepping out of the basilica into the beautiful sunny afternoon, a day fit for visiting a saint, I ventured through the well manicured lawn to the Stone House, one of the first homes that Elizabeth Seton lived in when she first arrived in Emmitsburg. The home, which had been expanded over the years to accommodate the growing number of sisters, is usually available for self-guided tours. Due to the Covid restrictions, however, this and none of the other buildings throughout the premises were open. There was an audio recording that I was able to play and listen to while I peered into the windows at the period furnishings that still decorate the structure.
Moving through the gardens, I made my way over to the White House, the first house of the Sisters of Charity. Originally called “St. Joseph’s House” for Elizabeth Seton’s high regard of the saint, it is fully furnished with items that include those in existence for nearly 200 years and includes a schoolroom, much like the one Saint Elizabeth taught in, and a small chapel. Again, the interior was not open to visitors, but a recording was available at the back door.
The cemetery was a short walk away. As Mother Seton, her sister-in-law, Harriet, and other sisters walked through the woods searching for a cemetery site, the story has been passed on that Harriet threw an apple core against an old oak and declared it to be her final resting spot. Sadly, it was where they laid Harriet to rest only four months later.
Surrounded by a high wall set with bronze stations of the cross, the cemetery is the final resting place of many graves of Sisters and Daughters of Charity. As I walked toward the center, I discovered the Mortuary Chapel. Built by Elizabeth’s son, William to honor his mother, her remains laid in rest here for only a short while. In 1846, they were transferred to the chapel’s vault and later exhumed for her beatification. As I saw earlier, they rest in the basilica.
Mortuary ChapelFormer Resting Spot of Mother SetonStations of the Cross
My visit to the National Shrine of Saint Elizabeth Seton had come to an end. So much information was imparted on me that I felt like once again, I was at St. Joseph’s School in Sister Cecelia’s religion class. Thinking that I was going to only learn about Gettysburg and the ghosts of Civil War past, I discovered so much more about the first American saint.
Check out Facebook, Snapping the Globe and Instagram, @snappingtheglobe for more pictures.
Address: 339 South Seton Avenue, Emmitsburg, Maryland 21727-9297
Hours: Visitor’s Center, Museum, Gift Shop, Monday-Saturday, 1000-1700 and Sunday, 1200-1700. Basilica, Monday-Sunday, 1000-1700.
Mass Schedule: Sunday-Friday, 1330. Confession and Adoration, Monday-Friday, prior to Mass from 1215-1315.
Admission: free
Getting There: The shrine is located along US 15, about 10 miles south of Gettysburg and within a one to two-hour drive of major metropolitan areas, like Frederick and Baltimore, MD, Washington, DC, and Harrisburg, PA.
Churches, cathedrals and basilicas are a dime a dozen in Rome.
Most are beautiful. Some, not so much. Aside from these two differences, what sets many of them apart?
As I was walking down Corso Vittorio Emanuele II, it was getting dark and I had plans to meet a friend for dinner still some distance away. As I glanced at the building I was passing, I noticed that it was the Basilica of Andrea della Valle.
It would have to be a quick visit, but I was willing to walk back to my hotel a little faster or risk being a bit late for dinner with my friend, just to take a quick peak at this basilica.
The Basilica of Andrea della Valle’s origins date back to the Theatines, a religious order founded in the 1524. In 1582, the order was bestowed a palace and a small church with the obligation of building a large church dedicated to St. Andrew, the patron saint of Amalfi. The construction of this church was begun in 1590 and it was the desire of Cardinal Alessandro Peretti for the basilica to have the second largest dome in the city, behind St. Peter’s Basilica.
As the decoration of the basilica was undertaken, the decision of which artist would ornament the grand dome was a difficult one. Two artists were selected due to the inability of the Cardinal and the Pope to choose one over the other, with Dominichino assigned to the apse half dome and Giovanni Lanfranco to the main dome. The beautiful frescoes on the apse half dome leading to the main dome are what stopped me in my tracks when I entered the church. This is what truly sets this church apart from others.
There are exquisite chapels on each side of the basilica with works of art by important sculptors and painters, some, the pupils of masters, Bernini and Michelangelo. In fact, the Strozzi Chapel was probably designed by Michelangelo, although executed by Leone Strozzi. There are many Cardinals buried within these chapels as well as the bishop of Carcassone, France, Annibale Rucellai. The church also houses the tombs and cenotaphs of Popes Pius II and Pius III, the tomb of Giovanni della Casa, author of Il Galateo and the tomb of the martyr Saint Fortunatus in the Chapel of the Madonna della Purita.
It is important to check out the antique wooden crucifix in the Chapel of the Crucifix and the thirty-six stop pipe organ housed in the gallery. Built in 1845, it is still in use and can often be heard on weekday afternoons, when its organist practices.
And that was it.
As quickly as I came, I went.
Was worth being late for dinner? Absolutely!
For more pictures, check out Facebook, Snapping the Globe and Instagram, @snappingtheglobe.
There are approximately sixty-five churches in Charleston’s downtown area and as I stood at my hotel window, so many majestic steeples and spires dotted the landscape, I almost lost count!
I was intrigued! I always seek out churches in Europe, but I was curious to see what these churches, some very historic, would offer. As I stood before the window, I decided that this would be my mission that day. I would try to see and photograph as many of these historic places of worship as I could!
The French Huguenot Church was first on my list, not only because it was in the area that I was headed, but I was captivated by pictures I had seen. Dating back to 1845, this was the third church to stand on the site and it is the only remaining independent Huguenot Church in America. Although I didn’t get the opportunity to venture inside, I was able to admire its Gothic styled windows, buttresses and decorative details.
Just down the street, I was drawn to St. Philip’s Episcopal Church, one of the most photographed landmarks in Charleston. In 1681, a small wooden building on the site of the current St. Michael’s Episcopal church, housed the congregation until a new church was built on this location in the 1700’s. This church, however, was destroyed by fire in 1835. The current church was completed in 1838 and it’s lofty steeple added a decade later. Again, neither the church nor its graveyard were open as I strolled by, but it should be noted that there are many prominent people buried in this location, including several colonial Governors, five Episcopal bishops and a former United States Vice President.
The Circular Church was organized in 1681 by English Congregationalists, Scots Presbyterians and French Huguenots who were seeking religious freedom. Located on Meeting Street, it was their first church, known as the White Meeting House, that gave the street its name. The second structure was completed in 1806 until it was damaged by the Great Charleston Fire in 1861 and then completely demolished by the Charleston earthquake of 1886. The current circular Romanesque church was completed in 1892, using material from the previous structure. Though, once again, the church was not open to visitors, the graveyard offered some interesting grave sites and tombstones, one dating back to 1695.
So, I was batting zero as far as seeing interiors of these significant sanctuaries and my average didn’t get any better as I arrived at the Cathedral of Saint John the Baptist. Out front, a sign was posted stating that the interior was closed while it was receiving a fresh coat of paint! Standing outside, I had to imagine what its notable stained glass windows looked like from the inside while gazing up at the relatively new spire. The cathedral dates back to its completion in 1854, only to see its destruction by the Great Charleston Fire in seven years later. The current construction was completed in 1907, with it spire added 103 years later. Disappointed that I was unable to see the interior of the cathedral, I was invited into the basement chapel by the church’s secretary, for a small respite from the unseasonably warm temperatures.
A little further down the block, I found St. Michael’s, and finally, a church that was open! Built between 1752 and 1761, St. Michael’s Episcopal Church is one of the oldest churches in Charleston, surviving hurricanes, wars, fires and earthquakes. It has hosted some very famous guests including George Washington in 1791 and Robert E. Lee in 1861. As I wandered through the historic structure, I noted the beautiful stained glass window in the apse, a brass chandelier, carved wooden pulpit, cedar box-pews, the three-sided second story gallery and its grand organ.
Despite my disappointment in my mission with most churches being closed, this beautiful church restored my vigor!
Heading in the opposite direction, I made my way over to the Emanuel African Methodist Episcopal Church, often referred to as Mother Emanuel. A Gothic Revival style church built in 1891, it is the oldest African Methodist Episcopal (AME) church in the south. Though I was unaware at the time, I discovered later that this was the church that was the site of a mass shooting in 2015 when a man entered the church and opened fire on a Bible study group.
The Second Presbyterian Church was located a couple of blocks away on Wragg Square. Founded in 1809, the church is listed on the National Register of Historic Places. Designed in the Classic Revival style, the brick building features two tiers of windows, a square tower with an octagonal belfry and a Tuscan portico.
Moving on, I spied the New Tabernacle Fourth Baptist Church down the street. After later spotting photographs of this Gothic Revival’s interior, I do wish I could have taken a look inside as it appeared to be quite lovely. This church dates back to 1875 and is the fourth church of the Baptist denomination to be founded in Charleston.
On King Street, named for King Charles II and known for its outstanding shopping, I found St. Matthew’s Lutheran Church. Built in 1872, its 297-foot steeple once made it the tallest building in South Carolina. Today, it is the tallest spire and one that I had seen from my hotel window. After only being able to see most of the churches that I had sought out only from the outside, I was thrilled to find St. Matthew’s open to visitors. The caretaker gave me a detailed history of the church, including the fire that destroyed much of the interior and the steeple, which crashed into King Street. Its original features include the carved pulpit and the stained glass windows in the apse and under the balcony.
Citadel Square Baptist, established in 1854, was the fourth Baptist church built in Charleston and is named after the church’s location across from Marion Square, the location of the Citadel at the time. It makes a beautiful site from the square with its flaxen hued exterior and lanky spire.
Redeemer Presbyterian Church is a relatively new church, started in 2005 on James Island. After deciding to relocate to the downtown area, this church assumed ownership of St. Andrew’s Lutheran Church, which dates back to 1853. Again, it was not open to the public, but I thought that it was a stately building created in the classical Greek revival style.
The last church I came upon was St. Johannes Lutheran Church. To be quite frank, it looked so much like the previous one. Listed on the National Register of Historic Places, however, this church was established in 1842 by a constituency of 52 Lutherans who wanted to retain the German language in their services. In fact, German was spoken until 1910. I understand that the interior is quite beautiful, so I will have to do further investigation to find when the church might be open to visitors.
As the afternoon was coming to a close, I did a quick count…twelve churches. Wow! But wait, how many are there in the downtown area?
I read somewhere that there are over 400 places of worship of different denominations throughout the city. If this is the case, it truly is a Holy City.
For more pictures, check out Facebook, Snapping the Globe and Instagram, @snappingtheglobe.
No discriminating religious institution visitor here!
Churches, temples, synagogues, mosques, chapels, basilicas, monasteries, convents…you name it! They are all on my visitation list when exploring a new city.
When we set out for our day in Mumbai, I had a loose plan. I knew that if we encountered any temples or churches, I would want to visit, however, I didn’t have any particular one in mind.
“Abdul…can we visit a temple?” (as our day came to a close…)
Abdul navigated his way through the streets of Mumbai and before long, we pulled over to the side of the street. He showed us the entrance to the Jain Temple Mumbai (also known as the Babu Amichand Panalal Adishwarji Jain Temple) and told us that he would park further down the street and wait for us.
Not sure what was in store for us, we cautiously entered the front gates and were immediately confronted with the rules of the temple. Some were incredibly interesting!
When I began to glance at the temple and its surroundings, I was extremely excited to explore it further. The temple is very interesting in that the entire premises is covered by a high roof that allows light to enter and which I also assume protects the decorated temple from the elements. The Jain Temple Mumbai is a place of religious significance and was built more than a century ago in 1904. The shrine is dedicated to Adishwara, the founder of Jainism and is the largest of the Jain temples in the city.
Ditching my sandals, I approached the temple and was stunned by its unique architecture and beauty. I was awed at the two stone elephants that greeted me at the stairway and the ornate archways and pillars that lured me further inside. Admittedly, I was a bit apprehensive about stepping inside and taking photos, but no one seemed to pay me any attention as they went about their business.
As I made my way throughout the temple, I discovered colorful sculptures and columns decorated with multi-hued and intricately carved flowers, marble floors and detailed paintings. As I glanced upward, I marveled at an amazing domed ceiling bedecked with symbols of the zodiac.
There were many worshipers, each paying their respects to the twenty-four tirthankaras and idols that could be found in the small alcoves. What I found most interesting, however, was a statue that a group of women were painstakingly changing. There were metal pieces, sort of like a coat of armor, that they were switching out to give the statue a different look. Was this Adishwara? Sadly, I never discovered the answer.
At the time, I didn’t know much about this religion, however, I later learned from Abdul, that the Jains are peace loving people who maintain their principles and avoid violence, most not even willing to kill an insect. They take great pride in and contribute greatly to the maintenance of their temples.
Having been to many different temples in throughout the world, I knew that I would see something different here in Mumbai. How ornate and elaborate it was, however, was a surprise to me and I loved the unique elegance of this place. It was no surprise to learn that this particular temple is renowned among the Jains for its unsurpassed beauty. Also, my visit left me wondering how I never knew this religion to exist. I am a well traveled person and am familiar with many religions and cultures yet, this one escaped me. Nonetheless, I was extremely grateful to be allowed to visit and learn something new and valuable.
Thank you Abdul!
For more pictures, check out Facebook, Snapping the Globe and Instagram, @snappingtheglobe.
Chandabala Jain Temple
Address: 41 Walkeshwar Ridge Road, Malabar Hill, Mumbai
You’ve never heard of it? It is the basilica that plays second fiddle to Leonardo da Vinci’s masterpiece which resides in the adjacent refectory!
Most people do not trek across Milan in search of this church. They duck inside before or after the visits to the Last Supper or visit as a consolation when they cannot get tickets to lay their eyes on the famous painting.
I am here to tell you, however, even if you can’t secure tickets to the Last Supper, a visit to Santa Maria delle Grazie, next door, is a must. Years ago, when I was practically laughed out of the ticket office when I inquired about last minute tickets, I consoled myself with a visit to the basilica. Now considered a UNESCO World Heritage Site, it was constructed under the orders of the Duke of Milan Francesco I Sforza and completed in 1469. While the basilica contains some amazing treasures, it is the notorious painting, housed in the refectory of the adjacent convent that attracts thousands of visitors each year. Though the Last Supper is the main attraction, it is not to say that the church itself should be overlooked.
Taking decades to complete, the church was originally designed to serve as the burial site of the Sforza family, however Ludovico Sforza’s wife, Beatrice was the only member buried in the church in 1497.
Since I arrived extremely early for my visit to the Last Supper, I decided to take another look around the basilica I had visited so many years ago. As I entered the structure, I vividly remembered its beauty and all that it has to explore, however, the chapels on each side of the church are the definitely the highlights. Upon completion of the church, the most powerful families who were granted patronage of the chapels to bury their loved ones, then decorated each chapel with the artistry of the period’s masters and each is magnificent and unique.
The Chapel Atellani’s prominence is an altar-piece of the Virgin Mary with Child, St. Vincent Marty and St. Vincent Ferrer by Cariolano Malagavazzo dating back to 1595. The frescoes from the 17th century were painted by the Fiamminghini brothers and detail the the miracles by St. Vincent Ferrer and his martyrdom.
The Chapel of St. John the Baptist displays an ornate candelabra, an ancient organ and an altar-piece of St. John the Baptist admonishing a devotee painted by Marco d’Oggiono. The frescoes on the walls and ceiling were painted by Ottavio Semini in the 16th century.
The Chapel of St. Joseph’s altarpiece was completed by Tiziano’s disciple, Paris Bordon and highlights the Holy Family with St. Catherine of Alexandria.
The Chapel of St. Peter Martyr contains frescoes by Giambattista Lucini of St. Ludovico Beltran and St. Paul. The altarpiece is entitled The Martyrdom of St. Peter of Verona.
The Chapel of Conti (forrmerly Simonetta) offers an entrance gate of bronze, dating back to 1669, which was formerly the railing of the high altar until 1935. The altarpiece is a marble monument of the Virgin Mary received into Heaven and Eve at her feet, sculpted by Arrigo Minerbi in 1941. On the sides of the chapel are centographs of Senator Ettore Conti and his wife, Gianna Casati, by Francesco Wildt. Conti was the illustrious benefactor who ensured that Santa Maria delle Grazie was restored and rebuilt after World War II’s bombings damaged the church.
The Chapel of St. Dominic’s magnificent altarpiece is of St. Dominic, holding the rosary, receiving the book and the stick of the evangelic preaching from the Apostles Peter and Paul, by Carlo Pontion. Its walls contain fragments of the glory of the Dominican Saints by Francesco Malcotto that were originally in the apse of the choir.
The Chapel of St. Pius V contains tombstones of Branda Castiglioni (1495), Luigi Arcimboldi (1496) and Cecilia Magenta (1585). There are fragments of frescoes by Montorfano and the altarpiece of Pope Pius V is by an unknown artist.
The Chapel of St. Catherine contains a bronze Crucifix on the altar designed by Ecce Homo, earthenware on the altar table, six bronze tablets with episodes of the life of St. Catherine of Siena, and a (now walled-up) reliquary where the mantle of the Sienese saint is preserved. There are paintings in the lunettes of St. Catherine of Alexandria and St. Catherine of Siena and an altarpiece of the Virgin Mary of Child and St. John the Baptist and St. Peter Martyr, by Nicolo of Cremona.
The Chapel Della Torre highlights a painting of the Virgin Mary adoring the infant Jesus with St. Ambrose, St. Lucy and the offerer’s family. If you glance upward, you will notice an example of the original decoration of the XV century.
The Chapel of Marliani (or The Angels Chapel) depicts an altar piece of St. Michael defeating Satan which dates back to 1560 and there are nine angelic choirs on the vault by an unknown painter.
The Chapel of St. Martin de Porres has four cenotaphs from the XVI century on the walls and an altar piece of St. Martin in Ecstasy by Silvio Consadori.
Chapel Sauli’s main focus is the Crucifixion by Giovanni demio of Schio. On the walls there are elegant angels created by earthenware covered in stucco, that carry the instruments of the Passion. If you look closely, there is evidence remaining of the bombardment from World War II.
Finally, St. Crown’s Chapel offers the Deposition from the Cross by Caravaggio dating back to 1616. Its original masterpiece, The Crowning of Thorns Coronation by Tiziano was stolen in 1797 but was recovered and now housed in the Louvre. The vaults and walls display frescoes with scenes from the Passion.
After making my rounds of the illustrious chapels, I made my way through the remainder of the church, admiring the decorated vaults and domes of the nave and the apse.
The two-level choir of the friars for the holy liturgy has thirty-three Carthusian-styled seats on the lower level and forty-two on the upper level decorated with figures of angels and saints in the Lombard style. The modern organ is lowered in the middle of the floor. The choirs of Italy’s churches are always a favorite of mine with their elaborate carvings and I am always able to imagine the beautiful sounds that must emanate from this area.
The outside of Santa Maria delle Grazie is also not to be missed! Make sure to not miss the family crests that decorate the outside of the church.
Though Santa Maria delle Grazie is consistently outshined by the Last Supper which is housed in its refectory, every visitor to Milan should make their way to its location and give it the respect it deserves!
For more pictures, check out Facebook, Snapping the Globe and Instagram, @snappingtheglobe.
Standing high on a cliff above the Tejo estuary, Cristo Rei, Portugal’s answer to Rio’s Christ Statue, beseeches visitors to wend across the Tagus River, to scrutinize its enormity.
As I walked along the waterfront on one of my trips to Lisbon, I glanced across the waterway to the statue, wondering just how big it actually was?
A couple of summers ago, I visited Rio’s iconic statue and marveled at its size as I stood at its base. I had also visited the more modest Christ Cristo Blanco statue in Cuzco a few months later and the Virgin Statue in Quito. Does Cristo Rei measure up to Christ the Redeemer, its inspiration?
While traveling with a friend, who hails from Rio de Janeiro, we debated this topic. As a proud Brazilian, she truly believes that no other Christ statue equals the size of the one that tops Corcovado mountain in Rio. After googling a few dimensions, we were surprised to find that although the actual statue of Christ the Redeemer outshines Cristo Rei by 2 meters, their pedestal heights are remarkably different with the latter statue’s overtaking the former’s by 76 meters.
But looking at them both from afar, why does the one in Lisbon seem smaller than the one in Rio?
With Christ the Redeemer’s location so high on the mountain and Cristo Rei’s location on a hill far across the Tagus River, the disparity of their bearings definitely add to the mystery of how large each actually appear to be.
We decided that we would visit Cristo Rei, stand beneath the statue and see if our perception of the two was the same.
Travel to the statue is not complicated and can be reached by car, traveling across the 25 de Abril Bridge, by train through the station in Pragal and by ferry over the Tagus River, through the port of Cacilhas in Almada. In the interest of time, we decided to take Uber to the ferry port and enjoy the river crossing in the bright, sunny afternoon. Once we reached the opposite shore, we jumped on the bus which deposited us at the gates of the Sanctuary a few minutes later.
Cacilhas port lighthouse
Bus stop outside of ferry terminal, Cacilhas port
Cristo Rei, inaugurated on May 17, 1959, was erected to express gratitude to God for the country being spared the effects of World War II. Taking almost ten years to complete, the statue and has attracted thousands of visitors. Over the years, additions have been made to the grounds, including the Chapel of Our Lady of Peace and a Sanctuary with a rectory, chapel, administration and meeting halls and exhibition galleries.
As we walked through the parking premises, we made our way to the statue’s base and to the entrance facing the river. Paying our admittance, we joined the line waiting for a spot in the elevator which would take us to the viewing platform at the foot of the statue.
Exiting the elevator and climbing the stairway adjacent to the gift shop, we stepped out into the sunshine and glanced upwards.
There it was…Cristo Rei…all ninety-two feet of him!
Making our way around the top of the base, we craned our neck to get a better look at the statue designed by sculptor Francisco Franco de Sousa. Like Christ the Redeemer, the figure of Christ’s arms are extended, facing the city of Lisbon, as if to embrace the city. Standing beneath the statue, we both agreed that our impression of the statues, while in their immediate presence was similar. Even my Brazilian friend was astonished at how large this statue actually was and so similar to Christ the Redeemer!
Remaining for some time, we enjoyed the fascinating views of the city all around us while standing in the shadow of the dominant icon, faced by the bronze Ten Commandments.
Finally, we decided to see all of the other areas that the sanctuary had to offer.
Making our way down within the four arches of the pedestal (oriented in the directions of the compass rose), we visited the Chapel of Our Lady of Peace and the Pope John XXIII Hall, containing eight oil paintings created by João de Sousa Araújo. An old high cross from the Sanctuary of Christ the King is also located in the hall. The Chapel of the Confidants of the Heart of Jesus displays valuable reliquaries of Saint Margaret Mary Alacoque, Saint John Eudes, Saint Faustina Kowalska and Blessed Mary of the Divine Heart Droste zu Vischering.
Exiting the pedestal, we made our way around the structure, admiring the statues of the apostles and other pieces of religious art on the premises, including stations of the cross. Here, it is also possible to admire the sweeping views of the city across the river and access to the grounds is free if unable to gain entry into the pedestal.
So, which statue did my Brazilian friend think was more impressive? Christ the Redeemer, of course! It is one of the symbols of her country and I wouldn’t expect her to choose anything but. If you ask me? It would be close, as I was impressed by both. Christ the Redeemer, however, having always been on my bucket list and located so high above the city, I think it ekes out the win!
If anyone is visiting Lisbon and looking for an afternoon of adventure, I would definitely recommend making the short journey to Cristo Rei…one of the city’s treasures!
For more pictures, check out Facebook, Snapping the Globe and Instagram, @snappingtheglobe.
Getting There: Take the commuter ferry from Cais do Sodre Station across the river to Cacilhas, from where there are buses (#101) outside the station that stop at the monument. Ferry ticket price, €1.30. Bus ticket, €1.50 purchased from driver.
Well, that was me, who basically slept through the earthquake the night before.
I was well rested and ready for our first big day in Antigua…my son, not so much! The earthquake rattled him in more ways than one!
Enjoying a delicious breakfast at our hotel, we then grabbed the necessities and headed out into Antigua’s streets ready to discover everything else there was about this beautiful city.
Our first destination was Cerro de la Cruz (Cross on the Hill). The proprietor of our hotel had shown us pictures and insisted we visit in the morning when the crowds are not as plentiful and the skies are usually clear.
Heading to the other side of town and the road that leads to the overlook, I decided that it would be fun (and less tiresome) to hire a tuk-tuk to take us up the steep drive. Though the tuk-tuk sometimes strained under the precipitous road conditions, we soon pulled into the parking area. Although the driver wanted to wait for us, we sent him on his way as we had already decided to make the hike down after our visit.
The hill provides sweeping views of the city and the magnificent volcano towering over it. In 1930, the famous cross, devoted to the city’s patron saint, was installed on the hill, first created from wood, then later, converted to stone. It is a place where most tourists come to enjoy the views and see the city’s famous landmarks, from above, that they have seen from eye-level. With the city’s grid pattern, it is easy to spot the central Plaza Mayor and make your way around, spotting the Iglesia Merced, the Santa Catalina Arch and many other of Antigua’s monuments amongst the red tiled roofs.
There were a great many vendors selling drinks, snacks and handcrafted items. It was a given that I had to try the shaved ice, something I have loved since I was a child. This one, however, was a bit different from any I have had in the past. After adding the ice to the cup, instead of the usual syrup-y juice usually used, a thick fruit juice was poured in with actual fruit. She then added condensed milk (my fave!) to top it all off! So delicious! It was such a treat to enjoy this local favorite while enjoying the amazing view!
Soon, we decided to hit the trail. Winding downward through the forest, we made our way back down to 1A Avenida. It was startling to see random ruins shadowing everyday life…even a basketball court where teenagers practiced their techniques.
Continuing on our way, we passed colorful buildings, fruit merchants, building decorated for Holy Week, places of business, different modes of transportation and interesting doorways leading to beautiful courtyards. Yes, I was a bit of a voyeur, always peeking in!
Arriving at the gate of the Santuario San Francisco el Grande, we found a hub of activity. Locals selling fruits and nuts lined the wall outside the compound and many vendors filled tents along the inner wall selling candles, handicrafts, clothing and other woven items. Food vendors filled the courtyard and the delicious aroma of typical Guatemalan food filled the air.
Making our way toward the front of the church, it was difficult not to be impressed with its impressive facade. Twisted columns made their way up to the top of the church and carved niches were filled with statues of saints and friars, including the Virgin Mary, San Diego de Alcalá, San Antonio de Padua, San Juan Capistrano, Santa Clara, Santiago, and Santa Isabel from Hungary. The bell and clock towers from the 17th and 19th centuries still remain on the left side of the building, but the right side still exhibits extensive damage from past earthquakes, lending to its mystique.
Since it was Holy Week, many locals entered with us to pray and pay their respects to Santo Hermano Pedro, whose shrine is located within the church. Inside the main part of the church, we found an amazing sight…a long, brightly colored carpet lined with fruits and vegetables, headed by a display depicting a cross-carrying Christ. Unlike anything we had ever seen, we jostled with the crowds to gain a better view of this spectacle.
We learned later that this church is held in very high regard within the city and is used as the starting point of the Calle los Pasos (Steps Street) which holds the Station of the Cross. At three o’clock on Fridays during Lent, with men participating, the statue of Jesus Nazareno is carried on their shoulders from Santuario San Francisco el Grande, stopping at each of the stations and traveling one thousand three hundred and twenty-two steps…exactly the amount Jesus traveled from the praetorian palace to the mount of El Calvario. Women make the same trek on Thursdays during Lent at five o’clock and penance and mass is celebrated after both rituals.
Making our way to the side of the church, we found the tomb of Santo Hermano Pedro (Brother Peter) or Peter of Saint Joseph Betancur, a missionary of Spanish origin who resided in Guatemala. He was beatified in 1980, canonized in 2002 and enshrined at the church. Known as the St. Francis of Assisi of the Americas, he was the founder of the Order of Our Lady of Bethlehem and devoted his life to visiting hospitals, jails and assisting the unemployed and the young. In 1658, he established a hospital for the poor and later a shelter for the poor, a school of the poor, an oratory and an inn for priests. Many miracles have been attributed to Santo Hermano Pedro and a large number of devoted were spied praying to his tomb asking for intercessions.
Walking out of the church, we made our way through the gardens, admiring the shrines, statues, fountains and murals that adorn the area.
Before departing this fascinating religious site, we just stood on the steps for a while and took a look over the entire area. Evident that Holy Week plays such an important part in the lives, the Guatemalans were in a festive spirit and it was a great moment to enjoy their traditional clothing and positive energy.
Heading toward the center of town, we finally went to inspect the Santa Catalina Arch during the daytime hours. Just down the street from La Fonda, where we had dined the night before, we had seen it from afar, lighted as it is during the darkened hours. Today, we wanted to see it lit by the sun. Truly spectacular both ways, it is evident by the throngs of tourists that come here during their visits to take their picture in front of or under the bright yellow span.
One of the most photographed landmarks in the city, it was built in the 17th century and connected the Santa Catalina convent to a school, allowing the cloistered nuns to pass from one building to the other out of public view. During the 1830’s, its beautiful, colonial-era, clock was added to the top, giving it the look that we see today.
Once our photographs were completed, we headed down Avenida Norte, through the arch to our next point of interest, Iglesia de La Merced.
As we approached the beautiful, yellow and white church, we made our way through the festive booths set up for Holy Week, with offerings much like we had seen at Santuario San Francisco el Grande.
Unlike Santuario San Francisco el Grande, however, Iglesia de La Merced appears to be unaffected by earthquakes and has a fascinating architectural history.
When the Mercedarians set out to establish the first convent for men in Ciudad Vieja, their plans were short lived. The convent was wiped out before the construction was complete when a mudslide from the nearby Agua Volcano wiped out the city. The city was relocated to what is now known as Antigua and permission was granted in 1541 for a second church to be built. Forty two years later, the church was finally completed, only to be destroyed by earthquakes. In 1749, architect Juan de Dios Estrada, studied the design failures of the previous architects and set out to adapt traditional baroque designs to survive the instability of the region. Lowering the ceilings, adding thick walls and thicker buttresses made this third church more earthquake resistant and despite the massive earthquake of 1773 (and subsequent earthquakes), the church has remained standing, mostly unaffected.
The facade, flanked by two bell towers, was captivating with its unique stucco work with its Moorish influenced arabesque patterns. Images of the Blessed Virgin Mary of Mercy and other prominent Mercedarians such as St. Pedro Armengol, St. Maria de Cervello and St. Raymundo Nonnatus reside in niches between the elaborately decorated columns and at the top of the church, Pedro Nolasco, the founder of the Order of the Blessed Virgin Mary of Mercy keeps watch on the square below.
At the time of our arrival, the church was not open to visitors and there was much hubbub on the premises as both children and adults entered the convent area, readying themselves for the evening’s Holy Week processions. The convent was open for visitation, however, and we decided that we should not miss out.
Paying our admission, we entered the remains of the convent, making our way to the center where the a large fountain can be admired from both the lower and upper levels. The fountain was designed in the shape of a water lily, a traditional symbol of power for the Mayan people and is said to be the largest in Hispanic America. It is believed that the Mercedarian monks used this fountain to raise fish to supplement their diet.
As we made our way around the courtyard, we took note of the children dressed in the Sunday finest, taking pictures, obviously excited for the upcoming festivities. All around the courtyard, the components of the procession could be spied, ready and waiting for the events to begin.
Making our way up to the top part of the convent, we were amazed at the incredible 360 degree views. All of the nearby volcanoes could be spied, as well as closer views of the bell towers and the city surrounding the church.
Heading eastward from La Merced, our next destination was Santa Teresa de Jesus, a church and convent built between 1677 and 1678 by architect José de Porres for the Discalced Carmelite nuns. As with many of the other religious sites in Antigua, the earthquake of 1717, caused considerable damage to the structure and the earthquake of 1773 resulted in the domes of the convent to collapse.
The Renaissance-styled facade of the church faces Calle Oriente, however, the entrance to the convent, is located around the corner on Alameda Santa Rosa.
A small-scale fountain filled the main courtyard and there were small rooms exhibiting models of the church and convent as it once was and stone carvings rescued from the ruined structures. What we found interesting, when we headed upstairs, however, was that in the United States, if a building was in this condition and had no guard railings and open walls and windows, the building would be considered condemned. Here, you are welcomed in and allowed to walk around at your leisure, inspecting every corner and space. Thankful for this, we took complete advantage and enjoyed our explorations of the convent, discovering that after the destruction from the earthquake, it was abandoned and then occupied by poor families, used as a wine distillery, a place to dry coffee beans and then used as a jail from the 1940’s until 2007.
As the day was coming to a close, we walked by the Mercado de Artesanias El Carmen. The market is adjacent to the old church ruins of El Carmen. Though the ravaged church is not open to visitors, we were able to duck into the market and purchase a few souvenirs.
The last landmark on our itinerary for the day was the Iglesia y Convento de Capuchinas (Church and Convent of the Capuchins), one of the most visited sites in Antigua.
Las Capuchinas, as it is simply known by the locals, is also the nickname of the founding religious order. After the arrival of the Clarissine nuns in Guatemala, they were given approval for construction of the complex from King Phillip V in 1725 with the commencement in 1731. A short five years later, the structure, built in the Renaissance style by architect Diego de Porres, was completed and was the last women’s convent founded in the city.
Today, the convent operates as a tourist attraction and often, a popular wedding venue. As we walked through the main courtyard, we noticed a young girl, bedecked in a flowing gown, awaiting the beginning of her quinceanera, being held on the premises. Those fans of actors Dulé Hill and Jazmyn Symon, might also recognize the convent as the setting of their wedding in May of 2018.
We especially enjoyed the grounds of Las Capuchinas. Though the convent was considered small by comparison to others in the city, with only twenty-five nuns in residence, because of the lavish grounds, I felt as though it was quite larger than the other places we had visited.
The church was accessible to visitors and amazingly still had its roof in place. Though there was not much decoration remaining, it was an amazing space and easy to imagine what it must have looked like during its prime.
Heading to the rear of the complex, we ventured into a circular underground room which historians have speculated was used by the nuns to either store food, practice their singing or pray while walking in circles. A tour guide was present with her clients and we watched as they were instructed to stand on either side of the room and whisper to the wall. Incredibly, the other, so far away, could hear their words! Of course, we had to try!
A circular building at the rear of the property, set among the lavish greenery also caught our attention. Though its purpose was not clear, some have argued that it was designed for spiritual retreats or possibly acted as a chamber for carrying out penance. Other theories advise that it may have been an asylum for older nuns suffering from dementia or even a water storage facility. Within the small archways of this building, there are a couple of displays (complete with mannequin nuns) showing what the nun’s cells might have looked like.
Finally, we made our way back to the main courtyard and climbed to the upper level, looking down on the small fountain which was brought from the former Santa Ines church. The upper level was filled with colorful flowers and had the most serene feeling. No wonder so many choose to exchange their vows here!
As the sun dipped lower in the sky, down past the peaks of the nearby volcanoes, it was time to call it a day. We had seen so many astounding architectural monuments and there was still even more to explore.
More religious processions.
More landmarks.
More Guatemalan delicacies.
Much more Antigua!
Holy Week Procession on Night 2
For more pictures, check out Facebook, Snapping the Globe and Instagram, @snappingtheglobe.
Cerro De La Cruz
Address: Antigua Guatemala, Guatemala
Hours: 0800-1800, daily
Admission: free
Getting There: Take 1A Avenida and follow it North. At the base of the inclining hill, you will find the beginning of the hiking trail, marked by a sign welcoming you to Cerro de la Cruz. To your left will be a set of concrete stairs leading into the forest. This is the path that will lead you to the overlook. You can also hire a tuk-tuk for a couple of dollars.
As a young, Catholic girl in Louisiana, I attended Catholic school.
In my white shirt and pleated, dark navy skirt, I happily attended school every day, eager to learn not only the rudimentary lessons but the religious ones as well.
Though many of my teachers were non-clerical, I did have the privilege to be taught by a handful of nuns over the years. Sisters Martial, Cecilia, Fatima, Roland and David.
These nuns resided in the nearby convent and we always loved going there to help with projects and pray in the chapel. It was such a feeling of peace and a peek into a completely different way of life.
While traipsing around the French Quarter, I happened upon the Ursaline Convent and Museum. Disappointed to find that it had just closed for the day, I turned away eager to return as soon as possible. The next day, I was back, bright and early, to tour the oldest building in the Mississippi Valley that acted as home, orphanage and school for the Ursaline Nuns.
After LaSalle’s discovery of the mouth of the Mississippi, Father Nicolas Ignace de Beaubois (with the help of Governor Bienville) sought out the assistance of the Ursaline nuns to travel to France’s first settlement in the lower Mississippi Valley.
There was a great need for ministering at the poorly run hospital and also for the education of the young girls of the colony.
The nuns arrived in 1727 and the convent built for them was completed in 1734. After the city’s first Eucharistic procession, the nuns accompanied by notables and citizens, they moved into their new home which faced the river. The convent served as home and the center of operations for the hospital and school until the new convent on Chartres Street was completed in 1752.
This new convent, built slightly before the city’s grand Cathedral, was constructed in the French Colonial style. It has been described as “the finest surviving example of French Colonial public architecture in the country” by the National Parks Service.
It was this two-story white plastered brick building that I gazed upon as I entered through the old stone walls. But what set off this beautifully simple building was the green maze of a garden that lay before it. Stopping for a moment, I admired the old bell and the cast iron cross in the courtyard which was a gift of the city of Rouen, France to commemorate the arrival of the nuns.
Making my way between the hedges, I headed inside to see what I might find. Admiring the beautiful stained glass above the double doorway, I stepped into the foyer, taking in the wooden stairway, golden statue of Madonna and Child and a tall, wooden clock. This clock, I learned, was constructed from elements brought by the Ursalines in 1727. When the nuns were asked to establish a convent in Galveston, Texas in the 19th century, the community gifted it to them upon their departure. As a devastating hurricane swept through southern Texas in 1900, it took the lives of nine nuns, ninety students and thousands of residents. The clock survived, however, and was returned to New Orleans in the first decade of the 20th century.
The Ursaline Room was adjacent to the foyer and was originally the orphan’s dining room. Facing the river, these young residents could look out at the dark, fast moving Mississippi and realize that another life awaited them once they aged out of the orphanage. This room is now empty, save for a large statue and a handmade chasuble dating back to the 18th century. The original cypress ceiling beams are visible overhead.
It was here that I also learned of the Sweetheart statue. The small plastered statue was found in a convent attic in France by Sister Felicite. Despaired to see it so carelessly cast aside, she prayed for an immediate departure to the new French colony and was granted her leave almost immediately with the statue in tow. In 1788, this statue was placed by one of the nuns in the window of the convent as fire raged through New Orleans. The approaching fire was suddenly blown back by the wind and died out, keeping the convent safe. This statue has since then been credited with many astonishing miracles.
Making my way through what appeared to be a small sanctuary, I found myself inside St. Mary’s Church. This church was built in 1845 and served as the bishop’s chapel, the place of worship for the bishops and archbishops of New Orleans when they were in residence at the convent. It was the third chapel built on the site and it was interesting to learn that a bell tower that once stood at the location was destroyed by the 1914 hurricane.
The church was quiet and I made my way through admiring the beautiful altar, framed by angel and cherub statues. There were many other statues in church and the stations of the cross were distributed between the tall stained glass windows. It wasn’t until later during my tour, after talking with one of the staff that I learned that only one side of the church’s windows were authentic stained glass…the other side painted. I immediately went back to the church to seek out the window where it was discovered that it was not stained when cleaning and part of the bottom of the scene was rubbed off.
St. Mary’s Church Exterior
Exiting the chapel, I headed into the far side of the convent, where you can see some of the small cells where the nuns resided. One of these small rooms is currently being used as an administrative office and the others have been enlarged to house exhibitions. The most current being The Church In The Crescent: Three Hundred Years of Catholicism in New Orleans. This exhibit highlights the history of the city and the elegant St. Louis Cathedral. Emerging from a small wooden church to the present day construction, its story is displayed for visitors to examine in the form of photographs, portraits, letters and artifacts. Although I had already visited the Cathedral, after the watching the documentary available for visitors, there was so much explained about the interior of the building that I almost wanted to go back and take another look!
Finally, I headed outside to the space that is now being used for wedding receptions. Once a wedding has been finalized in the chapel, the bride, groom and guests can head out to the tented area at the rear of the convent for the reception.
Beyond the tented area, however, is what caught my attention…a grotto containing the Madonna and child and the life-sized statues of priests and nuns praying. Each statue’s expression was unique, but one of utter reverence. Absolutely breathtaking!
As a Catholic, I truly enjoyed my visit as it stirred up fond memories of my childhood, however, anyone interested in the rich history of the city and its architecture would truly be enthralled with this amazing museum. Pray your way there!
Check out Facebook, Snapping the Globe and Instagram, @snappingtheglobe for more pictures.
