Emmanuel Chapel Designed for Prayer 24 years ago

IWA 3rd graders praying in Emmanuel Chapel.

Corpus Christi Cathedral was designed by architect Charles Monot and built in 1940. At the time and for many years it was the only cathedral in the state, which was built as a cathedral, and so was the only one with its own crypt. At the time of the building's completion the crypt contained the remains of Bishops Ledvina and Garriga and was not open to the public.

During the administration of Bishop Rene H. Gracida plans were made to enlarge the space to create a chapel suitable for daily Masses. The project architect was parishioner James Rome, AIA who collaborated with nationally known artist Michael Tracey to create what is now known as Emmanuel Chapel. Rome has been honored for his work with historic properties across the state and Tracey is known for the strong religious character of his work, being both abstract and representational – that is without images. Msgr. Richard Shirley, serving as rector of the time, was also deeply involved in the project, working closely with both artist and architect. The completed chapel was dedicated by Bishop Gracida and opened to the public Nov. 21, 1985.

As the first guests entered the area they were aware of the vibrant color scheme and the large golden triptych, which is the altarpiece. Art professor and Jesuit priest, Terrence, Dempsey, SJ writing for the magazine Arts described the chapel: " A magnificent worship space of peace and tranquility. The colors of the natural wood and the rose carpeting reflect the warmth and richness of the southwest faith experience, and the dominant artwork of the room is a large imageless gold triptych reredos, which stands behind the altar. With its lobed central panel and its half-lobed side panels, this triptych literally seems to emulate the "orans" or praying gesture of the priest and to embrace both the altar and the worshipping community. It makes a living icon out of the total Eucharistic experience." (*see endnotes) Named "Retablo de la Paz Sagrada" (Retablo of Sacred Peace) the triptych's topmost line is replicated in the small gilded tabernacle and its color is repeated in the gold of the stylized processional crucifix in the sanctuary. To the simpler folk of the parish it is an artistic representation of God and eternity and it allows the worshiper to envision his own ideas of what it means. It can serve as an effective aid to contemplative prayer. (*see endnotes)

The chapel's wooden furnishings, altar, pews and railings and tables are done in a soft gray pickled finish. They were handmade in a workshop in San Ignacio, near Tracy's home. The muted color complements the palette of rich red and purple, which are reminiscent of the colors of episcopal vestments. The chapel is designed to focus on the triptych and therefore is devoid of statues, decorations or other furnishings save one ancient image of Our Lady of Guadalupe. (*see endnotes) The enlargement of the chapel included the installation of a small arcade of five columns and arches which tie the space architecturally to the nave of the Cathedral with its much larger arcade defined by six columns on each side.

The chapel's use as a crypt has included the interment of additional bishops over time: The remains of Bishop Thomas Drury who died in 1992 are now there along with the remains of the first bishop of the Diocese of Corpus Christi, Bishop Paul Nussbaum CP. Bishop Nussbaum died in 1935, his remains were transferred from Union City, New Jersey* and put into the crypt in the 1980's.

The chapel is a familiar place for parishioners of the Cathedral as it is the site of daily Mass at certain times of the year, the Blessed Sacrament is reserved there, the Sacrament of Reconciliation is offered in its single confessional and other devotional rituals are frequently held there for various parish groups. At other times it is simply a quiet place of prayer before the Lord, away from the busy and sometimes noisy world outside.

ENDNOTES:

*This ancient (18th century) image was purchased by Tracey in Mexico; it is framed in an unknown metal. The entire piece is enclosed in larger silver gilt and glass case with a deep rose colored background. Originally Tracy installed hundreds of dried red rose buds, which covered the lower portion of the case. These recalled the roses, which fell from Saint Juan Diego's tilma after the apparition. Roses are often shown with images of Our Lady of Guadalupe so the presentation was completely traditional, however, over time insects were able to get into the case and eat the organic rose buds. The damaged and unsightly material had to be removed and a decision was made not to try to replace it.

*Contemplative Prayer Space planned behind triptych. Artist and architect made special plans for a contemplative prayer space by using the large collection of relics at the Cathedral. A series of small cubicles are built into the back of the triptych. The relics were to be placed into each cubicle and then covered with an individual Lucite shield. A space was provided with a low bench for a person to sit and pray before the relics. The plan was never developed but could be considered if any refurbishing of the chapel is ever planned.

*Terence Dempsey is a Jesuit priest. He is founding director of the Museum of Contemporary Religious Art at St. Louis University, which opened in 1992. He is also professor of religion and art history at St. Louis University.