Three Holy Companions Chapel

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Dedicated on the Feast of the Jesuit Saints & Blessed November 5, 2008

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The Marquette University High School Three Holy Companions Chapel is dedicated to St. Ignatius Loyola, St. Francis Xavier and Blessed Peter Faber.

University colleagues, these three holy men would become the nucleus of the Society of Jesus, just as the chapel serves as the core of the Marquette High community. Spiritually, St. Ignatius, St. Francis and Blessed Peter, “each desired that the Lord of the vineyard use him in his service for his greater glory.” 1 Stimulated by their academic environment and bolstered by the bonds of camaraderie, the Three Holy Companions fulfilled God’s calling through mission, vision and prayer—

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the same values we strive to instill in our young men at Marquette High.

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Peter Hans-Kolvenbach, the former General of the Society of Jesus at the beginning of the Jubilee Year celebrating the Three Companions

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n the tradition of Jesuit churches, the physical structure of the Marquette High Chapel guides the worshipers on their journey through the process of self-examination. “A pilgrimage of discovery potentially leading to salvation…gradually unfolds as one moves through the church.” 2

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The very nature of the Liturgy and the arrangement of the chapel, emphasize our partaking of the “foretaste of the heavenly Liturgy which is celebrated in the Holy City of Jerusalem toward which we journey as pilgrims.” 3 To facilitate this pilgrim journey to interior knowledge, various pathways lead one to continuously call to mind, and meditate on the Paschal Mystery of Christ. “Using the Spiritual Exercises as a model…the journey toward the Heavenly City is laid out in the chapel,” 4 reminding us of our commitment to Christ and his church and of our journey with one another toward the heavenly banquet.

The Mystical Pilgrimage E n t r a n ce

The main entrance to the chapel—visually and symbolically—is a threshold between our daily lives and our journey toward the Heavenly City; from the current moment toward new beginnings. Through these doors we enter the place where heaven and earth meet. Before entering the chapel we see a bronze medallion on the floor bearing the inscriptions “Ad Majorem Dei Gloriam,” a reminder for young men to work for the Greater

Glory of God, the mission of the Society of Jesus, and as we exit “Ite Inflammate Omnia,” or “Go out and enflame all,” taken from the Mass of St. Ignatius.

A isles

Each aisle of the chapel is dedicated to one of the Three Holy Companions, who symbolically guide us to the altar “for the Praise, Reverence and Service”5 of God. Each aisle is marked with an eight-sided inlaid bronze tile of the seal of the Society of Jesus,

Gauvin Alexander Bailey, Between Renaissance and Baroque: Jesuit Art in Rome, 1565-1610 Constitution on the Sacred Liturgy #8 4 Gauvin Alexander Bailey, Between Renaissance and Baroque: Jesuit Art in Rome, 1565-1610 5 Spiritual Exercises, #23 2 3

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There is a time capsule behind the date stone

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The chapel will seat 350

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This is the fourth chapel since we moved to 35th and Wisconsin

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along with the signature of the companion to whom the aisle is dedicated. Each aisle also corresponds to one of the three large stained-glass windows which are also dedicated to each of the respective Three Holy Companions.

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St. Ignatius Loyola The center aisle, dedicated to St. Ignatius Loyola, leads to the Emmaus Window. The main theme of this window scene is the Eucharistic Liturgy with Jesus being recognized in the breaking of the bread. The emphasis rests on the Resurrection with Jesus depicted as the Risen Lord appearing to his disciples.

“While he was with them at the table, he took bread, said the blessing, broke it and gave it to them. With that their eyes were opened and they recognized him, but he vanished from their sight” (Luke 24:13-35). This window has the figure of the Risen Christ at its center, the wound on his wrist can be seen as he breaks bread with the Three Holy Companions. The Three Companions have each received a piece of the bread as they recognize their Risen Lord.

This is to represent the Ignatian method of “composition of place” ...so that the viewer/worshiper may, as the Three Companions have, draw nearer to God through visual imagination.

“When a contemplation or meditation is about something that can be gazed on, for example, the contemplation of Christ, our Lord, who is visible, the composition consists of seeing in the imagination the physical place where that which I want to contemplate is taking 6

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place.” The arch around the figure of Christ symbolizes the door or passageway to eternal life that he opened for us through his sacrifice, and it is only through him that we may enter the Kingdom of Heaven. Here the entire universe is centered in Christ, forming the aura around and through him.

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The cross radiates from the figure of Christ and changes from colors of the Resurrection around him to the fading colors of his Passion at the tips of the cross arms. The foot of the cross bisects the radiant orb with the Jesuit symbol, half within the cross half within St. Ignatius —this represents how Christ touches and inspires all Jesuits, also reminding us of both his divinity and humanity.

Flanking St. Ignatius Loyola is St. Francis Xavier on the right holding a pilgrim cross, representing his many travels, and Blessed Peter

Faber on the left. Because Blessed Peter has yet to be named a saint he does not appear with a full halo but the aura of the candle of wisdom and learning illuminates his presence in this window. Blessed Peter holds an open book which represents that he, according to St. Ignatius, was the most effective director of the Spiritual Exercises. The five images of young students in the foreground represents the past, present and future disciples. To illustrate the moment when Christ vanished in front of the disciples after blessing and sharing bread with them, his hair is shown as colorless.

This window illustrates that through contemplation we can place ourselves in the presence of Christ, the Risen Lord.

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IHS window

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Opposite the great Emmaus window, just above the shrine of the Three Holy Companions, is the IHS Window. This window is retained from the previous chapel and depicts the Seal of the Society of Jesus. The seal depicted here is an early version uncovered on a wall in the original rooms of St. Ignatius in Rome. In the center are the three Greek letters “IHS,” which are the first three letters of the name “Jesus.” Around the perimeter is the Latin phrase: “and His name was called Jesus” (Luke 2:21).

This seal is a prominent part of any Jesuit church and was an inspiration for the design and order of this chapel.

M a r ia n Wi n d o w

Blessed Peter Faber The Marian Window is associated with the east aisle of the chapel dedicated to Blessed Peter Faber.

This scene emphasizing Ignatian contemplation depicts Jesus visiting Mary, his mother, after the Resurrection. Although this powerful scene does not appear in the Scriptures, it does figure in the Fourth Week of the Spiritual Exercises (“Jesus appeared to the Virgin Mary”7) and is therefore appropriate here. Mary’s contemplation of her Son shall serve as a model for us all. An icon of the Church, Mary stands in awe as she sees her risen Son, as we, too, shall stand at the Eucharist.

Mary’s symbol of the lily is of multifaceted meaning—the three buds represent the Trinity that through her, the Father gave us his only Son. It also symbolizes the three days she waited from Crucifixion to Resurrection. The

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crescent moon symbolizes that she, the Immaculate Conception, reflects the light of the Son of God. The Chi Rho cross emerges from the crown of thorns, subtly suggesting that this is postCrucifixion.

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St. Francis Xavier The Incarnation Window is associated with the west aisle of the chapel dedicated to St. Francis Xavier. This scene depicts the Holy Trinity surveying the world and their subsequent decision to send the Son to save the human race.

“Here it is how the Three Persons gazed on the whole surface or circuit of the world, full of

people; and how, seeing that they were all going down into hell, they decided in their eternity that the Second Person would become a human being, in order to save the human race.”8 This sending of the Son is central to the missionary thrust of the Society of Jesus and of the Church. The window is fittingly associated with St. Francis Xavier, best known for his missionary zeal. Light from the trefoil symbol of the Trinity emanates down upon the world where a sea of humanity receives the gifts of the Trinity, most importantly the gift of the Son, the Savior of the human race.

The three stars remind us of the three distinct persons of the Trinity while the trefoil denotes that they are one divine nature.

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The life-giving water of the font reminds us of our baptismal , commitment to Christ and our belief in the Resurrection which has been promised to us in Christ.

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of the chapel, the ambulatory emphasizes the importance of the Word to the Three Holy Companions and its significance in our own lives.

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Just inside the main doors, the stone-hewn Font is situated at the entrance to the ambulatory, the first pathway of the Chapel.

The life-giving water of the font reminds us of our baptismal commitment to Christ and our belief in the Resurrection which has been promised to us in Christ. The font is fashioned out of four sections of Italian marble representing the four corners of the Earth. Around the base of the font, an inlaid tile octagon represents the “eighth day,” the day of resurrection and fullness.

Scriptural citations of the Resurrection of Jesus found in all four Gospels—Matthew 28: 1-10, Mark 16: 1-7, Luke 24: 1-12, John 20: 1-9—are inscribed in bronze plaques around the water of the font. In keeping

with the Catholic tradition of placing an image of the Four Evangelists, we have a scripture passage from each of their accounts of the resurrection as a reminder that the Gospel of Christ serves as our model as we make our pilgrim journey. These Gospel references will tie in to the Stations of the Cross, and in particular, to the “XV Station,” the Resurrection.

Also located here is the Paschal Candle representing that the risen Christ is in our midst. The stand is designed to complement the other candle stands at the altar. Each is based upon the octagon which appears throughout the chapel while the Dedication Candles reflect the Processional Cross and Crucifix.

P r o cessi o n al C r o ss

The Processional Cross is a fundamental symbol of our journey toward the Kingdom of God. As acknowledgement that we are led by the Cross of Christ, this cross is used at the commencement of liturgical processions and for the Way of the Cross. The design of this cross reflects that of the Crucifix.

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The font is fashioned out of four sections of Italian marble representing the four corners of the earth.

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of the chapel, also the center aisle dedicated to St. Ignatius, intersects the ambulatory at its mid-point. Here the pilgrim makes a conscious choice to face Christ and proceed to the altar.

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At this intersection, on the back wall of the chapel is the Emmaus Ambulatory Shrine. Depicted in bronze we see the Three Companions, St. Ignatius Loyola, St. Francis Xavier and Blessed Peter Faber, guided by Jesus, represented as the radiating sun that begins to form the outline of the seal of the Society of Jesus.

The painted mural in the background depicts the University

of Paris and the Wisconsin Avenue façade of Marquette University High School. Jesus and the Holy Companions are on their journey toward the Heavenly City. This multimedia depiction is inspired by the scriptural passage “Were our hearts not burning within us while He spoke with us on the way and opened the scriptures to us?” (Luke 24:32)

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Excerpt taken from the Sacramentary for Celebrations Proper to the Society of Jesus

by Martin D. O’Keefe, SJ T

St. Ignatius

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P r iest , Religi o us , F o u n d e r o f the S o ciety o f J esus

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Ignatius was born at Loyola (Spain) in 1491 and died in Rome on this day in 1556. A nobleman trained in diplomacy and in the use of

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arms, he was wounded in battle against French forces at Pamplona in 1521. His long convalescence was a time of deep conversion,

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which led him to follow in the footsteps of Christ. Experiencing great spiritual and mystical graces in Manresa, Ignatius began to write

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the Spiritual Exercises. After a pilgrimage to the Holy Land and studies in Spain and in Paris, where he gathered his first companions,

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he was ordained in 1537. In 1540 the group founded the Society of Jesus in Rome and elected Ignatius its first superior general. He was

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canonized by Gregory XV in 1622. Ignatius is remembered for his loyalty to the Church and its renewal in the sixteenth century,

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his promotion of missionary activity, ministry to the marginal, concern for education, and dedication “to the greater glory of God.”

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Blessed Peter Faber P r iest , Religi o us

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Peter was born at Villaret in Savoy in 1506, and in his youth he shepherded his father’s flocks.

In 1525 he went to study in Paris, where he became Saint Ignatius’s first recruit. He was ordained in July of 1534 and celebrated the Mass on Montmartre on August 15, 1534, at which he and the companions took vows to observe poverty and to go to the Holy Land.

In 1537, unable to set sail from Venice because of impending war, Peter went to Rome with Ignatius. Paul III appointed him to teach

Scripture at Rome’s university and then sent him to Germany to attend Catholic-Protestant religious dialogues. He also visited Spain and Portugal and was the first to make the Society known in those countries. He was named papal theologian at the Council of Trent, but died on August 1, 1546 while visiting Ignatius in Rome on his way to Trent. He was beatified by Pius IX in 1872. Peter is remembered for his travels through Europe promoting Catholic renewal and his great skill in directing the Spiritual Exercises.

St. Francis Xavier P r iest , Religi o us

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Born in 1506 in Navarre (Spain) of a noble family, Francis died on this day in 1552 off the coast of China. While studying in Paris, he met St. Ignatius of Loyola and became one of his first companions. He was ordained in 1537 and was sent as a missionary to Goa (India) in 1541. He was the Society’s first foreign missionary. For ten years he traveled extensively, preaching the Gospel and converting many, from India through southeast Asia and even to Japan. He died within reach of China, on the island of Sancian, while trying to arrange passage to the mainland. He was canonized by Gregory XV in 1622. Francis is remembered for his tireless efforts in proclaiming the Gospel in foreign lands and for his witness to poverty.

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Rec o n ciliati o n C H apel

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At the farthest end of the ambulatory is the Reconciliation Chapel. The window inside this space depicts another pathway of discovery, or rediscovery, through reconciliation and draws on three questions found in the Spiritual Exercises.9 At the base of the window, the path is divided in two. The path on the right in purple and earth tones is the past representing “What have I done for Christ?”

The path on the left begins in soft amber gold and gets more intense as it nears the image of Christ on the cross, representing the present “What am I doing for Christ?” The third path that begins at the bottom of the cross and winds around the crucified figure of Christ is the future, representing “What I ought to do for Christ?” The image of Christ on the cross allows us to “imagine Him

present here” as the Spiritual Exercises suggest. The paths that wind around and through the crucifix image remind us that only through Him can we receive the life eternal that he gave us by dying for our sins. The door to the Reconciliation Chapel echoes the design of the chapel’s main doors.

The serene interior of the Reconciliation Chapel allows the penitent to find the presence of a God who desires our reconciliation with Him. The room allows for face-to-face and anonymous reconciliation.

The serene interior of the Reconciliation Chapel allows the penitent to find the presence of a God who desires our reconciliation with Him.

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The Sanctuary the A lta r

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The Altar is fashioned of wood and stone, suggesting both feast and sacrifice. “At the Eucharist, the liturgical assembly celebrates the ritual sacrificial meal that recalls and makes present Christ’s life, death and resurrection proclaiming ‘the death of the Lord until he comes’.”10 The altar “reflect(s) the nobility, strength and simplicity of the One it represents.”11 The design of the altar, a “natural focal point,”12 complements the architectural elements of the chapel. Its ancient square shape represents the four corners of the earth to which the Church and the Three Holy Companions brought Christ. Beneath the altar is the ossuary crowned with a finial fashioned after the Jesuit seal, containing the relics of St. Ignatius and St. Francis.

The floor underneath features an octagonal tile inlay like that surrounding the font, visually tying the two chapel areas together.

The Ambo bears symbols of the Four Evangelists. The book of Revelation describes four winged creatures who are seated with the lamb and receive the book from the one seated on the throne (Revelation 4:2-11). St. Matthew is depicted as a man, because this gospel begins with the genealogy of Jesus and emphasizes his human birth. St. Mark is depicted as a lion, because this gospel begins with the words “The voice that cries in the desert…” (Mark 1:35) suggesting the roar of a lion that represents the Resurrection of Christ. St. Luke is depicted as an ox, because this gospel describes Zachary in the temple as a priest, who offers the ritual sacrifice of oxen and therefore represents the sacrificial death of Christ.

St. John is depicted as an eagle, because this gospel writer is the great contemplator of the Word of God, the one who sweeps us up into the heights as an eagle with our eyes fixed on the divine.

National Conference of Catholic Bishops, Built of Living Stones; Art, Architecture, and Worship, #56 National Conference of Catholic Bishops, Built of Living Stones; Art, Architecture, and Worship, #57 12 National Conference of Catholic Bishops, Built of Living Stones; Art, Architecture, and Worship, #57 10 11

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c r ucifix

Above the sanctuary is the Crucifix from Marquette High’s St. Ignatius Chapel, predecessor to the Three Holy Companions Chapel, and it is surrounded by an aura of the sun, referencing the Jesuit seal found throughout the chapel. The cross upon which the corpus hangs is from the original 1925 Marquette High chapel. The corpus is a copy of an Art Deco work

by Jean Rambert Rucki. A similar corpus has been in the Wisconsin Province novitiate for many decades. The crucifix reminds us of St. Ignatius’ vision at La Storta where he saw God the Father place him with Christ carrying His cross.

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The worshiper is reminded of the self-examination encouraged in the first week of the Spiritual Exercises. Imagining Christ our Lord present and placed on the Cross, let me make a Colloquy, how from Creator He is come to making Himself man, and from life eternal is come to temporal death, and so to die for my sins.

Likewise, looking at myself, what I have done for Christ, what I am doing for Christ, what I ought to do for Christ.13

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Within the apse behind the altar is the place of Eucharistic Reservation. Open to the sanctuary and the nave, all are invited to pray before the Blessed Sacrament. The tabernacle light is located here; continuously burning it serves as a reminder that Christ’s presence is reserved within the tabernacle. The tabernacle and lamp are from Marquette High’s first chapel and have been restored and incorporated in the overall design. The stained-glass windows here depict the conversion of grapes to wine and then to the Blood of Christ and of wheat to bread and then to the Body of Christ.

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“ Whether celebrated by a community or by individuals, the Stations of the Cross offer a way for the faithful to enter more fully into the Passion and Death of the Lord and to serve as another manifestation of the pilgrim Church on its homeward journey.�

Devotional Spaces

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of the chapel is designed for personal prayer and meditation and includes the Stations of the Cross.

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Two shrines are found on this pathway to honor Christ, the Blessed Virgin Mary, and the saints, all fundamental components in the tradition of the Catholic Church.

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The East Shrine bears an image of Mary. “While Mary is the mother of Jesus, she is also the icon of the Church, a disciple of the Lord, a liberated and liberating woman. She is the Immaculate Conception, patroness of the United States.”14 As Milwaukee Archbishop Timothy M. Dolan has noted, “The rich tradition of dedicating a shrine to Our Lady is laudably retained.” The representation chosen for the chapel is that of “Madonna della Strada,” or “Our Lady of the Way.” The image is modeled after the icon acquired

by St. Ignatius for Gesú Church in Rome—the “Mother Church” of the Society of Jesus—and is still housed there. This icon

was cleaned and restored to its original state during the Jubilee Year of the Three Companions in 2006. d y n amic space

The West Shrine is a dynamic space that changes with the seasons. With complementary design and ambient lighting, this shrine is the companion space to the Marian Shrine on the east side of the chapel.

The Stations of the Cross are cast in bronze and inlaid in the floor in the shape of a hexagon representing the “sixth day,” the day of Christ’s passion and death. Each Station depicts a cross echoing the design of the chapel’s main cross, the corresponding Roman numeral and scriptural passage surrounded by the crown of thorns.

The Stations may be prayed by individuals or as a community, in which case, the Processional Cross is used to mark progress through the Stations. “Whether celebrated by a community or by individuals, the Stations of the Cross offer a way for the faithful to enter more fully into the Passion and Death of the Lord and to serve as another manifestation of the pilgrim Church on its homeward journey.”15 Pope John Paul II created and prayed this version of the scriptural stations.

I. Jesus in the Garden of Gethsemane, M atthew 2 5 : 3 6 - 4 1 II. Jesus, Betrayed by Judas, is Arrested, M ar k 1 4 : 4 3 - 4 6 III. Jesus is Condemned by the Sanhedrin, L u k e 2 2 : 6 6 - 7 1 IV. Jesus is Denied by Peter, M atthew 2 6 : 6 9 - 7 5 V. Jesus is Judged by Pilate, M ar k 1 5 : 1 - 5 , 1 5 VI. Jesus is Scourged and Crowned with Thorns, J ohn 1 9 : 1 - 3 VII. Jesus Bears the Cross, J ohn 1 9 : 6 , 1 5 - 1 7 VIII. Jesus is Helped by Simon the Cyrenian to Carry the Cross, M ar k 1 5 : 2 1 IX. Jesus Meets the Women of Jerusalem, L u k e 2 3 : 2 7 - 3 1 X. Jesus is Crucified, L u k e 2 3 : 3 3 - 3 4 XI. Jesus Promises His Kingdom to the Good Thief, L u k e 2 3 : 3 9 - 4 3 XII. Jesus Speaks to His Mother and the Disciple, J ohn 1 9 : 2 5 - 2 7 XIII. Jesus Dies on the Cross, L u k e 2 3 : 4 4 - 4 6 XIV. Jesus is Placed in the Tomb, M atthew 2 7 : 5 7 - 6 0 14 National Conference of Catholic Bishops, XV. Jesus is Risen from the Dead, M atthew 2 8 : 1 - 1 0 , M ar k 1 6 : 1 - 7, L u k e 2 4 : 1 - 1 2 , J ohn 2 0 : 1 - 9

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Acknowledgements CHAPEL DESIGN

Rev. Rick Abert, SJ Rev. John Belmonte, SJ Rev. Tom Doyle, SJ Paul Fleisch ’94 Patricia Latsch Phyllis Logan Rev. Tom Manahan, SJ Adrienne Polacci Jane Powers Dan Quesnell ’93 Sue Sajdak Rev. Warren Sazama, SJ ’64 Russ Snopek Dan Stemper LITURGICAL DESIGN C ON S U L T A N T

Joseph P. Wittmann, MTS A r tis T s

ARCHITECT

C A M PA I G N

Eppstein Uhen Architects

STEERING

Greg Uhen President

Campaign Chair Patrick Dunphy ’69

Mark Lewandowski Senior Project Manager

Honorary Chairs: Jerry O’Rourke ’55 John Stollenwerk ’58 Karen Yontz

Eric Dufek Design Architect Jeremy Hackbart Project Assistant Bob Morris Project Assistant Rebecca Twohig Architectural Intern Gary Woodward Senior Project Architect Bruce Marne Studio Director

Inspired Artisans Ltd. Milwaukee, Wisconsin

C ON S T R U C T I ON

Lynchburg Stained Glass Lynchburg, Virginia

John Foster Director — Education & Community Business Unit

Riverworks Design Studio Milwaukee, Wisconsin

CG Schmidt

Advanced Gift Chairs: Jim and Mary Hughes David Krill ’60 John ’76 and Chris McDermott Mary Ellen Stanek Tim ’73 and Lynn Steinle Terry Wakefield ’67 Mission Endowment Chair Dick Basham Alumni Chair John McNally ’63 Alumni Parent Chairs Tom and Lisa Bolger Parent Chairs John and Norma Herbers President Rev. Warren Sazama, SJ ’64

Doug Franecki Senior Estimator

Principal Rev. John Belmonte, SJ, Ph.D.

G RO U ND S

Dan Duerrwaechter Assistant Project Manager

Director of Development John Thimmesch ’77, CRFE

Mark Wimmer ’73 Chair

Steve Benitez Superintendent

P ublicati o n

Dave Ahler ’73 David J. Frank Doug Harder Jim Hartman Dan Ledvina Paul Megal ’84 Dan Quesnell ’93 Grant Reginato ’78 Rev. Warren Sazama, SJ ’64 Jim Schlater Russ Snopek Dan Stemper

Ellyne Schlatterer Administrative Assistant

The Fox Company Printing

Theresa Miresse Project Accountant

Pat Goetzinger Photography

BUILDINGS &

Dan Quesnell ’93 Editor Kristen Scheuing Proofreader Susie Weber Graphic Design

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ince 1857, Marquette University High School has been dedicated to forming young men in the spirit and tradition of St. Ignatius of Loyola. This means more than just giving young men an eduation that includes reading, writing and arithmetic…it means forming the “whole person”.

For over 150 years, the Marquette University High School faculty, both Jesuit and lay, have faithfully dedicated themselves to educating young men in the school’s Mission.

The “Continue the Mission” capital campaign has enabled Marquette University High School to maintain its integrity and remain true to its history as a Catholic, Jesuit institution founded upon the teaching of St. Ignatius of Loyola. Three Holy Companions Chapel was constructed as a representative landmark of our Mission.

We would like to thank those benefactors who came forward to help us “Continue the Mission.” Each gift was given for the Greater Glory of God and helps us prepare students who “Go out and enflame all.”

Marquette University High School

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3401 West wisconsin avenue

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milwaukee, wi

53208

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414-933-7220