CSF December 2022: Stained Glass

“This day is born to you a Savior who is Christ the Lord.” (Lk 2:11)

BY MARY POWERS

Assistant Director of Communications and Media Relations. Office of Communications, Archdiocese of San Francisco

Ten years after the devastating 1906 earthquake, San Francisco hosted the 1915 Panama-Pacific International Exposition celebrating the newly rebuilt city. Constructing a “city within a city” by filling in part of the bay to create the Marina District, the exposition lasted from February to December 1915. The organizers constructed buildings covered in jewels and highlighted the latest inventions, including the first transcontinental telephone call. Daredevil pilots flew the skies and the occasion even included a visit by the Liberty Bell, sent across the country to celebrate the completion of the Panama Canal. Today, the Palace of Fi ne Arts stands as a reminder of the magnificent event.

In the midst of a city in celebration, a church only blocks from the exposition expanded their Mass hours to accommodate the international crowds. St. Vincent de Paul, originally established by Archbishop Patrick Riordan in 1902 with pastor Father Martin Ryan, had recently completed its church structure at the corner of Green and Steiner Streets, in what is known as “Cow Hollow.” Dedicated Oct. 26, 1913, St. Vincent de Paul Catholic Church served a diverse community, which at times over the years included the military members stationed at the Presidio. Over time, the parish expanded to include a school run by the Daughters of Charity (sent from St. Louis, Missouri) with a convent andgym. In 1944, pastor Father James Long wrote to the Archdiocesan Building Commission to request approval for new stained-glass windows for thechurch. “The present amber glass allows a flood of light to penetrate thebuilding making it garish at times,” said Father Long. “There is practically nocolor in the building.” Today, Father Long’s vision for the windows is ondisplay — full of color, illuminating events in the Old and New Testaments andhonoring the patron saint of the church. The artist chosen for the project was Carl Huneke of Century Stained Glass Studio in San Francisco. Huneke, a native of Germany, hadrecently worked with Charles Connick Studios of Boston on installing thewindows at Grace Cathedral in San Francisco and designed the windows of St.Mary’s Church (now Cathedral of the Annunciation) in Stockton. According toresearch conducted by Father John Ring for his history of the parish, Huneketold a reporter in 1953 that it was his love of color that drew him to stainedglass, “No other craft deals in light as brilliant or as elemental. … It mayseem hard and laborious work to you, but if you love it, as I do, the harderthe task is, the better you like it.” Within the central transept of the church lies the story of the Incarnation mirrored by the sacrifice on Calvary. The series of Incarnation windows include Old Testament prophesies of the Messiah and their parallel New Testament stories. Forexample, the lowest scenes of the windows (reading left to right) depict thepromise from God in Genesis, “I will put enmity between thee and the woman, andthy seed and her seed.” The Annunciation follows with, “The Holy who shall beborn of thee shall be called the Son of God.” Next is the Adoration of the Magiin the third set of windows, “They found the child and His mother, and fallingdown they adored Him.” In the center, one finds the pastoral scene from Bethlehem. Over the Nativity sits God the Father surrounded by angels with the Holy Spirithovering over the manger in blessing and the words from Luke’s Gospel, “Thisday is born to you a Savior who is Christ the Lord.” Over the biblical windowssits a rose window of the baby Jesus with symbols including a burning candleshowing Christ as Light of the World. Directly across from the windows depicting the expectant hope and joy of the Savior lies the reason for His coming into the world — Hissaving passion and death on the cross. In the central set of windows, thedominating scene depicts the crucifixion with the words, “It is consummated,”indicating the completion of the old law and sealing of the new covenant. The series of windows reflect God’s faithfulness to His promises and love for mankind, “For God so loved the world that He gave Hisonly Son, so that everyone who believes in Him might not perish but might haveeternal life” (Jn 3:16-17). St. Vincent de Paul Church is truly a treasure of San Francisco that stands as a testament to an indomitable city. While the jeweledbuildings of the exposition no longer exist, the jeweled windows of St. Vincentde Paul continue to illuminate the glorious truths of our redemption.