Renovations and restorations of sacred properties are a process of collaboration between the parish, the ecclesiastical decorator, and the building itself. Since architecture and decoration are an “expression of the wants, faculties, and sentiments of the age” (Owen Jones, Grammar of Ornament) in which the building was constructed, a restoration in a sacred space must pay homage to the past and present use of the building. That said, if modifications to the original decoration are desired, it is important that the new scheme must arise from and remain properly attendant upon architecture (Owen Jones, Grammar of Ornament). The following examples feature different architectural styles as well as religious denominations to communicate the important role of decoration in the expression of faith for sacred projects. Each required a tailored approach in order to meet the specific needs of the interior.
Saint Mary Church
For the St. Mary Church, Canning was retained to repair the framing, lath, and 3-coat plaster. During the restoration of the structural elements, Canning prepared watercolor renderings to illustrate the possibility for interior beautification to assist with the decorative paint work that was needed. Period patterns and symbols were developed appropriate to the Romanesque revival interior and the current congregation. As a nod to the history of the church, the apse dome was painted with the constellations visible in the night sky on the day of the church’s first Mass, January 1, 1905.
St. Mary Church before (Left) and after (Right).
St. Mary Church after restoration.
Rodeph Shalom Synagogue
Designed by Simon and Simon in 1930, the Rodeph Shalom Synagogue features a highly decorative Moorish revival scheme. The decoration was originally installed on canvas. Time and environmental factors had caused water staining, paint failure, and areas in the canvas to crack or tear. Conservation of the historic decoration was required to address these areas of damage and mitigate any further deterioration. Canning conservators repaired the canvas and areas of loss adhering to the principles of conservation. The work was done onsite with reversible, compatible materials in order to return the interior to its original glory.
Rodeph Shalom close-up before images.
Rodeph Shalom after restoration.
Basilica of the Sacred Heart of Jesus
This historic church dates back to 1785 when the congregation decided to enlarge the interior from a small clapboard church to one capable of accommodating the growing congregation. The scope of work for this comprehensive conservation and restoration program took place within one year. The plaster surfaces were repaired and consolidated, the fine art conserved, and the original decoration both uncovered and reinstated. The church had undergone a series of decorative schemes over its 200+ year history, in collaboration with the parish, a period of significance relating to the most sophisticated scheme was reinstated. The work at Basilica of the Sacred Heart is art conservation and historic restoration through and through. The desire was to return the interior as it was originally in the 1850s following the second comprehensive decorative scheme.
Basilica of Sacred Heart of Jesus before (Left) and after (Right).
Yarmouth New Church
Built in 1870 in the American Gothic style, this simple but highly sophisticated interior required immediate attention to the plaster due to damage from water intrusion. The plaster was stabilized and repaired in order to secure the longevity of any further restoration efforts. The distemper paint was discolored due to environmental conditions; however, using laboratory analysis, the historic color palette was determined. The original decorative scheme was conserved where possible and restored in areas of extreme loss utilizing the same historic methods and materials. The wood furnishings were repaired and received conservation cleaning. The Yarmouth New Church now functions as a gathering space offering cultural events for the local community.
Yarmouth Church before (Left) and after (Right).
Our Lady of Fatima Adoration Chapel
Built in 1962 for the local convent, this chapel was never decorated until this mid-century chapel beautification began with a minimal program to improve the space as an Adoration Chapel. Utilizing the mid-century cues throughout, the decorative elements were designed to complement the architectural style. As the project progressed, interest increased and with it, funds for further beautification elements including a newly commissioned altar and marble floor. Commissioned artwork in the sanctuary depicting mysteries of the Rosary and the apparitions of Fatima, appropriate to the namesake of the chapel, are encased within a vibrant and welcoming a new design color palette. The new scheme at the Our Lady of Fatima Adoration Chapel intends to offer a peaceful atmosphere conducive to prayer and meditation.
Our Lady of Fatima Adoration Chapel before (Left) and after (Right).
Our Mother of Perpetual Help
The beautification of Our Mother of Perpetual Help Chapel at Thomas Aquinas College required the conversion of a once protestant chapel to one of Catholcisim. The decorative design drew inspiration from the existing country Gothic architecture and the color palette was derived from the icon of Our Mother of Perpetual Help. Working with Harrison Design Architects, modifications to the church including a newly commissioned high altar and confessionals were designed in keeping with the overall aesthetic of the interior. The symbolism throughout is representative of traditional Catholic beliefs, the dedication of the chapel, and the specific devotion of the school. The interior intends to offer an ever ancient and ever new representation of Catholic faith and culture to inspire the students and faculty.
Our Mother of Perpetual Help Chapel before (Left) and after (Right).
First Church of Christ Woodbridge
The restoration program at First Church of Christ required a comprehensive, long term approach including plaster restoration to repair the historic ceiling, investigative work to uncover the original decorative schemes, and lastly, implementation of the decorative scheme. Canning assisted in the grant writing to supplement the monies raised for the project. While the plaster was reinforced through plaster stabilization and restoration, a process that saturates and hardens crumbling plaster from the attic space, research on the decorative schemes took place in the studio. Two slightly differing schemes were uncovered both utilizing the ornamental painting trompe l’oeil effect to simulate three-dimensional moldings. The ornamental painting adds architectural details and illusion to the space. The purpose and effect are one of illusion where the ceiling illusionistically appears higher than it actually is and the panels give the illusion the walls are higher as well. The perspective scaled ornamental painting also gives the illusion of the apse being Deeper than it actually is.The completed project presents a graceful, true to form historic restoration of the 1891 decorative scheme.
First Church of Christ before (Left) and after (Right).
San Joselito Chapel
This little chapel originally functioned as the convent chapel associated with the parish. The interior was never decorated aside from the installation of stained-glass windows and the altar furnishings. The parish church desired to beautify the space as they had begun using the chapel for daily Mass and adoration. The parish serves a strong and vibrant Spanish community, so the interior scheme required decoration appropriate to the gothic lines as well as the sentiments of the parishioners. The newly implemented scheme features a highly complex and detailed decorative program all throughout the approximately 18 foot by 35 foot interior. The San Joselito Chapel complete beautification of the once plain, white-washed chapel brought the surrounding community together to create a stunning place of worship to be enjoyed by parishioners and visitors alike.
San Joselito Chapel before (Left) and after (Right).
Saint Thomas More Church
Built in 1974, this church required a unique beautification approach that combined traditional Catholic designs and symbolism within a modern interior. As with any beautification, it is necessary to achieve a holistic and harmonious effect with the final interior. Working with architects at Doyle Coffin Architecture, the sanctuary was enlarged to better suit the needs of the church. Canning developed a warm, analogous color palette to soften the sharp modern lines and created the concept of a triumphal arch utilizing the A-frame angles of the ceiling. In addition to the decorative scheme, the beautification program included the selection and installation of a new marble floor and furnishings, custom statuary, and fine art commissioned, and liturgical design consulting throughout. The new design scheme for Saint Thomas More Church conveys a sense of permanence, continuity, and sacredness.
