Christian Art of the Newman Center
	The Apostle Sculpture A superb example of thirteenth century wood, the Apostle Sculpture shares stylistic origins with stone works as well as ivories and manuscript paintings of the period. The love of color is seen in the original polychrome finish. Vividly lifelike in posture and expression the Apostle crooks the fingers in a gesture suitable for blessing of teaching
The Sanctuary Lamp Resting in the conical basket shaped top of the iron torchere the Sanctuary lamp continually burns as a symbol of the prescence of the Risen Lord in the Eucharist. This piece dates from the fifteenth century.
	The Clerestory Window The stained glass window of the Blessed Sacrement Chapel depicts the Holy Spirit and the seven flames representing the gifts of the Spirit being borne from the Father of Lights. This window was executed by one of the leading contemporary German artists in this medium. The Newman Center is dedicated to the Holy Spirit.
The Spanish Hangings This seventeenth century panel grouping actually consists of five seperate hangings sewn together. All are worked in gold thread and gold applique on a crimson damask. Single hangings of this type were hung on pillars in churches of Spain on feast days or at great celebrations. This set was fabricated around 1675.
	The Anne Selbdritt Statue The sculpture of St. Anne with the Virgin Mary and Christ Child on her lap reflects the preoccupation of the medieval artist with the humanity of Jesus. This type of figure, known as Anna-Selbdritt, was popular in Europe especially Germany in the 1500's. This Selbdrittbilder is from Salzburg. The advanced treatment of the carefully draped folds reveals an understanding of anatomy beneath the garments.
The Tabernacle Box The quiet strength and superb workmanship of the polished and burnished iron strong box, made in Germany in 1620, make it suitable for use as the tabernacle in the Blessed Sacrement Chapel. The sophisticated treatment of the false locks and symmetrical scroll work reveals the abilities and sensitivity of the Renaissance metal craftsman.
	The Torchere The large iron Torchere, with round revolving crown supporting six candleholders at several levels, stands on a wide flat tripod of fifteenth century craftsman. One of the iron florettes along with one of the candleholders is a restoration.
The Stained Glass From the collection of William Randolph Hearst, this exquisit French glass panel depicts Christ's meeting the women of Jerusalem on the way to Calvary. The composition and dress of the figure aid in fixing the date for this window around 1500AD. The Renaissance influence can be seen on the ornamental border, and the banner inscribed flete (weep) relate the work to primitive French paintings of the period. The personal trust of the piety common to Christians of this time is reflected in the two rhyming couplets that form the lower border: "Weep, Christian, Jesus in His pure flesh carries His cross for the sins of the world." "Look and see what the sinner has done to me whom the Lord God has made the Man of Sorrow"
	The Twelve Apostle Scuplture Medieval art abounds with interpretations of the apostles in various media. The inclusion of the apostles in the Roman canon of the mass reflect the high place the aposltes held in devotion. They were ordinary men who answered the invitation of Jesus "Come, follow me." His strength became theirs, and each carries the instruments of their death and martyrdom as trophies for eternity. This Rhenish set dates from the fifteenth century, Christ is at the center sirrounded by eleven apostles.
The Processional Cross Every celebration of the Eucharist employs the cross in procession to and from the altar. The cross, bronze with silver inlays, is French fifteenth century, the corpus it now carries is not the original. The wide spread arms and deeply bowed head low over the right shoulder can be related to thirteenth century illustrations.
	The Baptismal Font For the Christian the font symbolizes not only new life in baptism but the very source of that life. Dating from the eleventh century the white marble well reflects the classical influence in Romanesque sculpture found in Northern Italy. The ornamental style of twisted columns, arches, foliage and animals employed is in harmony with the shape and function of the font.