The Sacred Significance and Religious Symbolism of the Great Mural The style of architecture of St. Ambrose Church in large measure suggested the use of a mural and a lofty canopy to frame the Altar and Tabernacle in fitting majesty. The internationally known artist, Mr. John H. de Rosen, painted the mural in tempera. The theme of the Great Mural is the Most Holy Trinity, with St. Ambrose pleading for the Graces of the Redemption for his people. The uppermost Figure of the painting is God, the Father, wearing the Triple Crown of the Popes. The first, or topmost Crown, holds the Atom, with its inner structure, signifying Creation and the Inertia of the Universe, and inscribed are the words, “Pelagus Divinitatis” (The Abyss of Divinity); the second, or middle Crown is inscribed with: “O Beata Trinitas” (O Holy Trinity); the third, or lowest Crown, contains the Earth, the Sun and the Moon. Woven in golden thread in the Red Cloak of the Father are two Archangels. On the left, as an observer views the picture, is Uriel, the Light of God, and Regent of the Sun, surrounded by golden rays; on the right is Michael, Prince of the Angels and Captain of the Host of Heaven. Supported by God, the Father, is The Christ on the Cross. The picture presents Jesus, at the same time, in His Crucifixion and in His Resurrection. He is Triumphant, Young, Powerful, A Classic Figure, with Hellenistic robes, which link the roots of Christian Civilization in the classic world of Greek tradition. Christ is painted without Wounds from the Crown of Thorns; He had none at His Resurrection. The Wounds of Hand and Side are Wounds of Triumph, and therefore the Nails through the Hands are Gold. The Cross is emblematic of Victory, not of Suffering, and so it, also, is in Gold; there is not even the slightest suggestion of defeat in this painting of Christ on the Cross. The earliest images of The Christ show Him without a beard – Michelangelo in his “Last Judgment”; da Vinci in his “Last Supper” and Botticelli painted Christ without a beard. The Halo of Christ is in two tones of Gold; the Outer Rim of the Halo is inscribed, in Greek, with the first sentence of the Gospel of St. John. Within the Halo, and divided by the arms of the silver cross emanating from the Head of the Christ is pictured the Nativity, the Sermon on the Mount, the Last Supper and the Resurrection The Holy Ghost proceeds from the Father and the Son and is depicted in the Form of a Dove, surrounded by Flames; as it were, Tongues of Fire – the Pure Flame of the fire of Divine Love, a Fire kindled, not by bomb and shell, but by Grace, the Infused Virtues and the Sevenfold Gifts of the Holy Spirit. The background of the painting is in deep red, the symbol of Love and Sovereignty. The stars represent the Universe over which the Trinity rules. The Constellations of the Northern Hemisphere are in the upper portion of the picture, while those of the southern Hemisphere are in the lower. The wings surrounding The Holy Trinity are the Seraphs, each with six red wings, and the Cherubs, with six blue wings. On either side of the Christ are four medallions, representing the Four Evangelists. St. Mark is symbolized by the Lion; St. Luke by the Ox; St. Matthew by an Angel and St. John by an Eagle. This is an iconographical interpretation of Apocalyptic Reference. Beneath The Most Holy Trinity is St. Ambrose, hands and eyes raised in prayer and petition. He is dressed in the Pontifical Robes of the Fourth Century. The white garment is the early Roman Dalmatic; the purple stripes on the sleeves are insignia of senatorial dignity; over which is the black Chasuble, worn by the Bishops of the early Church. He also wears the white Pallium with black crosses, indicating “The fullness of the Episcopal Office.” Before Ambrose became Bishop of Milan, he was Governor of the Province of Lombardia and engaged in battle to suppress the barbarian Goths. The sword lying at his feet is a symbol of his military service, and he carries in his hand the Crozier, which represents his Episcopal Office. Inscribed on the crook are the words: “Gladius Spiritus” (Sword of the Spirit). Outlined in the sky and dissipating behind the clouds, are images representing three pagan cults, which, in the time of St. Ambrose were fast fading before Christian beliefs. Orpheus is on the left, holding the lyre, as he was their god of music. In the center is the Indo-Iranian sun god, Mithra, held sacred by them because he glorified fidelity, manliness and bravery; a superficial similarity exists between Mithraism and Christianity. His struggles with the bull represent man’s trials with temptation. Partially hidden by the vestments of St. Ambrose is Isis, an Egyptian goddess, their patroness of the arts and agriculture. The Mural is twenty-five feet high and ten feet wide. John H. de Rosen, painter of the mural in St. Ambrose Church, is recognized as one of the great muralists of our time. Of Polish-American decent, principle works adorn some of the famous cathedrals, chapels, churches and public buildings of this country as well as Europe to include Grace Cathedrals in San Francisco. During the painting of this work he was greatly assisted by Teddy Smith, a parishioner.
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