Virtual Tour of
Saint Paul Church
Clifton, New Jersey

Join us in a "Virtual Tour" of our beautiful church.  See why we are so proud of our place of worship.

The Ministry of Music has always been an important part of the prayer life and tradition of St. Paul. Because of this, the church has actually always had two organs...one near the sanctuary and one in the gallery. This was a reflection of the French influence of the architecture, where in the 19th century it became customary to have the Great Organ in the loft, speaking into the nave and a smaller accompaniment instrument in the front of the church to play for the choir.

The firm of Neil and Johnson of Montclair, NJ built the original pipe organ. The Peragallo Organ Company in Paterson, NJ rebuilt the instrument in 1974, placing a new console of solid oak on wheels in the right transept.  The cost of pipe organ in 1974 was $61,000; in 1998, this would become $250,000.  The instrument is designed in a style commonly called "American Classic," meaning that it is tonally capable of playing literature of the French and German schools.

The Sanctuary console consists of 10 ranks of pipes with a total of 596 speaking pipes. The Gallery Organ in the rear of the church consists of 27 ranks of pipes with a total of over 1500 speaking pipes.  To appreciate the over 2,000 pipes in our church, one can compare it to the Peragallo organ in St. John's Cathedral in Paterson which has approximately 3,000 pipes.

This is truly a magnificent instrument, capable of great variations of tone color and, with the acoustics of our church, probably the finest concert instrument in the state.

"Narthex" is a Greek word used in the early Church to designate the porch or vestibule to the church proper. Here the catechumens gathered, denied entrance to the place where Mass was celebrated. Separated by a screen, or other barrier, the catechumens heard the first part of the Mass, which we now call the "Liturgy of the Word," but for many years was known as the "Mass of the Catechumens." They had to leave when the "Mass of the Faithfull" began - now called the "Liturgy of the Eucharist."

Today, this area is the lobby - a gathering place for meeting people before and after the Liturgy, a place of preparation for processions, for placards, displays, posters, etc. This is a beautiful room of marble floor and carved walnut walls and ceiling. The decor is in Louis XIV style, trimmed with fluted pilasters of Circassian Walnut. (Pilasters are rectangular columns, with capital and base, engaged in the wall.) The ceiling, also hand-carved Italian Walnut, is coffered (decorative, sunken panels.) The carvings are of flowers, leaves, allegorical figures, masks, fruit, and other artistic motif.

All the wood in the Narthex, as well as that in other parts of the church, came from the estate of Stanley Mortimer, in Tuxedo Park, New York Mr. Mortimer was at one time the U.S. Ambassador to Italy. His hobby was collecting rare art treasures. Our first pastor, Fr. Guterl, was also an art connoisseur, and through his friendship with Mr. Mortimer, was able to purchase these and other pieces of art for our church.

When Fr. Guterl visited the Stuflessor WoodCarving Studios in the Tyrol section of Italy, he commissioned the many oak carvings we enjoy today. At the extreme right of the lobby is a striking group showing St. Anthony giving bread to the poor man, and holding the Infant Jesus. Legend tells of this miraculous visitation to Anthony. This carving was executed expressly for our church.

The richly carved doors are also from the Mortimer Estate. There is a monogram on the doors at the left, using the letters "R,E,M". These probably belonged to a member of the Mortimer family, but Fr. Guterl applied them to the Blessed Virgin - and placed them here where the aisle leads to Mary's Shrine!

The lanterns had their origin in 17th century Spain. They are fashioned of wrought iron and glass, octagonal in shape, with coroneted crest and pineapple finials. These, too, come from the Mortimer Estate.

The colorful illumination of the interior of the church comes from the splendor of the stained tracery windows.  The Rose Window at our back, the eight clerestory windows (the highest part of the nave), and the six aisle windows all originated in the famous Hiemer Stained Glass Studios which was located on Crooks Avenue, Clifton.

The mosaics in our church have been used to preserve for all time the memory of glorious events of Christianity. The mosaics used in our church come from the Vatican Studios, which date back to the 16th century!

Vatican Mosaics differ from other mosaics. They are made of solid ceramics, natural stone, with the colors going through to the back. (Less valuable mosaics are made of glass, dipped in dyes to give them color.) At present, the Vatican Mosaic Studios have at their disposal more than 28,000 different colors and tints, which are used by their artists and mosaicists to produce these beautiful pieces of art.

The fourteen Stations of the Cross that appear on the walls of the nave, are all Vatican Mosaics. Each station is set into a bronze frame, and each is indirectly lighted. Their colors will NEVER fade!

The first alcove on the left contains a mosaic shrine honoring Saint Therese, the "Little Flower." On one of his trips to France, Fr. Guterl visited Lisoeux and spoke with the Saint's two sisters who were still living there. Impressed and inspired by this visit, he promised the sisters that the new church he was planning to build would have a special place where the Little Flower would be honored.

The altar table is made of Botticino marble, with front panel of Italian rose coral marble. The emblem "ST" is carved in the marble with gold mosaic background. The altar is surmounted by a mosaic set in a hand carved oak frame, decorated with gold flowers in the appropriate motif. Saint Therese is pictured holding a garland of the roses she promised to let fall from heaven.

On the left, a shrine honors the mother of the Virgin, Saint Ann. The altar is made of Italian Botticino marble with a panel below of Sienna marble. The central monogram of Saint Ann is carved in the marble with gold mosaic background. In an oak triptych (triple hinged panel) over the altar is a mosaic picture of Saint Ann with the Blessed Virgin as a little girl standing by her knee. Angels appear on each side of the central mosaic.
 

Sacred Heart Mosaic (left aisle)

Jesus is pictured as the compassionate Lord, holding out his heart, glowing with love. Jesus is wearing colorful garments as in his day and the mosaicist has surrounded him with the gold of heaven. Two angels are there to join us in our contemplation.

Below the mosaic, the 400-year-old carving puts us into the Garden of Gethsemene, where Jesus submitted to his Father's will - to die for love of us!

Statue (Near Left Transept)

Look up to the carved wood statue of Saint Agnes. This is a memorial gift to St. Paul Church.
 
 
 
 

Perhaps the most beautiful and most popular mosaic is that of "Our Lady of Perpetual Help" at the left of the sanctuary. This is a reproduction of a very ancient Byzantine Icon. St. Luke reputedly painted the original representation of the Virgin with the Child during the lifetime of Mary. The icon was venerated for centuries at Constantinople, but was eventually destroyed by invading Turks.

The impact of this painting was so great that countless artists copied it, putting into it their own creative and distinguished variations of details. That is why this icon differs somewhat from the one venerated by the Polish people as "Our Lady of Czestochowa."

Our Vatican mosaic carefully preserves all the colors and symbolism of this Byzantine masterpiece. The iconographers always sought to tell a complete story in their paintings, drawing the view into the picture, which has no depth of perspective. Here we are in the presence of a compassionate mother whose little Boy has run to her for protection. Frightened by the vision of two angels carrying the instruments of His passion, He has run so fast that He is losing one of His sandals.

Above each angel are the Greek initials for their names, Gabriel and Michael. Near the Child's head are the Greek initials for "Jesus Christ." Mary wears a red tunic as worn by virgins at the time of Christ. Her blue mantle is like those worn by Palestinian mothers. The entire background is golden, symbolic of heaven. The gold also shines through the clothing, showing the heavenly graces and blessings that come to us in prayer.

Crowns were added to the icon in the nineteenth century. Those placed on our mosaic are studded with semi-precious stones that have been mounted on screws and fastened into the mosaic.

The mosaic is set into a carved oak Triptych (frame of three hinged panels), decorated with gold leaf symbols and surmounted by an ornate carved canopy. On the altar beneath, stands a tabernacle that is often used as a Repository for the Blessed Sacrament, especially on Holy Thursday and other Eucharistic feasts. The door is decorated with a gold leaf monogram for "Ave Maria."

The carved marble panel on the frontal of the altar is part of a five-piece set of carvings (three on the front of the main altar in the sanctuary, and one below the Sacred Heart Shrine), which date back to the fifteenth century. This panel shows the Holy Mother mourning her dead Son before His burial.

This is a room seldom seen by the majority of the parishioners, but a very interesting place that is worth visiting. Sometimes called the 'vestry," it is used as a vesting room, and as a storage place for all liturgical items.

The renaissance style oak paneling with Circassian Walnut trim is like that in the Narthex.   It, too, is lavishly ornamented with carved flowers, allegorical figures, masks, fruits, and other motifs. The coffered ceiling holds the lighting fixtures, and day light enters through two simply stained-glass windows from the old church, which were gifts of parishioners. They contain no pictures or symbols, but the color enhances what would otherwise be a dull room.

A large steel safe contains the sacred vessels - chalices, patents, ciboria, monstrances, and some antique pieces which have been in the parish for a long time.

Next is the vesting table, a long wooden shelf with cabinets and drawers above and below. In the center, a deep niche holds a lovely hand carved crucifix (from the Stufflessor Studios.) The cabinets contain the liturgical books, a supply of hosts, the ordo, notebooks, baptismal candles, etc. The drawers are filled with corporals, purificators, towels, altar cloths, and a large collection of beautiful stoles. Here, too, are extra microphones.

In the cubicle next to the vesting table are two basins - the lavabo and sacrarium which has a removable cover, and is used for washing the sacred vessels and anything that has come in contact with the consecrated bread and wine. This water does not flow into the common drain, but goes directly into the consecrated ground beneath the church.

The left wall consists of tall closets, filled with albs, chasubles, and robes for the altar servers. In a corner recess is a small refrigerator where the wine is kept.

Here, too, is the mechanism for the carillon. This is a set of stationary bells rung by hammers operated from the organ keyboard, or by a timed mechanism. They ring the "Angelus," and they increase our joy when the sound of hymns rings out into the neighborhood.

As we leave the Sacristy to enter the Sanctuary area, we notice a small decorated door to a recess in the wall. This is the ambry, or chrismatory, designed to hold the sacramental oils which are blessed for use at the diocesan Chrism Mass during Holy Week. These are used for baptism, confirmation, and anointing of the sick.

The Altar is constructed of heavy Carrara marble. Its frontal contains three carved panels - the scourging of Jesus; His descent from the cross; and His meeting with His mother. These carvings, together with those placed under the shrines of Our Lady and the Sacred Heart originated in Italy. They are the work of a renowned sculptor name Marcillo, who is said to have been a pupil of Michelangelo, the famous artist of the fifteenth Century. Once part of the main altar of a cathedral at Cortona, Italy, these five panels were stolen by some of Garibaldi's guerrillas in 1860. They were recovered many years later; and subsequently purchased as rare art treasures by Mr. Stanley Mortimer and brought to his estate in Tuxedo Park.

Each panel is set into a frame of carved symbols that appear to have been taken from Old Testament history. It is thought that these frames were not part of the original work, but they have been skillfully used to separate and enhance the three panels. In spite of their detail, the frames do not detract from the artistry of the principal scenes. These serve as subjects for personal prayer and meditation for those worshipers preparing for the action of the Eucharistic Liturgy.

Though no longer mandated, there is an opening in the center of the Altar, which contains a relic of Saint George. The practice of celebrating the Eucharist over the relics of saints began during the persecutions of the early Christians who were forced underground for their unlawful ceremonies. The Catacombs became the "churches," and the Masses were celebrated on the tombs of the martyrs. For hundreds of years new churches were given relics to place in their consecrated altars.

The Tabernacle

In our church, when the Altar was moved, the tabernacle was placed on a special marble table behind the Altar and under the baldachin. Because it occupies such a central place in the sanctuary, it cannot be ignored. It is recognized and honored by the faithful; however, not during Mass.  That is a distraction taking away from the action at the Altar.

The tabernacle is very finely wrought, gold plated on bronze, ornamented with silver filigree. It is a fitting receptacle for the reserved Sacrament.  The table on which it rests is decorated with the gold leaf symbol for Christ (the Greek "Chi Rho.")

Crucifix

The Baldachin, or canopy, rests on four marble columns and towers to the lofty ceiling in the Sanctuary. It was made in Italy at the Stuflessor Studios, and is hand carved oak. The inner ceiling is tinted a delicate blue, and trimmed with gold leaf rosettes.  The outside is painted in polychrome, richly ornamented with carvings that carry it upward in graceful curves until it terminates in a spire pointing heavenwards. Facing the nave, a striking carving of Christ the King blesses us with the Byzantine blessing. (Thumb and two fingers extended to symbolize the Trinity - other two fingers folded down on the palm to profess the double nature of the God-Man, Jesus Christ.)

The four corners of the Baldachin originally held finely carved wooden statues of the four Evangelists (Matthew, Mark, Luke, John.) Only two remain at this time.
 

Sanctuary Windows

These windows, like those in the nave, originated in the Hiemer Studios. They are worthy of study and reflection and it is recommended that the Bible be used during the examination of each picture.

Right front (above the Ambo) - the Birth of Jesus is shown in the top picture. Below - Moses and the burning bush. The reflection: God manifests Himself to His people.

Right rear (toward the back of the Apse) - Top - Crucifixion. Bottom -Abraham and Isaac. The Reflection: God teaches us the great lessons of obedience and sacrifice.

Left front (near our Lady's Shrine) - Top - the Holy Spirit comes upon Mary and the Apostles. Below - Moses receives the Law. The reflection: God strengthens His people to understand and observe His commandments.

Left rear (near the door to the Sacristy) - Top - the Resurrection. Bottom -Elijah is taken up to heaven. The reflection: God teaches us that this earthly life will end and we will rise. (Note: During the Middle Ages, representations of the Resurrection, rather than the Ascension, were used as the teaching tool for this reflection. It was a Gothic presentation and our church follows that tradition.)

This was the original choir room, with organ, and pews (taken from the old wooden church) for the choir. This room could not be seen from the nave, being separated by the mosaic shrine of St. Joseph. This is the mosaic now enshrined in the recess in the right wall of the nave.

A huge window at the far right dominates the Chapel, honoring Christ the King. The angels on each side of the central figure carry musical instruments with which to praise the Lord.

The two windows facing us, tell the stories of familiar favorite parables -Christ as "Sower of the Seed," and Christ as the "Good Shepherd." These windows, like all the others, are gifts of parishioners.

In the right aisle is the Mosaic of Saint Joseph, a copy of a 17th Century painting by Guido Reni. Originally, this picture was above an altar at the right of the Sanctuary, but was placed here when that shrine was removed to allow access to the Chapel and space for the Music Ministry.

The artist visualized an aging Joseph, but there is nothing in Scripture that mentions his age. It is very likely that he was a normal young man, strong and hard-working. He was a carpenter, and the tools of that trade are pictured on the left, with the statement that "to work is to pray." On the right are symbols connected with dying - the candle which speaks of Christ and everlasting life, and the branch of laurel symbolizing victory. Here we are admonished to "pray for a happy death." Since Joseph most likely died in the presence of Jesus and Mary, he is certainly the saint to invoke that we too may have this grace.

St. Jude Statue

This carving was also executed expressly for our church. This figure of Saint Jude was added a few years after the church was built at the request of many parishioners who held this "Saint of the Impossible" in high esteem. The statue was originally in the Narthex of the church and has recently been relocated into the Nave.

The Rose Window is patterned after those in European churches. The rose itself is a symbol of Our Lady, and in its design, speaks of the prayer we call the Rosary. The top most picture tells the legend of St. Dominic receiving the Rosary from the hands of Mary and her Child. Historically, this prayer had been in use for centuries before Dominic in various forms and practices. However, it was about this time 13th Century) that the Rosary was put together in the form we are now familiar with.

There are twelve small shapes surrounding this central one containing angels and stars. These are symbolic - the twelve tribes of Israel, or the twelve virtues of Mary. The six odd shapes between the quatrefoils show angels of the highest rank and are called "Thrones."

Below the rose are lancets (lance-shaped pointed panels) showing the other ten Mysteries. On the left, the Sorrowful Mysteries begin with a Latin inscription. Roughly translated, it tells us that "It is indeed proper for us to glory in the Cross of Christ." The lancet on the right contains the Glorious Mysteries with the inscription, "In Whom is our salvation, life, and resurrection."

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