Holy Trinity Church Exterior
The Dome: Despite the churchs attempt to
preserve the principle of the Byzantine dome as seen in the Sophia, McGuire and Considine
had to make some necessary adaptations in order to accommodate the needs of modernity. In
other words, balconies were put in around the church. Although the addition of the
balconies does not provide a totally unimpeded view of the altar from all angles of the
church, the interior still largely resembles the Sophia. Many consider both the exterior
and the interior of this one hundred-foot tall dome to be a modern replicant of the
original in Constantinople. And indeed, the churchs atmosphere does at times invoke
a medieval and an exotic mid-eastern mood.
Ornaments: Perhaps it is not only the
churchs dome, but also its prominent use of ornamentation that provides and inspires
this mood. Byzantine art is heavily influenced by the concept of beauty. Beauty was always
the goal which this medieval culture strove to attain in its architecture and works of
art. For example, like the Sophia, the interior of the Holy Trinity Church contains
radiant mosaics. Mosaics are tiles of variant colors which are put together in such a way
to create or form a picture. However, the mosaics are not the only striking features of
the churchs interior. Marble and gold facings also adorn the walls of the church.
Façade: The façade also exhibits the
Byzantine standard use of gold adornments. Several sequences of three equally sized and
connected golden circles brace the churchs front. The Holy Trinity is symbolized in
each and every sequence of the three golden circles. A Latin phrase "Gloria Patri et
Filio et Spiritui Sancto" (Glory be to the Father, to the Son, and to the Holy
Spirit) is also a representation of the Holy Trinity, as well as the Byzantine use of
gold. This phrase, found on the buildings façade, is highlighted by a twenty-two
karat gold mosaic. Other Byzantine objects of the churchs façade include a series
of Greek Crosses and two towers, on either side of the building, each topped off with a
small dome. Of course, no description of the churchs façade can overlook the eight
enormous bronze doors that lead to the inside of the church
As one may assume, such an undertaking requires and demands a large budget. Because of
this economic obstacle, Father Considine was unable to achieve the full Byzantine
expression in decoration.
Renovations to the Exterior
The parishs fifth pastor, Father Meehan, brought the church closer to Father
Considines original ornamental vision. Between 1929 and 1932, the Holy Trinity
Church under went a series of renovations in order to better emphasize its Byzantine
theme.
The Statues of St. Peter and St. John (East Meets West)-- Although the parish is Roman
Catholic, the design is of an Eastern Orthodox influence, Father Meehan felt it was
necessary to symbolize the marriage between the two different parts of the old Roman
Empire. Thus, two bronze statues, one of St. Peter and the other is of St. John, were
placed on opposite sides of the facade. Peter, the bishop of Rome and the first Pope, is
associated with the West and the Church of Rome while John, who lived in Ephesus when he
wrote his Gospel, is associated with the East. Based on their associations with these
areas, John was put on the Western side and Peter was put on the eastern side of the
façade. Their presence and images represent exactly what the Holy Trinity Church
represents-- the joining of the East and West.
Medieval
NewYork | Holy Trinity Main | Byzantine
Architecture | Exterior | Interior
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