Ancilla Domini Chapel

Ancilla
Domini
Chapel
The Center at Donaldson
Sponsored by the Poor Handmaids of Jesus Christ
Donaldson, Indiana
This booklet is dedicated to Sister M. Perpetua Suessmann, PHJC (1902-1985)
who lovingly conducted countless tours of the Ancilla Domini Chapel.
Ancilla Domini Chapel
To Our Visitors
Welcome!
You have entered a center of peace
in the midst of much activity. The
name of our religious family is Poor
Handmaids of Jesus Christ, and the
chapel is dedicated to God under
this title of Mary, the Mother of
Jesus. Ancilla Domini is Latin for
“Handmaid of the Lord.” Here is a
place of architectural beauty, a rich
source of Poor Handmaid history,
and a haven for prayer.
Please take this booklet and use it as a guide through the chapel. You may keep it as a souvenir.
T
he architecture of the Ancilla Domini Chapel expresses a great
movement of the human spirit. The neo-Gothic columns of the nave
soar up as if reaching toward God in heaven. Neo-Gothic refers to the
adaptation of the medieval Gothic to twentieth century architecture.
The columns are decorated with the ancient Greek and Roman design,
the Corinthian style, used often by the Romans in their adaptations
of Greek forms. The artist has used the leafy foliage of this style in a
beautiful, unique arrangement.
The length from the main doors to the altar measures 144 feet. The room is
64 feet wide and varies in height to 60 feet at three elevations. A German
baroque style of stained glass windows enhances the beauty of the
chapel, which can seat 500 people. On the unique ceiling are featured
images of angels supporting symbols of Mary as Queen.
The history of the chapel reaches back to its dedication on May 24, 1923.
Its roots go deeper to the time when the Sisters first came to the U.S. from
Germany in 1868. The first eight Sisters settled near Fort Wayne and that
city soon became the center from which the members moved to cities and
towns of the Midwest serving the poor, the sick, and the children.
In 1918 the Sisters purchased property just beyond Donaldson for retreat,
rest and recreation. The grounds had been a resort area located by the
lake. The former Lake Gilbraith Hotel was renamed Retreat St. Amalia,
in honor of the Mother General at that time. The first chapel was a
converted dance hall. It was named St. Rose in memory of the first
American provincial superior, Sister Rose.
Mother Tabitha decided that the location would be ideal for a muchneeded new Motherhouse. The Fort Wayne location had become too
crowded for the growing community of Sisters. Five years later a chapel
was to dominate the center wing of the main building of the Motherhouse
for the Poor Handmaids of Jesus Christ in the US province.
The chapel became a focal point of their life and continues to be so. Poor
Handmaids have professed and renewed their vows in this chapel. Many
Sisters have been buried from this place of worship.
Worship is the purpose of this chapel – to respond to God’s
unconditional love through beauty, music, words, actions. The chapel
is the center of liturgical celebration and of community prayer for the
Sisters who live at Convent Ancilla Domini and all who belong to the
American Province of this international congregation of women. Sisters
gather here to take part in the Eucharist, to reflect on Holy Scripture and
to celebrate the Liturgy of the Hours.
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Ecumenical groups also frequently enjoy this worship space. It is a place
of prayer for people of many faiths who study at Ancilla College, attend
programs in Lindenwood or live at the Maria Center. The Ancilla Domini
Chapel is open to all who visit The Center at Donaldson.
Explanatory notes are given in the remainder of this booklet. Please
do not enter the sanctuary, sacristies or balcony levels without an
appointed guide.
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Sanctuary Area
We suggest you walk up the center aisle toward the front of the chapel.
Take a position even with the front bench. Here you can take in the full
expanse of the chapel and have a good view of the whole sanctuary area
where Eucharist is reserved. The altar of sacrifice stands in the center and
the ambo holding the Scriptures is to the left. Above the altar is the scene
of Ancilla Domini, “Behold the Handmaid of the Lord.”
Throughout the sanctuary, angels depicted on the walls stand at attention.
Two hand-carved angels imported from Germany hold lamps on both
sides of the sanctuary. The highest angel above the main altar is St. Michael
the Archangel. The angel motif is very evident throughout the chapel. We
gather to praise God in unison with all the angels and saints.
High above the main altar are four angels who represent the four aims
of offering sacrifice: adoration, petition, thanksgiving and atonement.
Printed in gold leaf are Latin biblical sayings and opening prayers of the
seven sacraments.
The Latin sayings can be translated:
Above the left sacristy door,
“Heaven and earth shall pass away but my word will not pass away.”
(Matthew 5:18)
Above the right sacristy door,
“Blessed are they who hear the word of God and keep it.” (Luke 11:28)
The introductory words of the seven sacraments are from the invocations
of conferring the sacraments. Along the wall from left to right:
“I baptize you in the name of the Father, and the Son and the Holy Spirit.”
“I confirm you with the chrism of salvation.”
“Receive the power to offer sacrifice to God.”
“Through this holy anointing…”
“This is my Body.”
“I absolve you from your sins.”
“I join you in marriage.”
Symbols of the four evangelists decorate the walls above the two sacristy
entrances. The winged man represents Matthew because his Gospel
opens with the genealogy of the Savior as man. Mark is symbolized by
the lion because he writes of John the Baptizer whose voice was like
the voice of a roaring lion in the desert. The symbol of Luke is the ox, a
sacrificial animal, because Luke opens his Gospel with the account of the
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sacrifice of Zacharias. The eagle symbolizes John whose spirit is like the
eagle in its soaring flight to the throne of God.
While viewing the sanctuary from this position, take note of the stained
glass windows, the altars and the Ancilla Domini (Annunciation scene).
The Ancilla Domini
The Annunciation scene above the main altar is an imported carved
work. The scene is very significant to the religious order because it
symbolizes the Sisters’ charism and name. The statues represent Mary
and the angel in dialogue (Luke 1:26-38). The angel is expressing God’s
call to Mary to be the Mother of the Messiah, Jesus. Mary responds
humbly of her desire to participate in God’s plan of redemption. She is
willing to serve as mother of the Savior.
Mary answered the angel, “Behold the handmaid of the Lord. Be it done
to me according to your word.” The Latin words “Ancilla Domini,”
mean “Handmaid of the Lord.” From this title Poor Handmaids of Jesus
Christ take their name.
The scene was donated by Sister Genevieve Biesiada’s father in loving
memory of his wife. She died while saying the words of the Angelus
prayer, “Behold the handmaid of the Lord.”
The Altars
The Altars are made of butternut wood and golden oak. The main
altar, which is consecrated, is dedicated to the Blessed Virgin Mary.
The frontispiece of the altar shows the patriarch Melchizedek, an Old
Testament figure of priesthood, offering sacrifice of bread and wine
(Genesis 14:18-20). The altar was donated by the Women’s Auxiliary of
Chicago and made in LaCrosse, Wisconsin, at the E. Hackner Company.
It arrived in a freight wagon and was erected on February 13, 1923.
The side altars are dedicated to the Sacred Heart and St. Joseph. All the
statues are wood carvings from Germany. The image of Jesus as Sacred
Heart reminds the Sisters of the personal love and mercy of God for all.
Devotion to St. Joseph, the husband of Mary, has a long tradition in the
religious congregation from the early days of the foundress, Blessed
Catherine Kasper.
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Reconciliation Room
With the renewed understanding of the sacraments following Vatican II,
the Sisters directed the remodeling of the previous confessional. A room
for this sacrament of peace was designated in the back alcove where the
former confessional was located.
The Pipe Organ in the Choir Loft
In 1923 the large pipe organ was built by Louis Van Dinter of
Mishawaka, Indiana as his last masterpiece. The pipes were made in
Pennsylvania by Gottfried, a firm famous for the art of voicing organ
pipes. The organ was rebuilt and expanded in 1989. In 1997 the organ
was completely rebuilt by the Daniel Bogue Associates, subcontractors
for the Wicks Organ Company of Highland, Illinois. The Organ now has
21 ranks in three divisions: Great, Swell, and Pedal, and 1,291 pipes. The
case of the organ is solid white oak, finished in golden oak.
The keyboard is extended six feet in front of the organ, thus enabling the
organist to face the choir. She can observe the altar through a mirror.
The organ is in frequent use by the liturgist, musician. Only four
organists have been assigned to the Ancilla Domini Chapel. Sister
Florentine Zeiger, PHJC, Sister Angelita Amann, PHJC, and Sister Mary
Jane Ranek, PHJC, and they have each composed music for the organ.
The present organist is Mary Lou McCarthy-Artz.
A choir sings at Sunday worship and for special occasions. The organ is
also used for lessons, concerts, and programs by the faculty of Ancilla
College and guest organists.
Interior Decor
The benches throughout the chapel are of solid elm with red oak backs
and supports in golden oak. A maple leaf design is carved at the ends of
each of the 50 long pews.
The upper balconies on either side were originally designed to include
a place for the sick and elderly Sisters to attend Mass. Now it provides
space for an extension of the choir loft, seating for overflow crowds and a
place of meditation.
The interior was painted for the first time in 1951, the centennial of
the order’s beginning in Dernbach, Germany. Master artists from the
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DaPrato Studio of Chicago used many shades of gray in the design. This
was done to create a visual concept of the various shades of incense
wafting to heaven as prayer; green-gray for hope, purple-gray for
sorrow, rose-gray for joy.
Around the large stained glass window to the left are painted symbols of
the seven joys of the Blessed Virgin Mary. On the right side around the
window are symbols of the seven sorrows of Mary.
The Joys
1. The Annunciation
2. The Visitation
3. The Birth of Jesus
4. The Visit of the Magi
5. The Finding in the Temple
6. The Resurrection
7. The Assumption
The Sorrows
1. The Prophecy of Simeon
2. The Flight into Egypt
3. The Loss of the Child Jesus in the Temple
4. The Meeting of Mary and Jesus on the Way to Calvary
5. The Vigil of Mary Beneath the Cross
6. The Receiving of the Body of Jesus from the Cross
7. The Burial of Jesus in the Tomb
The ceiling paintings are unique since they portray the invocations to
Mary as Queen in the Litany of the Blessed Virgin Mary.
Front-left
Queen of Peace
Queen of the Rosary
Queen Assumed into Heaven
Queen Conceived without Sin
Queen of All Saints
Queen of Virgins
Front-right
Queen of Angels
Queen of Patriarchs
Queen of Prophets
Queen of Apostles
Queen of Confessors
Queen of Martyrs
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Shrine to Blessed Mary Catherine Kasper, Foundress of the Poor Handmaids of Jesus Christ
To the back of the chapel on the left side is an alcove
in which is located a shrine to honor Blessed Mary
Catherine, foundress of the Poor Handmaids. The
large painting depicts the woman who began the
religious community in Dernbach, Germany in
1851. She was a poor peasant girl who desired to
humbly serve God and others. Pope Paul VI put
the Church’s stamp of approval on her life when he
beatified her in 1978. Beatification is a significant
step in the process of canonizing a saint. In this
picture she is wearing the style of religious garb
worn by Poor Handmaids until 1964.
The altar was constructed using the carved wood
communion railing removed from the front of the
sanctuary after Vatican Council II. The wrought-iron
around the painting and the kneeler were designed
in South Bend, Indiana. Needlepoint cushions on the
kneeler were handcrafted by Sisters Consilia Danyi,
Mary Erwin Huelskamp and Longinia Pobiedzinski.
The shrine area was developed through a gift in
memory of a former Ancilla High School student,
Lynnmarie (Pierce) Honzik.
Prayer
Heavenly Father,
You have given us Blessed Mary Catherine Kasper an example of deep
humility, great simplicity and a burning love of God and neighbor.
In imitation of Mary, the first Handmaid, she surrendered herself
completely to Your holy will.
With confidence in your provident care, Father, we turn to You in our
present need. Hear our petition for the sake of Your handmaid, Blessed
Mary Catherine Kasper, who while on earth lovingly helped the sick,
the needy and all who sought her aid. We ask this, Father, in the name of
Jesus, your Son. Amen.
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The Stained Glass Windows
The stained glass windows were designed by Francis Xavier Zettler
of the Royal Bavarian Art Institute of Munich, Germany. There are 61
baroque-style windows in all. Four are very large and the rest, ranging in
size, are on three tiers within the chapel.
Two of the largest of the windows are located in the transept and are
about 26 feet in height and 15 feet in width. They depict the major
ministries of the Poor Handmaids.
To the right as one faces the altar, Christ is blessing little children. PHJCs
have traditionally taught youth and have cared for orphans. Today
Sisters continue to teach. Some are involved in a variety of social work
with women and children.
To the left, the window depicts Christ blessing the sick. In the
background one can see aged and infirm persons and a leper. Today
the Sisters minister in all avenues of healthcare, from sponsorship of
healthcare agencies to direct service to the sick and elderly.
In the apse there are two large windows. On the left is depicted the
Presentation of Mary in the Temple, her dedication as a young girl to
God’s service. The smaller window features St. Ann, Mary’s mother, with
Mary as a young girl.
On the right side of the sanctuary, you will see in the large window the
Assumption of Mary into heaven. The smaller window on the side shows
St. Elizabeth, a patron saint of the Poor Handmaids. She was a wealthy
woman in the 1200s who generously cared for the poor and needy.
At this point, turn to note the three tiers of windows in the body of the
church: the highest ones include patron saints of the Congregation; the
second tier represent the litany of Blessed Virgin Mary symbols; the
third, above the Stations of the Cross, depicts symbols of Jesus’ passion
and death.
On the highest level around the chapel:
Front top-left
St. Agatha
Christ knocking at the door
St. Rose of Lima
St. Amalia*
St. Aloysius
St. Vincent de Paul
*Note the Motherhouse Convent in the background. The original building had
been named Saint Amalia.
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Front top-right
St. Agnes
The Good Shepherd
St. Cecelia
St. Teresa of Avila
St. Frances of Assisi
St. Anthony
On the clerestory level, the smaller windows represent the Litany of
Blessed Virgin Mary in symbols:
Front middle-left
Tower of David
Mythical Rose
Singular Vessel
Seat of Wisdom
Mirror of Justice
Holy Mary, Mother of God
Holy Trinity, One God
Front middle-right
Refuge of Sinners
Health of the Sick
Morning Star
Gate of Heaven
Ark of the Covenant
House of Gold
Tower of Ivory
Symbols of the Passion of Jesus are located in the windows above each
Station of the Cross on the lower level.
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1.
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3.
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crown of thorns and reed of humiliation
pillar and instruments of scourging
pitcher and ewer for Pilate’s washing of hands
rooster crowing at Peter’s denial
thirty pieces of silver paid to Judas
cup of suffering accepted by Jesus in the garden
cross of passion and resurrection
palm and crown of martyrdom
burial cloth found at the tomb
palm of victory and sign nailed to cross
ladder and lance used at crucifixion
hammer and pliers used at crucifixion
nails used at crucifixion
Veronica’s veil used to wipe the face of Jesus
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Stations of the Cross
The statues depicting Christ’s agony and death were sculpted by
DaPrato studio. They are identical to the ones along the driveway to
the cemetery on the ministry center grounds except those in the chapel
are painted in a light tan and those outside are in color. The fourteen
sculptures along the side aisles provide points of mediation and prayer
on Christ’s passion.
Outside the Sanctuary
In the left transept is the statue “Ecce Homo” which means “Behold the
Man.” It depicts the King of suffering, and recalls Pilate’s words to the
crowd as he presented Jesus to them before the crucifixion.
In the right transept is the statue “Mater Dolorosa” which means
“Mother of Sorrows.” It depicts the mother of Jesus holding her Son’s
body after it was taken from the cross.
Latin inscriptions are printed in gold leaf on either side. They are
translated:
(on the left)
“My spirit within me is sorrowful unto death.” (Mark 14:35)
“Despised and the least of all – a man of sorrows.” (Isaiah 53:3)
(on the right)
“My sorrow is above all sorrow and my heart grieves.” (Jeremiah 8:18)
“Attend and see if there is any sorrow like mine.” (Lamentations 1:12)
Restoration
Between 2010 and 2013, Daprato Rigali Studios of Chicago restored
and cleaned the stained glass windows, Stations of the Cross, the
altars, several statues and the walls. In 2013 the large pipe organ was
also cleaned and rebuilt by AB Pipe Organ Service. It is our hope, that
because of our care of this beautiful space, it will be used and enjoyed for
many years.
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We hope you have enjoyed your visit. If you would like to remain for
a time of prayer and reflection, know that you are welcome. You are
invited to join the Sisters for Sunday worship at 9:00 a.m. in this chapel.
If you would like to know more information about the Poor Handmaids
of Jesus Christ and The Center at Donaldson please see the receptionist
in the front office for more information or visit www.poorhandmaids.org.
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Designed and printed by the Poor Handmaids of Jesus Christ Office of
Communications in June 1992 and revised in 2014.
Poor Handmaids of Jesus Christ
Partners in the work of the Spirit
www.poorhandmaids.org
facebook.poorhandmaids.org