Mural Galleria - Mountain View Mortuary

mountain view mausoleum
Mural
Galleria
by martin b. syvertsen
featuring A Self-Guided Tour of Bible History
- commentary compiled by kenneth c. cronquist -
www.mtn-view.com
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ARCHITECT: CECIL E. BRYAN Mountain View Mausoleum is
considered the crown jewel of this career mausoleum architect. It was
was his final masterpiece, the one he chose for his own resting place
alongside some of the most famous families of the era — the Mudds,
the Kelloggs and the Scripps family. The mausoleum remains one of the
most spectacular and least known architectural treasures of the region.
BUILT 1925 - COST: $480,000 Specifically designed to complement
the majestic dusty blue backdrop of the San Gabriel Mountains, the
structure features old Spanish tiles and is reminiscent of an ancient
European cathedral. As such, it showcases art of all kinds, from worldsourced marble to oil paintings and tapestries, all in a wide range of
styles. Los Angeles Glass Company and Judson Studios were responsible
for much of the stained glass throughout.
“ARBOR OF LIGHT” ADDED IN THE 1990s The fifteen-foot-high
wing features a modern stained-glass depicting brightly colored flowers
leading toward a “Pasadena Rose”. The installation was designed by
late local artist Jae Carmichael, a desendant of the Giddings family that
established the adjacent cemetery in 1882. It is designed so that light
from the overhead panels reflects and diffuses from the surrounding
marble.
“THE STORY OF CHRISTIANITY” BY MARTIN SYVERTSEN
On the vaulted ceiling overlooking the main hall are hand-painted
scenes from the Bible. They were hand-painted by a Norwegian
immigrant who trained in Germany. Shortly after the mausoleum
was built, Martin Severin Syvertsen spent months on a 30-foot-high
scaffold until these exceptional works of art were finished. Ever a
colorful character, the artist had paid for his passage to the new world
by decorating ships’ cabins. His payment for his work here included a
daily ration of buttermilk in the summer and a weekly bottle of scotch
in the winter.
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Your Self-Guided Tour of
Mural
Galleria
Your tour begins on the North side of the Galleria, at the West end…
P
AINTED IN BOLD COLORS ON 5,000 SQUARE FEET of
dry plaster, these 60 Biblical scenes include 1,349 human
figures, of which 239 are approximately life-size. The
180-foot-long work is titled “The Story of Christianity”,
the subject of your tour today….
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1
IN THE BEGINNING GOD CREATED THE HEAVENS
AND THE EARTH
Quote: ”AND ONLY THE MASTER SHALL PRAISE US, AND ONLY
THE MASTER SHALL BLAME” - Kipling
GENESIS 1:1. This first subscription, “In the beginning...” is the opening
line of the Bible and starts the unfolding of God’s creation acts. As
seen in this mural, it is the beginning of a recorded history that unfolds
a flow of Biblical narratives of divine and human interaction. You will
notice throughout these paintings the ever-present angels and cherubs
overlooking created mankind.
The Rudyard Kipling quote comes from his work entitled When Earth’s
Last Picture is Painted, 1892:
When Earth’s last picture is painted, and the tubes are twisted and dried,
When the oldest colours have faded, and the youngest critic has died,
We shall rest, and faith, we shall need it - lie down for an aeon or two,
Till the Master of all Good Workmen shall set us to work anew!
And those that were good shall be happy; they shall sit in a golden chair;
They shall splash at a ten-league canvas with brushes of comets’ hair;
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They shall find real saints to draw from - Magdalene, Peter, and Paul;
They shall work for an age at a sitting and never be tired at all!
And only the Master shall praise us. And only the Master shall blame.
And no one shall work for money, and no one shall work for fame,
But each for the joy of the working, and each in his separate star,
Shall draw the Thing as he sees It for the God of Things as They are!
This combination of the Biblical text along with the Kipling poem poses
an interesting juxtaposition of the beginning of mankind and his final
transition to immortality as designed by the mausoleum architect.
2A
(‘a’ designates the mural above)
ABRAHAM’S OFFERING
GENESIS 22:1-4. God tested Abraham’s sincerity, loyalty and faith by
asking him to sacrifice his only son, Isaac, on a mountain-top altar. With
Isaac bound and knife raised, God intervened and told Abraham there
was a ram caught in a nearby thicket that would be the substitute offering.
Abraham passed the test and is often characterized as a man of great faith.
Once again the heavenly angel oversees God’s children.
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2B
(‘B’ DESIGNATES THE MURAL BELOW)
MO S E S ’ WOR K D ON E - H E BE HOL D S
T H E PROM I S E D L A N D
DEUTERONOMY 34:1-4. Moses spent the final forty years of his life
leading the people of Israel out of Egyptian bondage, through the Sinai
desert, and ultimately leading to the east bank of the Jordan river. Standing
atop Mount Nebo, Moses was able to see across the Jordan into the valley
of Jericho where the “Promised Land” was located. Having completed his
mission, Moses died and was buried prior to the nation entering the land.
The account states he was placed in a sepulcher (an ancient form of a crypt,
unlike those you see in the mausoleum today).
3A
ISAAC’S BLESSING
GENESIS 27. Isaac at an advanced age and nearing blindness sought
to bestow a special blessing on his oldest son Esau. However with the aid
of his mother, Rebekah, Jacob disguised himself as his brother to obtain
the blessing. When the deceit came to light, Isaac was unable to undo
what was binding. The mural captures the moment of blessing by Isaac as
Rebekah stands by and observes the deception.
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3B
DAVID - KING OF ISRAEL GAVE US THE PSALMS
4A
RUTH AND NAOMI
PSALMS. Approximately half of the 150 Psalms (poems sung to the
accompaniment of musical instruments) are attributed to David. His early life
as a lonely shepherd tending his father’s sheep provided him the opportunity to
develop his musicianship. This talent carried David into his adult life as King
of Israel. The most beloved of all the Psalms, Psalm 23, is authored by David.
Notice the harp and stylus in David’s hand.
RUTH 1-4. Ruth was a Moabitess who married into an Israelite family. Her
mother-in-law was Naomi. Through the passing of time, both women were
widowed and Ruth vowed never to leave Naomi, and to care for her for the
balance of her life. The mural depicts a third woman, Orpah, also a Moabitess
and daughter-in-law of Naomi who was widowed. However, she elected to
return to her own people rather than make the same commitment as Ruth.
This account illustrates to strength and sacrifice of family ties.
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4B
JEREMIAH SAID LET US TURN AGAIN UNTO JEHOVA OUR GOD
JEREMIAH 1-52. Jeremiah the prophet began his public life speaking
messages of warning to the people of Israel about their impending doom
if they continued a lifestyle of idolatry. He was severely persecuted by his
own people for his bold proclamations. His warnings ignored ultimately
resulted in the Babylonians overtaking Israel and exiling the majority
of its citizenry. Jeremiah remained behind in Israel to care for the poor.
Jeremiah was largely disrespected but remained faithful to his charge.
5A
RUTH AND BOAZ
RUTH 2-4. Ruth and Naomi left the land of Moab and traveled back
to Naomi’s homeland of Bethlehem. In order to get food, Ruth gained
permission to glean in a wealthy man’s field. Gleaning was an old custom
of harvesting grain that was left behind by employed reapers. The field
owner was Boaz. He happened to be a near relative of Naomi’s family,
which gave him the legal right and responsibility to perpetuate the
family line in behalf of his deceased relative. Ruth and Boaz marry, and
incidentally, Ruth is the great-grandmother of King David.
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5B
EZEKIEL REVEALING HIS GLORIOUS VISION
TO HIS FOLLOWERS
EZEKIEL 1-48. Ezekiel was a priest who was carried away into exile
by the Babylonian empire. His messages were received through divine
visions and centered on the themes of divine judgement prompted
by national sin and then future restoration along with the execution
of justice upon their oppressors. This mural depicts a scene that is
illustrated in 8:1, 14:1, and 20:1 where the text indicates “the elders
of Judah sat before me” where his warnings and expectations were
recorded. Ezekiel was generally given a better hearing than many of
his contemporaries.
6A
ADORATION — PEACE ON EARTH, GOOD WILL
TO MEN, FROM HEAVEN, ALL GRACIOUS KING
Painter signature: Martin Syvertsen, 1925
MATTHEW 2:1-12. This mural depicts the visit of the “wise-men”
or Magi who were experts in the study of the stars. Their interest
was aroused by the star that signaled Jesus’ birth, so they journeyed
to Judea to seek the newborn King of the Jews. They arrived some
months after his birth and presented him with their gifts of gold,
frankincense and myrrh. “Peace on earth, good will to men” is the
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utterance by the heavenly host to the shepherds at the announcement of Jesus’
birth by the angel. Just across the galleria is the companion mural entitled
“Nativity”.
7A
REST
7B
BLESSED ARE THEY THAT MOURN
FOR THEY SHALL BE COMFORTED
MATTHEW 11:28-30. This mural is one of four paintings titled by only one
word, reflecting an inner quality of the spiritual dimension of life. Notice the
relaxed pose of each of the subjects as well as the ever-present heavenly angel
and cherubs.
MATTHEW 5:4. This mural is the first of two depictions of Jesus’ teachings
from “The Sermon on the Mount”. This discourse identifies attitudes and
behaviors that are to guide his followers. Jesus calling those “Blessed”, because
of mourning, is a statement about their sensitivity to loss. How appropriate
that this proverb be found in the mausoleum established as a perpetual resting
place for our loved ones.
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8 A
PEACE
JOHN 14:27. ”Peace I leave with you, my peace I give unto you; not as the
world gives, give I unto you. Let not your heart be troubled, neither let it be
afraid.” This bequest from Jesus was reserved for those who had committed
themselves to following his precepts. Once again the artist has painted his
figures in calm repose surrounded by a heavenly host.
8 B
JESUS SAID TO THE WOMAN OF SAMARIA GOD IS A SPIRIT
JOHN 4:5-30. When Jesus arrived at the city of Samaria, he went to the
community well to get a drink of water. There he met a woman who drew
water for him and they engaged in a discussion about “spiritual water” that once
tasted, one would never thirst again. Jesus’ words about the spiritual dimension
of life captivated her. This was a most unusual interchange, in that Samaritans
carried a social stigma and associations with them were to be avoided, yet Jesus
eclipsed all such barriers.
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9 A
THE SOWER OF THE FIELD
MATTHEW 13:1-23; MARK 4:1-20; LUKE 8:4-10. Jesus frequently used
parables or short stories to teach a lesson. In this episode Jesus compares
the sowing of seeds on various kinds of soil with the heralding of truth
before a variety of listeners. The results of both endeavors are the same.
Some will not listen, some listen but become distracted, and some heed
thoughtfully and flourish. The mural depicts the farmer casting forth his
seeds among the people, combining the two messages into one portrayal.
9 B
RENDER TO CAESAR, WHAT IS CAESAR’S,
AND TO GOD, WHAT IS GOD’S
MATTHEW 22:15-22; MARK 12:13-17; LUKE 19:20-26. The Jewish
leaders were inquiring if it is lawful to pay taxes to Caesar, or not. Jesus
responded by asking, “Whose likeness and inscription is on the coin?” The
leaders answered, “Caesar.” They were maliciously attempting to expose
his disloyalty to the Roman authorities. However, his well-crafted answer
noted by the mural silenced his critics.
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10A
THE PRODIGAL SON
LUKE 15:11-32. Once again Jesus used a parable to teach a principle. The
story is about a man who had two sons. The older son was compliant and
loyal, the younger son was adventurous and spontaneous. The younger
requested and received his inheritance prematurely and proceeded to
strike out on his own - then squandered his fortune. Coming to his senses,
he decided to return home and beg forgiveness for his impetuous behavior.
His father sees beyond his son’s misfortune and welcomes him back with
rejoicing as pictured in the mural. This parable teaches that joy is the
appropriate response to repentance.
10B
COME UNTO ME ALL YE THAT LABOR
AND ARE HEAVY LADEN
MATTHEW 11:28-30. ”Come unto me, all of you that labor and are
heavy laden, and I will give you rest.” This offer of Jesus to his followers
was one of deliverance from the pressures of everyday living as well as an
eternal promise when life’s journey has ended. Notice the characters that
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appear bent over from carrying life’s burdens seeking to be released from
the weight.
11A
ST. JOHN
Authored: Gospel of John; 1, 2, and 3 Epistle of John; The Revelation of
John. John, a fisherman by trade, was one of the original twelve disciples
of Jesus. He was frequently identified as being part of the inner circle
along with his brother James and with Peter. He is noted as the “disciple
that Jesus loved” and was the one to whom Jesus commended the care of
his mother while he was on the cross. He is pictured here with a scroll
signifying his Bible authorship.
11B
IN THE GARDEN OF GETHSEMANE THY WILL BE DONE
MATTHEW 26:36-46; MARK 14:32-42; LUKE 22:39-46. The Garden
of Gethsemane on the Mount of Olives in Jerusalem was a location where
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Jesus would occasionally withdraw from the masses for times of personal
meditation. At this particular occasion, he was aware of his imminent
time of Passion and prayed the words, “Thy will be done,” in acceptance
of his mission. The mural depicts Jesus at prayer as his disciples could not
ward off sleep.
12A
ST. MARK
Authored: Gospel of Mark. Mark, also known as John Mark, was a
native of Jerusalem. Even though a Gospel author, he is not named in the
Gospels, but does appear in The Acts when with his uncle Barnabas, he
accompanied Paul on his first missionary journey. Amidst his youthfulness,
Mark abandoned the undertaking and fell out of favor with Paul. Only
years later, with maturity and renewed purpose, did he minister to Paul
who was imprisoned in Rome. There Paul refers to him as a fellow-worker
and a great comfort to him.
12B
THE HUMBLENESS OF THE LORD
BEFORE PILATE
MATTHEW 27:1-26; MARK 15:1-15; LUKE 23:1-25; JOHN 18:2819:22. Jesus was brought to Pontius Pilate (Roman Governor of Judea)
by the Jewish chief priests and elders. They accused Jesus of leading a
rebellion against Rome by declaring himself to be the King of the Jews, so
they were seeking to have him executed. Pilate asked Jesus, “Do you not
hear how many things they testify against you?” The test states, “He did
not answer him with regard to even a single charge, so that the governor
was quite amazed.”
13A
[uncaptioned]
This celestial scene illustrates a family gathering. Note the prominent
display of a woman holding a volume accompanied with leaves. The
greenery symbolizes the living quality of the book.
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13B
THE EVENING IN EMMAUS
LUKE 24:13-32. This is the second of two murals depicting a postresurrection appearance of Jesus, as he walked with two men about seven
miles from Jerusalem to Emmaus. Having offered himself as a sacrifice,
he had to take a different form, so the men did not recognize him. After
agreeing to rest for the night, at mealtime Jesus blessed and broke the bread,
then served it. The familiar way he did this suddenly brought realization
to the men - and he vanished. The text concludes with the moving quote:
“Did not our hearts burn within us, while he talked with us along the way,
and while he opened to us the scriptures?”
14A
[uncaptioned]
The focus of this scene is the Guardian Angel looking down from above
offering the idea of divine protection and God’s care for his children.
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14B
DIVINE PEACE AND HOPE
JOHN 14:1-6, 27-31. This powerful text of Jesus consoles his followers.
The initial paragraph affirms his preparing a heavenly place for his disciples
and that he will come again to join them to himself. The second paragraph
promises a unique kind of peace that overcomes a troubled heart and
calms fears. This mural portrays the comfort received by such reassuring
words of Jesus.
15A
[uncaptioned]
This untitled mural portrays the scholars of the ages with their books and
advancements in a continuing search for knowledge and understanding.
Notice the image of God in the cloud looking on these academics amidst
their intellectual pursuits. The artist is drawing a connection between
acquiring understanding and God-awareness.
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15B
THE IMMENSITY OF KNOWLEDGE
16B
THE NEVER DYING FLAME OF FAITH
PSALM 19:1-6. Knowledge is the acquiring of fact or truth in accordance
with its real nature. Continued exploration of the universe both large and
small, leads us to an immensity of knowledge. Within the context of this
galleria, one may conclude that the artist having us consider that God is the
author of all knowledge and with greater knowledge and understanding
will come a greater understanding of the God of the cosmos.
This subscription embraces the unending devotion of the faithful today.
This flame is fueled by creeds and church gatherings around the world.
On both sides of the central figure you will notice the cherub holding a
banner with an inscription.
On the left ribbon is the Latin phrase “Credo in Unum” which is the opening
line of a familiar creed often recited or sung in churches. Translated “I
believe in one...” is found in the Nicene Creed that begins, “I believe in one
God the Father Almighty, Maker of heaven and earth.”
On the right ribbon is the Latin phrase “Agnus Dei” which is a common
metaphor for Jesus. Translated “Lamb of God”, this is the description first
used by John the Baptist, in introducing Jesus to his followers (John 1:29),
“Behold the Lamb of God, which taketh away the sin of the world.” This
phrase is also part of a mass recitation:
Agnus Dei, qui tolis peccata mundi, miserere nobis.
Lamb of God, who takes away the sin of the world, have mercy on us.
Agnus Dei, qui tolis peccata mundi, dona nobis pacern.
Lamb of God, who takes away the sin of the world, grant us peace.
Inscription above stained glass window “SANCTUM” is the Latin word
“Holy.”
Your tour continues on the South, at the West end…
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1
AND GOD CREATED MAN IN HIS OWN IMAGE IN THE IMAGE OF GOD CREATED HE HIM
Quote: ”WE SHALL REST - AND FAITH - WE SHALL NEED IT
LIE DOWN FOR AN AEON OR TWO” - Kipling
GENESIS 1:27. This text is generally regarded as God’s creation of
mankind on the sixth day of creation. This mural complements the
theme set forth in the companion work on the North (opposite) side of
the galleria. The Rudyard Kipling quote again comes from his work When
Earth’s Last Picture is Painted.
2A
(‘a’ designates the mural above)
JACOB AND RACHEL
GENESIS 29. Jacob journeyed from his home to the land of Haran
where his uncle Laban lived. Laban has two daughters and Jacob was
immediately attracted to the younger daughter Rachel. Jacob bargained
with Laban to work for him for seven years at which time he would marry
Rachel. However Laban deceived Jacob at the wedding ceremony and
replaced Rachel with the older daughter, Leah. Subsequently, Jacob agrees
to work for Laban an additional seven years in order to marry Rachel. Here
we see Jacob endeavoring to gain Laban’s favor for the proposal of marriage
to Rachel as Leah observes off to one side.
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2B
(‘B’ DESIGNATES THE MURAL BELOW)
GOD SPOKE WITH MOSES - ON MOUNT SINAI
EXODUS 19-34. Moses ascends Mount Sinai for multiple visits where
God orally communicated the Decalogue or Ten Commandments as well
as a well-defined code for daily living. As depicted in this mural, during
the last 40-day stop atop the mount, Moses received the stone tablets
containing the Ten Commandments.
3A
JOSEPH IN EGYPT
GENESIS 37-50. IJoseph, at age 17, was resented by his older brothers
because of paternal favoritism and eventually they sold him to slave traders
caravanning to Egypt. Joseph experienced a most unique series of lifechanging events that resulted in his appointment as Superintendent of
Egyptian food resources during a time of world famine. In search for food,
Joseph’s brothers come to Egypt seeking to make a purchase. Intially, the
brothers did not recognize their long-departed brother because of the
passing of several years and that he had withheld his identity. This mural
depicts Joseph’s reunion with his brothers. It is a drama with several plot
twists that ultimately concludes as a lesson in redemption.
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3B
KING SOLOMON’S WISDOM - THE GIFT OF GOD
4A
ESTHER AND HAMAN
1 KINGS 3:5-13. Shortly after Solomon was anointed as King of Israel,
he received an unusual token of God’s favor. During a dream at night, God
offered Solomon to make a wish and it would be granted. In response
Solomon requested “an understanding heart” or wisdom to effectively
rule the people and discernment between good and evil. As a result of his
humble request, Solomon not only received great wisdom but in addition
was also gifted with riches and honor to the extent that no person of his
day would ever experience.
ESTHER 7. This mural is the second half of Esther’s story that is
represented in the adjacent composition. This mural depicts the
confrontation between Haman, a leading member of the King’s court
and Esther, Queen to King Ahasuerus. Haman had persuaded the King
to decree that all Jews should be executed and the King confiscate their
property. Esther reveals to the King her Jewish ancestry and he became
enraged that Haman would formulate such a plot. As a result, Haman is
hanged on the gallows he had erected for his foe, Esther’s Uncle Mordecai,
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a Jew. Here, Esther points at Haman as the one who concocted the
heinous plot.
4B
ISAIAH’S MESSAGE OF CONSOLATION
TO THE BROKEN-HEARTED
ISAIAH 1-52. Isaiah the prophet spoke words of impending exile at the
hands of the Babylonians. Yet throughout their ordeal, there is consolation
in believing that their God will exalt Israel in due time. The opening three
verses of chapter 40 inspired George Frideric Handel to compose the aria
“Comfort My People” from his oratorio, Messiah (1741).
5A
ESTHER AND AHASUERUS
ESTHER 2:8-18. RKing Ahasuerus was seeking a replacement Queen for
the deposed Vashti. Among the many young women who were brought
to the King, Esther was selected as the finest. Throughout the year of
preparation and pageantry, Esther concealed her Jewish background
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under the advisement of her uncle, Mordecai. Her ascension to the throne
unfolds a series of events that preserves her people from execution. This
mural is partnered with the preceding portrayal of Esther and Haman.
5B
ELIJAH’S STRENGTH HIS UNFALTERING FAITH IN GOD
1 KINGS 17-19. Elijah, the prophet, humbly clothed in camels’ hair
garments demonstrated outstanding courage and faith when opposing
King Ahab and Queen Jezebel’s introduction of idol worship. The ultimate
contest of competing deities took place at Mt. Carmel to determine which
God was true. In this mural we see Elijah appearing unpretentious as
another man prostrates himself in acknowledgement of the authority of
the God of Elijah.
6A
NATIVITY - SILENT NIGHT, HOLY NIGHT,
ALL IS CALM, ALL IS BRIGHT
SILENT NIGHT, MEMORIES, HOLY NIGHT,
MEDITATION
LUKE 2. The circumstances surrounding the birth of Jesus were anything
but silent, calm or bright. But, as the narrative focuses on Mother and
Child, all the external activity becomes insignificant. The mural uses bright
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hues to draw our focus to the baby in the manger. The words inscribed
below the mural reflect the Franz Gruber, Christmas carol, Silent Night.
(Looking to the east) Perhaps that is Gruber at the piano as well as other
composers in the mural entitled “MEMORIES”. This second large mural
along with the “Adoration” painting comprises the events for which we
have the celebration of Christmas.
7A
LOVE
7B
BLESSED ARE THE MERCIFUL FOR THEY SHALL OBTAIN MERCY
1 CORINTHIANS 13; JOHN 13:35. TLove is the overarching quality
that is to be evidenced in all the expressions of everyday life. The
concluding sentence of the “Love Chapter” states “there abides faith, hope,
and love (charity), but the greatest of these is love.” Earlier Jesus stated in
John’s Gospel “All mankind will know if you are my followers, if you have
love for one another.”
MATTHEW 5:7. This is the second quotation from Jesus’ “Sermon on the
Mount”, frequently referred to as the Beatitudes. Mercy is also referenced
as forbearance, slow to anger, forgiveness, graciousness and pardon to
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offenders. Jesus taught when you extend mercy to others, you will, in turn,
become the recipients of mercy.
8 A
FAITH
HEBREWS 11. Faith, an essential tenant of religious community, is
believing and receiving what God has revealed which prompts followers to
good deeds. This text provides examples of those who made life decisions
based on faith, e.g. Noah, Abraham and Sarah, Isaac, Jacob, Joseph, etc.
This mural depicts the reader engaged in studying the revelation of those
who lived motivated by faith.
8 B
COME AFTER ME I WILL MAKE YOU FISHERS OF MEN
MATTHEW 4:18-22. At the beginning of his public ministry, Jesus
walking by the Sea of Galilee recruited his first disciples: Simon (Peter),
Andrew, James and John. These four men were fishermen by trade, but
immediately left their nets to become “fishers of men.”
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9 A
THE GOOD SHEPHERD
JOHN 10. TJesus frequently instructed using metaphors commonly
understood by the agrarian society of fishermen, farmers, and sheep
ranchers. In this discourse he spoke of his protection and identification
with his “sheep”. His listeners would have been very familiar with the wellknown Psalm 23.
9 B
JESUS AMONGST THE PEOPLE HEALING THE SICK
MATTHEW 8-9; LUKE 5:12-26. Healing the sick and lame was a
frequent occurence of Jesus’ ministry. These actions helped verify his
deity and demonstrated his compassion for those in physical need. He
also used these occasions to draw a comparison between physical and
spiritual healing.
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10A
THE GOOD SAMARITAN
LUKE 10:30-37. This text is commonly referred to as the “Parable of
the Good Samaritan”. As the story unfolds, a traveler is assaulted and
robbed. Three men passed by the forsaken traveler, a preist, a Levite, and
a Samaritan. Although considered a social outcast, it was the Samaritan
who stopped and showed mercy. Jesus concludes by saying “Go and do
likewise.”
10B
JESUS SAID TO NICODEMUS THOU HAST TO BE BORN AGAIN
JOHN 3:1-21. Nicodemus, a Jewish religious leader, met with Jesus one
evening to inquire more definitively about Jesus’ message of being “born
again”. At that point, Jesus explained that being “born again” is not a
physical re-enactment but a spiritual transformation resulting from a trust
or reliance in Jesus’ message and triumph.
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11A
ST. MATTHEW
Authored the Gospel that bears his name. Matthew, also referred to as
Levi, was a tax collector for the Roman government when he encountered
Jesus. Tax collectors were despised because they would keep for
themselves money received over the amount of the standard assessment.
Jesus’ selecting Matthew as a disciple is one example of the inclusiveness
of Jesus’ ministry. The transformation of Matthew’s life is acknowledged
by his being one of the Gospel writers. Note the manuscript in his hand.
11B
GOOD FRIDAY’S THOUGHT SORROW AND CONSOLATION
MATTHEW 26-27; LUKE 22-23; ISAIAH 53. The arrest, trials, and
cruxifixion of Jesus left his follwers disconsolate and sorrowed. Even
though Jesus had spoken of these impending events, emotionally it was
more than his followers could bear. Additionally these times were foretold
of hundreds of years earlier by the prophet Isaiah.
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12A
ST. LUKE
Authored: the Gospel of Luke, and the Acts of the Apostles. Although
not one of the original twelve disciples of Jesus, Luke was a physician who
accompanied Paul, the apostle, on his missionary endeavors. His education
and medical expertise are reflected in the imagery of his writings. In his
gospel account, Luke has a keen eye for Jesus’ compassion and sympathy
for the brokenhearted, the sick, the mistreated and the bereaved.
12B
EASTER MORNING GLORY OF THE RESURRECTION
MATTHEW 28; MARK 16; LUKE 24; JOHN 20. As the mural depicts,
early on Sunday morning Mary Magdalene and Mary, the mother of
James, went to the sepulcher of Jesus to anoint his body with sweet spices.
They were shocked and surprised by an angel who rolled back the boulder
blocking the entrance to sepulcher. The angel declared, “He is not here, he
is risen, as he said.”
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13A
[uncaptioned]
This depiction is one of four untitled murals appearing to convey a glorious,
heavenly uniting among family and friends.
13B
ON THE WAY TO EMMAUS
LUKE 24:13-32. This mural is the first part of a two-part illustration;
looking across the galleria you will see the companion painting. Following
his resurrection, Jesus was walking from Jerusalem to Emmaus where
he encountered two men who did not recognize him and had been
saddended by his death. The two men were surprised that this fellow
traveler seemed unaware of all that had recently taken place in Jerusalem.
Without revealing his identity, Jesus began to teach them all the Scriptures
concerning himself.
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14A
[uncaptioned]
This mural is another of the four untitled works illustrating a heavenly
gathering.
14B
ETERNITY- O MIGHTY WORD
This mural denotes a gathering of the scholars as they search the scriptures
to gain an understanding of the issues of eternity. The study of the scriptures
continues today among the faithful.
15A
[uncaptioned]
15B
THE ALL TRUE AND PURE LOVE
16A
[uncaptioned]
This mural appears to have a particular focus on families with illustrations of
infants, youth and adults of varying ethnicities.
This mural illustrates a familial bond of love between parent and child.
This mural at the east end of the galleria is centered on the peak of the ceiling
providing another heavenly image.
16B
THE THOUGHT EVERLASTING
Incorporated into this mural are two banners. The first has “KYRIE” which
is derived from the Greek word kyrios which is translated “Lord”. This term
is found in both the Eastern Orthodox churches associated with the Kyrie
eleison and the Roman Catholic Church as the Kyrie prayer. In both instances
Kyrie is expressed by the petitioner as Lord have mercy. The second banner
“Gloria in Excelsis” is a familiar Latin musical expression translated “Glory
to God in the Highest”. The mural depicts the individual in contemplative
thought of the everlasting.
Note: The architect for the galleria is identified as Clarence L. Jay. He was the chief
architect of the Pasadena firm Clarence L. Jay & Lincoln Rogers who designed other
commerical buildings in the Spanish Colonial Revival Style in the early 1920’s.
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