Church of Notre Dame NYC History Archive: Main Altar

Parishioners of Notre Dame raised $40,000 ($545,000 in 2014) to commission the altar. The altar, pulpit and balustrade (altar rail) in white Carrara marble, which took over two years to complete, are the work of noted French sculptor and designer, Edmond Becker. Becker was a prolific engraver of medallic jewelry and bronze commemorative plaques. He also produced various carved objects for Boucheron. Becker’s exhibitions at the Société des Artistes Français won him a Second Class Medal in 1902 and a First Class Medal in 1911.

The altar, which was placed on public display in Paris prior to its arrival by steamship from France, weighs over thirty tons, and it was necessary to construct a special brick support in the church on which to rest it. After being installed by three workmen from France under the supervision of the artist himself, the altar and pulpit were consecrated on April 24, 1927.

The gilt bronze bas-reliefs on the altar depict three of the Joyful Mysteries in Mary’s life; the Annunciation

the Birth of Jesus

and Mary’s Coronation in Heaven.

Prior to alterations that were done in 1988, the vertical direction bas-reliefs were dedicated to the life of Christ; the front panel of the altar depicting the birth of Jesus (photo above, the face of Christ on the tabernacle door,

and His death on the Cross.

Two statues in bronze; one of Mary,

the other of St. John the Evangelist,

stand on either side of the large central crucifix (pictured above). The arm extremities of the crucifix and aureole (the traditional head setting of the figure) are in stained glass, which is illuminated by rear electric lights. Similar stained glass aureoles ornament the heads of the two flanking statues. In designing the stained glass, Mr. Becker was striving for the effect of a particular retrospective style of enamel ornamented religious jewelry.

Two symbols of the Passion of Christ appear on the reredos; the Crown of Thorns and three nails,

and on the other side, the Veil of Veronica.

Immediately below the crucifix is a lamb,

symbolizing Jesus Christ as the sacrificial Lamb of God (John 1:29).

On the four points of the crucifix are bas-reliefs of the symbols for the four Evangelists (not pictured); the face of a man (Matthew), lion (Mark), ox (Luke) and eagle (John).

Trailing flowers and wreaths in gilt bronze decorate the various plane surfaces of the altar, together with ears of corn, spikes of wheat and thorns. Stalks of wheat and clusters of grapes, representing the sacramental bread and wine, adorn the antependium of the main altar. The monogram of Notre Dame (ND) is also engraved in gilt bronze on the sides of the statue pedestals.

The bronze bas-reliefs on the pulpit depict the four Evangelists of the Gospels; Matthew,

Mark,

Luke

and John.

On the pulpit railings, floral and garland embellishments are woven with the instruments of the Passion of Christ.

In 1988, renovations to the altar were made in order to comply with liturgical changes mandated by the Second Vatican Council of 1964. The altar table was cut from the reredos (back panel) and moved forward several feet, enabling the priest to face the parishioners while celebrating Mass. In addition, the altar was shortened by moving two panels that originally faced forward, flanking the Nativity panel. The left flanking panel depicts a shepherd

and the right, one of the three Magi, who arrived to worship the Christ Child.

The ornate bronze and wrought iron gate that closed the opening of the altar rail was also removed. This was done in order to allow communicants to line up single file rather than kneeling at the rail, and to allow clergy and lay servers easier movement between the sanctuary and main church during the Mass.

The parish was divided over the decision to alter the altar, and a group of parishioners sued under Canon Law to stop the process. Despite protests, the alterations, performed by D’Ambrosio Ecclesiastical Art Studios of Mt. Kisco, proceeded as planned. In the process, the Trinitarian symbolism intended by the artist in carving the altar, pulpit and rail from three whole pieces of marble was destroyed.

Images of the altar before deconstruction:

Altar on display in France (from Church of Notre Dame: 75th Anniversary : 1910-1985 : Morningside Heights, New York City, Park Publishing,1984.)