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- The Threshold of Heaven
- The Oldest Artwork
- Stained Glass
- Paintings & Mosaics
- Sculptures & Carvings
- Textiles & Other
- Christmas & Easter
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The Threshold of Heaven
"Nothing but the best!"This often-heard philosophy of Fr. John Chwalek, pastor of St. Stanislaus Kostka Parish from 1970 to 2002, could define the historic artistry of St. Stan's.
From the 1902 purchase of the future church property in a highly prominent town location, to the ambitious conception and construction of the grandest church building in the region, to the gradual furnishing of the building's interior with highest-quality imported marble statuary and wood carvings, to the glorious artwork painstakingly painted on the walls and ceiling of the nave, St. Stan's parishioners have never stinted in expressing their devotion to the Faith and their desire to encapsulate the glory of God in wood, stone, and paint.
To enter St. Stan's is to leave behind our earthly cares and approach the very threshold of Heaven itself. Wherever the eye should glance, it lights on vivid portrayals of the Persons of the Holy Trinity, on choirs of angels in reverent attendance, or on the blessed saints of the long history of the Catholic Church who point the way to a life of Christian charity and holiness.
The profusion of divine, angelic, and saintly images is remarkable. An inventory of the images in St. Stan's, whether in paintings, mosaics, wood carvings, metalwork, or statuary, found 123 portrayals of the Persons of the Godhead, 98 portrayals of angels, and 129 portrayals of 51 individual saints, from Abraham to St. Veronica. Adding background figures who are not saints, and animals with Catholic symbolic meaning, brought the total to 562 living beings depicted within the walls of St. Stanislaus Kostka Church.
All this beauty is devoted to one purpose: stirring appreciation in the soul for the greater glory of God. As we stand in this pale reflection of the threshold of Heaven and experience the gentle serenity of a sacred space, our restles souls can be stilled and find quiet peace in His majestic transcendence. Perhaps we can hear His call to each of us in our hearts, "I am here," and with the angels and saints open our souls to the fullness of His glory as we bask in adoration.
In the words of today's pastor, Fr. Paul Norman, "When entering St. Stan's Church, the sacred imagery tells a story which leads us to a deeper appreciation of God's beauty, His goodness and His truth. In this way, the beauty of St. Stan's elevates our hearts to God's divine mystery and predisposes us for the sacred offering of the Mass."
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the Oldest Artwork
When St. Stan's was dedicated in October of 1905, it was a bare-bones structure of walls and ceiling. It had no carved altars, no rich paintings, no bright chandeliers, and few statues. Over the course of the next 25 years, the congregation set to work supplying the needs of the Church.
1914
The two photos on the left show the Church interior as of 1914, nine years after its dedication (click a photo to enlarge it in a new tab). The first photo shows the front of the Church with the original pews and Communion rail, both later replaced. The original pulpit and its stairway can be seen on the left; this too was replaced by a more ornate pulpit in 1927. The three altars, installed in 1906, have their original dark wood color (changed in the late 1930s to Vatican Ivory with gold accents). A statue of the Immaculate Conception stands to the left of the Sanctuary, and the original Sacred Heart statue to the right (their positions were later swapped). The interior is lit by wall sconces. The sanctuary walls hold the statues of the Holy Family (left) and Sts. Dominic and Catherine of Siena with Our Lady of the Rosary (right); by the 1927 Jubilee, these had been relocated to the walls of the nave, where they hang today.
The second photo shows the sanctuary. The walls and ceiling are still unpainted. Note that the arch directly behind the altar was originally a solid wall; it was cut out and fitted with a large stained-glass window in the 1950s. The photo has been lightened to show detail, so the dark wood of the altar looks brighter than it actually is. The statues of Sts. Casimir, Stanislaus, and John Cantius all have wooden back panels, which were cut out in the 1950s when the stained-glass window was installed behind the altar.
This photo shows that the five carvings on the lower tiers of the altar were originally multi-colored: the tabernacle tier portrays the Presentation and the Annunciation (partially obscured by candlesticks), and the bottom tier portrays Melchizedek's Meeting with Abraham, the Lamb of God with the Four Evangelists, and Abraham's Sacrifice of Isaac. We can only guess from this photo the colors actually used. The carvings were repainted in gold on a light blue or ivory background in the late 1930s.
The small stained-glass windows on either side of the altar depict the Sacred Heart on the left, and the Immaculate Heart on the right. The openings were enlarged and the windows replaced in the 1950s. The original Sanctuary Lamp hangs from the top of the main arch directly in front of the altar; it was later replaced by a more ornate Lamp and moved to the left.
The 1927 Silver Jubilee Album
The 1927 Silver Jubilee album contains a handful of valuable black-and-white photos showing the Church decoration of the period. Combining later photographs with historical records allows us to track the gradual development of the Church artistry up to our present day.
The 1927 album includes a picture of the St. Stanislaus Kostka Society standing in front of the Church's main entrance doors. The doors are of plain wood, and the original stained-glass windows above them do not yet depict St. Stanislaus with the Child Jesus (center door), or angels (right and left doors).
The first painting of the Church interior was by the artist Józef C. Mazur of Buffalo, for the parish's Silver Jubilee. Mr. Mazur was assisted by 20-year old Bill (Boleslaw) Twarog, a member of St. Stan's parish; Mr. Twarog was destined to repaint the Church interior twice more in his career, for the parish's 50th and 75th anniversaries.
In this photograph from the album, the original Communion rail has been replaced by a new ivory-and-gold rail (still in the Church today). Five large paintings surround the main altar, while ten smaller medallions of saints decorate the curve of the ceiling. Two small barrel-shaped electrical lights are mounted on either side of the sanctuary; these or their mates are today found at the foot of the Church's two steeple staircases. The wall behind the upper part of the altar is still a solid wall with a painting; it was later converted to a window for the 50th anniversary. The pilasters in the wall, which were white in the 1914 photo above, are painted a darker color. The inscription on the sanctuary arch reads in Polish Święty, Święty, Święty, Pan Bóg Zastępów (Holy, Holy, Holy, Lord God of Hosts).
This wider photo from the Silver Jubilee Album shows the sanctuary during Mass. The old pulpit and its stairway can be seen on the left, adjacent to the first row of pews. The large statues of Jesus (left) and Mary (right) are in place, but Mary is lacking the statue of St. Bernadette at her feet; that was added in the late 1950s by the Children of Mary. The two side altars can be seen with their primary statuary: Our Lady on the left, St. Michael on the right. The right altar houses a statue of St. Catherine of Alexandria on the left, and St. Joseph with the Child Jesus on the right (later moved to the right side of the left altar). The painting titles listed in the Silver Jubilee Album and in a newspaper article of the time identifiy the three large altar paintings as St. Stanislaus Bishop and Martyr Blesses the Social Classes of Poland (left, this is not our St. Stanislaus Kostka), Worship of the Holy Trinity (center), and St. Jadwiga Blesses Henry the Pious (right). Two more paintings over the altar can't be seen in this photo, they were St. Stanislaus Kostka (far left), and Queen of the Polish Crown (far right).
This Silver Jubilee photo offers a view of the right side of the Church. The large sanctuary painting second to the right from the altar is at a sharp angle, and can't be identified. The small statue of St. Catherine of Alexandria can be seen clearly to the left of the right side altar. The original hanging light fixtures have a tapered lantern shape. The Sanctuary Lamp hangs from the apex of the ceiling ribs, where the large crucifix now hangs. Three large paintings on the right wall portray an angel, a bishop, and someone holding a banner of the Polish eagle. The wall statue of Sts. Dominic and Catherine of Siena has been moved from the sanctuary to the nave wall, facing the congregation. The dog at St. Dominic's feet is a dark color; it was repainted in mid-century by Fr. John Chwalek to honor his dog Sparky. To the right, the first Station of the Cross has a painted upper backdrop. The stencil and wainscoting on the bottom wall are different from today's.
The left wall and back of the Church are shown in this photograph from the Silver Jubilee Album. The choir loft balustrade has its original natural wood color; it was painted ivory with gold accents in the late 1930s. On the choir loft stand the original organ pipes and cabinets, later replaced. The formerly white pilasters have been painted a darker color, while the pillars (ash wood surrounding a steel core) are lighter and slightly painted to resemble marble (better seen in the 1914 photo above). A large angel appears in an arch, bearing an inscription in which only the Polish word Przyśpiew (Refrain) is legible. On the ceiling, three Evangelists can be seen, with St. Mark identified on the lower right.
The tops of the original back wooden doors are visible; they were padded with red leather in mid-century for insulation and sound-proofing, and then replaced by designer glass doors in 1992. Three of the original tapered lantern lights are hanging from the ceiling in a row, with the darker Sanctuary Lamp also visible. There is no hanging central light; the lights were hung only amid the rows of pillars on the right and left. The Stations of the Cross (Stations 8 through 12) have painted upper backdrops on the wall, which were later covered over.
From 1927 to the 1950s (pre-50th Anniversary Renovation)
On this photograph, the inscription reads in Polish Gift of the St. Stanislaus Kostka Society for the Parish in Adams. June 28, 1931. It refers to the large crystal chandelier, installed in that year. Two smaller side chandeliers were also hung then, donated by the Children of Mary. The new carved-wood pulpit with its wooden canopy and stairway, also donated by the St. Stanislaus Kostka Society, is present amid the second and third rows of pews. Records show the pulpit was bought for the 1927 Jubilee, but apparently wasn't installed until after the photographs for the Jubilee Album had already been taken. A pair of angels bearing bouquets of electric lights have been positioned on the sanctuary arch; in later years a second pair will be added above them, and then a third pair.
The ceiling shows two of the Evangelists, St. John on the left and St. Matthew on the right. As St. Mark was located in the previous photo, it's clear that the four Evangelists today, after the 50th anniversary repainting, are in the same relative positions: St. John on front left, St. Matthew on front right, St. Mark on back left, and St. Luke on back right.
This 1947 photograph documents the 1927 artwork before the 50th anniversary renovation. The altar's back wall features a damask-like painted pattern, with a similar pattern on the arch. The wooden screens to the altar's left and right have been added since the 1930s, but the top carved panels are solid - sections will be cut out during the coming renovation. Three pairs of angels fastened to the arch now light the sanctuary instead of the single pair of the 1930s. The uppermost pair will soon be removed.
The two large paintings flanking the upper tier of the altar can be clearly seen: St. Stanislaus, Bishop and Martyr, Blesses All the Social Classes of Poland on the left, and St. Jadwiga Blesses Henry the Pious on the right. The central painting behind the upper altar is Adoration of the Blessed Trinity. Part of the painting located to the farthest left of the altar (St. Stanislaus Kostka) is just visible here - you can make out St. Stanislaus and his halo. The corresponding painting to the farthest right (Queen of the Polish Crown) is entirely out of view.
The old location of the pulpit and its ornate sculpted pedestal are visible on the lower left. The statue of the Sacred Heart (left) has a painted stonework background arch, while the statue of the Immaculate Conception (right) is surrounded by a trellis with flowers. The 50th anniversary renovation will replace the backdrops of both statues with the Gothic woodwork spires they have today. The old tapered light fixtures hanging on the upper left and right will be replaced in the upcoming renovation. The Sanctuary Lamp is the current one, a marvel of gold and silver metalwork, replacing the lamp seen in the 1931 photo above. Here it still hangs from the central peak of the arch (the lamp hangs directly in front of the head of the second priest from the left); it will soon be moved to the left of the Sanctuary, replaced by the large crucifix suspended from the arch's peak today.
To the lower left is one more photo of a wedding from the early 1950s, showing the same state of Church artwork just before the 50th anniversary renovation.
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Paintings & Mosaics/documents/2024/6/Mosaics.pdf
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Christmas & Easter
Christmas 
From our Centennial Anniversary book:
"The Christmas altar is surrounded by as many as 200 poinsettias to honor the birth of Christ. The flowers are donated by parishioners in memory of loved ones or in thanksgiving for blessings received. Every year, Midnight Mass is celebrated to greet our New Born King. Voices are lifted to give praise to God by singing kolędy, Polish Christmas Carols."
The right side altar is converted into a Creche scene, displaying the Holy Family, shepherds with their sheep, the Three Kings as Epiphany approaches, and the angel above proclaiming Glory to God in the Highest!Easter
Shortly before Holy Thursday, the left side altar is veiled in white and gold, while a tall cross is erected to the left of the altar. After Good Friday services, a curtain at the front of the altar is pulled aside to reveal the body of Our Lord at rest in a tomb, and the Blessed Sacrament is exposed on the altar. The curtain remains open until the Easter Vigil, when it is drawn closed as the Resurrection is proclaimed.
From our Centennial Anniversary book:
"From Holy Thursday to Easter Vigil, the left side altar becomes the Triduum altar. It is the main focus of prayer and reflection. St. Stanislaus Church continues this tradition, which originated in Poland and dates back almost 500 years. It depicts the entombment of the crucified Christ. The exposition of the most Blessed Sacrament allows parishioners to spend time in adoration."
On Holy Saturday, parishioners and visitors come to venerate the Holy Cross laid at the foot of the Communion Rail. Following tradition, they kneel at the back of the church and proceed on their knees down the aisle to the crucifix, and from there to the tomb to venerate Our Lord in His repose.
Holy Saturday is also the day when St. Stan's continues the old Polish tradition of święconka. Parishioners bring to the church parking lot baskets filled with samplings of their Easter feast to be blessed by Fr. Paul.
For the Easter celebration, the main altar is surrounded by lilies, donated by the parishioners in memory of loved ones or in thansgiving for blessings received. The scent of lilies and the other flowers in the Resurrection Garden at the foot of the free-standing altar pervades the church. A statue of the Risen Lord with His hand uplifted in blessing is placed in the sanctuary amid the lilies.
The Sunday following Easter is the Feast of Divine Mercy. In keeping with its key role in founding the National Shrine of Divine Mercy in Stockbridge, and in recognition of its custodianship of the historic image of Divine Mercy hanging on its wall, St. Stan's celebrates the feast each year by inviting the faithful to a holy hour at 3:00pm. The hour begins with Exposition of the Blessed Sacrament, followed by the sung Chaplet of Divine Mercy, the recitation of the rosary, and then quiet adoration. The hour concludes with Benediction. Confessions are made available throughout the hour to enable participants to receive all the graces offered by Our Lord on this special day.
In 1990, Frances Bedini published an article in the North Adams Transcript reminiscing over some of her childhood memories of the Easter season at St. Stan's. Do you remember mite boxes during Lent, keeping vigil before the body of Our Lord in the tomb, or waiting impatiently for one of the parish priests to arrive and bless not only the Easter feast spread out on the dining room table, but the house and its occupants? Maybe your family anticipated the arrival of Easter by enjoying the blessed food on Holy Saturday afternoon, or maybe you waited until Easter Sunday itself to begin the feasting.Simon Zelazo has posted a video of St. Stan's choir from the Easter sunrise Mass of 1990. The choir director and organist in the video is Mr. John Sumaj, who served the church in this capacity for 48 years. The celebrant is Fr. John Chwalek, who served as pastor for 35 years. The video is cued to start at the proclamation of the Resurrection.
