ST. AGATHA CHURCH
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The History of St. Agatha Church When Saint Agatha parish was formed in 1940 on the northern limits of the village of Upper Arlington, no one could have foreseen the conversion of that area into a thriving suburb. At that time, the church capacity of 350 seemed extravagantly optimistic. Just a year after its dedication, the tragedy of Pearl Harbor stunned the 70 families in the parish. The school had been opened less than a semester. In the postwar prosperity and building boom, Saint Agatha parish was a magnet for many new families moving into the Arlington area. Ironically, its very attractiveness soon made its size inadequate. By 1955 there were 800 families in the parish, and even with six Masses on Sunday, there was "standing room only" at Saint Agatha. A larger church was clearly needed. It was initially hoped that the original structure could be enlarged, but this proved to be both aesthetically and practically impossible. The style of the church that was then built and currently stands at the intersection of Northam and Andover Roads is a modern adaptation of the Greco-Roman classical tradition. The new church sentimentally retains features and charm of the original. The Stations of the Cross, mounted now on Verte Issorie marble, the baptismal font, side altar statues and the stained glass sacristy windows came from the first church. The red brick exterior was chosen to harmonize with existing buildings and the buff-tan brick interior was selected for its warm tone. A major design feature is the liberal use of windows in the high side walls of the nave and facade. This offers a light source that is an integral part of the wall. Through the multi-colored panes, the entire interior of the church is bathed with a constantly changing pattern of light and color. The window design feature is repeated at the top of the bell tower. The tower's tall, slender shape balances with the main mass of the church and the rectory. Originally it had been planned to be of red brick and square in design. At Bishop Issenmann's suggestion it was changed to Indiana limestone and cylindrical in shape to carry out the semicircular form of the baptistry. Its three bells call the faithful to services. Visible from a distance at night, the tower's light is a beckoning beacon. Seating requirements determined the final proportions of all sections of the church - nave, transept, sanctuary, choir, Sisters' chapel, vestibule and bapistry. Even the heights of the roof and the graceful tower found their origin in the basic requirement of 800 seats. There are six banks of pews - 14 pews to each bank - with four banks across the front of the nave. Placing two banks on either side of the main seating area influenced the ultimate design and shape of the building. This arrangement also provided ample chapel and choir areas adjacent to the sanctuary. The focal point of the interior is the high altar where the Sacrifice of Calvary is renewed and the Eucharistic Christ dwells in the tabernacle. The main altar in simple classic lines is made of red marble supported on two base pillars of black marble. The goal sought in the design of the church's interior was a unified and harmonious effect within a single artistic style. The theme of an encircled cross is repeated constantly throughout the church - in the decorative grille work, on the lecterns, the candelabra, the ceiling and in the clerestory windows. The finished church is the result of five years of planning, two of actual construction and uncounted thousands of hours of sacrifice and devotion on the part of Saint Agatha parishioners. It represents their efforts to profess their love of God by offering to Him freely both themselves and their possessions. A colorful mosaic symbolizing Christians coming to Christ is inlaid across the front of the altar. A striking feature of the interior is the dominance of the grand mosaic behind the high altar. The arms of the Lord of the universe call and bless mankind. On either side of Christ is a group of three saints representing the various classifications of the members of the Church Triumphant. To the left are: 1. Saint Agatha, virgin, martyr and patroness of the parish; 2. Saint Stephen, first martyr; and 3. Saint Augustine, bishop and doctor. To the right are: 1. Saint John the Apostle and Evangelist; 2. Saint Helena, Widow and Queen; and 3. Saint John Vianney, Confessor and patron of parish priests. With the Holy Eucharist always present in the tabernacle, the other six sacraments are represented in the mosaic. Designed by an Italian-American, the mosaic's stone and glass components were cut in Italy. The tester or canopy above the altar is dominated by the Holy Spirit and contains the symbol of the Blessed Trinity and eight decorative wheat shafts. On either side of the front portion of the church, stained glass windows in the Sisters' Chapel and choir depict the eight beatitudes given by our Lord in His Sermon on the Mount. The three small windows above each of the side doors depict six attributes of God, namely; power, majesty and wisdom on the Epistle side; love, mercy and justice on the Gospel side. Twelve windows on either side of the main area of the nave contain and illustrate by symbolism, the twelve articles of the Apostles' Creed. Four of the promises made to Saint Margaret Mary are illustrated in the flanking windows of the Sacred Heart Shrine. Directly opposite is the shrine of Saint Agatha with events of her life portrayed in the windows on either side of it. The seven baptistry windows arrayed together form a single composition. Their blue color and rhythmic, undulating lines symbolize the saving waters. The water symbolism is repeated in the terrazzo floor. |
Facts About Saint Agatha Church "Baptizing" church bells is a centuries-old tradition. In this church the large, medium and small bells were named Joseph, Mary and Agatha respectively. The bell tower or campanile is 110 feet high and the peak of the roof is 46 feet from the floor of the church. From the rear of the sanctuary to the rear of the church is 147 feet. At its widest, the church is 84 feet and at its narrowest, 50 feet across. The side altar mosaic symbolisms are: Saint Joseph's -lily, carpenter's square and the star of Bethlehem; Blessed Virgin's - star of the sea. Behind the high altar, partially visible through the grille work above the mosaic, is a huge echo chamber, which will house the pipes for a full size organ. The bright sun-light tones provided by the clerestory windows were suggested by the Church of Santa Sabina on the outskirts of Rome, which Monsignor Kennedy saw in 1960. Traditionally church bells are rung on occasions of public joy and gladness and calamity and sorrow. They are identified with the "voice of God" calling the faithful to public worship. As needed, the bells are controlled either manually or automatically. Actual execution of the mosaics, marble and statuary took place in Italy from plans sent there by the artist. First Mass in the old church - December 1, 1940 New church: Taken from The Dedication of Saint Agatha Church, booklet; dated March 15, 1964
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