The
church exterior is also in the Romanesque style. As in many of the best
churches of the Romanesque period, the design is distinguished by restraint and
the magnificent use of, light and shadow. Its unadorned square tower,
topped by its octagonal cupola, can be seen as one approaches from either
direction. To the left of the tower, the bulk and simplicity of two tall
buttresses frame the main area of ornamentation - the arched doorway, colonnade
frieze, and the great wheel window below a sculptured figure of St. Cecilia
which enrich the front of the church.
The relationship of the three altars is perfectly expressed on the exterior by their separate apses. Through the seven openings in the central apse, light enters through the seven ambulatory windows in which are depicted scenes from the Passion, and the last days of Our Lord on earth. These windows were designed by Henry Lee Willet in his studios in Philadelphia, one of four different firms engaged at the suggestion of the architect to do the windows of St. Cecilia's.
On either side of the nave are the transepts, their altars dedicated to St. Cecilia and the Black Madonna. A carved marble communion rail separates the sanctuary from the nave. The original altar, of beautifully combined marbles and brilliant mosaics, was an important note of interest in the new church.
Between alternate pairs of side buttresses are the confessionals, of wrought iron, with a circular window over each, also designed by Mr. Willet. Of medallion type, with richly colored borders, they represent Our Lord discussing intimately the sins, problems, and way of salvation with the children of men.
In the four large windows of the north transept are scenes from the ministry, miracles, and parables of Our Lord. In the south transept are the Munich windows, the work of the well-known Frantz Mayer. They consist of a series of medallions whose setting in a grisaille background sheds more light on the sanctuary.
In the twenty-two large clerestory windows, also done by the noted firm of Mr. Willet, have been depicted early saints and martyrs, with a predella under each containing subject matter from their lives - after the manner of the clerestory windows in Bourges Cathedral.
The large window over the organ was designed by Nicola D'Ascenzo of Philadelphia. The small ones in confessionals, baptistery and sacristy are from Detroit Stained-Glass Works.
Continued
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