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Murals
The eight murals in the sanctuary of Saint John’s were designed and executed by John Henry DeRosen in 1951-53 after consultation with The Rev. Alfred Loaring-Clark, rector, Lucian Minor Dent, a parishioner and the church’s architect, and donors. Two murals are of abstract composition while the other six are illustrations of events in The Bible and in the early history of the Christian church. The murals not only beautify the church, but also glorify God and serve to remind us that God in the person of Jesus Christ is ever present with us.
(please click on any of the mural photos for a larger view)
The High Altar
Christ Triumphant
 The theme for the high altar mural was suggested by Rev. Loaring-Clark (1901-1952), the first rector of Saint John’s. It came from the first line of one of his favorite hymns, “Christ the Fair Glory of the Holy Angels.” [The Hymnal 1982 pp. 282, 283]
In abstract composition, “Christ Triumphant” shows Christ standing with the cross behind him. Wounds are shown in his hands; there are nail prints but no nails for he is held on the cross by his love for us. This is Christ Triumphant not Christ crucified. His head is raised; his arms are outstretched in an attitude of blessing. Behind the head of Christ, the small circle, the nimbus, symbolizes divinity. The larger circle behind the head of Christ represents the universe; the stars are the constellations of the Western Hemisphere during the Spring Equinox.
On each side are two messenger angels, the Seraphim, whose ministry is praising God in heaven. The Seraphim are turned toward Christ, yet not entirely away from heaven. They hold incense burners, which symbolize the purification of the Son and the adoration of Christ. The clouds replicate those expressed in an etching by Albrecht Durer, a painter most respected by Mr. DeRosen.
The two medallions represent the four evangelists. At the left, St. Luke and St. John are symbolized and, at the right, St. Mark and St. Matthew. Four dominant characteristics of the Savior are found in the medallions.
St. Matthew’s symbol is a winged man signifying the humanity of Christ. St. Mark’s symbol is a winged lion, denoting kingship. His writings show the royal dignity of our Lord, Christ the King. St Luke’s symbol is a winged ox denoting sacrifice.
His gospel is filled with Christ’s sacrifice and atonement for us. St. John’s symbol is a winged eagle representing divinity. St. John soars higher than the other gospel writers in contemplating the divinity of our Lord and wrote as well of sublime mysteries. The six blue wings are depicted according to the description given in the book of Revelations. Blue is the color of the Cherubim, angels who dwell beside the throne of God, act as guards to the most holy place, and are usually positioned below the Seraphim.
St. John the Evangelist, patron saint of the parish, stands below Christ. The only disciple who lived to be old and who died a natural death, he is shown as an old man. He preached Christ’s message, “Little children, love one another.” (John 15:12-17) The early Church preferred to think of John as the author of the book of Revelation or the Apocalypse and the gospel, rather than as the Beloved Disciple as depicted in later Christian art.
Archangels stand on either side of St. John. From left to right, they are:
Jophiel: According to tradition, Jophiel is the archangel who drove Adam and Eve from Paradise and stood at the gates of Eden with a flaming sword, a symbol of God’s judgment. The shield in his left hand shows Adam and Eve, created not born, and the Tree of Knowledge. Under his foot is the serpent, showing that Satan will be overcome. His wings are bejeweled with moonstones, which, according to the symbolism of the Middle Ages, are the gems representing marriage. (Genesis 3) Jophiel is a self-portrait of the artist.
Chamuel: According to tradition, Chamuel stood by Christ during the agony in the Garden of Gethsemane. He holds in his hand the symbolic chalice, recalling Christ’s words, “Let this cup pass from me.” It also reminds us of the comfort Christ left his disciples in the rites of the Blessed Sacrament. The cup illustrated here depicts an early chalice, which is in the treasury of the Basilica of St. Mark in Venice. The gem of Chamuel is the amethyst as shown on his wings. The purple symbolizes mourning, sorrow and penance. (Luke 22:45)
Uriel: The archangel of the universe and the elements, Uriel’s robe is the color of fire, one of the elements. He is the keeper of beauty and light and the regent of the sun. He holds in his right hand a Greek column, which symbolizes perfection in aesthetics, man-made beauty. In his left hand is a staff topped with the sun because he is the regent of constellations. His gem is the emerald with its green of grass and trees.
Michael: God’s special angel leads the fight against the devil and bears the flag of the Church. He is dressed in armor and holds a sharp-pointed sword and a spike, representing God’s judgment. Michael wears the crown of victory and on his breastplate is reproduced an early Greek icon showing the devil with his lance. His gem is the ruby, the color of blood, symbolizing the fighter and reminding us that Christ gave his blood for us. (Rev. 12:7-8)
Gabriel: The Holy Messenger came not only to Mary, but also to Elizabeth. Gabriel is the Archangel of the Annunciation. He holds in his hand the triple rose, which, until the fourteenth century, was the symbol of the Blessed Virgin. On his white cloak is embroidered the Annunciation scene. His gem is the sapphire.
Raphael: The protector of the traveling youth, Raphael is the friend and defender of young Tobias, whom he saved from the monster, which planned to devour the boy. Raphael holds in his hand his symbols, the pilgrim’s staff and the fish. The fish was a symbol used by early Christians to denote their Christianity. The Greek letters on the fish are initials for “Jesus Christ (of) God Savior.” On his pilgrim staff is a gourd, always carried by a traveler, so he could drink from any spring that he might pass on his journey. Raphael does not have a jewel, but instead has two scallop shells, the sign of the pilgrims in the Middle Ages and emblematic of baptism. (Tobit 1:14)
The red background of the entire mural symbolizes power and love. This mural recalls the mosaic in the Church of San Vitale in Ravenna, Italy, and the mosaic in the church of St. Sophia in Istanbul, Turkey.
The Mural “Christ Triumphant” was presented by Mr. and Mrs. Norfleet Turner (Elinor) and Mr. and Mrs. Bayard Boyle (Elizabeth) to the Glory of God and in loving memory of Mr. and Mrs. Sam Ragland, parents of Mrs. Turner and Mrs. Boyle.
In the adjacent working sacristy, there is a small mural showing the women at the foot of the cross. This was a gift to the women of the parish from the artist.
Lady Chapel
(South Transept)
The murals in this chapel illustrate three important events in the life of the Virgin Mary: The Annunciation, The Visitation, and The Incarnation.
The wooden altar provides continuity between the former church building and the present one. The main altar in the first Saint John’s at Semmes and Spottswood was moved to this location in 1948.
Holy Mother Enthroned
(East wall above the altar)
 This mural, the first to be painted, represents The Incarnation. It depicts the Holy Mother, her arms outstretched, with the Christ Child seated in her lap. His hand is raised in blessing. The Madonna is not holding the Child to herself, but in such a way as to present him to the world and to say, “I gave him to you.” The position of her arms is symbolic of prayer. Rocks surround the throne, on which the Holy Mother is seated, with mountain peaks in the distance, a symbol of paganism. Above and behind is an immense night sky filled with stars, recalling the night of his birth.
Unarmed angels stand on either side. The angel to her left bids the congregation to worship. The angel to her right is holding a white falcon or tercel, often referred to as the bird of kings and the king of birds. The falcon is rising to life again in the presence of Christ who restores life.
Note the use of both gold leaf and that of imitation gold leaf, which is not as brilliant.
This mural honors the memory of a young parishioner, an aviator, who was killed in a plane crash. Mr. and Mrs. Jules Rozier present it, to the Glory of God and in loving memory of her son, James DuBose Swearenger, Jr.
The Annunciation
(East mural on the south wall)
 This mural is the artist’s description of “The Annunciation.” He was influenced by a fresco found in the catacomb of South Praxeda in Rome, which was probably from the second century. If not the first image of the Annunciation, it surely is one of the earliest Christian images known. The mural shows the Blessed Virgin dipping water from a stream with the Archangel Gabriel approaching. This mural is a return to the early tradition of iconography.
“And the angel came unto her, and said, ‘Hail, thou that are highly favored, the Lord is with thee: blessed art thou among women.’ And when she saw him, she was troubled at his saying and cast in her mind what manner of salutation this should be.” (Luke 1)
In the mural, Gabriel is dressed in white, symbol of purity, wearing a golden belt signifying chastity, and a cloak of fiery red, the symbol of the Holy Spirit. He holds the traditional staff or scepter, which all archangels carry in Byzantine tradition. The Blessed Virgin is dressed in white and pink, symbols of her purity and youth. Near the brook, the vase is a Syriac vessel of the first century, probably similar to those used in Galilee at the time of our Lord. While the landscape is bare and rocky, representing the outside world, it provides an enclosed space where the Blessed Virgin is kneeling on a green meadow covered with spring flowers. The Archangel Gabriel is shown announcing to Mary that she is to become the Mother of our Lord. The golden rays coming from above are symbols of the Holy Ghost descending upon the Blessed Virgin.
Both Italian Renaissance and Baroque styles and the influence of painters Bryn-Jones and Dante Gabriel Rosetti can be seen here.
This mural is given to the Glory of God and in loving memory of Gertrude Alcorn Russell. It is the gift of three of her children: Edward P. Russell, Mrs. Percy M. Wood and Mrs. Giles A. Coors.
The Visitation
(West mural on the south wall)
 This mural depicts the visit of St. Mary to her cousin, St. Elizabeth, as told in the first chapter of the Gospel of Luke.
“And Mary arose in those days and went into the hill country with haste into a city of Judah: And entered into the house of Zechariah, and saluted Elizabeth. And she (Elizabeth) spoke out with a loud voice, and said, ‘Blessed are thou among women, and blessed be the fruit of thy womb. And whence is this to me, that the Mother of my Lord should come to me?”
And Mary replied with the beautiful song of the Magnificat:
“My soul proclaims the greatness of the Lord,
My spirit rejoices in God my Savior; for he has looked with favor on his lowly servant.
From this day all generations will call me blessed;
The Almighty has done great things for me, and holy is his name.
He has mercy on those who fear him in every generation.
He has shown the strength of his arm, He has scattered the proud in their conceit.
He has cast down the mighty from their thrones, and has lifted up the lowly.
He has filled the hungry with good things, and the rich he has sent away empty.
He has come to the help of his servant Israel, for he has remembered his promise of mercy,
The promise he made to our fathers, to Abraham and his children for ever.”
At the time of The Visitation, Elizabeth and Zechariah, although advanced in age, are awaiting the birth of their child who is to be John the Baptist. Elizabeth is hesitant and shy in the presence of the one who is to be the Mother of Our Lord.
The Blessed Virgin is dressed completely in white, the symbol of purity. On her heart can be seen the cross, foretelling the sorrow, which will come to her. In the background are mountains, which represent the “hill country” of Elizabeth’s home. In Eastern iconography, a drapery generally denotes a human dwelling or house; hence, the drapery and porch indicate the home of Elizabeth.
Only two colors are used in the mural, blue and white, the colors of the Virgin. This is the only mural done in just two colors.
James Dinkins Robinson, whose influence was important also in acquiring the cemetery for Saint John’s, gave this mural. He is buried in the southwest corner of the cemetery.
Holy Spirit Chapel
(North Transept)
Here the central theme is Regeneration. The baptismal font, altar and altar rail were designed by Lucian Dent and made in Italy. Thorne and Dorine Edwards, who lived in Memphis at the time but later moved to Seattle, Washington, executed the mosaics also designed by him. The needlepoint kneelers, which repeat the design of the frontal, mean “The Holy Spirit, acting through Christ, leads to Eternal Life.” They were worked by Mrs. Leonard Vaiden (Katherine), a parishioner.
We are made children of God by baptism. In the Chapel of the Holy Spirit, are depicted three different customs of baptism:
Baptizing with the water from the river,
Baptizing with the water from a fountain,
Presenting a bowl of milk and honey immediately after the baptismal ceremony.
The Baptism of God’s Son, Jesus Christ
(East wall above the altar)
 Jesus came from Nazareth in Galilee to the Jordan River to be baptized by John who called men to baptism with water thereby symbolizing recognition and confession of sin together with acceptance of God’s judgment and forgiveness. John resisted baptizing Jesus and said, “I need to be baptized by you, and do you come to me?” But Jesus answered him, “Let it be so now; for thus it is fitting for us to fulfill all righteousness.” Then John consented. (The baptism of Jesus is recorded in the Gospels: St. Matthew 3:13-17; St. Mark 1:9-11; St. Luke 3:21-22;
St. John 1:29-34.)
In the mural, John the Baptist is wearing his hair shirt, symbolizing his humility. The landscape is purely conventional, as are the waters of the Jordan River. The two figures in the foreground are unnamed witnesses. In the very early images of the baptism of our Lord, these two figures are seen either standing or kneeling, but they are probably of no significance.
The dove, on the ceiling above, is the symbol of the Holy Spirit, which appeared during the baptism of Jesus. On the altar frontal, the motif is drawn from the first two Greek letters of the name Christ, Chi Rho. The phoenix represents life everlasting, the regeneration of the soul through Holy Baptism. The dove here represents God’s peace. Reading from left to right: the Holy Spirit, acting through Christ, leads to eternal life represented by the phoenix. The kneeler repeats the design on the frontal.
The Baptism of Priscilla The Martyr
(East mural on the north wall)
 Priscilla and her husband Aquila were tentmakers in Rome in the reign of Claudius. When with all the other Jews they were banished by Claudius, they went to Corinth in Greece, a chief city of extensive trade. St. Paul came from Athens. Soon they became acquainted with St. Paul, and he lodged with them for 18 months. It must have been during this time that St. Paul baptized Priscilla using the waters of the fountain. This is called “Aspersion.” Priscilla’s husband Aquila is shown seated on the steps.
When St. Paul left Corinth to return to Jerusalem, he took Aquila and Priscilla with him as far as Ephesus and left them to work in the early church there. Three years later St. Paul returned to Ephesus and probably was their guest again. They helped him in his efforts to extend and instruct the infant Church. He bears witness that they risked their lives for him. They were assisted in their kindness, charity and hospitality by their servants who all were Christians. They left Ephesus about the same time as St. Paul and returned to Rome in the fourth year of Nero’s reign. They were martyred in Rome.
The Baptism of Saint Augustine of Hippo
(West mural on the north wall)
 This mural shows the Bishop of Milan, St. Ambrose; offering the kneeling young Augustine a silver bowl with milk and honey following his baptism on Easter Eve in Milan, Italy. St. Monica, the mother of Augustine, looks on.
Originally, the mixture of milk and honey was a symbol of the Israelites’ deliverance from exile and was taken over by the early Christian Church as a symbol of baptism. The liquid was consumed after baptism. This custom disappeared after the fifth century.
The transition from antiquity to the beginning of the Christian era is represented again in this mural.St. Ambrose is a man of antiquity and St. Augustine, clad in a Roman patrician dalmatic, represents Christian civilization. The background is the reproduction of a painting, probably of the sixteenth century, depicting the ordination to the priesthood of St. Augustine by St. Ambrose surrounded by presbyters. The custom of presbyters laying their hands on the ordinand is still practiced today. The figure of the Archangel above is also the reproduction of a painting of the same period. The Roman lamp burning at the side of St. Ambrose is the symbol of learning and philosophy. There is a strong Byzantine influence in this mural.
All murals in the Holy Spirit Chapel were the gifts of Mr. and Mrs. James Herbert Humphreys, Sr. The marble baptismal font was given by Mr. and Mrs. James A. Taylor and Mr. and Mrs. Albert Wolff in memory of Mrs. Antoine Karlhaus Steuwer, aunt of Mrs. Taylor and Mrs. Wolf.
Christ the Judge
(West wall)
 The majestic figure of Christ as Judge shows him seated on a throne, the symbol of his authority. From him the rays of grace transfuse the whole universe. His radiance lights both the earth and moon under his feet. The tiny white spot on the globe represents Memphis. Traditionally, our Lord is clothed in a rich red robe when he is pictured in the Judgment seat. Behind the throne, the Archangel Gabriel holds his trumpet in readiness of the Day of Judgment.
Below, and on Christ’s left, is the Archangel Michael holding the scales of justice on which the souls of men are to be weighed. He has closed his eyes as though blindfolded because he is not the judge nor does he have any part in weighing souls of men. Another archangel is holding the Book of Knowledge, opened to the year 1953, the year in which the mural was painted. The equations express Albert Einstein’s Theory of Relativity, “which in 1953, was the greatest advancement of scientific knowledge know to man.” John DeRosen, the artist, is saying that Theology and science have the same source—God.
This mural, the last to be painted, was given to the Glory of God and in loving memory of the Reverend Alfred Loaring-Clark (Missioner 1926-1928, Rector 1928 until the time of his death in 1952). It was the gift of his family, parishioners and friends.
Summary
The murals have continuity and are integrated in such a way that they tell a major portion of the history of Christianity. One may enter the church through the front door and go down the center aisle to the altar, representing the Throne of God. Only a litany desk or penance table may be in the aisle, for it is only through repentance that one reaches the throne.
On the right, the Lady Chapel depicts the story of the first coming of Christ. The Annunciation foretells the coming of the Holy Spirit to the Virgin Mary and her acceptance of the role as Mother of the Savior, and then the Incarnation with the actual appearance of the Christ Child. On the left is the Holy Spirit Chapel. It is through baptism that we become children of God, members of his church, the body of Christ.
The mural over the High Altar tells the story of creation and redemption. Jophiel depicts the creation of man and tells of man’s sin. Gabriel tells us what God is going to do about man’s sin. He sends a Savior. Chamuel tells of the sacrifice Christ made for us. Michael tells that Christ’s sacrifice was not in vain, as the Church will live. The angels glorifying Christ show God’s love for him of whom he said, “This is my beloved Son in whom I am well pleased.” St. John represents the Communion of Saints. The resurrected Christ shows his love with the promise of forgiveness and the resurrection of the body is the circle of the world, meaning world without end.
Leaving the church, the mural “Christ the Judge” is seen. It reminds us that although judgment is going on all the time, there will be a final Day of Judgment. However, the same God who will be our Judge is the one depicted over the high altar—the loving, merciful and forgiving Savior who lived, died and rose again that men might have eternal life.
Sources:
Notes of John H. DeRosen
Notes of the late Mrs. Richard Harding (May), mother of Mrs. William Fay (Sally), parishioners
Notes of the late Mrs. Lucian Minor Dent (Phoebe) Centennial Celebration, Saint John’s Episcopal Church
Correspondence with Grace Cathedral, San Francisco
Compiled 1987, 1988, 1990, 1991
The Artist, John Henry DeRosen
John Henry DeRosen was born February 25, 1891, in Warsaw Poland. His father was secretary to concert pianist and statesman Jan Paderewski. He studied at the University of Lausanne, Switzerland; the University of Paris, France: and the University of Munich, Germany. He held the Golden Laurel of the Polish Academy of Literature. He served in the Allied Armies in World War I and was awarded the Legion of Honor Decoration, the French War Cross, and the British Military Medal. For a time, DeRosen served in the diplomatic service. He painted murals in the great Armenian Cathedral of Lwowa and in churches in Poland and in Vienna, Austria. Pope Pius XI chose DeRosen as Court Painter and requested two notable murals in his private chapel at Castelogandolfo. DeRosen and his sisters were aboard the last train out of Poland by the “grace” of Mussolini. DeRosen’s works were exhibited in Europe and at the World’s Fair in New York City in 1939. Seven years later, he became a naturalized United States citizen.
Among his works in this country are murals painted in the chapel of Joseph of Arimathea in the Cathedral of Saint Peter and Saint Paul Episcopal, Washington; St. Hedwig’s Church in Trenton, New Jersey; in a church in Toledo, Ohio; in the New Wesley Memorial Hospital in Chicago, Illinois: and Grace Episcopal Cathedral in San Francisco, California.
After finishing his work at Grace Cathedral, DeRosen came to Memphis where he painted Christ and the Centurion at Methodist Hospital and the murals at Saint John’s Episcopal Church.
During the years he was working in Memphis, DeRosen lived at the home of Margaret Hamilton at the corner of Goodwyn and Central. DeRosen had painted murals in the homes of Mrs. Hamilton both in Memphis and in Cape Cod, Massachusetts. Later, when Mrs. Hamilton was unable to sell her house in Memphis for $60,000, a sum much less than her investment, she had it torn down. DeRosen later became a professor of Liturgical Arts at Catholic University, Washington, D.C. He died in 1982 in Alexandria, Virginia.
DeRosen was descended from people representing several nationalities and his art reflects the influence of different countries, styles and individual artists. His art style reflects Byzantine, Italian Renaissance, Baroque, Flemish and Dutch influences. In most murals, the emphasis is on flatness. The artist wanted the murals to stay on the walls. (Byzantine 726-1453 A.D.) However, some murals do have an expression of depth. His figures are very linear, verified by photographs of his work in progress. DeRosen animates the Byzantine rigidity. His personages, although perfectly human in the structure of their bodies and movements, keep their iconographic style.
DeRosen used ceracolors to paint the murals. This is a medium of basic natural colors dissolved in cold wax. When he could no longer obtain these paints, he switched to casein paints. Neither ceracolors nor casein paints are now available. Wherever there is gold leaf or imitation gold leaf, he used a different process. He covered the wall with slow sizing, and 18 hours later applied sheets of gold leaf over the sizing. This is confirmed in his statement, written April 2, 1977.
The murals in Saint John’s were painted between 1951 and 1953 at a total cost of $26,000.
Addenda
From Richard White and others:
In “Christ Triumphant,” the face of Jophiel is the likeness of John DeRosen. Not long after this mural was completed, one of the women of the parish was so upset over the nude figures in the “Adam and Eve” shield that she withdrew her membership. The mural is painted on a false wall, which is not a supporting church wall. This was to avoid cracks in the event that the outside east wall ever suffered damage.
The red in the background of this mural was mixed over and over in the choir room (which until 1991adjoined the sanctuary to the South) until DeRosen was satisfied with the shade. DeRosen hired a commercial painter to do the background painting when he had finished all the other work.
The polychrome wood figure of St. Dunstan, English patron saint of church music, was painted by DeRosen’s sister.
Richard White (organist and choirmaster for years before, during and after that period) says that he has been told the face of Jesus in the “Baptism of God’s Son, Jesus Christ” is that of Charles Bullard, the nephew of current parishioner Charles Bullard. Richard Bettison posed for the figure at right.
In the “Annunciation,” the face of the figure on the south is that of Bill Burnett, the son of parishioner Lydia Burnett McConnell.
While in Memphis, DeRosen bought a new car, a sedate blue coupe. When someone remarked he looked like a businessman, DeRosen took the car back and exchanged it for a snappy roadster. His cars were always named Danille, i.e., Danille I, Danille II, etc.
When he was painting and Richard White was “practicing too much,” the artist would complain the walls vibrated and bothered him. In a day or two, DeRosen would look for the organist, saying he was too lonely and asking that the organist play. It was the same with the canvas screen, which hid the artist from view as he worked on the big mural. When it was up, he often wanted it down, and vice versa.
Prior to the 1990-91 construction and renovation, DeRosen’s photograph, together with one of the first rough sketches of the mural proposed for the wall behind the altar in the Lady Chapel, hung on the hallway wall south of the choir room.
From other sources, it was learned that John Boatner’s face was used for both Chamuel and Uriel in the “Christ Triumphant” mural. Cary Harwood posed for the Mary figure, Posey Twiford Potter for the figure’s hands and Marion Reece for the Elizabeth figure in “The Visitation” in the Lady Chapel.
Tom Prewitt, Jr. posed for the Baby Jesus and Bill Burnett’s hands were used for the figure of Gabriel and the kneeling figure of Mary as well as the aforementioned angel.
Marion Reece, church financial secretary during and after that period, believes Billy Bettison posed for the angel on the right side of the mural over the altar in the Lady Chapel. She says that embedded in the high altar are five crosses, stones brought by parishioners from the five centers of early Christianity.
Beth Rutland, church school superintendent, posed for the figure of Priscilla in the Holy Spirit Chapel. Aquilla’s face is that of the artist’s assistant, John Baker, who also posed for several of the draped figures in the murals. Many parishioners posed for parts of figures, such as for hair, face, hands or full figure. John DeRosen also draped a mannequin for composition.
One afternoon, the Rev. Loaring-Clark, the Rev. Donald Henning, rector of Calvary Episcopal Church, and Mrs. Paul Calame (Janice) were seated in the back of the church talking. Canvas was hiding the work being done on the High Altar mural. “Tib,” as Rev. Loaring-Clark was affectionately called, said that he was the only one who had seen the Christ figure. This was the day before his fatal heart attack. Background painting had yet to be completed, but the work continued all night long while a prayer vigil was held as the body of the beloved rector lay in state. The painting was unveiled for the first time at his funeral.
Additional Sources: “Who’s Who in American Art,” Helen Gardner; “John DeRosen,” David Fox Taylor.
The parish acknowledges with deep appreciation the contributions of parishioners and others toward the “Description of the Murals of Saint John’s” with special gratitude to Mrs. Harry Wilcox (June), parishioner, for able and dedicated service.
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