At that time the church was under the care of Benedictine monks from nearby St. John's Abbey in Collegeville, Minnesota. They were German Benedictines and had a special love for the pastoral care and paternal solicitude of the City of St. Paul's German population that consisted of brave farmers willing to live in the cold climate. The monks became leaders in the Liturgical Movement, and that influence can be seen in the apse painting below.
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| The altar in 1931 reflecting early Liturgical Movement apse painting |
It is believed the free-standing altar was probably made locally in downtown St. Paul and assembled on site in the church. Records indicate it took some years to complete. Many of the early German immigrants were expert carpenters by trade. Some of them had lived in St. Louis before they emigrated to St. Paul. At the same time beautiful churches were being adorned there, too.
The first statue to adorn the altar was that of the Queen of Heaven (Regina Coelorum). In fact, it is believed the reredos was designed with this statue in mind. It is the oldest statue in the church -- it came from the original church that stood on the same site before it was demolished to make way for the present stone church.
In 1883, the pastor, Fr. Valentine Stimmler, O.S.B. made the decision to continue to adorn it by adding four new statues of various saints. Each statue was intended to commemorate the patrons of the parish societies, and they were donated by the same groups.
The statues depict St. Aloysius Gonzaga, St. Anne, Pope St. Clement, and St. Rose of Lima.
In the course of time, two additional larger statues were installed on either side of Sts. Peter and Paul. This was a nice Roman touch, a common sight in Rome (given that both Saints Peter and Paul died in the Eternal City).
Also significant as a nod to the patron saint of the City of St. Paul, the Apostle to the Gentiles.
Given that the main statue celebrates the Queen of Heaven, it makes sense the four angels at the top sing unending praises from open scrolls with the heavenly chorus of angels, also depicted in the above apse painting.
The centerpiece in the middle of the reredos is the Lamb of God (the Agnus Dei), mentioned in the book of Revelation, chapter 6. Two angels kneel in adoration. This statue of the Lamb is actually movable, and can be replaced at Christmas time with a statue of the Baby Jesus. Over the generations this has been a cherished custom at the parish.
The low relief carvings above the predella, the lowest part of the altarpiece, depict the four Evangelists: Matthew, Mark, Luke, and John. There are two built in shelves here, for candlesticks, relics, and flowers. The original altar stone was removed when the altar mensa was replaced in 1988 during a major renovation (it is currently stored in the sacristy, awaiting its reinstallation in the mensa).
Finally, there is the heart of the whole project -- the tabernacle. The present version was installed in circa the 1940s. Above the tabernacle is a golden alcove, illumined with a crucifix displayed inside. This had doors that opened for the monstrance to be placed here for Eucharistic adoration and 40 Hours' Devotion, a long-time Lenten tradition at the church for generations.
The Assumption was one of the last parishes to abandon the use of its splendid high altar. When in 1965 Pope Paul VI for the first time celebrated Mass in Italian on a small table in front of a congregation, the new provision was deemed dutiful.
However, the pastor at the Assumption, Monsignor George Ziskovsky (1903-1984), had been for decades a local voice in the Liturgical Movement. Ordained priest in 1928, he was later appointed Master of Ceremonies for the Diocese of St. Paul. He understood the beauty of this tradition and maintained the use of the majestic altar until he retired.
It would be nice to see Mass celebrated atop this altar once again, even if just for special or rare occasions, such as First Communion or the feast of the Assumption. It should be duly noted that Mass celebrated on historic altars in this fashion has never been abrogated or condemned or forbidden by any Church legislation, contrary to popular belief.
Needless to say, how fortunate we are this altar has survived a time in history when many similar altars were removed from churches, all in the name of modernity. It speaks of a time when craftsmanship was art — an antique hand-carved German-American altar that is a part of a living history.
And so this vintage altar and reredos remains as a one-of-a-kind work of art, still defined by its figural carvings, ornate colors and masterfully sculpted supports — a testament to old-world woodworking traditions. Its harmonious presence makes it both functional and unforgettable. A rare find of Romanesque beauty in the New World for those who appreciate heritage and skill.
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| Unique view behind the altar |
