It is once again time to feature yet another 'before and after' in our ongoing and ever popular series on the subject of the re-enchantment of a particular church building. In this particular instance, Conrad Schmitt Studios was the firm engaged to perform beautification works at the (already splendid) Church of the Assumption in Nashville, Tennessee.
Conrad Schmitt provides the following to us by way of the background and overview of the project:
Conrad Schmitt provides the following to us by way of the background and overview of the project:
Since 1859, the Church of the Assumption has been a cornerstone of Nashville's Germantown, built by German immigrants to worship in their own language and traditions. After tornadoes struck in 2020, the community came together to restore this historic space. Our talented team revitalized the stained glass, decorative finishes, and the starry gold-leaf ceiling, blending history, artistry, and symbolism to celebrate over 160 years of faith and resilience. Over 2,000 gold-gilded stars fill the ceiling, each representing a gift from parishioners who helped bring this vision to life. Paired with Marian motifs, metallics, and rich colors, the interior is a stunning testament to artistry, heritage, and the power of community.
Let's jump right in with the 'before' -- and when most see it, they will no doubt think there's little that can be done here.
BEFORE
Obviously this is a church which already retained many of its more ornamental qualities, such as its original high altar, side altars and so forth. So often here on the Journal we have spoken about the impact of colour, stencilling and other such elements and, as you will see, Assumption Church provides a very clear case study in just that. We begin with what was already quite a beautiful, but very 'neutral' (in terms of colour palette) church; but watch what happens when colour, pattern and stencilled ornament are added into the mix and see how it escalates the church to the next level:
AFTER
To make these comparisons easier for this project, and to emphasize this latter point of the power impact of the addition colour and pattern, we will break up the remaining views into a series of comparative 'before and after's' that make for an easier comparison for our readers. We begin with the ceiling.
CEILING - BEFORE
CEILING - AFTER
ALTAR & SANCTUARY - BEFORE
ALTAR & SANCTUARY - AFTER
(In the particular instance of the altar and sanctuary, in addition to addition of colour and ornamental stencilling, it is worth also drawing your attention to the fact that a classical sanctuary arrangement has been restored, as well as a traditional raised pulpit.)
NAVE & TRANSEPT WALLS - BEFORE
NAVE & TRANSEPT WALLS - AFTER
SIDE ALTAR - BEFORE
SIDE ALTAR - AFTER
I think most will agree that this project has taken an already beautiful structure and 'amped' it up another level, one that happens to also be more consonant with the church's gothic revival roots, for if there is one thing the gothic revival didn't shy away from (not to mention the medievals themselves) it was colour, pattern and ornament. A well executed project.
For more information or if you have further questions, we'd invite you to visit Conrad Schmitt's website, or see them on social media.
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