Three years ago Tony and Rosalie St. George agreed to make a substantial donation to St. Raphael Parish for the purchase and installation of a new altar. They took the pastor, Father Bill Finch to a parish in the Diocese of Arlington in Virginia to show him the type of altar they were seeking. After viewing the altar, Tony, Rosalie, and Father Finch had lunch together at an Italian restaurant. Father explained to the St. George’s his concern that the altar would not be suitable to the modern architecture and style of St. Raphael Church. He suggested a more modern approach with a classical style, a style suitable to their Italian ancestors. Father further expressed a desire to have the three archangels appear to be holding up the mensa, or table top, with their wings. Tony and Rosalie agreed to let Father Finch design the altar.

he parish was preparing for other renovations to happen simultaneously with the installation of the new altar. In 2004 the Archdiocese of Washington was conducting the Forward in Faith Campaign. St. Raphael Parish asked, and was granted permission to conduct a combined campaign for the purpose of renovating the forty-year old church building and to construct new meeting and administrative office. The latter goal subsequently was redirected to build an addition to the educational buildings. In 2005 the campaign was completed with the charities of the Archdiocese receiving half of the 4.5 million dollars raised and the parish of St. Raphael receiving the other half. The majority of the pledges made during the campaign were for five years. It would be 2010 before all pledges were fulfilled.

In the summer of 2005, Tony St. George was called home by the Lord.

In 2006, Father Finch contacted two artists from Cheverly, Maryland to draw the design for the new altar. They are Lorelei Matics and Teresa Headly. On one hot summer afternoon they met with Father Finch who had worked with these two artists in the past on several different projects. He said to them: “Draw me an altar with the three archangels and place St. Raphael in the middle. I want him kneeling, holding a bowl as if he were presenting this bowl to the parish. I want their wings appearing to be holding the mensa.” He left them to their own devices, talents and skills. Several days later the pastor was presented with the following drawing.

In September 2006 Father Finch presented this drawing (see sketch in last week’s bulletin) to the parish. For two weeks, parishioners had the opportunity to decide on two sketches reflecting the changes of the new look in the church. Because the parish was almost equally divided between a more stark, bright white look and a warm brownish tone look, Father decided to renovate the church combining the two looks. During this polling of the parish, parishioners were also asked to vote on the look of the new altar. They were only given one drawing with two choices: yes, we like this or no, go back to the drawing board. Of those who voted during this two week period, 95% of the parish said they liked the idea of the new altar. It was during this time that Archbishop Wuerl made a visit to our parish, and he saw the drawing. In so many words he let it be known to the pastor that he, too, liked the concept of this new altar.

In January 2007 the pastor was able to contract with a local marble firm who accepted our proposal. They then contracted with a company they use in Carrera, Italy, to carve the four pieces needed to make the altar. We were told it would take about sixty days, and they were not close. Carrera, Italy, is known for its white marble. It was in Carrera that Michaelangelo took his marble to make The Pieta and David. The sculptors in Carrera sent Father Finch their sketched version of what they could do with the altar.

After a few adjustments, which are not shown in the drawing above, Father approved the concept. During the making of this altar the stone workers in Carrera were sending Father Finch photographs via email of their progress. Everything was going smoothly until they began carving Gabriel, the angel on the far right. Father emailed the artists to tell them they were not carving from the sketch. He phoned the local contractor and the Carrera contractor. They were responding with the same response:

"You know how artists are.” When he realized nothing was being changed and Gabriel was now finished, Father Finch booked a flight to Italy and within one hour they agreed to scrap the old Gabriel and start anew. The old Gabriel was actually another artist’s rendition of what Raphael should look like, holding a fish and a stick. Father Finch told the parish “the old Gabriel looked like a hobbit.” In fact, if one looks at the photo you can see if Gabriel were to let the arm holding the fish down all the way, he could probably scratch his toes with out bending On September 13, 2007, at 8:30 AM the altar arrived at St. Raphael Church. Throughout the day many parishioners stopped by the church to see the progress. Rosalie St. George came by to see it. Tony was looking down from heaven. When the mensa was placed on top of the wings of the three angels, Michael, Raphael and Gabriel, Father Finch uncorked two bottles of champagne outside of the church, and all of those in attendance toasted the new altar. By 6:45 PM the new altar was in place and dusted. The monstrance was brought out and the Holy Eucharist was placed inside just in time for the regularly scheduled Thursday evening Benediction service.

A phone call was made to Lorelei and Teresa in the afternoon. They were told that Father Finch needed to see them. It was very important for them to come to St. Raphael. When they arrived in the evening, the pastor asked them if they remembered making the drawing of the altar. Of course, they remembered. They questioned if Father intended to use it as they had heard nothing from him in over a year about it. The pastor said he had one more question for them about the altar, and could they please come over to the church. As he opened the door of the church he asked them one more question: “How do you like it?” They were stunned to see their drawing sculpted in marble.

In the spring and summer prior to the altar’s arrival, the church underwent some renovations. The predillo, or platform under the altars was changed. The flooring in the sanctuary, as well as the main aisle, was covered with marble. The pews were refinished displaying their natural oak. A new ten-foot crucifix replaced a five foot crucifix. Life sized statues of the Blessed Mother and St. Joseph were found in the basement and replaced the smaller ones. Statues of St. Anthony and St. Theresa of Lisieux were installed. New confessionals were constructed out of natural oak. Fifteen new chairs made of natural oak were hand made by Amos the Amish of Charles County, Maryland, and placed the same week the altar arrived. Colorful new Stations of the Cross replaced the miniature ones. New candlesticks were placed in the sanctuary. A new sanctuary lamp was installed. A new larger tabernacle replaced the smaller one. Two marble walls were added in the back of the church. The narthex was recarpeted and the dark wooden grid separating the church from the narthex was taken down. The air ducts and vents were removed from the apse and a solid wall was constructed. A permanent choir section replaced temporary risers and a new organ was installed. The trees blocking the windows were removed to allow the natural light to enter the church.

Why were the archangels chosen to be incorporated into the altar? The main reason is obvious as Raphael is the patron of this parish. That, of course, is the starting point. If one reflects on the Eucharistic prayer known as the Roman Canon, the first and oldest of the Eucharistic prayers used at Mass, you have a better understanding. When the priest bows with hands joined together and says: “Almighty God, we pray that your angel may take this sacrifice to your altar in heaven. Then, as we receive from this altar the Sacred Body and Blood of your Son, let us be filled with every grace and blessing.” Traditionally, the Church has always believed that the angels take an active part in our Eucharistic celebration. We get the sense that our prayers rise to heaven and blessings come down upon us because of the movements of the angels.

Recently, while at Mass, Father Finch invited the children to come up during his homily, and he explained to them about the altar. One of the children asked him why angels had wings. Father Finch was stunned and was trying to think of an answer. Suddenly, another child spoke up loudly and said: “They have to have wings in order to get to heaven and back quickly.” The pastor agreed with the child and commended him for being able to come up with the correct answer so quickly.

Each of these three blocks of marble depicts an archangel. Each block tells its own story and is not depended on the other two. Proportions and dimensions are inconsistent yet they blend with one another. One should feel free to come close to the angels and to study their unique features. Look at the fine quality of each stroke of the artist’s chisel. See the dust still remaining in the crevices. Gaze into the eyes of the angels.

Michael is the angel on the left and looks like a typical rendering of this archangel. Of the three, he would have the more traditional look. His work is to exercise the Power of God and he does look powerful here. As seen in the altar, he is crushing Satan back into the fires of hell. A closer look and you can see the evil of this devil. His horns and even his pointed fingernails make you glad that Michael has him under control for us. Of the three angels, Michael is the most intricately sculpted.

Gabriel is the angel on the far right side. This angel is commissioned by God to announce the more important supernatural truths, to manifest mysteries, to strengthen faith and hope. We become more aware of this angel’s work during the Advent and Christmas seasons. He announces to the Blessed Mother that she will conceive and bear a son. To Joseph, this angel tells him he will marry his betrothed, and the child she bears will be named Jesus, because he will forgive people their sins. To Zechariah, he tells of his son’s birth, John the Baptist. To the shepherds on the hillside, he brings them tidings of great joy, announcing the birth in the stable. Gabriel is also found in the Book of Daniel. Father Finch and the artists wanted this angel to look relaxed. Those who encountered Gabriel must have been afraid. His hands are in the prayer position, showing respect and his legs are crossed demonstrating an unthreatening position. While his legs are crossed, he is rendered defenseless. This would support his words to each of his hearers—“do not be afraid!”

Raphael is in the center and kneeling on one knee presenting the parish with a bowl engraved with the letters “O. I.” These letters stand for the Latin words Oleum Infirmorum. In English this is translated as the oil of the sick. This is the oil the priest uses to anoint us when offering us the Sacrament of the Sick. The story of Raphael is understood best after reading the Book of Tobit found in the Old Testament. It is there we understand the protection and healing Raphael offers to us. As Pope St. Gregory the Great calls Raphael “the healing of God.” Raphael’s office is to heal, and he is thus especially the Angel of the Sick.

Of the seven archangels who, in both Jewish and Christian tradition, are venerated as standing before the throne of God, only three are mentioned by name in the Sacred Scriptures: Michael, Raphael, and Gabriel. These have been venerated in the Church from early times. It was during the pontificate of Pope Benedict XV (1914-1922) that the Liturgical feasts of Gabriel and Raphael were made obligatory throughout the Roman Church. The Church assigned the feast of St. Raphael to October 24. After the Second Vatican Council the feast day of all three of the archangels moved to September 29.