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Saint Francis Chapel is situated at the crossroad of University traffic, a quiet center in the midst of a busy campus, a gathering place for our community of faith at worship, a refuge for the prayerful student in the late night hours or at any time of day. It is a symbol and expression of this University’s Jesuit Catholic heritage and its commitment to spiritual values.

History

Saint Francis Chapel, made possible by the generous donations of Mrs. F. J. O’Neill and the F. J. O’Neill Charitable Corporation, is the main student chapel at è������APP. The chapel serves as the site of our weekend masses, penance and prayer services, weddings, and personal prayer by individual members of the University community. Within the main chapel is the Eucharistic chapel, known as the “Lady Chapel,” the site of most of our weekday liturgies.

The location was set aside in 1923 for a 5,000 seat Gothic chapel designed by Cleveland architect Bloodgood Tuttle. These plans proved to be too magnificent to ever leave the drawing board. In 1929 foundations were dug for a 1,000 seat Memorial Chapel, which the Depression kept from completion.

In 1947,��a wooden frame building was erected on the abandoned foundation and used for 10 years, first as a gymnasium and later as the offices of the School of Business. It was painted to resemble the brick of the rest of the campus, but the color was never true and it soon became known affectionately as “the Pink Barn.” In 1970 the building was renovated, faced with brick, and became the Fritzsche Religious Center. It included a small chapel and a multipurpose room where Sunday masses were celebrated. Finally, the entire building was renovated by architect Peter van Dijk and dedicated by Bishop Anthony M. Pilla on December 10, 1987.

Architecture

Partitions were removed to open up the generous space and reveal the original wooden trusses of the roof structure. Skylights and a narrow clerestory were cut to admit more natural light. A new facade of Indiana limestone, in a basket weave pattern, provided a setting for the Saint Cecilia rose window. The patroness of organists is surrounded by angelic musicians. The window, made in Munich in 1906 by Georg Boos Studios, was salvaged from Saint Martin’s Slovak Church in downtown Cleveland and donated to our chapel by Mr. and Mrs. William H. Gardiner, a most generous and deeply appreciated patron. Modern abstract windows, designed by Charles Lawrence and crafted locally by the Poremba Studio, admit light softly to the body of the chapel. Cold Spring green granite, piercing the facade and side wall, delineates an intimate Eucharistic chapel, within, but on a different axis from the larger room. The green slate floor of this Lady Chapel is from Vermont and further sets this area apart from the main chapel which is roughly floored in black Pennsylvania slate.

The alcove of the Lady Chapel enshrines an enamel and copper icon of the Virgin and Child, by Mary Ellen McDermott of the Cleveland Institute of Art, its design based loosely on the seal of Archbishop è������APP. The tabernacle and candles are the work of the late silversmith Solve Hallquist. Local artist Pamela Argentieri crafted the silver evangelary cover and electroformed copper holy water basins, one of which bears the ancient palindrome NIYON ANOMHMATA MH MONAN OYIN [“Wash your sins, not just your face”]. Both basins are developing a characteristic green patina that matches the copper patina of the main candlesticks, the large outside cross, as well as the dappled green of the chapel walls and woven green of the chair fabric. The sanctuary is a curving platform of natural teak wood, the altars are blocks of the same material. All the woodwork, including the massive and intricate frame of the rose window is the award-winning work of Leo Leiden.

Figurative art has been minimized to maintain the simplicity of the room. The stations of the cross are done in porcelain with a raku glaze by Suzanne Marie Young. The colors were chosen to harmonize with the stained glass. She also added a 15th station of the risen Christ and an icon of Saint Francis Xavier, both of the same material.

A white reredos serves as a backdrop to the liturgy. In front of it, the main crucifix, a bronze by Megan Dull, provides a central but not demanding focus. As the liturgical year goes by, large batik banners featuring the four evangelists from the Book of Kells, change places on the reredos. They are the work of Bernadette Madden of Dublin, Ireland. The Mellen Organ, the work of Patrick Collon, stands in the northern corner of the room, one of four Spanish-style organs in the United States.

Among our many patrons we acknowledge and are thankful for the following:

• The Chapel of Saint Francis was built with a $1 million gift from Mrs. F. J. O’Neill and the F. J. O’Neill Charitable Corporation to honor the memory of Francis J. (Steve) O’Neill.
• Rose Window – Mr. and Mrs. William H. Gardiner
• Stained glass window – The Estate of Jack M. Nelan
• Stained glass window – Dr. and Mrs. Vincent Opaskar – In memory of Charles J. Centa, M.D.
• Stained glass window – Michael V. Kowalski ’67 – In memory of Judith Marie Mullen Kowalski.
• Stained glass window – James F. Woodward Jr. ’64 – Dedicated to the Woodward Family
• Stained glass window – Bob and Dolores Hope – In Memory of William Henry and Avis Hope
• Stained glass window – Mrs. Alice Powers – In memory of John K. Powers.
• Stained glass window – Mr. and Mrs. John D. Schubert
• Stained glass window – Lawrence P. Kelley ’35 and Rt. Rev. Msgr. Norman P. Kelley ’32 – In loving memory of their parents, Thomas J. and Olive R. Kelley.
• Stained glass window – Mr. and Mrs. Halim Habib – In honor of the Normal Joseph Family and in memory of Bedie N. Joseph.
• Holy Water Font – Jack Mathews – Dedicated to the poor of the world and given in memory of John and Marie Mathews and family by their son John ’50.
• Holy Water Font– Thomas F. Patton – In memory of Arline Patton
• Stations of the Cross – Marilyn R. Kuczynski – In memory of her father, Henry T. Kuczynski
• Icon of Mary – Mrs. Nancy O’Neill
• Ambo – James R. and Michael F. Marguerite – In Memory of their father, M.L. (Bud) Marguerite.
• Four Batik Banners – Given in the name of Rev. Mr. and Mrs. Bartholomew J. Merella ’57 and family
• Organ – The Mellen Foundation – In memory of Louise E. Mellen
• Main Altar – Class of 1955
• Altar in the Lady Chapel – Dr. and Mrs. J. Peter Fegan ’59 – In memory of Joseph P. Fegan
• Altar of Repose in the Lady Chapel – Mrs. J. Harrington Glidden – In memory of her husband.
• Main Processional Cross – O’Toole Charitable Trust
• Processional Crucifix in the Lady Chapel – Mr. and Mrs. Austin O’Malley
• Wall Cross – Ronald and Susan Petnuch ’82
• Tabernacle – Marilyn R. Kuczynski – In memory of her grandparents, Walter and Mary Bukala
• Sacristy – The Sutphin Family – In memory of Albert and Mary Sutphi

The Peace Chapel is located in Rodman Hall, which houses the Enrollment, University Advancement, Human Resources, and Information Technology Services departments. Rodman Hall was formerly the residence of the Jesuit community of �����APP and the chapel was used by the community during this time. Built in 1938, the building is named after Rev. Benedict Rodman, S.J.

Rev. Rodman was president of �����APP from 1928-1937, and was highly instrumental in the development of the new University campus. The chapel was dedicated in January 1940. The stained glass windows and furnishing were provided through the generosity of the �����APP Guild of 1954.

In 2000, Rodman Hall was renovated and the Jesuit community moved to a separate location across the street known as Schell House. In 2007, under Rev. Robert Niehoff, S.J., President of �����APP, Rodman Chapel was updated, including the installation of new kneelers and a complete restoration of the stained glass windows.

The Peace Chapel of Rodman Hall is used for daily Mass on Tuesdays and Thursdays during the fall and spring semesters and for other Eucharistic celebrations throughout the year.

Four of our residence halls have set aside dedicated spaces for prayer and reflection: Murphy, Pacelli, Dolan, and Sutowski Halls.

Murphy Hall Chapel is a consecrated Eucharistic Chapel and there is a Eucharistic liturgy at 9:30 p.m. every Wednesday when students are on campus.

There are three other reflection rooms in the residences of Pacelli Hall, Dolan Hall, and Sutowski Hall. Through a generous grant, the spaces in these halls have been updated to provide a quiet and reflective area for students to use for prayer. The Sutowski chapel (located in Sutowski residence hall) was originally donated in memory of Gene and Stella Zannoni (1979).

In addition to their use for private reflection, Carroll Faith Communities (CFCs) and groups from other faith traditions on campus use these rooms when they gather to meet or pray.

At è������APP there is a labyrinth on the terrace of Rodman Hall, on the quadrangle side of the building. It is 42 feet in diameter, a replica of the eleven circuit labyrinth at Chartres Cathedral, and is a paved surface set with bluish-gray and brick colored cobblestones. The path from the start to the center is about 850 feet. This eleven-circuit labyrinth is the form most replicated today. We have set its circular design within an octagon and a square, which enhances the labyrinth’s mandala-like quality, as well as its universal significance to people of all faith traditions.

Two additional symbols have been incorporated in polished granite as representative of the Jesuit heritage of è������APP. In the center of this ancient symbol we have placed the image from the seal of Saint Ignatius, founder of the Jesuit Order: “IHS,” the first three letters of the Greek name of Jesus, bearing a cross and enthroned above the moon and stars. For, while we invite people of all faiths and none to walk this path for their own purposes and in their own way, we honor the Jesuit perspective which emphasizes that Jesus is the beginning, center, and final end of all creation. He is immersed into its deepest sorrows and exalted above its highest glories. He stands at the heart of every human life. Around the perimeter of the labyrinth are the four letters “AMDG,” the motto of the Jesuits and those who share their spirituality: Ad Majorem Dei Gloriam, For the Greater Glory of God. In Ignatian spirituality, this is the purpose of our earthly existence and pilgrimage.

History

Labyrinths are at least 4,000 years old. A classic, simple, seven-circuit labyrinth appears as a design on cave walls and ceramic vases. It is seen in numerous cultures and religions, and became a form of prayer that Christian churches adopted because of its spiritual value.

In the floor of��Notre Dame Cathedral at Chartres��there is an eleven-circuit labyrinth dating from the early 1200’s. It is the same size as the great rose window and as far from the sill of the main door as the window is above it. Thus if that sill were a vast hinge, the window swinging down would superimpose itself upon the labyrinth, a wonder of light upon a mystery of darkness.

The eleven-circuit form became more popular than the older form, in part because its division into four quadrants manifested more the symbol of the cross. Its four arms are readily visible and provide significant Christian symbolism. It is also shaped more like a mandala, which is a circular symbol of the cosmos taken from the Sanskrit and used in many eastern religious traditions. Its more intricate paths are a metaphor for the journey of life and of the spiritual journey inward, toward the heart.

At one time, the labyrinth served as a substitute for a pilgrimage to the Holy Land. It came to be called the “Chemin de Jerusalem” or Road of Jerusalem, the center of the world. It was a quest – a journey filled with the hope of becoming closer to God.

In walking the Chartres-style labyrinth, the walker meanders through each of the four quadrants several times before reaching the goal. At the center is a rosette design which has a rich symbolic value including that of enlightenment.

In our time, the labyrinth is being rediscovered as a spiritual tool with a wide variety of interpretations. It is still a metaphor for an individual spiritual journey. Churches, schools, retreat houses, hospitals, and other institutions across the country are establishing permanent labyrinths. Portable versions are also available. Retreats, lectures, books, and numerous websites are investigating the uses of the labyrinth in the psychological and spiritual life.

How to Walk the Labyrinth

There are as many ways to walk the labyrinth as there are people. Walk at your own pace, and in the spirit of the moment. You will find you may walk it in different ways at different times.

It could be for fun, for peace, or for healing. You might want to relax from stress, or take to the center a question for discernment or a quest for guidance. You might use it for meditative walking or centering prayer. It may be used for reflection or a search for the depths of your own spirit. You may want to repeat a prayer — a word or phrase with special spiritual meaning for you. If nothing else you may wish to search for the one red cobblestone that the paver, following tradition, has set upside down (with the rounded side down and the straight side up).

Take time beforehand to collect yourself, or to form an intention or a question. Walk at your own pace within the lines, moving aside only to pass a person moving slower than yourself or coming in the opposite direction. When you reach the center pause there awhile before starting out again.

Read some of the abundant literature, or consult any of the hundreds of labyrinth websites to see the great variety of ways in which labyrinths are interpreted and used. Whether your understanding is derived from the Christian tradition or not, may you be blessed abundantly as you walk its path.

Khachkars, or "cross-stones," are traditional Armenian monuments intricately carved to embody significant cultural and religious symbolism. The term "khachkar" derives from the Armenian words "khach" (cross) and "kar" (stone), meaning "cross-stone."

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In 2024, è������APP received a Khachkar [Խաչքար] Cross-Stone from the Armenian Community in Cleveland, the plaque reads:

"The Cleveland Armenian Community is deeply honored to present this Khachkar, a meticulously handcrafted cross-stone from Armenia, to è������APP. In 301 A.D., Armenia became the first nation to embrace Christianity as its state religion. The Khachkar holds profound significance in Armenian culture and spirituality, serving as both a center for worship and a commemorative monument. Depicted without Christ’s body, the Khachkar resembles a blooming tree of life, symbolizing eternity and the triumph of resurrection and life over death. May the wings of this sacred cross offer you perpetual protection and guidance."

Material and Craftsmanship

Khachkars are primarily crafted from tufa stone, a type of volcanic rock that is soft and easy to carve when first quarried but hardens over time. This porous nature allows for detailed carvings, making tufa an ideal medium for the intricate designs characteristic of khachkars.

Design and Symbolism

Khachkars typically feature a central cross surrounded by elaborate patterns of interlacing motifs, rosettes, and sometimes biblical or historical scenes. These designs are rich in symbolism, with the cross representing Christianity, while the surrounding patterns often symbolize eternity, life, and the divine. Craftsmen often engrave an infinity symbol at the bottom, symbolizing the continuation of life and national beliefs. The khachkar's top, or crown, symbolizes the kingdom of heaven, while the bottom point represents hell. The right side is associated with grace, and the left with forgiveness.

History and Significance

The symbol of the cross has been significant among Armenians since the 4th century. Initially, the imagery on the cross stones during the 4th to 7th centuries was quite primitive. By the 7th century, winged cross-stones began to appear, though few have survived to modern times. From the 8th century onward, people began crafting cross stones with rectangular bases. By the 11th century, the contemporary design of Armenian cross stones had been established, incorporating both geometric and botanical elements. Over time, cross stones also began to feature graphic elements, such as images of saints.

Khachkars have been a part of Armenian culture since at least the 9th century, with thousands scattered across Armenia and other regions with Armenian populations. They are found throughout Armenia and regions with Armenian populations, often placed in churchyards, cemeteries, and roadsides as commemorative markers. Each khachkar is unique, reflecting the artistic expression of the craftsman and the cultural significance of the piece.

The primary purpose of a khachkar is to establish a connection with God and serve various functions, including commemorating the dead, marking significant events, and providing spiritual protection for communities. Khachkars are also seen as embodiments of faith, endurance, and Armenian identity. The most critical part of a cross-stone’s founding is its anointing, or dedication ceremony which is performed by special sharagans (Armenian Church hymns) and prayers. This process starts at the center of the cross, moving to the crown, then the sides, and finally, the lower part.

Notable Khachkars and Sites

• All Savior Khachkars: Throughout the thousand-year history of this craft, numerous khachkars were created. However, only a select few depict Christ, primarily showing scenes from the crucifixion and descent of Christ. These are known as "All Savior" khachkars, believed to have the power to cure diseases or protect from evil, thus gaining significant reverence.
• Noratus Cemetery: Located in the Gegharkunik region, the village of Noratus is home to a rural cemetery famed for its vast array of cross stones, sometimes referred to as the khachkar field. This site hosts about 1,000 cross stones, with the oldest dating back to the 9th century, although most are from the 13th and 14th centuries. A legend tells of the Armenian king Gegham using khachkars to outsmart the Seljuk Turks by making his army appear larger.
• Julfa's Cross Stones: Once a major city in Historical Armenia, Julfa's cemetery was noted for over 10,000 khachkars, with unique designs often depicting religious figures. These stones stood out not only for their age but also for their unique designs, often depicting religious figures. Regrettably, from 1998 to 2005, there was a mass destruction of these khachkars in Julfa, with the Azerbaijani government ordering their demolition. Despite this, efforts to restore these historical monuments continue in Armenia, with copies placed in church yards and parks, preserving the legacy of Julfa's khachkars.

UNESCO Recognition

In 2010, the art of Armenian khachkars was inscribed on UNESCO's Representative List of the Intangible Cultural Heritage of Humanity, recognizing their cultural and historical importance.

Impact of the Armenian Genocide on Khachkars

The Armenian Genocide of 1915, perpetrated by the Ottoman Empire, had a devastating impact not only on the people but also on the cultural heritage of Armenia, including the destruction of countless khachkars. As the genocide led to the massacre of approximately 1.5 million Armenians and the forced removal of many more from their ancestral lands, the cultural landscapes that once flourished, including regions rich with khachkars, were left desolate or deliberately destroyed.

During and after the genocide, many khachkars were defaced, destroyed, or stolen. These acts were part of a broader policy of cultural genocide aimed at erasing the historical and religious presence of Armenians in the region. The loss of these khachkars is particularly grievous because each stone represents not only artistic and religious expression but also a tangible connection to the past—a lineage and history that the genocide sought to obliterate.

In the aftermath, the destruction of khachkars and other Armenian cultural symbols continued, especially in territories that came under the control of neighboring states. The continued threat to these invaluable artifacts highlights the ongoing challenges Armenians face in preserving their heritage.

Today, the preservation of khachkars has become a symbol of resistance and resilience for Armenians worldwide. Efforts to protect, restore, and replicate these stones are not only about preserving art but are also a testament to the endurance of Armenian culture and identity in the face of attempts to destroy it. The recognition of khachkars as a part of the UNESCO Intangible Cultural Heritage of Humanity is a crucial step in these preservation efforts, ensuring that the legacy of the Armenian people—and the memory of their losses—continues to be honored and remembered.

Recent Threats to Armenian Cultural Heritage in Artsakh

The recent history of Artsakh has seen a resurgence of threats to Armenian cultural heritage, particularly following the 2020 invasion by Azerbaijani forces and the subsequent forced displacement of approximately 120,000 Armenians in 2024. These events marked a grave turning point, as Armenians were expelled from lands they had inhabited for thousands