The Episcopal Cathedral of the Holy Trinity in Port-au-Prince, on Rue Msgr. Guilloux at Rue Pavee (about halfway between the Roman Catholic Cathedral and the National Palace), is the site of a remarkable series of murals. These masterworks of the Haitian primitive style helped spark a renaissance of all the arts in Haiti. More significantly for the spiritually aware visitor, they demonstrate the great depth and sensitivity of Haitian spirituality, and display a vivid and intense catalog of Christian archetypal symbolism.
This art gives to powerful universal symbols a distinctive Haitian flair; but they also beautifully illustrate that Haitian -- and all -- spirituality flows from a universal source. Except where specifically noted, the archetypal interpretations are my own, and are not "official."
Sculpture figures importantly in the art of the cathedral. The ceramics are by Jasmin Joseph. The open style of fired brickwork surrounded by foliage is his innovation.
Bishop James Theodore Holly, the first Episcopal Bishop of
Haiti, is
depicted just to the left (north wall) of the narthex, immediately after
one enters the gated west portal. Also note Jasmine's work in the
Stations of the Cross on the pillars of the nave and
sanctuary, and
the Choir of Angels in the north apse screen, one with a
unicorn. There
are two smaller compositions in the transcepts.
A large stone madonna in the modern style stands against the west wall of the nave; note also the large crucifix. The iron figures which frame thesunburst on the Positif organ case are a distinctive Haitian art form.
The imposing murals were completed in the 1950-51 under the supervision of the Centre d'Art. As recounted by Selden Rodman, then Co-Director of the Center, Bishop Voegeli was away during the actual painting of the apse. On return, he said, "Thank God they painted Haitians!"
The Apse, approximately 900 square feet, divides into three major panels, 21 feet high, above which are three shuttered windows under the vault. These murals were completed in 1950 during a twenty-eight day period.
The Crucifixion by Philome Obin, provides the sanctuary's central image of the cross. Note its beardless Christ and the prominent eye of God overlooking the scene, which is centered in a Haitian village. The tree whose crown is outlined by a cloud suggests the spiritual significance of the tree of life, and its position identifies it with the cross.
The Nativity on the left apse panel is by Rigaud Benoit.
Angels bear
the train of the Virgin, whose aureole and face have a somewhat
Byzantine quality. The unusually tiny hands held over her heart, and
framed by a mandorla of her cape and gown, suggest the delicacy of
spirit. The open thatched structure behind is like a vaudou
tonelle, a
common sight in Haitian villages. The artist explained to Rodman that
the woman in yellow (lower left corner) had had her left arm amputated
above the elbow due to yaws (a then-common tropical disease).
The Ascension on the right apse panel was painted by Castera Bazile in two weeks. Note the keys which traditionally identify Saint Peter. Christ gestures to gather us with the right hand, and points to the spiritual realm with the left.
The Angels above the three apse panels bring music and garlands to celebrate each of the three major interventions of the divine realm into earthly life, and seem to tie them together into one continuing act. These are painted by Gabriel Leveque.
The Lady Chapel to the right (south) of the chancel has a wall of 528 square feet with two windows, which contains the largest of the murals, completed in 1951. Note the three crosses of its east window.
The Miracle at Cana was painted by 22 year old Wilson Bigaud. The charcoal drawing alone took almost two weeks. Despite an act of sabotage (vandals broke into the cathedral and smeared black oil on the surface during its painting), the work was completed in the scheduled twenty- five days. The oil lamp hanging above the wedding couple is typical of those used throughout the countryside, but its prominent position suggests the sanctuary lamp which signifies the Holy Presence of the reserved sacrament; thus it highlights the mystical nature of the marriage at which the ordinary (water) becomes spirit (wine). Note the prominence given to music (drums, bamboo flutes), and the compelling image of the malnourished child with umbilical hernia (by the lower right corner of the left hand window frame), who comes expectantly to the feast. (The Feast is central to both Christian and vaudou worship; the Creole word for feast, Mange, is also the Creole term for Holy Eucharist.)
The Flight Into Egypt above the east window of the chapel, is by Toussaint Auguste. The Mother and Child ride a traditional bourik (burro), but their Haitian chairs are loaded on a camel.
The Visitation above the west columns of the Lady Chapel is by Fernand Pierre.
The Anunciation, viewed from the south aisle of the nave (at the South Transcept), is on the outside of the Lady Chapel, but is thematically tied to it. The angel, accompanied by the dove of Holy Spirit, announces to Mary the divine presence within herself. It is by Adam Leontus.
The South Transcept to the artists' credit, deals with Shadow in spiritual life considerably more consciously and vividly than one usually finds in church! These were completed in 1951.
The Temptation of Adam and Eve by Toussaint Auguste, is
above the
south transcept door. It depicts the familiar theme of the serpent in
the Garden of Eden. Here, however, the serpent has a human form, except
for Medusan "hair" and serpentine "legs."
The Temptation of Christ in the Wilderness (above the
viewer's left
when facing south) is by Prefete Dufaut. Its quite different style and
the graphic designs, especially its spider web, give the painting a
vaudouistic feeling. Christ, in red robe and with red halo (which are
the signal colors of Ogoun, the warrior spirit in vaudou) stands on the
pinnacle of the temple, gesturing his rejection of an extraordinarily
present Satan. The deterioration of the surface is apparent here,
signaling the immanent need for a program of conservation for the
murals.
Native Street Procession also by Prefete Dufaut, is above the viewer's right when facing south. Though its caption suggests a rather ordinary scene, and though it has no apparent Biblical connection, it nevertheless carries a rather pointed spiritual message. The upward spiral of the road toward the peaks of the mountains and the peak of the roof, suggests the spiritual way; yet as it rises, it rises into increasing shadow, and into darker mountains beyond.
The North Transcept paintings were also completed in 1951.
The Casting out of the Money Changers is by Castera Bazile. Again, Christ wears the aggressive color red.
The Baptism of Christ is also by Castera Bazile. The waterfall, large tree, and snakelike vines are all suggestive of Saut d'Eau, the waterfall which is Haiti's most important pilgrimage site. The site is associated with Damballah (symbol: snake, water); the pilgrimage also celebrates appearances by the Virgin in the vicinity, again indicating a universal spiritual theme.
The Last Supper is by Philome Obin. Rodman reports that Obin, Bazile, and Leveque would regularly kneel in prayer before painting, and that Obin often sang as he painted.
The Organ in the western choir gallery, completed in 1961,
was the
gift of Mrs. Edith Cutler who was a major contributor to many Episcopal
Church projects. It is a tracker instrument of three manuals and four
divisions. The console is positioned between the Positif mounted over
the gallery rail (lower manual), and the Grand Orgue (Great division,
second manual) and Choeur (Choir division, third manual) which stand
against the west wall. The Pedale division flanks the gallery on each
side. A foot-activated bellows permits playing during power outages.
The panels which enclose the Positif and the Grande Orgue divisions are painted by Jasmin Joseph. The floral design of the Pedale division was painted by Adam Leontus, completed in 1963.
The Carillon in the tower is also the gift of Mrs. Cutler.
The Cathedral has a fine parish choir. Musicians from Ecole Sainte Trinite and its Philharmonic Orchestra also often participate in festival services.
Selden Rodman. Haiti: The Black Republic (1954). Revised, Old Greenwich, CT: Devin-Adair, 1973.