Contact Artefacts please if you have any comments or more information regarding this record.	Menu Home Upfront Now Up Books Towns Structures People Firms Lexicon		Holy Trinity Catholic Church Braamfontein, Johannesburg, Gauteng Brendan Joseph CLINCH: Architect G BECKETT: Contractor

Date: 1937 Type: Roman Catholic Church Status: Extant Street: 16 Stiemens St   Click to view large map Coordinates: 26°11'33.02" S 28°01'58.51" E Alt: 1755m

A mission was established in 1897 by Trappist monks from Mariannhill, Natal Colony, marking the beginning of the parish. The original Holy Trinity Catholic Church was built soon after in 1899, shortly before the outbreak of the Second Boer War. When the war started, the Trappists returned to Mariannhill and the Missionary Oblates of Mary Immaculate took up responsibility for the parish. Later they oversaw the process of replacing the original, hastily built church with a more permanent structure. The current Holy Trinity Catholic Church was designed in Romanesque Revival style by the Irish Catholic architect Brendan Joseph Clinch, an associate of Herbert Baker. Construction started in 1937 and was completed the following year in 1938. Initially it was one of the largest buildings in Braamfontein – and prominently visible throughout the area – but as Johannesburg developed and the neighbouring University of the Witwatersrand grew, the church became dwarfed by its surroundings. In 1966 the Paulist Fathers assumed responsibility for the parish until this reverted temporarily to the archdiocese in 1969. Since 1973 responsibility for Holy Trinity Catholic Church has belonged to the Jesuits. The parish's Jesuits also run the Catholic chaplaincies to Wits University and the University of Johannesburg, and as such they minister to the spiritual needs of Catholic students at these institutions. (Wikipedia, submitted by Annelise Lange) (SAAR Jan 1940:18-24 ill) Architect’s statement. A CATHOLIC CHURCH is built: as a description this is complete. We only go further in order to show that the visible is but the sign of the invisible and by the explanation of its symbolism we may understand and appreciate, and in every way recognise, the truth and beauty of the many messages contained in its structure. Romanesque in character, this style tells us of the fall of Pagan Rome, in it we see the birth of Christianity, and the prophecy of what is to come. The whole glorious history of the Catholic Church can be traced in its detail. While one or two touches of Renaissance tells us of the last great ecclesiastical style, introduced, as if to link the centuries of her history in a tale of triumph. On looking at the facade we are struck by the beauty of its proportion, as a whole and in detail. The magnificent entrance doorway with its coffered arch and clustered columns, embracing deep set niches, is a striking example of Romanesque art. Over this portico a great tracery Rose window forms a striking design, and gives life and vigour to the imposing composition of masonry which forms this main facade. The aisles are most successfully annexed to the Nave, by means of a blind triforium spanning the whole front, and draped buttresses give a sense of rhythm and harmony that is readily felt. On the length of either side, tracery clear storey and nave windows set in panels and between buttresses give a perfect balance of beauty and strength, assisted by rich mouldings and a pedimented belfry on the North East corner. The whole exterior is favoured by its choice in colour, executed in synthetic stone, the aggregate used being pink South African marble. This colourful exterior successfully harmonizes with the red tiled roof, and as a combination they seem to capture something of the sunshine and blue skies, leaving a vivid picture in one’s memory. Not to be forgotten is the great Cross over the main pediment, symbolising “Christ,” its enrichment tells a story of His suffering and death, and His “Word” is depicted by symbolism of the Gospels. Before describing the interior let us consider the Church as a plan. Like in medieval days it is set out and rendered in a language of symbolism so that we may learn the teachings of the pious and ingenious inventions of the ancient liturgists from the artistic incorporations of their spiritual conception in the new Church. The plan, like the Early Church or Bascilican has a central Nave supported by aisles on either side. Our Lord spoke of His body being a Temple, His divine head is symbolised by the Sanctuary, and the holes in His hands and feet the portals. The door of the church is the “Porta Coeli” and is the symbol of Our Lord. Christ is the corner stone of the Church, while the Apostles, doctors and Bishops are the pillars, the role of the small stones being played by the faithful. It is interesting ‘to note that there are twelve arches supported by pillars, over each, is a stained g1ass window portraying an Apostle. The number twelve being symbolical of the Apostles, the tribes of Judah and the months of the year. The Church of the New Law and ‘the Synagogue of the old, is symbolised in a special way by the beautiful stained glass portraits of St. Paul the Apostle of the Gentiles and St. Peter placed opposite each other. The floor of the Church, spurned under foot is symbolical of Sin, the poor and the needy and those who are heavily burdened, are also represented by the floor, because of the burden the floor has to bear. Emblematic of the Scriptures, are the windows, for they admit the light and warmth of the Pure Sun in the hearts of men. The ceilings are symbolic of the heavens, that of the Nave, firmament, and that of the Sanctuary the highest heaven. Whilst the Communion rail is symbolical of the Last Supper table of the Lord. The Baptistry is positioned on the North side of the Church and the beautiful pulpit is correctly directed towards the North where the unbaptised or adult approached, from the side of darkness and unbelief. The pulpit, symbolises the place from which our Lord taught the people, and represents the Old and New Testament, on the coping of which the words “DOCETE OMNES GENTES” are introduced, under which raised monograms of the Evangelists placed on a book, representing the Gospels. The earth is represented by a form of a square, from the four corners of which are preached the Gospels. Christ himself being shown by a circle into which a Cross, the sign of Christianity is placed, and between the arms of the Cross can be seen representations of the four rivers of Paradise (Phison, Gehon, Tigris and Euphrates) which send their cleansing waters to all parts of the world, these rivers being used as a symbolism of the Apostles. The Sanctuary holds a wealth of symbolism, as is appropriate for such a hallowed place. The dedication of the Church to ‘the Holy Trinity is made alive in realism by its three beautiful stained glass windows, and in symbolism by the three vaulted bays in a single Apse. Scenes from the Old Testament form a base for the story of the three major events in the life of our Saviour. As beautiful and rich in symbolism as all these things are, they are but made so by the altar on which stands the Tabernacle of repose, for without Our Lord’s abiding presence, the whole would have no meaning, no purpose. The Altar in its structure is all symbolical, in its detail it praises the Lord of Hosts. By the introduction of the Vine, Our Lord and the Church are symbolised. The Daisy tells us of the perfect innocence of the Divine child, the Rose of Our Blessed Lady in Martyrdom, the flowers of purity, constancy and love, while all around and about birds and colours symbolise the immortality of the human soul, the virtues of faith, loyalty spotlessness, heavenly contemplation, and here and ‘there we recognise representations of the mystical rose of Mary, of Her as Queen of Angels, Queen of Heaven, Queen of Virgins, Help of Christians, familiar titles ever joyful to hear like snatches of well loved tunes. Of these things is your church built, lovingly familiar to all Catholics, who by the contemplation of their visible teachings may offer sincere appreciation for such a glorious faith that can find such sublime expression. Entering the Church through the magnificent arched portico, which is symbolical of the “Gate of Heaven,” the Narthex is passed through and the Church itself met. It is indeed hard to believe that the beautiful interior was not created, rather than built from unwrought material in its present form and colour. Graceful arches and moulded shafts embrace jewel-like windows which give “sight” to stone and marble, made more alive and real by the familiar tales of our Holy religion, which are in them depicted. Rising from the ground their graceful shafts pass from one height to another, spread out and entwine with one another as if to tell us of the glorious achievements of the Catholic Church. At their greatest height they blossom into great richness, as their branches crush their flowers into a glorious canopy, that will ever crown the faithful, who kneel in adoration below. And below-the Altar-to house which, this great “shelter” is built. Strikingly beautiful with its colourful mosaic panels set against a magnificent figured and carved marble riddle and monstrance niche, is made “alive” by a tabernacle beautiful, from which Our Saviour ever casts that mantle of sanctity over His Church. As the Church is left in genuflexion the interior of the great tracery Rose window is seen. Placed high above the gallery like some heavenly body this beautiful stained glass window, a perfect harmony of colour, depicts Our Lady in the title of “Queen of Angels,” regal in scale and adornment it reflects the glory of the Sanctuary and gives the appearance of Our Lady as ever watching Her Son, in the Tabernacle of the altar below. The completion of this Church marks a new era of Catholic building. It shows that the many sacrifices necessary for its erection were not in vain, and that the spirit which emanates from the glorious monuments of Christian Architecture is still alive, and that we are not satisfied with the tawdry and the mean, for what would Christ have thought of the poor widow if she had offered a gilded penny. It is further appreciated that the living messages that ring through the centuries are still heard, and that a wonderful Catholic tradition is being perpetuated by laying this beautiful offering at the Altar of all that is truth and beauty. “A House of Gold” is built, consecrated to His worship and sanctified by His presence and ever brought back to us at daily Mass by the words, “Lord I have loved the Beauty of Thy House and the place where Thy glory dwelleth.” BRENDAN J. CLINCH. [Edited from Souvenir booklet for online publishing here].