This original Crucifix is firmly grounded in the symbolic and spiritual traditions of the Catholic Church, rising from the rich historical lineage of the art of the Crucifix. Early Christians used only the empty cross until the fifth century, when artisans began portraying the body of the crucified Christ. Rich symbolic elements developed over the centuries. Following the teachings of St. Francis of Assisi in the 11th century, the Crucifix became a splendidly developed object of contemplation in the Italian Renaissance.

The premise of this particular Crucifix of Saint Joseph's is the contemplation of the suffering of the Christ, and thereby the suffering of humanity. Through this identification with and compassion for the Victim, worshippers' personal involvement and empowerment to positive action is sought.

Symbolic elements abound. Christ's figure itself hangs heavily from the cross, an innovation traceable to Giotto in the early Italian Renaissance. His head falls on his right shoulder. He "bowed his head" at the moment of death according to the Gospel of St. John (19:30). He wears only the crown of thorns and a loincloth, the perizonium. Around his head glows the cruciform halo, to distinguish it from the simpler halos of the other holy figures.

The Virgin Mary stands at Christ's right. Her pose with cheek resting on left hand, supported at the elbow by the other hand, has been the traditional gesture of mourning and sorrow since Hellenistic times. She is accompanied at Jesus' left by St. John the Apostle, in whose care Jesus entrusted her. At the top of the cross stands St. Joseph, grounding this particular Crucifix as belonging to the church dedicated to him. Dressed as a working man, he holds the tools of his trade: the carpenter's square and calipers. Cradling the feet of Christ is St. Francis, not only for his personal identification with the Crucifix, but also his compassion for those who suffer. He shows the wounds of Christ, the stigmata, on his hands. The rope of the girdle around his waist is knotted three times, symbolizing vows of poverty, chastity and obedience.

In a cave below his feet lies the skull of Adam. Golgotha, "the place of the skull" where Jesus was crucified is Adam's traditional resting place. Sprinkled with the Savior's blood, the skull signifies the redemptive nature of Christ's sacrifice.

Blood flows in streams from the wounds in Christ's hands, feet and side. Caught in chalices placed below each hand, the blood symbolizes the Sacrament of the Eucharist.

The vertical and horizontal members of the cross itself denote the coming together of the spiritual (vertical) and the material (horizontal) realms in the Incarnation of Jesus Christ. On either side of the cross stand the sun (on the right) and the moon (on the left). Their symbolic meanings are of ancient origin. Here they stand for the midday darkness on the day of Crucifixion, the heavens in mourning.

Above the head of Christ's Corpus hangs the sign reading "INRI". This is Pilate's work; "Iesus Nazarenus Res Iudaeorum", the Latin inscription of "Jesus of Nazareth King of the Jews".

Flanking the cross, are two geometric panels, comprised of variations on the ancient leaf shape called the Vesica Piscis, which traditionally symbolizes the immaterial form of Christ entering the material realm, as portrayed on the portals of Chartres Cathedral.

Below these are the Greek letters Alpha and Omega, proclaiming Christ the universal beginning and ending.

The Crucifix stands over twelve feet tall. Architect Ellyn Amador designed the elaborate wooden form, as well as the logistical engineering for hanging the estimated two hundred pound artwork high above the altar. The design standards she set here will be carried through in the Shrines and the Stations of the Cross.

The wooden form was crafted by woodworker Bob Brockus. The painting was executed by artist Nancy Rebal in oil paint and wax on the gessoed wooden form, and enhanced by artist Paul Hunter with extensive gold leaf on the multi-tiered frame, halos and detailing.

Rising from the valuable lineage of the liturgical art of the Catholic Church this new Crucifix will become a personal link of this time and place to the timeless Spirit from which Christianity continues to arise.