Thérèse aux Roses

“When I die, I will let fall a shower of roses from the heavens, I will spend my heaven doing good on earth.”

Three of the altars of the Basilica of the National Shrine of the Little Flower stand behind a Communion rail embellished with small mosaics of the Life of St. Thérèse. These small treasures are easily missed when the grandeur of the high altar dominates the view.

‘Thérèse aux Roses’ of 1912 by Sr. Genevieve of the Holy Face

One unforeseen gift of the pandemic is the return to the use of the Communion rail in the Basilica. Mass goers today have the opportunity to echo past traditions as they show reverence for the Eucharist. In approaching the sanctuary for Communion or prayer, visitors may note the details of these several small mosaics. Even here, care was taken to share the beauty of Thérèse.

The last of these can be found at the far right, near the altar of St. Joseph. St. Thérèse’s promise to shower roses is a common theme in the design of the Basilica, displayed prominently in the Gloria altarpiece and stained glass windows. Here we find a much more intimate depiction of the graces Thérèse shares. Where the Gloria and windows are beautiful in their grand size, the altar rail is one of the few places in the Basilica where the art can be touched and known more intimately. This small Thérèse kneels amidst the clouds of heaven and glory and shares these tokens of Love with us. 

The traditional iconography in depictions of Thérèse includes the crucifix intertwined with roses. A visitor to the Basilica may be surprised to note that though Thérèse is portrayed many times in the Basilica, only in this mosaic and in the choir loft window can she be seen with her traditional accoutrement. In the tomb chapel windows we find Thérèse similarly illustrated, but carrying instead a cross.

The iconography of Thérèse’s roses and crucifix seems to be entirely due to the stylistic choice of Sister Geneviève of the Holy Face (Marie Céline Martin). ‘Thérèse aux Roses’ of 1912 is the first time we see Thérèse with her attributes of crucifix and roses. Claiming inspiration from an occurrence during which “lying in bed in the infirmary, [Thérèse] unpetalled roses on her crucifix,”1 Sr. Geneviève produced a sketch that would become the definitive image of St. Thérèse.

Where Thérèse’s attributes, as created by Sr. Geneviève, can be said to share insight into her spirituality, “the crucifix all but concealed by roses symbolising suffering and trials patiently borne,”2 the passive aspect of ‘Thérèse aux Roses’ is here happily ignored. The power of the mosaic artform allows the sweep of Thérèse’s mantle to show a figure in the midst of action. Similarly, the crucifix cradled in her arm is displayed prominently, the corpus catching the eye as true to life, only upon close examination revealing itself as assembled bits of tile.

While the influence of the image of Thérèse as promulgated by the Carmel of Lisieux can be seen in many aspects of the Basilica, it is in details like those found in this small artwork that the independent spirit of the Discalced Carmelites and artisans of San Antonio can be seen and appreciated.

Communion Rail in the Basilica

Mosaic from the Communion Rail in the Basilica