by Blake Billings, '77

One typically associates the artistry and aesthetic of the Abbey's Church of St. Gregory the Great with the architectural vision of Pietro Belluschi, complemented by the dominating wire edifice of Richard Lippold. But other artists have made their contributions. Notably, E. Charlton Fortune has supplied the tabernacle, set against the large tapestry that is the work of Esther Puccinelli. Father Peter Sidler fashioned the impressive doors that weave Saint Paul’s ecclesial teaching seamlessly into the story of the building. The church also has incorporated touches of medieval Europe, in the lancet from Bec in Normandy, the “fabulous beast” from Cluny, and the effigy of St. Nicholas in the narthex, as well as the more prominent 14th-century Madonna and Child from Burgundy, ever present on the south wall of the sanctuary. But perhaps most understated, despite its centering function in the church, is the more modern work of Meinrad Burch-Korrodi, the Swiss craftsman responsible for the central crucifix.

Burch’s work in metal, suspended above Benson’s main altar, fills a pivotal point in the theological and architectural space of the church. In fact, Lippold created his wire sculpture centered on this preexisting piece, agreeing to incorporate it into his wire design. The crucifix, which faces both toward the nave and toward the monastic choir, physically and visually draws together all of the wiring. May we thus understand Lippold’s choice of the title “Trinity” for his work, as he in fact offers a kind of expansion upon the crucified Christ, with an array seemingly providing His celestial setting? As Trinitarian theology flows from the encounter with Christ, so too the artistic creation of Lippold. In fact, Burch’s work itself expands into the church, as he is the artist who also fabricated the Stations of the Cross. These suggest a kind of meditative integrity, with the message of the cross expanding throughout the church, echoed and extended in each side chapel’s portrayal of moments of His passion. And Burch’s presence may be felt even further in the ongoing prayer in this space, as he has also supplied the monstrance that is frequently used to display the host for divine adoration.
 

Burch’s artistic experience and training in the early 1920’s had included work in London, New York, and Paris. This led to the opening of his own goldsmith studio in Lucerne in 1925, which he moved to Zurich seven years later, in 1932. It was during this period that Meinrad Burch married Martha Korrodi, with whom he had three daughters. Burch was also known as an entrepreneur with a business vision for his studio, which employed as many as twenty artisans, expanding its influence and opus throughout the mid-twentieth century. In 1951, he was awarded the “Golden Ring of Honor,” one of the highest awards bestowed on a goldsmith, chosen by the Gesellschaft für Goldschmiedekunst, a German organization promoting modern jewelry design. Burch can be seen to have emerged from a progressive artistic milieu seeking an artistic expression less historically defined, while developing an aesthetic that resonates with traditions of the craft and the religiosity of his historical culture. One sees in his work the use of traditional precious metals and gemstones, as well as the integration of rock crystals. His studio later incorporated enameling, particularly in his extensive production of chalices. Burch and his studio developed many of their designs from basic geometric shapes, rather than more elaborate decorative designs, reflected in the Portsmouth pieces. In fact, one cannot assign the designs of his studio exclusively to Burch, who is said to have allowed his artisans substantial creativity in their artistry, and employed several craftsmen who became accomplished in their own right. Burch came to be seen both as artist and as entrepreneur, particularly into the later 1950’s and 1960’s, until his well-known Zurich studio closed in 1967. His work did not stop, however, as he continued to collect graphic art and help promote liturgical artists and their work. After the death of his wife Martha, Burch married Hedwig Wyser in 1959, who assisted in the development of his later professional work. Recognizing the significance of the work of its native son, the canton of Obwalden dedicated in 2007 a “treasury” of Burch-Korrodi’s works, to keep them on display in the cantonal building for education and culture.
 

• Burch-Korrodi Collection in Sarnen