Overall, we had a few priorities for our renovation project.

• We wanted to repair the plaster, pews, and floor tiles.

• We wanted to highlight our Patron, St. Edward, more than the stained glass windows as mentioned in above the main entry.

• We wanted to have any decoration in keeping with the unique architecture of our building.

• We wanted an ‘organic’ or natural tie between the structure, colors, and sacred furniture so that we would see the interconnections.

• Keep some important things, such as the Altar and ambo, original. 

• We wanted to be as economical as possible.

While the council and previous pastors had consulted with other firms, it was decided to seek a bid from Church Interiors Inc of North Carolina. They specialize in Churches, and provide a one-stop shop for projects. They gave an estimate on all that we had hoped to do: Refinishing pews, repair and painting of the walls and ceiling, replacing the floor with something more durable, and perhaps some new Sacred furniture that would be more connected to everything. In the end, we replaced the Presider and Deacon Chairs, The Altar of Repose, and added some elements to the ambo. We kept the Altar and the Ambo structure.

Church Interiors Inc. contracted with several others. These included a pew crew, plaster repair and paint crew, a decorative and stencil paint crew, and a floor crew. They coordinated the various crews.

We gave the the complete reins for the recommendation of a full color Palate to the artists and team of Church Interiors. Following the philosophy of architecture and color of Masquaray, they recommended highlighting the architectural features of the columns, ceiling ribs and alcoves. The repetitive stencils add eye-catching contrast that highlight the features without overwhelming. The majority of colors, five of the seven used in the painting scheme, are variations of tan, which help give a warmth to the building. The highlights colors, Cordial (the burgundy of the Belt Course -the band that runs parallel about 20 feet above the floor around the Church) is reminiscent of the traditional colors of Jesus's cloak, a symbol of His taking on flesh and blood, while Whirlpool (the blue background of the arch and accent colors) reflects the Blessed Mother, symbolizing the grace of God that covered her.

Mankato limestone, often called Kasota stone, is a distinctive type of limestone quarried in south-central Minnesota, especially near the towns of Mankato and Kasota. This beautiful, golden-beige stone has been prized for more than a century for building churches, cathedrals, courthouses, and even national landmarks.

How It Was Formed

• Around 450–470 million years ago, during the Ordovician Period, much of Minnesota was covered by a warm, shallow sea.

• Over time, the shells and skeletons of countless tiny marine organisms—such as corals, brachiopods, and other sea life—settled to the sea floor.

• Layer upon layer of this calcium-rich sediment was compacted and cemented together over millions of years, eventually forming limestone.

• Geological uplift and erosion later exposed these layers, making them accessible for quarrying today.

Kasota stone is part of the Oneota Dolomite formation, known for its durability and fine, uniform texture.

Qualities of Mankato Limestone

1. Durability – It is dense, strong, and highly resistant to weathering, making it ideal for both interior and exterior construction.

2. Warm Coloration – The stone’s natural golden or buff color adds warmth and elegance to buildings.

3. Workability – Despite its strength, it can be easily carved, which is why it has been used for intricate architectural details like columns, arches, and statues.

4. Local Sustainability – Being quarried in Minnesota, it has historically been a cost-effective and environmentally responsible building material for regional projects.

For churches and sacred buildings, Mankato limestone carries symbolic meaning. Formed over millions of years from countless small creatures, it reminds us of the Church as a living body—many parts united into one strong and beautiful whole. Its enduring strength reflects the steadfastness of faith and community.

Rosso Marble: Red Marble accents

Rosso marble is a striking natural stone known for its rich red to reddish-brown color, accented by intricate white, cream, or gray veining. It has been prized for centuries in architecture and sculpture, commonly used in churches, palaces, and decorative applications. Classic varieties include Rosso Verona, Rosso Levanto, and Rosso Alicante, each named for its region of origin.

Rosso marble originates from limestone that undergoes metamorphism, a geological process involving intense heat and pressure over millions of years.

1. Initial Stage – Limestone

• It begins as sedimentary limestone, rich in calcium carbonate from marine organisms like corals and shells.

• Iron oxide and other mineral impurities give the stone its distinctive red hues.

2. Metamorphic Process – Marble Formation

• Over time, tectonic activity subjects the limestone to high temperatures and pressures.

• This transforms the rock into marble, a crystalline form of calcite.

• The veining occurs when minerals such as quartz, feldspar, or clay intrude during this process, creating the intricate patterns visible on the surface.

Historically, Rosso marble has been used in cathedrals, basilicas, and palaces throughout Europe, especially in Italy.

Like Mankato stone, its use reminds us that the Church is an organic being made of many creatures.

Other Stone:

The Medallions are composed of other natural stones, mostly various forms of granite. Granite is an igneous rock formed deep within the Earth’s crust from the slow cooling and solidification of molten magma. Because it cools gradually underground, large crystals of minerals such as quartz, feldspar, and mica have time to grow, giving granite its distinctive speckled appearance. The colors of granite vary widely depending on its mineral composition:

• Pink or red tones come from potassium feldspar,

• White or light gray from quartz and lighter feldspars,

• Black or dark gray from minerals like biotite or hornblende.

This natural variety makes granite both strong and visually striking, which is why it has been a favored material for buildings, monuments, and decorative stonework for centuries.

Gold

Gold has long been used in church architecture as a symbol of heavenly glory, the divine presence, and the offering of our best to God. Because gold does not tarnish, it represents eternity and the glory of heaven described in Revelation. Churches often use gold leaf or foil instead of solid gold, as it is extremely thin, lightweight, and practical while still radiant. Applied to altars, tabernacles, icons, and ceilings, gold reflects light beautifully, drawing the eye toward the sacred and transforming the space into a visible sign of God’s eternal kingdom.

Many of the stencils and some of the trim is covered in gold foil.