Remembering the hour, Sister Evangeline turned from the portrait. She walked to the end of the hallway, where a great wooden portal carved with scenes of the Annunciation separated the convent from the church. On one side of the boundary, Sister Evangeline stood in the simplicity of the convent; on the other rose the majestic church. She heard the sound of her footsteps sharpen as she left carpeting for a pale roseate marble veined with green. The movement across the threshold took just one step, but the difference was immense. The air grew heavy with incense; the light saturated blue from the stained glass. White plaster walls gave way to great sheets of stone. The ceiling soared. The eye adjusted to the golden abundance of Neo-Rococo. As she left the convent, Evangeline’s earthly commitments of community and charity fell away and she entered the sphere of the divine: God, Mary, and the angels.

In the beginning years of her time at St. Rose, the number of angelic images in Maria Angelorum Church struck Evangeline as excessive. As a girl she’d found them overwhelming, too ever-present and overwrought. The creatures filled every crook and crevice of the church, leaving little room for much else. Seraphim ringed the central dome; marble archangels held the corners of the altar. The columns were inlaid with golden halos, trumpets, harps, and tiny wings; carved visages of putti stared from the pew ends, hypnotizing and compact as fruit bats. Although she understood that the opulence was meant as an offering to the Lord, a symbol of their devotion, Evangeline secretly preferred the plain functionality of the convent.