The Man of Sorrows. From a set of ornaments for a liturgical program, 2008. Matthew Alderman.
One Nice Bug Per Day
i don't do bad sauce passes
todays bird
Claire Keane
TVSTRANGERTHINGS
2025 on Tumblr: Trends That Defined the Year
No title available
DEAR READER
KIROKAZE
Cosimo Galluzzi
sheepfilms

roma★

izzy's playlists!

Love Begins

No title available
Keni
will byers stan first human second

JVL
we're not kids anymore.

tannertan36

seen from Spain
seen from United States
seen from Canada

seen from Mauritius
seen from United States
seen from Canada

seen from Spain
seen from United States
seen from United States

seen from United Kingdom
seen from Australia
seen from United States
seen from United States
seen from United States

seen from Germany
seen from United States
seen from Argentina

seen from Canada
seen from India

seen from South Korea
@matthew-alderman
The Man of Sorrows. From a set of ornaments for a liturgical program, 2008. Matthew Alderman.
Custom column design with Marian rose for Our Lady of the Rosary, Greenville, South Carolina. More design work by Matthew Alderman can be viewed here.
Before and After: The relocated baptistery at the Church of St. Stephen in Minneapolis, 2012. As part of a multi-step interior restoration, Matthew Alderman Studios suggested moving the font to its present location and also designed the decorative inlay around it, which stretches up the main aisle to the altar steps. The altar steps were also shortened from a more theatrical “thrust” arrangement, the altar moved into the apse, and the pews reoriented to face forward. Future renovations will continue the transformation of the interior. The second phase of the project, which we are currently working on, will feature new stained glass. MAS has been the design consultant on this project since 2010.
A new video showing the progress on Our Lady of the Rosary in Greenville, South Carolina, and detailing Matthew Alderman Studios's collaboration with parish priest Fr. Dwight Longenecker and architect Christian LeBlanc. The church will be formally dedicated later this year. The project is not yet complete and naming opportunities are still available.
Original rendering of a priest’s coat of arms by Matthew Alderman, from a blazon (heraldic concept) by Fr. Guy Selvester; completed February 2016. For more heraldic art, visit matthewalderman.com.
Saint Anthony of Padua and Saint Patricia of Constantinople. Ink illustration by Matthew Alderman, December 2014; original in private collection, Singapore. For more illustrations and art, visit matthewalderman.com.
The Holy Fore-Mother Ruth. Original illustration for a client in Virginia, 2014, inspired by the work of turn-of-the-century artist Ephraïm Moses Lilien. Print available here. For more original art and illustration by Matthew Alderman, visit matthewalderman.com.
Saint Maria Goretti. Devotional illustration in art nouveau style for a client in Virginia, 2014. For more original custom art and illustration, visit matthewalderman.com.
A design for a coat of arms for a gentleman in Michigan, United States of America. Hand-drawn with digital elements. Entered into the Armorial Register/International Register of Arms in February 2016 by the client. For commissions and quotes, and more art and heraldry visit matthewalderman.com.
Storefront Expansion in Progress
We are currently in the process of updating our storefront, so check back frequently! Also, if you don't see what you want, give me a buzz, and we can put just about any image in my portfolio on a mug, tee shirt, or just about anything else within reason. Including beer steins.
Matthew Alderman Studios’ 2015 Year in Review
From designing new art and stained glass for churches from Minnesota to Texas, last year was our busiest so far!
Now that we’ve all had a month or two to recover from the hustle and bustle of Christmas and the New Year, we can’t think of a better time than to consider the many and varied projects and other events that marked 2015 for Matthew Alderman Studios. We began 2015 with a commission for a design concept for a new altarpiece in a rectory chapel being designed by Curtis and Windham Architects in Sugar Land, Texas. The final painting would be done according to our cartoons by a local painter. The client was very impressed with the work of the early Netherlandish painters, but the finished design needed to complement a simple paneled classical interior. The central Crucifixion is flanked by images of St. Thomas the Apostle and St. Margaret of Scotland, the patron saints of the earthly patrons who funded the altarpiece. Local landmarks and the church and school itself appear in the background of the image.
Much of 2015 was spent working with Fr. Dwight Longenecker and his architect Christian LeBlanc on the furnishing designs for the new church building at Our Lady of the Rosary in Greenville, South Carolina, slated for dedication in mid-2016. Ground was broken on the building in July 2015. MAS has contributed designs for a new baldachin, altar, tabernacle shrine, faux-alabaster windows with geometric frames, column capitals, and other interior elements. Ratigan-Schottler is currently in the process of carrying out our designs. We are presently putting the final touches on a series of symbolic patterns for the floor.
MAS also undertook designs for a custom door with inset stained glass depicting symbols of the virtues of the Blessed Virgin for a church in Minnesota later in summer and fall. The highlight of our year, though, was Matthew being invited to teach a course on sacred architecture at the Pontifical University of the Holy Cross in Rome as part of a summer program for American seminarians, The Rome Experience, which earned Matthew, at least temporarily, the privilege of being called “professor.” Other adventures included a visit to a private archaeological dig in one of Trastevere’s most obscure churches and a tour of the Vatican Museums led by the distinguished Dr. Elizabeth Lev. Fall saw some time away from the desk, with Matthew accompanying his parents on a seventy-mile walking pilgrimage to Santiago de Compostela in Spain, a first for all three of them which earned them the official Compostela certificate.
Matthew also gave a presentation at the newly-opened Sheen Center in New York entitled “Unwreckovation” on the rehabilitation of church interiors, part of the Society for Catholic Liturgy’s 20th anniversary conference, which was well-received. The year ended with Matthew working on his third annual Christmas card design for FAITH Catholic Publishing, taking a well-deserved rest, and starting designs for a new stained glass window overseas, which we hope to share more about in future posts here.
This article is taken from the February-March edition of our studio newsletter. If you wish to subscribe, please send us a message or visit matthewalderman.com.
Matthew Alderman Teaching at The Rome Experience
I will be teaching a week-long course at the Pontifical University of the Holy Cross in Rome starting this Monday, June 8, entitled "A Historical Survey of Church Architecture" as part of a summer program for American seminarians called The Rome Experience. You can read more about it, and more, here.
Incipit for the Easter Season, HarperCollins UK Sunday and Weekday Missals. Matthew Alderman, 2012.
Design for a priest’s coat of arms. Matthew Alderman, 2015.
Designs for a seal for a parish church in Louisiana. Matthew Alderman, 2015.
What external decorations are used in a parish coat of arms?
My apologies, I only just saw this now. Unfortunately, I cannot find my copy of McCarthy’s Manual of Ecclesiastical Heraldry right this instant, but, to my knowledge, there are no official external ornaments permitted for parish coats of arms in the Catholic Church, and I would think even a crest and helmet atop the shield too warlike, given these are not usually used in ecclesiastical heraldry. A motto scroll might be included along with the shield, however. I usually simply design a shield and scroll for American parishes which request arms from me. Basilicas, however, are permitted to display the ombrellino and crossed keys behind their shield.
There are exceptions. I have seen at one instance of a Roman Catholic parish coat of arms in northeastern Europe designed with a priest’s biretta atop it for use in certain specific contexts. This was by a very distinguished heraldist in that country and was subsequently registered with the appropriate local heraldic authority. Outside the Catholic Church, several expedients seem to have been adopted. A number of schemes have been proposed for Orthodox parish arms, with varying degrees of implementation or official approbation. Episcopal and Anglican parishes granted arms by the English College of Arms have used supporters in all the instances I have seen. Anglican cathedral parishes in Canada also use a single cathedra supporter with official sanction.
I imagine there might also be instances of crowns or other elements granted to parishes on a one-by-one basis by a royal or noble concession or through immemorial custom in some countries.
Unless there is a longstanding local custom to the contrary, or a heraldic office to sanction or register specific new local practices, I think a simple shield and scroll the best solution. I welcome correction if anyone else knows more on this subject.
Matthew Alderman Studios recently completed a commission for a new logo for the Dominicana online journal. You can read more about the website’s Easter re-launch here, or like it on Facebook here. The website explains its symbolism further thus:
To mark this new chapter, we commissioned Matthew Alderman to draw our new logo, which depicts a familiar image from Dominican history: the dog with a flaming torch in his mouth. The dog is associated with St. Dominic and his Order, and the torch represents his burning zeal for preaching. The link dates back to a dream by our founder’s mother, Blessed Jane of Aza, while she was expecting him, and has been strengthened over the years by a pun on our Latin name:Domini-canes: the hounds of the Lord. Dominicana’s hound holds in his paws the shield of our province.