The mosaic on the west wall depicting the Nativity was designed by George William Breck (1863-1920) and was completed in time to be unveiled on Christmas Day 1913. On the wall above the scene is inscribed the Christmas text: GLORY TO GOD IN THE HIGHEST AND ON EARTH PEACE.

'But,' writes Walter Lowrie, then Rector of St. Paul's, (Fifty Years of S. Paul's American Church, Rome - Walter Lowrie, Rome 1926) 'the illustration would be incomplete without the picture which is painted above - the habitable earth, the moon, the sun, the stars, the blue vault of heaven, and the hand of God. For Gloria in excelsis Deo means not glory in the highest degree but in the highest place. Here we have depicted that highest place, - namely the whole universe instinct with God. The Creation and the Redemption are correlated facts. What the Creation did not plainly enough reveal, that (namely the loving purpose of God from the beginning) has been revealed in Jesus Christ. Now we contemplate the Creation itself in a new light: as we gain a vaster conception of its extent, and (to use Robert Browning's words)

"As the power's whole mass extends
So much extends the aether floating o'er,
The love that tops the might, the Christ in God."

...'We represent the Creation so far forth complete in the habitable and inhabited earth. And what could better symbolize the habitations of men than the two sacred cities of Bethlehem and Jerusalem? They mark the beginning and the end of Christ's life upon earth and stand for the highest Godward development of the human race. They constituted a prominent feature of apsidal mosaics of the early Church. Burne-Jones did not altogether omit this theme, for he represents Christ enthroned in the new Jerusalem. But I have long desired to see this symbolical theme reproduced here in its more usual form. And here was an appropriate place for it. It links the picture of the Creation with the scene of the Nativity...'

The Facade

The mosaics on the facade need little explanation: around the rose window are depicted the four angelic creatures symbolizing the four Evangelists, as depicted in the visions of Ezekiel and again St. John the Divine. The mosaic above the door depicts St. Paul in prison at Rome 'not in a dungeon, but under such benevolent surveillance as is described in the last verses of the Acts: "and he abode two whole years in his own hired dwelling, and received all that went in unto him, preaching the kingdom of God, and teaching the things concerning the Lord Jesus Christ with all boldness, none forbidding him." ... in writing from his Roman imprisonment to the Philippians (1:15-18) he says: "Some indeed preach Christ even of envy and strife; and some also of good will: the one do it of love, knowing that I am set for the defense of the gospel: but the other proclaim Christ of faction, not sincerely, thinking to raise up affliction for me in my bonds. What then? only that in every way whether in pretence or in truth, Christ is proclaimed! and therein I rejoice, yea, and will rejoice." These last words -the most magnanimous, I think, that priest, prophet, or preacher, ever uttered in the conflict of religious strife - I have inscribed as the motto of our mosaic. They are written in gold over the portal, for all men to read who enter or pass by, as the motto of our American Church in Rome. DUM OMNI MODO SIVE PER OCCASIONEM SIVE PER VERITATEM CHRISTUS ANNUNTIETUR ET IN HOC GAUDEO SED ET GAUDEBO. (ibid.)

George Breck came to Rome 1895 to take up mural painting through friendship with Elihu Vedder. He was the first winner of a Lazarus Fellowship in mural painting at the American Academy in Rome (1897-1902). He was then appointed Director of the Academy from 1904-1909.

In his unveiling address Lowrie said, "Fourteen years ago George Breck and I were in Rome together as students. When I came here as Rector seven years ago he was the Director of the American Academy. He was then one of the Vestrymen who called me here and for years he was the most efficient helper I had here, during the time, namely, when I most needed help. No-one knows how much of a part Breck has had in all the works, little or great, which have contributed to to the embellishment of the Church during the last seven years. You know that he made the bronze effigy of Dr. Nevin... that he designed both the [wooden] pulpit and the mosaics on the facade; but I might also say that nothing has been done here in my time in which Breck has not had a hand... I cannot but regard the artist as one of the principal donors of this monument. On his part it was a labor of love. He gave himself whole-heartedly to this labor in behalf of the Church which I know he loves above all others and which will doubtless always remain his favorite spiritual home." (St John's Messenger, Vol. 8 No. 8, Flushing NY Easter 1921).