The Cloisters. Basilica Of Saint Paul-Without-The-Walls, Rome. Author: Dnalor 01. Licence (CC-BY-SA 3.0). Wikimedia Commons.

Wednesday, 23 October 2019

Die Schätze Des Allerheiligsten Herzens Mariens. Les Trésors Du Saint Cœur De Marie. The Treasures Of The Sacred Heart Of Mary.

English: The Assumption of The Virgin Mary.
Deutsch: Maria Himmelfahrt, Hochaltar für St. Maria Gloriosa dei Frari in Venedig.
Français: L'Assomption de la Vierge.
Artist: Titian (1490–1576).
Date: 1516-1518.
Source/Photographer: The Yorck Project: 10.000 Meisterwerke der Malerei.
DVD-ROM, 2002. ISBN 3936122202. Distributed by DIRECTMEDIA Publishing GmbH.
(Wikimedia Commons)

Illustration: HOLY CARD HEAVEN

"Je vous salue, Marie".
Available on YouTube at

"Ave Maria".
Composed by Schubert.
Available on YouTube at

Tuesday, 22 October 2019

Special De Mattei: The New Pact Of The Catacombs: The Fulfilment Of Vatican II ?

This Article is taken from, and can be read in full at,

If what is reported here is correct, then there appears to be sufficient substance to cause any true Catholic a grave disquiet.

The only recourse is to Pray. And Pray. And Pray, some more.

If what is reported here is correct, that is.

Illustration: RORATE CÆLI

By: Roberto de Mattei.
Corrispondenza Romana.
21 October 2019.

Translation: Contributor Francesca Romana.

The secret testament of The Second Vatican Council has [now] become public and official. On 20 October 2019. in the Catacombs of the Domitilla, “The Pact for a poor servant Church” was solemnly renewed as stipulated on 16 November 1965 in the same place, by forty-two Council Fathers, some weeks before the conclusion of the Council Assembly.

Monsignor Luigi Bettazzi, Emeritus Bishop of Ivrea, the only living signatory of the Pact of the Catacombs, revealed that the 1965 text had been written by Monsignor Hélder Câmara (1909 -1999), Archbishop of Olinda e Recife, who, however, that November 16, did not sign it as he was busy at a meeting for the final drafting of Gaudium et Spes, perhaps the most significant document of the Second Vatican Council.

From the very start of the Council, Monsignor Câmara had established an ironclad friendship with Cardinal Suenens, who, in his correspondence, is referred to by the code name “Padre Miguel”. From then on, the Câmara-Suenens tandem constituted one of the “hidden” motors behind the Council gathering. At the beginning of the second session, Helder Câmara defined Suenens “the key man of the Council, certain of the direct and personal trust of the Holy Father”. Highlighting the path taken by the first session, he writes that not without reason the Belgian Cardinal was designated as “the world head of progressivism”. “He is my leader at the Council” wrote the Brazilian Bishop in a circular to his faithful.

The two met every day, sharing the parts, Suenens in the Conciliar Hall, Câmara in the extra-conciliar corridors. “Throughout the four sessions of the Council – his biographers recall - Dom Hélder would not make any interventions in the plenary assembly, but would carry out real “éminence grise” work in the architecting of what he himself called a “holy conspiracy” to introduce into the agenda of the conciliar works the problem of the misery of the world in underdeveloped countries, and to stimulate a process of reform inside the Catholic Church.”

Paul VI protected Monsignor Câmara by appointing him Archbishop of Olinda e Recife. After his appointment, he assured him with these words: “Don’t worry. It is evident that the hand of God is upon your leader. “Providence has made itself tangible.” For his part, Monsignor Câmara affirmed in the concluding days of Vatican II “It is not up to the Council to say everything.” “There are implicit affirmations that it is up to us to explain” (all of the citations are from my book “The Second Vatican Council. An Unwritten Story” Lindau, Torino 2011, with reference to the sources).

[ Editor: The full Article can be read at RORATE CÆLI ]

The Holy Rosary Encyclicals Of Pope Leo XIII.

Portrait of His Holiness Pope Leo XIII,
who wrote twelve Papal Encyclicals on The Holy Rosary.
Date: Circa 1898.
This File: 26 August 2007.
User: Dantadd
Author: Unknown.
(Wikimedia Commons)

The Text for this Article is taken from, and can be read in full at, CATHOLIC CULTURE

The Rosary Encyclicals,
by Thomas A. Thompson, S.M.

Over 100 years ago, as The Church entered the 20th-Century, The Virgin Mary played a significant part in the Programme of Renewal and Reunion proposed by the Pope. In 1898, Pope Leo XIII was in the twentieth year of his Pontificate. In that year, Pope Leo XIII issued what would be the last of twelve Encyclicals on The Holy Rosary, a Project which he had begun fifteen years earlier.

During his years as Pope (1878-1903), Pope Leo XIII wrote many significant Encyclicals. His 1891 Encyclical Rerum Novarum (on "The Condition of Labour"), initiated The Church's modern Social Teachings. He also wrote on the Teaching of the Philosophy of Saint Thomas Aquinas in Schools and Seminaries, on the Study of The Bible, on The Holy Ghost and on Saint Joseph.

At the turn of the 19th-Century, he wrote two Encyclicals on Christ (on "Consecration to The Sacred Heart" and on "Jesus The Redeemer"). He also addressed specific political situations in which The Church's liberties were threatened. But the theme to which he returned most frequently in the final years of the 19th-Century was The Rosary.

Devotion to The Most Holy Rosary.
Available on YouTube at

The Rosary was the subject of twelve Encyclicals and five Apostolic Letters. Beginning in 1883, and concluding in 1898, an Encyclical on The Rosary appeared almost every year, usually in preparation for the month of October (Pope Saint John XXIII's Encyclical Grata Recordatio [1961] spoke of the "pleasant memory" of hearing those Encyclicals read every October).

The Rosary Encyclicals can be divided into two main groups: 1883-1885 and 1891-1898. The first group established The Rosary as a Public Devotion. The first Encyclical (1883) prescribed the Public Recitation of The Rosary and The Litany of Loreto in Catholic Churches and Chapels as a Special Observance "for the month of October of this year."

Encouraged by the reception of the Observance for 1883, the Encyclicals of 1884 and 1885 directed that October Devotions be continued. The Feast of The Most Holy Rosary was given a higher Liturgical Standing. The invocation "Queen of The Holy Rosary" was added to The Litany of Loreto. This encouragement of the Public Recitation of The Rosary in Churches, conferred a new status on The Rosary. "No longer," said Ave Maria Magazine, "was The Rosary a Devotion best suited to the illiterate." It now was officially encouraged as Public Devotion.

Beginning in 1891, the Encyclicals dwelt on The Value of The Rosary and on its role within The Life of The Church and of Society. In these Encyclicals, there was frequent reference to the perilous situation in which The Church found itself: Anti-Clerical Governments, and forces opposed to Religion, threatened its existence.

Diplomatic Relations between Italy and The Holy See were non-existent, and the Pope was "The Prisoner" within The Vatican walls. The Kulturkampf [Editor: Culture Struggle] limited The Church in Germany and Switzerland, and The Governments of France and Belgium wished to obtain control of The Religious Schools and expel The Religious Teaching Congregations.

Freemasonry, addressed by the Pope in an Encyclical, was openly hostile to The Church, and the findings of science seemed to refute long-held Religious Teachings.

In response to these trying times, Pope Leo XIII followed the example of previous Popes by proposing The Rosary as a "weapon" that Saint Dominic, eight Centuries earlier, had confided to The Church. It was through The Rosary that Saint Dominic had overcome The Albigensian Heresy, whose adherents lived in The South-West of France (not far removed from Lourdes).

The Power and Promises of The Rosary.
Available on YouTube at

And it was The Rosary that was responsible for the Victory of The Christians at The Battle of Lepanto against Turkish forces in 1571. The Rosary would continue to be "balm for The Wounds of Society" as it had been in the time of Saint Dominic, and it would make possible the two great goals of Pope Leo's Papacy: The Renovation of Christian Life and The Reunion of Christendom.

Nowhere in the dozen Encyclicals were there specific indications on how The Rosary was to be Prayed, nor was it presented as a Devotion exclusively directed to The Virgin Mary. Rather, The Rosary was broadly defined, just as it had been described four Centuries earlier when approved in 1571 by Pope Pius V.

The essence of The Rosary was "to recall The Mysteries of Salvation in succession, [while] the subject of Meditation is mingled and interlaced with The Angelic Salutation and Prayer to God The Father" (1883). Meditation on The Mysteries of Salvation was a short and easy method to nourish Faith and to preserve it from ignorance and error (1895). The Mysteries of Salvation were not Abstract Truths, but Events in The Lives of Jesus and Mary.

The Rosary was presented both as a "School of Faith" and a "School of Charity." Meditation on The Mysteries of Salvation was to lead to Conversion of Heart and Change of Conduct. Contemplation of The Mysteries was essentially a Loving Act of Gratitude (1894), through which the heart was "filled with love . . . hope enlarged, and the desire increased for those things which Christ has prepared for such as have united themselves to Him in imitation of His example and in participation in His sufferings" (1891).

Attentive consideration of the "Precious Memorials" of Our Redeemer led to "a Heart on Fire with Gratitude to Him" (1892). The Rosary was an Expression of Faith in God, The Future Life, The Forgiveness of Sins, "The Mysteries of The August Trinity, The Incarnation of The Word, The Divine Maternity and others" (1896).

The Rosary, the Pope believed, also would influence Society as a whole. The 1893 Encyclical spoke of the Social Consequences, or the effects on Society, that Meditation on The Mysteries of The Rosary could produce. The three Sets of Mysteries were an antidote for the errors afflicting Society.

Pope Leo XIII on a Photogram of the 1896 film "Sua Santitá papa Leone XIII",
the first time a Pope appeared on film.
Date: 1898.
This File: 16 March 2006.
User: Crux
Author: Unknown.
(Wikimedia Commons)

The Joyful Mysteries, centred on "The Hidden Life" of Christ and The Holy Family at Nazareth, stood in contrast to the contemporary disdain for poverty and simplicity of life. The Sorrowful Mysteries, depicting Christ's acceptance of The Cross, stood opposed to the attitude of fleeing from any hardship and suffering. Finally, The Glorious Mysteries — which include The Resurrection, The Ascension, The Descent of The Spirit and The Assumption of The Virgin Mary — were a reminder that this life is a prelude to a future life with God.

Even when Prayed privately, The Rosary had a Social and Ecclesial dimension. Similar to The Divine Office, The Psalter of Our Lady was part of The Church's "Public, Constant and Universal Prayer" (1897). The Encyclicals frequently encouraged the Sodalities, or Confraternities, whose purpose was to promote The Rosary through Meetings, Religious Services and Processions.

The last Encyclical (1898) was followed by an Apostolic Letter, with a Charter for the Sodalities and Confraternities of The Rosary. (Recent outgrowths from Confraternities are "The Rosary Teams," in which groups of Lay People establish Centres of Prayer, Hospitality and Evangelisation.)

The 1897 Encyclical encouraged the development of "The Living Rosary," a Movement started earlier in the Century by Pauline Jaricot (the Founder of The Society for The Propagation of The Faith). Jaricot's "Living Rosary" was a group of fifteen individuals, each pledged to say one Decade of The Rosary a day.

"The Prayers and Praises, rising incessantly from the lips and hearts of so great a multitude, will be most efficacious" (1897).

In all the Encyclicals, The Rosary is not so much presented as a Devotion directed to Mary. Instead, it is Christ, in all the facets of His Life — Hidden, Public, Final Suffering and Resurrection — Who "Stands Forth" in this Prayer (1896). The Rosary is principally an instrument "to expand The Kingdom of Christ." It is a Prayer that has been "wonderfully developed at the close of the Century, for the purpose of stimulating the lagging Piety of The Faithful" (1897).

The Rosary Encyclicals show a great confidence in Mary's Power and her Intercession for The Church (1892). As "Guardian of The Faith," The Virgin Mary is able to "ward off the errors of the times" (1895). Mary is a powerful Intercessor before God, a "worthy and acceptable Mediatrix to The Mediator" (1896).

The Encyclicals of Pope Leo XIII are the first Papal Documents to speak of Mary's Universal Motherhood; she is The Mother of All Peoples — "Our Mother" — and the one who could bring about the unity of The Church (1895). Through the Intercession of Mary, the zeal of The Christian People would be renewed and a deeper unity produced.

None of Pope Leo XIII's biographers have investigated the origins of his great confidence in the power of The Rosary, nor have the few commentaries on The Rosary Encyclicals sought for the source of his inspiration. Although never referred to in the Encyclicals, the great événement [Editor: Event] of Lourdes, to use the Pope's term, appears to have had a major influence on The Rosary Encyclicals. The Land of Saint Dominic was also The Land of Lourdes.

Our Lady's identification of herself at Lourdes (1858) as The Immaculate Conception confirmed The Dogma that Pope Leo's predecessor, Blessed Pope Pius IX, had Proclaimed in 1854, and initiated a close bond between Rome and Lourdes. The Rosary — along with Penance — was central to the message of Lourdes. The Lady of Lourdes was pictured with a Rosary. Following the example of Mary in the first apparition, Saint Bernadette prepared for each of the following seventeen apparitions by Praying The Rosary. Lourdes was termed "The Town of The Rosary," and, in the 19th-Century, The Rosary Procession was the identifying Devotion of Lourdes.

Pope Leo's interest and concern in Lourdes is recorded in the Annales de Notre Dame de Lourdes (in The Marian Library's Clugnet Collection). At the beginning of his Pontificate, Pope Leo XIII urged The Bishop of Tarbes to build a larger Church to accommodate Pilgrims who were already coming in great numbers, and to ensure that a critical history of the apparitions be written and a record of the hearings be kept.

The year 1883, the Silver Anniversary of the apparitions at Lourdes, was observed as a Jubilee Year, both at Lourdes and at Rome. In the Silver Anniversary Year, work began on The Church of The Rosary, which would extend The Basilica of The Immaculate Conception. (Based on the number of extra trains in service that year between Paris and Lourdes, the Annales estimated that 500,000 Pilgrims travelled to Lourdes by train that year).

It was in 1883 that the first of The Rosary Encyclicals was issued calling for special Observance, "for this year", of October as The Month of The Rosary. The Feast of Our Lady of Lourdes (11 February) was not established until 1892, so October — with its Feast of The Holy Rosary — was an appropriate time to recall the events at Lourdes.

Saint John Henry Newman was raised into The College of Cardinals by Pope Leo XIII.
Date: December 1879.
Source: 1880 book on Pope Leo XIII.
Author: Karl Benzinger.

The lofty and impersonal style of Pope Leo's Encyclicals usually did not include all the reasons motivating an announcement. For example, in 1885, an Encyclical announced an Extraordinary Jubilee Year. However, the reason for the Jubilee — the 50th Anniversary of the Pope's Ordination — is not mentioned in the Encyclical.

At Lourdes, the new Church, with its fifteen Altars, and Murals depicting The Mysteries of The Rosary, was Dedicated in 1901. Pope Leo XIII sent an Apostolic Letter in the opening year of the Century noting the significance of the Consecration of The Church of The Rosary. The content of the Letter was a summary of previous Encyclicals on The Rosary. The Church of The Rosary, at Lourdes, with its fifteen Altars and Murals, was a summary of the Gospel — summa evangelicae doctrinae. The Rosary itself was like a great Basilica in which all the Truths of The Faith were presented.

In 1901, the Annales announced that the bonds between The Vatican and Lourdes would be even more apparent. As The Vatican was already present at Lourdes through a sculpture of Pope Leo XIII, so, now, Lourdes would go to The Vatican. Through the efforts of the Bishop of Tarbes and other French Bishops, a replica of the Grotto of Massabielle would be constructed in The Vatican Gardens. (This Grotto still stands in The Vatican Gardens.)

The legacy of Pope Leo's Encyclicals was that The Rosary was established as a Central Devotion in Western Catholicism. Before Vatican II's encouragement of "active participation" in The Liturgy, The Rosary served as a vehicle for entering into, and focusing on, The Mysteries of Salvation as depicted in The Life of Christ and The Virgin Mary.

Vatican II influenced The Rosary and all other Devotions. All Devotions were to be renewed in "The Spirit of The Liturgy", to be "extensions of The Liturgical Life of The Church" (Catechism of The Catholic Church, no. 1674). The Rosary complements and extends The Liturgy.

The Church's Public Liturgical Worship presents a panoramic view of the whole history of Salvation. The Rosary, and Rosary-like Prayer, focuses on The Events of Christ's Life — The Incarnation, Our Redemption and The Promise of Eternal Life — and on The Virgin Mary's participation in The Mystery of Christ. A person Praying must be the agent who actively enters into The Mysteries, and not simply one before whom the Celebration unfolds.

The Rosary is an accessible reminder of The Constant Prayer of The Church, The Incessant Prayer of God's People throughout the ages. The Psalter of Mary, as The Rosary is sometimes called, is a remembrance of The Church's deepest nature as a Community of Continual Prayer (1896).

FATHER THOMPSON writes from The Marian Library and The International Marian Research Institute of The University of Dayton, Ohio.
© The Priest, Our Sunday Visitor Publishing, 200 Noll Plaza, Huntington, IN 46750.
This Item 558 digitally provided courtesy of CATHOLIC CULTURE.ORG

Monday, 21 October 2019

Saint Ursula And Her Companions. Virgins. Martyrs. Feast Day 21 October.

Text from The Saint Andrew Daily Missal,
unless stated otherwise.

Saint Ursula And Her Companions.
   Feast Day 21 October.


Red Vestments.

English: Saint Ursula, in a 15th-Century fresco,
in Saint Jacob Church, Urtijëi, Val Gardena, Italy.
Deutsch: Die Die Heilige Ursula in einem Fresko der
Kirche St. Jakob in St. Ulrich in Gröden - Brixner Schule 15. Jahrhundert.
Photo: 7 September 2012.
Source: Own work.
(Wikimedia Commons)

"At Cologne, Germany", says The Roman Martyrology, "the birth in Heaven of Saint Ursula and her Holy Companions, who were massacred by The Huns, out of hatred for The Christian Religion and their Virginal purity. Several are buried in this City (Cologne)." This happened about 454 A.D.

Mass: Loquébar.
Collects: For Several Virgins Martyrs.

The following Text is from Wikipedia - the free encyclopaedia.

It was recorded that Elizabeth of Schönau, Germany, experienced a vision that revealed to her The Martyrdom of Saint Ursula and her Companions.

The Street in London, called Saint Mary Axe, is named after the Church of Saint Mary Axe, originally Dedicated to Saint Mary The Virgin, Saint Ursula and The 11,000 Virgins.

Saint Mary Axe was a Mediaeval Church in The City of London. Its full name was Saint Mary, Saint Ursula And Her 11,000 Virgins, and it was also sometimes referred to as Saint Mary Pellipar. Its common name (also Saint Mary-[or Marie]-at-the-Axe) derives from the sign of an Axe over The East End of the Church. The Church's Patrons were The Skinners' Company.

Looking Northwards, up Saint Mary Axe Street, from Leadenhall Street, London. The gherkin-shaped skyscraper is officially named 30 Saint Mary Axe and is very close to the actual site of the Mediaeval Church of Saint Mary Axe, whose full name was Saint Mary, Saint Ursula And Her 11,000 Virgins , which was demolished circa 1565.
Photo: 5 December 2010.
Source: 30, Saint Mary Axe.
Author: Aurelien Guichard, London, England.
(Wikimedia Commons)

According to John Stow, in A Survey of London (1603), the name derived from " the signe of an Axe, over against the East end thereof ". However, a document dated to the early Reign of King Henry VIII , describes a Holy Relic held in the Church: "An Axe, one of the two that the eleven thousand Virgins were beheaded with". This refers to the legend that Saint Ursula, when returning to Britain from a Pilgrimage to Rome, accompanied by eleven thousand handmaidens, had refused to marry a Hunnish Chief and was executed along with her whole entourage on the site of modern Cologne, Germany, in about 451 AD.

The Mediæval Church in London was situated just North of Leadenhall Street, on a site now occupied by Fitzwilliam House. First mentioned as "Saint Mary Apud Ax", it belonged for a time to the nearby Priory of Saint Helen's. At the time of The Dissolution Of The Monasteries, it was still extant, but in decline, and, in 1562, it was offered to Spanish Protestant refugees as a place of worship. Three years later, however, it was unused and in a state of disrepair. Shortly afterwards, it was pulled down and its Parish was united with that of the neighbouring Saint Andrew Undershaft.

The Church gave its name to a Street of the same name, which links Leadenhall Street with Camomile Street and Houndsditch. No. 30 was the location of The Baltic Exchange until it was destroyed by an IRA bomb in 1992; the Exchange is now located at No. 38, just to the North of its former address. On the site of the old Baltic Exchange now stands 30, Saint Mary Axe, a skyscraper known colloquially as The Gherkin, because of its distinctive shape.

The Street of Saint Mary Axe was also the location of The Sorcerer's Shop in Gilbert and Sullivan's Operetta, The Sorcerer, which documents the former pronunciation "Simmery Axe".

The Church that remains in the modern-day Saint Mary Axe is Saint Andrew Undershaft.

Saint Hilarion. Abbot. Feast Day 21 October.

Text is from The Saint Andrew Daily Missal,
unless stated otherwise.

Saint Hilarion.
   Feast Day 21 October.


White Vestments.

English: Saint Hilarion Castle, Kyrenia, Cyprus.
Français: Château Saint Hilarion à Chypre.
Date: 17 September 2005 (original upload date).
Source: Atak
Author: Atak Kara.
(Wikimedia Commons)

After the era of Martyrs, to whom the Church had exclusively reserved the honours of public Veneration, she began to raise to the Altars the Servants of God, who had distinguished themselves by their heroic virtues, although they had not won the glory of shedding their blood for Jesus Christ.

Saint Hilarion, in the East, and Saint Martin, in the West, are at the head of The List of Saints known as "Confessors". A native of Palestine, Saint Hilarion studied at Alexandria, and, desiring to embrace a more perfect life, he left all to follow Jesus (Gospel).

"The Temptation of Saint Hilarion".
Artist: Octave Tassaert (1800–1874).
Date: Circa 1857.
Current location: Montreal Museum of Fine Arts, Canada.
(Wikimedia Commons)

He heard of Saint Anthony's holiness and went to see him in Egypt. The Saint kept him for two months in order to train him to a life of penance and contemplation. He then gave to this boy, of fifteen years of age, a hair-shirt and a garment made of skin, saying: "Persevere to the end, my son, and thy labour shall be rewarded by the delights of Heaven."

Hilarion returned to Palestine and founded Monastic Life there. After having built several Monasteries, for which he made laws, as Moses had done of old for God's people (Epistle), he retired to the island of Cyprus, to escape the crowd of admirers attracted by his heroic virtues. He died a holy death, at the age of 80, about 372 A.D. Saint Jerome wrote of his life.

Mass: Os justi. Of Abbots.
Commemoration: Of Saint Ursula, from the Collects Of Several Virgins, Martyrs.



Available (in U.K.) from

Available (in U.S.A.) from

Sunday, 20 October 2019

Saint John Cantius Church, Chicago. Restoring The Sacred. Feast Day Of Saint John Cantius, Today, 20 October.

Today is The Feast Day of Saint John Cantius, Confessor.

Happy Feast to all Readers and to The Parishioners and Clergy of Saint John Cantius Church, Chicago, United States of America.

Text from Wikipedia - the free encyclopaedia,
unless otherwise stated.

The High Altar,
Saint John Cantius Church,
Chicago, United States of America.
Photo Credit:

The Baroque Interior of Saint John Cantius Church,
Chicago, Illinois, United States of America.
Photo: 23 March 2015.
Source: Own work.
Author: Sjcantius
(Wikimedia Commons)

English: Tomb of Saint John Cantius, Church of Saint Anne, Kraków, Poland.
Polski: Kościół Świętej Anny w Krakowie.
Deutsch: Krakau St. Annen Kirche.
Photo: 14 November 2009.
Source: Own work.
Author: Ludwig Schneider / Wikimedia, Ludwig Schneider
(Wikimedia Commons)

The Limestone facade of Saint John Cantius Church,
Chicago, United States of America.
Photo: 2 September 2013.
Source: Own work.
Author: Victorgrigas
(Wikimedia Commons)

Would you like to support this magnificent Church's revival
and its love for The Traditional Latin Mass ?
Why not visit this beautiful Church's Web-Site, and the Church Store, at

Saint John Cantius Parish (Polish: Parafia Świętego Jana Kantego) is an historic Church of the Roman Catholic Archdiocese of Chicago, known for its opulence and grand scale as well its Solemn Liturgies and rich programme of Sacred Art and Music.

Along with such monumental Religious edifices as Saint Mary of The Angels, Saint Hedwig's, or Saint Wenceslaus, it is one of the many Polish Churches that dominate over The Kennedy Expressway.

Solemn High Mass, Saint John Cantius Church,
Chicago, United States of America.

The unique Baroque Interior has remained intact for more than a Century and is reminiscent of the sumptuous art and architecture of 18th-Century Krakow, Poland. Of all the “Polish Cathedral”-style Churches in Chicago, Saint John Cantius stands closest to Downtown. The imposing 130 ft. Tower is readily seen from the nearby Kennedy Expressway. Saint John's is particularly well-known for its programme of Solemn Liturgies and Devotions, Treasures of Sacred Art and Rich Liturgical Music.

In 2013, Saint John Cantius completed an ambitious Restoration, returning the lavish Interior to its original splendour.

Saint John Cantius Church, near Chicago/Ogden/Milwaukee (and the Gonnella bakery).
A Church, whose Parish was largely razed by highway construction. At Polonia's peak,
before World War I, as many as 23,000 people would attend Sunday Mass here and doubtless similar numbers at five similarly-huge Churches within a mile. Now the Parish prospers by offering Mass to Suburbanites in Latin and Gregorian Chant.
Photo: 22 April 2005.
Source: Flickr
Reviewer: Fruggo
(Wikimedia Commons)

Saint John Cantius Church was designed by Adolphus Druiding and construction began in 1893. It was completed in 1898.

Saint John Cantius Church was founded in 1893, by The Congregation of The Resurrection, to relieve overcrowding at Saint Stanislaus Kostka, the City's first Polish Parish. The Parish retained its Polish character for years, but the building of the Kennedy Expressway, which cut through the heart of Chicago's Polonia, began a period of decline for the Parish, as many long-time residents were forced to relocate.

Holy Mass in the impressive Church of Saint John Cantius, Chicago.

The Parish was slated for closure as Chicago's Inner City neighbourhoods declined further through the 1960s and 1970s. A revival of the Parish began in the Late-1980s, when the Parish became the focus of a renaissance of Traditional Catholic Rituals and Devotions that had fallen out of favour after The Second Vatican Council, such as The Tridentine Mass in Latin, as well as Vespers and Benediction, The Corpus Christi Procession, The Stations of The Cross, Tenebrae Services, and The Saint Joseph Novena and Saint Anne Novena.

Today, the Parish has a rich programme of Sacred Music, supported by seven Parish Choirs. The Parish is presently administered by The Canons Regular of Saint John Cantius, a Religious Community founded in the Parish in 1998.

Saint John Cantius Church has witnessed a number of famous visitors within its walls. In March 1989, the Parish hosted a visit by Tadeusz Mazowiecki, Prime Minister of the newly-Democratic Poland, while, in 1998, Józef Glemp, the Cardinal Primate of Poland, came to Celebrate a Mass of Thanksgiving and Bless the Church's new Copper Cupola.

English: Church of Saint Anne, and grave of Saint John Cantius,
13 sw. Anny street, Old Town, Krakow, Poland.
Polski: Kościół św. Anny, grób św. Jana z Kęt,ul. św. Anny 13, Stare Miasto, Kraków.
Photo: 9 August 2012.
Source: Own work.
Author: Zygmunt Put Zetpe0202
(Wikimedia Commons)

Although the Parish's School has closed, the building now houses The Chicago Academy For The Arts, often called "The Fame School", and compared with New York City's High School Of Performing Arts.

Saint John Cantius Church's majestic elegance has always drawn the attention of those who happened to pass by, making it an area landmark since its building, over a hundred years ago. Authors and filmmakers have seen it as natural to use the Church, both as a point-marking familiarity as well as from the purely aesthetic pleasure of its beauty. Some of the more notable examples are:

Saint John Cantius serves as the backdrop for Steffi Rostenkowski's great realisation in Nelson Algren's work "Never Come Morning", where, night after night, she heard the iron rocking of the Bells of Saint John Cantius. Each night, they came nearer, till the roar of The Loop was only a troubled whimper beneath the rocking of the Bells. "Everyone lives in the same big room", she would tell herself, as they rocked. "But nobody's speakin' to anyone else, an' nobody got a key".

This is another Church Dedicated to Saint John Cantius.
This Church is at Tremont, Cleveland, Ohio, United States of America.
Photo: 12 January 2008.
Source: Flickr
Author: Eddie~S
(Wikimedia Commons)

Saint John Cantius Church, Chicago, has also been featured in two films that were both shot in the Summer and Fall of 1990. The first was a made-for-television movie, entitled "Johnny Ryan". The second was a major Hollywood film, entitled "Only the Lonely", directed by John Hughes and starring Maureen O'Hara and John Candy.

The Church building's design is by Adolphus Druiding. Work began on this grandiose structure in the Spring of 1893 and was completed by 1898. The building has a façade of rusticated stone, in the High Renaissance Style, which dictated the use of classical elements, such as Columns, Capitals and Arches. At the very top, is a monumental Pediment, decorated with the Coat-of-Arms of Poland's failed January Uprising (1863-1864), under which is found the Polish inscription "Boże Zbaw Polskę" (God Save Poland).

Solemn High Requiem Mass at Saint John Cantius, Chicago, United States of America.

Just below this, on the Entablature, is the Latin inscription "Ad Maiorem Dei Gloriam", a text which proclaims that this building is for "The Greater Glory Of God", a Jesuit motto, popular in many Churches built around the start of the 20th-Century. Three Romanesque Portals, set in receding Arches, lead into the Interior. Like Saint Michael's, Chicago, the entrance is flanked by two asymmetrical Towers, topped with Copper Cupolas, styled after Saint Mary's Basilica in Kraków, Poland. The whole structure is 230 feet (70 m) long and 107 feet (33 m) wide and can easily accommodate 2,000 people.

The Interior reflects the High Renaissance Style of the Exterior. Eight stone Columns, with Corinthian Capitals, support the Vault. The present decoration is the result of several Interior decorations within the first forty years of completion. The Church's High Altar, as well as its matching two Side Altars, reputedly originate from the 1893 Columbian Exposition.

In 1903, the Interior was painted for the first time, and it was at this time that all the plaster and wood ornaments were added, and the Church received the character it has today. The Stained-Glass Windows were made by Gawin Co. of Milwaukee, while the Interior murals were painted by Lesiewicz, around 1920. In addition to religious scenes, such as The Resurrection under The High Altar, the artist decorated the side walls with paintings of Polish Patron Saints.

Saint John Cantius Church, Chicago, United States of America.

A new inlaid hardwood floor was installed in Saint John Cantius Church in 1997, to a design by Jed Gibbons . Sixteen varieties of wood from around the World were used for the inlaid medallions. The floor is not only a beautiful contemporary work of Sacred Art, but it is also designed as a teaching tool. The medallions, inlaid into the main Aisle, tell the story of Salvation: Star of David - Jesus was born as a Jew; Three Crowns - with the arrival of The Three Kings, Jesus was made manifest to the World; Instruments of The Passion - Christ's suffering for our Salvation; Banner - The Resurrection; Star - Christ is The Light of the World. This floor, which is reputedly the only one of its kind in the United States, has already won three national awards.

In 2003, work was completed on a replica of The Veit Stoss Altar. Carved by artist Michael Batkiewicz over an eight-year period, this imposing one-third scale copy is the largest and most detailed work of its kind, and was commissioned as a tribute to the Galician immigrants who founded the Parish in 1893.

English: The Altarpiece of Veit Stoss (Polish: Ołtarz Wita Stwosza, German: Krakauer Hochaltar), also Saint Mary's Altar (Ołtarz Mariacki), is the largest Gothic Altarpiece in the World and a National Treasure of Poland. It is located behind The High Altar of Saint Mary's Basilica, Cracow, Poland. The Altarpiece was carved between 1477 and 1489 by the German sculptor Veit Stoss (Wit Stwosz), who moved to the City around that time and lived there for the next twenty years. The Retable was paid for by the Townspeople of Cracow. In 1941, during the German occupation, the dismantled Altar was shipped to The Third Reich, on the order of Hans Frank – the Governor-General of that part of occupied Poland. It was recovered in 1946, in Bavaria, South Germany, hidden in the basement of the heavily-bombed Nuremberg Castle. The High Altar underwent major restoration work in Poland and was put back in its place at the Basilica ten years later.
Polski: Kraków, ołtarz Wita Stwosza.
Photo: June 2003.
Source: Own work.
Author: Pko
(Wikimedia Commons)

A permanent exhibit of Sacred Art, located in the Church's North Tower, is open on Sundays, as well as upon special request. The Collection's centerpiece is an elaborate Neapolitan "praesepio" (Italian creche) from Rome. Among Saint John Cantius's many other treasures are: A 19th-Century Copy of the icon of Our Lady of Częstochowa, adorned with jewelled Crowns, personally Blessed by Pope Saint John Paul II; a reproduction of the famous miraculous Crucifix from Limpus, Portugal; a 19th-Century Pietà from Bavaria, Germany; a hand-written Altar Missal; as well as several hundred authenticated Relics of Saints.

English: Marian Feast Day at Saint John Cantius, Chicago, United States of America.
España: Festival Mariano en San Juan Cantius (Chicago) | Una Voce Cordoba.

The following Text is from The Saint Andrew Daily Missal.

Saint John Cantius.
   Feast Day 20 October.


White Vestments.

English: Saint John Cantius.
Photo: 3 December 2004.
Source: Own work.
Author: mzopw
(Wikimedia Commons)

Born at Kenty, a Market Town in the Diocese of Cracow, Poland, Saint John was raised up by Providence to keep alight The Torch of Faith and The Flame of Christian Charity during the 15th-Century in Poland.

He obtained all the Academic Degrees at the University of Cracow, where he taught for several years. Ordained a Priest, he every day offered The Holy Sacrifice to appease Heavenly Justice, for he was deeply afflicted by the offences of men against God.

He shone especially by his exquisite Charity, which is shown in the Introit, the Collects, the Epistle, the Gradual, the Offertory and the Communion of his Mass. He took from his own food, to help those who were in need, and even gave them his clothes and shoes (Epistle); and he would let his cloak fall to the ground, so as not to be seen returning home bare-foot.

While on a Pilgrimage to Rome, he was robbed by brigands, and, when he declared that he had no other possessions, they allowed him to pursue his journey. The Saint, who had sewn some pieces of money into his cloak, suddenly remembered this, and, calling the thieves, he offered them the sum. But they, touched by his goodness and candour, gave him back all that they had taken.

Saint John Cantius died on Christmas Eve, 1473. He is especially invoked in cases of consumption.

["Owing to your Prayers, we see epidemics disappear, stubborn diseases averted, and The Blessing of Health restored. Those whom consumption, fever and ulcers condemn to a painful end are, by you, delivered from the embraces of death." (Hymn of Second Vespers)].

Mass: Miserátio hóminis.

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