A Tour Of A Stunning Catholic Church.
Saint John Cantius Church, Chicago.
Available on YouTube at
Friday 23 October 2020
Reclaim Halloween From The Secular Abuses Prevalent Nowadays. Herewith, All Hallows' Eve In The Traditional Pre-1955 Liturgy.
A Jack o'Lantern
made for the Holywell Manor Halloween celebrations.
Photo: 31 October 2003.
Source: Own work.
Illustration: Toby Ord
(Wikipedia)
“Halloween has always belonged properly to The Church, and, as such, it should be made a key strategic objective in a cultural “Reconquista”.”
By: Claudio Salvucci.
Halloween is a Liturgical holiday. Anyone would be forgiven for not knowing that, because almost nobody keeps it that way anymore—to such a degree that some Catholics are of the opinion that we should wash our hands of the whole business. But Halloween has always belonged properly to The Church, and, as such, it should be made a key strategic objective in a cultural “Reconquista”.
To help illustrate why, I’d like to walk through the day of 31 October, not as the World celebrates it, now, but as The Latin Church Celebrated it for Centuries, listed in The Martyrology as “Vigilia Omnium Sanctorum”.
The Morning Offices.
31 October would Traditionally have begun with The Office of Matins before Sun-Rise. Traditionally, Week-Days in October Matins featured Readings from The Book of Maccabees. But, on 31 October, the Readings switch to Luke 6 and Ambrose’s Homily (Sermon) on The Beatitudes.
These Lessons, appointed for Halloween, come from The Common Of Many Martyrs, and we will see this theme of The Beatitudes re-appear, not only later in The Vigil Day, but also in The Feast of All Saints, to follow.
The Office of Halloween.
from the translation of The Roman Breviary
by John, The Marquess of Bute, 1890.
The other unique element of The Office for Halloween is The Collect, taken from The Mass, and referring to the joy of all The Saints and the “Glorious and Solemn Commemoration” of the next day. We will return to this Collect, later, but suffice it to say that we can already see, even before the Sun rises on 31 October, and really back to The Martyrology entry read at Prime on 30 October, that The Sacred Liturgy had set this day aside as something special.
The Mass.
As a Vigil, The Mass of Halloween saw the Altar and Priest Vested in Penitential Violet. It had its own dedicated set of Propers and Readings. Overall, they anticipate the joy of the subsequent Feast [Editor: All Saints], though often with a slightly different twist.
The beginning of the Halloween Introit, “Judicant sancti gentes, et dominantur populis” (The Saints judge Nations, and rule over people), strikes a more stern, Last-Judgement, tone than the purely jubilant All Saints Introit “Gaudeamus omnes in Domino” (Let us rejoice in The Lord), even though they both end on the same Psalm: “Exsultate, justi, in Domino” (Rejoice in The Lord, ye Just).
In the Halloween Gradual and Offertory, note the grammatical tense in “exsultabunt and laetabuntur”: “The Saints shall rejoice in glory, they shall be joyful in their beds”. The future tense, here, seems to pull double duty, not only helping to point forward to the next day’s Feast (Editor: All Saints], but also inviting a comparison between what the Canonised Saints enjoy now and what the Christian Faithful and the Souls in Purgatory will one day attain.
The Halloween Mass marks the dramatic appearance of The Apocalypse (Revelations) in The Liturgical Readings. Instead of a Pauline Epistle, we are suddenly confronted with Saint John’s spectacular and cryptic imagery: A Lamb with seven Horns and seven Eyes, Harps and Choirs, Angels circling the Throne. It is a startling vision—and it will continue to unfold through the rest of Hallowtide.
But only here, in The Vigil, do we see the Doctrine of Intercessory Prayer take such picturesque form as the “Golden Vials, full of odours, which are the Prayers of The Saints.” The Lesson also presents us with a first taste of universality, or Catholicity, of The Saints—Christ has “redeemed us to God, in Thy blood, out of every tribe, and tongue, and people, and Nation,” a theme we will come back to at Vespers.
The Gospel of The Day, as at Matins, is drawn from Christ’s Sermon on The Plain, in Luke 6. It, therefore, nicely parallels the Gospel of All Saints’ Day, which presents The Sermon on The Mount from Matthew 5.
Both Texts give us The Beatitudes and point us toward The Path to Sainthood. But, intriguingly, Luke’s Sermon on The Plain also features an Exorcism: “And they that were troubled with unclean spirits were cured.” It is not a major theme of The Halloween Mass, to be sure, but its presence here is a well-timed reminder of our enemies in The Spiritual Battle—then, as now.
Another subtle hint can be found in The Communion Verse “Justorum animæ”, which reminds us that “the torment of malice” shall not touch The Just.
“Black Vespers”.
This strangely-named Office is really The Vespers of The Dead—“Black”, here, referring to the colour of The Vestments. These Vespers are not actually found on Halloween Day in any of The Church’s official Liturgical Books.
Their true Liturgical place is after Second Vespers of All Saints on 1 November. But I have included this Office, here, since there was a Breton Tradition of saying it on the afternoon of Vigil—apparently Devotionally (for historical references, see HERE and HERE). It may well have flourished in other places, as well, since Brittany was said to be particularly conservative in its retention of old Mediæval customs.
“Black Vespers” begins with the Antiphon “I will walk before The Lord in The Land of The Living”—and perhaps here we can see the origin of the idea that, on Halloween, The Departed Souls returned to Earth. Neo-pagans have made much of this Folk Belief, often claiming it to be a lingering vestige of the “old ways”—on slender evidence and over-optimistic assumptions of pagan survival. This Antiphon seems to offer a much more plausible source, and a better explanation, for the presence of this belief in disparate Countries.
In places where it was said, “Black Vespers” infused Halloween with the solemn spirit of All Souls’ Day—and reminded Catholics, looking toward Heaven, of their dear Departed still suffering in Purgatory. We can very much use this reminder, today, particularly as Catholic funerals have too often become deformed into pseudo-canonisations, with the Deceased rashly, and improperly, assumed to be enjoying Heaven, with no need of our Prayers.
First Vespers of All Saints.
Finally, we come to the actual appointed Vespers for 31 October: The First Vespers of All Saints’ Day. In the dimming light of Sunset, The Church officially begins its Celebration of that great Feast, having put aside the Penitential Violet Vestments and the Mournful Black Vestments, and Vesting in the exultant glory of White and Gold Vestments.
Re-echoing The Mass Lesson, its Antiphons boldly sweep up all history and all geography into The Heavenly Ranks: “I beheld, and, lo, a great multitude, which no man could number, of all Nations, and kindreds, and people, and tongues, stood before the Throne.”; “Thou, O, Lord God, hast redeemed us by Thy Blood, out of every kindred, and tongue, and people, and Nation, and hast made us a Kingdom unto our God.”
The Vespers of All Saints is presenting us with a cast of historical and other-Worldly characters of every type, arrayed before us in a great colourful pageant.
The Sequence, “Placare Christi”, addresses, in each Verse, The Angels, The Apostles, The Purpled Martyrs, The Choir of Virgins and Confessors. The Antiphon at The Magnificat barely names a class of Saints before it runs to the next class in sheer delight—“O ye Angels, ye Archangels….O ye Patriarchs and Prophets, ye Holy Teachers of The Law,—O ye Apostles,—O all ye Martyrs of Christ, ye holy Confessors, ye Virgins of The Lord, ye Hermits,—O all ye holy children of God”.
As Vespers came to a close, the Lay Catholic of bygone ages retired with all these great themes and concepts, fresh in his mind, preparing himself for the Festivities of the next day. He would have seen Priestly Vestments change through the day from Penitential Violet, to Sombre Black, to White or Gold.
And what, today, forms the Halloween colour palette ? Purple, Black, White and Orange—matching The Church’s Liturgy almost perfectly, save for the characteristic hue of The North American Autumn.
This is Halloween as Traditionally envisioned by The Church: A colourful pageant, where all the Nations, and even The Living, and The Dead, join together to give glory to God.
Regrettably, despite its long history and rich Tradition, The Eve of All Saints was one of The Vigils completely abolished in 1955. As a result, even Traditional Latin Mass Parishes, which generally use The 1962 Liturgical Books, do not offer The Liturgy that I have described above.
The First Vespers of All Saints still remains, of course, even in The 1970 Missal, but the abolition of The Vigil has turned the first part of The Day into simply another generic “Mass of The Season.”
The Triduum, and its subsequent Octave, are no more. Gone, too, are the Liturgical parallels between Halloween, All Saints, and All Souls, with their subtle variations and interwoven themes.
They are vestigially remembered though. Across the globe, the Liturgies of Hallowtide had long been imaginatively amplified by Folk Traditions and customs: “Souling” in The British Isles; “Pão-por-Deus”, in Portugal; “Dia de Muertos”, in Mexico; and “Pangangaluwa”, in The Philippines.
Praying for The Deceased of the family, and of neighbours, was a widespread phenomenon. In some areas, like Scotland and Ireland, children went “Guising”, or, “Masquerading”, after dark, carrying turnip lanterns, and singing, or reciting, Verses for “treats”.
But the original anchor for all of these customs was The Church’s Liturgy. Many of these customs were already seriously compromised after The Reformation—and, in England, Halloween customs had even been abolished by Law. But, when The Church, herself, pulled up the anchor, nothing could stop the various Folk Traditions in even Catholic Countries from drifting aimlessly.
What can we do ? Let us set a good example in our homes, first, restoring The Liturgical Halloween to our hearts and our hearths.
The Texts of this wonderful Vigil, from both The Mass and The Office, give us some excellent Devotions for the day. If you have a Pre-1955 Missal and Breviary, handy [Editor: Which I have, of course], the Prayers are readily available there for you to use.
Alternatively, you can access them On-Line using the Links, above. For convenience, I have also compiled them, and other Devotions, in a Small Booklet, soon to be available from Ancilla Press.
If, nothing else, we would do immense good by taking a few seconds that day, while we prepare for any Festivities, to Devoutly Pray The Collect of All Hallows Eve (Editor: As opposed to “Trick or Treating”).
“Oh, Lord, our God, multiply Thy Graces upon us, and grant that joy may follow in The Holy Praise of those whose glorious Festival we anticipate. Through Our Lord Jesus Christ, Thy Son, Who liveth and reigneth with Thee, in The unity of The Holy Ghost, one God, World Without End.
Amen.
As a Vigil, The Mass of Halloween saw the Altar and Priest Vested in Penitential Violet. It had its own dedicated set of Propers and Readings. Overall, they anticipate the joy of the subsequent Feast [Editor: All Saints], though often with a slightly different twist.
The beginning of the Halloween Introit, “Judicant sancti gentes, et dominantur populis” (The Saints judge Nations, and rule over people), strikes a more stern, Last-Judgement, tone than the purely jubilant All Saints Introit “Gaudeamus omnes in Domino” (Let us rejoice in The Lord), even though they both end on the same Psalm: “Exsultate, justi, in Domino” (Rejoice in The Lord, ye Just).
Beginning of The Mass of The Vigil,
from The New Roman Missal of Fr. Lasance (1938).
In the Halloween Gradual and Offertory, note the grammatical tense in “exsultabunt and laetabuntur”: “The Saints shall rejoice in glory, they shall be joyful in their beds”. The future tense, here, seems to pull double duty, not only helping to point forward to the next day’s Feast (Editor: All Saints], but also inviting a comparison between what the Canonised Saints enjoy now and what the Christian Faithful and the Souls in Purgatory will one day attain.
The Halloween Mass marks the dramatic appearance of The Apocalypse (Revelations) in The Liturgical Readings. Instead of a Pauline Epistle, we are suddenly confronted with Saint John’s spectacular and cryptic imagery: A Lamb with seven Horns and seven Eyes, Harps and Choirs, Angels circling the Throne. It is a startling vision—and it will continue to unfold through the rest of Hallowtide.
But only here, in The Vigil, do we see the Doctrine of Intercessory Prayer take such picturesque form as the “Golden Vials, full of odours, which are the Prayers of The Saints.” The Lesson also presents us with a first taste of universality, or Catholicity, of The Saints—Christ has “redeemed us to God, in Thy blood, out of every tribe, and tongue, and people, and Nation,” a theme we will come back to at Vespers.
The Gospel of The Day, as at Matins, is drawn from Christ’s Sermon on The Plain, in Luke 6. It, therefore, nicely parallels the Gospel of All Saints’ Day, which presents The Sermon on The Mount from Matthew 5.
Both Texts give us The Beatitudes and point us toward The Path to Sainthood. But, intriguingly, Luke’s Sermon on The Plain also features an Exorcism: “And they that were troubled with unclean spirits were cured.” It is not a major theme of The Halloween Mass, to be sure, but its presence here is a well-timed reminder of our enemies in The Spiritual Battle—then, as now.
Another subtle hint can be found in The Communion Verse “Justorum animæ”, which reminds us that “the torment of malice” shall not touch The Just.
“Black Vespers”.
This strangely-named Office is really The Vespers of The Dead—“Black”, here, referring to the colour of The Vestments. These Vespers are not actually found on Halloween Day in any of The Church’s official Liturgical Books.
Their true Liturgical place is after Second Vespers of All Saints on 1 November. But I have included this Office, here, since there was a Breton Tradition of saying it on the afternoon of Vigil—apparently Devotionally (for historical references, see HERE and HERE). It may well have flourished in other places, as well, since Brittany was said to be particularly conservative in its retention of old Mediæval customs.
“Black Vespers” begins with the Antiphon “I will walk before The Lord in The Land of The Living”—and perhaps here we can see the origin of the idea that, on Halloween, The Departed Souls returned to Earth. Neo-pagans have made much of this Folk Belief, often claiming it to be a lingering vestige of the “old ways”—on slender evidence and over-optimistic assumptions of pagan survival. This Antiphon seems to offer a much more plausible source, and a better explanation, for the presence of this belief in disparate Countries.
In places where it was said, “Black Vespers” infused Halloween with the solemn spirit of All Souls’ Day—and reminded Catholics, looking toward Heaven, of their dear Departed still suffering in Purgatory. We can very much use this reminder, today, particularly as Catholic funerals have too often become deformed into pseudo-canonisations, with the Deceased rashly, and improperly, assumed to be enjoying Heaven, with no need of our Prayers.
First Vespers of All Saints.
Finally, we come to the actual appointed Vespers for 31 October: The First Vespers of All Saints’ Day. In the dimming light of Sunset, The Church officially begins its Celebration of that great Feast, having put aside the Penitential Violet Vestments and the Mournful Black Vestments, and Vesting in the exultant glory of White and Gold Vestments.
Re-echoing The Mass Lesson, its Antiphons boldly sweep up all history and all geography into The Heavenly Ranks: “I beheld, and, lo, a great multitude, which no man could number, of all Nations, and kindreds, and people, and tongues, stood before the Throne.”; “Thou, O, Lord God, hast redeemed us by Thy Blood, out of every kindred, and tongue, and people, and Nation, and hast made us a Kingdom unto our God.”
The Vespers of All Saints is presenting us with a cast of historical and other-Worldly characters of every type, arrayed before us in a great colourful pageant.
The Sequence, “Placare Christi”, addresses, in each Verse, The Angels, The Apostles, The Purpled Martyrs, The Choir of Virgins and Confessors. The Antiphon at The Magnificat barely names a class of Saints before it runs to the next class in sheer delight—“O ye Angels, ye Archangels….O ye Patriarchs and Prophets, ye Holy Teachers of The Law,—O ye Apostles,—O all ye Martyrs of Christ, ye holy Confessors, ye Virgins of The Lord, ye Hermits,—O all ye holy children of God”.
As Vespers came to a close, the Lay Catholic of bygone ages retired with all these great themes and concepts, fresh in his mind, preparing himself for the Festivities of the next day. He would have seen Priestly Vestments change through the day from Penitential Violet, to Sombre Black, to White or Gold.
And what, today, forms the Halloween colour palette ? Purple, Black, White and Orange—matching The Church’s Liturgy almost perfectly, save for the characteristic hue of The North American Autumn.
This is Halloween as Traditionally envisioned by The Church: A colourful pageant, where all the Nations, and even The Living, and The Dead, join together to give glory to God.
Regrettably, despite its long history and rich Tradition, The Eve of All Saints was one of The Vigils completely abolished in 1955. As a result, even Traditional Latin Mass Parishes, which generally use The 1962 Liturgical Books, do not offer The Liturgy that I have described above.
The First Vespers of All Saints still remains, of course, even in The 1970 Missal, but the abolition of The Vigil has turned the first part of The Day into simply another generic “Mass of The Season.”
The Triduum, and its subsequent Octave, are no more. Gone, too, are the Liturgical parallels between Halloween, All Saints, and All Souls, with their subtle variations and interwoven themes.
They are vestigially remembered though. Across the globe, the Liturgies of Hallowtide had long been imaginatively amplified by Folk Traditions and customs: “Souling” in The British Isles; “Pão-por-Deus”, in Portugal; “Dia de Muertos”, in Mexico; and “Pangangaluwa”, in The Philippines.
Praying for The Deceased of the family, and of neighbours, was a widespread phenomenon. In some areas, like Scotland and Ireland, children went “Guising”, or, “Masquerading”, after dark, carrying turnip lanterns, and singing, or reciting, Verses for “treats”.
But the original anchor for all of these customs was The Church’s Liturgy. Many of these customs were already seriously compromised after The Reformation—and, in England, Halloween customs had even been abolished by Law. But, when The Church, herself, pulled up the anchor, nothing could stop the various Folk Traditions in even Catholic Countries from drifting aimlessly.
What can we do ? Let us set a good example in our homes, first, restoring The Liturgical Halloween to our hearts and our hearths.
The Texts of this wonderful Vigil, from both The Mass and The Office, give us some excellent Devotions for the day. If you have a Pre-1955 Missal and Breviary, handy [Editor: Which I have, of course], the Prayers are readily available there for you to use.
Alternatively, you can access them On-Line using the Links, above. For convenience, I have also compiled them, and other Devotions, in a Small Booklet, soon to be available from Ancilla Press.
If, nothing else, we would do immense good by taking a few seconds that day, while we prepare for any Festivities, to Devoutly Pray The Collect of All Hallows Eve (Editor: As opposed to “Trick or Treating”).
“Oh, Lord, our God, multiply Thy Graces upon us, and grant that joy may follow in The Holy Praise of those whose glorious Festival we anticipate. Through Our Lord Jesus Christ, Thy Son, Who liveth and reigneth with Thee, in The unity of The Holy Ghost, one God, World Without End.
Amen.
Thursday 22 October 2020
Wednesday 21 October 2020
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.
Virgins.
Martyrs.
Feast Day 21 October.
Simple.
Red Vestments.
English: Saint Ursula, in a 15th-Century fresco,
in Saint Jacob Church, Urtijëi, Val Gardena, Italy.
Deutsch: 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.
Author: Wolfgang Moroder
(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 encyclopædia.
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 Mediæval 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 Mediæval 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.
Tuesday 20 October 2020
“Gabriel’s Oboe”. The Theme from “The Mission”. Composed by: Ennio Morricone. Conducted by: Ennio Morricone.
“Gabriel’s Oboe”.
The Theme from “The Mission”.
Composed by: Ennio Morricone.
Conducted by: Ennio Morricone.
Available on YouTube at
The Promotion Of The Blessed Sacrament Of The Altar. The Polish Association Of Christian Culture.
“Stop Communion In The Hand”.
Kto spożywa ten Chleb niegodnie, winny
będzie Ciała i Krwi Pańskiej | CialoChrystusa.com
Join our most heartfelt congratulations to
The Polish Association of Christian Culture
for their beautiful campaign in promotion of
The Blessed Sacrament of The Altar.
In Poland, A Road-Side Billboard Exclaims: “ Stop Communion In The Hand !!! ”
Illustration: THE LATIN MASS SOCIETY RC DIOCESE OF MIDDLESBROUGH
This picture was taken from RORATE CÆLI
Apparently photographed alongside a road in Poland.
Translated into English, it reads:
“Stop Communion In The Hand”.
Saint John Cantius Church, Chicago. “Restoring The Sacred”. The Feast Day Of Saint John Cantius Is, Today, 20 October.
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 encyclopædia,
unless otherwise stated.
The High Altar,
Saint John Cantius Church,
Chicago, United States of America.
Photo Credit: www.pinterest.com
Illustration: AMAZON
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 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
Author: Payton Chung from Chicago, USA
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.
Picture Credit: OFFERIMUS TIBI DOMINE
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, Tenebræ 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.
Picture Credit: NEW LITURGICAL MOVEMENT
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.
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.
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.
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.
Photo Credit: ST. MARY OF PERPETUAL HELP PARISH, CHICAGO
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.
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.
The following Text is from The Saint Andrew Daily Missal.
Saint John Cantius.
Confessor.
Feast Day 20 October.
Double.
White Vestments.
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.
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.
Confessor.
Feast Day 20 October.
Double.
White Vestments.
English: Saint John Cantius.
Polski: Saint Jan Kanty
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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