Toward Something Greater
Permanence resounds throughout this book, as tangible and knowable as the answer which it seeks to capture: that beauty is what inspires, expressed in vivid color and careful detail, not to glorify itself, but to push man toward something greater.
One of the most enriching qualities of Catholic church architecture is the diversity of style and expression that architects and artists have employed throughout the centuries, while still maintaining a core, unifying design. It should surprise no one that the core of these designs is the Cross, whether Latin or, less common in Western church architecture, Greek. But rather than produce the same, monotonous design, as some have argued in the push towards Modernist church designs, McNamara and Morris show just how diverse and creative Catholic church architecture can be, even as these churches retain that core design. Thus, we see examples of the Polish baroque, with its vivid, expressive paintings and elaborate high altars, alive in churches such as St. John Cantius, St. Stanislaus Kostka, and St. Hyacinth Basilica. And right alongside the Polish baroque are examples of the French and German gothic, with soaring vertical walls and intricate stained-glass windows, such as that of St. James Chapel at Quigley Preparatory Seminary and St. Alphonsus.
Heavenly City illustrates and explains in laymen’s terms the independence (and inter-dependence) of each of these styles, carefully relating the history of the parishes to the surrounding ethnic communities. Thus, the book is not merely a guide to architecture or artistic style, but also a fresh insight into local social and cultural history. In addition to architecture and art students, the modern historian would be well advised to consult Heavenly City and glean from it a fresh perspective on the role that these parishes played in the development of the surrounding communities.
The Wrecking Ball
In addition, the book draws much needed attention to the plight of our old Catholic churches. The juxtaposition of the striking photographs of the church interiors to text that explains how, at one point, a given church was slated for demolition, is a sobering reminder of how volatile the Catholic artistic heritage in America remains. Even as, for example, the story of St. Mary of Angels ends in triumph after grass-roots movements and the arrival of Opus Dei priests saved the church from demolition in the late 1980s, the story of the historic and artistically rich churches that have not survived demolition remains untold.
This question takes on new urgency in the wake of the sex abuse scandal, as dioceses such as Boston continue to launch wholesale closures and sales of their churches to finance settlements of their lawsuits. The properties being sold are not the new Modernist churches constructed in the thriving, bland, suburbs, but the old, venerable, yet vulnerable churches in neighborhoods that once supported a strong Catholic presence but have waned over time. How will history judge our abandonment of these treasures? Heavenly City awakens every faithful Catholic to this question.
Looking for a Solution
Is there a solution? The book does hint at one: Parishes such as St. John Cantius, itself once slated for demolition, have reinvigorated themselves by re-awakening the rich culture of the Catholic faith. Thanks to visionary pastor and devoted parish community, St. John Cantius is a thriving parish once again, attracting Catholics throughout the Chicago area to its beautiful, traditional Masses and extensive offering of classes, prayer groups, and devotions. St. John Cantius is also a center for Catholic culture. It is a model that every diocese should study as a way to revitalize old parishes and further evangelization efforts.
Perhaps the only negative criticism of Heavenly City is that it only briefly touches upon the denuding renovations that some of these churches have endured in the wake of the Second Vatican Council, the most notable example being Holy Name Cathedral, but also evident in churches like Corpus Christi, St. Anselm, and St. Clement. Photographs of these interiors reveal the removal of pews and insertion of new altars outside the original sanctuaries. For the most part, the art in the sanctuaries, including the altarpieces, remains intact, but the presence of the new altars seems to render the original sanctuaries obsolete, stripping them of their function in the Mass. These churches, no doubt, were selected for Heavenly City for their artistic quality, but I was left to wonder how the author views these renovations and whether he feels they fit or disrupt the original artistic and theological intent, a question that is taking on ever-increasing importance now forty years after the Second Vatican Council.
In all, Heavenly City is an inspiring, educational, and heart-warming read, one that reconnects Chicago natives and foreigners alike to the architectural and artistic heritage of one of the nation’s most dynamic modern cities. Denis McNamara and James Morris convey the richness of this heritage, answering the question of “what inspires?” in the simplest, yet most powerful of words: beauty. The entire Church is profoundly enriched by their efforts.
© Copyright 2005 Catholic Exchange
Scott Noto received his B.A. in history from the University of Chicago and J.D. from Loyola University Chicago School of Law. He is a practicing lawyer who also writes on Catholicism and related issues. Mr. Noto resides in
Grand Rapids, Michigan. He can be reached at [email protected].
