The Easter Vigil at St. Mary’s Church, Norwalk, CT, Part I. (Descriptions courtesy of John Pia)

Please continue to Part 2

The Mass of the Presanctified and the Veneration of the Holy Cross.

(Above) The asperges.

The Mass of the Palms: Blessing of the deacon prior to the reading the Gospel.

The Blessing of the Palms.

The start of the procession.

The cantors (above) and the schola of women (below).

(above) Cantors singing “Gloria Laus et Honor” (All Glory, Laud and Honor) before the entry of the procession into the church.

(Above) The Passion according to St. Matthew.

(Above and below) The singing of the conclusion of the Passion.

St. Patrick’s, in the old mill town of Norwich in Eastern Connecticut, was completed in 1879. It was “the finest parish church in New England” – at least until Immaculate Conception church in Waterbury was built in the 1920’s. 1) At the time both cities were part of the Hartford diocese. In 1953 St. Patrick’s became the cathedral of the new diocese of Norwich. The city of Norwich subsequently has shared in the drastic decline of manufacturing in Connecticut. And in June 2021 the diocese entered chapter 11 bankruptcy proceedings, overwhelmed by sexual abuse claims, many relating to the diocese-affiliated Mount Saint John Academy between 1990 and 2002. 2)

St Patrick’s offers to the visitor an austere stone exterior. The sucession of spires and gables on the facade is, however, fascinating. James Murphy of Providence, the architect, was responsible for many churches throughout New England. He had been the apprentice and then the partner of Patrick Keely, an even more prolific builder of Catholic churches – and married Keely’s sister-in-law! 3)

The interior produces an entirely contrasting impression: a riot of color! Warm tones of red/violet, green/blue and yellow dominate along with the wood of the pews. This appearance is due to a restoration, completed in 2013, which, based on an analysis of the original paint, recreated the Victorian-era color scheme. In addition, new murals were painted throughout the church. The contractor was John Canning & Co. 4) Their work is familar to those in Fairfield county, CT, who have visited the Basilica of St John, Stamford or St. Mary’s, Norwalk. Shawn Tribe has written a detailed description of the restoration.5) As can be seen in a photograph included in Tribe’s article, St Patrick’s, like so many other Victorian churches, had previously suffered from unimaginative, monochromatic painting.

After the magnificent nave, the sanctuary or chancel is somewhat of a disappointment. Judging from photographs, prior renovations from the 1950’s onward have here been especially invasive. The restorers tried to reemphasize the sanctuary by creating an odd, pseudo-stained glass painting on the flat back wall. Althought by no means as extreme, St. Patrick’s resembles in this regard the church of St. Francis Xavier in New York City: a splendid restoration of the nave and transepts leads to a sanctuary – after all, the focal point of a Catholic church – which reflects, partially or totally, other aesthetic and liturgical principles.

(Above) The Cathedral before restoration. (Below) St. Patrick’s church (before it acquired cathedral status) in an earlier photograph. Both from The Liturgical Arts Journal. 6)

A number of magnificent stained glass windows adorn St. Patrick’s, likely contemporary with the church’s construction. Their style closely resembles that of the early windows in St. Patrick’s, New York City. In both cases, a powerful, splendid effect is achieved, even if the craftsmen cannot be said to have exactly recaptured the true spirit of medieval glass. That would take many more decades of artistic effort!

I am glad for such such a splended restoration, which reinforces the status of this church as the true center of its diocese. It demonstrates what careful attention to the interaction of the architecture and the original decorative scheme can achieve. I only regret that, in New York City, churches of even greater artistic, historical and architectural significance – such as St. Thomas, All Saints or St. Stephen’s – are closed, sold off and desecrated.

1. Millionaires’ Triangle
2. “Diocese of Norwich expects to have proposed bankruptcy plan by April 1,” TheDay 12/15/2021
3. James Murphy(architect), Wikipedia
4. John Canning & Co – the Cathedral of St. Patrick.
5. Tribe, Shawn, “Before and After: St. Patrick’s Cathedral, Norwich CT,” The Liturgical Arts Journal, 9/2/2020.
6. Ibid.

This morning Father John Ringley celebrated a Rorate Mass, the Advent Votic Mass of Our Lady, at St. Mary’s Church, Norwalk. Mr. John Pia served as Masters of Ceromony and Charles Weaver led the choir in chant.

A nationality that once was extraordinarily prominent in the United States but has largely disappeared from view are the Germans. We recently had the opportunity to visit Cincinnati, one of the centers of German and specifically German Catholic immigration in the 19th century. These Catholics left their mark in a series of impressive churches. Two of these, Sacred Heart and Old St. Mary’s, are served by the Oratory of St. Philip Neri. We’ve recently read of drastic parish reductions to be imposed in the Cincinnati Archdiocese – we will say more about this later. Unless I am misreading the map of the proposed changes, however, these two churches will remain unaffected.

We attended Traditional Sung Mass at Sacred Heart Church. The church was completely full and the music was impressive.

Sacred Heart is well preserved – but the above photo shows the decoration was once much more elaborate. The parish has an ongoing project to restore the interior decoration. See CHURCH HISTORY for photos.

Old St. Mary’s church, ot the Marienkirche, is the oldest house of worship still standing in Cincinnati. It was founded by the German immigrants in 1841 – the cornerstone was laid on March 25, 1841 (the Feast of the Annunciation) and it was consecrated in 1842. It also is in the care of the Oratorian Fathers. The Traditional Mass is also offered here.

Across the river, Covington, Kentucky was also a center of German Catholicism. Their main legacy is the Mother of God parish church (Mutter Gottes Kirche) whose twin towers preside over an old neighborhood called the Mutter Gottes historic district. The interior is magnificently decorated – unfortunately the church was closed at the time of our visit.

A final monument to German Catholicism is Covington Cathedral( St. Mary’s Cathedral Basilica of the Assumption). This church, as we see it today, was finished by 1915. Now the bishop who built it, Paul Maes, was a native of Belgium, and the exterior (below) is a strange copy of Notre Dame of Paris. But the interior is dominated by one of the most complete sets of stained glass by Mayer studios of Munich to be found in the United States. Perhaps only Sacred Heart Cathedral in Newark has more such windows – but, installed after 1945, these are in a style which, if still beautiful, is no longer the classic Mayer pattern.

The Covington cathedral windows are impressive not just for their number but also for their size, culminating in three unusual depictions of the council of Ephesus and two Papal decrees. The window of the Council of Ephesus and of the Coronation of the Virgin is reputedly the largest handmade stained glass window in the United States.

His Excellency Bishop Athanasium Schneider, the  auxiliary bishop of Astana, Kazakhstan, celebrated a Pontifical Mass from the Faldstool on Sunday at St. Joseph Church, Lancaster, Pa. The Faithful filled the church and vestibule.

The Mass setting was Mass of Our Lady of Perpetual Help by Leopold J. Syre (1887-1968)