Fr Frantisek Marie Chloupek, CFR, who was ordained a priest on Saturday, celebrated his first Solemn Mass on Monday at St. Josaphat Church, Bayside, Queens. The Assistant Priest was Fr. Sean Connolly. The Deacon was Fr. Sebastian Maria Kajko, CFR. The Subdeacon was Fr. Elijah Marie Perri, CFR. The Master of Ceremonies was Mr. William Riccio. The organist and choir director was Mr. David Hughes.

A beautiful Solemn Mass was celebrated at St. Joseph’s Church in Danbury, CT today. Fr. Michael Clark was the celebrant; Fr. Peter Lenox served as deacon and Michael Falvo, for his first time, served as sub-deacon.

A beautiful shrine honoring Our Lady at the Oratory of Sts. Cyril and Methodius in Bridgeport, CT. The statue was crowned yesterday before the 10:15 Mass.

Fr. Richard Cipolla was the celebrant today of the Solemn Mass at St. Roch Church in Greenwich, CT. Fr. Carl McIntosh, the pastor of St Roch’s was the deacon and Mr. William Riccio was the subdeacon.

New York, Boston, Philadelphia and … Bardstown? Furthermore, what could be the connection between this not-very-well-known Kentucky town and Naples, Italy? And what are its remote links not just with one, but two Catholic chivalric orders?

Bardstown, KY today is a quaint town  – population 13,000 – with numerous buildings from the 1770’s onwards. It resembles Litchfield or Farmington, CT, Deerfield or Salem, MA – all localities once important in preindustrial America but subsequently bypassed by economic progress and therefore fortunately preserved. Bardstown, however, has unique Catholic significance. For it was to this region that Catholic settlers came to establish a new community west of the Alleghenies.  These first Catholics, moreover, were in large part descendants of the original English Catholic population of Maryland. 1)

It was perhaps in recognition of these connections with Maryland that Bardstown became  – along with three other cities even then much more prominent – one of the first four new dioceses of the United States, carved in 1808 out of the original diocese of Baltimore.  And this status was probably also thanks to the efforts of its indomitable first bishop, Mgr. Benedict Joseph Flaget of France. The diocesan territory was unimaginably vast. Yet already between 1816 and 1823 Bishop Flaget built a new cathedral. It seems that both Catholics and Protestants contributed to its construction. St. Joseph’s stands, essentially unchanged, to this very day. 

Now this cathedral was designed by an American architect (John Rogers) in a quintessentially American style, very much like contemporary Protestant churches and secular buildings. It features “Catholic” statues on its façade and “Protestant” inscriptions of the Ten Commandments on the exterior walls of the nave. 

The columned façade is most impressive. We note there a plaque dedicated by the “Order of the Alhambra,” a kind of Catholic Shriners (they sport a white fez). Inside, the white columned interior is severe but festive. We read that the columns were originally great trees from the immediate vicinity cut down for this church. Photographs show us that up to the 1950’s the sanctuary was a pretty neo-Gothic affair undoubtedly dating to Victorian times. What is present there now, unfortunately, is a typical post-Conciliar “renovation.”

Around New York City, starting circa 1939, proto-Conciliar Catholics waxed enthusiastic about using imitations of the “enlightened” style of the American “meetinghouse” for Catholic churches (like Corpus Christi or, later, the Elizabeth Seton shrine).  In Bardstown, before 1820, Catholics were already building their churches in a bright neoclassical idiom – but as part of the original architectural movement!

But here the resemblance with the 20th century “Americanist” architecture ceases. Because Bishop Flaget by no means wanted just an austere, unadorned interior but sought to embellish it in a Catholic manner despite the limited resources at his disposal. And the main element of decoration would be framed paintings. A Belgian priest, working for the diocese, acquired a number of artworks in Europe. But outside assistance would also be necessary – and many more items indeed came as gifts. For at that time the “American Catholic Church” was still dependant on the aid of Catholics – especially the reigning princes and their officials – of Europe and Latin America. 

The pope himself contributed a number of paintings. The exact role of the future king Louis Philippe of France in providing support to Bardstown cathedral is disputed. But there seems to be a record of a gift from him of vestments, furnishings for the sanctuary, sacramental vessels and paintings from around 1823. The then Duke of Orleans had become acquainted with bishop Flaget during the time both were exiles from revolutionary France. The wife of Louis Philippe was a princess of the Neapolitan Bourbons. And a major donation of paintings from Francis I, king of the two Sicilies, (reigned 1825-1830) is obvious – numerous gold frames around the church record a dedication from him. The Sacred Military Constantinian Order of Saint George – so visibly active in the Traditionalist cause around New York – should be overjoyed.  For the Bourbon kings of Sicily were the heads and patrons of that order. 

Much of this early donated art remains on display high on the walls of the cathedral. Regrettably, the paintings are indifferently lit and seem to be in need of restoration – so it is, in general, hard to form a judgment of their artistic merit. Subject to further research, for example,  I am not sure that the cathedral’s claim to possess works by “van Dyke, Rubens and van Eyck” is sustainable.  The attribution of one dramatic and powerful painting is, however, secure: a Martyrdom of St. Bartholomew by Mattia Preti (1613-1699) – one of the gifts of King Francis I. Preti continued the style of Caravaggio to the end of the 17th century. He joined the Order of St. John – the knights of Malta –  and worked for many years on the island of Malta itself. What a contrast between this dark, dramatic work and the surrounding neoclassical serenity of this church’s interior! This painting was restored carefully by the J. Paul Getty Museum in 2002 and is in fine condition.

Bardstown’s ecclesiastical glory was short-lived. In 1841 Bishop Flaget moved his cathedral to the upcoming city of Louisville, taking with him some of the paintings. And Louisville itself was even then being far surpassed by other more recently founded Catholic dioceses west of the Alleghenies: Cincinnati, St. Louis, Chicago and many more. St. Joseph’s of Bardstown become an ordinary parish church. It briefly came to national attention again in the 1950’s when some of the paintings were stolen and quickly recovered. Nowadays Bardstown is known, if at all, mainly to those touring the many local bourbon distilleries.  But the church of St. Joseph of Bardstown still stands as a remarkable, relatively intact monument to the earliest days of Catholicism in the United States and to the distinguished artistic taste of that far-off time. 

1. Also near Bardstown is the famous Trappist abbey of Gethsemani.

At St. Cecilia Church in Brooklyn, New York.

In the church of Saints Cyril and Methodius, Bridgeport, CT:

Yesterday evening, Solemn Mass for the Feast of the Purification of the Blessed Virgin at St. Mary’s Church, Norwalk, CT. Fr. Novajosky was celebrant.

For all fans of Sigrid Undset’s medieval novels, a beautiful photographic essay by Micah Mattix on the wooden churches of Norway – in The American Conservative.

Norway’s Stave Churches