The Lady and the Lamp

spca -- CE White with horse (2)
Photo: Women’s Humane Society for the Prevention of Cruelty to Animals
De Sales Photos 010 (2)
SFDS Sanctuary Lamp

Some of our original Saint Francis de Sales building contributors have been forgotten because the items they donated are no longer part of our church. But their presence on the Donor Plaque by the 47th Street door should remind us of their part in our story.

Such is the case with Miss Laura Blackburne, who donated a massive hanging cross-shaped sanctuary lamp – supposed to be a “reproduction” of one at St. Mark’s Cathedral in Venice, Italy – that was a prominent feature of our Sanctuary until the 1950s.

gothic mansion
The Gothic Mansion, 12th and Chestnut

The lamp was given to honor Miss Blackburne’s mother, Ann Eliza Priestman Blackburne, who was buried at The Woodlands (Section L185), from Saint James, our “parent church,”  in 1909.All we know of the mother is from an archived letter describing her youthful education at the Young Ladies’ French and English Academy located  briefly in the Gothic Mansion on Chestnut St. above 12th (which later housed the St. John’s Orphan Asylum associated with Saint John the Evangelist Church). There, from 1831 to 1833, she learned regular academic subjects, as well as Astronomy, music, needlework, and art taught by the French Dames de la Retraite.

Daughter Laura lived with her mother at 3808 Walnut, inherited a small fortune from a relative, and engaged in a number of organizations. She was on the board of the American Catholic Historical Society, and worked on fundraisers for St. Vincent’s home – a boys’ orphanage at 70th and Woodland. In 1897, she co-sponsored a very successful Cake Sale fundraiser for the Women’s Suffrage (right to vote) Society.

As a board member for the Women’s Society for the Prevention of Cruelty to Animals (today’s Women’s Humane Society), Miss Blackburne seemed especially interested in horses – still the primary form of transportation. In 1909, she was on a committee planning construction of a clinic at 315 Chadwick Street, near Rittenhouse,  “equipped with the most up-to-date appliances  for the treatment of horses.” The dispensary would be “fitted up and conducted along the lines of dispensaries in London and Florence.” During World War I, she became a member of the Red Star, a sub-group of the WSPCA funding care for the sick and wounded among the “half a million horses and mules” used by the American army in Europe to transport “food, supplies, guns, and ammunition;” as well as for the many “war dogs” used to “search for wounded soldiers, carry messages, and keep vermin from the trenches.”

Today, the Women’s Humane Society continues its commitment to humane and compassionate treatment of animals, and it’s nice to discover our connections!

spca-cew
Photo: Women’s Humane Society for the Prevention of Cruelty to Animals
Advertisements

Stuccoed Stars

1954 wall (2)
St. Francis de Sales 1954

The side walls of Saint Francis de Sales church might seem restfully plain when the rest of the church is ornate, but it’s deceptive! Parish history is thickly layered beneath the surface.

When our church was built, the side walls showed the same bricks that you see today on the walls of the Sanctuary. Early pictures reveal mosaic medallions — a star in an eternal circle, and a Trinity triangle  — decorating each of the six arches. Eight-pointed Nativity stars adorned the middle arches; and the side arches appear to have featured six-pointed stars representing the six days of creation and the House of David — earthly lineage of Jesus.

In the 1920s, each triangle had a large round lightbulb at its centre, and a row of  lightbulbs lined each arch. That changed in 1940, when Bishop Lamb replaced the exuberant celebration of electricity with more elegant and “practical” metal sconces, fastened to cross-shaped brackets in the mosaic triangles, their shaded lamps dangling from metal chains.

The church decor was slightly altered in the 1950s by Bishop McShea, then heavily renovated for the Parish 1965 Diamond Anniversary under Monsignor Sefton. A story says that Monsignor Sefton came home from a trip to Europe, inspired by the cool blue lighting of Mediterranean churches, and wished to replicate the effect with blue walls. His chosen shade of tile was very fashionable in the 1960s and prevailing tastes were for streamlined modern decor. Diocesan-approved changes at that time included new pews; new flooring; and an electrical update to remove wall lamps (leaving wall holes?) and replace ceiling lamps with chandeliers. Unapproved tile walls quietly slid in, with two casual notations: “The price listed for the terrazzo floor also includes setting tile in six arches of the church” and “Belfi Brothers. This amount also includes setting tile in 6 arches of church.”

Skip forward to the 1990s, when the “blue bathroom tiles” began to fall off the walls, revealing the patchy tile-prepped surface underneath. Father Janton remarked that the bald patch looked like the African  continent drawn on an ancient map. When  it expanded to resemble Pangaea, it was time to do something. The mustard-coloured resurfacing was a simple, attractive solution (look above the sacristy doorway for the remaining blue tiles)

The walls of our church are layered with stories. Symbols changed their meaning over time. Technologies advanced. A richly ceremonial era gave way to the sleek modernism of the 1960s and early Vatican II. Hard times improved. And today we should find meaning in graceful continuity.

 

Imperfection

_MG_2634 (2)

Have you ever noticed that Saint Matthew’s name  is missing an H above the 47th Street door inside St. Francis de Sales Church?

It is ironic – or appropriate — that Saint Matthew should be victim of a typo, since he is the Gospel-writing Evangelist whose chronicle is thought to represent the “human” side of Christ; and spelling mistakes are pretty human! Matthew, whose Evangelist symbol is the “Winged Man” shown on one of the triangular pendentives that support the dome, begins his  Gospel with a litany of Jesus’ earthly family lineage through Joseph. His writing stresses the Jewish background and human nature of Jesus.

_MG_2568 (2)Matthew is both Evangelist and Apostle. As an Apostle, his symbol is the tax collector’s bag (shown near the parking lot door), since his profession before becoming a follower of Jesus, was that of publican, collecting taxes for the occupying Roman forces. Tax collectors in those times were allowed to collect as much extra money as they dared for themselves, once they had extracted the amount required by the government, so they were despised for greed and feared for extortion. And to the Jewish people, tax collectors were complicit with the Romans, which was considered particularly awful (though Jesus did remind his followers to “Give to Caesar what is Caesar’s” so he was not against funding the government!)

According to Matthew’s Gospel, Jesus was criticized for associating with undesirables. When Pharisees asked  Matthew “Why does your teacher eat with tax collectors and sinners?” Jesus replied “Those who are well have no need of a physicianI came not to call the righteous, but sinners.” (Mt 9:11-13). Jesus  came to minister to those in need,  not to praise the smug and judgmental.  And he supports and stands by those who follow him: the quote above our door reminds us that Jesus vowed “I am with you all days, even to the consummation (end!) of the world...”

In many cultures and times, it has been a tradition purposely to  insert an error in an artistic work to acknowledge that God alone is perfect. The spelling error in our otherwise magnificent interior is likely to be a genuine mistake, but it still reminds us that the church is a place for imperfect people to find hope in trying to connect with something greater than themselves. And we are all imperfect – no room for complacency – with every reason to be welcoming to all.

Philadelphia Orchestra at de Sales

Michael Murray and Philadelphia Orchestra at St. Francis de Sales, Feb 1980 (PAHRC)

Did you know we were digital sound pioneers? On February 1, 1980, Michael Murray and the Philadelphia Orchestra conducted by Eugene Ormandy recorded the Saint Saens Symphony No. 3 in C in our church – with recording company Telarc using then new Soundstream technology to capture the sound.

Michael Murray, the organist, recalls  that “a few months prior to the recording, the Telarc folks and I visited half a dozen churches in the Philadelphia area to try out organs, before settling on the St. Francis de Sales instrument.”

Fran Byers writes that the recording took a lot of preparation:  Bruce Schultz “had to ‘re-pitch’ the whole organ to conform with Maestro Eugene Ormandy’s pitch for the orchestra in order to make the sound ‘brighter.’ The organ was originally set to 435 pitch since 1911, which is flat compared with 440 (modern) and Ormandy wanted 442, to make the sound brighter. Every pipe had to be tuned or cut to make its pitch sharper. The organ is still at that pitch. All 6,000-plus pipes had to be physically cut after being taken out of position. It was quite a project. Also, the pitch of the organ is heavily dependent on the weather. The hotter the temperature, the sharper the organ’s sound. In winter, the pitch can go below 440, which makes it flatter than standard pitch.   It took about a week to prepare the organ, with round-the-clock work.”

Father Leo Oswald later recollected that “it was freezing cold, so space heaters were brought in… There was too much reverberation, so the area was draped…” Fran remembers “26 pews were taken out, 13 on each side of the middle aisle…The sound engineer and his equipment were in the lower church. They closed off the neighboring streets.  At one point, there was a siren outside, which had to be cut off.”

“Only a small handful of us were allowed in the church to observe and hear the recording, “ Fran recalls, “We sat in front of the St. Joseph altar. I recall Sister Carmella being there, as well as Dr. Harry Wilkinson and Father Oswald,” and Bruce was with the orchestra.

Years later, Michael Murray remembers that “several orchestra members mentioned really enjoying making music in those reverberant acoustics. The players were accustomed to the rather dry acoustics of the Academy of Music.”  Reviewers still note that the innovative recording exemplifies the best of Ormandy’s “Philadelphia Orchestra Sound.”

Early Parishioners

sfds irish letter
Undated letter shown in 1940 Parish Jubilee book

 

 

 

 

SFDS Parish legend suggests that a long-ago letter written to Archbishop Ryan by an Irish servant girl inspired the creation of our parish. The original of that undated letter has long since vanished, and the name Mary Bryan is common enough to be so far untraceable in available archives. A careful reading of early histories shows that the letter was always considered more of a heartwarming artifact than a mandate.

 

So who really were our original parishioners?

They are said to have been Irish immigrants, and this is largely true — including a few militant Irish nationalists. However, Philadelphia also had a large Germanic population before the First World War, reflected in parish names such as Dagit, Lippe, Schwoerer, Engel, Vetterlein, and Speckman. Most Blessed Sacrament was mostly Irish and Italian: their 1917 history book notes that the pastor could speak to Italians “in their native tongue.” Photographs show African Americans in both parishes from early days.

Many houses in our immediate neighbourhood were constructed for middle-class professionals. Early parishioners included our church architect; the Maitre’d at the Bellevue-Stratford Hotel; a renowned female poet; the owner of a fleet of oyster schooners; an electrician (Joe Ruane’s grandfather!); a railroad  foreman; a police chief; a movie theatre magnate; a liquor wholesaler; and several doctors, construction contractors, bankers, and realtors. We also had teachers, saloon keepers, and store owners.

Professions of younger parishioners, just starting out,  are a little more mystifying in the modern world: milliner (made hats);  milk salesman (delivered milk door-to-door); coal wholesaler (houses were heated by coal-fired burners); gas inspector (light fixtures were often dual-purpose gas-over-electric, since electricity was still new); telephone company auditor (landlines were new technology); stenographer (used special handwriting called shorthand to write down dictated information). And then there were the many local live-in servant girls.

What did all these folks do in their spare time?

In days before television, tablets, and smartphones, people socialized more. The parish was a community centre, at times offering religious clubs, bowling, roller skating, and radio and movie parties. Newspapers reported frequent “Euchre” card parties in the neighbourhood. Every institution seemed to have “Lawn Fetes” or other fundraisers during the year, and Catholics enthusiastically supported Catholic institutions from hospitals, to schools and nursing homes. The school offered youth organizations and activities. With fewer cars, people found entertainment nearby, and friendly rivalries among local churches helped to knit together a large, strong community – just as the dropped stitches of lost parishes and modern distractions have left holes today.

Little Chapel in the Big Woods

mbs burke
Reverend P.F. Burke, First Pastor of Most Blessed Sacrament

In June, 1901, eleven years after Saint Francis de Sales Parish was founded, Archbishop Ryan saw need for an additional parish further west. Reverend Patrick Burke, appointed its first pastor, imagined all the challenges ahead and suggested jokingly to the Archbishop that his new parish be named “The Agony in the Garden.” “Ah,” said his Grace, with a knowing smile, “Yes, Father Burke, you have a fine garden, but the agony is yet to come.”

Most Blessed Sacrament Parish was a “fine garden” back then. Its first Chapel, a temporary wooden building at 56th and Chester Ave., was dedicated in December 1901. A 1917 parish history provides a lyrical description of the landscape, when “the very ground now hallowed by the erection of our Chapel and School was part of a vast woodland…To the south and east the Schuylkill, teeming with its myriads of fish, wound through sylvan glades to meet the lordly Delaware, while on the western slope of this section…Cobb’s Creek (was a ) variegated ribbon in and out among the trees…But  “the busy march of progress” was turning forest into farmland and placing mills and factories along the waterways. When immigrant workers – many of them Catholic — needed housing, green fields further transformed into “long imposing thoroughfares lined with blocks of houses.”

mbs walsh
Rev. John Walsh, First Assistat at Most Blessed Sacrament

Conditions were primitive as the neighbourhood developed, and Father Burke suffered “many privations…. Gray’s Lane was at times almost a trough of yellow mud and he had to walk from 55th and Woodland Avenue to the Chapel. Some of the most public-spirited among the parishioners at their own expense had a part of the lane filled in and a cinder path laid. Once in a while, a good soul would provide a carriage to convey the delicate priest to Mass.” Father John Walsh came to assist in 1902, but Father Burke had already exhausted his frail health trying to build the parish and died in 1906, while the chapel/school and permanent church were still being planned.

The 1917 writer was already nostalgic: “Memory calls up the little wooden Chapel among the trees in all the glory of its rustic setting on a Sunday morning in Spring. Over the fields, up the lane and through the main thoroughfare, came these worshipers, eagerly and happily.  At the door smiling and buoyant stood Father John  welcoming the newcomers, learning the names of the children, and by his subtle charm winning souls and also gaining workers for the new church…”

Different times!

Seeing and Believing

DSCN4470 (2)

Saint Thomas the Apostle was labeled “The Doubter” because he needed to see proof of the resurrection in order to believe. But his focus on visual  confirmation might have been a natural result of his professional training, with some modern implications.

The Builder’s Square (near the 47th street door) is an especially appropriate symbol for Thomas, because square encompasses multiple meanings: it can be a geometric shape, or a tool used  to measure and lay out right angles. As a figure of speech, it relates to certainty, as in a sample sentence from Thesaurus.com: “do those announcements really square with the facts?”

Ironically, we have few dependable facts about Thomas, who is thought to have been a builder or architect for a King Gondophares in the region known today as Pakistan and Afghanistan (and who may have been Gaspar, of the Three Wise Men at the Epiphany).  Encyclopaedia Iranica reports an ancient tale that “The apostle was entrusted with funds for building a palace, but spent them on relief of the poor. When called to account, he declared he had built the king a palace in heaven…”  (this is a slightly different version from our 1940 Anniversary Book, which claims Thomas built the palace then donated his own construction profits to the poor). Tradition says Thomas went afterwards to India, where he is  “commemorated as a founder of the South Indian Christian community, and a church is named in his honor.”

We don’t know if Thomas ever actually built a palace for the glory of King Gondophares: his story is from an early manuscript in the Apocrypha not considered reliable enough to become part of the Bible. But its lesson – that a heavenly palace built of good deeds is superior to an ostentatious display of personal wealth – is very apostolic. The location of Thomas’ emblem next to the donor plaque in our church is also interesting: is it there because he is the Patron Saint of Architects and Builders or is it a  subtle reminder to early wealthy parishioners that they should also work on their spiritual palaces?

Thomas, emphasizing visual symbols, is an important saint for those who build and maintain religious structures. Large buildings commemorate what is valued in a society and modern landmarks tend to be commercial.  But each church in the landscape provides a needed visual reminder of God’s presence to all who pass by — a reason to keep ours in good order!

 

Acanthus

DSCN4297 (2)Looking at all the leaves carved on columns and tucked into the arches in our church, you might wonder “why the kale obsession?”

What you see is not, however, an historic tribute to a now-trendy vegetable. Instead, the leaves are acanthus – a frilly, thorny Mediterranean plant with a long architectural and symbolic history.

When did acanthus first appear in architecture? Some suggest that the form evolved from palm designs used in ancient Egypt in the time of the pyramids. A charming legend tells a different story of an ancient Greek sculptor who, fascinated by the sight of acanthus weeds growing through a basket on a gravesite, was inspired to recreate their shapes on Corinthian columns.

Whatever the origin, the leafy border was a common feature of ancient Greek and Roman architecture. From there, it traveled to the Eastern part of the Roman Empire to be used in Byzantine design from the 600s AD. At that point, the leaves became artistic forms, combined in complicated scrolls and garlands. These patterns were further adapted in Medieval Romanesque architecture, then became popular again in Late Victorian decoration. So the acanthus leaves in our 1911 Byzantine-Romanesque church have long design roots!

Symbolically, acanthus represents eternal life. Because of its thorny leaves, it also references the loss of Eden in Genesis: “Cursed is the ground because of you; through painful toil you will eat food from it all the days of your life. It will produce thorns and thistles for you, and you will eat the plants of the field…”

When our church was built in the early 1900s, the Garden of Eden reference was accidentally relevant: new houses in the neighbourhood were being built over surrounding country fields, while flowers and leaves were remembered for us in sculptured clay and stone. (Many of those new houses, incidentally, were decorated with stylish acanthus “gingerbread”!)

At that time, and up until Vatican II simplified the church calendar, the church was more connected with the natural world, decorating with seasonal flowers and celebrating Ember Days of fasting and prayer four times a year to mark the changing seasons. Their purpose, according to the Catholic Encyclopedia,  was to “ thank God for the gifts of nature, to teach men to make use of them in moderation, and to assist the needy.” In an increasingly technologized age, perhaps stopping to notice our acanthus “kale” can help us to reconnect!

Fireworks

baptiste2

Here’s a long-ago neighbourhood tale for the holiday weekend.

Did you know that our church had an important connection with the Bellevue-Stratford Hotel before our annual  De Sales Night event existed?

Jean Baptiste Revelli, from France, was an early “pew holder” (parishioner who rented a specific seat) in our parish. Known simply as “Baptiste,” he was also the Assistant Manager and Maitre d’Hotel at the Bellevue from its earliest days.

When the Bellevue Hotel became the Bellevue-Stratford in 1904, the Philadelphia Inquirer published a fulsome article, reassuring everyone that: “Baptiste Revelli will still be manager of all the large dinners and look after the menu. ‘Baptiste’ is a personal friend of every society man, woman, and child in the city…In addition to knowing the men and women of prominence here, Baptiste is a walking social register of New York, Boston, Baltimore, Washington, and other cities and he is familiar with most of the titled persons of Europe who visit America or have social connections here. He has the reputation of knowing more of what is needed to make a private dinner or public banquet pass off successfully than any man in America, and his ideas as regards table decorations have won him worldwide fame.

Baptiste was married in our parish in August, 1910 – around the time that he donated one of the tall stained glass windows to the ongoing church construction. His bride, Miss Catherine Hayes, was his second wife; his first wife had died thirteen years previously. They lived at 4609 Cedar Avenue.

Sadly, being a star did not protect against flying stars. On July 8, 1926, the Reading Times reported that “Jean Baptiste Revelli came to Philadelphia in the Centennial year of American Independence and met death at an event commemorating the Sesquicentennial Anniversary…when an aerial bomb (rocket) struck him in the chest at the close of a fireworks display in Clark Park.”

Aged 75, the “genial white-haired” Baptiste  had retired from the Bellevue just a year before. In his time, he had “waited on kings and presidents… from President Arthur to President Wilson, General Pershing, King Albert and Queen Elizabeth, of Belgium, Cardinal Mercier, Lloyd George and Clemenceau.” He was buried from our church.

A Woodlands Connection

woodlands

Two monuments at The Woodlands cemetery and two long-ago love stories offer family insights about the architect of our church.

In 1838, a rustic young Frenchwoman named Esther Poquet set sail for America as the shipboard servant of Mary Hamilton, daughter-in-law of Alexander Hamilton (of Broadway musical fame). Esther was not, perhaps, a model employee: upon reaching New York, she fell in love with a young French adventurer and cook named (Pierre) dandurand refectory4Alexandre Dandurand, left service, and the two were soon married. They moved to Baltimore, and, eventually, to Philadelphia. In the early 1840s, they opened a French restaurant at 165 Chestnut Street called Cafe Tortoni, described by one newspaper reporter as “The best eating-house in Philadelphia…much frequented by editors, authors and the better class of men about town”  and known for its excellent wine  cellar. When Alexandre died in 1849, his wife Esther continued the business as Madame E. Dandurand’s Restaurant Francaise.

What does any of this have to do with our church?

Another romance.

The Dandurands’ daughter Josephine fell in love with the family’s German tenant, Charles (Karl) Dagit, who lived above the  restaurant in the 1850s. Josephine’s very French mother did not approve of this French-German alliance, but the couple refused to be discouraged. They courted for several years, until they were finally allowed to marry in 1858. Their long marriage produced seven children – among them, future architect Henry Dandurand Dagit.

DSCN4409In the 1840s, when The Woodlands (former estate of William Hamilton, from a different Hamilton family) opened as a cemetery at 40th and Woodland Ave., it was promoted as “the most beautiful rural cemetery in the United States.” Henry Dagit’s grandmother Esther  must have been impressed, since she chose the location for her husband’s 1849 burial (Section G 332-334). When her daughter — Henry’s mother Josephine —  had to bury her three-year-old baby in 1882, she chose a spot at Woodlands not far from her own parents (Section I 555-557), and where she and her husband would both later be buried.

DSCN4406Perhaps visits to Woodlands through the years alerted Henry Dagit to the growing neighbourhoods on this side of the river, so that in 1904 he built a house at 4527 Pine Street for his own young family — and, a few years later, he embarked on the construction of our church. And perhaps his European family background gave Henry Dagit a particular affinity for the French and Swiss heritage of our patron saint – and inspired the many French and German artistic references in our church.