Tag: Vatican II

Neon Halo

In 1969, an astronaut stepped onto the moon; the New Mass of Vatican II came into full effect; and Robert Venturi renovated the sanctuary of our church. Nothing has been quite the same since.

De Sales had already weathered a number of alterations: Monsignor Sefton, who was pastor from 1961 to 1967, and assistant for 12 years before that, had provided continuity through the remodeling of the Lower Church, the re-tiling of the domes, and the blue-tile-wall modernization of 1965 (the blue tiles were removed from the nave in the 1990s, but remnants can still be seen above the sacristy doorway). But then he moved on, and the radical New Liturgy of Vatican II was ushered in by new faces in the rectory, just as the parish population was shrinking and its demographics changed.

As with every Catholic church across the country, the sanctuary of de Sales had to be opened up and reconfigured to include a permanent free-standing altar for the New Mass. Father McNamee recommended a friend-of-a- friend, world-renowned architect Robert Venturi to do the work at our church, and months of  planning and discussion followed with pastor Monsignor Mitchell and priests and architects — but, as was typical in those days, without input from the congregation.

Parishioners attending the inaugural folk guitar Mass were startled to find their familiar, ornate, back-facing marble altar thrust into the shadows, “cancelled out” by a ghostly neon halo hovering in front of Jesus’ feet. The white cathode tubing highlighted an elevated platform. Upon this bright vinyl island stood a plain modern altar table made of milk-white plexiglas, as smoothly curved as “bent butter;” a sleek plexiglas lectern; and a presider’s chair upholstered in shiny white patent leather. The center section of altar rail was gone, opening up the space to symbolically welcome priest and people together around the table.

The boldly original design and concept were intended to highlight the spare, simple, modern ideas in the New Liturgy, while paying homage to the past.

The New Mass and the new design were equally controversial.

The Venturi renovation proved, in fact, to be the most divisive episode in the history of our parish! College students, some of whom studied under Venturi, were electrified by the bright new look and the energy it represented. Architectural publications praised the design. Longtime parishioners did not. This was one renovation too many. The neon lights were blamed for migraines and removed as soon as the school year ended. The other furnishings disappeared from the  sanctuary piece by piece over time.

Ironically, in retrospect, Venturi saved our church. Vatican directives said that two altars must not compete for attention. In the 1960s, ” old-fashioned” ornate back altars were often altered,  removed, or covered. Venturi believed our history was important, though, so he left the old fittings in place and used the band of neon light as a form of “electric demolition” or “an editor’s pencil” to cancel them out visually. The old altar remained intact in the shadows, giving substance to the new.

It’s still there today, long after his renovations were removed. And now that the New Mass is old news, and the current forward-facing altar from MBS church symbolizes a new reality for our parish, we’ve restored this interesting chapter to our history.

In 2015, the Parish invited the Society of Architectural Historians to bring Father McNamee (pastor emeritus at St. Malachy) and Venturi’s partner Denise Scott Brown to come back and talk about the long-ago renovations. Feelings still ran strong: longtime parishioners were passionate about the attempt to change the character of their church; while Denise Scott Brown, recalled every carefully considered detail of the design and the pain of losing it: “it was like watching your child die and not being able to do anything about it.”  But after almost half a century, those involved found common ground in the perspective of time and age, and a whole new group of parishioners, neighbors, and friends heard the story for the first time.

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Door Number Three

sfds statue now (2)

As you enter the church vestibule through the recently-re-opened main doors, look to your right, and you’ll see a former interior doorway (note the transom window above it) transformed into a golden shrine to St. Francis de Sales – and, incidentally, to the spirit of Vatican II!

The statue appears to be the one donated to the parish by Timothy J. Wholey in 1920. For its first  forty-five years, it stood proudly in the sanctuary at the front of the church, beside the St. Joseph altar, overseeing countless richly choreographed solemn high masses.

By 1965, Vatican II and changing tastes dictated that venerable ornate churches were “fussy” and “old-fashioned.” Our parish celebrated its 75th Diamond Jubilee Anniversary that year with a modern streamlined blue-tiled-wall redecoration of the main part of the church (four years before the Venturi neon lights!). Parishes were also urged to “clear the clutter” in the sanctuary, so freestanding statues including our patron saint were banished.

Meanwhile, as rituals simplified, architectural usage adjusted. The Baptistry, the small room at the back of the church where baptismal ceremonies were held (today’s Adoration Chapel), was designed with three doors: an entrance from outdoors; a door from the vestibule; and a door leading into the main church. In old tradition, the first part of a baptism, which involved an exorcism, was supposed to take place outside the church, or symbolically in the church vestibule, before formal admittance into the Baptistry. When the ceremony changed, the vestibule door became superfluous.

The doorway space did turn out to be a convenient place to relocate the statue of St. Francis de Sales. Its modern shrine would also brighten the parish entrance and make it more welcoming. The family of Eugene F. White, a longtime parishioner who had died in 1962  (his family ran the J.J. White Funeral Home at 4700 and later 4701 Springfield), funded the construction as a memorial. Its trendy gold colored tiles and white marble base were slipped in with the other work, and casually mentioned in a single sentence in the Monthly Bulletin related to the Jubilee renovations.

Now, fifty years later, with the main doors of the church and vestibule re-opened after the latest phase of our 125th Anniversary restoration, we can welcome our patron saint’s statue out of  construction dust into another new chapter of our parish history!