Our Church Building

In this Centennial Year it seems appropriate to explore some of the designs of our church by way of the original architect’s notes. We hope Oresto DeSaia’s writing helps you gain

some new insight into our beautiful church building.

FORMThe basically square plan of the church is the result of a desire to take efficient advantage of the character and shape of the available site, which is itself nearly square in form. After several schemes of land utilization were tried, the present plan was developed with the approval of the pastor and the community intended to provide, as in all churches, a space for the assembly of the faithful before the altar but in such a way that the congregation be encouraged to a more active participation in the liturgy.

The square pattern of the plan accomplishes this by affording the congregation more intimate positioning around the altar. The setting of the plan on a diagonal axis serves also to focus the attention strongly on the sanctuary and altar.

EXTERIOR and ARCHITECTURAL CHARACTERThe ground plan of the main building measures 95 feet by 128 feet. Entrances and walks are designed so that ingress and egress locations to and from the nave are from all sides.

The exterior architectural character of the church may be broadly classified as classic modern, although it is not intended to conform to any traditional style, or to any modern vogue. Rather, the intention is simply to reflect a clear, contemporary expression of the interior form, with a proper religious feeling, and with appropriate materials of proven timeless quality.

MAIN FAÇADEThe large carved bas-relief figures dominating the front elevation represent important Dominican figures, all canonized saints of the Church. Next to these and flanking the main entrance are the coats of arms of His Excellency Bishop McVinney and of the Dominican Province of Saint Joseph.

On the main doors are three cast designs, symbolizing the Church, the Trinity, and the Virgin Mary. [Note: These three designs are on each of the front doors.]

BAPTISTERYThe baptistery is located directly beside the main entrance vestibule, symbolic of its sacramental role as our means of acceptance into the Church. Its liturgical importance is made apparent from the main body of the church as well as from the vestibule by having the interior visible through open bronze grillwork and bronze gates.

The sacrament of Baptism may also be seen as the gateway to a full sacramental life and, in this light, the sacraments of the Eucharist and Confirmation are symbolically depicted in the design of the gates.

Over the gates, in bronze letters interwoven, are the essential words of the Baptismal rite, “I baptize thee . . .”

NAVE or MAIN CHURCHOne enters the main body of the church and it is quickly evident that every effort has been made to focus attention to the main altar.

The side walls are built at an angle, emphasizing the desired focus and thereby providing, on both sides of the nave, space for many secondary functional areas of the church. Sacristies, work rooms, confessionals, storage areas and stairs are all arranged in this space.

Secondly, the rear wall of the nave, and the pews themselves, are curved so that all rear seats are equidistant from the main altar. It is noteworthy that although the nave seats nearly one thousand persons, no seat is more than fifty-five feet from the sanctuary rail.

Further, the roof supports have been designed so that no columns occur within the seating area.

The main ceiling is thirty feet high and is decorated with a repeated pattern of geometric designs, painted in blue, red and gold, with accents of gold leaf.

The frieze, above the Stations and along rear and sides of the nave, contains incised carvings of familiar symbols of the Apostles.

THE CONFESSIONALSThe confessionals are of solid oak and have featured carvings of symbols of Penance. The crossed keys represent the power of the Church to bar the impenitent sinner from the Kingdom of Heaven and to admit him when he repents. The scourge recalls the requirement to do penance for all sins. Above each priest’s compartment, carved in marble, is the dove of the Holy Ghost, through Whom the power to forgive sins is conferred.

THE SIDE ALTARSThe side altar at the Epistle side (to the left facing the altar) is dedicated to the Blessed Virgin Mary and has a wall mounted marble figure of her, and a mosaic lettered monogram of Mary on the altar front. The Gospel side altar (to the right, facing the altar) is dedicated to Saint Joseph and is similar in design and treatment to the opposite one.

STATIONS OF THE CROSSThe story of Mount Calvary is depicted in a continuous panorama fashion along the entire upper half of the aisle walls and constitute a major decorative feature of the nave. The familiar figures of the Way of the Cross are approximately two-thirds of life size and are of genuine Italian mosaic. The sky has been painted in oils.

The Stations of the Cross begin nearest the altar to the left and continue around the side aisles of the church to close to the altar at the right. In these photos, the panels can be read from right to left, first above and then below.

These close ups of the ninth and fourteenth stations

show the detail of the mosaic against the painted sky.

SANCTUARYThe sanctuary is, of course, the most prominent area of the church. The finest materials, and a generous use of color serve to emphasize its primary importance.

The floor, communion steps, and raised predella are entirely of marble with a pattern of Rose Perlato Sicilia marbles.

The curved communion rail is of marble and bronze, with many familiar symbols of the Eucharist incorporated in the grillwork and gates.

The arch framing the sanctuary front is decorated with a flowing geometric design in oil paints on canvas.

Prominently carved in the upper wall panels are the seals of the Dominican Province of St. Joseph.

The clergy stalls and their canopies are of solid oak with hand-carved features illustrating the major doctrines of the Church in symbolism. Also of oak are the matching incidental sanctuary furnishings such as credence table, sedilia, and altar boys’ seats.

The baldachino, suspended from the lantern or skylight over the altar, is bronze with built-in lighting features. Its function is to enhance the scale of the altar and to emphasize its importance. Brackets and wall columns add to the supporting features of this unit.

The reredos, or backdrop of the altar, is of white Carrara marble, is eleven feet high and has a pierced overall grillwork design and two solid panels decorated with a gold mosaic grapevine design, symbolic of the wine of sacrifice.

The crucifix between reredos and altar is fifteen feet in overall height and has a life size figure of the crucified Christ, hand carved of rosewood.

The massive eleven foot main altar is clearly the main feature of the sanctuary with carved front designs and center Chi Rho symbol of Christ, in gold mosaic. The altar is of Botticino marble and is the father of the side altars, matching their design.

Enclosed in an oval marble exterior is a tabernacle of more than usual capacity and having the special feature of a rear door, in addition to the front door, for the convenience of other priests who frequently assist the celebrant in the serving of Communion.

The rich beige-colored fabric, hanging in the niche behind the altar group, is a special design Brocatelle, woven in England.

The Lectern is a portable type unit which can be freely moved about the sanctuary. The Province seal adorns its front and a book design symbolizing the Word features the curved corner facing.

The sanctuary ceiling is oil painted with panels containing four traditional symbolic designs, each depicting Christ in a different aspect. The chalice and the cross are familiar symbols generally understood. The pelican sacrificing herself for her young reminds us that Christ has redeemed us with His own suffering. The Lamb of God lying on the Book of the Seven Seals is an ancient symbol based on scriptural reference. Gold leafed ornamentation again highlights the domed design of the ceiling.

ROSARY WINDOWThe large stained glass bow window in the nave depicts the complete narrative of the rosary. All of the fifteen mysteries are illustrated and logically grouped. Bands of color connect them and lead the eye correctly through the complete story. It can be seen that the coloring of the stained glass changes gradually in brilliance, culminating in a rich bright gold at the top center panel, which depicts the Resurrection.

Tradition tells us that the devotion of the rosary was developed and promulgated by Saint Dominic, and it has been since his time, a special devotion of the Dominican Order. The scene of Mary handing the rosary to Saint Dominic is included in this window at low center.

CLERESTORY WINDOWSAt the center of the clerestory band of windows is the coat of arms of our present [at the time the church was built] Holy Father, Pope John XXIII. The flowing color pattern throughout these windows are otherwise non-objective but are executed to harmonize in color and general character with the Rosary Window – but not to attract from its general importance.

STATUESIn niches provided for them, statues in Carrara white marble are set of: Saint Anthony, Saint Dominic, the Sacred Heart, and St. Thomas Aquinas.

BASEMENTA parish hall with capacity of one thousand is provided in the full basement under the church with accessory men’s and women’s rooms, kitchen area, projection booth and convertible stage or sanctuary for supplementary Masses.

MECHANICALThe building is heated or cooled through the same system; cooling can be switched from upper to lower areas. Emergency generating of electricity for critical lighting areas is provided to permit ease of egress in emergencies.

For this last section we will use a copy of the actual architects notes.

On the following pages you will find two architectural plans for the design of our church building. It seems providential that Plan A was the one chosen. It is fascinating to see how our curved church is indeed in a rectangular building. Few changes were made to this initial plan.

Plan A - Th e plan that was chosen

Plan B - Th e alternate plan