USA > New Jersey > Essex County > Newark > History of St. John's Church, Newark > Part 3
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CHAPTER IV Congratulations by Bishop O'Connor
The children of the Parish who had received their First Holy Communion at the eight o'clock Mass on Sunday, May 10th, were Confirmed on Monday even- ing, the 11th. After administering the Sacrament of Confirmation the Right Rev. Bishop, in a few but impressive words, extended "congratulations to the people of the Parish on the Golden Jubilee of the Consecration of the Church, and to the children that it is the occasion of their receiving the Sacrament of Confirmation ;" and he added: "Our Churches are not meeting houses. The Catholic idea of a Church is that it is the House of God, the dwelling place of Christ in the Blessed Sacrament. This is why we respect and reverence it and why the devout are willing to sacrifice their worldly means to decorate and beautify it. It is gratifying to see the transformation effected in old St. John's, through the zeal of Father Poels and the co-operation of his parishioners. Our duty in relation to our Churches is to love and to frequent them. The one leads to the other. The Catholic idea of a Church is a place open all day to the people going in and out to visit the Blessed Sacrament, to pray before the altar of Our Lady, to reverence the Patron Saints. We should not be content with the Sunday Mass. Love your Church
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1.9 Tasks Rector of st. John's.
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and try to familiarize yourselves with it and with every part and purpose of it-and especially with Him who dwells in the Tabernacle of the Altar-and . thus make some returns to God for His goodness in condescending to dwell in the midst of His people."
In Memoriam.
"Remember me, ye at least my friends, because the hand of the Lord has touched me."
The souls of the departed Clergy and lay members of the Harish mere remembered in a special manner on Monday morning, May 11th. Solemn Requiem Mass mas celebrated for the repose of the souls of those faithful heroes who had fought the good fight and perspurred unto the end. The relebrant mas Reu. James #. Hoels; with Reu. Louis Kusturs as Braron, Reu. Joseph Perotti as Sub-Braron, and Reu. Father Fidelis, O. S. B., Master of Ceremonies,
"It is a holy and a wholesome thought to pray for the dead that they may be loosed from their sins."
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CHAPTER V
The Art of St. John's
That the first substantial stone church erected by the Catholics in New Jersey should possess features of artistic construction comparable with the best tradition of Christian Architecture, is due to the fact that the early constructors were careful to plan walls of sufficient strength to conform with the later improvements, which were inaugurated by the Rev. Patrick Moran. The original Church was in the pointed style, but far less elaborate and chaste, than is the present beautiful facade. In architectural art, St. John's Church stands as a monument to its con- structor, who will ever be remembered with gratitude by all who study the beautiful lines and chaste simplicity of the structure and the stately symmetry of St. Patrick's Pro-Cathedral.
The material of the facade of St. John's is a brown stone of enduring quality and the style of archi- tecture is a pure type of the English Norman perpen- dicular, such as may be seen in the beautiful Cathedral of York in England. The facade is severely plain; ornate details are not attempted, and every line attests utility; each tower is surmounted by four graceful pinnacles; the profile of the mouldings of the piers and shafts is shaped with due regard to the eye of the spectator; the moulds of the weatherings, with their simple indication of use and
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entire absence of attempt at ornamentation, conform in every way to the chaste simplicity of the structure.
The walls are surmounted with a parapet in the Norman style, which is a somewhat unique feature to find introduced into American practice at the time this construction was planned. The soundest prin- ciples of utility in construction give rise at times to the most beautiful architectural form, and when we consider that this Church was the first substantial edifice erected by the Catholics in this State- implying by this statement the sacrifices made by the devout early worshippers to acquire their limited funds-it is a pleasure to find that St. John's still maintains its character, when even contrasted with those other and more splendid edifices which have been erected since its inception. The architect, Father Moran, knowing the limitations of modern art, did not attempt to rival the ancient structures of Europe. Familiar though he was with their won- drous detail, he still knew that only ages of faith and consecrated devotion to an ideal purpose could rear those wondrous temples which, with all our modern ingenuity, we could not only not construct, but owing to their time-defying buttresses we might have serious difficulty in destroying. That their lessons were not lost on the designer of St. John's Church and St. Patrick's Pro-Cathedral is shown in the simplicity of the one and the stately, impressive and spreading lines of the other. While St. John's facade is in the type of Norman perpendicular architecture, it possesses interiorally a type that is not Gothic but rather Classic, and the combination of these two types in a structure was due evidently to the limitations imposed upon the designer by conditions over which he had
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no control. The Gothic type of architecture, daring and impressive, depending upon lightness and height for its effects, would require more funds than the architect had at his disposal, while the Classic type, requiring massive construction, would not serve so well a Christian temple.
The architect happily united to an artistic tem- perament a most practical mind, and the combination of the two types formed a most pleasing interior which all who have seen St. John's Church will agree was the most proper arrangement. The rectangular interior is relieved by the 1 beautiful Gothic windows, and the delicate curve of the ceiling removes all aspect of squareness. Three recessed Gothic arches enclose the altars, joined to one another by delicately carved and pinnacled shafts. The three arches are fringed with trefoils and the recessed main arch is filled with admirably executed carving. The painting of the "Ascension of Our Blessed Lord" is framed by this delicate and rare work of art. The carving is exquisite; it stands in high relief and the details are most delicately rendered. Leaves, intertwined with grapes, stand out in golden lustre, and in front adoring cherub heads guard the picture silently. A cluster of marbleized columns complete the frame. The figure of our Ascending Lord is modeled from Raphael's great "Transfiguration," and the Apostles have that dramatic agitation so powerfully rendered by Titian in his "Assumption."
The Main Altar is unique in its details. It might seem at first sight to be chiselled from Carrara marble, but a close inspection reveals that it is con- structed throughout of rare wood. The design represents the idea of Father Moran in the facade of
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4333333333333333333 133
INTERIOR VIEW CUST.
10ST. JOHN'S CHURCH
HISTORY OF ST. JOHN'S CHURCH
the Church, as he would have had it, had the edifice ever been extended-the two Main Towers in Norman perpendicular, and the two side towers recalling the ancient Round Towers of Ireland-all recessed and interlaced most delicately and standing as a monu- ment to the mind that conceived the modeling and the hand that formed its lines. Beneath the Statues of the Blessed Virgin and St. Joseph are Altars of the same neat design, forming in all a conception of artistic merit that is not surpassed by any other Church in Newark. To design this construction would be well worth a life time of effort, but the little picture of Father Moran's hammer tells us that not only design but construction as well was the province of this energetic and gifted Pastor.
Above the doors leading to the Vestry there are two paintings on canvas-one the "Apparition of our Lord to Blessed Margaret Mary," and the other containing the "Story of the Rosary." It will occur to many that the "dog" with flaming torch in his mouth, has a unique relation to the subject of the Rosary picture; but in art the Order of St. Dominick for a special reason has been pictured as black and white "dogs," and the torch represents the light of faith which the Dominicans carried in their combat with heresy.
The decoration of the Church is ornate, although the coloring is so chaste and subdued that all striking effects are avoided; and the interior harmonizes in every detail. Although the rib work is imitation, the light and shade effects are handled masterly, and the whole stands out as though raised. The color scheme is French-creams and reds predominating with gold. The Frieze is an imitation of Thirteenth Century inlaid Mosaic. The centre pieces and corners are of
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HISTORY OF ST. JOHN'S CHURCH
plastic construction in bronze. The walls are a red- dish buff. Medallion paintings of Saints ornament the spaces between the window arches-to the right or Gospel side the women saints whom the Church has so highly honored for their character or sanctity, and to the left those great men who have interpreted the history of religion. The positions of honor are wisely assigned to the great Patron and Patroness of the Irish race. St. Bridget in her dress as Abbess, holding her staff as a sign of her office, indicates the high position which women have always held in the Catholic Church, for in the early history of the Church many of those saintly women possessed a temporal power, exceeded only by that power exercised by a Bishop. St. Patrick, in his green robes, with his Crozier, attests his position as head of the Church in Ireland. Following these in their respective order, comes St. Rose of Lima, crowned with flowers, and contemplating the image of the Crucified Saviour. She unites the gentleness of American girlhood to the power of the great St. Augustine who fills the space opposite, holding his inspired pen. St. Catharine of Alexandria, wearing her royal crown and bearing in her hands the palm and the sword, faces the great Latin Father, St. Ambrose; St. Agnes bearing her lamb, her hair falling beautifully over her shoulders, looks upward with a reverent expression; while oppo- site is the great St. Anthony of Padua. St. Teresa, in her nun's habit, stands with the gentle St. Francis of Assissium; and the medallions are completed by the two great exemplars of music-worship and prayer- St. Cecelia with her organ, and King David with his harp. The medallions are treated in the modern adaptations of the Old Masters; the colors are very rich and harmonious.
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The ceiling picture represents the "Vision of St. John the Beloved." The painting is in the style of Western art; and in the centre of the ceiling are four adoring Cherubs. By far the finest of the Sanctuary statuary is that of St. John who stands with the open Gospel and the Chalice from which a serpent is seen to issue. St. Isidore relates that at Rome an attempt was made to poison St. John by pouring the poison into the Chalice. The Saint made the sign of the cross over the poisoned wine and the serpent came forth. He drank of the Sacramental Cup and admin- istered it also to the communicants, without injurious effects either to himself or to them.
In its beautiful stained glass windows, St. John's Church is not excelled by any other Church in Newark. We have here splendid examples of what the ancient workers named "quarry work" -- a pattern worked in diamond-shaped panels. The windows are in gris- aille and color, and the figures and canopies are of most exquisite mediaeval form. A student of ancient art can study these windows to great advantage. On one of the South windows there is a glory of gold formed by cherub figures in the tracery lights, that is unique and brilliant in its execution. A series of small medallions, executed in white and brown, orna- ment the borders of the windows of Our Divine Saviour and His Blessed Mother. They are quite small, scarcely six inches in diameter; they are gemlike in the delicacy of their etching. They tell the history of the lives of the Blessed Virgin Mary the Mother of God, and of her Divine Son, and are interspersed with symbols of the Passion of Our Lord and the Chaplets of His Blessed Mother. Their history is unique in that the idea of their design centered in Father
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Moran. He made miniature patterns of all the win- dows; and the execution of his ideas is in the best traditions of early stained glass work. They are of French construction-presumably from Angers-and they form a very high class work of art. In themselves they merit a special description and deserve attentive study. The Saints who are portrayed in these win- dows are: On the right, St. Matthew, with a beauti- ful predella representing his angel; St. Mark, with his lion; St. Paul, bearing his sword; St. Rose, and lastly, St. Patrick; and on the left: St. John, who has the eagle as a predella; St. Luke, with the bull; St. Peter, bearing the Keys, and the Church forming a predella to his grand conception; St. Joseph, with his doves.
The coloring of the glass is rich, and surprising effects are produced in a changing sunlight. The can- opies are of splendid design and the borders diversi- fied so that no window presents any aspect of same- ness to another. When observed in the proper light, these windows exhibit the power of art, to re-picture the Mysteries of Religion and to glorify the ideals of consecrated character. The grand figures of Christ and his Virgin Mother, the devotion of the Apostles, the wisdom of the Evangelists, the purity and deter- mination of the Saints, come to us in the colored lights, which art has taken to teach the lesson of their constancy and which the Church through her Conse- crated Priesthood has ever fostered-recalling, as they have, the power of the artist to sanctify the soul of man.
Behind the Sanctuary of the Church there is a small Chapel, now used as a Vestry, in which are important relics. The Chapel has four windows of
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Stained Glass Window Dedicated to Our Blessed Lord and Savior
HISTORY OF ST. JOHN'S CHURCH
stained glass representing the four Evangelists. The windows are gifts of members of the Parish-that of St. Matthew having been donated by surviving relatives, "In memory of John C. and Julia A. Durning;" St. Mark's, the gift of the "Children of Mary, 1898;" St. Luke, the gift of John J. Mooney, "In memory of John J. and Margaret Mooney;" and St. John, the gift of "Dr. John B. Richmond."
The Altar of the Chapel deserves a particular mention; it was used as the Main Altar before the extensions to the Church were made. The Altar is of wood and most carefully constructed. At the Gospel side, front, stands a most endearing and sacred piece of workmanship which is the construction of the talented Father Moran. This is the Baptismal Font that has been used for more than seventy years. The Font is scarcely 31/2 feet high; it is of simple suggestive outlines. It possesses mechanical features in the arrangements for carrying away and still preserving the Holy Water that might be used in excess in the administration of the Sacrament of Baptism. Together with its tiny white pitcher, the Baptismal Font forms a precious relic which should never be permitted to pass to ruin. It was at this Font that many received the favor of a grace that in their later days shone forth in brilliant Priestly Character or in devout and sacrificing worship for the honor and glory of God. It was at this Font that Daniel G. Durning, the first native of Newark raised to the Priesthood, was baptized. It was here also that the late Most Rev. Michael Augustine Corrigan had the regenerating waters poured upon his head; and that thousands were received into the Christian Church. These facts alone will cause the
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little work of Father Moran's handicraft to be jealously guarded by all the faithful of St. John's.
A marble tablet in the interior of the Vestry relates a donation of two thousand dollars and solicits the prayers of the faithful for the donor; but no name appears. It has been disclosed, however, that this $2,000 was a loan in the first place from a Catholic gentleman of Philadelphia-a relative of Anslem J. Fromaget, who was one of the original congregation of St. John's Church. When this loan was tendered by Father Moran, he who had loaned it made it a donation.
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Stained Glass Window Dedicated to the Immaculate Blessed Virgin Mother
CHAPTER VI
Two New Dioceses Created
The Holy Pontiff of imperishable memory, Pius VII., created the Diocese of New York on April 8th, 1808. The See of Philadelphia was created at the same time. Both were detached from the Diocese of Baltimore, which His Holiness had just erected an Archdiocese. The State of New Jersey was divided into two parts, one of which was attached to the See of New York and the other to the See of Philadelphia. The dividing line was the Delaware River running from Easton, Pa., to Trenton, New Jersey, thence by a line to Egg Harbor. The whole of Eastern New Jersey formed part of New York See, and the rest of the State was made part of Philadelphia Diocese. Both Dioceses were created Suffragan Sees of the Archdiocese of Baltimore.
The first Bishop named for the New York See was the Rev. Richard Luke Concanen, an Irish Dominican, who had spent many years at Rome where he was regarded as a profound scholar and an able adminis- trator. The Bishop-elect was consecrated in the Eternal City by Cardinal di Pietro, April 24th, and expected to sail immediately for America, but he never took possession of his Cathedral-old St. Patrick's in Mott street, New York city. He was a British subject and was held under suspicion by France which was then at war with Great Britain.
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There appearing no hope of his early departure for his See, he empowered Archbishop Carroll, of Baltimore, to appoint an Administrator, and he nominated the distinguished Jesuit, Rev. Anthony Kohlmann, Rector of St. Peter's, New York city, who continued to direct the affairs of the Diocese until 1814. Bishop Concanen was stricken with fever on June 17th, 1810, at Naples, and died the following day.
It was during the Pontificate of Pius VII., it may be permitted to digress, that Napoleon I., the greatest conqueror of modern times, attained the acme of his glory. Arrayed in the panoply of his warlike fame, he considered that his expressed request should be respected. He desired the Sovereign Pontiff to declare war against Great Britain, a pronounced Protestant nation, and close the Papal ports against British commerce. The Holy Father nobly replied that "all Christians being his children he could have no enemies among them." We shall the better understand the value of this declaration when it is recalled to mind that at the time it was made almost the whole of Europe lay helpless at the conqueror's feet. The venerable Pontiff was not ignorant of the penalty he incurred by disobeying Napoleon; he suf- fered galling captivity. But the hour of retribution is at hand. The ancient arm of the Pontiff is put forth in his defence, and the real though unseen power that gave one of his predecessors victory of old over the proud barbarian who, arrayed in all the panoply of destructive war, already thundered at the gates of Rome, intervenes once more, and the proud and haughty Emperor, hitherto great and unconquered, who had laughed to scorn the moral weapons of the Pope, is crushed beneath the
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Pope Pius VII
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blow. "What means the Pope by his excommunica- tion," he asked; "does he think it will make the arms fall from the hands of my soldiers?" The Russian Winter made reply as it tore the dread implements of war from the firm grasp of his strongest warriors, and left them a prey to the enemy he had so deeply wronged.
The second Bishop of the Diocese of New York was Right Rev. John Connolly, another Irish Dominican, and Chief Prior of St. Clement's, Rome. He was chosen by Pius VII. in September, 1814, and was consecrated on November 6th, following; but nearly a year elapsed before he took possession of his See. He arrived at New York in the ship "Sally" from Dublin, November 24th, 1815, after a stormy voyage of sixty-eight days, and on the same day took possession of his Cathedral, which had been dedicated by the Right Rev. John Cheverus, Bishop of Boston, on Ascension Day, May 4th, 1815. At that time there were only four priests in the Diocese, embracing, as has been stated, the State of New York and Eastern New Jersey. Three were Fathers of the Society of Jesus : Kohlmann, Fenwick and Malou, and the fourth was a Dominican, the Rev. Thomas Carbry. Even in 1823, there were only four priests. Father Kohlmann, while Pastor of St. Peter's, baptized John McCloskey, afterward the Cardinal-Archbishop of New York; and later in Rome, until his death, he was Father McCloskey's spiritual director. Bishop Connolly, though in his sixty-seventh year had to perform all the duties of a Parish Priest. He was most zealous in hearing confessions and attending the sick. His Mitre was a crown of thorns, made the more so by the opposition of the Trustees who refused to support
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HISTORY OF ST. JOHN'S CHURCH
two churches-St. Peter's and the Catheural-with- drew the salary of the Clergy and at times threatened to withhold that of the Bishop. In those times the Trustees claimed the right to choose their own Pastors and insisted that the ecclesiastical authorities approve their selection. The Bishop died February 6th, 1825.
For nearly two years the See remained vacant, and during that time it was administered by the Very Rev. John Power, whom Right Rev. Dr. Connolly had appointed Vicar-General. He made his studies at Maynooth and was one of the first of the sons of that illustrious seat of learning to come to America. In 1819, he arrived in New York, having been invited by the Trustees of St. Peter's, of which he became Pastor in 1822. According to the history of St. Patrick's Cathedral, written by the present Archbishop of New York, Most Rev. John M. Farley, D. D., Father Power was a holy and learned priest and displayed unusual tact in dealing successfully with the Trustees, and "when the See became vacant by the death of Bishop Connolly, the Trustees of St. Peter's and St. Patrick's sent a petition to Rome, asking for the appointment of Father Power as their Bishop. The Propaganda, however, selected as the third Bishop of New York the Rev. John Dubois, who was consecrated by Arch- bishop Maréchal October 29th, 1826, in the Cathedral at Baltimore."
Mgr. Dubois was "obliged to fulfill at the same time the duties of a Bishop, Parish Priest and Catechist." He battled with the evils of "Trusteeism." His appointment by Pius VII. was not acceptable to a considerable number of the Catholics of New York city, who desired Very Rev. John Power, the Adminis- trator, for Bishop, and they made plain their dis-
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pleasure with the appointment of one who was a stranger to them. The Trustees refused to pay the salary of a Priest appointed Pastor of the Cathedral by the Bishop, instead of a Clergyman proposed by the Trustees. A committee called on Bishop Dubois and informed him that they could not "conscientiously vote the Bishop's salary, unless he gave them such a Clergyman as would be acceptable to them." The Bishop replied : "Well, gentlemen, you may vote the salary or not, just as it seems good to you-I do not need much-I can live in the basement or in the garret; but whether I come up from the basement or down from the garret, I will still be your Bishop." Bishop Dubois died on December 20th, 1842, and was succeeded by Bishop John Hughes, his Coadjutor, the first Bishop who was consecrated in St. Patrick's Cathedral. It was during the Right Rev. Bishop Dubois' administration that St. John's Parish, Newark, was founded. Bishop Hughes "took the bull by the horns," forever put a quietus upon the erroneous ideas at the foundation of "Trusteeism ;" and the system was interred, never to be resurrected.
Archbishop Hughes was sent to Europe by the United States Government in November, 1861, to exert his great influence abroad for the interests of this Nation which was then in the throes of Civil War. Shortly after his return, he delivered his famous sermon on the war, August 17th, 1862. As reported by the Freeman's Journal, he said : "If I had a voice in the councils of the Nation, I would say: Let volunteers continue and a draft be made. If three hundred thousand men be not sufficient, let three hundred thousand more be called upon, so that the army in its fullness of strength shall be always on
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