SAINT BENEDICT CHURCH

"A Catholic church building should present an exterior, simple, strong, reserved, dignified, and bearing upon its front, some symbol of its sacredness as a temple of the Almighty. The interior should possess a religious atmosphere, breathing the Spirit of God: quiet, recollected, prayerful, somber, sanctified, filled with peace and benediction in the presence of the Lord in his holy tabernacle. It should be reverently awe inspiring, another place of Calvary where Jesus is lifted up before the eyes of the multitude, and, again and again, made a Victim of Sacrifice for the sins of the world."

With these words the Reverend Dom Michael McInerney, O.S.B., a monk of Belmont Abbey, North Carolina, endeavored to explain his rationale and inspiration for the design of Saint Benedict Church in Baltimore, Maryland. Eventually, several factors, including the building site, style of existing structures, the limited resources of the congregation and the wishes of the pastor contributed to Father McInerney’s decision to design a building in the Romanesque Basilica style faced with brick.

Just what precisely is a Romanesque Basilica? The early Christians of Rome assembled secretly for the Sacred Mysteries in their burial places, the now famous long underground tunnels call Catacombs. As the status of Christianity progressed the early Christians celebrated privately in the more spacious homes of well-to-do converts. In the beginning of the fourth century, with the conversion of the Emperor Constantine, Christians were granted great freedom to practice their religion throughout the known world. Constantine’s successor, Theodosius, proclaimed Christianity the state religion of the Roman Empire. The basilica, or Roman hall of Justice, was then adopted for Church purposes.

These buildings were long expansive halls with a curved semi-circular wall at one end called an apse. Here was placed a chair for the praetor, or magistrate. This served well as a bishop’s throne and the attendant clergy made use of the chairs for the assessors by arranging them along the apse thus forming a chancel. In front of this stood the pagan altar used for pouring libations to the gods. This altar was now converted to Christian purposes. The hall was a quadrangular court, having a length twice its width, with an arcade aisle on either side forming a walkway known as an ambulatory. The walls extended up from the arcade of pillars forming what is known as a clerestory which could be pierced with many windows to admit natural light. In this majestic space the Christians assembled for the divine liturgy. The Catechumens, or new converts to the faith not yet fully initiated, were permitted to occupy only the forecourt called the atrium, which could be closed off during the solemn consecration of the Mass.

This adaptation of the Roman Basilica was the first Christian Church. In different places at different times improvements were made. A canopy, or baldichino was placed over the altar; a narthex (porch) was added; the Baptistery was made a prominent feature and in some cases, even a separate building; transepts, or wings, were added giving the overall floor plan a cruciform shape, and the Campanile, or bell tower, became a predominating part of the structure.

In the meantime, as the Church became more powerful the interiors of churches became more spacious and ornate. By the end of the tenth century the Basilicas of Italy and neighboring countries had become great structures exhibiting marvelous displays of precious stones, paintings, intricate mosaics, carvings, rich marbles in beautiful combinations of colors and symbolic forms, all of which easily distinguished them as temples of the Almighty. The Roman Basilica, a name that literally means "hall of kings" had become the hall of the King of Kings.

Saint Benedict Church on Wilkens Avenue was designed in the spirit of these early Roman Churches which, with added development is now called Romanesque. It is constructed of brick, stone and concrete, with a timbered roof such as was used in the majority of the ancient structures. The brick masonry of Saint Benedict Church distinguishes it from a multitude of stone churches and yet it loses nothing of its strength and mass by comparison. The smooth unbroken mass, obtained by the use of brick and mortar of the same shade of color, gives it a strength as of cast bronze.

The long unbroken roof surface, covered with burnt clay tile, and terminating with plain solid bronze crosses (the crosses were re-finished in 1988) carries out the spirit of the early churches and continues, as it does through the whole structure, the feeling of solidity and permanence without ostentation.

There is really only one ornament on the exterior of this church. Located on the front of the church and surrounded by the rose window, the Holy Rood, or Calvary group, depict the Savior in a forceful and compelling way. This "street preacher" calls all to salvation and is especially eloquent to those who do not know of the Lord or His passion and death, who do not attend church, and who have not read the Scriptures. His arms are outstretched to the full circumference of the Rose Window. The twelve sections of this window represent the twelve apostles. Above the doors to the church are figures of Saint John the Evangelist and Our Lady. Saint John is depicted atop a pedestal which shows a dove with an olive branch symbolizing purity of soul. Our Lady is depicted standing atop a basket with loaves of bread and a fish. This most ancient symbol signifies a belief in the Divinity of Christ and his true presence in the Blessed Sacrament. Between the doors in semi-relief is a carving of the patron of this church, Saint Benedict, the patriarch of Western Monasticism. Inscribed on the door lintel is the ancient motto of the Order of Saint Benedict, "That God May Be Glorified." On the facade of the church, outside the niche which contains the Holy Rood, are three plaques with the symbols of the three other Evangelist, Mathew, Mark, and Luke, which are a human figure, a lion and an ox respectively. The symbol for John, an eagle, is not shown, since Saint John is depicted in the Holy Rood.

As you enter the church at the East door on Wilkens Avenue you come into the Narthex (1). To the left you see the parish gift shop (2). In the niches flanking the main doors are statues of the Agony in the Garden (3) and the Grotto at Lourdes, France, where the Blessed Virgin appeared to Saint Bernadette Soubirous and declared "I am the Immaculate Conception"(4). In a corner near the Northeast door is a statue of Saint Therese of Lixieux, known as the "Little Flower" (5).

As you enter the church proper, you come first to a statue of Saint Anthony of Padua (6). This Franciscan saint is much beloved by Italian-Americans and is invoked as the patron saint of lost articles. Many children are taught the rhyme, "Saint Anthony, Saint Anthony come around, something is lost and must be found."

Proceeding up the side aisle we come next to the Byzantine Chapel (7). This small chapel was installed in what was originally the Baptistery in 1984 by the Right Reverend Paschal A. Morlino, O.S.B., the eleventh Pastor of Saint Benedict. Father Paschal possesses faculties to celebrate in both the Latin and Byzantine Rites of the Catholic Church. The inconastasis, or icon screen is mounted on the old wrought-iron gates of the baptistery. The holy table of the chapel is made from the old baptismal font itself. The blue ceiling with gold stars was executed in 1986 at the same time the entire church interior was re-painted. Byzantine Rite liturgies are occasionally celebrated here while all the parish baptisms now take place in a font placed near the entrance to the sanctuary in order to facilitate the participation of a greater number of parishioners.

Continuing up the side aisle we come to one of two confessional booths (8) which flank the sides of the church. The twin booth is located directly opposite this one across the body of the church. The Sacrament of Penance, or Reconciliation is celebrated here in booths modified so that the penitent can choose to remain anonymous or confess face-to-face with the priest as they prefer. In the side aisles we also find the fourteen stations of the cross (9), with seven stations located in each aisle. These are set into the wall painted in primary colors, the backgrounds are covered with pure gold leaf. They depict scenes from the last hours and final agony of Christ. Customarily, the faithful make the stations by walking the route and retracing the steps of Christ, as it were, in devotional form.

The main body of the church (10), or nave, covers an area of 60’ x 155’. This part of the building seats some 800 people in the pews with room for an additional 300 people if chairs are set up in the available space. The overall plan of the church forms a Latin Cross (one where the lower arm is longer than the other three) having the Lady Chapel located in the left transept (23) and the Chapel of Saint Joseph located at the base of the bell tower (13).

The church has five exits, three from the front vestibule and one at each end of the aisle in front of the communion railing. All the aisles, center, side, front, and back are six feet wide.

The choir gallery (located above the vestibule and just below the great Rose Window) accommodates fifty singers. Adjacent to the gallery is a blower room and a book room. The large pipe organ in the gallery was completely renovated in 1990 and can also be played from a console located next to the Lady Chapel (26). Very near the ceiling in the nave are the clerestory windows which pierce the walls above each arch in the arcade below. They are fitted with lightly tinted glass forming a pattern design. They do not contain pictures rendered in stained glass as their function is to admit as much natural light as possible. Just above the arches and below these clerestory windows can be seen a row of heraldic shields that add a touch of color to the subdued colors of the interior. They are decorated with various Christian symbols representing Christ, the Trinity, the Blessed Mother, the Eucharist, and the Order of Saint Benedict.

The interior atmosphere can be called monastic or plainly religious. Therefore, the arcade colonnade which bears the clerestory walls and acts as a partition of the side aisles from the nave is handsome and dignified. The columns themselves (12) are of polished pink granite. The capitals are also carved of the same hard granite. Distinctive in shape; no two adjoining capitals bear the same symbols. Deeply undercut and strong of character, the carving on each may be read from a distance.

SEA SHELLS symbolize Baptism and the forgiveness of sin.

PALM BRANCHES AND CROWN symbolize victory, "Only those who persevere in the struggle shall receive the palm of victory and the crown of eternal life."

IVY LEAVES AND CROSS symbolize the soul clinging to the cross of the Master on the way to salvation.

OAK LEAVES WITH ACORNS symbolize the strength required in the battle of life and the extensive growth of the Church.

OLIVE BRANCH symbolizes peace and healing.

THE PASSION FLOWER, a symbol of sorrow; it is of somber color and on its face it bears representations of the crown of thorns, the five wounds, and the three nails.

THE WILD ROSE symbolizes the humble soul passing unnoticed through the world.

GRAPEVINES AND WHEAT symbolize the Holy Eucharist.

THE ROSE OF SHARON, a type of holly tree that grows in Palestine. It bears flowers and has been used so frequently in the decoration of sacred shrines that is has been call the Holy Tree. The Old Testament speaks of it as the "Rose tree in Sharon." It is also native to this country and several trees flourish nearby the church.

LAUREL LEAVES AND HARP represents the adornment of David’s head and the instrument accompanying him as he sings the Palms.

On the right hand side of the church, just before reaching the sanctuary, we come to the Chapel of Saint Joseph (13). This chapel forms the base of the bell tower which contains a peal of three bells. The bells are christened "Peter, Scholastica," and "Benedict" from smallest to largest respectively. Also located in this chapel is a statue of a young Saint Benedict (14). This statue shows the young saint as he may have appeared just after the flight from Rome when he lived in solitude. In the small vestibule, next to this chapel, is a tiny statue of Saint Veronica holding the veil with which she wiped the face of Our Lord as he carried his cross to Calvary on the first Good Friday.

At the end of this aisle is the fine statue of Saint Scholastica (16), the twin sister of Saint Benedict and foundress of a monastery for women at Subiaco which exists even to this day. Saint Scholastica, with a dove on her breast, is shown holding a copy of the Holy Rule that her brother wrote. It is said that the day Scholastica died her brother, at home in his own monastery, had a vision of a dove flying up to heaven. This was symbolic of the soul of Scholastica entering into her eternal reward. Behind the statue of Scholastica is the main sacristy. This is one of two sacristies (17) which flank the sanctuary. The main sacristy, where the priest and other ministers prepare for mass, contains the books, vessels and vestments for the celebration of the sacraments. The other sacristy is a "work" sacristy where storage and maintenance work is done.

In the center and near the front of the sanctuary is the altar (18). Not original to the church, it was installed in 1989 and was donated to the parish by the Daughters of Charity. It is a plain table with two supports and is made entirely of marble. At the rear of the sanctuary dominating the entire interior of the church is the high altar (19). Though monumental in character, with the massive strength of fifty-two tons of pink granite and an imposing height of twenty-five feet above the church floor, it is so well proportioned and nicely fitted into the circular apse of the sanctuary, so beautifully ornamented with carvings, inlaid mosaics, and colored draperies that it appears delicately refined. 4

The high altar sits atop three steps and has a mensa (tabletop) of a solid block of granite eleven feet long and nine inches thick. There is a small sepulchre containing the relics of saints incised in the mensa as well as five crosses, thus indicating that it is a consecrated, fixed altar. On the front of the mensa are the Greek letters Chi and Rho in the middle, and Alpha and Omega at each end, all inlaid in gold mosaic. The tabernacle is of stone with bronze doors. It is circular with a rounded top so that it can be easily draped with veils of the different liturgical colors. It is place directly on the mensa. To the rear of the altar there is one gradine, or ledge. In back of the tabernacle in the reredos (or screen) is a granite cross upon which has been placed an ebony black wooden cross made from timbers taken from the old frame of Saint Benedict’s Church. Upon this black cross is a Corpus eighteen inches high handcarved from white linden wood.

Two square columns extend up from the sanctuary floor to carry the tester or canopy above the altar. It, too, is made of polished pink granite with panels of inlaid sky-blue mosaic. The front face of the tester shows a carving of a descending dove symbolizing the Holy Spirit. Each column contains two adoring angels carved in semi-relief. On either side of the altar are two wings extending out called riddels that are constructed of masonry. Each one contains nine arched panels symbolizing the nine angelic choirs. In each arch there is a glazed tile cross in the five liturgical colors; red, white, black, green and purple. Built in the center panel is a terra cotta credence table.

Behind the altar hang the dossals or draperies. There were originally five corresponding to the liturgical colors but now only three are hung there; gold, white, and green. They are mounted on tracks and can be changed by pulling a cord. In addition, the glazed tile crosses are covered over during certain liturgical seasons. At Christmastide there are panels with gold damask in the arches, while during Eastertide panels of rose faux marble fill the spaces. The arches are covered over in plain wooden panels during Lent. At the extreme end of the right hand side riddel there hangs the sanctuary lamp. This particular lamp is not the original. It was brought from Rome and placed in the church in its present portion in 1989. Around the back of the riddels encircling the sanctuary is the ambulatory (20).

The pulpit (21) stands to the left in the sanctuary. It is entered from the sanctuary and rises three steps above the floor. Under the present reading desk, and carved into the front of the pulpit itself, is the archiepiscopal coat-of-arms of Archbishop Michael Curley, the archbishop of Baltimore at the time the church was consecrated. The pulpit is also constructed of pink granite.

Further on we come to the statue of the patron saint of the Church, Saint Benedict (22). He is shown holding the pastoral staff of an abbot and the Holy Rule which he wrote. In more recent years a small statue of Saint Francis of Assisi has been placed at the base of this statue.

Now we come to the Lady Chapel (23), also known as the Choir Chapel. It is here that the daily round of morning, midday, and evening prayer is prayed in "monastic choir." The richly carved stalls were originally in the monk’s choir chapel at Saint Vincent Archabbey in Latrobe, Pennsylvania. After the disastrous fire there in the 1960s, and the subsequent destruction of the chapel, these stalls were brought to Baltimore and installed in the Lady Chapel in 1988. Around the entire chapel, just above the top of the stalls, a border of a gracefully curving grapevine was hand-painted by the artist Matthew Felice in 1994. Above the altar hangs a tapestry (24) woven by the Benedictine Sisters of Saint Aalburga Abbey in Eichstatt, Bavaria. It depicts Our Lady, Baltimore’s Inner Harbor and the U.S.S. Constellation, Boniface Wimmer sending monks from Saint Vincent to minister in Baltimore, and Saint Benedict himself offering the Church named in his honor to the Mother of God.

 Just inside the chapel entrance stands a finely carved ambo commissioned for the church and installed in 1993. To the left and right (while facing the altar) are two heraldic emblems of some significance to the parish. On the left, above the superior’s stall, is the coat-of-arms of the Rt. Reverend Paschal Morlino, O.S.B. The black field represents the black Benedictine habit and the sails of a windmill allude to this name "morline" which means a little mill The crosses are taken from the arms of Saint Vincent Archabbey and the external ornaments indicate his rank of archimandrite. The motto is the word "listen" in Greek. This is the first word of the Rule of Saint Benedict. On the right is the coat-of-arms of Saint Benedict Parish itself. The arms are based on those of the Archdiocese of Baltimore. The cross is in the shape of a moline, or Benedictine cross. The fourteen gold drops on a red background represent the, now defunct, Fourteen Holy Martyrs Parish from which Saint Benedict was founded. The eight pointed star in the upper left represents the Blessed Mother, patroness of the Archdiocese. Both coats-of-arms were designed by the heraldic artist Rev. Guy Selvester. Across from the entrance to the Lady Chapel is the second organ console (26) installed in 1993. Continuing down the aisle we come to the statue of the Blessed Virgin Mary, the Mother of God (27).

The walking tour of Saint Benedict Church concludes when we pass, again, into the vestibule of the church where we began.