|
Towers of Faith: The Art and Architecture of Our Lady of the Angels’ Saint Augustine Roman Catholic Church by James Wudarczyk - 2006 “I have loved, O Lord, the beauty of Thy house;
and the place where Thy glory dwelleth.
”
Psalm XXV, 8
Saint Augustine Roman Catholic Church stands as one of the most visible and most appealing architectural landmarks in Lawrenceville. Its interior also presents an attractiveness that is as inspiring as its exterior. If there ever was a testimony of faith carved in brick and terra cotta – a spiritual fortress steeped in artistic and aesthetic beauty – then the 37th Street edifice surely fits that description. The great towers, rising 140 feet toward the heavens, stand as guardians over the Romanesque church. These great towers have witnessed a century of events and a century of turbulence and change; yet, nonetheless, they are firm giants silently standing as sentinels through the dawn and the dusk. The towers are a symbolic testimony of values other than material, and the entire edifice reflects a spiritual tradition steeped in the past.
Fortunately Saint Augustine escaped the ravages of modern iconoclasm that swept the Roman Catholic Church following Vatican II. It has retained most of its former majesty, while sadly other churches in their bid to modernize and liberalize abandoned the chief characteristics of the traditional Catholic edifice. In this wave of modern austerity, the victims became the great altars, the communion railings, the statues, the paintings; even the great pictorial windows that depicted religious heritage gave way to the colored glass symbolism. Because of its retention of most of its traditional features, a visit to Saint Augustine Church is warranted.
Believed to have been influenced by German ethnicity and modeled after Saint Benno in Munich, Saint Augustine Church also reflects the culture of the earlier Capuchin Franciscan friars. Inside statues of Saints Francis and Anthony adorn the church. There is a rose window honoring Saint Francis, and a chapel dedicated to Saint Anthony.
This gem of architectural beauty was the result of the faith and dedication of the Capuchin friars, the sacrifice of the parishioner, the generosity of the Frauenheim family, and the genius of John T. Comes. Although founded in the early 1860’s as a German ethnic parish, Saint Augustine Parish by the later part of the twentieth century was no longer as homogeneous as it was a century before. Although no one was quite sure of the date when the German language was discontinued in services, Father Maurice Shean noted that after 1922 the publication, The Seraphic Home Journal, was printed strictly in English, and prior to that date appeared in German. By the time of its suppression as a unique entity by the Most Reverend Donald Wuerl in 1993, the parish was merely a shadow of its former glory. Although the church structure was well maintained, the parish population, which once boasted of having 5,000 souls, had dwindled to about 650 attending weekly Mass.
The dramatic growth in Lawrenceville in the late 1890’s was due to massive immigration and, in part, by the relocating of thousands of people from the Strip District as a result of the industrialization and commercialization of that section of the city. A century later, the entire Lawrenceville area was anemic from the tremendous depopulation of the neighborhood as residents of this and other city neighborhoods moved to the suburbs.
In 1993, Bishop Wuerl, faced with a declining church attendance and an acute shortage of priests, initiated a controversial reorganization plan, which radically merged and reduced the number of parishes in the Diocese of Pittsburgh. Merged with the former Saint Mary, Holy Family, and Saint John the Baptist, Saint Augustine Parish found itself part of the newly created Our Lady of the Angels Parish. Under Church canon law, whenever two or more different ethnic churches are merged, they lose their ethnic identity and become a territorial parish.
As of this writing (2006), the doors of the edifice remain open. So this is an ideal opportunity for local historians to explore the wealth of religious and artistic treasures within the Lawrenceville community. It should be noted that when one looks at the art of any religious institution, he or she must come away with an understanding of that denomination’s beliefs.
The Church Building
The history of Saint Augustine Parish is very well documented in a number of parish histories. The earlier histories are very thorough and provide much of the information for this study.
According to the Souvenir Book of 1901, the Reverend Father Charles had originally proposed in August of 1898 to renovate the 1863 church. However, he was dissuaded from his initial plans by a magnanimous offer from Mrs. Regina Frauenheim, who suggested building a new and more glorious structure at 37th and Bank (now Bandera) Streets. Previously eighteen houses occupied the site, and these were purchased for $50,000.00.
The 1901 text also indicates, “Competitive plans were called for, and the design of Rutan and Russell adopted.” Further in this source we learn, “Plans were repeatedly altered until complete for the elegant structure we now admire. The final plans were approved of, May 23, 1899, by the Building Committee consisting of the Rector, Rev. Father Charles, as chairman, and the members appointed by him: Messrs. Aloysius Frauenheim, Titus Berger, Jacob Scholl, John Helbling and Charles Gloeckler. Bids were opened June 24, 1899, and the contract awarded to the lowest bidder, Wm. Miller & Sons, the original consideration being $104,098.00. The contract was signed July 6. Razing of the old building and excavating began July 12, and the first stone was laid in the presence of Rev. Father Charles and Mr. Jacob Scholl at 11:45 a. m., Thursday, August 17, 1899. From that time work continued until this day, May 12, 1901, the fifth Sunday after Easter, which day is appropriately chosen for the dedication of the new church to the worship of God, for on this day the Capuchin Order celebrates the anniversary of the dedication of the Basilica of its Founder, the Seraphic St. Francis of Assisi, Italy. What this Basilica is to people of the whole world and to the three orders of St. Francis in particular, that the new St. Augustine’s Church is to the members of the parish and to the Third Order of St. Francis in this vicinity and particularly to the St. Augustine’s Province of Capuchins, this congregation being their first charge.”
Tradition has it that the monks in order to help reduce costs of the new edifice, cut pictures from books and magazines to help architect John Comes develop the final version. According to the Diamond Jubilee Book, a friar came across a picture of Saint Benno Church in a copy of Der Deutsche Hausschatz, a popular family magazine published at Raitisbon, Germany, from 1873 until about 1920.
Walter Kidney in Pittsburgh’s Landmark Architecture notes, “St. Augustine’s, the second church of this parish, is a notable landmark in Lawrenceville, rising above the housetops. The church is designed in Italian Romanesque, with that style’s distinctive jutting hood over a facade sculpture of St. Augustine. Yet it was built for a German parish, which had the right to receive instruction in German. The interior, fifty-eight feet high, has an octagonal lantern at the crossing that rises seventy-two feet, and is decorated with stained glass, murals, and marble work. Five altars, including the main altar, are from the original church of 1863.
“ John T. Comes, the designer, was soon to begin independent practice and become the best known local architect of Catholic Churches and institutional buildings.”
In an earlier publication by the Pittsburgh History and Landmarks Foundation titled, Landmark Architecture of Allegheny County Pennsylvania, which Arthur Ziegler co-authored with James Van Trump, Saint Augustine Church is also mentioned:
“Comes was probably chiefly responsible for this design and it is certainly related to work that he did later when he became chief ecclesiastical Roman Catholic architect in the Pittsburgh area. Comes was at this time working in the office of Rutan & Russell. Certainly St. Augustine bears little relation to the rest of the work emulating from the Rutan & Russell office at this time.
“The building with its two towers and octagonal dome, recalls not only Italian Romanesque sources but also the Romanesque churches of the Rhineland (the parish in the past was largely made up of German). Not only is it an interesting structure of its type but it ought to be preserved as an important visual asset in its neighborhood.”
Franklin Toker, author of Pittsburgh: An Urban Portrait (1986), also includes Saint Augustine Church in his Landmarks of Pittsburgh: “St. Augustine’s Church (220 Thirty-seventh Street, between Bandera and Butler Streets; John Comes for Rutan & Russell, 1901) is a large Munich –style Romanesque Revival squeezed into a narrow site but dominating Lawrenceville with its high towers and octagonal crossing. The hammer and tongs sculpted among the instruments of the Passion over the entrance were artifacts of daily use for the German mill workers who constituted the parish. Another half dozen buildings on the same block support the activities of the church and the Capuchin friars who minister to it.”
Credited with designing Saint Augustine Church, John Theodore Comes (1879-1922) was also responsible for a number of other Roman Catholic churches in the Pittsburgh area; namely, Saint Josaphat, South Side (1909-1916), Saint Anthony, Millvale (1914), Saint Agnes, Oakland (1917), Saint John the Baptist, Lawrenceville (1903), and the Saint Anne Chapel in Saint Mary’s on 46th Street in Lawrenceville (1921). (It should be noted that at the end of October of 2004 when Our Lady of the Angels Parish decided to close Saint Mary’s Church as a worship site as a result of declining church attendance and an escalating deficit, plans were made to transfer the Saint Anne Shrine to the Saint Augustine Church edifice. However, as of this writing, April 2006, the plans have not been implemented.) Comes died on April 13, 1922. A tribute was paid to him in the Fortnightly Review on May 1, 1922, (Volume XXIX, Number 9, page 165): “The death of Mr. John T. Comes, of Pittsburgh, robs the Catholic community in the U.S. of perhaps the most gifted of its ecclesiastical architects…Mr. Comes designed a number of splendid ecclesiastical edifices, among them the Kenrick Seminary, near St. Louis, and did real pioneer work in the field of Catholic architecture. His lectures to seminarists on the subject were published in a pamphlet form, under the title, ‘Catholic Art and Architecture,’ and found a wide circulation. The text lays down solid principles on ecclesiastical art and architecture, while the plates, mostly reproductions of photographs of some of the author’s work, exemplify these principles as applied to modern parochial buildings. The F.R. was indebted to Mr. Comes for occasional contributions on his favorite subjects.”
A physical description of the edifice built between 1899 and 1901 is found in the dedication book:
The church is built in the form of a cross in the Romanesque style of architecture. The material used for the exterior is vitrified brick with terra cotta trimmings. The outer appearance of the church with its two towers and grand dome is imposing in its simplicity. On the façade are three grand portals. In the arch above the centre portal is a cast of Christ as King and Judge of mankind, with the Blessed Virgin Mary and St. Francis kneeling at either side of His throne, pleading the cause of those entering the church. The base of the transom is adorned by emblems of the bloody sacrifice of the cross and its unbloody renewal in Holy Mass. Above the arch of the center portal is a niche with a statue 12 feet in height, representing St. Augustine, the patron of the church. On either side of the façade a tower rises to the height of 148 feet. The tower to the left contains four bells, the largest of which weighs 5,500 pounds.
Leading to the portals is a flight of gray stone steps 40 feet broad. Ascending these we enter into a tastefully decorated vestibule, 13 x 40 feet, with a triple-arched ceiling. Above the vestibule doors is the coat of arms of the Order of St. Francis, that of Pope Leo XIII, and that of Bishop Phelan. In the vestibule is, on the one side, a marble holy-water fountain, on the other, the door leading to the choir-loft and to the basement.
Entering the church proper we are agreeably surprised by a revelation of beauty, that raises our thoughts to Him, who is the source of all beauty, and to whose honor the arts have rivaled in erecting and adorning this house of prayer and sacrifice. The architect, the painter, the sculptor, all have done their part well.
The body of the church is divided into three parts by two rows of fluted columns bearing the clear story and the dome. The side naves have a height of 29 feet, and the transept, 58 feet; while the grand octagonal dome towers to the height of 92 feet from the floor. The entire inner length of the church is 145 feet, of which 32 feet are occupied by the sanctuary and 13 feet by the vestibule, leaving the auditorium a space 100 feet in length, by a width of 80 feet in the main body and 94 feet in the transept.
Over the years there have been some changes to the edifice, but most of the original integrity has been preserved. However, it is important to refer back to the 1901 souvenir document to glance at the plant at the time of its erection.
Another point of interest in the church not to be over-looked is the choir- loft. This gallery above the vestibule and extending out above the inner doors is intended for the choir exclusively. The organ, built by Roosevelt, Baltimore, in 1884, was transferred from the old church and greatly improved by Roosevelt’s successor, Adam Stein. The expenses incurred thereby were covered by Mrs. Catherine Frauenheim in memory of her lamented husband, Aloysius Frauenheim, who so often used this instrument for the honor of God.
The church is illuminated at night by more than 500 electric lights operated by a private electric plant in the basement of the building. Gas lights have also been provided for to meet emergencies. The main features in the electric lighting are the two candelabra at either side of the main altar and the chandelier in the dome. The candelabra, donated by Miss Rose Frauenheim in loving memory of her niece, the late Rose Marie O’Reilly, are of exquisite workmanship. The base and column are of Parvanazzo marble, the superstructure of brass. Each candelabrum bears 50 electric lights and is over 12 feet in height. The chandelier in the dome, presented by Messrs. Peter Kerner and Anthony Lackner, is in the form of a grand star of seven points and composed entirely of Swiss cut-glass prismatic beads in which are concealed 35 electric lights. The lights in the main body of the church are chiefly collected into clusters of lilies about the capitals of the columns.
The steam heating of the building is effected by two boilers in the basement.
The floor of the sanctuary, chapels and of the five aisles is of marble mosaic. The carpet on the altar steps is a gift of the L.B.C.A., Branch 103. The washboards throughout are of the finest serpentine marble. The floor beneath the pews is of yellow pine. The pews are of white quartered oak of white quartered oak of excellent finish, uniting beauty and comfort and conveniently seating 1030 persons. The sanctuary seating, of most modern and practical style, is a present of Mrs. W. A. Heyl.
The rich new vestments, used for the first time at the dedication of the new church, were purchased from the firm of H. Uffenheimer in Insbruck, Austria. They are of the best quality of silk and are masterpieces of embroidery. They are a present of Mrs. Mary R. Frauenheim.
The holy-water fonts at the rear of the center side aisle are a present of Mr. William Baur. The figures of angels holding the basin with the holy water remind us at the threshold of the House of God to wash our souls by true repentance, that striving to attain the purity of angels, we may more readily be heard in prayer by God. These statues are imported from France by the firm Stoltzenberg & Co., of New York.
The beautiful marble holy-water font in the vestibule is a gift of Mr. Bernard Gloeckler.
Today the most noticeable changes to the church are the removal of a number of pews, which effectively reduced seating to approximately 800, and a large baptismal font taken from the now closed Saint John the Baptist Roman Catholic Church. The “new” font features a large statue of John the Baptist, a cousin of Jesus, who according to Christian tradition baptized Jesus in the Jordan River before Jesus began His public ministry. According to the biblical account, John preached a baptism of repentance and baptized with water but promised that there would come one greater than he who would baptize with fire and the Holy Spirit. John was beheaded for criticizing the Roman ruler’s murder of his brother and taking his brother’s wife in adultery. It was of John that Jesus said, “No man born of woman was greater than John.”
Another noticeable change in the edifice was the removal of the large metallic sounding board over the main pulpit.
To understand the events that gave way to the creation of the “new” Saint Augustine Church building, one must examine the early history of the parish.
Throughout the 1850’s the German Catholics in the Lawrenceville community struggled to establish and maintain a German school for their children as a unique way of maintaining their ethnic identity. While this struggle warrants a study in itself, it must be noted that the birth of Saint Augustine parish resulted from an 1860 school meeting, when concerned persons conceived the idea of developing plans for a permanent school and establishing a church. As a result of the meeting, an organization was formed called the Society of German Catholics of Lawrenceville. This group petitioned for a priest who could conduct services in German and engaged in fund-raising activities by sponsoring a series of picnics. Father George Kircher is credited with being the first priest assigned to minister to the Lawrenceville Germans.
The 125th anniversary (1988) booklet sheds additional light on the formative years. Father Kircher had Charles Bartberger sketch the plans for the church September 29, 1861. The committee approved the plans the next month. At that same meeting Mr. Landelin Vogel suggested that the parish should select St. Augustine as its patron. The reason for the choice was not any special devotion to the saint, but rather a way of expressing recognition to Mr. Augustine Hoeveler, the leading organizer of Catholic activities in Lawrenceville.
The naming of the parish in honor of Augustine Hoeveler is an interesting footnote, not only in the history of Saint Augustine parish; but also in the more general history of the community since Hoeveler served on the borough council prior to Lawrenceville’s incorporation into the city. He was later elected to the Common Council of the City of Pittsburgh but died before he was able to take his seat.
The building of the first Saint Augustine Church was not without setbacks. First the congregation was relatively small, so the challenge that lay ahead of these pioneer Catholics was being able to raise $12,000 to cover building expenses. Secondly, one of the members of the committee was reluctant to sign over the land to Bishop Domenec for fear that the Germans would lose their ethnicity and be assimilated by the English speaking Catholics. The first issue was resolved by forming a building association whose members pledged ten cents a month toward the cause. According to Lawrenceville historian Joseph A. Borkowski, the second issue was addressed by an interesting clause in the Deed of Trust, “That so long and at anytime the German Catholics of said congregation can support their own pastor they may have instructions in the German language.”
It should be noted that Bishop Domenec was following a tradition of sympathy and understanding toward the German population that was established by his predecessor Bishop O’Connor. In his book, Michael O’Connor: First Bishop of Pittsburgh, the Reverend Dr. Henry Szarnicki points out that O’Connor went so far as to require all seminarians to study German.
Bishop Domenec dedicated the church on Thanksgiving Day, November 26, 1863. It was described as a 100 feet long red brick Romanesque with a 150-foot tower that faced Butler Street, and had seating capacity for 650 people.
Accounts of the parish history contend: Along with the spiritual growth fo the parish, Father Hyacinth had to keep increase in members. Hundreds of families had to relocate when the Union Depot was built by the Pennsylvania Railroad. Many of the families moved to Lawrenceville, with the result that St. Augustine Church had to be expanded. A hundred-foot transept was added in 1874, according to plans drawn by Brother Eleutherius, one of the Capuchins who arrived with Father Hyacinth. At the time of enlarging the church, Brother also carved the main altar, the pulpit and communion rail. After remodeling, “St. Augustine’s was considered one of the finest churches in Pittsburgh.” It seated a thousand.
Brother Eleutherius planned to carve five altars in all, but he died before completing the task. He was a victim of smallpox June 18, 1877. Brother was the first of the Capuchins to be buried from St. Augustine’s. He was thirty-eight years old.
Although there was tremendous population growth in the neighborhood and in the parish, Saint Augustine’s constantly had to struggle with debt. Periodic economic downturns only made the hope of financial solvency more precarious. For example, we know from the Diamond Jubilee Book, that the Depression of 1893 had a severe impact on the community. Towards the end of 1893; our country passed through the great depression of the “nineties” which meant difficult days for the parish. The church’s debt was still $45,136.63, and the pastor saw no prospects of reducing it according to his hopes. Indeed, there was question as to whether the parish would be able to meet its ordinary obligations. Convinced that among the parishioners were some whose financial outlook was quite favorable, he made an earnest appeal to them to do more than their share in this present crisis.
By 1898 the parish managed to reduce its debt to $30,000.00, but that still constituted a tremendous burden on the parish. At the same time, the parish council, pastor, and Father Provincial were all greatly concerned about the need for making costly repairs to the 1863 church. Material relating to the erection of the “new” Saint Augustine Church may be found in the 1938 diamond jubilee history. This particular history remains one of the best parish histories, not only of Saint Augustine Parish, but is also one of the finest of any church in the diocese. This account states:
The erection of the new St. Augustine’s Church has much of the casual about it. In the first year of his pastorate, 1898, Father Charles felt obliged to make extensive repairs that would entail an appreciable outlay. It was necessary to fresco the church, for the smoke and soot of Pittsburgh had wrought their usual havoc on walls and ceiling. Then, too, the cheap quality of the windows made it desirable to replace them by those of better make. When the pastor discussed the matter with the Father Provincial and the church committee there was a difference of opinion. Some advocated a thorough renovation of the church, while others stoutly opposed such a measure. The latter urged that the church, especially the original nave, was poorly built since the walls were only thirteen inches thick. In the not too distant future it would be necessary to build a new church, hence any heavy outlay at present would be a waste of money. However, nothing was more alien to the mind of Father Charles than to sponsor the erection of a new church. The debt still bordered on $30,000 and it would be folly to add to an already heavy burden. Therefore, it was finally decide to fresco the old church and to make whatever repairs were advisable.
But now the unexpected happened. Seeking a substantial donation toward the purchase of the new windows, Father Charles called first on Mrs. Mary Regina Frauenheim and her daughter Miss Rose whose generous disposition toward the church and the Capuchin Fathers had been amply evidenced in the past. But no sooner had the pastor broached the subject of new windows than the two ladies replied: “Is it really worth while to expend so much money on that old building!” Jokingly the pastor answered: “If you give me fifty thousand dollars I shall be only too glad to build a new church.” Contrary to all expectation, the two interested listeners took the pastor seriously and the elder Mrs. Frauenheim replied: “Let us consider this for a few days and then we shall let you know what we can do.”
In high spirits Father Charles returned home and confident that something big was in the offing, he cancelled all arrangements for work on the old church and awaited intensely the outcome of his visit. Within a few days his hopes were fulfilled for Mr. Aloysius Frauenheim, the son and business manager of Mrs. Mary Regina Frauenheim, called on Father Charles and assured him that the family had decided to donate $50,000 toward the building of a new church.
This account referred to Mrs. Mary Regina Frauenheim, the widow of Edward Frauenheim, the founder of a prominent brewery that eventually merged with other breweries to form the Pittsburgh Brewing Company. It is believed that Edward Frauenheim, Sr., settled in Lawrenceville in 1865. He was also prominent with the Saint Augustine Church Committee between 1868 and 1873, and again from 1879 until 1882. The elder Frauenheim died on June 16, 1891. According to the 1938 parish history: “The business he had established prospered greatly under the management of his son Aloysius, so that his wife and children were fortunate to make royal gifts to the church they loved so much. When Mrs. Edward Frauenheim died on November 22, 1904, she had established the reputation of being one of the leaders in philanthropic works in the city of Pittsburgh. Mr. Aloysius succeeded his father on the church committee in 1882 and continued in that office from 1882 till 1886 and from 1890 till his death in 1900. His services and benefactions to St. Augustine’s have been related in detail in the history.
“Miss Rose Frauenheim surpassed even her brother Aloysius and her mother Mary Regina in her benefactions to St. Augustine’s Church. She enjoys the unique distinction of being the most liberal benefactor to St. Augustine’s Church and the future apparently will not rob her of this distinction. Miss Rose Frauenheim was born in Pittsburgh on October 2, 1859 and attended St. Augustine School in 1867 and 1868 and maybe even later. She contributed $40,000 to the $100,000 gift of the Frauenheim Family and besides several thousand dollars to the church for the purchase of pulpit and other furniture, (for Communion Railing and Candelabra $5,160, for pulpit $1,500 etc., etc.) When she later had moved out of parish limits, she did not fail to contribute to St. Augustine’s Church in various ways. Up to 1912 she sent her monthly contributions and even after these collections were discontinued, she made liberal donations to the church. In her old age she still has the welfare of St. Augustine’s Church at heart.
Apparently the friars and parish committee had to address three issues: (1) location of the new church, (2) the issue of debt, and (3) design. Since the issue of design was addressed earlier in this study, one must again refer to the Diamond Jubilee Book to look at how the other issues were resolved.
Of course, this settled the matter–a new church would be built. But where? To dismantle the church on Butler Street would mean the destruction of a serviceable building and also the creation of a new problem of arranging for worship during the building period. Then, too, building on the site of the old church would require extensive excavation and this would render the cost of the building all the higher. Looking for a desirable site, many suggested that the church be erected on the south of the monastery along Bandera Street, between Thirty-sixth and Thirty-seventy Streets. True, there was an alley between these two streets, but the upper part of it could be used and a new outlet provided. The suggested site comprised eleven lots on which sixteen houses of mediocre value were standing. Regardless of the high price of $48,301.69 demanded, the property was purchased as a site for the church.
Later in the parish history, it is noted:
Having finished the plans, the architects invited competitive bids. But unfortunately, the resulting figure threw all into great consternation. The plans were too ambitious for the coffers of the parish, for the lowest bid asked for more than one hundred thousand dollars. With the present debt above $30,000, the whole idea of building a church was threatened with failure. But again, it was the Frauenheims who, like ministering angels, came to the rescue. When all seemed hopeless, this good family came forward with an offer to double the sum they had already given, thus making their gift $100,000.
On July 12, 1899, the bid of W. Miller and Sons for $104,098.00 was accepted, and the next day the work of razing the houses on the building site began. On August 17, the foundation stone was laid on the corner of Bandera Street and Thirty-seventh Street, and about two months later on October 29, the ceremony of laying the corner stone took place. At three o’clock the bells of the old church rang out the signal for the uniformed societies to leave their station in front of the present Casino building and march over Bandera Street down Thirty-sixth to Butler Street, thence up Thirty-seventh to the scene of the ceremony: The parade advanced to the accompaniment of the Eighteenth Ward Military Band and was made up of practically all the Catholic societies of Pittsburgh, Allegheny and Wheeling. Mr. William Eichenlaub was the chief marshall. Outstanding in the parade were Messrs. Edward Frauenheim, Edward Leopold Frauenheim and William Heyl, three grand-children of Mrs. Mary Regina Frauenheim. These young men carried the large copper box that was to be inserted into the corner stone. Last in the parade came the clergy and the Bishop, the Most Reverend Richard Phelan. When the latter had taken his place on the platform, the choir under the direction of Mr. Aloysius Frauenheim, sang the prayerful number: Wie lieblich sind die Boten, by Mendelssohn.
This event must be regarded as one of the great historical epics in the history of Lawrenceville since a crowd estimated between four and five thousand persons witnessed the event. Father John Otten, C.S.Sp., delivered the address in German, in which he reminded the assembled that people had always set aside certain places as holy to God. He briefly addressed the great temple built by King Solomon and the tradition of the Christian Church to erect magnificent structures, adorned with great masterpieces of art, dedicated to the glory of God. Father Otten remarked, “Today, too, as we stand at the cradle of a temple destined to be the monument of Lawrenceville and the pride of the diocese, we see the fruits of sacrifice. This spirit has always breathed in St. Augustine’s, but today especially we see how it has inspired a noble soul to donate a wonderful gift without which the building of this temple would have been impossible.” In retrospect, the words of Father Otten were prophetic because Saint Augustine Church edifice remained for more than a century “the monument of Lawrenceville.”
An address was also delivered in English for the dedication services. Father John Price, pastor of Saint James in the West End, described the beauty of the Catholic Church, and contrasted it with churches of other denominations, which he described as “mere assembly halls for prayer and song but neither the houses of God nor places of holy sacrifice.”
The corner stone, which weighs one and a half tons was the donation of Mr. James Stehle, and was brought in from Cleveland. Today the inscription, “Ecclesia ad Sanctum Augustinum, A.D., 1899, may yet be read. Inside the stone were a number of memorabilia to mark the occasion, including a Latin titled “To The Greater Glory of God,” which designates the names of the pope, mayor, president, governor, and principle speakers in 1899.” Other reminders of the dedication buried in the stone are the names of the Capuchins stationed at St. Augustine’s Monastery, the names of the church committee, building committee, ushers, members of the choir, names of the Sisters attached to the school, and the names of all of the pastors up to that date. Also entered into the vault were copies of the September and October issues of the St. Augustinus, a copy of the Seraphisches Liebeswerk, a copy of the Pittsburgher Beobachter, copies of the Pittsburgh Observer, Pittsburgh Catholic, and Pittsburgh Post. Parishioners also donated various postage and war stamps of the United States, various coins, photographs, relics of saints, and medals of the Immaculate Conception, St. Francis, St. Benedict, St. Joseph, and St. Anthony. Church records also indicate that a map of the Ecclesiastical Provinces of the United States, Festive Numbers of the St. Raphael’s Societies, Directory of the Knights of St. George, Jubilee Number of C.M.B.A., and statues of the L.C.B.A. were also buried in the cornerstone.
There can be no doubt that the rising of such a massive and grand structure captured the interest of the people living in Lawrenceville between 1899 and 1901. Church records of this period show that the windows were brought from Innsbruck, Austria, at a cost of $8,034.14. Once the great towers were completed, plans were made to receive the church bells.
The Diamond Jubilee Book tells quite vividly the story of the bells and how they came to be placed in the towers:
The entire parish went out in solemn procession to receive the bells on November 29. At two-thirty o’clock the great parade started from the Chaplin and Fulton Foundry on Penn Avenue and First Street where the bells had been cast and proceeded to Liberty Avenue near St. Philomena’s on Fourteenth Street where it met the societies of that church, thence to Twenty-first and Smallman Streets, passing en route to Saint Stanislaus Church, thence to Penn Avenue and Butler Street, to Thirty-seventh Street. When the parade passed the churches of St. Philomena and St. Stanislaus, their bells, like great tongues from the steeple, pealed out a joyous welcome.
At the head of the parade rode five policemen followed by Mr. John Fink, the marshall. Then came the mounted guard, fifty-five prancing horses with uniformed riders, followed by the Cathedral band. Next came one hundred Knights of St. George and fifty cadets, the Third Pennsylvania Regiment Band, then, what the Beobachter called the central attraction of the parade-Mr. Constantine Waldvogel mounted on a charger, and beside him young Charles Vilsack and William Koebert, riding ponies.
The wagons with the bells followed next in the parade. The first wagon, fag-draped and drawn by six white horses carried the great St. George Bell of 5500 pounds, donated by the Knights of St. George. A uniformed guard consisting of Messrs. Peter Loedding, Edward Steinkirchener, Lawrence Fey and Edward Pottmeyer, was stationed on the wagon. The second wagon, decorated in white and yellow and drawn by four horses, bore the St. Mary’s Bell, weighing 3000 pounds, the gift of Mr. Leopold Vilsack. Four little girls formed the guard of honor: Leona Lackner, Hilda Limpert, Margaret Fey and Mary Wallace. The last wagon, decked in white and blue and drawn by four horses, carried the St. Joseph Bell of 1800 pounds, and the St. Raphael Bell of 750 pounds. Various sources contributed to the purchase of these two bells. The honor guard consisted of four boys: Edwin Helbling, Anthony Schillo, Raphael Dauer and Albert Kalchthaler. Each of the bells was decked with flowers and crowned with a green wreath.
After the wagons with the bells came the carriages with the Capuchin Fathers and visiting clergy, the Church committee, the Building committee, and the officials of the Knights of St. George. At Thirty-seventh and Butler Streets, the marchers formed two lines between which the wagons and carriages passed to the entrance of the new church. While the clergy took their places, the band played and then St. Augustine’s choir sang the song: Die Kapelle by Kreutzer. Mr. Joseph Reiman, representing the Knights of St. George, now delivered a masterful oration in which he explained the function of bells and concluded by presenting the bells to the parish. Two days later, on December 2, 1900, Father Hyacinth, Provincial, assisted by the Capuchin Fathers, Joseph Anthony and Gabriel Spaeth, solemnly blessed the bells. Father Herman Joseph Peters, O.M.Cap., preached on this occasion. Shortly after the dedication of the bells it was found that the St. George Bell had an imperfect tone, hence it was recast by the foundry and privately blessed by Father Charles before taking its place in the tower.
The parish histories note that on January 18, 1900, Aloysius Frauenheim passed away of a heart attack, and there was a great funeral procession, in which one hundred seventy carriages participated, to honor this distinguished businessman and Catholic benefactor of St. Augustine’s. It was estimated that at least three thousand persons were at Saint Mary’s Cemetery to pay tribute to him.
Considering the fact that as many as seven thousand persons were on hand for the outdoor ceremonies marking the dedication of the new edifice on May 12, 1901, this event will always be regarded as one of the greatest historical events in the history of Lawrenceville. The Most Reverend Leo Haid, O.S.B. blessed the church and pontificated, while Father Hyacinth, Provincial, assisted as archpriest. Also assisting at the services were Fathers J. B. Duffner and J. Otten, C.S.Sp., who functioned as deacons of honor, while Fathers S. J. Schramm and Marinus Ferg, O.S.B., served as deacons at the Mass. Fathers Gerard Bridge, O.S.B., and Patrick Leinsle, O.M.Cap., were masters of ceremony. Archabbot Leander Schnerr, O.S.B., was also on hand for the festivities, while Father Joseph Anthony, pastor of St. Alphonsus Church in Wheeling preached the sermon. The day’s ceremonies ended in the evening with Father Charles officiating at solemn Vespers, at which Bishop Haid preached in English.
It was not until the next morning that the old church was officially closed by transferring the Blessed Sacrament to its new home. The procession consisted of an acolyte with the cross and two altar boys with candles, followed by fifty small boys with lilies, fifty little girls, who strewn flowers, as the clergy chanted “Pange Lingua.” After the clergy, the parishioners followed. Father Hyacinth described the scene, “When the procession left the old church her bells tolled a solemn farewell and hardly had the last tone died away, when the mighty bells of the new church burst forth in a glorious peal as if they would say: ‘From now on we shall call the faithful to church and prayer.’”
So while the diamond jubilee book addressed in great detail the early history relating to the erection of the present edifice and shed light on the church being named in honor of Augustine Hoeveler, none of the parish histories concern themselves with Saint Augustine, the patron of the church. Augustine (354-430) is one of the best known of the Christian philosophers, whose classic writings, Confessions and The City of God, have remained great spiritual studies and are to this day treasurers of Catholic thought. Yet it is somewhat ironic that Augustine had flittered in and out of Christianity. The son of Patricius, a pagan Roman official, and Monica, a devote Christian, Augustine started his studies at Carthage in 370, where he originally intended to study law, but he later abandoned law and pursued rhetoric and his literary endeavors. Augustine not only abandoned law but he also turned his back on his Christian faith. For fifteen years, he maintained a mistress and fathered an illegitimate child, Adeodatus, but through the prayers of his mother and influence of Saint Ambrose, who was then bishop of Milan, Augustine returned to Christianity. In addition to his great classics, Confessions and The City of God, Augustine wrote a number of treatises against the Manichaeans and the Pelagians. Given the title, Doctor of Grace by the Roman Catholic Church, Augustine exerted a tremendous influence on Catholic philosophy. Many Christian theologians believe that only Thomas Aquinas exceeded Augustine’s influence.
Augustine, who was baptized in 387, would probably have been content to live an obscure monastic existence. However, in 391 the population of Hippo seized him and ordained him. He proved to be such a powerful preacher that in 395 he was made coadjutor to Bishop Valerius of Hippo, and eventually assumed the position of bishop in 396 following Valerius’ death.
Thus, the twelve-feet high statue of Saint Augustine, which dominates the façade of the church, links Lawrenceville with the world’s historical and classical past.
An architectural gem like Saint Augustine Church came about as a result of a tremendous amount of coordination by various contractors and suppliers. Fortunately, the 1901 Dedication Book gives a detailed listing of the parties responsible for the birth of a landmark.
Before closing we deem it but just to give honorable mention to those who have furnished the excellent work in and about the church.
Architects were Rutan & Russell, First National Bank Building, Pittsburg.
Contractors were Wm. Miller & Sons, Carnegie Building, Pittsburg.
The frescoing and the remodeling of the statues and altars was done by Mr. Nicholas Mangold, Frankstown avenue, E. E. Pittsburg, with a corps of able assistants.
The grand pictures upon the walls were executed by Mr. Arthur Thomas, 1193 Broadway, New York.
The wood-work of the building was varnished, etc., and the glazing done by Messrs. Titus Berger and Son, 3812 Butler street, Pittsburg.
The Stations of the Cross are from Mayer & Co., of Munich, 47 Barclay street, New York, while the wooden frames about them were made by the Josphinum Art Co., of Columbus, Ohio.
The charming stained glass windows were placed by the Tyrolese Art Glass Co., Insbruck, Austria, through their United States manager, Mr. Th. Rose, 53 Barclay street, New York.
The storm glass protecting the windows from without was furnished by Conroy, Prugh & Company, Pittsburg.
The marble altar-railing, the candelabra, and railing and reliquaries of St. Anthony’s chapel are the work of Mr. R. G. Ledig, 811 Cherry street, Philadelphia.
The marble holy-water fountain in the vestibule was constructed by Mr. Bernard Gloekler, 1133 Penn avenue, Pittsburg.
The electric chandelier in the dome as also the electric and gas fixtures throughout were furnished by Mr. F. W. Gillett, 347 Fifth avenue, Pittsburg.
The electric wiring was done by Mr. George R. Mathieu, 508 North Highland ave., Pittsburg.
The gas fitting was done by Mr. Frank Weber. 3713 Butler street, Pittsburg. The plumbing by Bowes & Cowling, 4103 Butler street, Pittsburg.
The electric light plant and gas engine is from the Westinghouse factories.
The heating plant is from McGinness, Smith & Co., Pittsburg.
The iron fence surrounding the building was constructed by Vilsack, Martin & Co., Pittsburg.
The four bells were cast by the Chaplin-Fulton Manufacturing Co., 28-34 Penn avenue, Pittsburg.
The cement paving about the church was done by the Wadsworth Stone & Paving Co., Pittsburg.
The statue of St. Augustine above the entrance and all terra cota work on the building was cast by the Perth Amboy Terra Cotta Co., Perth Amboy, N.J. The firm also made a present to St. Augustine’s Monastery of the grand statue of St. Francis of Assissi, now gracing the façade of the monastery.
The marble altar in St. Anthony’s Chapel was constructed by the Venice-Murano Co., whose office for the United States is at 598 Lexington Avenue, New York.
We are sure the dress in which our Souvenir appears will please, as the publishing thereof has been entrusted to the able hands of an enthusiastic member of the parish, Mr. Theodore Schillo. The beautiful illustrations in this Souvenir were made by the Robert Rawsthorne Engraving Co., Cor. 8th street and Liberty avenue, from photographs taken at the church by the Chautauqua Photographic Co., 516-518 Liberty avenue, Pittsburg.
In offering this souvenir, the Capuchin Fathers connected with the church thank most heartily all who have contributed to the new church according to their means, and in particular to the Frauenheim family, by whose generosity the erection of the new church was made possible. It is their desire and fervent prayer that the church, dedicated today to God, may ere long be also consecrated. Yet the consecration of a church cannot take place until the church is entirely free from debt. May God direct the hearts of those whom he has blessed with earthly good, that they may bring about this happy end. Then could the priests, not hampered by the care to cancel debts, devote their entire energy to saving souls and by their prayers and labors call down the blessing of God more abundantly upon those, who, by clearing the church of debt, say more eloquently by action than by word: “I have loved, O Lord, the beauty of Thy house; and the place where Thy glory dwelleth.”
Windows Tell A Multitude of Stories
While the 1901 dedication book sheds light on the beautiful stained glass windows that adorn the edifice and give it a sense of solemn majesty unequaled elsewhere, the descriptions are vague. Thus, this study hopes to shed additional light on the rich stories and wealth of Catholic teachings depicted on the windows.
Portions of the text of this portion in italicized type are again taken directly from parish histories – in this case, the 1901 Souvenir Book.
Over the arcade the sanctuary is adorned by five most beautiful stained glass windows. Four of these windows show in graceful forms eight angels doing homage to Christ, who is represented in the center window, both as the Lamb upon the book with seven seals and as the food of our soul in the chalice and host. Of these five windows the center and one side window are a gift of the late Jos. Vogel, and two were presented by Misses Emma and Catherine Wirth.
The richness and elegance of these windows lead us to examine the other windows of the church. They are all truly grand, and are certainly of the finest in this country. The large rose window in the center of the arch of the transept, representing Christ encircled by the busts of the twelve apostles, was presented by Mr. E. J. Frauenheim; the one opposite, a gift of Mr. Aug. A. Frauenheim, represents St. Francis of Assisi, surrounded by the busts of twelve Saints and Blessed of the Capuchin Order.
Beginning on the right side of the altars (the Bandera Street side) the first window, presented by the Confraternity of Christian Mothers, contains a lovely group, the Holy Family, Jesus, Mary and Joseph. In Catholicism, the Holy Family serves as a model for all families, past, present, and future. Stories of the devotion of Joseph as husband and foster father of Jesus are documented in each of the four gospels. The Marian theme depicted in this window as one of fidelity to Jesus, is also depicted in one of the church altars.
The second window, presented by the German Branch of the Third Order, is a picture of St. Francis asking of Christ, through the intercession of Mary, the great Portinucula Indulgence. St. Francis of Assisi (1181– 1226) was the founder of the Franciscan order and remains one of the most popular saints in the history of the Catholic Church. Although baptized Giovanni in honor of Saint John the Baptist, his father added the name Francis because his father loved the country of France. He was taken captive in a war between Assisi and neighboring Perugia. A year after his release, he became seriously ill and during his convalescence, he underwent a conversion of heart, which eventually led to his rejection of things material and developed a great love for spirituality. Francis began to care for lepers and repaired old churches before realizing that he was called to build up the living church of Christ. Eventually he donned a simple brown robe and the hood of a shepherd. Followed by twelve men, they were known as Penitentiaries of Assisi, although Francis preferred the name frati minores or “lesser brothers.” The new order grew because of their emphasis on manual labor and preaching. In the fall of 1224, Francis had a profound mystical experience, which left the stigmata or the wounds of Christ’s Passion in his hands, feet, and side.
The third window, a gift of the C.M.B.A., Branch 45, shows us St. Michael conquering Satan. Michael is one of three archangels venerated by the Church. He appears twice in the Old Testament and twice in the New Testament. This angel appears often in apocryphal literature and is regarded as a champion of God’s will and the protector of the Christian against the snares of the devil. This particular depiction is based on the Apocalypse or Book of Revelation, whereby Michael and the heavenly host defeat the dragon or Satan, and drive Lucifer and his followers into the fires of hell. Herein one finds the Christian concept of the triumph of good over evil.
The fourth window, a gift of the English Branch of the Third Order, represents St. Peter, Prince of Apostles. In the gospel narrative Jesus called an ordinary fisherman to follow Him. Jesus then changed his name from Simon to Peter, which means “the Rock’ and promised Peter that “upon this rock, I will build My Church, and the gates of hell shall not prevail against it.” In those words, Jesus established the Papacy, and gave His promise of permanency for the Church.
The fifth window, donated by Mrs. John O’Reilly, represents St. John, Apostle and Evangelist. The goblet and scorpion refer to the legend that poisoned wine having once been offered him, he blessed it and immediately a scorpion, the emblem of poison, sprang from the goblet. To this is referred the immemorial custom of the Catholic Church to bless wine on Dec. 27, the feast day of this saint. Also known as the beloved disciple, Jesus, while hanging on the cross, entrusted his mother to John’s care. Tradition holds that John was the only apostle to die a natural death and not suffer martyrdom. In a sermon by the Reverend Gervase Deganhadrt, O.F.M.,Cap., Saint John is said to have lived a very long life. When he was quite elderly, John would each week hobble to the pulpit and simply say, “Children, love one another.” The church elders were disappointed because they expected something more profound from the man who walked with Christ. When the elders approached Saint John on the subject, the great saint reminded them that the very essence of Christianity revolved around the simple concept of love.
The sixth window, a gift of Branch 5, Knights of St. George, represents the patron saint of this organization, St. George, the Knight, with the vanquished dragon at his feet. The story of Saint George and the dragon is a well-known tale, which earned him the title of patron of England, Portugal, Germany, Aragon, Genoa, and Venice. He is also venerated in the East as one of the Fourteen Holy Helpers. Little is known of the actual life of Saint George, but it is widely believed that he suffered martyrdom at Lydda, Palestine, around 303. Beyond the belief that he was a soldier in the Imperial Army, most of the legend of Saint George started to appear as early as the sixth century. However, it is doubtful that the story of George liberating a village in Libya from the grips of a terrifying dragon did not start to appear until the 12th century and were popularized in “The Golden Legend” in the 13th century. There are variations on this story but it is important to note that the legend was popular with the soldiers, knights, and Crusaders during the Middle Ages. The Saint George coat of arms is a red cross on a white background and became the basis for the British flag or “Union Jack.”
The seventh window, donated by the families Bieneman and Baumstimmler, represents St. Barbara, Virgin and Martyr, who is especially called upon for the grace of a happy death. Believed to have been murdered by her father for her refusal to marry, Saint Barbara is one of the Fourteen Holy Helpers whose feast is December 4th. She is also credited with being the patroness of architects and builders.
The eighth window, presented by Mrs. Mary Philomena Berger, represents the first American saint, St. Rose of Lima, Peru, a member of the Third Order of St. Dominic. Rose is actually the confirmation name of Isabel de Santa Maria de Flores, who was born in Lima, Peru. A recluse known for receiving mystical gifts and visions, Rose is said to have lived a life of great austerity and mortification of the flesh. After an examination by a commission of priests and doctors, it was concluded that Rose’s apparitions were in fact from a higher source, and her reputation for personal holiness and piety soon spread. Her prayers were also credited with sparing Lima from an earthquake. She was the first American saint to be canonized.
Passing from this window to the opposite side, the first window from the rear of the church represents St. Elizabeth, Countess of Thuringen, giving alms to a beggar. This window is a gift of Mrs. Wm. Epping. Also known as Elizabeth of Hungary (1207-1231), she was married in 1221 to Ludwig and bore four children. She established a reputation for her great charity, and after her husband’s death during a Crusade with Emperor Frederick II, Elizabeth was usurped of her land and wealth. After making provisions for her children, she became a Franciscan tertiary in 1228 and devoted herself to the care of the poor, aged, and sick in a hospice. A good portion of her short-lived life of slightly less than twenty-four years were spend in extreme poverty, caring for the welfare of others. Almost immediately after her death, a number of miracles were credited to her, and in 1235 Pope Gregory IX canonized her.
The second window, presented by the L.C.B.A., Branch 103, represents St. Catherine, Virgin and Martyr. The book in her hand, the prison gate behind her, the wheel at her side, the sword at her feet remind us of her history. The Emperor, struck by her beauty, wished to take her to himself. Fifty of the wisest men of the empire met in disputation with her to dissuade her from the Christian religion, but by her heavenly wisdom she overcame them and converted them to Christ. She was, therefore, cast into prison and condemned to the wheel of torture which broke, however, at mere contact with her. She was then put to death by the sword. She is honored as the patron of students of Philosophy. According to tradition, her body was brought to the monastery at Mount Sinai, where it reputedly remains. Another of the Fourteen Holy Helpers, Joan of Arc contended that Saint Catherine’s voice was one of the voices she heard. Additionally, she is also the patroness of maidens and preachers.
The third window is a memorial by Miss Rose Frauenheim to her father, the late Edward Frauenheim. It represents St. Edward the Confessor, King of England. In his right hand he holds a ring, referring to the fact that once he gave a gold ring as alms to a beggar, who then made himself known to him as St. John the Evangelist under a beggar’s guise. Interesting to note, Edward was a ruler of England, not a priest. The surname “the Confessor” was given to him because of his personal piety, his interest in religious affairs, and the construction of Saint Peter’s Abbey at Westminster.
The fourth window, donated by the Stephen Schultis family, represents St. Stephen, the first Martyr, who by praying for his persecutors obtained the grace of conversion for Saul, whom, in the fifth window, we find honored as St. Paul, the Apostle. The demolished idol at his side reminds us of the zeal of the Apostle of the Gentiles in preaching Christ crucified and overthrowing the altars of the false gods. This window was donated by St. Augustine’s Young Men’s Society. The story of Saint Stephen is found in the Bible in “The Acts of the Apostles.” Stephen is credited with forgiving his persecutors, just as Christ forgave those who crucified Him; while the story of Saint Paul is well documented in “The Acts of the Apostles” and in several of the epistles. From a great persecutor of the early Christian church, Saul underwent a great conversion and emerged as Paul, the apostle to the Gentiles.
The sixth window, presented by St. Raphael’s Benevolent Society, depicts masterly the narrative of the Bible regarding the Archangel Raphael and the young Tobias with the fish. The book of “Tobias” is one of several books of the Old Testament, which the Roman Catholic Church calls deuterocanonical books or those writings not recognized by the Jews or Protestants as part of the Old Testament, and are designated by them as Apocryphal books. According to the Saint Joseph Edition of the Holy Bible, “All of these books were recognized from the earliest times by the Church and were formally and definitely canonized by the Council of Trent (April 8, 1546) and it is an article of faith to believe that all these books were Divinely inspired.” The story of Tobias deals with the piety of the elder Tobias, who went blind. However, because of his steadfastness to the will of God, the Angel Raphael is sent to escort Tobias’ son, also named Tobias in search of a cure for Tobias’ blindness. With the angel’s help, the young Tobias catches a large fish and uses its oils to restore his father’s sight. The story of Tobias is one of fidelity to God in times of trouble, the protective nature of God, the devotion of a son to his father, and contains one of the most beautiful canticles of biblical literature.
The seventh window, a token of love to Christ from the school children of the parish, is a charming picture of what the gospel tells us of Jesus embracing and blessing the little ones. This gospel story is found in Saint Mark 10:13-16: “And they were bringing little children to him that he might touch them, but the disciples rebuked them. But when Jesus saw them, he was indignant and said to them, ‘Let the little children come to me, and do not hinder them, for of such is the kingdom of God. Amen I say to you, whoever does not accept the kingdom of God as a little child will not enter into it.’ And he put his arms about them, and laying his hands upon them, he began to bless them.”
The eighth window, donated by the Young Ladies’ Sodality, shows us the Archangel Gabriel announcing to the Blessed Virgin Mary that she is chosen to be the Mother of God. The Annunciation is one of the Joyful Mysteries of the Rosary, a devotional prayer. In the Gospel of Saint Luke, chapter one, verses 26-38, the angel Gabriel appeared to Mary and asked her to be the mother of God, the savior of His people. Without hesitation, Mary submitted to the will of God.
The sixteen windows in the dome, as also those in the clear-story, gallery and chapels, are very elaborate floral designs with emblems taken from the Holy Scripture.
Altars, Statues, And Other Features
In many respects, the traditional Catholic churches are great repositories of art. As the 1901 history notes:
The point to which the heart and eye of every true Catholic is irresistibly drawn on entering our churches, is the Altar, upon which our Blessed Savior dwells in our midst and daily offers himself for us to His Heavenly Father. Thither let us also first direct our gaze in view the beauties of the new church. The main altar, as also the four side altars, are the same that adorned the old church, but can scarcely be recognized again as such. The ground work of the altars is now a blending white, expressive of the purity of the spotless Lamb of God, to be offered daily on these altars. The carving is set forth in an ivory tint, touched lightly with gold. It is difficult to adequately describe the wood carving of these altars; the equal thereof will scarcely be found in the city. It is but just to record here the names of those whose skill we are indebted for these masterpieces of art: the Capuchin Brothers Eleutherius, Hilarion and Elzear. The beauty of the altars is enhanced also by the statuary. The center niche of the main altar is occupied by a statue of St. Augustine, to the right thereof is Archangel Raphael with Tobias, to the left St. Lawrence; on a pedestal on either side is a beautiful figure of an adoring angel. The side altars bear statues of the Blessed Mother of God, of St. Joseph, St. Francis, and St. Anthony, respectively.
Separating the sanctuary from the body of the church is the altar railing of pure Parvanazzo and Carrara Marble with brass gates. It is 94 feet in length and is one of the most handsome railings in the United States. This work of art was donated by Miss Roe Frauenheim in memory of the late Rev. Father Maurice, O.M. Cap., and of her deceased brother Aloysius are carved on pillars of Carrara marble supporting the center gates of the railing.
The decorating of the walls of the sanctuary is in keeping with this holy spot, from which the bread of life is offered to the faithful in sacrifice and in the preaching of the Word of God. The lower section is of a deep rose color, expressive of the love Christ shows us in this holy place. Above this arches arise, in which are portrayed on golden background the great Latin Fathers of the Church: St. Jerome, St. Gregory the Great and St. Ambrose. The fourth arch is given to Blessed Albertus Magnus, a statue of St. Augustine, the fourth great Latin Father, being on the main altar in the center. Bl. Albertus was the choice of Misses Emma and Catherine Wirth, who had these paintings executed by Arthur Thomas, New York, in memory of their deceased father Albert Wirth. The holy Fathers of the Church are aptly placed in the sanctuary as a proof that centuries have not changed the Church in doctrine or in sacrifice.
Above these pictures passes a stucco arcade, interrupted by six pendant posts bearing the ceiling arches that converge into a beautiful rosette above the center of the sanctuary. From this rosette is suspended a grand sanctuary lamp, which burns day and night, a silent, yet eloquent sentinel before the tabernacle in which our Savior dwells.
In 2003 the parish pastor, Father John Daya secured a grant of $5,000 from the Pittsburgh History and Landmarks Foundation for the restoration and refinishing of woodwork for the central altar.
The 1901 dedication book also notes:
The same may be said regarding those other gems of art placed between the lower windows: the Stations of the Cross. Unpretentious at first glance, the critic soon finds in each of the fourteen pictures a masterpiece of finest oil painting. These pictures with their tasteful frames were donated by Mrs. Regina Frauenheim.
The purpose of the Stations of the Cross is to remind the Christian of the sufferings and death of Christ during the ordeal of His horrible crucifixion. This is a favorite devotional meditation, especially during the Lenten Season or the six weeks prior to Easter. Subject matter of the fourteen paintings are: (1) Jesus is condemned to death, (2) Jesus is made to carry the cross, (3) Jesus falls for the first time, (4) Jesus meets His mother, (5) Simon of Cyrene helps Jesus carry the cross, (6) Veronica wipes the face of Jesus, (7) Jesus falls for the second time, (8) Jesus speaks to the women of Jerusalem, (9) Jesus falls for the third time, (10) Jesus is stripped of his clothing, (11) Jesus is nailed to the cross, (12) Jesus dies on the cross, (13) Jesus is taken down from the cross, and (14) Jesus is laid in the tomb.
Again one must turn their attention to the magnificent altars and to the significance of the saints honored. Since the lives of Tobias, Augustine, Francis, and Anthony are discussed elsewhere in this study, one must turn his attention to the other noted personages venerated in the Roman faith.
One statue on the main altar depicts Saint Lawrence, who was a deacon in Rome and martyred by the emperor for refusing to turn over the church treasury upon the emperor’s demand. Tradition has it that Lawrence sold the church’s belongings and donated the money to the poor. He asked the emperor to grant him three days to round up the church’s treasures; then three days later appeared before the emperor with the poor, the blind, the sick, and the unfortunate, whom he termed “the treasures of the church.” Furious at this act of insubordination, the emperor ordered Lawrence put to death over a red-hot griddle. In spite of the tremendous pain, Lawrence joked that he was broiled enough on one side and that it was time to turn him over. It is widely held that his death ended paganism in Rome.
Mary, Mother of God, is the most revered woman in history because of her fidelity to God’s will. Although well documented in the bible, most references to her disappear after the crucifixion. Tradition has it that she died around A.D. 48, but it is disputed whether she died in Jerusalem or Ephesus. Catholic doctrine holds that she was taken body and soul into heaven, and the Church celebrates this Feast of the Assumption of Mary on August 15th. In May of 1944, Pope Pius XII dedicated the whole human race to Mary under the title of the Immaculate Heart of Mary. The most interesting feature of the Blessed Mother altar in Saint Augustine Church is that the statue is reminiscent of several titles bestowed on Mary by Holy Mother the Church, namely “Queen of Heaven and Earth,” “Mother of God,” and “Queen of the Most Holy Rosary.”
Many Catholic churches honor Saint Joseph with a statue, while Saint Augustine Church pays tribute to the foster father of Jesus with an altar. While Joseph is document in the New Testament, we know very little of this pious man other than he was a carpenter and devoted his life to Mary and Jesus. Tradition has it that Joseph died before Jesus began his public ministry. (The death of Saint Joseph is beautifully illustrated in another Lawrenceville church – Holy Family – on 44th Street, which is also part of Our Lady of the Angels Parish). In 1870 Pope Pius IX declared Saint Joseph “Patron of the Universal Church.” He is also revered as patron of fathers and workers. This statue depicts Joseph holding a flowered staff. An interesting legend holds that Mary had many suitors. So she prayed for a sign to help her pick the right one. Thus, each man was instructed to leave behind his staff. The next day, Joseph’s staff blossomed with a beautiful flower to signify his righteousness. The Eastern tradition based largely on the apocryphal Photoevangelium of James – which is not recognized as a sacred writing in the Western Church – holds that Joseph was an elderly man when he married Mary. The writers of sacred scripture were purposely evasive about Joseph because they wanted to make it clear that the first person of the Blessed Trinity was the father of Jesus, while Joseph assumed the role as foster father.
The 1901 account mentions that the images of Saints Maurice and Aloysius are carved in the marble altar or communion railings that separate the sanctuary from the major portion of the edifice. According to Delancy’s Dictionary of Saints, “Maurice (d.c. 287), an officer of the Theban Legion of the Emperor Maximian Herculius’ army, which was comprised of Christians from Upper Egypt, and his fellow legionnaires refused to sacrifice to the gods as ordered by the Emperor to insure victory over the rebelling Bagaudae . . . Maximian had the entire legion of over six thousand men put to death.” This source further contends, “Their story was told by St. Eucherius, who became bishop of Lyons about 434; but scholars doubt that an entire legion was massacred but then there is no doubt that Maurice and some of his comrades did suffer martyrdom at Agaunum.”
The second saint depicted on the communion railing is that of Saint Aloysius Gonzaga (1568-1591), a Jesuit, who was known for his great practices of austerity and teaching catechism to the poor of Castiglione. He died while ministering to the victims of a plague in a hospital opened by the Jesuits. Pope Benedict XIII declared him patron of young students, and Pope Pius XI gave him the title of patron of Catholic youth.
According to Reverend Maurice Shean, the church also houses a statue of Saint Conrad, a hermit of the Third Order of St. Francis. A member of a noble family, Conrad was responsible for accidentally starting a fire, which destroyed surrounding fields and forests. When a merchant was accused of setting the fire and condemned to death, Conrad confessed. To make reparations for the damages, he was ordered to sell all of his properties, which reduced him to poverty. As penance, Conrad opted to become a hermit, where he spent the rest of his life in severe austerity.
Central to Catholic belief is the doctrine of Transubstantiation, which holds that once consecrated by a priest, ordinary bread and wine actually becomes the Body and Blood of Christ, His Soul and Divinity. Therefore, it is only appropriate that the transformed host or “Real Presence of Christ” be kept in a special repository called the tabernacle. In “A Note From Our Pastor,” which appeared in the February 6, 2005 bulletin of Our Lady of the Angels Parish, Reverend John Daya, ofm Cap., wrote, “You will notice that the tabernacle in St. Augustine church was moved from the side altar back to the main altar, the architecture of St. Augustine church call for the positioning of the tabernacle there.”
The Paintings
There are a number of interesting paintings on the walls of Saint Augustine Church. The most definitive source on the paintings appeared in the parish magazine, “The Augustine,” (circa) June 1974, in an article written by Father Mel Heintel, who was highly regarded as one of Lawrenceville’s historians. On June 3, 2004, verbal permission from Father John Daya, pastor of Our Lady of the Angels Parish, was secured to reproduce the article in its entirety for the purpose of this project of documenting the artistic heritage of Saint Augustine Church.
I don’t know whether you noticed the paintings of Saint Augustine’s. Like the windows, they are just there, but I would like to call your attention to them.
The Sanctuary Wall is painted in rose color - expressive of the love of Christ. Along the Sanctuary Walls are the great Latin Fathers of the Church – St. Jerome, St. Gregory the Great, and St. Ambrose. The reason St. Albert the Great’s picture was painted is because the fourth great Latin Father, St. Augustine has his statue in the Sanctuary.
· St. Jerome, died 420
Doctor of the Church
He was a translator of the Bible and director of souls. Jerome spent much of his life as a hermit in Bethlehem. Appealed to by rival Bishops in a theological controversy, he would not trust his own judgment. He wrote for instance to St. Gregory the Great. To the Holy Father, he said: “I am joined in communion with your holiness, i.e., the throne of Peter. Upon this Rock the Church is built. . . whoever is not in the ark will perish in the flood.”
· St. Ambrose – Bishop of Milan
Doctor of the Church
First as a barrister, then a governor of the province. Ambrose was providentially designated Bishop of Milan by the voice of a child while still a Catechumen. He won the confidence of the Emperor, and laid down the broad lines of conduct which they and their successors were to observe towards Christ. . . “What was the purpose of the Incarnation but this . . . that the flesh which had sinned would be redeemed by itself.”
· Gregory the Great
Pope 60
One day walking through the Roman Market, Pope Gregory noticed the golden-haired fair-complexioned boys up for sale and inquired about their nationality. “Angels,” was the reply. “They are well named for they have angels’ faces, and it is right that they should be companions of the angels in heaven.” Learning they were pagans, he asked what province they were from: “Deira – De Ira from Anger.”
“Yes, indeed,” Gregory said, “they shall be saved from God’s anger and called to the mercy of Christ. What is the name of the King of that country? Aella. Then must be Allelujas be sung in Aella.” And Gregory began to work for the conversion of England.
· St. Albert the Great, Bishop of
Regensberg – Doctor of the
Church, died 1280
An authority on Physics, Geography, Astronomy, Minerology, Chemistry, Physiology and Law, this Dominican trained St. Thomas Aquinas and laid the foundation for the Summa Theologia.
Next we have the stationed oil painted- unpretentious at first sight but masterpieces of oil painting. These were donated by Regina Frauenheim.
The four great triangles sloping between the arches and pillar beneath the great dome all are filled in by excellent paintings of the four Evangelists – Matthew, Mark, Luke, and John. Two of the paintings were donated by Michael Letzelter.
· St. Matthew – Apostle and
Evangelist- 1st Century
“As he passed further on his way, Jesus saw a man named Matthew sitting at the Customs House and said to him: ‘Follow Me,’ and Matthew rose from his place and followed Him.”
· St. Luke – First Century
A physician in Antioch and a companion and convert of Paul, and afterwards gathered information from the lips of the Apostle. Wrote the Grape of Mercy and Redemption.
· St. Mark – Companion of St.
Peter – Evangelist – 1st Century
The Church of Alexandria claims Mark as its first Martyr, but his body was translated to Venice in the ninth century. It is Mark who represents for us the very sounds of Our Lord’s voice, works, by which the dumb were made to speak and the dead to rise.
· St. John the Evangelist – Apostle
Died 100
A fisherman of Galiliee, brother of St. James the Greater, and the disciple whom Jesus loved. “I wrote of what we have heard, what we have seen with our eyes, what we have looked upon and our hands have handled of the World of Life.”
One day when I was out a woman asked what happened to the painting over the altar niches above the side altar. They were either erased or painted over – two mural paintings 20 x 15 feet in size, the one the gift of the Third Order, representing the Seraphic St. Francis receiving the Stigmata – the wounds of Christ; the other donated by the Confraternity of Christian Mothers represents St. Monica kneeling on the shore pleading for her son who had just left her by the ship you could see in the distance. Christ appears and reveals to the afflicted mother the conversion and future greatness of her son, St. Augustine. Below these two pictures were smaller pictures of angels – the one bearing a chalice – the other a host.
· The Impression of the Stigmata
of St. Francis, died 1224
“The hands and feet of Francis,” says a contemporary writer, seemed pierced in the middle by nails, the heads of the nail appearing n the inner part of the hands and in the upper part of the feet and their prints over against them. Now these marks were round on the inner side of the hands and elongated on the outer side and certain small pieces of flesh were seen like the ends of nails bent and driven back projecting form the rest of the flesh. Moreover, his right side, as if it had been pierced by a lance was overlaid with a scar and often shed blood.”
Then near the former baptistery and over the entrance to St. Anthony’s Chapel are two paintings in the grandeur of conception and exactness of execution. The paintings above the former baptistery are a memorial to the late Peter and George Schott, and illustrates the passage of the Old Law and the acceptance of the New. The blindfolded woman is the personification of the Jewish Church, who blinded by painful refused to acknowledge Jesus as the Messiah. She is sitting in darkness and morning amid the ruins of the Temple of Jerusalem seen in the background. Her altar is desecrated; her sacrifice rejected; and, therefore, the seven-armed candlesticks that once shed light at her worship, lie extinguished and useless at her feet. Rejected by him, whom she has ignored and forsaken, the law of God on the tables of stone upon her arm are to be a heavy burden. Yet gladly is this law accepted by the pure spouse of Christ, sitting on a flood of light on the right hand, with the glittering Church founded upon the rock, in the back ground. From the torch of Truth, at her side she receives wisdom and obtains strength in gathering into a chalice the life-giving blood flowing from the wounds of Christ handing upon the Cross which is supported by the heavenly Father, while the Third Person of the Blessed Trinity appears above all in the form of a dove – worshipping angels hover in the clouds at either side of the Blessed Trinity. (This portion of Fr. Mel’s article was the description of the painting as it appeared in the 1901 Souvenir Book. The 1901 text added, “The significance of this picture is rendered more striking by its position immediately above the entrance to the Baptistery; for in Baptism, which will henceforth be administered in this neat side chapel, blindness is taken from our soul and the fruits of redemption applied for our salvation in the name of the Holy Trinity. Above the entrance to the Baptistery are the words: Fons vivus, Aqua regenerans (living fountain, regenerating water). These words are taken from the solemn blessing of the baptismal water preserved in the neat white and gold font in the Baptistery. Entering this chapel we are awed by the splendor of the decorations in scroll and emblems on the ceiling thereof. On the frieze encompassing the chapel we read in Latin the test: ‘Going, therefore, teach ye all nations; baptizing them in the name of the Father, and of the Son, and of the Holy Ghost.’ – (Matthew 28:19).”
On the opposite side, we have St. Anthony kneeling before the Blessed Mother and Jesus. Our Lord grants favors through St. Anthony.
The marble altar with the mosaic of St. Anthony in the chapel, was donated by the Stephen Schultis Family. The mosaic was done in the Art Studio at Venice.
While writing this article, Fr. Mel discovered angels in the sanctuary ceiling. He also had no notion of when the paintings were done in the church on the life of St. Francis on the nave ceiling. So Fr. Mel wrote to Fr. Alfred in St. Louis, Missouri, and received this reply on May 10, 1974.
“Dear Fr. Mel:”
“In answer to your letter: The Paintings on the ceiling were done by Rambusch Decorating Co., so I was told. When I came to Pittsburgh in 1956, they were so covered with dust that I did not know that they were up there. When we made the contract for the repainting of the church, we had planned to paint the ceiling all one color, but when the cleaners took off the dust, we discovered the paintings – the life of St. Francis. I had to go to the Bishop to get permission to increase the cost of the remodeling. It was the same thing with the decorating on the ceiling of the sanctuary. I thought that wither Fr. Florence or Fr. Gilbert Stickelmeier was the pastor when Rambusch did the work.
“Now about the paintings above the side altars in the nave of the church, I thought that they were done on canvas and the canvas was removed, but I am not sure. As far as I remember, Fr. Ignatius told me that Fr. Gilbert was the pastor when the paintings were done. I was very much disturbed when I noticed that they were removed from the side altars.
“This is all that I know about the beautiful painting on the ceilings, also about the canvas work.”
This concludes our article on the Church Paintings.
In the 1974 account, Father Mel alluded to the two lost murals. Again one must turn to the 1901 dedication book for a detailed account of these paintings:
The beauty of the windows and station pictures is heightened by the mild tint of the frescoing. Mr. Nicholas Mangold, the artist to whose taste and skill the decorating of the church had been entrusted, has fully shown, the trust was not misplaced. The ground of pale green with scrollwork, floral designs and emblems, is rich, not gaudy, tending to embolden, not to suppress or alter, the noble lines in the architecture.
The tasteful simplicity of the frescoing has been used to advantage by assigning conspicuous point to grant mural paintings by the able brush of Arthur Thomas. The four great triangles sloping between the arches and pillars beneath the grand dome are filled by excellent pictures in heroic size of the four Evangelists, Matthew, Mark, Luke and John. Two of these paintings were donated by Michael Letzelter. In the arches above the altar-niches in the transept are two mural paintings 20 x 15 feet in size, the one, a gift of the Third Order, representing the Seraphic St. Francis receiving the impression of the wounds of Christ; the other, donated by the Confraternity of Christian Mothers, represents St. Monica kneeling on the seashore and pleading for her son who just left her by the ship we see in the distance. Christ appears on high and reveals to the afflicted mother the conversion and future greatness of her son, St. Augustine. Below these two pictures are smaller paintings of angels, the one bearing a chalice, the other a host.
Saint Anthony’s Chapel
There are many wonderful artistic treasures hidden in the Lawrenceville churches. One of the most unique chapels of devotion is tucked away in a rear corner of Our Lady of the Angels’ Saint Augustine Church.
Credited with working miracles, Saint Anthony of Padua is one of the best-known Franciscan saints. Although born into a wealthy family, Anthony accepted material poverty and stored up a treasure of spiritual wealth. He was credited with being a great preacher and dynamic missionary, whose zeal for God’s word and love brought many sinners throughout Italy and France back to God.
Anthony was so fervent in his prayer life and meditation that the Infant Jesus appeared to him, embraced him, and kissed him. The pious priest died in 1231 at the age of 36. Among the many titles bestowed upon Saint Anthony by the Roman Catholic Church are “Glory of the Orders of Friars Minor,” “Pillar of the Church,” “Worthy Priest of God,” and “Guide of the Erring.”
When the 37th Street edifice was completed in 1901, a dedication souvenir book was issued. The text of this May 12, 1901, document reads, “Here at the rear of the side nave is St. Anthony’s Chapel. Above the entrance thereto is the other great mural painting referred to above, a gift of a member of the Third Order of Saint Francis. The painting is an illustration to the famous responsory of St. Bonaventure in honor of St. Anthony. In the lower section of the picture we see the saints afflicted clients calling for help, while in the clouds above we behold St. Anthony with the bunch of spotless lilies, an emblem of his angelic purity of life, kneeling in supplication for them before the Child Jesus standing on His Blessed Mother’s knee. The Divine Infant looks with pity upon the misery below and stretches forth both arms, as though granting all the prayers of His favorite. Above the entrance to the chapel we read the invocation: Sancte Antoni, ora pro nobis! (Saint Anthony, pray for us!) The chapel is intended for private devotions to the great St. Anthony of Padua and to the Mother of Sorrows. It is divided into two parts by a handsome railing of brass and onyx, presented by Mrs. Margaret Gruber in memory of her beloved son, the late Edward Gruber. Within the railing is a costly shrine of white and yellow marble, upon which is placed a most artistically finished mosaic picture of Saint Anthony from the renowned Mosaic Art Studio at Venice, Italy. Shrine and picture are donated by the Stephen Schultis family. At either side of the shrine is a large reliquary of onyx and brass, in which are numerous and rare sacred relics of the saints. On reliquary is a memorial to the late Andrew L. Reiman by his children, the other is a gift of Mrs. Mary Hager. Outside the railing is a beautiful Pieta, or the statue of Our Lady of Sorrows, a gift of the Confraternity of Christian Mothers.”
Concluding Remarks
Although this brief study looked at the art and architecture of Our Lady of the Angels’ Saint Augustine Roman Catholic Church, the entire history of both Saint Augustine and Our Lady of the Angels parishes warrant closer examination because of the profound effect the institution exerted on the community. In commemorating the 1,650th anniversary of the birth of Saint Augustine, the November 26, 2004 edition of the Pittsburgh Catholic featured a picture of the statue of St. Augustine over the entrance of the Lawrenceville church. It also noted that in honor of the occasion, the last of the sixty volumes in the complete works of Augustine were published in a bilingual Italian-and-Latin edition. The article further contended that the Capuchin friars gathered on August 28, 2004 in Lawrenceville to celebrate the event. Thus, just as the saint inspired intellectual thought, the church at 37th and Bandera Streets in his honor inspires awe and appreciation for magnificent art and architectural beauty.
Sources
Bartos, Patricia, “Saint Augustine Attracts Faithful,” Pittsburgh Catholic, November 26, 2004, page 5.
Borkowski, Joseph A., “Historical Highlights and Sites of the Lawrenceville Area,” manuscript.
Delaney, John J., Dictionary of Saints, Garden City, NY: Doubleday and Company, Inc., 1980
Heintel, Rev. Mel, “The Paintings of Saint Augustine’s,” The Augustine, June 1974, pp. 10 – 12
Kidney, Walter C., Pittsburgh’s Landmark Architecture, Pittsburgh: Pittsburgh History and Landmarks Foundation, 1997
Lichty, Vance E., Editor, The Catholic Devotional, Oakdale, MN: The Apostolic Publishing company, 1999
Lovisik, Rev. Lawrence G., S.V.D., Treasury of Novenas, New York: Catholic Book Publishing Co., 1970
McBrien, Richard P., Lives of the Saints, New York: HarperCollins Publishing, Inc., 2001
Our Lady of the Angels Parish Bulletin, December 26, 2004
Our Lady of the Angels Parish Bulletin, February 6, 2005.
Pittsburgh History and Landmarks Foundation Historic Religious Properties Grant Activity 1994-2005.
Saint Augustine Church, May 12, 1901 (Dedication Souvenir Book)
Saint Joseph Edition of the Holy Bible, New York: Catholic Book Publishing Company, 1963
St. Augustine Church – Capuchin Franciscan Friars
St. Augustine Parish 125th Anniversary 1863-1988
St. Augustine Parish History 1863- 1938 (Diamond Jubilee Book)
Szarnicki, Rev. Dr. Henry A., Michael O’Connor: First Bishop of Pittsburgh 1843-1860, Pittsburgh: Wolfson Publishing Co., 1975.
Toker, Franklin, Pittsburgh: An Urban Portrait, The Pennsylvania State University, 1986.
Van Trump, James D. and Arthur P. Ziegler, Jr., Landmark Architecture of Allegheny County, Pennsylvania, Pittsburgh: Pittsburgh History and Landmarks Foundation, 1967
|
