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Saint Jean Baptiste Catholic Church

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Saint Jean Baptiste Oak Pews<br /> <br /> I was attracted to the detailed carvings in the solid oak pews. They look old and I assume that all of the carvings were done by hand.
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Saint Jean Baptiste Oak Pews

I was attracted to the detailed carvings in the solid oak pews. They look old and I assume that all of the carvings were done by hand.

JeanBaptisteCatholicchurchoakpews

  • Saint Jean Baptiste Catholic Church <br><br> Saint Jean Baptiste Church is a spectacular Roman Catholic church on the Upper East Side of Manhattan, at 76th Street and Lexington Avenue. The church has one of the best <a href="http://stjeanbaptisteny.org/"> websites</a> I have seen with substantial detail on the history and architecture of the church. I summarized information from the website in this gallery. <br><br> I took this photo of the festively decorated high altar during the Christmas season 2012. I took three exposures at f5.6, 100 ISO, with shutter speeds ranging from 0.8-13 seconds with a Canon 17-55mm lens. Post-production, I used an HDR process for one exposure and laid that exposure on a properly exposed photo in Photoshop Elements. I then adjusted the opacity slider to achieve the right mix of the two exposures. <br><br> Early History of Saint Jean’s <br><br> In the early 1800s, about 10,000 of the 90,000 people living in New York City were French-speaking. Among the French in New York City, Catholics were in the minority as most were Huguenots, émigrés of the French Revolution. Bishop de Fobin-Janson, on a missionary tour to the U.S. for the Fathers of Mercy, encouraged the French living in New York to start a church as had the Irish and Germans. The community responded by opening the Church of Saint Vincent de Paul in 1842 on Canal Street. <br><br> The congregation grew and moved to 23rd Street in 1868. However, the growing French-Canadian community in the Yorkville section found it difficult to make the trip downtown either by slow moving horse-drawn trolley or the more expensive Harlem Railroad. A French missionary, Father Nicholas, believed that services closer to Yorkville would be beneficial to the community, similar to what the Jesuits formed at what is now Saint Ignatius Loyola for Yorkville’s German population. The church received support to establish a national parish; a meeting of the Societe Saint Jean Baptiste was held and $12 was collected. “This was just a drop, one might say, but the first drop of a rising tide of generosity that has never failed to flow from the parishioners and friends of Saint Jean Baptiste since that historical meeting in 1881,” according to the church website. This meeting is considered as the beginning of the church. <br><br> The congregation established a chapel in a rental hall above a stable on East 77th Street. Because of the noise and odor from the horses, this place of worship was called the “Crib of Bethlehem.” <br><br> Old Saint Jean’s Building <br><br> A more permanent site was needed and the church was able to raise $14,000 to buy property at East 76th Street between Lexington and Third Avenues. Napoleon Lebrun designed the church, a simple Gothic style 100 feet long and 41 feet wide with seating capacity of 600. Ground was broken in 1882. <br><br> Saint Jean Baptist was a success from the start as it drew large numbers of French Catholics and Catholics from other nationalities, possibly due to the convenient location near 5th Avenue; many church members were servants to wealthy residents of 5th Avenue who found it convenient to worship before reporting to work at an early hour. <br><br> In 1886, nuns from the Congregation de Notre Dame, founded in colonial Montreal in the mid-17th century, established an elementary school. The school operated until 1969 when it was closed due to changing religious demographics of the neighborhood. The high school was opened in 1929 and continues to operate. The sisters are a familiar and beloved presence and are involved in many parish and Archdiocesan ministries, according to the website. <br><br> Saint Anne Comes to Saint Jean’s <br><br> In 1892 an unexpected event would enhance the prominence and popularity of the church-it became the shrine of Saint Anne. A Canadian priest, Father J.C. Marquis, unexpectedly arrived at the church on May 1, 1892 needing a place to stay. He carried a relic (piece of bone) of Saint Anne, which Pope Leo XIII had personally obtained from the Abbot of Saint Paul in Rome. Monsignor Marquis was bringing the relic to Quebec. The pastor at Saint Jean asked Marquis to expose this sacred treasure to the parishioners during the vespers that evening. He agreed. The news that the relic was to be exposed spread rapidly and a large crowd filled the church that evening. When the relic touched a man having an epileptic fit, his convulsions ceased. Miraculous or not, the apparent miracle was widely reported and even more showed up, with many expecting cures of their ailments. The church asked Marquis to continue the exposition of the relic; against his will but reluctant to disappoint the hopes of the pilgrims, he agreed to extend his stay in New York. Estimates of the number of people visiting Saint Jean’s during May 1892 was 200,000-300,000, some from as far as New England and Mid-Atlantic States. Despite the popularity of the relic, Marquis left for Canada on May 20. Marquis, impressed by the devotion of the crowds, he returned in July. More crowds came, more miracles were reported and Marquis reported favorably on this to the pope. As a result, he was able to make a return trip to the shrine of St. Anne in France, and brought a relic back specifically for Saint Jean Baptiste. <br><br> Blessed Sacrament Comes to New York <br><br> Eliza Lummis, a wealthy Catholic activist brought the Congregation of the Blessed Sacrament, an international religious order of priests, brothers, and deacons founded by St. Peter Julian Eymard in Paris in 1856, to New York in 1900. Eymard’s mission was to encircle the globe with a network of Eucharistic centers or shrines. Blessed Sacrament priests were unable to find a center for their work, but often attended Mass and resided at the St. Jean Baptiste rectory. One day, the pastor joked to the Blessed Sacrament priests that if they could not find a church, he would just have to give them his. That remark got back to Archbishop Corrigan, who informed Saint Jean Baptiste's pastor the next day that he would take over Saint Jean’s, putting the church under the Congregation of the Blessed Sacrament's control. <br><br> New Saint Jean’s Building <br><br> Prominent financier Thomas Ryan was a frequent visitor to Saint Jean’s. as he preferred the more humble church to the more imposing structures near his 5th Avenue home. He attended mass frequently; he was late one day and had to remain standing during the Mass in the overcrowded church. During the Mass, the priest asked the prayers for the erection of a new church. After Mass, Ryan approached the priest and asked how much would it cost to build a new church. The answer was at least $300,000; Ryan immediately agreed to finance the project. <br><br> The site of the new church is the current location at East 76th and Lexington Avenue. Ryan took an active interest in the construction of the church, eventually contributing $600,000. Nicolas Serracino designed the church and won first prize in the International Exhibit at Turin Italy in 1911. It was designed in the Italian Renaissance classical revival style, with twin towers of 150 feet rising above the façade and a central dome soaring 175 feet above the floor level of the church. The blessing of the cornerstone ceremony took place in April 1912 as 9,000 people looked on. The opening of the lower church took place in February 1913. The upper church was dedicated in January 1914. <br><br> Saint Jean’s Today <br><br> Currently, Saint Jean’s has many ministries and programs. The congregation is a member of the Yorkville Common Pantry and the Neighborhood Coalition for Shelter. Saint Jean Baptiste High School for girls celebrated its 80th anniversary in 2009. The church runs the school in conjunction with the sisters of the Congregation de Notre Dame. Students come from throughout the city’s five boroughs. The church has a music ministry and two choirs led by its organist.
  • Saint Jean Baptiste Catholic Church Dome and Vaulted Ceiling <br><br> From the<a href="http://stjeanbaptisteny.org/History/Architectural-Tour"> Saint Jean Baptiste website,</a> number 10: <br><br> "Rising high above the floor of the nave, the dome and the vaulted ceiling presented many challenges to the restorers in the late 1990s, not the least of which was the choice of colors. Ultimately, fifteen colors were chosen: blues, browns, golds, greens, and purples, all derivative of the permanent features of the church. <br><br> The ceiling is adorned with six illusionistic panels that open to the sky as the realm of God. The ornate plasterwork along the bands of the ceiling includes various symbols of the Eucharist and heavenly abundance (wheat, grapes, peacocks, and cornucopia). Ceiling wreaths laden with fruit echo these themes. The cornice, which wraps around the church just above the pillars, is decorated with acanthus leaves and florets and with cameo portraits of the founders of the two religious orders that serve Saint Jean Baptiste ― Saint Marguerite Bourgeoys of the Congregation of Notre Dame and Saint Peter Julian Eymard of the Congregation of the Blessed Sacrament. Excerpts from the Latin text of Saint Thomas Aquinas’ stirring Eucharistic hymn, Lauda Sion, in elegant gold lettering, encircle the seating area and the sanctuary."
  • Saint Jean Baptiste Catholic Church Dome and Vaulted Ceiling <br><br> The ceiling at Saint Jean's is spectacular and a number of my photos emphasize the upper levels of the church. The massive ceiling is beautifully done in bright colors with ornate plasterwork throughout. This photo a panorama consisting of three stitched exposures using a Canon 10-22mm lens at 10 mm (16mm with 1.6X crop factor) mounted on a tripod near the floor at f6.3, 100 ISO, 5 seconds. <br><br> From the<a href="http://stjeanbaptisteny.org/History/Architectural-Tour"> Saint Jean Baptiste website,</a> number 10: <br><br> "Rising high above the floor of the nave, the dome and the vaulted ceiling presented many challenges to the restorers in the late 1990s, not the least of which was the choice of colors. Ultimately, fifteen colors were chosen: blues, browns, golds, greens, and purples, all derivative of the permanent features of the church. <br><br> The ceiling is adorned with six illusionistic panels that open to the sky as the realm of God. The ornate plasterwork along the bands of the ceiling includes various symbols of the Eucharist and heavenly abundance (wheat, grapes, peacocks, and cornucopia). Ceiling wreaths laden with fruit echo these themes. The cornice, which wraps around the church just above the pillars, is decorated with acanthus leaves and florets and with cameo portraits of the founders of the two religious orders that serve Saint Jean Baptiste ― Saint Marguerite Bourgeoys of the Congregation of Notre Dame and Saint Peter Julian Eymard of the Congregation of the Blessed Sacrament. Excerpts from the Latin text of Saint Thomas Aquinas’ stirring Eucharistic hymn, Lauda Sion, in elegant gold lettering, encircle the seating area and the sanctuary."
  • Organ by Murray Harris, Restored by Wicks Organ Company <br><br> From the<a href="http://stjeanbaptisteny.org/History/Architectural-Tour"> Saint Jean Baptiste website,</a> number XX: <br><br> The choir contains the console which controls the Murray Harris/Wicks pipe organ in the upper balcony, a generous gift of the church’s donor, Thomas Fortune Ryan. Built in 1913, it is perhaps the last instrument designed by Murray Harris. In November 1999, the Wicks Organ Company of Highland, Illinois, was contracted to rebuild, augment, and update the organ which had become unplayable in the 1990s. The project cost in excess of one million dollars. The Murray Harris/Wicks pipe organ was dedicated in February 2001 by Todd Wilson. It contains eleven divisions, playable from a four manual console; 122 stops, 71 ranks of pipes, 14 pipe extensions, 44 digital stops, 57 digital ranks, and a total of 4,204 pipes.
  • Saint Jean Baptiste Catholic Church Stained Glass Windows by Charles Lorin <br><br> From the<a href="http://stjeanbaptisteny.org/History/Architectural-Tour"> Saint Jean Baptiste website,</a> number 4: <br><br> "Saint Jean Baptiste features several sets of stained glass windows. The most important and visually dominant are the windows of the nave (including the apsidal chapels) and clerestory (second level). These beautiful windows were designed and crafted by the Chartres, France, atelier of Charles Lorin between 1914 and 1919. Due to the danger of shipping during World War I, they were kept in France and, therefore, not installed until 1920. Along with the Lorin windows in Saint Patrick’s Cathedral, these are the only examples in New York of the superb craftsmanship of this workshop. <br><br> Like most of the church’s decorative elements, the windows reflect the Eucharistic focus of Saint Jean Baptiste and the Congregation of the Blessed Sacrament. The nave windows depict events in the life of Christ (mostly on the north wall) and subsequent Eucharistic events or doctrines in the life of the Catholic Church (south wall). The clerestory windows depict Old Testament scenes that are pre-figurations of the events in the lower windows, once again with an emphasis on those that pre-figure the Eucharist. The forms and compositions of the designs may be traced to the great tradition of French classicizing history painting, from Poussin in the seventeenth century to nineteenth-century masters such as Ingres and his followers." <br><br> From the website of <a href="http://sjearchives.org/history-of-the-stained-glass-windows.php">Saint John the Evangelist Catholic Church in Green Bay, Wisconsin:</a> <br><br> “The “Lorin de Chartres” Studio or Atelier Lorin was founded by Nicolas Lorin (1815 – 1882), a master of painted and stained French art glass, in 1863. His wife, Madame Veuve Lorin and his son Charles Lorin (1874 – 1940) took over the studio upon Nicolas’ death. The Lorin Studio restored medieval glass and created many stained glass windows around the world including windows in St. Patrick’s Cathedral in New York, the Cathedral Notre Dame de Chartres in France, the Miracle of St. Nicolas in the Monaco Cathedral, and the Eglise Saint Jean Baptiste in New York. Today the Lorin Company is the oldest stained glass workshop in Chartres. Chartres is noted for its stained glass designs and is the home of Centre International du Vitrail Museum dedicated to stained glass technology. <br><br> Jacques-Louis David and Jean-August Ingres, two important French neo-classical painters who weren’t known for their religious works, influenced Nicolas and Charles Lorin but the inspiration might have come from their style. Charles Alexandre Crauk, a painter of religious and historical paintings and head of the Lorin drawing studio, was also influenced by the neoclassical style. The neoclassical artists were known for an artistic style that emphasized symmetry, austerity, clean lines, a revival of the classical themes of history and mythology, attention to detail, bold figures in sharp vibrant colors, and a quest for beauty. The neoclassical paintings had clear, bold outlines against pastel or darker back grounds, enhancing the important figures or groups within the scene. The effects of light were not a mere accident, in most cases, light signaled vitality, darkness represented death.”
  • Saint Jean Baptiste Catholic Church Stained Glass Windows by Charles Lorin <br><br> From the<a href="http://stjeanbaptisteny.org/History/Architectural-Tour"> Saint Jean Baptiste website,</a> number 4: <br><br> "Saint Jean Baptiste features several sets of stained glass windows. The most important and visually dominant are the windows of the nave (including the apsidal chapels) and clerestory (second level). These beautiful windows were designed and crafted by the Chartres, France, atelier of Charles Lorin between 1914 and 1919. Due to the danger of shipping during World War I, they were kept in France and, therefore, not installed until 1920. Along with the Lorin windows in Saint Patrick’s Cathedral, these are the only examples in New York of the superb craftsmanship of this workshop. <br><br> Like most of the church’s decorative elements, the windows reflect the Eucharistic focus of Saint Jean Baptiste and the Congregation of the Blessed Sacrament. The nave windows depict events in the life of Christ (mostly on the north wall) and subsequent Eucharistic events or doctrines in the life of the Catholic Church (south wall). The clerestory windows depict Old Testament scenes that are pre-figurations of the events in the lower windows, once again with an emphasis on those that pre-figure the Eucharist. The forms and compositions of the designs may be traced to the great tradition of French classicizing history painting, from Poussin in the seventeenth century to nineteenth-century masters such as Ingres and his followers." From the website of <a href="http://sjearchives.org/history-of-the-stained-glass-windows.php">Saint John the Evangelist Catholic Church in Green Bay, Wisconsin:</a> <br><br> “The “Lorin de Chartres” Studio or Atelier Lorin was founded by Nicolas Lorin (1815 – 1882), a master of painted and stained French art glass, in 1863. His wife, Madame Veuve Lorin and his son Charles Lorin (1874 – 1940) took over the studio upon Nicolas’ death. The Lorin Studio restored medieval glass and created many stained glass windows around the world including windows in St. Patrick’s Cathedral in New York, the Cathedral Notre Dame de Chartres in France, the Miracle of St. Nicolas in the Monaco Cathedral, and the Eglise Saint Jean Baptiste in New York. Today the Lorin Company is the oldest stained glass workshop in Chartres. Chartres is noted for its stained glass designs and is the home of Centre International du Vitrail Museum dedicated to stained glass technology. Jacques-Louis David and Jean-August Ingres, two important French neo-classical painters who weren’t known for their religious works, influenced Nicolas and Charles Lorin but the inspiration might have come from their style. Charles Alexandre Crauk, a painter of religious and historical paintings and head of the Lorin drawing studio, was also influenced by the neoclassical style. The neoclassical artists were known for an artistic style that emphasized symmetry, austerity, clean lines, a revival of the classical themes of history and mythology, attention to detail, bold figures in sharp vibrant colors, and a quest for beauty. The neoclassical paintings had clear, bold outlines against pastel or darker back grounds, enhancing the important figures or groups within the scene. The effects of light were not a mere accident, in most cases, light signaled vitality, darkness represented death.”
  • Saint Jean Baptiste Catholic Church Nave and High Altar <br><br> This is a panorama resulting from two stitched photos in Photoshop Elements. I used an HDR processes on both and laid the HDR version on top of the properly exposed version in Photoshop. I then adjusted the opacity slider to achieve the desired result. <br><br> From the<a href="http://stjeanbaptisteny.org/History/Architectural-Tour"> Saint Jean Baptiste website,</a> number 7: <br><br> "From any point in the church, our eyes are inevitably drawn to the high altar. Constructed mostly of fawn-colored marble, it rises to some 50 feet, a height surpassing the cornice of the apse, with a base extending 26 feet in width. The altar was made in Italy and assembled in the church by craftsmen who came to New York for this purpose."
  • Saint Jean Baptiste Catholic Church Dome and Vaulted Ceiling <br><br> From the<a href="http://stjeanbaptisteny.org/History/Architectural-Tour"> Saint Jean Baptiste website,</a> number 10: <br><br> "Rising high above the floor of the nave, the dome and the vaulted ceiling presented many challenges to the restorers in the late 1990s, not the least of which was the choice of colors. Ultimately, fifteen colors were chosen: blues, browns, golds, greens, and purples, all derivative of the permanent features of the church. <br><br> The ceiling is adorned with six illusionistic panels that open to the sky as the realm of God. The ornate plasterwork along the bands of the ceiling includes various symbols of the Eucharist and heavenly abundance (wheat, grapes, peacocks, and cornucopia). Ceiling wreaths laden with fruit echo these themes. The cornice, which wraps around the church just above the pillars, is decorated with acanthus leaves and florets and with cameo portraits of the founders of the two religious orders that serve Saint Jean Baptiste ― Saint Marguerite Bourgeoys of the Congregation of Notre Dame and Saint Peter Julian Eymard of the Congregation of the Blessed Sacrament. Excerpts from the Latin text of Saint Thomas Aquinas’ stirring Eucharistic hymn, Lauda Sion, in elegant gold lettering, encircle the seating area and the sanctuary."
  • Saint John the Baptist Statue <br><br> From the<a href="http://stjeanbaptisteny.org/History/Architectural-Tour"> Saint Jean Baptiste website,</a> number 3: <br><br> "Upon entering the main body of the church from 76th Street, one is immediately greeted by an imposing statue of the parish patron, the prophet John the Baptist. Possibly the finest sculpture in the building, it was moved to its present location from the lower church (now the Saint Jean Baptiste Community Center). The Baptist is clothed in camel's hair and holds a cruciform staff, with a lamb at his feet. John called Jesus the "Lamb of God who takes away the sin of the world" (John 1:29)."
  • Saint Jean Baptiste Catholic Church Mosaic <br><br> From the<a href="http://stjeanbaptisteny.org/History/Architectural-Tour"> Saint Jean Baptiste website,</a> number 5: <br><br> "The fourteen Stations of the Cross ― devotional images for contemplating the redemptive passion and death of Jesus ― are situated on the north and south walls of the church. These beautiful mosaic tableaux, framed in marble, offer a display of rare artisanship. The traditional figures and groups are executed in dominant green tones offset by bright reds and soft browns. The Gorham Company of New York designed and produced each station."
  • Altar of Saint Joseph <br><br> From the<a href="http://stjeanbaptisteny.org/History/Architectural-Tour"> Saint Jean Baptiste website,</a> number 13-16: <br><br> The statue at the Altar of Saint Joseph is also of Carrara marble and is believed to be of the same provenance as the statue of Our Lady. In a very subtle fashion, the infant Jesus points to Saint Joseph, while Joseph, with his left hand, simultaneously holds a stem of lilies and points to his foster son.
  • Saint Jean Baptiste Catholic Church
  • Shrine of Saint Peter Julian Eymard <br><br> From the<a href="http://stjeanbaptisteny.org/History/Architectural-Tour"> Saint Jean Baptiste website,</a> number 13-16: <br><br> "The altar to the right of Saint Joseph’s Altar contains the shrine of Saint Peter Julian Eymard (1811-1868), the founder of the Congregation of the Blessed Sacrament. Under the statue of Saint Peter Julian where the tabernacle is usually located, a specially designed receptacle encloses a reliquary containing the right arm humerus bone of the saint. The relic was brought from Paris to Saint Jean Baptiste by the Very Reverend Vincenzo Di Lorenzo, Consultor General of the Blessed Sacrament Congregation."
  • Altar of the Blessed Virgin <br><br> From the<a href="http://stjeanbaptisteny.org/History/Architectural-Tour"> Saint Jean Baptiste website,</a> number 13-16: <br><br> "The statue at the altar of the Blessed Virgin depicts Our Lady of the Blessed Sacrament, a title created by Saint Peter Julian Eymard. The Virgin Mary holds in her left arm the infant Christ who presents the Eucharist to the world while her right hand is raised in awe and reverence. The statue was sculptured in Carrara marble by Alberto Galli at the Vatican Studios in 1913."
  • Saint Jean Baptiste Oak Pews<br /> <br /> I was attracted to the detailed carvings in the solid oak pews. They look old and I assume that all of the carvings were done by hand.
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