Church Tour
The architecture is modified Romanesque tending towards the Lombard. The Romanesque is one of the earliest types of church architecture. It was derived from the old Roman forum. Two notable features were added. Almost invariably the church was set up on a cruciform plan. Then, the popular concept of God’s heavens in the sky above, led to seeking elevation and the tower or campanile was added. This style of architecture has a high value in utility and at the same time lends itself to glorious expression of beauty. The artistic form followed in the statuary, stained glass and cast bronze in traditional with a slight yielding to the modern in design and composition.
Facing the altar we see the crucifix on the front wall surrounded by scrolls. The peacocks on top are used as a symbol because the peacock feeds itself and nourishes itself on its own blood. So too Christ gave us His blood to nourish us. The wheat sheaves and grapes are indicative of the Eucharist.
Still in the sanctuary to the left is the statue of St. Catherine of Siena. Behind the statue there is a mural depicting one of the courtyards of St. Dominic in Siena. On the right hand side is a statue of the Sacred Heart and the mural behind it is another view of a different courtyard of St. Dominic’s Church in Siena.
The beautiful statues and the altar are imported from Italy. The same is true of the stained glass. The marble in the statues is “Bianco Porracci”; in the altars “Botticino”.
In the marble plaque of the grill of the main altar are the four fishes and host, an adaptation of a symbol found in fifth century Carthage – Christ the source of spiritual nourishment for the faithful. The columns carry the grapes and the wheat sheaves as indication of the Eucharist.
The Church was decorated in 1963 in Medieval Italian (Florentine) style. Gold dominant design with over 100,000 feet of gold leaf rolls was used.
The lectern contains representation of the four evangelists. John – the eagle, Luke – the animal, Mark – the lion and Matthew – the angel.
The door of the tabernacle carries the symbol of Christ in the pelican giving its lifeblood to its young.
There is a symbol on the kneeler in front of the statue of the Blessed Mother – it is the gospel for St. John.
On the walls are different symbols – the crown of thorns encircling the cross, the cross, and scripture.
On the ends of the pews is a design representing the trinity with the three circles intertwining, the cross representing Christ’s Redemption and the anchor representing the church.
Over the sanctuary on either side are angels giving adoration with incensors. Above that in the very middle is the Paraclete, the Holy Spirit. On the right is the peacock feeding its own – Christ feeding His church. On the left is the eagle – the Father.
The north transept window is dedicated to the Little Flower, set the same as the south window with the Shower of Roses from heaven in the left window and the Shower of Roses on earth in the right window.
At the altar of St. Joseph, we note the symbol on the kneeler in front is that of the keys – for Peter.
The south transept window is dedicated to St. Francis Xavier Cabrini. Behind her marble statue is a panel window, on the left Mother Cabrini with the cripples, on the right with the orphans.
Painted on the walls of the church in the back half are the coats of arms for the six popes backward from the time of the dedication of the church. Beginning at the front left and continuing down that side then across on the right side and up to the front are the coasts of arms for the following: John XXXIII, Benedict XV, Leo XIII, Pius XI, and Pius XII.
Since St. Catherine is a patron of the Papacy, the clerestory windows are devoted to the popes – four great popes of the early Church on one side, four of modern times on the other, with accessory windows containing papal symbols – the bark, keys, tiara and papal cross. We name them in the same order – beginning with the front left.
The noble Peter, to whom Christ gave the keys of authority, proved himself His worthy Vicar, chief of the Apostles and source of the apostolic succession in the Church.
Gregory VII, a canonized saint, was pope in 1073. He took up the struggle against lay investiture and for reform of the clergy. Vigor and vitality were restored to the Church during this time.
Nicholas I (the Great) was pope in 858-867 and he governed the church with courage and zeal. He was father to all, rich and poor, but especially noted for his charity and devotion to the poor. With all his kindness and sympathy, he was firm and resolute.
Innocent III was pope in 1198-1216 and he was admired for upholding Christian morality both for the laity and the clergy. He gave protection and encouragement to St. Francis and his Friars. The crowning work of his life was the fourth General Council of the Lateran.
Leo XIII was pope in 1878-1903 and was one of the great intellects of his time. Leo’s encyclicals in literary elegance give a clear authentic synthesis of Catholic thought on problems of the times. Had the world listened to “Rerum Novarum”, communism would not have emerged and one can speculate with good reason that World Wars I and II would not have come to pass.
Pius X was pope in 1903-1914. The gentle benign shepherd of Christ’s sheepfold was loved and revered by all. Outstanding was his personal sanctity. He quickened the spiritual life of the faithful through Eucharistic practice – frequent communion and early first communion. His “Motu Proprio” was directed to the reform of church music and the establishment of Gregorian Chant as the official music of the Church. All indications point to his canonization in the not too distant future.
Pius XI was pope in 1922-1939. He was a tower of strength and the reign of this courageous man with his tremendous physical and mental resources can be best appraised through his glorious encyclicals. Hard and diligently he labored on these encyclicals which cover a wide rang of subject from moral, political and social world problems to internal church problems. Great results from his active promotion of Catholic Action may prove astounding to future generations.
Pius XII was pope in 1939-1958 and was a solitary symbol of peace in a distraught world. A spiritual man with high intellectual and diplomatic training and with a long family tradition of Papal service, he has won the world’s respect and established himself as the spiritual father of all humanity. His outstanding characteristic was his alertness to utilize to the utmost every opportunity to promote the interests of our Holy Faith, to define spiritual and moral values in a secular world and to exercise an apostolate of love for human beings everywhere. A study of his encyclicals, allocutions and messages to pilgrims reveals a great zeal which prompted him to throw the full measure of his intellectual, moral and physical resources into the service of Christ, who’s faithful Vicar he was.
Along the aisles at the sides are twelve titled windows with representations of important events in the life of Christ. Beginning at the front left and moving to the back and then over to the other side and up to the front right they are:
The Annunciation
The Nativity
The Flight into Egypt
Christ in the Temple
Calling of the Twelve
Tempest Be Calmed
The Good Shepherd
Martha and Mary
Children Come unto Me
Woman at the Well
The Transfiguration
The Triumphant Entry
Returning to the middle aisle and looking backward and upward we see the large rose window. Catherine was accorded the title of “Guardian Angel of Rome” and the Holy See has declared her the patron of Rome and, also, the patron of Italy. The rose window of the façade depicts St. Catherine guarding Rome, St. Peter is looming in the background with lilies evident, symbolic of the Virgin of Siena. In the outside margin symbols of the seven Sacraments are incorporated. The marble plaque below, over the entrance to the narthex, contains under the symbol of a guardian angel; the supplication is to Catherine to hold us in her heavenly care.
In the vestibule the four Evangelists are pictured on the four windows of the vestibule; Matthew, Mark, Luke and John. To the left in the double window of the tower are figures of St. Francis and St. Anthony.
To the right on the door and on the grill leading to the Chapel of the Sorrowful Mother is to be found the descending dove symbolic of the Holy Ghost dwelling in us. The windows show Baptism, the shell; heavenly enlightment, the lamp; salvation of Christ, chalice and host, with the hearts (soul) seeking the living waters. This chapel also contains the portrait of Monsignor Lemieux and the statue of St. Jude.
In the tympanum of the main entrance cut in stone is a likeness of Catherine drawn fro the contemporary fresco of Andrea diVannni. Below are the papal insignia – tiara and keys. With the keys in the scourge indicative of the penitential spirit in which one should enter God’s temple. Below, there are the symbols of the three theological virtues, without which there is not salvation – faith, hope and charity.
In the tympanum of the tower door are symbols applied to St. Catherine: from her writing, the scroll and pen; from her stigmata, the cross and thorns; from her mystical marriage, the joined hands and ring. The latter, also, stands symbolic of the union with Christ in sanctifying grace desired by every Christian.
On the south side of the tower is the cut stone medallion on the outside signifying St. Francis embracing Christ on the cross – the cross, the bare arm of Christ, the clocked arm of St. Francis.
