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John Vianney Parish in Sedona. Without Holy Week, there would be no Christianity. Simon and Jude Cathedral, is a tradition rooted in the early Church. The rites include the blessing by the bishop of the oils that will be used in the administration of the sacraments of the diocese for the year. The oil of catechumens to be used for the administration of Baptism, the oil of the infirm for the Anointing of the Sick and the holy chrism for Baptism, Confirmation and Holy Orders.

It is also a nice custom in that it is a day of recollection for the priests. They can get away, have dinner and attend the 7 p. Chrism Mass. On Holy Thursday , there is only one evening Mass celebrated at the parish. It is Jesus in the Upper Room with His disciples. He now must accept the mission. After the liturgy, the tabernacle is emptied and the Eucharist is placed at an altar of repose so the faithful may offer Adoration.

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The next day, Good Friday, is the only day in the entire liturgical year that the Holy Sacrifice is not celebrated. Therefore, Communion that will be distributed during the Good Friday services will be consecrated at the Holy Thursday liturgy. Kleczewski explained that the Good Friday service consists of three parts.

They are the Liturgy of the Word, which is the reading of the Passion; the universal prayers and the veneration of the cross; and the reception of Holy Communion. Olmsted from 11 a. Eugie Ave.

Praying there is an act of radical solidarity with the unborn children and their mothers and all those who suffer, including the abortion workers and Christ Himself. Wright junior developed the design in tandem with the sculptress Margaret Brunswig Staude, later the guiding intelligence behind the Catholic chapel of the Holy Cross in Sedona, Arizona, one of the few purely modernistic ecclesiastical structures which succeeds at an emotional and liturgical level, perhaps in part due to its clever incorporation into the landscape.

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As with Sedona, Staude suggested the prominent incorporation of the cross into the proposed cathedral. As with some of Wright junior's other work, a version of the textile block system here enlarged to massive 16 foot square elements is incorporated into the enormous cruciform. The result is a monolith of concrete lace, inset with colored glass; transfixed and backlit by the afternoon sun, it might have even achieved a sort of brooding grandeur, as the architect put it, "a monumental shaft of glowing light, articulate with color and variety of expression, yet all correlated and totally integrated with the purpose and concept of the building and the symbol.

It appears the vast interior of the monolith would have been open to the nave floor; the result would have either suggested the majesty of Beauvais in a modern idiom, or sadly more likely , simply resembled the inhuman chill of a thirty-story atrium hotel.

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The rigorously symmetrical Greek cross plan would seem to obfuscate any ability to perceive the vast height of the interior as anything other than a well, lacking the processional motion of a longitudinal plan. Yet, the concept is intriguing, at least on paper. At the heart of the cross would have stood a large and spacious sanctuary Wright calls it a "terrace" for some reason , centered on a high altar, bishop's cathedra, and stalls; given the immense rigor given to church planning during this period, it probably would have been rather successful from a liturgical perspective, and it appears the architect anticipated the use of a hanging tester though he describes, rather oddly, the canopy "swinging in continual movement centered on the nave, and narthex symbolizing the path of the earth and other planets in the universe," a somewhat orthographically puzzling statement which I hope is an exaggeration, a rhetorical flight of fancy or a mistake.

Wright junior was prescient enough to include a parking garage one of the great budgetary drains of any contemporary cathedral complex, it seems , and also the rigidity of his plan nonetheless incorporates space for an episcopal residence, a library, a chancery, synod hall and offices, and a school, all harmoniously incorporated into cloisters clustered within the four arms of the cross. Considered theoretically, the idea is not without merit, and has a certain genuine boldness and originality not present in most modernistic designs.

It is definitely not an example of "the other modern" with its classical roots, but a partially-baptized modernism in the architectural, but not theological, sense. It is monumental--but does it lift the mind to heaven? I cannot say.


The cruciform decorative scheme is clever, and while I have the occasional tacky weakness for a neon halo in an old Sicilian church, the idea of feet of illuminated glass seems to cross the line from triumphalism into vulgarity. There is a touch of building-as-billboard there which troubles me. It might have worked.

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The great glass-filled lattice of light might have been striking, but it just as easily might have turned out looking like the dormitory of a failed technical college going to seed in one of the more mildewy jungles of the republic of Costaguana. The symbolic vocabulary is also rather one-note: we may preach Christ crucified, but the great joy of Catholic culture is that we approach God not on our own but within the glorious mob of the saints.

Part of me is very glad it was designed, and but another part of me is rather relieved it never got off the drawing-board.

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I leave it to you simply as a curiosity, or perhaps even an oddity. Posted Thursday, January 13, Labels: Architecture. Writers William Mahrt. Email , Twitter. Alcuin Reid Ordo Romanus Primus ed. John Chrysostom by Fr. Roulin The Byzantine Liturgy by H. A Liturgical Debate by Fr. Kenneth D. Peter for Catholics of Anglican heritage Fraternity of St. Louis, USA St. Philip Neri Berlin Fraternity of St.