Here is a snippet: The age of these works of art, isn’t the reason they’re deteriorated. Even though they go back a couple centuries, until a year ago, they were still intact. But on April 6th 2009, the ground shook in the Italian city of L’Aquila.
This exhibition doesn’t aim to show the artistic value of the paintings or sculptures rather it’s a metaphor for the damaging consequences of the earthquake.
Parishioners and friends are helping history arrive at the Galveston-Houston Co-Cathedral of the Sacred Heart. The arrival of the long awaited Pasi Organ Builders Opus 19 organ marks the commencement of its installation.
This past Monday morning, the first of two large moving trucks rode into downtown Houston and pulled onto the driveway of the Co-Cathedral. Soon thereafter, members of the parish and friends began offloading thousands of pounds of handmade organ components into the magnificent Co-Cathedral of the Sacred Heart of the Archdiocese of Galveston Houston.
Since its consecration and Mass of Dedication on April 2, 2008, the Co-Cathedral community has been worshiping accompanied by a digital organ, piano and other instruments. Beginning in the Fall of 2010, the Co-Cathedral will begin offering and expressing praise, thanks, contrition, and petition to God with this magnificent new organ.
Martin Pasi and his team at Pasi Organ Builders of Roy, Washington, have been constructing this grand organ since Fall 2006. Thousands of custom, hand-made wood and metal parts will be installed and tuned over the next nine months for an estimated in-service date of mid October 2010.
With one of two trucks unloaded, the Parish celebrated the regular daily mass at 12:10, offered by Daniel Cardinal DiNardo and Rector of the Cathedral, The Very Reverend Lawrence Jozwiak. After Mass, the Cardinal officiated at a special blessing ceremony for the organ pipes and their installers.
The Pasi installers will have the important job of installing 5499 hand made pipes, 25,000 linear feet of lumber and 11 tons of tin, lead, pipeworks and mechanical action within two 45 foot tall cabinets aside the grand Resurrection Window in the Choir Loft.
The complete specifications for this grand organ list 75 different stops, 4 manuals or keyboards, and 104 different sets of pipes or ranks, varying in size from as small as ½ inch and as long as 32 feet. A rarity today, the Opus 19 Organ also features a free reed stop Clarinette.
The second truck was unloaded Tuesday.
Story written by Greg Haas, Mosaicist & Founder, Studio D’Oro LLC, Houston.
For more information visit www.studiodoro.com
Cross-posted over at CVSTOS FIDEI.
Our Lady of the Angels Cathedral seems to be safe for now from the raging wildfires in Santa Barbara north of Los Angeles and from Orange County which is south of Los Angeles, both approximately 30 miles away. Sadly two firefighters have lost their lives in service to Angelinos.
Maps of the wildfires are temporarily out of service as servers have been overloaded for the Los Angeles Times, Google Maps, and Associated Content.
From the pictures it looks like all hell has broken loose. Smoke continues to envelope major sections of Los Angeles and the fluorescent red light from said wildfires give an eery glow to the landscape.
The beautiful architecture of Our Lady of Angels is at risk of destruction from these wildfires. The Cathedral’s exterior echoes the Famsa Warehouse District with its soaring brownish brick buildings and rectangular gray-stained windows. The Plaze of the Cathedral resembles that of your local community college with directionless paths and no shading.
The treasure trove of art that this Cathedral holds is breath-taking. Where else can you find non-Christian imagery than that on the giant bronze doors depicting images from pre-Christian Europe. These giant bronze doors are conveniently located away from the narthex. Neo-post-Christian artists such as Robert Graham decorated the door with an unveiled Mary showing her bare arms welcoming people to come in for happy-clappy Masses and liturgical dances.
Once your inside and find your way to the “church” you can marvel at the hand-crafted tabernacle sculptured by Max DeMoss. Mr. DeMoss designed the tabernacle to blend with the the rest of the architectural style of the cathedral which is delightfully tacky, yet unrefined.
As you turn around from those three deteriorating pipes sticking out of the ground called the tabernacle you can view the complete interior of the Cathedral of the Angels. Imagine one of those special liturgical celebrations as a Chinese dragon parades up and down the kneelerless rows with Cardinal Mahony waiting in the wings with pitchers of Jesus waiting to be distributed among the faithful.
What priceless treasures that this Cathedral holds that may well be burned to the ground along with the post-neo-Christian architecture.
One can only pray.
All information for this posting was done entirely from the Our Lady of Angels Cathedral website.
Pictures courtesy of Quintero from L.A. Catholic.
A priest friend and I are reading through Fr. Richard John Neuhaus’ posthumously-published work, American Babylon: Notes of a Christian Exile, and it’s been an enjoyable read thus far, even in the places where I disagree with the author.
For the purposes of this post, I wanted to share a citation which I found very intriguing regarding the impact on art of modernity’s flight from anything which might be remotely conceived of as limitation.
Saint John Vianney is being staged as a one-man production titled “VIANNEY” and will be debuting in the Archdiocese of Galveston-Houston on August 4, 2009 AD. This is in celebration of the 150th anniversary of the death of this patron saint of parish priests. The play will continue in other dioceses across America.
Leonardo Defilippis plays the role of Saint John Vianney as he performs at various churches across the archdiocese. Mr. Defilippis’s one-man stage production opens amidst the chaos of the French Revolution, a time which mirrors the secularization, materialism and anti-religious sentiment of today. Against this dramatic backdrop, a simple ignorant peasant priest enters the backwater town of Ars, a place where no one cares much about their faith, or sees the Church as particularly relevant. They don’t expect much out of John Vianney.