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Let There Be Light: Abraham Rattner’s Masterpiece at the Chicago Loop Synagogue (1957).

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FEATURE image: Chicago Loop Synagogue with stained glass window, Let There Be Light (1960) by American Expressionist artist Abraham Rattner (1895-1978). The synagogue was built in 1957 with this wall of stained glass. The colorful and semi-abstract artwork contrasts and complements with the architectural minimalism of the rest of the sanctuary. October 2015. Author’s photograph.

The Chicago Loop Synagogue is a remarkable fusion of mid-century modern architecture, Jewish religious symbolism, and monumental art, demonstrating how modern design can create a powerful expression of faith, identity, and spiritual experience.

Chicago Loop Synagogue, exterior. May 2024. Author’s photograph. 97% 7.89 mb

Chicago Loop Synagogue on Clark Street in downtown Chicago. PHOTO: “Chicago Loop Synagogue” by _jjph is licensed under CC BY-NC-SA 2.0.

Chicago Loop Synagogue was a midcareer project for a pair of leading Chicago Jewish architects of Modernism — Jerrold Loebl (1899–1978) and Norman Schlossman (1901– 1990). Loeble was a son of Hungarian immigrants and Schlossman was the grandson of immigrants from Germany. Both graduated from the Armour Institute (today’s Illinois Institute of Technology) and became partners in 1925. The third partner changed over the decades and in 2024 the firm is Loebl, Schlossman, & Hackl. Following World War II, the firm was Loebl, Schlossman & Bennett and the team created influential examples of Chicago’s mid-century Modernism. Richard Marsh Bennett (1907-1996) had been chairman of the Yale Architecture Department and stayed with the firm until 1974 when he returned to teach at the Harvard Graduate School of Design. The architectural firm’s designs included Weiss Memorial Hospital (4646 N Marine Drive) and The Darien (3100 N. Lake Shore Drive ) also built in the 1950s.

Chicago Loop Synagogue: Exterior Façade. May 2014. Author’s photograph. 4.58mb DSC_0057 (1).

Above: The exterior of the Chicago Loop Synagogue (above), located at 16 South Clark Street in downtown Chicago. Designed by the prominent mid-century modernist architectural firm Loebl, Schlossman & Bennett, the building was completed in 1957–1958 and occupies a compressed, mid-block urban footprint of roughly 5,000 square feet. Hemmed in closely by soaring office buildings, the synagogue makes a deliberate statement of scale and transparency rather than sheer height. The front wall embraces reserved mid-century minimalism. At street level, it features clear floor-to-ceiling storefront glass that allows a seamless view into the stone-lined lobby. Above the ground floor rises a monumental grid wall of muted, industrial-scale metal and glass framing panels. Capping the massive glass wall is a distinctive, jagged tripartite metal cornice or canopy. These three structural gables jut outward over the sidewalk, adding a playful, geometric crown to an otherwise stark grid facade. The copper/bronze material has weathered into a deep green verdigris hue.

PHOTO: “Hands of Peace | Chicago Loop Synagogue” by _jjph is licensed under CC BY-NC-SA 2.0.

Above and below: Perched directly over the main entry doors is a two-ton bronze sculpture titled Hands of Peace (1963), created by the acclaimed Israeli sculptor Henri Azaz (Nehemia Azaz). The abstract composition features a jumble of bold letters cascading over one another. Emerging directly from the text is a massive pair of stylized, open human hands sloping down toward the street.

Chicago Loop Synagogue: Hands of Peace. May 2014. Author’s photograph. 4.28mb DSC_0055 (3).

Above: The tumbled letters shape the words of the priestly benediction (the Birkat Kohanim) from the Book of Numbers (6:24–26) in both English and Hebrew. The sculpture spells out: “The Lord bless thee and keep thee; the Lord make His face to shine upon thee… and give thee peace.” The pair of down-sloping bronze hands mimic the physical stance used by the Kohanim (priests) when delivering a blessing over a congregation. By suspending this gesture directly over the sidewalk, the architecture acts as an open, perpetual blessing bestowed upon all downtown workers, visitors, and passersby stepping into or walking past the sanctuary.

Glass doors with wooden handles define the main entrance into Loop Synagogue off busy Clark Street in Downtown Chicago. PHOTO: “Chicago Loop Synagogue” by _jjph is licensed under CC BY-NC-SA 2.0

Chicago Loop Synagogue. September 2015. Author’s photograph. 4.73 mb

Above: The Ten Commandments meet the visitors in the foyer upon entering synagogue. For Jews, the Ten Commandments found in Exodus 20:2-17 and Deuteronomy 5: 6-21 are a special set of spiritual laws that the LORD Himself wrote on two stone tablets (luchot) that Moses brought down from Mount Sinai. In the Scriptures these laws are called the “Aseret Ha Devarim,” the “ten words” or “ten utterances.” In rabbinical writings, they are usually referred to as “Aseret Ha Dibrot,” and in Christian theological writings they are called the Decalogue which is derived from the Greek name “dekalogos” (“ten statements”) found in the Septuagint (Exodus 34:28 and Deuteronomy 10:4), which is the Greek translation of the Hebrew name. To the Jews the Torah has a total of 613 commandments which includes the ten from the Decalogue. 

Chicago Loop Synagogue. October 2015. Author’s photograph.5.04mb DSC_0034 (1)

Above: The synagogue’s Memorial space centers on the Memorial Window, a stained-glass work designed by American Expressionist artist Abraham Rattner (1895–1978). Created around 1960–1961, it coincided with the design and installation of his monumental three-story masterpiece, Let There Be Light, in the main sanctuary. Rendered in brilliant blues, golds, and emerald greens, the window presents a dynamic composition of symbolic Jewish imagery and occupies the landing of the main staircase and ramp system connecting the street-level lobby with the lower-level Beit Midrash (house of study) and social hall.

The walls on both sides are lined with illuminated Yahrzeit plaques commemorating past members of the congregation. Within this contemplative setting, Rattner’s window introduces a radiant note of hope, evoking eternal life, cosmic time, and the enduring cycles of Jewish tradition.

The window’s imagery incorporates a wide range of Jewish symbols. At left, a Hebrew inscription quotes Exodus 12:2 concerning the renewal of months: “This month shall be unto you the beginning of months…” Circular medallions depict symbols associated with major Jewish festivals, including the shofar of Rosh Hashanah, a basket representing the Seven Species, and the Lulav and Etrog used during Sukkot. In the upper left section, the Magen David (Star of David) appears alongside stylized references to the modern State of Israel. The lower portions of the composition incorporate views of ancient Jerusalem and the Western Wall, linking the themes of memory and renewal to Judaism’s historic spiritual center.

Author’s photograph.

PHOTO: “Chicago Loop Synagogue” by _jjph is licensed under CC BY-NC-SA 2.0.

Above: The dramatic contrasts and geometric rigor of The Chicago Loop Synagogues’ Mid-Century Modernist design are evident throughout the sanctuary. Long, sweeping rows of custom-designed wooden pews extend the length of the space, reflecting the era’s characteristic blend of corporate efficiency and spiritual order. A massive floating balcony cantilevers boldly over the rear portion of the sanctuary, emphasizing the building’s structural daring.

The wall beneath and behind the balcony is clad in dark, vertically grooved wood paneling, creating a rich visual counterpoint to the monumental sanctuary wall beyond. Rising to its full height, this soaring surface is constructed of large, ashlar-patterned stone blocks, whose rough, matte texture provides a powerful sense of permanence. The monolithic masonry evokes the ancient stone architecture of Jerusalem while remaining firmly rooted in a clean Modernist aesthetic.

Overhead, a matte-black, non-reflective ceiling seems to hover above the congregation, punctuated by precisely placed recessed spotlights. Their pinpoints of light resemble a star-filled night sky, dissolving the boundaries of the ceiling and enhancing the sanctuary’s remarkable sense of height and openness.

The limestone blocks of the North wall are cut at an angle to evoke the Western Wall of the Temple in Jerusalem. The Hebrew text inscribed on the wall is the Shema Yisrael, which is the central prayer and declaration of faith in Judaism. In English, it translates to: “Hear, O Israel: The Lord our God, the Lord is One.” October 2015. Author’s photograph. 4.41mb DSC_0970

The Holy Ark is made by Israeli sculptor and ceramicist Henri Azaz (1923-2008). Jutting into the prayer space from the far-left corner of the window, Rattner incorporated the ark that would house the Torah scrolls. The artist surrounded the ark with flames, integrated into the glass. leaping up and out, drawing attention to the presence of God in the very heart of the sanctuary. PHOTO: “Chicago Loop Synagogue” by _jjph is licensed under CC BY-NC-SA 2.0.

Chicago Loop Synagogue is a house of worship that is three floors, 450 seats, six Torahs, and a 40-foot-tall stained-glass window that fills the Eastern façade and congregation with filtered sunlight. October 2015. Author’s photograph. 5.25 mb DSC_0990

The Chicago Loop Synagogue was founded in 1929 to serve the religious needs of those whose business activities brought them downtown. October 2015. Author’s photograph. 3.43 mb DSCN1463 (1)

PHOTO: “Chicago Loop Synagogue” by _jjph is licensed under CC BY-NC-SA 2.0.

Visitors to the Chicago Loop Synagogue in the Main Sanctuary are guided by one of its members. October 2015. Author’s photograph. 4.26mb DSC_0019

Main Sanctuary. October 2015. Author’s photograph. 91% 7.77mb DSC_0969 (1)

Abraham Rattner, the Expressionist artist of the wall-filling colorful stained-glass window was born in Poughkeepsie, New York to a Russian-Jewish father and a Romanian-Jewish mother. Rattner studied to be architect but turned to painting studying at the Corcoran School of Art in Washington D.C. and the Pennsylvania Academy of the Fine Arts in Philadelphia. Rattner served as a camouflage artist in France during World War I and, after the war, joined many of “the Lost Generation” that writer and critic Gertrude Stein spoke about when referencing the post- war Ernest Hemingway and many others who lived in Europe, mainly Paris, in the 1920s. Rattner lived in Paris for 20 years, from 1920 until late 1939 where, during that extensive time period, he met Claude Monet (1840-1926). To avoid the coming Nazi invasion of France, Rattner and his wife Bettina Bedwell (1889-1947), a journalist and fashion illustrator from Nebraska who studied at the School of the Art Institute of Chicago and who married in 1924, returned to America, where they lived in New York City. Rattner was known for his rich use of color and abstraction in his artwork and whose subject matter often had to do with religion. In the post-World War II era he taught at several schools, including New York’s The New School (1947–55) and at Yale University (1952-1953). In 1949 Rattner married Esther Gentle (1899 – 1991), an artist and art dealer, and was a friend of writer Henry Miller (1891-1980) who wrote about their friendship in 1968 in A Word About Abraham Rattner.

October 2015. Author’s photograph. 7.77 mb 91% DSC_0977
The colors and design elements of this 31 x 40-foot glass artwork signify God’s relationship with the cosmos, humanity, and the Jewish people. After two years working on conceptual and design schemes, the artist Abraham Rattner spent a year fabricating the window – a presentation of cool blues and warm red and yellows studded with purples that take on shapes of planets, trees, Hebrew letters and the Israelite tribes. It was made in Paris’s 15th arrondissement at Atelier Barillet, the house and workshop of master glassmaker Louis Barillet (1880-1948). The artwork was the subject of a 1976 exhibition at the Smithsonian American Art Museum and a 1978 exhibit at the Skirball Cultural Center in Los Angeles. The window was made to fit inside the prayer space for which it was created. To create the stained-glass work, Rattner drew inspiration from the opening passages of Genesis, focusing on the hidden meanings of the words “And there was light” to channel cosmic creative energies of the Divine.

October 2015. Author’s photograph. 5.62 mb DSC_0023 (1)
Above: The Tree of Life is also visaged as the Menorah and is identified with the light of innermost perception – the spirit; thought; ideas; life; and of knowledge. This Primal Light, God’s light, radiates outward, extending and expanding throughout the universe.

October 2015. Author’s photograph. 4.68mb DSC_0026
Above: The Menorah poetically conceived as a tree of life and of light. The Menorah is the classic symbol of Judaism.

October 2015. Author’s photograph. 7.77mb DSC_0027
Above: The Star of David and the palm branch used on the Sukkot (Feast of Booths) harvest festival.

October 2015. Author’s photograph. 7.77mb DSC_0027
Above: The shofur or ram’s horn (above) is an ancient instrument used on High Holidays to call the people to repentance. In close proximity to the shofur is the etrog which is a fruit of the Holy Land which expresses earth’s bounty as well as the overflowing love of a human being’s heart for God.

Designed by Loebl, Schlossman & Bennett, the Chicago Loop Synagogue stands as one of Chicago’s most significant modern religious buildings, where architectural restraint is transformed by Abraham Rattner’s monumental stained-glass masterpiece into a profound visual statement of Jewish faith and heritage.

October 2015. Author’s photograph. 6.13mb DSC_0999 (1)
Above: View of the sanctuary from the balcony. The near perfect beauty of the Chicago Loop Synagogue is self-evident.

October 2015. Author’s photograph. 3.14mb DSC_0037 (1)
The prayer room on the first floor is used for daily prayer and other gatherings. Author’s photograph.

SOURCES AND FURTHER READING:

AIA Guide to Chicago. 2nd ed. Edited by Alice Sinkevitch. Orlando: Harcourt, Inc., 2004.

Bachrach, Julia. “Chicago’s Jewish Architects: A Legacy of Modernism.” Julia Bachrach Consulting (blog). February 1, 2018. https://www.jbachrach.com/blog/2018/1/30/chicagos-jewish-architects-a-legacy-of-modernism.

Chicago Loop Synagogue. Home page. https://www.chiloopsyn.org/.

Cooper, Alanna E. “Future in Question for Chicago Loop Synagogue and Its Monumental Stained-Glass Window.” Jewish Telegraphic Agency, April 14, 2021.

Lane, George, S.J., and Algimantas Kezys. Chicago Churches and Synagogues: An Architectural Pilgrimage. Chicago: Loyola University Press, 1981.

“Let There Be Light: The Chicago Loop Synagogue.” Chicago Modern: More than Mies (blog).

Preservation Chicago. “Chicago Loop Synagogue.” Accessed January 18, 2024. https://www.preservationchicago.org/.

Preservation Chicago. “THREATENED: Chicago Loop Synagogue Faces Uncertain Future.” April 30, 2021. https://www.preservationchicago.org/threatened-chicago-loop-synagogue-faces-uncertain-future/.

Smithsonian American Art Museum. “Abraham Rattner.” Accessed January 18, 2024. https://americanart.si.edu/artist/abraham-rattner-3946.

The Ten Commandments. “The Ten Commandments Bible List — What Are the Ten Commandments?” Accessed December 4, 2023. https://www.the-ten-commandments.org/the-ten-commandments.html.

Wikipedia, s.v. “Loebl Schlossman & Hackl.” Last modified January 3, 2026, 15:21. https://en.wikipedia.org/wiki/Loebl_Schlossman_%26_Hackl.

Wikipedia (français), s.v. “Louis Barillet.” Last modified April 21, 2026, 17:19. https://fr.wikipedia.org/wiki/Louis_Barillet.

Zolros, Peter. “A Sacred Spot in Chicago’s Loop.” Chicago History Museum (blog).

Chicago Loop Synagogue. ”In the beginning God created…” Author’s photograph.

Chicago Loop Synagogue. Author & wife. October 2015. Author’s photograph.

Architecture for a Universal Faith: Louis Bourgeois and the Baháʼí Temple (1912-1953) in Wilmette, Illinois.

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FEATURE image: Architect Louis Bourgeois incorporated a variety of religious architecture and symbols including for Hindus, Buddhists, Native Americans, Jews, Christians and Muslims, to convey the Baháʼí principle of the unity of religion. Author’s photograph.

The Baháʼí Temple in Wilmette is one of America’s most distinctive religious monuments, where architect Louis Bourgeois fused spiritual ideals, innovative design, and intricate ornament into a landmark that took more than forty years to complete and remains a singular achievement in twentieth-century sacred architecture.

Text & Photographs by John P. Walsh.

The temple was designed by French-Canadian architect Louis Bourgeois (1856–1930). By 1906 Bourgeois and his wife joined the Baháʼí faith. Photo c. 1922. Public Domain.

The Chicago Baháʼí Temple House of Worship is the second such house of worship constructed and the oldest one that is still standing. The popular destination along Lake Michigan on Chicago’s Northshore attracts visitors from around the world today for its amazing architecture, beautiful gardens, and message of religious unity in prayer and for peace.

The temple was designed by French-Canadian architect Louis Bourgeois (1856–1930). After studying and traveling in Paris, Italy, Greece, Egypt, and Iran, Bourgeois settled in Chicago in 1896 where he worked with Louis Sullivan. Bourgeois moved to Southern California and, in 1898, designed in Hollywood a landmark Mission Revival style house for painter Paul de Longpré (1855-1911) whose architecture and gardens became a tourist attraction.

The building serves as the North American Baháʼí House of Worship. Located in Wilmette, Illinois, it has become one of Chicagoland’s most recognizable landmarks.

The nine sides of the building represent the largest single digit number which stands for the Baháʼí belief in the unity and oneness of humankind. June 2014. Author’s photograph. 6.55mb

The idea for the construction of the first Baháʼí Temple in the Western world began in Chicago in 1903. When there was a call for designs, Louis Bourgeois’ plans were the most promising. He worked on the complex design from 1909 to 1917. Before that time, Louis Bourgeois and his wife had joined the Baháʼí faith after having come into association with the Baha’i Faith through Boston’s Baháʼí community. In that time Bourgeois constructed a plaster model of his completed vision and in the 1920’s until his death in 1930 worked on the temple’s construction in Wilmette, Illinois.

While building activity was delayed though the Great Depression of the 1930’s and into World War II, temple construction began again in earnest in 1947 and the temple was dedicated in 1953.

Designed by French-Canadian architect Louis Bourgeois, its more than 40-year construction history reflects the determination of the Baháʼí community to realize Bourgeois’s ambitious vision.

Abdu’l-Bahá (1844-1921), eldest son of Baháʼu’lláh (1817-1892), the founder of the Baháʼí Faith, participated in the ground-breaking ceremony in 1912 of Baháʼí Temple. Construction began in earnest in the 1920s. It is four stories of reinforced concrete. June 2014. Author’s photograph. 4.11mb

Baháʼu’lláh (1817-1892) was an Iranian religious leader who founded the Baháʼí Faith. Public Domain.

Money for the building was raised entirely by the temple congregants as their gift to the people of the world. June 2014. Author’s photograph. 6.30mb

The temple blends influences from Gothic, Islamic, Byzantine, Renaissance, and other world architectural traditions into a unified design. Its lace-like concrete ornamentation creates one of the most elaborate exterior surfaces in American architecture.

The temple rises 191 feet from its base to its ribbed dome’s peak. The main story pylons are 45 feet high each. The building’s surfaces are teeming with carved lacelike ornamentation. June 2013. Author’s photograph. 4.50mb

The Baháʼí Temple has a highly traditional appearance whose architectural reputation—in an age of orthodox modernism and postmodernism—has grown only more positive with the years. June 2013. Author’s photograph. 4.85 mb

Interior of the auditorium inside the Baháʼí House of Worship in Wilmette, Illinois. The entire surface—from the towering walls to the massive dome ceiling—is covered in highly detailed, openwork ornamental lattice patterns that filter natural light.

  • The Grand Dome: A central, monumental circular dome rises high above the space, featuring a gilded calligraphic emblem at its center. Molded seamlessly into the pillars and lace-like quartz masonry are major global religious symbols layered chronologically from bottom to top—including Christianity, Judaism, Islam, and Hinduism—symbolizing the fraternity and evolution of mankind.
  • Soaring Arches and Pillars: Nine main pillars and towering arched window bays flank the multi-layered walls, drawing the eye upward. The number nine is the highest single-digit number, mathematically representing oneness, perfection, and the ultimate completion of God’s revelation.
  • Concentric Seating Layout: Curved rows of rich, red velvet-cushioned wooden seating wrap around a highly polished, reflective floor that mirrors the warm lighting from above.
    PHOTO: “The forbidden temple.” by kern.justin is licensed under CC BY-NC-ND 2.0.

The room is strictly dedicated to prayer, quiet contemplation, and meditation.  There are no sermons, rigid ritualism, or set religious dogmas permitted here. Because the faith emphasizes that all major world religions originate from the same Creator, the devotional readings regularly feature sacred scriptures from different faiths. In alignment with Baháʼí principles, the room features no professional clergy, religious imagery, or musical instruments. Any music performed during devotionals comes strictly from a cappella choirs or soloists.

The temple occupies a unique place in American religious architecture because it is unlike any traditional church, synagogue, mosque, or cathedral.

The temple’s main prayer room seats 1,200 people. In the Baháʼí faith there are no clergy, no sermons and no rituals. Scriptures are read from many different faith traditions and music by soloists or a cappella choir. June 2013. Author’s photograph. 5.31mb

The Baha’i House of Worship Choir, under the direction of Van Gilmer, performs “This is the Day”—featuring words by Báha’u’lláh and arranged by Stanford E. Scriven—at the 17th Annual Choral Festival in Wilmette, Illinois.

“The Source of All Learning is the Knowledge of God – Exalted Be His Glory.” There are an equal number of entrances each with a quotation above it by Baháʼu’lláh  (1817-1892), founder of the Baháʼí faith. June 2013. Author’s photograph. 5.94mb

The Baháʼí temple is open year-round presenting its unique beauty through the seasons. February 2021. Author’s photograph.7.97mb

The nine-sided plan reflects Baháʼí religious symbolism and the principle of unity. The structure demonstrates how architecture can express universal spiritual ideals through light, geometry, and decoration.

The building is on the National Register of Historic Places and situated on a broad, landscaped site that looks towards Lake Michigan. PHOTO: “Wilmette, 2015” by gregorywass is licensed under CC BY-NC-SA 2.0.

SOURCES:

Chicago Churches and Synagogues: An Architectural Pilgrimage, George Lane, S.J., and Algimantas Kezys, Loyola University Press, Chicago, 1981, pp. 160-161.

Chicago’s Famous Buildings, Fifth Edition, Franz Schulze and Kevin Harrington, Chicago and London: University of Chicago Press, 2003, pp. 267-269.

A Guide to Chicago’s Historic Suburbs on Wheels and on Foot, Ira J. Bach, Swallow Press/Ohio University Press, 1981, p. 535.

From Adler to Dorsey: Ebenezer Missionary Baptist Church (1899) and the Rise of Chicago Gospel Music.

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FEATURE Image: Signage of Ebenezer Missionary Baptist Church, 4501 S. Vincennes Avenue, Chicago. The church is known as “the birthplace of Gospel music” since Thomas A. Dorsey (1899-1993) started his first modern gospel choir here in 1931. October 2016. Author’s photograph, 6.06 mb

Ebenezer Missionary Baptist Church embodies multiple layers of Chicago history: as the last known building designed by architect Dankmar Adler (1844-1900), as a landmark of Bronzeville’s cultural and religious life, and as the cradle of modern gospel music whose influence extended far beyond the South Side.

Text & photographs (October 2016) by John P. Walsh.

African-American gospel singer Mahalia Jackson performing her iconic live rendition of the traditional spiritual hymn, “He’s Got the Whole World in His Hands.” Widely recognized as the “Queen of Gospel Music,” Mahalia Jackson was one of the most influential vocalists of the 20th century. Known for her powerful contralto voice, she played a monumental role in bringing gospel music out of Black churches and onto secular, global stages. She was also a prominent civil rights figure and close friend of Dr. Martin Luther King Jr., famously singing right before his “I Have a Dream” speech in 1963. Her studio recording of “He’s Got the Whole World in His Hands” became a massive hit on the Billboard charts in 1958, prompting several televised appearances around that exact era.

Designed by Dankmar Adler (1844-1900) and completed in 1898-99, the building was originally constructed as a Reform Jewish synagogue and represents the architect’s final known work.

Built as one of Chicago’s early Reform Judaism synagogue in 1898, the Classical Revival style golden brick and stone building is the last one designed by Dankmar Adler. The building with its form distinctive to other Adler buildings as well as its fine acoustics, was purchased by Ebenezer Church in 1921.

The Classical Revival structure stands out for its golden brick construction and celebrated acoustics.

In the heart of the Bronzeville neighborhood on Chicago’s Southside, Ebenezer Missionary Baptist Church was formed in 1902. During the Great Migration, African-Americans made Ebenezer their church home in the early 1920’s.

Purchased by Ebenezer Missionary Baptist Church in 1921, it became a spiritual anchor for African Americans settling in Bronzeville during the Great Migration.

Ebenezer developed a reputation as a center for gospel music. Under the direction of Theodore R. Frye, Roberta Martin and, the “Father of Gospel Music,” Thomas A. Dorsey (1899-1993), the church’s groundbreaking gospel choir introduced a blend of Christian praise and blues at Ebenezer that established the careers of the “Mother of Gospel,” Sallie Martin (1895-1988), Mahalia Jackson (1911-1972) and Dinah Washington (1924-1963) who was inducted into the Rock ‘n Roll Hall of Fame in 1993.

I’ll Tell It Wherever I Go – Sallie Martin. Sallie Martin helped popularize the songs of Thomas A. Dorsey. Martin also worked with Cora Martin-Moore (1927-2005), Dinah Washington and Brother Joe May (1912-1972), the “Thunderbolt of the Midwest,” when Sallie Martin formed the Sallie Martin Singers. Sallie Martin was inducted into the Gospel Music Hall of Fame in 1991.

Ebenezer earned national significance as the”birthplace of gospel music” after Thomas A. Dorsey organized his pioneering gospel choir there in 1931. The church helped launch or develop the careers of gospel legends including Thomas A. Dorsey, Mahalia Jackson, Sallie Martin, Roberta Martin, and Dinah Washington.

Sanctuary. During the 30-year pastorate of Rev. Frank K. Sims, distinguished guests of the church included Rev. Dr. Martin Luther King, Jr. (1929-1968), Ralph Metcalfe (1910-1978), Adam Clayton Powell (1908-1972) and Mahalia Jackson.

“A voice like this comes only once in a millennium,” so said Dr. King about Mahalia Jackson. During the Chicago Freedom Movement in 1966, Mahalia Jackson, who lived in Chicago, joined her friend Rev. Martin Luther King Jr., when he was visited a church to preach a sermon about justice and equality. Like Dr. King, Mahalia Jackson was a devout Christian and Civil Rights activist. At the August 28, 1963 March on Washington, she sang “How I Got Over” and was on the Lincoln Memorial platform behind King while he was pronouncing his “I Have a Dream” speech.

Ebenezer also played a role in Chicago’s Civil Rights era, hosting events connected to Dr. Martin Luther King Jr. and the broader struggle for racial justice.

In 1966 a banquet honoring Dr. Frank Kentworth Sims on the 7th anniversary of his pastorate of Ebenezer Missionary Baptist Church featured Nobel Peace Prize recipient the Rev. Dr. Martin Luther King, Jr. as the guest speaker and Mahalia Jackson as guest vocalist.

Though there were literally as many church choirs as there were churches, Dinah Washington (1924-1963), then Ruth Jones, made a name for herself as a teenage gospel singer in Chicago. In 1940 Ruth gave a recital that included “Precious Lord Take My Hand,” one of Thomas A. Dorsey’s most popular songs. The music for this version of the Christian prayer, “The Lord’s Prayer,” was written by Albert Hay Malotte (1895-1964) in 1935. It was released in 2010 on the compilation album, The Fabulous Miss D! (The Keynote, Decca & Mercury Singles 1943–1953), which traces the first decade of Dinah Washington’s recording career on 78s and 45s, starting with her stint with Lionel Hampton (1908-2002) and continuing through the early years of her solo career.

Few buildings in Chicago connect architecture, religion, music, and civil rights as powerfully as Ebenezer Missionary Baptist Church. Designed as Dankmar Adler’s final architectural work and later transformed into the birthplace of modern gospel music, it remains one of Bronzeville’s most important cultural landmarks.

SOURCES:

Chicago Public Library. “Ebenezer Missionary Baptist Church Archives.” Accessed October 26, 2026. chipublib.org.

Sinkevitch, Alice. AIA Guide to Chicago. 2nd ed. Orlando: Harcourt, Inc., 2004.

The Historic Ebenezer M.B. Church. “About.” Accessed October 26, 2026. https://ebenezerbronzeville.org/about/.

Byzantine Heritage in Modern Chicago: Yaroslaw Korsunsky’s Sts. Volodymyr and Olha Church (1975).

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FEATURE image: Stained glass, paintings, banners, and chandelier blend together and provide a more complete picture of people and episodes of the faith. North wall and ceiling. Chicago. Sts. Volodymyr and Olha Church. October 2016. Author’s photograph. 5.88 mb

Sts. Volodymyr and Olha Church (1975) stands as a powerful expression of Ukrainian religious and cultural identity in Chicago, blending traditional Byzantine forms with modern architectural design. Architect Yaroslaw Korsunsky created a monumental house of worship whose soaring domes, geometric forms, and richly symbolic design connect an immigrant community to centuries of Eastern Christian tradition while asserting its presence within the modern American city.

Chicago. Sts. Volodymyr and Olha Church. July 2015. Author’s photograph.

At 739 N. Oakley Boulevard Sts. Volodymyr and Olha Church in Chicago displays with its gold domes. The tradition-minded parish, founded in early 1970s, serves a busy urban community.

Chicago. Sts. Volodymyr and Olha Church. July 2015. Author’s photograph. 2.52 mb

The building’s design balances monumentality, symbolism, and modern construction techniques.

Sts. Volodymyr and Olha Church, Chicago. The huge mosaic over the main entrance memorializes the conversion of the Ukrainians to Christianity in 988 by St. Volodymyr of Kyiv or Vladimir of Kiev (957-1015). The mosaic was executed by Hordynsky, Makarenko, and Baransky. The church is built in the modern Byzantine style. In addition to the colorful and bright mosaic, the upward angle and its perspective adds to the feeling of entering into a sacred space. Along with the archways and curve of the main golden dome, the eye focuses on the artwork’s bright figures. July 2015. Author’s photograph. 7.68 mb

Chicago. Sts. Volodymyr and Olha Church. July 2015. Author’s photograph. 5.42 mb

WHO IS ST. VOLODYMYR?

St. Volodymyr is the apostle to proto-Russian and Russian Christianity. He was the great prince of Ukraine in Kiev. It was ruled by the Varangians, a barbarous Viking  tribe from Scandinavia – and Volodymyr (or Vladimir) of Kiev was as barbarous as any of them.

In 988, when Volodymyr was about 31 years old, he was converted to Christianity. The missionaries came from the Byzantine world at Constantinople. The results were immediate: Ukraine was now in close contact with the Byzantine world to the south and its Christian church under the pope.

Volodymyr married the daughter of the Byzantine emperor, Basil II (957-1025). But it was Volodymyr’s personal embrace of the Christian faith that infused the Ukrainian people with their deep and abiding faith. Having received baptism, he set out to be a Christian and not corrupted by money and power that proved a serious temptation for many church and state leaders in the Dark Ages.

Volodymyr used his temporal powers to evangelize the people – his personal example his greatest asset to its success. Though he encouraged various activities and programs in the lives of the people – including the multi-faceted work of Greek missionaries – it was his sincere, transparent, and fundamental reform of his own life that by far had the greatest impact on the Ukrainian people. More than one thousand years after his rule, Volodymyr is still recalled as a generous, humble and devout soul.

As a Christian ruler Volodymyr had doubts about inflicting the death penalty. Though assured by his Byzantine church counselors that his Catholic faith allowed him to follow the law which allowed for it, Volodymyr corrected them and said that that sort of reasoning was not satisfactory to his faith.

Volodymyr, the great prince of Kiev, died a poor man – not only various from his origin but, again, that of many of the ecclesiastics now in the realm. Before his death, Volodymyr dispersed all his money and personal belongings to the poor and to his family and friends. St. Volodymyr’s feast day is July 15. He is patron of Ukrainian and Russian Catholics.

WHO IS ST. OLHA?

Saint Olha was the wife of the Kyivan Great Prince Igor. Igor signed a peace treaty with the Greeks in 944. The treaty of 944 was drawn up at Constantinople and allowed for Christianity in Ukraine. This toleration already indicates some sympathy for Christianity among the powerful in Kiev. Igor himself, however, in his official position did not embrace Christianity nor officially allow the presence of a structure of Church hierarchy. The treaty was drawn up  to quietly allow co-existence of Christians in a pagan Viking culture.

Yet when the Byzantine emissaries arrived in Kyiv, pagan opposition had emerged from the Varangians. The Christians were thrown into abeyance and Igor was murdered in 945. Into this volatile situation the burden of government fell upon Igor’s widow — the Kyiv Great-Princess Olha, and her three-year-old son Svyatoslav (945-972). Her first act was to avenge Igor’s murder.

Olha belonged to one of the obscure ancient-Rus’ princely dynasties, whose Slavic line had intermarried with assimilating Varangian newcomers. Olha’s Varangian names includes Helga and Olga.

Though still a pagan, Olha’s revenge on the Varangians on behalf of her late husband was a victory for the realm’s Christians. Further, having weakened the influence of petty local princes in Rus’, Olha centralized the whole of state rule. She became a great builder of the civil life and culture of Kyivan Rus. Her centralization became an important network of the ethnic and cultural unification of the nation which, when Olha became a Christian, aided in the building of a network of churches. Her essential activities proved key in developing what is the modern Ukrainian national identity. At the same time, important trade with Poles, Swedes, Germans, and so forth, led to significantly expanding foreign connections. One noteworthy development was that wooden buildings were replaced with stone edifices.

Rus’ had become a great power. Only two European realms could compare with it in the tenth century – the Byzantine empire in the east, and the kingdom of Saxony in the west. Both these empires were Christianized and pointed the way to future greatness for Rus’. In 954 Great-princess Olha sailed to Constantinople. Though a display of Rus’ military might on the Black Sea, it was a spiritual mission. Olha’s might and the Byzantines’ wealth and beauty were mutually impressive.

Constantinople was the city of the Mother of God as dedicated by Constantine the Great in 330. Olha made the decision to become a Christian. She was baptized by Patriarch Theophylactus (917-956) with her godfather being the emperor Constantine Porphyrogenitos (905-959). She took the Christian name Helen for Constantine’s mother. Following  the rite, the Patriarch said: “Blessed are you among the women of Rus’, for you have forsaken the darkness and have loved the Light. The Rus’ people shall bless you in all the future generations, from your grandson and great-grandson to your furthermost descendants.” Olha replied: “By your prayers, O Master, let me be preserved from the wiles of enemies”. It is precisely in this way, with a slightly bowed head, that Saint Olha is often depicted in religious artwork. During her state visit, and following her baptism, Great princess Olha of Rus’ was fêted throughout Constantinople

Saint Olha devoted herself to efforts of Christian evangelization among the pagans, and also church construction, including Saint Sophia Cathedral. Yet, many despised her new found Christianity and paganism became emboldened. They looked to the reign of Svyatoslav who angrily spurned his mother’s Christianity. Meanwhile Byzantine church and state leaders were not eager to promote Christianity in Rus’. In Olha’s lifetime, Kyiv favored paganism and had second thoughts about even accepting Christianity. By order of Svyatoslav, churches were destroyed and Christians murdered. Byzantine political interests found the church and state looking to undermine Olha’s influence and favored the Rus’ pagans.

Olha attempted to help Svyatoslav during a period of wartime, though Kyiv was a backwater to his imperial interests for the next 18 years. In the spring of 969 the Pechenegs besieged Kyiv and Olha headed the defense of the capital. Svyatoslav rode quickly to Kyiv, and routed the nomads. But the warrior prince wished to rule elsewhere than Kiev. Svyatoslav dreamed of uniting all Rus’, Bulgaria, Serbia, the near Black Sea region and Priazovia (Azov region), and extend his borders to Constantinople. Olha warned her son that his plans were bound to fail as the Byzantine Empire was united and strong.

On July 11, 969 Saint Olha died. In her final years, with the triumph of paganism, she had to secretly practice her faith. Before her death, she forbade the pagan celebration of the dead at her burial and was openly buried in accord with Orthodox ritual. A priest who accompanied her to Constantinople in 957 fulfilled her request.

Considered by Ukrainians the holy equal of Great Prince Volodymyr, St. Olha was invoked by St. Volodymyr on the day the people of Rus’ were baptized. Before his countrymen, St. Volodymr said of St. Olha: “The sons of Rus’ bless you, and also the generations of your descendants.”

Cardinal Major Archbishop Josyf Slipyj (1892-1984), “Confessor of the Faith” and Founder of Sts. Volodymyr and Olha Church. Cdl. Slipy was imprisoned by the Soviet authorities from 1945 to 1963 for refusing to convert to Russian Orthodoxy. He was finally set free through the intervention of Pope John XXIII and President John F. Kennedy.

Chicago. Sts. Volodymyr and Olha Church. July 2015. Author’s photograph. 7.46 mb

A beautiful outdoor garden with the residential streets of Ukrainian Village as its background is the setting for the larger-than-life-sized statue of Major Archbishop Josyf Slipyj (1892-1984). He was made a cardinal by Pope Paul VI in 1965 and is a “Confessor of the Faith.” The founder of the parish, Cdl. Slipyj blessed the new church building’s cornerstone. Supporting the Ukrainian state and refusing to convert to Russian Orthodoxy, he was imprisoned by the Soviet authorities from 1945 to 1963. Through the intervention of St. Pope John XXIII and U.S. President John F. Kennedy, Josyf Slipj was released by Nikita Khrushchev in early 1963 and participated in the Second Vatican Council. Josyf Slipyj died in Rome in 1984 and his cause for canonization as a saint of the Catholic Church has been introduced at the Vatican.

Sts. Volodymyr and Olha Church sit in Chicago’s Ukrainian Village.

Ukrainian Village. October 2016. Author’s photograph. 317 kb 30%

Ukrainian Village. October 2016. Author’s photograph. 316 kb 20%

Chicago. Sts. Volodymyr and Olha Church. October 2016. Author’s photograph. 6.86 mb

High above the sanctuary is a magnificent view of the main dome painted in bright colors with the figure of Christ Pantocrator. Christ gives his blessing as he holds an open book with the Greek letters: alpha and omega. It signifies one of Christ’s titles: “I am the beginning and the end” (Revelation, 21:6, 22:13).

Chicago. Sts. Volodymyr and Olha Church. October 2016. Author’s photograph. 5.88 mb

North Wall.

Chicago Sts. Volodymyr and Olha Church. October 2016. Author’s photograph. 7.84 mb

South Wall.

Chicago. Sts. Volodymyr and Olha Church. October 2016. Author’s photograph. 4.54 mb

Parishioners praying and going to Communion at Sunday Mass.

Chicago. Sts. Volodymyr and Olha Church. October 2016. Author’s photograph. 4.54 mb

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With the artists’ skills, the bright colors and evocative forms of the artwork surround churchgoers as they move toward the altar at Communion during the Divine Liturgy.

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Chicago. Sts. Volodymyr and Olha Church. October 2016. Author’s photograph. 544kb 30%

The colorful and vibrant decorations that include paintings, carvings, vestments, books, stained glass, and more, are integral to the parish’s liturgy and life.

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Chicago. Sts. Volodymyr and Olha Church. October 2016. Author’s photograph. 4.35 mb

Icon of Sts. Volodymyr and Olha with a smaller icon of the Blessed Virgin.

Chicago. Sts. Volodymyr and Olha Church. October 2016. Author’s photograph. 4.47 mb

Every nook and cranny of the church is decorated with colorful images from religious and Catholic Ukrainian history. The natural light streaking down from the main dome’s windows adds a heavenly glow.

Chicago. Sts. Volodymyr and Olha Church. October 2016. Author’s photograph. 6.15 mb

Two female haloed saints in a modern art style are marked by their unique attire as one holds an unfurled scroll with words in Ukrainian. Christianity arrived into Ukraine by way of the Greco-Byzantine world over 1000 years ago.

Chicago. Sts. Volodymyr and Olha Church. October 2016. Author’s photograph. 4.90 mb

A painting of the dormition of Mary is emphasized by an icon of Mary and the child Jesus. Colors, forms, and subject matter are very high quality, soft and peaceful, making them pleasant to look at and pray with.

Chicago. Sts. Volodymyr and Olha Church. October 2016. Author’s photograph. 6.18 mb

The wood carvings and full-length portrait icons are gorgeous. The fresh flower arrangements further brighten the scene.

Chicago. Sts. Volodymyr and Olha Church. October 2016. Author’s photograph. 7.68 mb

Visitors are joined by worshippers lighting candles and praying before a large icon of Mary and the child Jesus.

Chicago. Sts. Volodymyr and Olha Church. October 2016. Author’s photograph. 10.68 mb

The main altar gate of carved wood with icons and gold curtain. The Last Supper in center above.

SOURCES:

Coulson, John, ed. The Saints: A Concise Biographical Dictionary. Guild Press, 1957, pp. 577; 760-761.

Howe, Jeffrey. Houses of Worship: An Identification Guide to the History and Styles of American Religious Architecture. Thunder Bay Press, 2003.

Pacyga, Dominic A., and Ellen Skerrett. Chicago: City of Neighborhoods. Loyola University Press, 1986, p. 193.

Sinkevitch, Alice. AIA Guide to Chicago. 2nd ed. Harcourt, Inc., 2004, p. 260.

St. Elias Brampton. “St. Olha (Olga, Ol’ha).” Saint Elias (blog). July 11, 2017. Accessed April 26, 2022. https://www.saintelias.com/blog/2017/7/11/st-olha-olga-olha. [1]

John P. Walsh, 2015-16. All rights reserved. All text and photos are the property of the author, except for materials explicitly credited as public domain or licensed content.

Russian Tradition, Chicago Design: Louis Sullivan’s Holy Trinity Cathedral (1903).

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FEATURE Image: Holy Trinity Orthodox Cathedral, 1121 N. Leavitt, Chicago. The walls of the church building are load-bearing brick covered with stucco. The bell tower and octagonal belfry, dome, and roof are made of wood with metal trim and latticework. July 2015. Author’s photograph. 2.80 mb

Holy Trinity Orthodox Cathedral demonstrates how Louis H. Sullivan (1856-1924), best known for his commercial architecture, adapted his design genius to a modest immigrant church, creating a distinctive synthesis of Russian provincial tradition, Eastern Orthodox worship, and Sullivan’s own ornamental imagination within Chicago’s Ukrainian Village.

Chicago. Holy Trinity Orthodox Cathedral. July 2015. Author’s photograph. 6.48 mb

Louis H. Sullivan designed the bell tower (above and below) with its ornamentation and eaves and soffits for Holy Trinity Orthodox Cathedral in Chicago’s Ukrainian Village.

Chicago. Holy Trinity Orthodox Cathedral. October 2016. Author’s photograph. 4.16 mb

how Louis Sullivan adapted traditional Russian architecture to create the bell tower of Holy Trinity Orthodox Cathedral The octagonal open lantern where the bells hang is a classic feature of 17th-century Russian wooden architecture, traditionally referred to as an “octagon on a cube” (vosmerik na chetverike). Rising above the open belfry is a steep, grey-shingled tent-shaped roof. This architectural style was historically popular in Russia for its ability to keep heavy snow from piling up on church towers. The Wave-Like Roofline and slender window slats are Sullivanesque. Crowning both the main tent roof of the bell tower and the smaller side turret are brilliant golden onion domes. In Orthodox theology, the onion dome symbolizes a burning candle flame reaching up toward heaven.

Built in 1903 on a limited budget, the church is a relatively small structure whose architectural impact far exceeds its size.

Chicago. Holy Trinity Orthodox Cathedral. July 2015. Author’s photograph. 6.24 mb

Louis H. Sullivan designed the portal canopy (above) and its ornamentation such as the fretwork. Sullivan also designed the window frames (example below).

Louis H. Sullivan designed key architectural elements of the cathedral, including the bell tower, portal canopy, window frames, and decorative ornament.

Chicago. Holy Trinity Orthodox Cathedral. July 2015. Author’s photograph. 5.53 mb

Louis Sullivan’s genius directly merges with traditional Russian Orthodox geometry in this window, which serves a vital role in illuminating the church’s interior. The top of the window frame features a uniquely Sullivanesque, multi-tiered, stepped triangular pediment that beautifully complements the sharp lines of the building’s exterior roof eaves. Along the sides, the outer wooden posts feature finely routed parallel grooves and subtle decorative blocks. This style of ornamentation is a hallmark of Sullivan’s organic philosophy—using natural light and shifting shadows to give rigid wood components a rich, rhythmic texture.

Furthermore, each major pane of leaded glass features a complex geometric pattern centered on an octagon. While the octagon served as Sullivan’s favorite transitional shape to bridge the gap between square and circle, it simultaneously held a profound meaning for the Orthodox parish. This eight-pointed geometry carries a deep spiritual resonance, symbolizing the “Eighth Day” of creation (the eternal Kingdom of God) and echoing the architectural octagons found in the cathedral’s main dome and bell tower.

Chicago. Holy Trinity Orthodox Cathedral. October 2016. Author’s photograph. 5.84 mb

Holy Trinity Cathedral was built on a limited budget. It is a small building at 47 x 98 feet situated on an east-west axis. The main body of the church is square with extensions and an octagonal dome above. The picturesque country-church entrance has a metal and wood canopy whose design and ornamentation were created by the architect, Louis H. Sullivan (1856-1924). Dedicated in 1903, the church was designated a cathedral in 1923.

Prominently featured in the foreground is a traditional Slavic-style wooden cutout Crucifixion scene, known as a Golgotha. Mounted inside an ornate white-and-gold carved wooden kiot (shrine framework) is a distinct icon of Saint Nicholas the Wonderworker.

The icons, the painted Golgotha cutout figures, and the surrounding sanctuary murals were painted by artist Genrik Borutsky and his workshop crew between 1902 and 1903.

Chicago. Holy Trinity Orthodox Cathedral. July 2015. Author’s photograph. 5.64 mb

Chicago. Holy Trinity Orthodox Cathedral. July 2015. Author’s photograph. 2.80 mb

This exterior view of Holy Trinity Orthodox Cathedral captures the masterful architectural synthesis achieved by Louis Sullivan in 1903. Commissioned by 28-year-old Saint John Kochurov of Chicago in 1899, Sullivan deliberately blended traditional, rustic Russian provincial church aesthetics with modern American Prairie School and organic design principles.

Rather than grand stone or brick used in churches, Sullivan utilized a rough-textured stucco facade paired with heavy, natural wood ornamentation. Peeking out from the roofline on the left is the wooden octagonal lantern of the bell tower. Its open-air arched windows, multi-tiered flared roof profiles, and crowning golden onion dome are textbook elements of classical Russian Orthodox wooden church design. The deep, dramatic wooden overhang of the roofline supported by exposed structural wood rafters is a hallmark element of both Prairie School architecture. Above the two multi-paned windows are distinct, sharp triangular wooden pediments that are distinctively Sullivanesque. The building’s bell tower is organically shaped around the dome.

The church building was completed for around $27,000 in 1903 (approximately $1 million in 2022) with Sullivan donating half his commission to the church project.

Who is St. John of Chicago (1871-1917)?

After 12 years of fruitful missionary work in the American Midwest—where he helped establish several additional parishes and co-organized early Orthodox mutual aid societies—Father John returned to his native Russia in 1907.

In 1916, he was assigned to serve at St. Catherine’s Cathedral in Tsarskoye Selo, a suburb of St. Petersburg. In October 1917, the violence of the Bolshevik Revolution erupted directly in his town. To ease panic, Father John organized an outdoor prayer procession through the streets, pleading for peace among the warring factions.

On October 31, 1917, Bolshevik forces stormed the town. Because he had prayed publicly for peace rather than endorsing the revolution, Father John was arrested by a Red Guard mob, dragged to the outskirts of town, and shot to death. This tragic event earned him the solemn historical distinction of becoming the proto-hieromartyr (the very first clergyman killed) of the Soviet era. He was officially canonized and glorified as a saint by the Russian Orthodox Church in December 1994, and his memory is deeply celebrated every October 31st by Orthodox Christians globally, particularly at the cathedral he built in Chicago.

Historic photograph of the interior of Holy Trinity Orthodox Cathedral in Chicago, originally taken in 1905 by a photographer for the Chicago Daily News. The image captures a service in the cathedral shortly after its completion, with Saint John Kochurov likely visible leading the parish. Public Domain.

Same view over 110 years later. Chicago. Holy Trinity Orthodox Cathedral. October 2016. Author’s photograph. 6.95 mb

The Eastern Orthodox central plan creates an interior where the congregation stands in a square space topped by an octagonal dome. For Easter services and the like, the cathedral is filled to capacity with parishioners and others spilling out the front door with its decorative canopy onto the public sidewalk.

Chicago. Holy Trinity Orthodox Cathedral. October 2016. Author’s photograph. 4.08 mb

Painted by Genrik Borutsky between 1902 and 1903 during the initial interior decoration of the Holy Trinity Orthodox Cathedral in Chicago this mural is an exact full-scale replica of the fresco “The Ecumenical Councils” designed by the legendary Russian master Viktor Vasnetsov between 1885 and 1896 for St. Vladimir’s Cathedral in Kyiv, Ukraine.

The mural depicts a grouping of the Great Church Fathers and Bishops of the Early Christian Church. In front of a Byzantine domed cathedral is, from left to right, Saint Athanasius the Great (c. 296–373), Patriarch of Alexandria; Saint Gregory of Nazianzus (c. 329–390), Theologian; Saint Basil the Great (c. 330–379), Archbishop of Caesarea; Saint John Chrysostom (c. 347–407), Archbishop of Constantinople; Saint Gregory of Nyssa (c. 335–395) or Saint Cyril of Alexandria; and Saint Nicholas of Myra (c. 270–343).

The congregation was composed largely of immigrants from regions near present-day Ukraine and the Carpathian Mountains.

Chicago. Holy Trinity Orthodox Cathedral. October 2016. Author’s photograph. 4.41 mb

The parishioners that built this church were rural people who had emigrated from southern Russia near the Ukraine as well as the area of the Carpathian Mountains.

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The photograph captures the sanctuary (altar area), the most sacred part of an Orthodox church, situated behind the iconostasis screen and accessible only to clergy.

• The Holy Table (Altar Table): In the foreground sits the square Holy Table, draped in bright red vestments and a gold liturgical stole (epitrachelion). Resting on top are liturgical items, including a heavy book of the Gospels and a hand cross.

• The Seven-Branch Candlestick: Positioned directly behind the Holy Table is an ornate, golden seven-branched candelabra modeled after a tree, flanked by hanging processional banners.

The murals along the curved apse wall represent the Great Hierarchs and Liturgists of the Church, rendered by Genrik Borutsky in 1902–1903 as exact copies of Viktor Vasnetsov’s masterpiece designs. Depicted, left to right, are Saint Gregory of Nazianzus; Saint Basil the Great; Saint John Chrysostom; and Saint Nicholas of Myra.

High above the central gold tabernacle structure is a separate, framed icon depicting the Holy Trinity (the Hospitality of Abraham).

Chicago. Holy Trinity Orthodox Cathedral. October 2016. Author’s photograph. 8.26 mb

The image depicts Saint Mary Magdalene, as indicated by the Church Slavonic inscription at the bottom: “СВ РАВНОАП МАРIЯ МАГДАЛИНА” (Saint Equal-to-the-Apostles Mary Magdalene). In the Orthodox tradition, her title “Equal-to-the-Apostles” highlights her vital role in proclaiming Christ’s resurrection to the disciples. She carries the alabaster jar she brought to the empty tomb to anoint Jesus’s body.

While the architectural structure of the Holy Trinity Orthodox Cathedral in Chicago was designed by legendary architect Louis Sullivan, the church’s traditional interior iconography and stenciled murals were executed based on the work of famous Russian artist Viktor Vasnetsov (V. N. Vasnetoff).

Vasnetsov was a leader of the 19th-century Russian revival movement, famed for blending historical Slavic folklore with classic Byzantine iconographic principles. The elaborate decorative borders, geometric framing, and gold accents wrapping around the pillar echo this late 19th-century style rather than Sullivan’s signature secular Art Nouveau ornamentation.

Chicago. Holy Trinity Orthodox Cathedral. October 2016. Author’s photograph. 6.27 mb

The stenciled artwork (above) is not by Louis H. Sullivan. Rather, the interior murals and iconographic schemes throughout the cathedral were executed by artist Genrik Borutsky and his team. Borutsky did not paint original compositions; instead, he meticulously painted full-scale copies of the monumental frescoes designed by legendary master Viktor Vasnetsov for St. Vladimir’s Cathedral in Kyiv, Ukraine. Vasnetsov’s influential “Russian Revival” style defined late 19th-century Orthodox art by blending strict Byzantine iconographic rules with softer, emotional realist elements.

The two saints painted on this adjoining corner pillar are St. John the Baptist and St. Nicholas the Wonderworker.

The church stands as one of Sullivan’s most unusual and personal works, distinct from the skyscrapers and commercial buildings that made him famous.

SOURCES:

Chicago Churches and Synagogues: An Architectural Pilgrimage, George Lane, S.J., and Algimantas Kezys, Loyola University Press, Chicago, 1981, p. 106-107.

Alice Sinkevitch, AIA Guide to Chicago, 2nd Edition, Harcourt, Inc., Orlando, 2004, p. 260.

Collegiate Church of St. Gertrude (11th Century): A Monument to Ottonian Power and Early Romanesque Design in Nivelles, Belgium.

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FEATURE image: The Westwork of the Collegiate Church of St. Gertrude in Nivelles, Belgium, fronts an expansive historical building of the 11th century. Nivelles is an ancient settlement about 25 miles south-east of Brussels in Belgium’s French-speaking region of Wallonia. February-March 1992. Author’s photograph.

The Collegiate Church of St. Gertrude stands as one of the finest surviving monuments of Ottonian and early Romanesque architecture in Western Europe, embodying the religious, political, and cultural influence of the abbey founded by St. Gertrude in the 7th century while illustrating how medieval architecture connected local identity with continental Christian traditions.

The Collegiate Church of St. Gertrude on Grand’ Place, c. 1050, Nivelles, Belgium. It contains the tombs of its foundress, Bl. Ita of Metz and her daughter, St. Gertrude of Nivelles, the monastery’s first abbess in the 7th century. February-March 1992. Author’s photograph.

The massive westwork, towers, and disciplined geometry reflect the transition from Carolingian traditions to Romanesque architecture. The church’s architectural simplicity emphasizes volume, proportion, and structural clarity rather than later Gothic ornamentation.

Interior, Minster (Collegiate Church of St. Gertrude), Nivelles, Belgium, c. 1050.  February-March 1992. Author’s photograph.

This structure was built in the early 11th century and consecrated by Wazo of Liège (c.985-1048) in the presences of Henry III, Holy Roman Emperor (1016-1056). it demonstrates how Nivelles emerged as a major religious center in the medieval Low Countries and survived centuries of political upheaval, war, and restoration, to become a living document of European history.

WHO IS ST. GERTRUDE OF NIVELLES, PATRON SAINT OF CATS, GARDENERS AND TRAVELLERS?

St. Gertrude of Nivelles (c. 628-659) was the daughter of Blessed Pepin of Landen (c. 580-640) and Blessed Ita of Metz, O.S.B. (592-652) who founded Nivelles monastery. Gertrude was born about 45 miles north east of Nivelles in Landen, Belgium on the boundary of Wallonia in Flanders.

St. Gertrude de Nivelles, from the Hours of Cardinal Albrecht of Brandenburg (1490-1545), Archbishop and Elector of Mainz, c. 1522. Opaque water-based paint mounted on board by Flemish artist Simon Bening (c.1484-1561). Carnegie Museum of Art, Pittsburgh, Pennsylvania.

The Abbey of Nivelles, founded through the efforts of St. Gertrude and her family in the 7th century, evolved into a major religious institution whose legacy survives in the Collegial Church of St. Gertrude, one of the most important Romanesque monuments in Belgium.

St. Gertrude of Nivelles is an unofficial, modern patron saint of cats. Her feast day is March 17—the same as St. Patrick of Ireland. By the 15th century St. Gertrude was being called upon by the populace to invoke against rats, mice, and plagues. It was the next small, logical step to connect her with being a friend to cats who naturally are used to keep mice away.

From Royal Villa to Monastery

In the 7th century, the territory was part of the Austrasian Frankish kingdom and Pepin had established a personal presence there. Following Pepin’s death when Gertrude was about 12 years old, the bishop of Maastrict in today’s Netherlands encouraged Ita to transform Pepin’s royal villa into a monastery. Pepin and Ita’s daughter, Gertrude, become the monastery’s first abbess.

A Family Devoted to Religious Life

Ita joined her daughter in the monastery to live out their days in a life of work and prayer. In the distant past, older well-endowed individuals often retired to monasteries or convents. A modern corollary may be that some retirees today choose to establish themselves in church-sponsored retirement villages. Ita’s other daughter (Begga) also eventually became an abbess; another son (Bavo), a hermit. One final son (Grimoald) took his father’s place as Mayor of the Palace. (see – http://www.santiebeati.it/dettaglio/37900 and https://www.newadvent.org/cathen/06533c.htm)

St. Gertrude: Abbess, Traveler’s Patron, and Saint

In addition to being the patron of cats and gardeners, St. Gertrude was an early medieval patron of travelers. From her birthplace of Landen to Nivelles, Belgium, it is a distance of around 40-45 miles, or a one or two-day journey on foot.

St. Gertrude was superior of the monastery her parents established and, though a young abbess, Gertrude was known for her wise rule. St. Gertrude died at a young age on account of her personal austerities and was venerated as a saint.

War Damage and Reconstruction

The impressive appearance of the westwork of the Collegial Church of St Gertrude in Nivelles is the result of a reconstruction finished in 1984 following severe damage it sustained during World War II by bombing from the German Luftwaffe (air force) in May 1940.

From Benedictine Abbey to Collegiate Church

The church was built in the 11th century to serve as a Benedictine abbey of cloistered nuns whose first abbess was St. Gertrude of Nivelles. The community of nuns developed so that by the 15th century Nivelles became professionally staffed and was designated a collegiate church. The dramatic church building is classified a major European Heritage site and remains one of the finest examples of the pure Romanesque style in Belgium. 

The Romanesque Crypt and Early Medieval Burials

Its Romanesque crypt is one of the largest of its kind in Europe where tombs of the Merovingian (5th-7th centuries) and Carolingian (7th-9th centuries) periods have been found.

St. Gertrude of Nivelles. As patron of gardeners, it was widely believed in medieval times that fine weather on her feast day predicted a prosperous, fertile season for crops.

Along with her protection against rodents, sheltering travelers was her most famous patronage during the Middle Ages, long before her popular modern association with cats. St. Gertrude became the guardian of the road due to her real-life monastic work as well as a spectacular medieval miracle legend.

St. Gertrude’s Inn

During the 7th century, Gertrude’s monastery in Nivelles sat along highly traveled European trade and pilgrimage routes.  The 11th Collegiate Church of St. Gertrude Illustrates that enduring connection between sacred space, pilgrimage, and civic identity in the Low Countries. Deeply committed to the Christian virtue of hospitality, Gertrude built a dedicated, large hospice at the monastery to provide food, safe shelter, and medical care to any weary traveler.

The Miracle of the legendary Sea Monster

Her patronage of travelers was forever established by a famous seafaring legend. According to medieval accounts, Gertrude sent some of her monks on an ocean voyage to Ireland for a missionary journey. Out on the open water, a terrifying storm struck, and a massive sea monster emerged from the deep to capsize their ship.

In utter panic, one of the monks cried out, “O Lord, through the merits of Gertrude, deliver us!” The moment her name was spoken, the sea monster plunged back into the abyss, the storm broke, and the ship sailed safely to shore.

The “Sint-Geertenminne” (Gertrude’s Cup)

Because of this miracle, Gertrude became the protector of anyone crossing water or embarking on a long journey. This birthed a highly popular medieval custom across northern Europe known as the Sint-Geertenminne (Saint Gertrude’s Cup or Drink):

  • Before a traveler, soldier, or pilgrim set out on a long or hazardous trip, they would gather with family and friends to drink a special toast of wine or beer from a dedicated decorative cup in Gertrude’s honor.
  • This blessing was believed to wrap the traveler in Gertrude’s “spiritual cloak” of protection, ensuring they would survive the road, avoid shipwrecks, and return home safely.
  • Even people who were dying drank this final toast to ensure Gertrude would grant their soul safe passage from earth to heaven.

SOURCE: The Saints: A Concise Biographical Dictionary, edited by John Coulson, Guild Press, New York, 1957.