Holy Name Catholic Church at 630 Harmon St., Birmingham, MI 48009 US - OUR HISTORY

Long time parishoners, Paul and Katie Kuebler interviewed Monsignor Eugene E. Paddock, Pastor from 1953 to 1971 at Lourdes Nursing Home. Jim Bodary, a parishoner, assembled this information.

HISTORY

The original Spanish style church was constructed on this site in 1921, and sat between the rectory house at the corner of Woodland and Harmon, and the IHM convent which was added in 1928. That church measured 30 ft. by 80 ft.

The current structure was designed by George Diehl and Associates. Construction began in 1954 and was completed in 1955. It's design theme was the Eucharist. While there were no statues in the interior, except the bas relief of Mary and Joseph over their respective altars, and a bas relief of the Last Supper on the pedestal of the old altar, a large fiberglass statue of Christ holding the cup and bread stood above the main entrance, inviting people to come in.

As orginally laid out, four ranks of straight pews all faced north, with a large stone altar (10ft. 4 ft.) erected atop a raised (4 step) platform directly in front of the large mosaic, and a crucifix with the body of Christ not flexed but triumphantly risen. A marble altar rail stretched the entire width of the nave at the first step into the sanctuary until its removal during the renovation of 1984.

The bas relief of the last supper that was on the base of the altar was moved to a wall in the vestibule in 1994.

MOSAIC

A mosaic at the north wall of the church portrays two main scenes - Abraham about to sacrifice his son Isaac, with the ram stuck in a nearby bush (Genesis 22), and Melchizedek (Gensis 14: 18-20), a priest of the Old Testament who offered bread and wine to the god of Abraham. High in the upper left hand corner of the mosaic is a representation of the Ark of the Covenent, although it may look more like two indians in a canoe. In the upper right corner is a portrayal of a fish and bread basket. The five Greek letters for fish (pronounced Ich-thus) became an early Christian sign from the first five letters "Jesus Christ, Son of God, Savior".

Joseph DiLaura was the artist who created the Mosaic, while Joseph Pardussi from Lake Orion installed the tiles.

A large tent shaped gold Tabernacle was orginally directly behind the altar up against the base of the mosaic, but was too large to be used in either the small chapel or the altar of repose, which were added in 1992.


Loaves and Fishes                                                                  Arc of the Covenant
 

MAIN WINDOWS

The three main stained glass windows of the church, (and the baptistery window added in 2002), were designed by Margaret Cavanaugh, who died in the spring of 2008, in Warren, MI.   These three windows all show Christ - The south window facing Harmon shows the Christ Child sitting with his mother. The East window facing Woodland shows Christ on the left side, with a parallel figure of a modern day priest offering the host. This window was described by Msgr. Paddock as being called "Hand Servant of the Lord, the Eucharist throughout history." Two out-stretched hands at the top represent God the Father, with the Holy Spirit appearing in the form of a dove. Throughout the window one sees hands in different postures, folded, outstretched, blessing water, uplifted, etc. Two Apostles to the left and slightly below the Christ figure, gesture toward their hearts that are aflame..... "Did not our hearts burn within us as he talked to us on the road" Luke 16. Opposite in the West window is a representation of John Chapter 6: 1-13, the multiplication of the loaves and fishes. Small pictographs in this window include Manna falling from the sky, and empty cripple's litter, and a less stylistic rendering of the Ark of the Covenant.

                   East Window                                                   West Window




 

South Window

RENOVATION

The original baptismal font had a very small basin, which was enlarged to allow infant immersion at the time of the first renovation in 1984. Baptisms originally took place in an alcove to the Woodland side of the main entrance (now a reconciliation room). A metal grill work separated the baptistery from the body of the church. The reworked baptismal font was not moved to the vestibule of the church, until the renovation of 2002, when the new "rainbow window" was added along with new glass doors into the nave. A connecting gathering space between what had once been the outside walkway west of the church and the "convent" and new meeting room were also part of the 2002 renovation.

One oddity within the wooden panels near the altar is the sculpture of a mother bird, piercing her side to feed her young. This is an ancient mythical pelican that, in time of drought, is said to have made a sacrifice of her own blood to give life, prefiguring the sacrifice of Christ.
 

SIDE WINDOWS

The smaller windows along the outside aisles represent the Doctors of the Church. The first is St. John Chrysostom of Antioch (347-407 A.D.). He was called "Golden Tongued", and was patriarch of Constantinople. The second window shows St. Gregory the Great (540-604 A.D.). The third window is of St. Thomas Aquinas shown in Dominican Robe with the Book and the word "Summa" representing his significant contributions to theology. The fourth window pictures St. Augustine (354-430 A.D.) who wrote the "City of God" and resided in North Africa. The fifth of the holy Fathers shown is St. Jerome (342-420 A.D.) a Franciscan and translator of commentaries. The final stain glass is of St. Basil
(321-379 A.D.) from Carsarea in what is now Turkey.

SUMMARY

The process of architectural changes to bring Holy Name Church into conformity with the litrugical renewal of the Second Vatican Council did not come easily. One year of consensus formation with a "Feasibility Study Committee" canvassing numerous old, new, and renovated churches, did not avoid unrest and some conflict among the parish faithful. Our then Pastor Rev. Robert Burke humbly responded to the intervention of Bishop Gumbleton on behalf of those parishoners who felt "left out". Through this turmoil, the goal of putting the table of the Lord in our midst and the ambo of the Word back into prominence was achieved. Our new space then facilitated the reality that each one of us is called to celebrate the Eucharistic meal, no longer allowing us to merely observe a ritual celebrated by the priest alone.

In the instruction and formation of new Ministers of the Eucharist, Jim Bodary suggested as he had been taught, that the church is not just a hierarchical institution, a body of dogma, or a physical building. This church is a people on a pilgrimage, like the Israelites of old, led by a pillar of fire by night and a pillar of smoke by day. The four fold mission of our public prayer to give thanks, proclaim God's word, be in communion and serve one another is best achievable in an environment which speaks of both our past and our future.

Every day we confront signs which say such things as "Stop", "Exit In One Mile", "Speed Limit 25", or "Enter Your PIN Number". These speak only of the surface reality. Symbols on the other hand, speak of realities beyond the surface. Signs merely inform, while symbols inspire. The objects and art within our church that are seen and used in our ritual prayer symbolize or speak of our beliefs, and those of our forbearers.

Our worship space should help us to experience in each other, the Mystical Body of Christ as it proclaims, prays, gives thanks for God's blessings and serves. Hopefully the Eucharistic table now brought into our midst at Holy Name, gives relevance to the tables of our workplaces, and the dinner tables of our homes where we are called to be one in communion with our God and one another, constantly giving him thanks and praise.

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