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Now two circumstances radically transformed the life of the parish and created one of the most grandiose churches in New York City.
Second, the parish attracted the attention of Thomas Fortune Ryan, (1851-1928) an investor in many businesses who was reckoned the 10th wealthiest man in the United States when he died. Most impressive of all is the colossal altar crowned by a monstrance the visual center of the church.
The creation in earlier times of separate churches for the Italians, the Slavic peoples, the Germans etc.
Since in the 19th century and well beyond the majority of the parishioners of the non-ethnic parishes of New York City were Irish, it could be maintained that all New York Catholic churches were “ethnic” from their origin. First, in 1900, after early years under various pastors, the parish was placed in the care of the Congregation of the Blessed Sacrament, a religious congregation coming from Montreal. He and his wife Ida Barry Ryan were major benefactors of the Catholic Church allover the country but especially in the South. Previously unheard–of financial resources became available for the construction of Catholic institutions – often at the direction of wealthy patrons like Thomas Ryan.
Jean’s makes a dramatic impression on its Lexington Avenue – what with its columns and pediment, intricate twin towers and dome. Coming into the nave, the visitor is overwhelmed by the elaborate color scheme – restored in recent renovations. There could be no better expression of the Eucharistic centeredness of the original founders. In the sanctuary are a series of windows dealing with Old Testament types of the Eucharist.
Patrick’s cathedral, comes from the French studio of Lorin – in contrast to the glass from Munich or Innsbruck typically found in New York churches of that period. In that year the pastor began a series of costly restorations that have continued to the present day. St Jean’s soldiers on – among other things, the parish has a music program unusually active for a Catholic church. Jean’s has seen magnificent, well attended pontifical masses in the Extraordinary Form as well as musically splendid services in the Ordinary Form.
Yet even if we restrict the label “ethnic” only to parishes having a congregation employing a language other than English, the boundaries have been very fluid.
4) He had already established close contact with the Blessed Sacrament Fathers both at his country estate and in the city.
Parish priests and religious orders strove both to build impressive houses of God and also to set off their churches stylistically from their predecessors and neighbors.
He often worked for the Catholic Church particularly in the period 1910-20, employing a Neo-Baroque style. The grandly dimensioned church is fully articulated with nave, aisles, transept sanctuary and dome – no “ordinary” New York parish here!
And the main windows reinforce this teaching by commemorating New Testament and Eucharistic events of more recent vintage (such the lowering of the age of first Holy Communion). 19th century accounts of New York churches often mention magnificent vestments especially at major liturgical events. The parish opened schools – the high school still exists, the grade school was closed in 1989.


But do the spiritual and intellectual sources of this great structure – Eucharistic devotion and reverence for the Western classical architectural tradition – still have any relevance for the Catholic faithful in 2014? Some churches have always been “ethnic” but with a succession of different nationalities, e.g. But in contrast to their prominence in the New England mill towns, French Canadians remained one of the smaller Catholic minorities in New York City. Peter Julian Eymard founded the Blessed Sacrament Fathers in Paris in 1856 –their first residence was in the strangely named Rue d’Enfer.
In the city his work was predominantly for national parishes – Italian and French, Time has been unkind to his legacy in Manhattan. This is also typical of that Golden age of New York church building – every aspect of the architecture, furnishings and decoration is intended to be in harmony, to relate and reinforce one unified message – of Eucharistic Adoration. This is entirely in accord with medieval practice; early descriptions of churches often focus more on the precious vestments and liturgical vessels than on the architecture. Those of a younger generation seeking to reconnect with its own religious and artistic heritage will have to give the final answer to that question.
His church of St Clare (Italian) found itself in the path of the Lincoln tunnel and was demolished in the 1930’s; Mary Help of Christians (likewise Italian) succumbed to Archdiocesan real estate dealings and was razed in 2013. One day after having had to stand in an overcrowded service, Ryan asked Father Letellier how much it would cost to build a new church. Jean’s possesses two truly spectacular sets of vestments: one, the “Angelic Vestments”, medieval in style, was made in Lyon in 1900. That included preparing children for first Holy Communion, reaching out to non-practicing Catholics through the Eucharist and encouraging both Eucharistic adoration and frequent Holy Communion. Jean’s, his grandest creation, far exceeding these other churches in size and magnificence, remains.
The second, made in Belgium from 1925, commemorates the declaration of Peter Eymard as a Blessed of the Church. The liturgical changes wrought in the wake of the Council most directly clashed with the truly “Tridentine” Eucharistic orientation of the whole church. And, of course, in recent decades most Manhattan parishes other than the commuter churches and those located on the East Side north of 14th Street and south of 96th Street have become de facto “Hispanic” ethnic parishes. A relic on the way to St Anne de Beaupre was venerated by a great multitude in the very first year of this parish’s existence even before its first church was finished; later in the 1880’s the parish acquired its own relic of St. 2) Of the community of Blessed Sacrament Fathers newly established at St Jean’s, Father Arthur Letellier was a particularly outstanding personality: a man of great devotion and an inspiring and visionary leader. Recently both sets have been seen to great advantage in two traditional pontifical masses celebrated at St.
The “people’s altar “ (brought from the former lower church) stands in shocking contrast to the old high altar and its great reredos. Ann and the devotions continued and grew (if in competition with devotions at St Ann’s parish downtown).
However, the decoration of the vast space – the windows, the altars – continued into the 1920’s and beyond.



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