THE PUREST REPLICATION OF LOMBARD-ROMANESQUE ARCHITECTURE IN THE UNITED STATES

Blessed Trinity Roman Catholic Church is listed on the National Register of Historic Places, as a New York State Historical Site and as a Buffalo Landmark by the City of Buffalo’s Landmark and Preservation Board.  Some History – Blessed Trinity was established as a parish in 1906 by Bishop Charles Colton in what had been a rural area inhabited primarily by farm families. Its first pastor, Rev. John Pfluger, led a largely German-Irish congregation with a small representation of all the City’s other immigrant groups – the result of an influx of new residents from more crowded city neighborhoods. Its first worship site was the third floor of a building at Forest (now Dewey) Avenue and Sanford Street. After its legal incorporation in 1907,the parish began building a combination church, school and social hall on Leroy Avenue on farmland donated by the Gesl Family. The building remains today, serving as the neighborhood community center and home of Fillmore-Leroy Area Residents, Inc. or FLARE. By the time its second pastor, Rev. Albert Fritton, was appointed in 1916, the school had an enrollment of almost 300 and the parish had outgrown the building. 

How the purest replication of 12th century Lombard-Romanesque architecture in the United States came to be built in a working class neighborhood on the eve of the Great Depression is a fascinating chapter in Buffalo’s rich architectural history. It was the result of a collaboration by the church’s pastor, Rev. Albert Fritton, the architectural team of Albert Schallmo and Chester Oakley, and Rev. Thomas Plassmann, the president of St. Bonaventure College (later University). While studying for the priesthood at Innsbruck, Austria, Father Fritton had visited northern Italy where he was awed by the great brick churches of Lombardy from the Romanesque period. His concept of replicating what he had seen in Italy meshed perfectly with Schallmo and Oakley’s desire to build at least one church in their lifetime in one pure architectural style. The structure they envisioned also provided the means by which Father Plassmann could realize his vision of combining all of the Christian symbols, scattered in dozens of churches in Europe, into one church. It is to this team of visionaries that this church owes its existence.

Brickwork - The architects studied three 12th century churches in Pavia, Italy, capital of the ancient Lombards, and tried to learn how these medieval builders thought and planned. All of the exterior bricks used in the construction of the church were hand-made, since that is how the Lombards did it. The bricks were made with antique tools by descendants of French brickmakers in Exeter, New Hampshire, but Architect Chester Oakley taught the technique of medieval brick laying to local tradesmen by laying the first few courses of bricks together with them.  After learning how to work with the odd shaped bricks, the Buffalo bricklayers were allowed to work in their own designs. Blind arches, pilaster strips and corbels – distinctive features of Lombard brickwork which were copied in many Romanesque churches all over Europe – were also employed in this church.

Use of Ceramics (Terra Cotta) and Medieval Iconography - Since the Lombards were not blessed with the best of stone, they employed ceramic in their construction – like the Romans before them. So, Blessed Trinity was richly endowed with ceramics, both for decorative as well as structural use. This medium was especially suited for presenting symbols. Hundreds of decorated corbels – small cornice- supporting protrusions – are located along the roofline of the building. More symbols are visible above and around the doors and windows and covering the columns and other ceramic features of the church.  In fact, Father Plassmann tried to make this church “a Bible in stone,” which would teach its message through the ages.

Even the floor plan of the church is symbolic – as were those of medieval churches. The vestibule (narthex) represents the private life of Christ; the nave and transepts, the public life; the sanctuary (chancel) the Eucharistic life; and the dome, the glorified life of Christ. Accordingly, the decorations in all of these areas follow this same scheme of symbolism. 

Choice of Barrel Vaulting - The Lombards developed ribbed vaulting which made it possible for the Gothic structures of a later time to develop. Since Buffalo was already gifted with many gothic churches and fine examples of ribbed vaulting, the builders decided to go back to an earlier Lombard period when barrel vaulting was used. Blessed Trinity has the largest and finest use of barrel vaulting in the City. The ceiling of St. Peter’s at the Vatican was selected as a model and reduced to fit this particular church.  (Even the four pictures of the Evangelists and a Bible verse around the church were inspired by St. Peter’s). The designs in the barrel vaulting come from Roman triumphant arches.

Many great Lombard churches have domes.  Lombard builders used their own styles and also borrowed the from the Byzantineswho had settled in Ravenna and Milan.  But Lombards were not slavish copiers; they always added a creative element of their own. While Byzantine domes are round inside and out, those of the Lombards are round on the inside but set in an octagonal box with a cupola on top. In keeping with medieval iconography, the dome of Blessed Trinity pictures Nine Choirs of Angels adoring the Trinity in the top ring of figures and Hebrew Bible and New Testament saints in the lower ring.  The Byzantine influence is also to be found at Blessed Trinity in the floral designs around the sides of the doors and windows of the church.

This is a view of our beautiful dome with sunlight streaming in. 

The pipe organ is the church's original instrument, built by the Teller-Kent Organ Company in 1927.  It has three manuals (keyboards) and 23 individual sections of working pipes known as “ranks.” To date, the organ has undergone two major renovations. In the early 1950s, the organ’s mechanics were pushed back and into the side walls of the church, increasing the capacity of the loft from ten to approximately 35 people. The original leather coverings to the wind chests as well as some of the electrical wiring were replaced in the mid 1980s, and fundraising efforts continue to finance additional restorations.

The church wasa completed in 1928 at a cost of $513,000.00.  Despite its medieval design, the church can proudly boast of having been “Made in the U.S.A.” All of the craftsmen and materials used in the original construction were American. In 1952-53, then pastor Rev. Charles Kraehn overcame considerable opposition in replacing the original rolled amber glass in the rose windows and skylight over the altars with stained glass. Even these windows, which involved a blend of pre-war European and modern American glass, were manufactured locally by Frohe’s Studio.

In addition to Father Fritton who was pastor from 1916-1933, the architectural team of Oakley and Schallmo, and Father Plassmann who designed the iconography, the following made significant artistic contributions: Joseph Mazur painted the dome, transept, and choir loft; Vincent Mondo of New Haven, CT painted the sanctuary and Stations of the Cross; P. Kuhnle sculpted the ceramic reliefs over each doorway; Michael Hoffman designed the altar and baldachino; and Albert and Richard Lippich of Bowmansville did the woodcarving. These artists, together with the ordinary working class families and parishioners who paid off and kept up the church over the years, created an architectural landmark and a beautiful and inspiring liturgical environment for worship.

Update for the New Liturgy – When liturgical renovations were made in 1968 following the Second Vatican Council, small columns and parts were carefully taken from the two side altars to create an altar facing the people in the original spirit and style of the church.

The Trinity Series

“Beautiful Music in a Beautiful Space”

2011-2012 Concert Season

Sunday, December 11, 2011, 3 pm
The Buffalo Brass Choir presents “Sacred Music in a Sacred Space”

Founded and directed by Blessed Trinity’s own music director, Nick DelBello, the Buffalo Brass Choir
brings together some of the finest brass players in the region. Their premier concert will include sacred music
composed for brass by J.S. Bach, Giovanni Gabrieli, Henri Tomasi, and others.
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Sunday, January 22, 2012, 3 pm
The Buffalo Flute Club

The Buffalo Flute Club is a newly formed organization founded to promote the enjoyment of the flute among flutists
and other interested people. Their purpose is to present opportunities for performance, study, and appreciation of
flute music through concerts, master classes, flute fairs, and other flute related events.
This concert at Blessed Trinity will be the second members' recital for the group.
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Sunday, March 18, 2012, 4pm
The Vocalis Chamber Choir presents “Choral Compositions from Buffalo and Beyond”

Vocalis has been proud to be a part of WNY's thriving artistic community since 2001.
This concert pays tribute to great choral works from the area. A diverse and entertaining mix
of repertoire will showcase the many talented composers of Buffalo and Beyond!
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Friday, May 11, 2012, 7:30 pm
The Freudig Singers present “Audience Choice from Stage and Screen III”

Freudig Singers, under the direction of Roland E. Martin, are an auditioned, professional-caliber chamber ensemble
dedicated to broadening the musical experience of all people of Western New York regardless of their income.
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Sunday, June 10, 2012, 3 pm
Benefit Concert for the Restoration of the Blessed Trinity Church Pipe Organ

Join the church choirs of Blessed Trinity, St. Joseph University, and St. Louis for a joint choral concert
to benefit the restoration of the Blessed Trinity Church Pipe Organ.
With directors Nick DelBello, Roland E. Martin, and Frank Scinta.
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All concerts at Blessed Trinity Roman Catholic Church
317 Leroy Avenue
Buffalo, NY 14214

For more information:
716-833-0301
www.blessedtrinitybuffalo.org