Photo: Loren King.
Art at St. Ann Art and Cultural Center, Woonsocket, Rhode Island.
For my first issue of a certain Boston Fed magazine in 2005, I was a bit panicked about learning the ropes of editing a new field. I managed to line up an article on a troubling change in bankruptcy law from Elizabeth Warren. And through my friend Nancy L, I talked to a guy who knew everyone in the community development field in the region and who put me in touch with Joe Garlick at the Woonsocket Neighborhood Development Corporation (now NeighborWorks) in Rhode Island.
And so it was that I got a memorable tour of initiatives benefiting residents of this former industrial town, where the rivers once ran with clothing dyes.
Today I learn that I better go back to Woonsocket and check out a particular church, now a cultural center.
Amanda Milkovits reports at the Boston Globe, “Swing open the heavy doors of this twin-spired former Roman Catholic church on an ordinary city street some Sunday afternoon, and enter a museum that takes your breath away.
“Elegant and intricate fresco murals soar across the barreled ceiling and along the walls of the nave, above the sanctuary and alcoves, and the choir loft. Scenes from Bible stories, and religious figures, saints and sinners, angels and devils, nearly glow from the frescoes’ warm pastel colors, painted in the style of the Italian High Renaissance.
“Years ago, Yankee Magazine dubbed St. Ann Arts and Cultural Center as the Sistine Chapel of America, and that’s no exaggeration. The former church, which is actually larger than the Sistine Chapel in Rome, is home to the largest collection of fresco paintings in North America.
“Its place here in this working-class city on the northern edge of Rhode Island, away from the tourist meccas of Providence and Newport, can make visitors feel as if they’ve discovered an incredible treasure.
“ ‘That’s why we say it’s the best-kept secret, and the worst-kept secret, too,’ said Joe Petrucci, a docent and volunteer. ‘Because it’s a wonderful gem, but not a lot of people know about it.’
“Along with the stunning frescoes, there’s the rich color and depth of 40 stained-glass windows made by artisans in Chartres, France, and the hand-carved marble altar and the marble stonework imported from Carrara, Italy. Outside, the church’s twin 165-foot cupola towers resemble those of the Shrine of Sainte-Anne-de-Beaupré outside Québec City, and have been an integral part of Woonsocket’s skyline for a century.
“But for the keepers of St. Ann, what makes the former church so distinctive to the city of Woonsocket is how an artist immortalized its residents in the frescoes.
“Guido Nincheri, an Italian-born artist considered the Michelangelo of North America, painted these ordinary people into his extraordinary artwork. The mill workers, the mischievous children, and those lost in World War II, and other residents were models for the 475 faces painted into the frescoes.
“ ‘Aside from the incredible, amazing art and the architecture, the stained glass and the marble work, my favorite part is the story of how it came to be. It’s a part of my heritage,’ said Dominique Doiron, St. Ann’s executive director and Woonsocket native, who was a parishioner until the church closed in 2000. ‘Especially in such a time of turmoil, to be able to look at something and go, What if we all just got along? Look at the great things that we can accomplish together.’
“Roll back the calendar more than a century, back when Woonsocket was nicknamed ‘Le Petit Canada’ for its large population of French-Canadians, who’d arrived in the city to work in the mills. This church on Cumberland Street, which opened in 1918, was the second French-Canadian parish in the city.
“The church was the social hub for its hardworking parishioners, and there were seven Masses on Sundays, standing room only, Doiron said. Though they were poor, the parishioners pooled together their own meager funds for the construction of their church, and later, for its beautification. …
“While the architecture was beautiful, there wasn’t enough money to complete the interior, so the gray stucco cement walls weren’t plastered. That would turn out to be a lucky accident.
“In 1925, the 35th anniversary of the founding of the parish, the parishioners raised money again to install 40 stained-glass windows, made in Chartres, France.
“During the Great Depression, the priest leading St. Ann’s still wanted to do something about those plain walls. the Rev. Ernest Morin visited different churches throughout Rhode Island for ideas, and ended up at St. Matthew Church in Central Falls, where Nincheri was painting.
“Nincheri had been knighted by Pope Pius XI as one of the great artists of the Roman Catholic Church and would win four papal awards for his work. He’d studied the Old Masters style in Florence and apprenticed in stained glass in Montreal.
“Nincheri had immigrated to Canada and later moved to Rhode Island, where he was working on churches and public projects. Morin invited him to visit St. Ann’s.
“ ‘As soon as he walks into the building, the first thing Nincheri notices is, Oh my God, the walls and ceilings aren’t plastered,’ Doiron said. ‘Now, he’s getting excited, because this is a rare opportunity to do the fresco style.’ …
“The technique, which reached its height in the Italian Renaissance, requires that an artist is both careful and quick, because there is no room for error.
“At this, Nincheri was a master. He explained the possibilities to Morin, how Michelangelo had painted the frescoes in the Sistine Chapel in Rome, and he could do the same here, at this busy Woonsocket church. They settled on a contract for $25,000 in 1940. …
“Nincheri told a reporter for the Woonsocket Call newspaper that St. Ann’s would be ‘America’s most beautiful church.’
“As Nincheri began the work, he studied the faces of people in the community. … ‘All of the faces were people of the parish and people of the city of Woonsocket at the time. He would always be on the lookout for a face that would fit a particular subject, and he would invite them to sit for him,’ Doiron said. ‘And what we now have here is a scrapbook, a pictorial history of who we now call the “Greatest Generation.” ‘ ” More at the Globe, here.
See also my 2018 post on a Sistine Chapel replica in Mexico, here.
Suzanne's Mom's Blog 