BONSECOURS CHURCH WITH ITS BARNACLES, SHORTLY BEFORE ITS RECONSTRUCTION

The first mass said in the new parish church was by the Rev. Mr. Richards-Jackson, an English convert who died at Montreal of typhus on July 21, 1849, beloved by the Irish population. The celebration of the formal opening took place on July 15th when High Mass was sung by Mgr. J.J. Lartigue, bishop of Telmesse, and the first sermon delivered by M.J.V. Quiblier. A distinguished congregation was present, including the administrator of the province of Lower Canada, Sir James Kempt, his suite and the representatives of the different corporations of the city.

Meanwhile the old church of 1672 stood in front of the new one but not for long. The bodies of the dead were reverently removed to the vaults under the new church. On June 6, 1830, it was resolved by the Fabrique to give the Irish of the city, for the enlargement of the Récollet Church in which they now worshiped, the cut stone of the portail in front of the old church, together with other church objects from within. Then the church was demolished in August, 1830, but the belfry tower stood till 1843, a curious old-time relic blocking the passage on Notre Dame Street. The four bells were taken down on August 23d and the old tower pulled down on August 24th, about 4:30 P.M. Two of the bells, one of them the Charlotte, cast in Canada in 1774 and weighing, without the hammer, 2,167 pounds, were given later to St. Patrick’s Church. The architect of the new parish church died on January 30th, of the same year. He was a Mr. James O’Donnell, a native of Wexford, in Ireland. At his request his remains were buried in the new church.

The towers of the new church were not constructed till later. That on the Epistle side (west) called the Tower of Perseverence, was constructed in 1841 and blessed by the Bishop of Nancy, in November of the same year. That on the Gospel side (east), the Tower of Temperance, was not finished till 1842. Each tower is 227 feet high. The ten bells in the Tower of Temperance arrived at Montreal on May 24, 1843, and were blessed on June 29th by Bishop Bourget. They were cast in London by Mears & Company and were sounded for the first time on June 19th, at midday, from their position in the eastern tower. The history of the bells is as follows:

Name.Pounds.Donor.
1. Maria Victoria6,041The Seminary.
2. Edwardus-Albertus-Ludovicus3,633Albert Turniss and Edward Dowling.
3. Joannes Genovefa2,730John Donegani and wife.
4. Olivarius-Amelia2,114O. Berthelet and wife.
5. Julius-Josepha1,631Hon. Jules Quesnel.
6. Hubertus Justinin1,463Hubert Paré and wife.
7. Ludovicus1,290Louis, Ant. Parent, priest.
8. Joannes-Maria1,093Jean Bruneau.
9. Tancredes Genovefa924T. Bouthillier and wife.
10. Augustinus897Auguste Perrault.

The first Gros Bourdon, cast in February, 1843, weighing 16,352 pounds and the largest bell on the continent, arrived from Mears & Company, London, in October, 1843, the gift of merchants, artisans and farmers. It was broken in the month of May, 1845, and was sent to England to be recast. The second Gros Bourdon weighed 24,780 pounds. It arrived in 1847 an was solemnly blessed under the name of Jean Baptiste on June 18, 1848. The ascent commenced at 3:30 P.M., June 21st, and about 7:30 P.M. it was installed in its present position in the western tower.

The organ of the parish church, constructed in 1857 by Mr. S. Warren, was inaugurated in its unfinished condition on June 24, 1858.

The church may be described as follows: “There are two immense arcades (60 feet high) with three niches containing the statues of the Blessed Virgin, St. Joseph and St. John the Baptist, patrons of the City and of the Lower Province. A flight of stairs or an elevator leads to the summit whence a splendid view may be obtained over the City and the St. Lawrence. The interior (including the sanctuary) is 255 feet long by 134 feet wide and 80 feet high. Two galleries extend 25 feet over the lower side aisles. The architect was instructed to plan a building with a seating capacity of 10,000 persons. The idea was to enable the congregation to follow the sacred functions and to hear the preacher without too much of an exertion. Notre Dame complies with this twofold condition. Beauty had to be sacrificed to practical use, and still the wealth of materials, the profusion of paintings and decorations throughout, the numerous statues and especially its imposing and well proportioned dimensions leave a deep and lasting impression on the visitor. There are nine chapels and altars in the body of the church. At the right: The chapels of the Holy Face; Our Lady of Perpetual Help with a copy of the Byzantine Virgin which is venerated in Rome; Saint Amable, St. Joseph’s, and, at the foot of the aisle, the Blessed Virgin’s chapel, with a painting by Del Sarto. On the tabernacle door is a fine painting of ‘The Virgin and Child’ by Fra Angelico. The cross and candlesticks on this altar were manufactured at Paris and are of most exquisite workmanship. On the outer wall of the sanctuary is a good copy of Mignard’s: ‘Saint Ignatius writing the constitutions of his Order.’ The altar of the Sacred Heart is on the other side of the sanctuary. To the right of this altar, which, by the way, is an artistic gem, may be seen a noteworthy old painting: ‘The Presentation in the Temple.’ Down the aisle, other altars may be seen; St. Ann’s (Painting by Carnevalli), the Souls in Purgatory and St. Roch’s. The pulpit is almost on a level with the gallery. On its sounding board are several fine statues and below the statues of two of the Prophets, the work of P. Herbert, one of America’s most renowned sculptors. The sanctuary is raised five steps above the nave and separated by the chancel-rail. The latter is of most precious wood and so are the chancel-seats and the monumental reredos. On the first pillar to the right just outside the chancel, under a gilt dome, is a white marble statue of the Madonna. It is the work of a Bavarian artist and displays remarkable skill. Pius IX, who prized it highly, presented it to the Rector of Notre Dame, Abbe Rousselot. At the other extremity of the railing is a second dome surmounting a bronze facsimile of the statue of St. Peter, in St. Peter’s, Rome. The high altar is ornamented with numerous sculptures of rare design and workmanship. ‘The Last Supper,’ in bas-relief, is most artistic, and so are the ‘Choirs of Angels’ at each side of the tabernacle. The sanctuary is illuminated on festal days with myriads of electric lights which produce a dazzling effect. The organ is one of the most powerful in America. It was manufactured by Casavant Bros., St. Hyacinthe.

“Behind the sanctuary is a richly adorned chapel of Our Lady of the Sacred Heart. Its paintings are inestimable in value and the work of Canadian artists. Over the main door is a copy of Raphael’s: ‘Discussion on the Blessed Eucharist,’ by Larose. From left to right: ‘Paradise Lost,’ ‘The Sybil of Tibur,’ ‘The Annunciation,’ by Larose; ‘The Visitation,’ by Gill; ‘The Adoration of the Magi,’ by Saint Charles; ‘The Virgin of the Apocalypse,’ ‘The Transfiguration’ (above the high altar), ‘Christ the Consoler,’ by Franchere; ‘Dollard and his Sixteen Companions,’ ‘The First Mass in Montreal,’ by Saint Charles; ‘The Rock of Horeb,’ by Franchère; ‘The Wedding of Cana,’ by Beau; and ‘The Multiplication of the Loaves,’ by Franchère. The parochial sodalities meet in this chapel, but more especially so, the male and female members of the Association of Perpetual Adoration. In the treasury may be seen gorgeous costly church-ornaments and vestments, precious reliquaries, chalices, ciboriums of gold and silver, the embroidery work of Jeanne LeBer, a massive monstrance and the artistically arranged hangings or draperies of the grand dais which is used once a year for the solemn procession of the Blessed Sacrament through the streets of the City.”