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Special Projects

Pray Along with the Liturgical Institute for the Sacred Triduum

Click here for sound files for Morning and Evening Prayer from the Mundelein Psalter for the Sacred Triduum.


The Mundelein Psalter

The first Divine Office book using the approved English-language texts  pointed for singing chant. Visit the Psalter web site to find sample pages, audio files and answers to frequently asked questions.


Heavenly City: The Architectural Tradition of Catholic Chicago
Authored by Institute faculty member Dr. Denis McNamara

The Church for 2010: A Classical Experiment
Franck, Lohsen, McCrery, architects, 2002

"Saint Paul Preaching on the Areopogus"
A painting by Leonard Porter commissioned by the Liturgical Institute.



Reynold Hillenbrand and the Sacred Liturgy
A Virtual Exhibit on Chicago's Pioneer of the Liturgical Movement


The Mundelein Psalter

This page has been established to help those interested in The Mundelein Psalter learn more about its offerings and use.

What is The Mundelein Psalter?

In order to facilitate the sung public celebration of the Liturgy of the Hours, the Liturgical Institute offers The Mundelein Psalter, the first complete psalter containing the approved English texts of the Divine Office pointed for singing chant and available for public use. It is approved for use in the dioceses of the United States of America by the United States Conference of Catholic Bishops.

The text is marked to facilitate singing with the simple yet beautiful Gregorian-based tones composed by Fr. Samuel Weber, OSB, a monk of St. Meinrad Archabbey and founding faculty member of the Divinity School of Wake Forest University.

The psalter includes translations of the Latin hymns proper to each ferial day as well as a section of hymns for feasts and solemnities and features a Pastoral Implementation Guide for introducing the Liturgy of the Hours in a parish setting. 

An ideal resource for seminaries, religious communities, parishes, colleges, youth ministries, young adult groups, and high schools, it includes the entire liturgical year, sanctoral cycle, Compline and Office for the Dead.

Click here to read Fr. Douglas Martis' introduction from The Mundelein Psalter.

To order The Mundelein Psalter, click here.

Heavenly City: The Architectural Tradition of Catholic Chicago

Heavenly City: The Architectural Tradition
of Catholic Chicago

Authored by Denis R. McNamara Photographs by James Morris

n conjunction with the Bricks and Mortar Foundation and Liturgy Training Publications, the Liturgical Institute is pleased to sponsor a new book showcasing Chicago’s Catholic church architecture. Entitled Heavenly City: The Architectural Tradition of Catholic Chicago and authored by Institute faculty member Denis McNamara, the text explores the historical and liturgical dimensions of church buildings. Lavishly illustrated with the work of London photographer James Morris who provided the images for the 2000 book Churches and Cathedrals of London, the book includes over 300 images of 68 of Chicago’s most historically and architecturally significant Catholic churches.

Winner: Benjamin Franklin Award from the Independent Book Publishers Association
Midwest Independent Publishers Association Award in the categories of Regional Non-fiction and History

"It is truly a magnificent publication and brings back many happy memories of Chicago. I shall enjoy it for years to come." - His Eminence Edward Cardinal Egan, Archbishop of New York

Sample photos from Heavenly City
Ordering information 


A Proposed "Church for 2010"

These images display a draft version of a proposed "Church for 2010"  which was exhibited by James McCrery of the firm of Franck, Lohsen, McCrery, Architects of Washington, D.C. at a conference sponsored by the Liturgical Institute called  "Building the Church for 2010: Continuity and Renewal in Catholic Liturgical Architecture" held in October of 2001. Msgr. M. Francis Mannion and Dr. Denis McNamara served as liturgical and architectural consultants.

The classical architectural language in this sketch of a church building dedicated to Saint Joseph combines artistic models taken from the liturgical arts movement that flourished at the beginning of the twentieth century with the enduring viability of the classical tradition as a means for serving the Catholic liturgy revised by mandate of the Second Vatican Council. The classical architectural language connects the proposed new church to a tradition largely abandoned in the twentieth century, but being renewed and reappropriated today in new building. Classical architecture allows for poetic expressions of structure, the clear explication of use and importance, and the possibility for creative flexibility within a long-standing system of conventional signs and recognizable symbols.

The renewal of representational liturgical art, by reference to iconographic traditions, serves to articulate the unity of the earthly liturgy with the cosmic, and to state more fully the catholicity and apostolicity of the church.  Such art facilitates the active participation of the worshipping Christian assembly with the heavenly company in adoration of Christ who reigns in glory with the Father and the Holy Spirit. This reappropriation of traditional forms in new ways and in new circumstances provides a design that grows organically from the past, is recognizable in the public realm, and is most capable of serving the liturgy of post-Conciliar Catholicism.



The Program


This church design provides a solution for a very particular set of circumstances not found in every church program.  As such, the “Church for 2010” is not meant to be seen as a “best” or “model” liturgical arrangement, nor are the arrangements presented here advocated for all situations. An individual congregation may well want to make different choices concerning the arrangement of the liturgical furnishings and seating according the norms set by the ordinary of their diocese and the revised General Instruction of the Roman Missal.


The architects of this particular church design were given a complex and difficult program, one which mirrors requests often made by design and building committees. The architects were asked to design a church which provided: seating for 1000 people with maximum proximity to the altar, a full immersion baptistery, devotional and penitential chapels, and a Blessed Sacrament chapel separated from the main body of the church. At the same time, the architects were instructed to provide a worthy and dignified building which spoke of continuity with Catholic tradition, included a rich iconographic program making the liturgical realities of the cosmic liturgy present to those in the building, gave a clear prominence to the altar, and which provided a truly fitting and prayerful place of repose for the Blessed Sacrament.



Classical Architecture

The way of building commonly called "classical" architecture is formed from a widely varied and flexible vocabulary from which architects have drawn to embody their religious, cultural, and civic aspiration.  From its earliest origins in Grecian culture, its development in Roman antiquity, the Middle Ages and the Renaissance, to the civic buildings of the modern United States, classicism has absorbed and represented the local accents of cultures and regions within a framework of poetic expression of structure and content. Accordingly, classicism represents not a style, but the "deep structures" of greatly varied architectural expressions of diverse peoples and cultures. The canonical features of architectural classicism may be read like an alphabet, wherein letters come together to form words; or like a vocabulary, wherein words form units of speech, as with a poem.  The proportional systems of classicism reveal the harmonic patterns in nature and mathematics, and its ready assimilation of inscriptions and sculptural detail make for artistic expression rich in cultural and religious reference.  The revival of classicism evident in recent years is not a retrenchment into nostalgia; rather, it involves reconnection with rich sources deliberately set aside in the Modernist architectural movements of the twentieth century.  This architectural ressourcement of classicism represents the recovery of a rich and enduring vocabulary of architectural expression in the modern world.



Choice of Art

Many of the images used in this computer-generated model are taken from a 1998 exhibit of Beuronese art held in 1998 at the museum of St. John’s Abbey in Collegeville, Minnesota.  They are presented to suggest possibilities for an iconographic program that a parish or architect might consider when planning a new church building. They were chosen to highlight the central sacramental realities of the liturgy, an interest typical of the Beuronese movement. They also reflect concern for the careful arrangement of art in in the sacred buildings of Eastern Christian church whereby the central mysteries of faith are always kept to the fore and in proper hierarchical order.  Several of the images shown were unfinished studies for larger works. They are used here only as models.  Should a church of similar design be constructed, new works would be commissioned.


Beuronese art takes its name from the Benedictine Abbey at Beuron, Germany, founded in 1863 as part of a revival in monastic life, art and liturgy.  Admiring the early 19th century art movement of a group called the Nazarenes, several Beuron monks developed a highly stylized and deeply liturgical mode of artistic representation that spread quickly to many Benedictine monastic communities throughout the world. The various strains of Beuronese-inspired art reveal the influence of the Greek, Egyptian, Byzantine and early Renaissance artists. They share an interest in a highly stylized, figural, iconic, form of representation based on mathematical and geometric underpinnings which shies away from overly-naturalistic representation. 


The devotional chapels to the Virgin Mary and Saint Joseph feature iconic representations, one Beuronese, and the other a modern icon of St. Joseph by Robert Lentz of Washington, D.C.. With the gracious permission of St. John’s Abbey, Collegeville, Minnesota, St. Joseph’s Abbey in Covington, Louisiana, and Mr. Lentz, these images have been placed in an architectural setting to suggest the close connection between liturgical art and architecture and the devotional elements of churches.



The Design


General view: A bird's eye view makes evident the Latin cross plan of  the Church for 2010. Following the model of early Christianity, the design shows an atrium which evokes the garden of paradise. The atrium is open, but could easily be glazed and used as a gathering area in colder climates. The central nave of the church is expressed by the large oval dome with a large cupola which floods the building with natural light. Four smaller domes on the corners mark the presence of small devotional and confessional chapels. The octagonal roofline to the rear of the dome marks the chapel for reservation of the Blessed Sacrament. A tall campanile announces the presence of the church the surrounding community.




North and South entrances: The south side of the building shows one of  the two lateral entrances to the nave with their monumental columned surrounds, clearly marking the entrances as important features of the design.



View from the atrium: The view from inside the atrium shows the main entry to the church, with its inscription from the Rite of Dedication of a Church, inviting worshippers into the building. The round window above provides natural lighting for the organ loft.  



The font and narthex: The font takes its inspiration from a fifth-century example at Mariana, Corsica.  Placed in a large room which also doubles as a narthex, the baptistery is provided with its own room yet remains visible from the body of the larger church for the Easter Vigil ceremonies.   It provides for immersion of adults as well as a font for infant baptism.  Following early Christian models, the baptistery is articulated by a ring of columns set on a circular plan and capped by an open crown of entablature.





The narthex also provides two niches, one of which serves as an ambry for holy oils, clearly visible upon entrance to the church.  The other niche forms a small shrine dedicated to the sacredness of life, symbolized by an image of the Visitation of Elizabeth to the Virgin Mary in which the tender embrace of Elizabeth to her cousin’s fruitful womb points to the Incarnation and Nativity of Christ.

A quote from the Book of Matthew around the narthex reads: "Come. You have my father's blessing! Inherit the kingdom prepared for you from the creation of the world. For I was hungry and you gave me food, I was thirsty and you gave me drink.  I was a stranger and you welcomed me, naked and you clothed me." I was ill and you comforted me, in prison and you came to visit me." The quote begins on the nave side of the baptistery, so that coming into the building, worshippers see the words of invitation at the beginning of the quote, and upon leaving read the admonition to go out and serve.



The ambulatory and Stations of the Cross: The ambulatory, which circles the entire perimeter of the main church, is formed by the large Corinthian colonnade that defines the nave proper.  It provides a processional route around the church to the shrines and penitential chapels as well as access to the Blessed Sacrament chapel.  Since the walls of the ambulatory are largely covered with iconic representations of the twelve apostles, we have elected to form beautifully lettered Stations of the Cross set into the floor of the ambulatory without pictorial representations.  The ambulatory path emerges as a via dolorosa, leading one past all of the liturgical features of the church — font, altar, and confessionals ¾ finally finishing at the entrance to the Blessed Sacrament Chapel.



Confessional chapels: The confessionals are located in chapels with dedications based on themes of penitence and forgiveness: the Penitential Chapels of the Good Shepherd and  the Prodigal Son.  They provide for both screen and face-to-face confession, and offer a spacious waiting area with seats and kneelers, which may also serve as a location for special devotions.




A quotation from the Book of Revelation is inserted along the frieze of the main body of the church, reminding those gathered of the eschatological and cosmic dimensions of the liturgy in which they participate:


"Then I heard the voices of every creature in heaven and on earth and under the earth and in the sea; everything in the universe cried aloud: 'To the One seated on the throne, and to the Lamb, be praise and honor, glory and might, forever and ever.'" (Rv 5:13)


The entablature of the architectural backdrop behind the altar bears the inscription:

                                          “Holy, holy, holy.”






The rear apse: The rear apse contains a tall architectural element which breaks away from the nave’s colonnade and strengthens the prominence of the sanctuary by providing a visual setting for the altar. This feature frames an image of the salvific and liturgical realities of the crucifixion, and establishes a link between the ritual action of the altar and its nature as sacrifice.  In addition, this feature works in three dimensions, containing an arched tunnel which continues the ambulatory and provides access to the Blessed Sacrament chapel behind.  Those who wish to enter the Blessed Sacrament chapel enter figuratively into the crucifixion by means of this device which itself has connotations of a triumphal arch, thereby establishing in architectural terms the victory of Christ in his crucifixion and His continuing presence in the eucharist.  



The upper level of the apse shows Christ, the Lamb, in His heavenly glory surrounded by the angels and elders described in the Book of Revelation.


Altar and sanctuary: The altar is designed to serve as an icon of the banquet table of the heavenly Jerusalem, thus to be noble, beautiful, and inspiring.  The altar is designed so that by its location, design, level of craftsmanship, and materials, it reads immediately as the centrally-important object in the church building. With its location on the center axis, raised three steps on a richly patterned octagonal platform (mirrored in the shape of the Blessed Sacrament chapel), and clearly delineated by the presence of the large floor candles and hanging lamps, the altar receives the treatment worthy of its importance. The model for the altar is that of Saint Matthew's Cathedral in Washington, D.C.  



The Blessed Sacrament chapel: The Blessed Sacrament chapel is located on the central axis of the building, behind the altar and on axis with the baptismal font.  Its octagonal shape recalls the ancient symbolism of using centralized plans for buildings meant for objects of veneration (tholoi).  The tabernacle tower is a highly finished object worthy of the reserved Eucharist, and surrounded by seating and kneelers for private prayer.  On three sides of the chapel, large painted angels cover their eyes in evidence of their ability to see the otherwise invisible reality of Christ’s presence in the Eucharist. In the dome, angels play heavenly instruments in celebration of the same sacramental reality.  One door leads back to the main body of the church, while two others provide direct exterior access for prayer at hours when the main body of the church may be closed.  Two other grilled openings align with the doorways of the apse to provide direct lines of sight from the nave of the church to the chapel of reservation, clearly marked by hanging tabernacle lamps.

Hillenbrand Exhibit

Priest, pastor, educator, social justice advocate and liturgical reformer, Monsignor Reynold Hillenbrand (1905-1979), a priest of the Archdiocese of Chicago, served as Rector of Saint Mary of the Lake Seminary from 1936 to 1944, and pastor of Sacred Heart Parish in Winnetka, Illinois from 1944 to 1974. Known as one of Chicago's most influential and inspirational priests, Hillenbrand was a visionary leader of liturgical reform and social renewal. As one of the American pioneers of the Liturgical Movement in the United States, Hillenbrand began began promoting active participation in the liturgy decades before the Second Vatican Council made today's liturgical practices the norm. Always conscious that worshippers formed a Mystical Body with Christ as its head, Hillenbrand encouraged appropriate lay participation so that Christ's work, which continued in the Church, could flourish on earth.

Deeply interested in social renewal during and after the Great Depression and World War II, Hillenbrand believed that Christians would be transformed by the Divine Life by participating fully in the sacred liturgy, giving praise to God and receiving sanctifying grace. These individuals, then transformed, would bring this overflowing Divine Life to others in the workplace, schools, at home, with the poor, and in all aspects of social interaction. This cultural renewal avoided the excesses of both unbridled capitalism and collectivist communism, instead finding its source in Christ.

As a prolific speaker and founder of numerous organizations and events, including the National Liturgical Weeks, the Summer Schools of Social Action and the Catholic Family Movement, Hillenbrand shaped the understanding of generations of priests and laypeople. He helped them  to understand that the grace of Christ available in the sacred liturgy was the true source of personal and social renewal, and that this grace was most fruitful when people participated in the sacramental life of the Church most fully.

Saint Paul Preaching on the Areopagus

Leonoard Porter, "Saint Paul Preaching on the Areopagus"
2010, oil on linen, 12" x 19"

As part of its mission to sponsor 
special projects which advance the sacred liturgy and its allied arts, the Liturgical Institute commissioned a painting entitled "Saint Paul Preaching on the Areopagus" from Leonard Porter, a New York painter who specializes in paintings of classical antiquity. A gift for the Liturgical Institute’s first alumnus to be named bishop, His Excellency James Wall of Gallup, New Mexico, the painting celebrates a man energized with an evangelical spirit whose mission is to persuade a thoughtful audience who yearn for spiritual meaning in their lives.

Porter, who has spoken at the Liturgical Institute as a Hillenbrand Distinguished Lecturer, was the winner of the Arthur Ross Award for Excellence in the Classical Tradition in 2006. He is also known for his mural at the Chapel of the Sacred Heart at the Cathedral of Saint Joseph in Sioux Falls, South Dakota.

In his description of the painting, Porter wrote:

"The Liturgical Institute in Mundelein, Illinois, commissioned Leonard Porter Studio to create a painting of "Paul Preaching to the Athenians" to be given as a gift to the Institute’s first alumnus to be ordained as a bishop, the Most Reverend James Wall. The commission wanted to celebrate a man energized with an evangelical spirit whose mission is to persuade a thoughtful audience who yearn for spiritual meaning in their lives.Acts 17:16-34 recounts Paul’s experience in Athens. Paul is amazed to find the Athenians worshiping religiously in shrines, temples and at altars. He particularly notices the altar to the unknown god and engaging the philosophers, particularly Stoics and Epicureans, he declares that Christ is the god they are groping for in the dark. Paul draws parallels between Christian and Greek thought and offers Christianity as the fulfillment of their philosophical quest. Paul is able to convert Dionysius the Areopagite, a woman named Damaris and unnumbered others.

The painting depicts Paul preaching on the Areopagus, the small hill that stands above the Agora and below the Acropolis. On the lower level, the Agora is a world of profane commercialism and idolatry, while the Acropolis represents the heights of spiritual ascension with its temples of wisdom. The Areopagus was the site of a court and therefore a place for arguments and persuasion and it is here that Paul chooses to engage the Athenian philosophers and those gathered to hear him. He calls on them to forsake the worldly lower ground and follow a higher path. With his hands he points both up and down. A statue of Ares atop a Doric Column is seen on the right. As in Raphael’s version of the same scene, he turns his back to Paul. The sword of Paul’s eventual martyrdom is in his hand.

Paul seeks to enlighten them and light is a principle metaphor in the painting. As God’s word is revealed by Paul, clouds in the sky break and allow sunlight to show through. Light illuminates the Acropolis while the Agora is obscured by shade. Likewise in the foreground only Paul, Dionysius and Damaris are lit. A beam of light comes very close to the seated figure in the lower right corner with reflected light bouncing on him. Beside him the water of salvation flows from the mouth of the fountain just as it flows from Paul’s speech. A cup of acceptance is placed just before him. He has but to pick it up and drink. The reflections in the pool of water allude to reflection and thought. Behind him a crowd listens. Among them are a young family and an elegant lady wearing a wide brimmed hat, a common accessory in sunny Greece, but in this case it shields her from the word of God.

The group of philosophers display various reactions to Paul’s speech. One (modeled on Zeno of Citium, 334 - 262 BCE) carries a cane and appears to be blind, while another (Heraclitus of Ephesus, c. 535–c. 475 BCE) engages Paul directly. Behind him yet another (Epicurus, 341–270 BCE) looks downward in the opposite direction. The are all in shadow. From a Christian point of view, stoicism is understood to have uncovered some of the nature of the universe. The concept of a flame-like logos (a design or consciousness) that underpins all creation is clearly monotheistic. But this revelation was only partial and until they were exposed to Christ, they could only achieve limited participation. The small flame lighting up the dark column on the left alludes to this. The column is taken from the porch of the Pantheon in Rome. The play of light and shadow on its double scotia base has been interpreted by others to convey similar Christian themes. The power of this lamplight is dwarfed by the beam of sunlight offered by Paul.

This beam of light strikes Dionysius and the woman Damaris as they are converted. Damaris purposely removes her own wide brimmed hat to accept the light. Close inspection shows that this green wide brimmed hat is in fact a bishop’s hat. And it falls at the feet of Dionysius. He is called to become a bishop, the first bishop of Athens. This seems appropriate because the painting is a gift for a man also called to be a bishop. Dionysius’ foot also stands upon a rock covered with mysterious runes, which are in fact symbols taken from the Liturgical Institute’s heraldic crest, celebrating Bishop Wall’s experience at Mundelein. For those unaware of this allusion the strange symbols may appear to demonstrate the Greek philosophers’ inability to decipher the truth of the universe. They point toward them as they question Paul."


To download a PDF of the image and description, click here.


Sound Recordings of the Sacred Triduum from the Mundelein Psalter

Pray along with the Liturgical Institute from the Mundelein Psalter!

Click a link below to hear the Liturgy of the Hours for the Sacred Triduum celebrated by a schola of The Liturgical Institute's students and faculty, with celebrant Fr. Douglas Martis. Recorded in the Jesuit Chapel of the University of Saint Mary of the Lake/Mundelein Seminary.
(links redirect to YouTube).

Vespers for Holy Thursday

Lauds for Good Friday
Vespers for Good Friday

Lauds for Holy Saturday
Vespers for Holy Saturday

Lauds for Easter Sunday
Vespers for Easter Sunday

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