The building you see today – of Romanesque architecture – was dedicated in 1917. It is of Bedford Stone construction. Note the initials over the entrance doors: S C B, for St. Charles Borromeo. The clock faces, made of crushed glass, were rescued from the red brick church destroyed by a tornado in 1916. The bells in the tower were “baptized” with the names of Charles, the largest and deepest tone, Joseph, the middle size and tone, and Mary, the smallest and highest pitched.
The outside structure has changed slightly from the original with the addition of a ramp on the west side and an expanded lower level entrance on the east side, leading to the café.
As you enter the church you see before you a beveled glass wall separating the gathering space from the worship space. It was crafted by one of our parishioners during the 1992 renovation. To your left is the restroom and bridal preparation room, to the right the stairs leading to the choir loft, our faith library, and the handicapped-accessible entrance/exit. Behind you, please note the plaque on the back wall commemorating the pastors who have served our parish.
As part of the 1991 renovation in anticipation of the parish’s bicentennial celebration, many layers of paint were removed from the supporting pillars (figure A, throughout the church), uncovering this lovely finish called “scagliola,” a process done to plaster to imitate marble. The colors of the pillars set the tone for the palette of color used in the church interior you see today.
Taking a tour down the lefthand wall while facing the altar, across the sanctuary, and then down the righthand side:
The statue of St. Rose Philippine Duchesne (figure B): It honors the saintly French nun who humbly came to serve the people of St. Charles in the early 1800’s. Her remains now rest in the Shrine directly across Fourth Street from our parish grounds.
Statue of Our Lady of Guadalupe (figure C): Rich in symbolism, this hand-carved piece was installed in the church in May 2006 as a reminder that our Blessed Mother, Our Lady of Guadalupe, is the Patroness of the Americas, as well as the Patroness of the Pro-Life cause. She holds a place of honor as well for our Latino members. The golden light surrounding the Lady is reminiscent of the “woman clothed with the sun” of Revelation 12:1, who has the “moon under her feet.” The angel supporting the Lady testifies to her royalty. The blue-green color of her mantle also represents royalty, while the stars tell us that she comes from heaven. The brooch under her neck is a symbol of sanctity. The black ribbon around her waist indicated not only her virginity, but its placement high above her slightly swollen abdomen also shows that the Lady is “with child,” further identifying her with the woman of Revelation 12 who is about to give birth.
Present in the church since the re-building of 1917, the Stations of the Cross were given a facelift with the muted tones now softly enhancing each piece. They begin on the left side of the church (figure D) as you face the altar and follow around the back of the church, through the vestibule, and down the right side.
The statue of St. Charles Borromeo (figure E) was moved from the school foyer, repaired, and placed on the left side of the altar in 2017.
Of the notable features in the nave of the church are the blue clerestory windows, depicting the Joyful (windows 6-10), Sorrowful (windows 11-15), and Glorious Mysteries (windows 16-20). The front windows in the dome all have a Eucharistic significance, drawing one’s attention to the sacrifice of the altar at Mass. The central three windows depict the Old Testament priestly figure Melchizedek (window 2); our patron, St. Charles Borromeo (window 3), Archbishop of Milan, who encouraged frequent reception of Holy Communion; and the Wedding Feast of Cana (window 4), scene of Our Lord’s first miracle, when He changed water into wine. The side windows in the dome depict St. Margaret Mary Alacoque’s vision of Jesus’ Sacred Heart on the east side (window 1), and on the west (window 5) the Blessed Virgin’s appearance to St. Bernadette at Lourdes, France. We are reminded that our first priests to the village of “Les Petites Cotes” or “the little hills” were French missionaries.
The Tabernacle Light (figure F): After the 1967 renovation, it found its way into a private home in the Chicago area until the owners generously returned the light after they heard of the bicentennial church renovation.
Modeled after a 12th century iconographic cross now hanging in Assisi, Italy, ours is an original, hand-carved work of art with the Corpus in three dimension to add depth to the figure of Jesus. He is depicted not as a corpse but as God Himself, radiating the hope of the Resurrection. The Savior looks directly at us with a compassionate gaze, regal, triumphant, and strong. He does not hang on the Cross, but rather seems to be supporting it, standing in His full stature. His hands are not cramped from being nailed to the wood but rather spread out serenely in an attitude of both supplication and blessing.
Above his head (image i) is a portrayal of the Ascension: Jesus emerging from a red circle, holding a golden cross. A host of angels welcome Him into heaven, while at the very top is the right hand of God the Father extended in benediction. . Beneath this scene is the Latin inscription described in the Gospels: “Jesus of Nazareth, King of the Jews.”
(image ii) Around the crossbar of the cross, we see a company of holy angels, looking in awe upon the Divine Sacrifice. Their hand gestures indicate their animated discussion of this wondrous event.
(image iii) To the left of the central figure of Christ at the foot of the cross, stands the Holy Virgin and Saint John the Evangelist. It is His Mother and the disciple whom He loved. (image iv)To the right side, stand Saint Mary Magdalene, Saint Mary Cleophas, and the Centurion who in John’s Gospel, asked Jesus to cure his son. The little boy behind him is his son, healed by Jesus.
(image v) On the left is a small figure of the Roman soldier Longinus holding the lance that pierced the Savior’s side. On the right is the Jewish temple guard, Stephaton, holding a stick with a vinegar-soaked sponge. They invite us to stand with Jesus and in His suffering, dying and rising.
(image vi) Near the border of the Cross on the right, just below the level of Christ’s knees, you will find a small rooster. This recalls the denial of Peter, who wept bitterly, and reminds us that we should not be presumptuous of the strength of our faith.
(image vii) At the very bottom of the Cross the original artist depicted several saints. Their visages in the original cross were damaged over the centuries and are now unrecognizable. Our replica seems to have sustained some damage there as well.
The Altar and Tabernacle: Part of the original altar in the third brick church of 1869 (figure H)
(After the storm of 1917, the altar piece was restored and placed in the present church. At the outset of the 1967 post-Vatican II renovation, the altar, ambo, gates from the altar railing, and the reredos, where the tabernacle rests, were gratefully placed in the home of one of our parishioners and was subsequently returned to the church building during the 1991 renovation.)
Six matching candlesticks (figure I) were donated to the church by the Archdiocese of Chicago. Four currently at the corners of the altar, with the other two on either side of the tabernacle.
The angels (figures J) now on display in the sanctuary were given to the parish by St. Ann’s Shrine in St. Louis when that parish closed, as was The Last Supper relief (figure L), placed near the baptismal font.
The Baptismal Font (figure K): Prior to the 1991 renovation, the baptismal area was located in the bridal preparation room, to the left as you enter the church. The font now has its place of prominence in the front of church, expressing the obvious connection between Baptism and the Holy Eucharist.
The Pieta (figure M) was added to the sanctuary following the renovation.
The Pipe Organ (figure N) in our choir loft had served many years, having been installed after the completion of the 1917 rebuild. Over the years, various mechanisms began failing, as did the leather moving parts. In the late 1990’s the organ had a major renovation, including new chest work, digital pipes, and a micro-processing system. To celebrate our renovated organ, the parish had a Rededication Concert in September 1998, filling the church with its magnificent new voice.