TOUR GUIDE
HISTORY OF ST. MARY’S CATHOLIC CENTER MAIN PILLARS OF THE ST. MARY’S CHURCH DESIGN
We Begin Our Tour at the Front Doors of the Church
Since 1904, St. Mary’s Catholic Center has “formed apostles for the Church and the world” by serving the faculty and students at Texas A&M University and Blinn College. The first chapel was built in 1927 on the corner of University Drive and Nagle. The second chapel, now located across the street with the white steeple, was built in 1958. The current church was dedicated on July 29, 2023.
As one of the largest and most flourishing Catholic campus ministries in the country, St. Mary’s is a beacon of hope as countless students seek to grow in relationship with Jesus Christ through spending time in prayer, receiving the sacraments, and building virtuous friendships. Thousands of current and former students call St. Mary’s home, a place of intimacy and formation from which they go out to their families and workplaces with zeal to invite others into the adventure of life in Christ. All are welcome to join the Aggie Catholic Family for prayer, worship, and fellowship.
BEAUTY: The sacred art and architecture will allow beauty to lead us into a deeper love and intimacy with God, who is Beauty Himself.
ENCOUNTER: The art and architecture are made to help those who enter the church encounter Jesus Christ.
TRADITION: Both the Tradition of the Church and the traditions of Texas A&M help us to be rooted in the past and look forward to the future.
Why build a beautiful church? “Sacred buildings…should be truly worthy and beautiful and be signs and symbols of heavenly realities” (GIRM 288). St. Mary’s, like all Catholic churches, holds the Eucharist—the Real Presence of the Body and Blood of Jesus Christ, present under the appearance of ordinary bread and wine. Moreover, the Catholic Mass re-presents the life of Jesus and His earthly mission. These events are not merely historical; rather, Catholic liturgy remembers and re-presents them within human time and space, all while increasing our hope and anticipation for their ultimate fulfillment in heaven. “True excellence in art…nourishes faith and devotion” (GIRM 289) because sacred beauty reminds us of the divine realities present before our eyes in the sacraments and strengthens our faith in Christ—Who allows Himself to be known and loved by human senses.
*GIRM: General Instruction of the Roman Missal
Romanesque Architecture: St. Mary’s is constructed primarily in the Romanesque style, an architectural tradition which arose in the mid-11th century. Characteristic Romanesque elements include thick stone walls, rounded arches, large columns, and vaulted ceilings. Additionally, St. Mary’s includes Spanish and Byzantine influences integrated into the architectural designs. These elements are an acknowledgment to the early origins of Texas Catholicism and the 1927 St. Mary’s Church, as well as the universal nature of the Church which breathes with both of her lungs, East & West.
“Sacred Buildings...should be truly worthy and beautiful and be signs and symbols of heavenly realities.”
EXTERIOR
Exterior Dome: The dome-on-cube design represents the coming together of the new heaven and new earth. Spheres symbolize heaven as the perfect, most symmetric shape; the dome is half of a sphere, literally inviting those standing below to gaze upward and be drawn into celestial realities. Moreover, the cube structure that supports the dome is eight-sided. On the seventh day of creation, God rested; the seventh day symbolizes perfection of His first creation, complete in Christ. Thus, the eighth day represents God’s re-creation—His redemption of a fallen world and the consummation of His salvific plan on the last day. Standing at almost 125 feet tall, the dome soars towards the heavens.
Our Lady of Victory Statue: St. Mary’s Catholic Center is dedicated to the specific patroness of Our Lady of Victory, also known as Our Lady of the Rosary. This title was given to the Blessed Mother after the Christians defeated the Turks at the Battle of Lepanto on October 7, 1571. Pope Pius V requested all of Europe to pray for victory through Our Lady’s intercession. Her aid resulted in a turning point that inhibited the expansion of the Ottoman Empire into the Mediterranean.
Bell Tower: Bells and bell towers are traditionally thought of as preachers; they call people from far and wide to prayer, express joy, proclaim new life and death, and unite communities in shared time. Because they establish the sacred space of the church acoustically, the Eastern Church refers to bells as “singing icons”—windows into eternity which are not bound by time. The scriptural basis of church bells comes from Luke 19:40 at Christ’s entry into Jerusalem. The Pharisees tell Jesus to rebuke His disciples, and He responds, “I tell you, if they keep silent, the stones will cry out!” Made of precious metals, which come from the stones of the earth, bells reveal the power of Christ to imbue all of creation to praise His glory. Emphasizing this magnification and elevation of our humanity to praise God through Christ, the four bells are named after the four Evangelists: Matthew, Mark, Luke, and John.
EXTERIOR
Church Layout: The church building is in a traditional cruciform shape—from above, its layout forms the shape of Christ on the cross with his head near the sanctuary. Also following tradition, St. Mary’s is directionally oriented to the East—toward the horizon by which the Son (like the sun!) rises to new life, bearing all creation along with Him. “For as the lightning comes from the east and flashes as far as the west, so will be the coming of the Son of Man” (Mt 24:27).
Entrance Doors: All who pass by the front doors of the church and enter into her doors, walk beneath the text from the Book of Revelation 21: 5 “Behold I Make All Things New.” We are reminded that there is nothing impossible: no sin is too large, no wound is too deep, to exceed the power of Jesus Christ who heals, redeems, saves, and makes new with His endless mercy and love. Jesus truly is the way, the truth, and the life for all who call upon Him as Lord. Christ Himself said “I am the door. Whoever enters through me will be saved” (Jn 10:19). The front wall of the church will contain statues of Moses, David, Isaiah, and Elijah. These figures represent the prefigurements of Christ who guard the Church and ground her in her Old Testament roots.
Narthex: The church narthex marks the threshold from the outside world to the sacred space. It takes its roots from the ulam (porch) of the Jewish Temple which helped to remind the Jewish people to forsake the world when entering for worship. For Christians, it was traditionally the location for catechumens and penitents during the liturgy, who congregated here after the Liturgy of the Word with hopeful expectation to join, or rejoin, sacred worship in the Eucharist.
5 Rose Window: Rose windows are circular windows made of stonework and stained glass. Jesus is at the center of the rose window, represented by the Lamb of God (the Dei). The circular nature of the window centered on Christ reminds us that He is the Alpha and the Omega, the beginning and the end. Twelve petals branching out from the midpoint represent the expansive nature of creation; this growth reflects God’s promise to Abraham: “through you all the families of the earth shall be blessed” (Gn 12:3). Finally, the outer ring petals represent the twelve Apostles who were given the authority by Jesus to bring His Good News to the ends of the earth. The frame of the window is currently in place and the panels will be added later.
Baptismal Font: The Baptismal font is configured for both affusion (pouring) and full-body immersion. Like the cube structure that supports the dome, its octagonal design proclaims hope for the eighth day of eternity— God’s recreation of a fallen world that begins in Baptism. The statues atop the font depict John the Baptist’s baptism of Christ, who instituted this sacrament by His own humble example. Though Jesus is without sin, He models baptism in humility such that His humanity becomes our means to this rebirth. Catholics believe that Baptism is necessary for salvation, as it wipes away the original sin, marks a soul for Jesus Christ forever, incorporates a person into the Body of Christ (the Church), and fills our souls with the divine life of the Holy Trinity—which is itself the whole content of heaven. The Holy Spirit effects these graces of Baptism through the salvific power of Christ’s Cross. This is symbolized by the cross mosaic in the bottom of the font and the Spirit in the form of a dove painted above the font. These symbols form the axis on which a baptismal candidate will stand to receive new life. Many students are baptized at St. Mary’s each year, usually at the Easter Vigil and in the fall semester.
NAVE
The four golden angels at the top of the columns around the baptismal font are “holding up” the choir loft as they unite with our students’ voices to give glory to God through hymns of praise during the Holy Mass. You will also notice on the ceiling of the choir loft small, circle emblems within the square ribboning. These circle emblems represent the 6 days of creation with the center emblem representing the Holy Trinity on the 7th day of rest. Flanked on either side of the 7th day emblem, is a symbol of birth (manger scene crib) and resurrection (phoenix rising from the ashes). These symbols help us to understand that when we are baptized, we are baptized into the full life of Christ.
Nave: The nave (from the Latin navis, ship) is the main body of the church in which the congregation gathers. It is constructed to reflect the interior hull of a ship, turned upside down. This symbolism echoes Christ’s words to Peter: “On this rock I will build my church, and the gates of hell shall not prevail against it” (Mt 16:18). Like Noah’s ark, Jesus gives us the Church as our refuge amidst the storms of the world; in the security of His sacraments, we find shelter and rest. Further, it is Christ “Whom even the winds and the sea obey” (Mk 4:41). Jesus Himself guides and protects His Church on her pilgrimage to eternity.
As each section of a church structure finds its roots in the Jewish Temple, the nave correlates to the hekal, the Temple’s large inner room. The walls of the hekal were lined with cedar wood on which were carved figures of cherubim, palm trees, and flowers that were overlaid with gold (see 1 Kings 6:29-30). Additionally, ribbed vaults in the nave mirror the underside of a forest canopy. The nature images remind the Church of her destination; through the new Tree of Life, the Cross of Jesus Christ, she experiences even greater communion with God than Adam and Eve knew in the Garden of Eden—a restored Garden, both now through the Church and perfected in heaven.
NAVE
Dome Interior: sphere—the most symmetric, perfect shape—the dome interior represents heaven. Cosmic and heavenly images are typically painted on the underside in order to draw the human senses toward eternity; the ornaments on the inside of this dome emphasize Mary’s queenship of heaven. The Hail Mary prayer is inscribed in Latin around the base of the dome and the four evangelists adorn the four corners.
Dome Stained Glass: stained glass are Texas Sage Brush also known as “Mary’s shawl.”
Pews: The pew caps, as well as in many places inside and outside of the church, feature the Auspice Maria (AM) emblem, meaning “under the protection of Mary.” This image entrusts St. Mary’s to the Blessed Mother, and Aggie Catholics also recognize its connection to Texas A&M University. There are 94 pews total that are made of red oak from Pennsylvania.
Choir Loft: The choir loft will hold about 100 vocalists and instrumentalists. There is also a separate rehearsal room in the balcony area. The space features a restored 1946 Steinway concert grand piano. Space has been provided for a future pipe organ as well.
Images of St. Cecilia, the patron saint of musicians, and King David, who traditionally wrote many of the Psalms, can also be found above the choir loft.
NAVE LEFT AISLE
Stations of the Cross: The Stations of the Cross are located on the walls in between the arches around the church. Hand carved in Oberammergau, Germany, the Stations of the Cross are a recounting of the via crucis or “The Way of the Cross” for those who cannot visit the Holy Land. They are meant to be prayed like a procession, a miniature version of the via crucis, as a meditation on the final steps of Jesus as He endured His Passion, Death, and Resurrection. Catholics will commonly pray the Stations of the Cross on Fridays, especially during Lent.
The Mysteries of the Rosaries: As a special tribute to the Blessed Mother, the twenty mysteries of the rosary are depicted in large murals on the walls around the nave of the church. The earliest forms of the rosary date back to about 600 A.D., but the modern form was popularized by St. Dominic around the year 1200. The mysteries are all significant events in the lives of Jesus and Mary, and they are used as an anchor for meditation while the rosary is prayed. There are four categories of mysteries with each category containing five events. The first three categories are the Joyful, the Sorrowful, and the Glorious and they have been part of the rosary for hundreds of years. The fourth category of mysteries, the Luminous, was added by St. John Paul II in 2002.
Stained Glass Windows: Stained glass mirrors the gem-inlaid walls of the heavenly Jerusalem, as described in Revelation (Rv 21:19-20). The colors and textures create a more perfect view instead of seeing the fallen world as we know it. As the only art form that requires transmitted light (rather than reflected light), stained glass relies on exterior light in order for the viewer to see through it, thus drawing attention to Christ by which all darkness is illuminated. The images depicted by stained glass liken to a sermon, portraying the truths of the faith in a sort of dialogue—ever-changing with and expounded by the movements of the sun. While these images certainly convey a story, this is not their primary function; stained glass draws the human heart toward the illumination of the light of Christ.
Clerestory (Top Most) Stained Glass: Texas Rain Lily
St. Gianna Molla (1922-1962) Gianna lived outside of Milan, Italy. She was a mom, wife and doctor. She loved her family and had a passion for the outdoors and music. St. Gianna had six children, including two miscarriages, within six beautiful years of marriage to her holy husband Pietro. During complications with Gianna’s pregnancy with her daughter, also named Gianna, she sacrificed her life so that her daughter could live. She is known as the Saint of “ordinary life” and is also the patron of doctors, wives, and the unborn. St. Gianna and her holy husband Pietro are great models for the sanctifying vocation of marriage and family life. One can find their love letters published in the book “Journey of Our Love.”
Feast Day: April 28th
Flower Border: Our Lady’s Thistle, representing Gianna’s motherhood
Bottom Image: Gianna and Pietro Molla on their Wedding Day
St. Elizabeth Ann Seton (1774-1821) St. Elizabeth is the first nativeborn American Saint. She grew up Episcopalian but later converted to the Catholic faith. St. Elizabeth and her husband William had five children. After her husband died, Elizabeth founded the first religious order of sisters in the United States called the Sisters of Charity of St. Joseph. As a religious sister, she founded the Catholic school system in the U.S. and is thus the patron saint of teachers, Catholic schools, and widows. Pope John XXIII honored her: “In a house that was very small, but with ample space for charity, St. Elizabeth Ann Seton sowed a seed in America which by Divine Grace grew into a large tree.” Thus the symbol at the top of the window shows St. Elizabeth’s home that was used as a school.
Feast Day: January 4th
Flower Border: Black Eyed Susan (State Flower of Maryland)
Bottom Image: Elizabeth with her students
LEFT AISLE LEFT AISLE
St. Catherine Laboure (1806-1867) The famous Miraculous Medal was given to us by the Blessed Mother through her chosen daughter, St. Catherine Laboure. At age nine, Catherine’s mother died; after the funeral, Catherine picked up a statue of the Blessed Virgin and held it close to her face, saying, “Now you will be my mother.” Catherine entered a religious order as a young adult called the Daughters of Charity, desiring to care for the sick. She is thus the patron saint of the sick and the elderly.
Feast Day: November 28th
Flower Border: Violet, the symbol of humility
Bottom Image: Apparition of Mary to St. Catherine
Our Lady of Guadalupe Chapel: This is one of two side chapels in the church to be used for private devotion and prayer. Our Lady of Guadalupe is a title of Mary associated with a series of five Marian apparitions, which occurred on December 1531 in Mexico to St. Juan Diego. The tilma, or cloak, of Juan Diego is enshrined within the Basilica of Our Lady of Guadalupe in Mexico City.
Feast Day: December 12th
Move to the Oustide of the Chapel
Statue - St. Thérèse of Lisieux (1873-1897) Thérèse is known as “the Little Flower.” Thérèse entered as a Carmelite cloistered nun at the young age of fifteen, living the religious life for less than ten years before dying at twentyfour. She is beloved for her personal example of surrendering her weakness to the merciful love of God; this theology of holiness through the “little way” earned her the title Doctor of the Church—one of thirty-seven men and women who are named for their great contributions to the understanding of Church doctrine and theology. The statue also honors Santa Teresa Parish in Bryan, which began as a mission of St. Joseph’s for the Hispanic community in 1929. St. Thérèse is the patron saint of missionaries and florists. Both of her parents, Louis and Zélie Martin, are also canonized Saints.
Feast Day: October 1st
The Stained Glass Windows Above the Confessionals on the Left Side
St. Teresa of Jesus (1515-1582) Teresa was born in Avila, Spain to a prominent and wealthy family. As a teenager, Teresa became fascinated with worldly goods such as clothing, her appearance, and popular fiction. Worried about the fate of his daughter, Teresa’s father sent her away to be educated in a convent. While there, she came to understand the spiritual life and, convicted by the reality of her own sin, saw it as the surest road to salvation. Many years into her religious life at the age of forty, Teresa began a renewal of the Carmelite Order under divine inspiration and with approval of the Pope. The fruit of her renewal, against much opposition, was the founding of the Discalced (shoeless) Carmelites. Teresa wrote much of the Church’s theology of mystical prayer during her later years and was thus named a Doctor of the Church.
Feast Day: October 15th
Flower Border: The Spanish Red Carnation (national flower of Spain)
Bottom Image: Rendition of Bernini’s Ecstasy of St. Teresa, in which an angel pierces her heart with an arrow of divine love
Notice in between the confessionals are two images of mercy from Scripture. One scene is Jesus encountering the woman at the well (John 4: 5-42) and the other is Mary Magdalene’s decision to turn from her past way of life to follow Jesus (Luke 8:1-3). Meditating on these scripture verses can also help us to know of God’s mercy in a more profound way and his invitation for all people to live a life for Jesus.
St. Clare of Assisi (1194-1253) St. Clare grew up in a wealthy family in Italy. She refused to marry at the age of fifteen; around the same time, she was deeply moved by the dynamic preaching and evangelical poverty of St. Francis of Assisi. He became her lifelong friend and spiritual guide. At eighteen, Clare entered religious life, becoming head abbess only three years later. She was a bold woman of great faith and poverty. Clare famously held up the Blessed Sacrament towards an army invading Assisi, causing the enemy to flee and keeping her sisters safe. Clare means “clear” and “bright,” and she has thus been named as the patron saint of those with eye disease. The Lord also famously granted Clare a vision of the Mass as it was taking place when she was too ill to attend; the reality of this “live broadcast” earned her the designation as the patron saint of television.
Feast Day: August 11th
Flower Border: Roses, in honor of the miraculous winter-blooming roses that caused Francis to honor his promise that he and Clare would “meet again when the roses bloom”
Bottom Image: St. Francis gives St. Clare her habit to begin her new life as a nun
St. Catherine of Siena (1347-1380) St. Catherine grew up in a very large Italian family as the 23rd of 25 children. As a young woman, Catherine cut off her hair in protest against her mother’s encouragement to improve her appearance in order to attract a husband. At age eighteen, she joined the third-order Dominicans; she lived a deep and solitary life of prayer and meditation for the next three years during which she had many mystical experiences, including receiving the stigmata (the wounds of Christ) via a mystical crown of thorns. The Lord called Catherine to a more public life in her twenties. She admonished many influential figures and exhorted them to holiness, including the Pope himself. Catherine never hesitated to rebuke the Holy Father and famously convinced him to leave Avignon and restore the papacy to Rome. St. Catherine is also a Doctor of the Church and is known for her beautiful mystical writings. She is the patron of nurses, miscarriages, and illness.
Feast Day: April 29th
Flower Border: Lily, symbolizing virginity and purity
Bottom Image: Young Catherine’s cutting of her hair
Statue and Shrine - Mary, Mother of the Church: One of the Blessed Mother’s many titles is “Mother of the Church”; she is depicted in the shrine and statue to the left of the sanctuary. Under this name, Mary is celebrated the day after Pentecost Sunday, honored for her motherhood as the Holy Spirit gave life to Christ’s Church. Statues of Mary often depict her holding the Earth in her hand to demonstrate her protection over God’s children. Similarly, this statue shows Mary holding an image of the new St. Mary’s Church, demonstrating that this church is under her protection and bears life through her motherhood.
Sanctuary: The sanctuary mirrors the innermost sacred room of the Jewish Temple: the Holy of Holies. In this most holy chamber was held the Ark of the Covenant: the dwelling place of God among His people in the Old Covenant. Only the high priest could enter the Holy of Holies, and even he could only enter once per year on the Day of Atonement. On this day, the high priest entered behind the veil of the sanctuary to offer sacrifice of animal flesh, blood, and incense in atonement for all the people’s sins over the past year (Lv 16). This climax of worship is remembered and fulfilled in every Mass; the human priest—in the person of Christ, the perfect High Priest— offers the sacrifice of Christ’s own flesh and blood in final atonement for the sins of all. Many of the sanctuary furnishings, including the crucifix, mosaics, and ambo were created in Oberammergau, Germany.
SANCTUARY
Tabernacle: The tabernacle is the new Ark of the Covenant, housing the physical dwelling place of God among men in the New Covenant: the Most Holy Eucharist. Israel built the first Ark (and later, the traveling tabernacle) with profound diligence to contain signs of God’s presence—the manna, Aaron’s priestly staff, and the stone tablets of the Ten Commandments. How much more precious, then, is the tabernacle that now contains the very person of Jesus Christ! Catholics believe the Eucharist is not a symbol but truly Jesus’ Body, Blood, Soul and Divinity, present under the appearance of bread and wine. Thus, churches are places of utmost reverence and solemnity, and tabernacles are constructed of the most precious materials. It is proper for Catholics to genuflect before the tabernacle in worship of Christ. The altar of repose on which the tabernacle stands features an IHS mosaic—the Christogram, an ancient way of writing the name Jesus Christ.
Canopy: A baldacchino (pronounced bald-a-key-no) or Ciborium Magnum is a canopy over the tabernacle or altar. Humans cover the sacred; we acknowledge that transcendence is often better communicated veiled rather than exposed. As Christ exposes Himself under the veil of bread and wine in the Eucharist, the ornate covering communicates that this ordinary matter now contains heavenly mysteries. Just as a canopy might cover a king or queen in a procession, the canopy draws reverence and attention to Christ the King, veiled within. St. Mary’s tabernacle canopy was created in Oberammergau, Germany.
Triumphal Arch: The triumphal arch above the sanctuary mirrors Roman arched passageways, which were erected to commemorate military victories and other triumphant events (such as the Arch of Constantine and the Arc de Triomphe). Conquerors would pass through these arches on their return home. Christians adopted the triumphal arch to declare Christ’s victory over death.
As a portal, the arch also shares some theological roots with the entry doors, reminding us of our entrance into the heavenly liturgy with all the saints and angels in every Mass. As the “dwelling place of God is with man” in the Eucharistic sacrifice, the triumphal arch over the altar also anticipates the end of time when the Church, the new Jerusalem, “comes down out of heaven like a bride adorned for her husband”—radiant in Christ’s victory for all eternity (Rv 21:2-3).
Triumphal Arch Mural: The large central mural features the heavenly liturgy. Inspired by the celestial worship in the Book of Revelation, it features the communion of Saints who are listed by name in Eucharistic Prayer I. The zodiac signs in the golden ring around Jesus represent all of creation as subject to Christ. The mural depicts the meeting of heaven and earth in eternity that is anticipated at the end of time and also experienced as a foretaste in every Mass.
SANCTUARY
Ambo: From the Greek ambon (pulpit), the ambo is the raised podium from which the Word of God is proclaimed. The ambo should be prominent, fitting to “the dignity of the Word of God” and such that the attention of the people may be easily directed to it (CCC 1184). In order to reflect the close relationship between the Liturgy of the Word and the Liturgy of the Eucharist, the ambo should be harmonious and in close relationship with the altar, though never to overshadow it. St. Mary’s ambo features the chi rho (XP) inscription: the first two letters of the name Christ.
Crucifix: The crucifix has served as a consistent symbol of Catholicism for over 1500 years. Suspended above the altar, the crucifix establishes the vertical relationship of the Mass to the heavenly liturgy: Christ the High Priest, eternally mediating between God and man through the sacrifice of His own person. The crucifix, crafted in Germany, stands 18 feet tall.
Altar: Old Testament worship revolves around altars. Sacrifices offered on altars were not merely symbolic; these offerings were efficacious— actually initiating covenants, atoning for sins, and restoring man’s relationship with God. They enable thanksgiving to God, such as when Noah offers sacrifice after leaving the ark (Gn 8:20). They are means of consecration, marking significant divine encounters and ratification of covenants. The Lord continues to instruct Israel to feature altars prominently in the tabernacle and later in the Temple; He reveals that sacrifice is not just a component of worship but rather the whole content of it. Through and in Christ’s perfect sacrifice of His own person, man’s relationship with God attains new freedom—for the same purposes of thanksgiving, consecration, and participation in worship.
James the Greater: Scallop Shells
John: Chalice with Serpent
Andrew: X-shaped Cross & Anchor
Philip: Cross & Baskets
Bartholomew: Flaying Knives
Thomas: Carpenter’s Square & Spear
James the Lesser: Saw
Matthew: Money Bags
Jude Taddeus: Ship
Simon: Fish atop a Bible
Matthias: Bible & Hatchet
Once again notice in between the confessionals are two more scenes of mercy from Scripture. One scene is Jesus encountering Zacchaeus the tax collector (Luke 19: 1-10). The other scene is the ashamed, prodigal son returning home to his father’s embrace (Luke 15: 11-32).
RIGHT AISLE
Statue and Shrine—St. Joseph: On the right side of the altar is another shrine and statue dedicated to the foster father of Jesus, St. Joseph. He is known as Patron of the Dying, Mirror of Patience, Terror of Demons, Chaste Protector of the Virgin, and many other titles. The statue also honors St. Joseph Catholic Church in Bryan, founded in 1873. St. Mary’s was a mission of St. Joseph’s from 1904 until 1968, when our community became an independent parish.
Feast Day: March 19th (and May 1st: St. Joseph the Worker)
