The history of St. Mary parish spans over 200 years, 35 pastors, three church buildings, and is populated by the countless lives of its parishioners. Our parish reflects the evolution of Catholics in our county of Monroe. The parish has survived wars, the generous and hard seasons of agriculture and economy, and its own tempests.
 
Founded in 1788 as St. Antoine du Padua (St. Anthony of Padua) by its French-Canadian habitants (residents), it was located along the main river called the Riviere aux Raisins (the River of Grapes, named for the wild grapevines sprawling along the river.) The small parish was assigned its first pastor from Quebec in 1794, and was ministered to by pastors from Ste. Anne in Detroit whenever without a resident priest. Its early territory covered area to Sandusky, Ohio and westward into Indiana.
 
It might surprise some to know that these fledgling Catholic pioneer parishes were ministered to by missionary priests from Belgium and France. The first American ordination was of subdeacon Stephen Theodore Badin who was born in France and left there in 1792 during the Reign of Terror, who finished his studies and was ordained in 1793. After ministering in Kentucky, he returned to France in the 1820s, and for a brief period served in the Detroit area, including St. Antoine’s here at the River Raisin.
 
The early period of establishing settlement could often be a challenge, and this spilled over into church affairs. Often the priests with their strict theological education found it difficult to religiously mold their often independent thinking parishioners, who thought that the priests were there is serve them, and not interfere with their lives.
 
When St. Antoine parish came under the care of the Redemptorist order in 1845, the parish name was changed to St. Mary of the Immaculate Conception. Unfortunately, the order was not able to continue in Monroe (mainly for economic reasons), and the parish was placed in the diocese of Detroit, which it is in today.
 
In the early 1800s immigrants came first to St. Antoine/St. Mary’s- the Irish, Germans, Belgians, followed by the Italians, other Europeans, and Latinos. Other county Catholic parishes were founded along ethnic lines, but St. Mary’s could be called the “mother” parish of them all.
 
Several sites were used by the parish. The first location of St. Antoine’s on Private Claim 358 had a squared log French church & blessed cemetery on North Custer Road, east of the Cranbrook subdivision. Since the river was the main route of transportation (there were no real roads until the 1811 military road) was a canoe over water, the church faced the river not far from its banks. An extant building from circa 1789 shows the square log construction or horizontal logs laid between uprights, and the logs spaces filled with daub, or chinking. Typical buildings were also clapboarded, preserving and hiding the logs underneath. The roof had a steep pitch, was shake covered, and had at least one dormer to provide light to the upper story. One or a pair of chimneys were situated opposite each other, and the windows were made of small multi-panes of glass, protected by functional thick wood shutters that could be shut tight against the weather. The building sat upon a limestone foundation, often hauled from blocks cut from the river bed, or quarried nearby. Likewise, a block of stone would provide a step or two up into the house.

This first building- either newly constructed or perhaps renovated from an existing house or building- was the rectory, storeroom, and upstairs church area. It was to serve this multi-function for many decades until the new church building, on a different Private Claim farm, would be built.

The second location was in the village of Monroe on North Monroe Street at West Noble Avenue. The location was another Private Claim, No. 648, assigned to Pierre Soleau. The church was used from 1829 until 1839. The second cemetery was accessible north of Noble and the church, along North Monroe street.
This church was known as the “Fairgrounds” church since it was located on a part of a community fair grounds. The church was of brick, described as large and “barn-like” in design. Through some fault the snow and rain fell on the priest as he said Mass at the altar, wearing his outerwear and gloves!

The third and current church building is located on the same French claim farm as the second church, south of it at the intersection of West Elm Avenue and North Monroe Street.

The long front part (nave) of this church was of Gothic architectural design and started in 1834 and completed in 1839. To protect the wearing of the red brick, a cement-like stucco was applied to the exterior in the late 1800's. The nave glass windows were installed circa 1890 and are decorative in style. During the renovation the windows are redesigned as seen today.
 
The north part of the current church dates from 1903 and is styled red brick Romanesque. The 20th century intention was to tear down the oldest portion and match a new construction to the 1903 part. This never happened. A major renovation in 1987/88 for the parish’s 200th anniversary instead remade the 1834-39 older portion into the Romanesque.

The interior of the church needed to be brought up to modern ecclesiastic standards, therefore the interior was gutted and renovated with new pews, altar projection, disabled access, added restrooms and robing rooms, new entryways and new flooring. The exterior old brick and stucco was covered with matching modern brick reinforced by steel beams and girders, and a new roof put on. The narrow niches in the front were eliminated and after a few years two modern stylized mosaics were installed on either side of the front doorway, and to replace the colored glass windows of the lower bell tower a larger third was placed.
 
The apse stained glass windows are symbolic, filled with Catholic symbols and images in the life of Jesus and his mother Mary. These symbols include monograms, wheat and grapes as symbols of the bread and wine used at Mass, the fleur-de-lis and white lilies. There are 3 sizes- large, medium, and small ones around the sanctuary apse. They ranged in cost from $275 to $1,100.

Other windows can be seen: a demi-lune “St. Mary’s” over the front doorway, decorative windows on the apse wall dividing the church buildings, and plain colored glass set on point bordering the rounded walls of the interior sacristy.
 
Today St. Mary’s is one of the largest parishes, with many secular committees, volunteer opportunities for service both within and without the community and many social activities. Recently the 3 Monroe city parishes united resources and the St. Mary campus is home to students in the upper elementary grades.

If you have items from St. Mary, including documents, religious items, or photographs that you kept from the past or that have been handed on to you, consider bringing them to the  parish before discarding them. Also, if anyone is going through the personal items of a loved one who has passed away, and you find something related to the parish history, consider bringing it by for us to look at.​

First building: French-Canadian log house, North Custer Road

Second building: The “Fairgrounds” church, North Monroe Street

Third building: the current location, North Monroe Street at West Elm Avenue

 
Lumber was cut to season and bricks locally made for the new church starting in 1834. The location was on the same church farm 648 but nearer to the river than the second. The entrance of the building faced the river, as did each previous buildings. The red brick building stretched to the north and was of Gothic design with pointed arched windows, and had a louvered bell tower with spires.
 
According to the “Monroe Mirror” in 1836, this church was being built for the large sum of $20,000. While finishing the church the contractor died of cholera, so William Gilmore put in “the interior doors, sash and present doors” as “the work of his hands.” The bronze bell “Ste. Marie” was dated 1839 and the church dedicated upon completion in that year.
 
The abandoned “fairgrounds” church at West Noble was used by the English-speaking Irish Catholics who continuously tried to form their own congregation in the midst of the French (they would not be successful until the 1870s.) They longed to hear sermons and announcements in English, and a few travelling priests were able to minister to them. But this proved to be temporary situation as the church was dismantled and the bricks used to build an addition to the newest church, and the Irish were again going to St. Mary’s.
 
The cause for this action was the arrival of the Redemptorists. This religious order contracted with the parish to serve the congregation and also to start a seminary at the parish. They changed the name from St. Antoine (St. Anthony) to honor St. Mary of the Immaculate Conception in 1845.
 
A two story addition of classrooms, seminary and dormitory rooms were built to the back of the church building. This was called St. Joseph’s College and remained in place until removed for the 1904 Romanesque replacement.
 
For the Romanesque portion, in February of 1903 parishioners under the director of contractor Thomas Keegan began pulling down the old brick church addition & St. Joseph College. The cornerstone was laid the 16 August 1903. With the new building it was estimated the interior would gain 350 more seats. The new transept would extend 83 feet north of the old building, and be 73 feet wide. This addition would bring the whole church to 162 feet in length, 73 feet wide, with the nave portion being 54 feet wide.
 
The first floor of the back sanctuary would be for society meeting rooms, the second story for vestry and altar servers, the third story with an east side conservatory, and the west side of the third story used for store rooms. The conservatory was for over-wintering church flowers and plants, and parishioners could also bring their plants here from home. Under the church would be a meeting room/social room 10 feet in height, and could seat hundreds.
 
Many renovations large and small have taken place since the church was built in 1839. Some involved the interior- new plastering and fresco paintings, gas lighting, then electric lights, pews and pulpit, etc. The nave decorative windows were installed around 1900. The 1903 portion windows were installed from 1908 to 1918 as donor funds became available.
 
The latest major renovation was started in 1987 to be completed in time for the parish’s 200 anniversary in 1988. The interior was gutted and all new pews, flooring, painting, altar placement, handicapped access, restroom and robing room, and entryways constructed.

First Cemetery: North Custer Road

After the parish was organized in 1788 the settlers eagerly awaited the arrival of the first resident pastor. Property and a place for worship and residence needed to be secured, and a graveyard for blessed burials. All were placed on Private claim 648, also called “French claims” or “long lots” since French property was laid out with river frontage of 20-40 feet and extending back sometimes one mile or more in a long "ribbon” shape.
 
One of the “last straws” that motivated the River Raisin settlers to congregate was the death of Jean Baptist Drouillard. Since there was no church or parish graveyard at the Raisin, this habitant needed to be transported by canoe down river, then along the lake and up to Ste. Anne’s Detroit, where he was buried according to the rites of the Roman church. To transport the deceased and their family members to Detroit was a perilous journey, endangering the bereaved even in good weather.
 
Upon the arrival of the first pastor, Fr. Edmund Burke, the burial ground was blessed and the first burial was of an infant of Pierre Solau (Soleau) on 6 May 1795. The cemetery was placed behind and to the north of the church, being located about 2 miles west of the lower Raisin settlement which would later become the village of Monroe.
 
Hundreds of burials took place in this clay ground, but graves were difficult to dig. Clay became like cement in the hot, dry weather, and a sticky, congealed mass in the wet. At one time the parish minutes noted that families were required to help bring gravel to the cemetery to allow for better drainage and height, and some graves were laid over the old. Burials took place here exclusively to 1829; then the cemetery co-existed with the other two burial grounds down river at the village.
 
No tombstones currently exist for this re-found cemetery, so individual graves cannot be identified. Exploration of the site occurred in 1999 due to the threat of subdivision development, and the two-day archaeology work (including use of cadaver dogs) mapped some of the features (burials), though without personal identification of graves.
 
Today the site is separate from the subdivision and encompasses about three lots. It has been memorialized with older and newer historical markers and pathways and is accessed by a curved driveway for parking at the road.
 

Second Cemetery: North Monroe Street

Upon the second church farm (Private Claim 353), a brick church was constructed north of now West Noble Avenue, and the second parish cemetery laid out north of it, which was blessed in 1829. Now burials could be in the new cemetery, or the old St. Antoine’s on North Custer road.
 
Only a few pages in the parish registers indicate in which cemetery a burial took place, those records dating from September of 1829 to December of 1830. Only existing tombstones would indicate clearly in which cemetery a deceased was buried. It is generally thought that the small one- acre lot was full though only a portion of stones remain today compared to the whole.
It seems that burials faded out by the 1840s for the first St. Antoine cemetery, and the second was of by then of primary use. At one time many small family plots were surrounded by iron fences and there would have been many more tombstones.
 
Generally, the Irish were buried in the north end of the second cemetery, many Germans from ethnic St. Michael’s parish in the middle, and the French in the middle and south end. Like so many county cemeteries, the old St. Antoine’s (or old St. Mary’s parish) cemetery is laid out on a sand bar and hill, which provided for the easiest burial for the most months of the year. A partially inaccurate historical marker stands towards the center, with a flag pole.
 
Monroe’s acclaimed first resident, Col. Francois (Francis) Navarre, is accepted to have been buried here according to family tradition but there hasn’t been a tombstone for anyone’s recent memory. Though the cemetery was officially dedicated in 1829 and Col. Navarre died in 1826, his grave itself could have been blessed. Burial of Navarre could have also been seen as an incentive to finish the process of purchase of the parts of the Soleau ribbon farm. Church wardens had been buying the farm in pieces starting in 1823, the last piece was paid for in 1828.
 
This cemetery has not been active since about 1900. Buried tombstones were unearthed in the 1991 and reset, though their exact location is unknown due to the deliberate burial of multiple stones atop each other. It was assumed that the stones in each hole were located close to each other.
 

Third Cemetery: North Monroe Street 

On that same church “long lot” farm another cemetery was opened in 1829. Pastor Stephen Smith attempted to start a women’s religious order and this cemetery was to serve the congregation. It was known as the “Monastery” cemetery and when Fr. Smith was reprimanded for his non-sanctioned attempts, it was rarely used. The first recorded burial for the monastery cemetery was little Pierre Joseph Langlois who died in August of 1830.
 
This third cemetery evolved into the current St. Joseph’s with early burials in the mid-1800s and increasing as the second cemetery filled up. Since the Irish Catholics were given a poor location in the second cemetery, many Irish names preferred to be in the oldest section of the better drained St. Joseph’s.
 
This oldest area is in the northeast corner along Monroe Street. In 1886 the center of the cemetery had a “lake” with cobblestones in and around it, and a statue of Our Lady of Sorrows at the old west end. There were three mausoleums- one for the clergy, one for I.H.M. sisters and a public mausoleum for holding bodies. Descriptions of the 1887 clergy building described it with marble columns and looking “handsome.” About this time when major improvements were occurring, the cemetery was re-dedicated to St. Joseph, patron saint of the worker and a peaceful death. A new chapel was dedicated in 1902 with a new altar, floor and wainscoted interior. This chapel was dismantled in the 1980s.
 
A priests’ section was laid out in the 1950s. It also has several areas that are the final resting places of the earliest of the I.H.M. sisters. Later 1900s sister burials are chronological and at the far west end of St. Joseph’s and called St. Mary’s cemetery which is entirely for the sisters, and does not reflect the parish of St. Mary.
 
All city parishes use St. Joseph’s, and other citizens have been interred here- charity cases, non-Catholics, early immigrants. Tens of thousands of stones remain, but an estimated 2 thousand graves (or more) are unmarked. Early burials were mainly with 6-8 grave family plots, eventually giving way through the decades to double plots, and now modern mausoleum entombments and cremains.

Catholic research is a rewarding and engrossing hobby. The pursuit can help illuminate the lives of our ancestors in faith. Though sacramental church records were never intended for this laity type of use, the Catholic church has allowed many records to be used for genealogical and historical purposes.
 
Sacramental records include infant and (rarer) adult baptisms, marriages, and burials. Lesser records available might be First Communions and Confirmations, though these are rare until more contemporary decades. Actual entries may vary in wealth of information from only the name and date of an event, to include additional pertinent dates, parent’s names living and deceased, witnesses, and other facts.
 
The parish registers of St. Mary (formerly known as St. Antoine sur la Riviere aux Raisins) start in 1794 with the arrival of the first pastor. Though quite complete in their chronology for over 200 years, there is a gap in the burial records partially for 1848 and 1849, starting again in 1850.
 
The register entries are written in French or Latin, with only a few of the oldest records in English (1829-30.) It is to be remembered that English was used as the vernacular language replacing Latin only since the Second Vatican Council who met 1962-1965.
 
Not just a registry of French-Canadians, the St. Antoine/St. Mary parish records include sacramentals for other Catholics- including Germans, Irish, Belgian, Italians, etc. since this St. Mary is the “mother” parish before all others in the county. Always check these records regardless of ethnic background. The parish also included missionary areas as far away as Adrian, Lenawee county, and nearby Rockwood in Wayne county. There are also a few Protestant names in the records who utilized the local priest in the absence of their own denomination minister, though this instance is few and far between.
 
The archdiocese of Detroit (of which St. Mary’s is a member) has microfilmed the oldest county parish records (not just St. Mary) and these are available for viewing on microfilm at the Ellis branch of the Monroe County Library System located on M-50/South Custer Road.
Consult their website for current open hours. Different abstractions of the church registers and help sheets are available for consultation in the Reference department.
 
Other resources for genealogical research can be found at the Monroe County Museum archives, 126 South Monroe Street in downtown Monroe and at the Genealogical Society of Monroe County, Michigan archives at the museum (with limited hours). Help with research is available at the museum, and the parish office can forward questions to aid research.

Edmund Burke 1794- 1796
Michael Levadoux 1796- 1798
Jean Dilhet 1798- 1804
Antoine Ganilh April- July 1822
Gabriel Richard 1802- 1827
Jean (John) Bellamy 1824- 1827
Etienne (Stephen) Badin 1828- 1829
Francois (Francis) Vincent Badin 1827
Samuel M. Smith 1829- 1831
Pierre (Peter) Carabin 1832- 1843
Toussaint Santelli 1843- 1844
Louis Florent Gillet 1844- 1847
Francois (Francis) Poilvache 1844- 1848
Egidius Smulders 1847- 1851
James Poirier 1848- 1855
John Van Gennip 1855- 1857
Edward Joos 1857- 1872
Camillus P. Maes 1871- 1873
Bernard Soffers 1873- 1899
Francis J. DeBroux 1882- 1899
Joseph Joos 1899- 1913
James S. Downey 1901- 1913
Henry DeGryse 1913- 1942
D. Edmund Perrin 1942- 1954
R. Francis Paquette 1954- 1968
Carl G. Gentner 1968- 1987
Brian Chabala 1987- 1996
Tony Sulkowski 1996- 2002
Tim Babcock 2002 - 2005
Marc Gawronski 2005- 2013
David Burgard 2013- current

LARGE WINDOW, West side 
The ASSUMPTION 

Mary is assumed into heaven at the end of her life. The large window is surmounted by a crown with the monogram “A M” signifying “Ave Maria” (Hail Mary). At the top left is a brown scapular, a badge of personal devotion popularized in 1914.

A heavenly presence in the form of cherubs surround Mary, one hand to her heart, and one extended out in supplication and inclusion. To the left side are the words “Queen of Heaven” with white lilies, a symbol of her purity, in a classic urn. To the right are the words “Pray For Us”. At Mary’s feet are two large angels.

The lower left panel features the triple papal tiara (high crown) atop crossed silver and gold keys of the apostle Peter- a sign of the papacy. In the oval is a winged lion- the symbol of St. Mark the Evangelist, and contains a star and an anchor. The lion was chosen as part of Pope Pius X’s personal emblem. The anchor represents hope in the future, the steadfastness of faith. The Pope’s emblem is held the banner proclaiming “To Restore all things in Christ” Pius X, Pope 1914.”

The lower right panel features the triple tiara, keys and coat of arms of Pope Pius IX, with red and white diagonal stripes, and 2 rampart lions in the oval above a matching multi-branched lily and cherub. This banner reads “I am the Immaculate Conception, Pius IX, Pope 1854.” This Pope defined the dogma of the Immaculate Conception of the Blessed Virgin Mary.

The bottom center panel has a large cartouche with “In Memory of Rev. Joseph Joos, pastor, 1899- 1913.” At the corners of the surrounding arch are matching green laurel wreaths tied with Marian blue ribbons, each with a golden fleur-de-lis inside, a symbol of the French, and a stylized lily. Laurel has traditionally represented triumph and eternity since its leaves stay evergreen.
 
 

LARGE WINDOW, East side
The BLESSED SACRAMENT

 Jesus giving the gift of himself in the wine and bread, His blood and body, in the Eucharist. The window is surmounted by a crown with the monogram “I H S” meaning ‘IESUS HOMINUM SALVATOR”- Jesus, Savior of Man. At the top left panel is a white pelican, an ancient Christian symbol of the Passion of Jesus and the food of the Eucharist. The pelican was thought to tear its own breast in providing nourishment for its young.

The top right panel shows the rayed haloed Jesus as the triumphant Paschal (Easter) lamb with banner in a green laurel wreath. Jesus surrounded by the heavenly cherubs and is enclosed in a pointed oval of red with white stars, radiating golden flame rays of light. He holds a host and chalice for the bread and wine, body and blood. He is dressed in a white gown with a long tasseled priestly vestment. The open book is the New Testament Word of God, inscribed with the Alpha and the Omega, Greek letters symbolizing infinity; God is without beginning nor end.
One the left an angel in blue looks in adoration at Jesus with hand in supplication, while the right side acolyte angel swings the censor of purification and blessing.

On the side panel is a grapevine below a wreath and garland of everlasting laurel leaves. The banner says “This Is My Blood”and the matching right side pane has “This Is My Body.”

Both panels below and opposite each other feature full-head wheat sprays in large classic urns, with grape vines above and dangling below.

On the lower left side is the papal triple tiara and crossed keys over the winged lion, star and anchor, with the branched white lilies below. On a banner is “Pontifex Supremus” and on the lower right side is the red cardinal hat with red cross, ropes and tassels in a traditional triangular form around a flaming heart on a shield. Below is the branched white lily plant, with a banner that reads “Omnia Incaritate”.

In the cartouche the banner reads “In Memory of the Confraternity of the Blessed Sacrament, A.D. 1908.” The confraternity was devoted to the person of Jesus in the sacrament of the Eucharist.
 
 

MEDIUM WINDOW, East side
The NATIVITY

 
This window celebrates the birth of Jesus to Mary and Joseph. At the top is the monogram “J M J” the initials of Jesus, Mary, Joseph. The top two panels opposite either other are mirror images of curling leaves and two urns containing burning white-hot flames.

The long center panel is topped with a cherub atop the carved marble arch which extends into the two side panels. Joseph has a royal purple mantle and gazes in prayer at the newborn Jesus, his mother Mary sheltering him in the manger. The star of Bethlehem points a powerful ray downward to the infant with other night stars glowing brightly. There is a donkey and cow with the Holy Family. To the left of the image is a straw laden cart, a walking stick coiled with water containers, a jug of water or wine, and a basket of apples on a low table. Apples with Mary and Jesus elude to The Fall (original sin) of Adam and Eve, with Mary’s triumph of pure motherhood as the New Eve.
The bottom of the three panels portrays a short marble wall, or perhaps a communion rail, with the “Married Ladies Altar Society” in a center banner. The Altar Society was founded as a women’s group who took responsibility for the cleaning of the altar linens and other sacramentals.
 
 

MEDIUM WINDOW, West side
The SACRED HEART

 The monogram “I H S” (Iesus Hominum Salvator- Jesus, savior of Man) tops the window in a matching design to the Nativity, with the two top side panels mirroring each other and the other window.

The central panel is topped by the cherub in the same marble arch as in the Nativity, and shows Jesus standing before an altar on which stands a radiant monstrance. Jesus points to his Sacred Heart, showing his love for all humanity. Light comes into the sacred space via a bulls-eye glass window behind his shoulder. Jesus stands on a cloud at the foot of the altar, with the open New Testament below him, and views a kneeling Sr. Margaret Mary Alacoque who received the visions in the 1670s in the black habit of the Order of the Visitation of the Holy Mary. She opens her arms wide in supplication and receptiveness of his message. A rosary lies to the side of her pillow. Pope Pius IX extended the French feast of the Sacred Heart to the Roman Catholic Church in 1856.

The bottom of the three panels portrays a short marble wall, or perhaps a communion rail, with “Sacred Heart League and Institute” on the banner.
 
 

APSE: Starting on west side moving east Small windows: The CROWNING OF MARY

 Each window follows the same styling, with a cherub at the top, and brown designs undulating down each top side panel. In the center of each of these panels is a symbolic medallion. On the left is the Chi Rho “P X” the Greek monogram for Christ. On the opposite panel is the silver fleur-de-lis, a symbol of the French, and for a variation of the lily, for Mary.

The center image is of a crowned Christ crowning his mother Mary as Queen of Heaven, who kneels with her arms crossed on her chest, receiving the honor. Her hair is of a maiden, unbound and flowing. The Holy Spirit, in the guise of a white dove, pours rays of grace upon her, being surrounded by radiance of gold light. A tumult of clouds arch over the Spirit and downward to frame the heavenly scene.

Jesus is in the royal purple gown, with a red and gold edged vestment. Mary is in her Marian blue, her mantle edged also with gold. A golden rose lays before her upon the clouds.

Symetrical designs come down from the medallions. Tall bronze urns draped with red cloth fringed with gold, contain each a tri-blooming, white Easter lily plant, though the stalk and leaves are more palm-like than lily. Three white buds are yet unopened above the blooms.
On the cartouche below the scene is the “Holy Name Society” who donated to the window.
 
 

St.s ANNE & MARY     

                         
This window follows the same symmetrical styling. Each medallion on each side is the monogram “I H S” for the name of Jesus Christ (the Savior.)

The haloed Ste. Anne stands above her younger haloed daughter Mary and raises her hand with a pointed finger indicating heaven and God. Mary has her blue garment but it is tied with a red sash. Her hair is unbound and flowing, indicating she is a maiden, while her married mother has her head and hair covered in a draped wimple. They stand within a marble archway and squared pillars; on the base is “Santa Anna.”

On either side are the symmetrical designs meeting the tall bronze urns, draped in a red, fringed cloth, holding a tree-bloom lily with palm-like leaves, and three unopened buds atop the blooms.

The cartouche reads: “In Memory of John & Frances Bordeau.”
 
 

The IMMACULATE CONCEPTION 

This window has the cherub and the matching medallions are the monogram “A M” for “Ave Maria”- Hail Mary, from the greeting of the Angel Gabriel at the Annunciation. The central image is Mary below the upright Holy Spirit in the shape of a large dove holding the small banner “St. Maria Immaculata.” She is in a white, pure garment, holding her blue mantle, her hair long and flowing. She stands on the crescent moon, and on heavenly clouds above golden stars in the sky and below, earth with cedar or cypress trees. She represents the “woman clothed with the sun, with the moon under her feet…a crown of twelve stars…” from Psalm 91; she is the New Eve, born without the stain of original sin.
This window was given “In Memory of Michael & Marg. O’Brien.”
 
 

ST. JOHN THE BAPTIST 

Topped by the winged cherub, the two mirrored medallions hold the monogram “I H S” (Jesus Christ as Savior.) The central panel shows St. John the Baptist clad in his camel hair garment over which is a royal purple mantle edged with gold. He holds the triumphant Easter (Agnus Dei, the Lamb of God) banner, and stands before a blue sky over a desert landscape.

The donor cartouche reads the “Young Ladies Sodality” a turn of the century church organization for young unmarried women of the parish.
 
 

The ANNUNCIATION 

To its lower left of the top cherub is the monogram of “A M” for “Ave Maria”- Hail Mary, the angel’s greeting. To the right side is the monogram “I M R”.

The central panel shows the angel Gabriel greeting Mary, with his finger extended heavenward- he is from God. Mary has shown her agreement to God’s plan, and the Holy Spirit as a descending dove has come upon her, in the form of a ray of light upon her haloed head. Her hand is at her heart, the other out to Gabriel. She has a white dress, and kneels at an altar. The white Easter lily, a symbol of her purity stands in an urn opposite on a carpet on the marble tiled floor.

At the side panels are the decorative design coming down to the Easter lilies in their bronze urns. The donor cartouche reads “Young Ladies Sodality.”
 
 

The AGONY IN THE GARDEN 

The left side medallion under the top cherub is the first Greek letter- the Alpha, while the right side medallion is the last letter, the Omega. These letters symbolize the eternity of God, having no beginning and no ending.

The center panel is the dark night Jesus spent in the Garden of Gethsemane before his arrest and subsequent Passion. The night sky shows stars, the cypress, and a large olive tree forms the backdrop of the garden with a low mountain at the horizon. A red-winged angel kneels on a cloud and offers comfort to Jesus and holds out a covered ciborium (the container for his body in the Eucharist.) Jesus has his eyes heavenward to God his Father. His emanating halo is red in suffering. His garment is purple showing his royalty, but is also the color of the mockery he will face during his Passion. He prays with gently clasped hands at a rock outcropping.

Behind and to the back of Jesus are the sleeping Apostles, too tired to share in his suffering and anxiety. He seems alone, but his upward gaze is solidly reliant on his Father.
At the bottom panel, the donor cartouche is “L. J., Adelaide & Adaline Dubois.”
 
 

The RISEN CHRIST 

To the left in the medallion is the scourging pillar, a leather multi-ended whip, the crown of thorns which are symbols of Christ’s Passion and suffering. In the right medallion are symbols of his crucifixion, the ladder, hammer, and nails which pierced the hands of feet of Jesus.

The center panel show the triumphant Jesus rising out of the tomb, in a blaze of golden rays. He raises his right hand heavenward, and all around him sweeps the red garment of his Passion. He holds in his left hand the triumphant Paschal banner and staff. An angel with green wings serenely but seriously looks on, witnessing the event while holding the stone. One Roman soldier looks but has his arm up in protection, while another centurion is on his knees and covers his face completely from the sight, his lance and shield forgotten. Still another centurion has had his helmet fall off, and while he grasps his lance, has his other arm raised to deflect the power coming from Jesus, and is almost prostrate on the ground. Legend has a Centurion named Longinus as having the spear that pierced Jesus’ side while he was on the cross.

Like the other windows, the side panels have the design, urns and lilies. The donor is the “Senior, Junior & Chancel Choirs.”
 
 

APSE; WEST DECORATIVE WINDOW 

This redesigned window dates from the 1987/88 renovation and is mainly replacement glass and is asymetrical. The left center panel has the medallion with the flaming heart of Mary, pierced with a dagger and surrounded by red roses. It is a symbol of Mary’s love for humanity, and her desire to direct all to her Son.

The center central medallion is a crown surmounting a wooden cross and palms, a symbol of Christ’s Passion. This image is Christ’s victory over death, and our reward in heaven (crown) after our life of trials (cross).
The bottom left medallion shows the white Paschal lamb with the white Easter banner, atop the book of God with the 7 seals.

Two decorative swirls are on the right panels. The decorative center bottom gives the donor as “Mr. John Dusseau & Family.”
 

APSE; EAST DECORATIVE WINDOW 

This window was also redesigned in the 1987 renovation. The decorative swirls are on the left side of the window. The center medallion is the flaming heart of Jesus, with a cross on the top, wrapped with thorns, and dripping blood, symbolizing his passion and his passionate love for humanity.

The right side medallion is the Holy Bible, open for reading. It is the word of God.

Below it on the right is the last medallion, a descending white dove, with a laurel branch in its beak, for peace.
The donor design gives “Mr. & Mrs. James Manor” at the bottom.
 
 

NAVE

The nave windows are decorative in style except for the circular “medallions” at the top left and right. Originally in the pointed Gothic shape, they were redesigned for the 1987 Renovation of the church interior into an arched design to match the Romanesque architectural portion.
 
East Window, North endThe medallions on the left is another version of the pure white flaming heart of Jesus, surmounted by the cross, wrapped in the thorns of his Passion, and bleeding blood. Fire also represents the transformative power of divine love.

The right side medallion has a simple golden chalice with the host above it, backed by the wine grapes and wheat heads of the unconsecrated gifts.

The donor banner at the bottom panels read: “In Memory of Mr. & Mrs. Nelson Fix” and “The Family of A. F. Robert.”
 
 

Second East Window

The left top medallion shows several bunches of grapes and a loose bouquet of wheat, representing the human gifts that through the Consecration becomes the blood and body of Jesus (the Eucharist.)

The right top medallion is the flaming heart of Mary, pierced with a dagger and surrounded by white roses. Simon’s prophecy in Luke 32:35 said the “sword shall pierce” her heart.

On the bottom banner is “Rev. Carl Genter Pastor A.D. 1968- 1987.”
 

Third East Window

The left top medallion is a ray encircled monstrance, used for the adoration of the consecrated host, the body of Jesus.

The right side medallion shows a white East cross through a golden crown, which displays victory of death, and the heavenly crown achieved after the trials of life (the cross.)
The donor banner at the bottom is “In memory of Mr. and Mrs. B. Verhoeven” and “Mr. and Mrs. Joseph Fix.”
 

Fourth East Window (choir loft)

The top medallion shows a modern winged angel on the left, and a modern winged butterfly on the right.

At the bottom is the banner which reads “Rev. Joseph Joos Pastor A.D. 1857- 1871.”
 

First West Window

The top left medallion shows a flaming red heart in front of an anchor with a rope and a cross. The anchor symbolizes steadfastness and hope in faith; love is the flames of the heart, and the cross are the trials of life, like the cross borne by Christ.

The right medallion is a modern image of a single lighted candle, reminiscent of the New Testament references to the use of light.

The donor banner is “In memory of Mr. and Mrs. Chas. Golden.”
 

Second West Window

The top medallion on the left is a modern image of a clam shell with droplets of baptismal water. A common image has St. John baptising Jesus with water from the river using a clam shell.

The right image is of a mother pelican, who will pierce her own breast to provide nourishment for her young. The symbol has been used since the 12th century to represent Jesus who gave his body for the church (us), and the Eucharist as our nourishment.

The banner at the bottom reads “In memory of Mr. and Mrs. Chas. A. Visger” and In memory of Mr. and Mrs. G. L. C. Godfroid.”
 

Third West Window

The top left medallion holds an old original image of the haloed white Paschal (Easter) lamb holding the long staffed triumphant banner, showing Christ’s triumph over death, the pure offering of his obedient life. The lamb also comes from the sacrifice of the Passover lamb, with no guilt, no blemish.

The right medallion is a modern golden sun with “I H S” in the center, on a plain blue background. Jesus is the light of the world.

The donor banner reads “In memory of Ed. Vander Heyden” and “In memory of Mr. and Mrs. Frank Willets.”
 

Fourth West Window (stairwell)

The top left medallion is modern, showing the crossed keys of Peter, and the legacy of the papacy.

The right medallion is a modern painted dove, the symbol of the Holy Spirit.

The donor banner is “In memory of Rev. B. G. Soffers Pastor A.D. 1873- 1899.”
 
 

SACRISTY WINDOWS 

These are purely decorative colored glass windows, reaching around the main floor. The bisected triangles are set “on point” in colors of blues, grey and pale pinks.
 

BELL TOWER 

​Originally there were matching colored glass windows on the main level of the tower, over the front doorway, constructed of many “on point” diamond shapes of pale colors.
 

“ST. MARY’S CHURCH”

The half-moon shaped decorative window is over the front doorway, with the lettering identifying the building to the outside.

The original church and cemetery

In January of 1788, Fr. François-Xavier Dufaux, from Windsor's Assumption Parish noticed that there were 32 farms near the Sturgeon River (now called River Raisin) with 100 farms staked-out for future settlement. Dufaux wrote to Bishop Jean-François Hubert, of Québec City, that the River Raisin residents were in desperate need of a priest. Dufaux made plans for the religious needs of the settlers and intended to lay-out a cemetery in the spring, but not bless it until a chapel or rectory for a priest was built.

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A Bicentennial Retrospect

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