St-Vincent-de-Paul, located at 2310 Ste-Catherine St. E. in Montreal's Centre-Sud Est, was built in 1925-28 during the tail-end of the city's baroque revival architecture period. Owned by the parish St-Vincent-de-Paul, designed by Ludger Lemieux (1872-1953), this catholic church responded to the spiritual needs of a growing working-class neighbourhood.

What makes it a baroque revival church? Baroque architecture can instantly be differentiated from other styles by what some people call its "over-abundance" of ornament, typically found on its imposing facade. The remaining sides and back are usually, and in this case, left unadorned. (Side-note: reason for this lack of side decoration is that in Rome and Genoa, both characterized by narrow side-streets, churches are closely flanked by houses. The blank, back curved wall gained the style criticism for its dissatisfactory effect.) The central featurization of the main staircase, the broken pediment on top of the main entrance, the floor-plan's Greek cross arrangement, the central dome (producing a maximum of light), the small belfries on either side of the facade, obliquely placed columns, triple keystones, the decorated window openings, obelisks, large scrolls (not here), cornices and other mouldings are all also baroque characteristics. Typical of the baroque and also visible on this facade is the combination of sculpted cupids with saints. For baroque architecture there are no constrained limits: in this case both the Doric and Ionic orders are used. Columns and pillasters are decorative rather than structural elements, the main weight of the roof and walls is supported by large piers with pilasters atttached. The ornament on St-Vincent-de-Paul doesn't compare with that decorating the churches of Rome- rather its lack thereof indicates the lower-income level of its neighbourhood

Where does "baroque revival" come from? Montreal's baroque revival copies the Italian baroque architecture of the late Renaissance to the 18th century culminating in Rome's St. Peters. Nowhere was baroque architecture so diversified than in Italy with artists such as Palladio, Michelangelo, Bernini and Longhena dominating the scene. This new style was the product of two main shifts in Italy: the Reformation and the ascendancy of Spain. The Catholics triumphed over "heretics" and fought back against Protestanism by building new churches with the support of such groups as the Jesuits, Capuchins and Theatines. Meanwhile Spains black tenue and militaristic etiquette overthrew the civic pride typifying the Italian Renaissance, leaving room for increased religious interest. Ergo baroque architecture was an articulation of power, pride and wealth. Essentially a Latin design meant to impress the people with the greatness of the Catholic Church, Bible scenes and calendars of the saints were painted on the inside ceilings and walls.The baroque period has often been criticized for its "blatant materialism" and "intense artificiality" , but its architecture can be admired for its mastery of classical elements and structural details visible in the domes that differed in almost every single case, going from circular to elliptical as wont had it.

Why choose baroque? Between 1850 to 1930 Montrealers turned towards historical styles for inspiration in their architectural projects. One theory supposes that the mass distribution of printed material (i.e. history) and the technological changes brought about by the industrial revolution incited people to surround themselves with signs of the "stabler" past. A baroque revival period (second choice being Romanesque) was made popular in Montreal through the deliberate choice of the Catholic clergy under Bishop Bourget (d. 1885). The main reason for the preference given it was its dramatic difference from the High Gothic style favoured by the Anglican Protestants. Its close relation to Catholiscism, especially in the case of the Italian baroque, also increased its attraction. So, in 1900, the church Marie-Reine-du-Monde was built using St. Peters as model. Bishop Bourget encouraged parishers to choose a baroque design for their churches, envisioning a city distinguished by its visible Catholic presence.

Why build another church? In the early 1900s the neighbourhood of Centre-Sud Est was undergoing expansion. New factories were being built. Lemieux had already worked on several other projects in the neighbourhood with his partner Joseph Honore Macduff. Plans for a manufactural factory for the Aetna Biscuit Company had already commenced in 1902 (though not completed until the 1940s, temporarily arrested by the war). Lemieux was also working on designs for the Lang Biscuit Manufacturing Company and the Tooke Brothers Limited setting up factories in St-Henri. At this time the parish was the center of community life and thus a necessary component of a booming, working-class neighbourhood

Why choose Ludger Lemieux? Ludger Lemieux, a member of the PQAA and the RAIC, was extremely active in Montreal's religious projects. He oversaw, with Rene Chabonneau, the completion of St-Zotique (4565 rue Notre-Dame Ouest) in 1925, another baroque revival church. He also designed a number of churches in St-Henri (e.g. St-Vincent Ferrier) during the neighbourhood's wave of expansion.

Other prominent styles in the neighbourhood.

With its imposing mass and extravagant decorations the baroque church was meant to subdue and impress the 17th century popular mind. A visible authoritative presence that ended up, despite all the critique it received, being the trademark of the Catholic Church. Three hundred years later the Italian baroque would become the "spokesperson" for small remote communities struggling to preserve their faith and identity. In 1901 every priest in Montreal there are 680 practising believers, by 1931 that number had already begun to shrink leaving 576 followers per priest. St-Vincent-de-Paul will be one of the last baroque revival churches built in Montreal, and the approaching second world war will but decrease the members of this working-class community. The Catholic Church will need to seek other means than an imposing facade to replenish its diminishing congregation.

Bibliography Briggs, Martin Shaw. Baroque Architecture. New York: DA Capo Press, 1913. Kalman, Harold. History of Canadian Architecture Vol II. New York: Webster, 1994. Ch. 7. Remillard, Francois and Brian Merrett. Mansions of the Golden Square Mile Montreal 1850-1930. Montreal: Meridian Press, 1987. 32-41. Remillard, Francois and Jean Merrett. Montreal Architecture: A Guide to Styles and Buildings. Montreal: Meridian Press, 1970. 124-25.