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We the community of Saint Mary of Grayling devotes ourselves to the teachings of the Apostles and the Eucharistic celebration. We welcome all who would worship in His name and share in the promise of Eternal Life.

Our History

The Catholic Community in Grayling was first served by Fr. Francis Shulak, a Jesuit Missionary, in 1881 when it was a lumbering town. In 1885 the first church building was erected on land fronting Peninsular St donated by Mr. Joe Charron. On September 8, 1908, St. Mary’s was formally established as a Parish of the Diocese of Grand Rapids and a rectory was built next to the church.

No longer a mission church, St. Mary had its own missions and stations in Roscommon, Frederic, Lewiston, Deward and Lovells. The church was moved back from the street in 1912 and a sanctuary, two sacristies and additional seating was added. The parish continued to grow and the church was again remodeled in 1915 by redoing the vestibule and adding a basement. During this period of growth, St. Leo Mission Church was built in Frederic and it subsequently closed in 1935.

Efforts to build a parochial school began in 1948. Permission to build a combined church and school building was granted in 1950. The corner of Peninsular and Lake Streets was chosen for the site which required moving the original church to the southeast corner of the property. The first Mass celebrated in the new building with seating for 300 was Christmas Midnight Mass 1951. The school with four classrooms opened in September 1953 under the supervision of the Sisters of St. Joseph of Nazareth, MI.  The rectory was converted to a convent for the Sisters and a trailer on the back of the property became the rectory. In 1955 the home of a local physician was purchased for the rectory.

In 1965 the Sisters of St. Joseph were replaced by the Dominican Sisters of Grand Rapids. The school closed in 1970 and the Family Religious Education and Release Time programs began.

St. Mary became part of the new Diocese of Gaylord when it was formed in 1971. In 1975 the original church, which had been converted to a Social Hall, was demolished and plans for the current Family center were made. The 400 capacity building on Spruce St was completed in 1978.

The centennial of Catholic Faith in Grayling was celebrated in 1981 with dedication of ‘Mary’s Garden.’

A survey of the buildings in 2002 revealed that it would be necessary to demolish the 1950 era church almost entirely to bring it up to state building code. Plans were made to retain as much as possible of the old, erect an enlarged worship space, meeting rooms, office area, restrooms, and connect all to the existing Family Center. The Dedication and first Mass were celebrated on Mary 19, 2006.

Features of Our Church

As you enter our church, note the biblical verses overhead that are the foundation for the church.

  • Exterior Doors: 
    • Center, ‘Be Reconciled then Offer your Gifts’ Matthew 5:24. ‘I Am the Vine, You are the Branches’ John 15:5. These words etched into the marble and glass of the front entrance to the Church highlight the central theme of the vine and branches and can be found throughout the environment of the Church. They illustrate our interconnectedness and dependence on Christ as foundation.
    • North, ‘Enter His Gates with Thanksgiving’ Psalm 100:4.
    • South, ‘House of God, Gate of Heaven’ Genesis 28:17. A major facet of Catholic belief is Sacramentalism. We are saved by reconciliation and offering of our gifts, praise, and adoration, service to Christ in each other, labors and fortunes.
    • Inside the center doors on the South wall hangs the Cross which adorned the Church built in 1950. Throughout our house our cherished pieces which connect with past generations in a tangible way.
      • ‘I am the Vine, You are the Branches’ John 15:5
      • ‘Be reconciled, and Offer your Gifts’ Matthew 5:24
      • ‘Enter His Gates with Thanksgiving’ Psalm 100:4
      • ‘House of God, Gate of Heaven Genesis 28:17

Throughout our house you will see Cherished pieces that connect with past generations in a tangible way. The Cross is placed on the southern wall, in the vestibule, just after you enter the center door, once adorned the Church built in 1950.

  • The Gathering Area: is a large welcome space where we greet each other prior to worship. The Icons on the walls depict various events in the life of Christ and reflect our connection to the Greek Orthodox Church. One purpose of the Byzantine art is to draw the viewer into the scene, where they become a part of the story. Glass doors and walls allow viewing of the sanctuary prior to entering the main body of the church.
  • The Floor of the Church: Is quarry tile in the earth tones. The pattern is laid out in a purposeful way which is intended to reinforce the two basic paths that follow personal conversion: the Holy Sacrament of Baptism or Confession/Reconciliation.
  • Reconciliation Chapel: To the left as you enter the worship area is the Reconciliation Chapel. This space is set up in a way that facilitates a penitents’ choice of face to face or the Traditional method of celebrating the sacrament, behind a screen. The color and verses of the stained-glass window as well as the other art on the walls offer us a repentant theme. The station just outside the room provides a backdrop for our examination of conscious before we receive the Sacrament.
  • Baptismal Font: Holy Baptism is the basis of the whole Christian life, the Gateway to life in the Spirit, and the door which gives access to the other sacraments. The upper part of the font provides convenient access to the water used to bless ourselves as we enter the Church. The construction of the Font allows for Pouring, Sprinkling, or Immersion. The cross shape of the Baptismal Font reminds us that we are baptized into the death of the Lord & called to Rise with Him. The steps into the font are inscribed “Die with Christ” & the steps exiting for the font read “Rise with Christ”. The placement of the Easter Candle invites deeper reflection into the Sacrament. When a Neophyte, newly baptized Adult, emerges from the font they are standing before the Eucharistic Altar/table of the Lord.
  • Exterior Doors:
    • Center, ‘Be Reconciled then Offer your Gifts’ ___- I Am the Vine, You are the Branches’ ___. These words etched into the marble and glass of the front entrance to the Church highlight the central theme of the vine and branches and can be found throughout the environment of the Church. They illustrate our interconnectedness and dependence on Christ as foundation.
    • North, ‘Enter His Gates with Thanksgiving ______.
    • South, ‘House of God, Gate of Heaven ______. A major facet of Catholic belief is Sacramentalism. We are saved by reconciliation and offering of out gifts, praise and adoration, service to Christ in each other, labors and fortunes.
    • Inside the center door on the South wall hangs the Cross which adorned the Church built in 1950 and which forms the base for this present building.
  • The Gathering Area:  is a welcoming place to greet each other prior to worship. The icons on the walls depict various events in the life of Christ and reflect our connection to the Greek Orthodox Church which is in communion with us. One purpose of Byzantine art is to draw the viewer into the scene where he becomes a part of the action. Glass doors and walls allow viewing of the sanctuary prior to entering the main body of the Church.
  • The Floor: Quarry tile was used in earth tones and its pattern was planned to lead the path to two basic ways of reconciliation, Baptism and personal conversation in the Reconciliation room. A pathway along the outer edges of the sanctuary follows an atypical arrangement of the Stations of the Cross, or Via Crucis, a popular Catholic devotion.
  • The Baptismal Font: Built in the shape of a cross, it allows for all the options of Baptism, sprinkling, pouring over the forehead or complete immersion. The flowing water and the design illustrates that the candidate comes out of the congregation, enters the life giving water of Christ and rises up to the altar for sacraments.
  • The Altar Platform: Placement and relative proportions of the altar, ambo, and presider’s chair on the platform are intended to show the balance of the three perspectives of sacrifice, the word and teachings of the Church.
    • The stone top of the altar, which signifies the sacrificial nature of the Eucharistic ceremony and the wood alter is reminiscent of a meal table. This is not an ordinary table, but one which contains the relics of two saints in it base. St. Helena, 250-330 AD, is thought to have led an expedition which found the true cross and St. Vincent Strambi 1745-1824, a Passionist priest who suffered exile for refusing to take an oath to Napoleon and later became advisor to Pope Leo XII. Also sealed in the altar base is the altar stone from the original St. Mary Church and other memorial documents.
    • The Ambo is constructed similar in design to the Altar Table and proclaimed from it are the readings from the Old and New Testament appropriate to the liturgy of the day and the Gospel.
    • The Presider’s Chair is positioned on the platform to signify the importance of the teachings of the church.
  • The Central Altar Sculpture ; Salvation History, is depicted in this bronze sculpture centered on the altar platform. It incorporates the crucifix with a victorious Christ hanging from a tree, and freed from death, without the marks of the nails in His hands and feet or the lance piercing on His side. Mary, the Mother of God and our mother, is seen holding and surrounded by images which encompass the whole world, i.e. infants, children, a pregnant women, sick man, an elderly couple, a deceased person returning to the earth. Adam and Eve are depicted in the lower front of the sculpture along with the serpent who is being crushed by the foot of Mary. The skull is reminiscent of Golgotha, the place of the skull. The flower represents the ‘root of Jesse’. Nearby is seen a lamb with its feet fettered, ready for sacrifice, a symbol of Christ. The globe can be identified, under Adam and Eve, near the base along with the ‘Italian boot’, the seat of the Roman Church, and on the backside can be found Michigan surrounded by the Great Lakes. Also on the back are representatives of the four Evangelists, Matthew, Mark, Luke, and John. They are depicted as the man, the eagle, the ox and he lion. Scrolls are found near each of them as they are the writers of the Gospels. Through the centuries various writers and artists have connected the four Evangelists with the four living creatures in various combinations. For more details search the internet site http://catholic-resources.org/Art/Evangelists_Symbols.htm
  • The Glass Wall Behind The Sculpture: Multiple scenes from the Old and New Testaments are etched into the glass wall. A central circle containing three discs represents the Trinity surrounded by metallic is forms. These forms can be seen as flames, doves, or fire. Inside the central circle is a built-in Gold Monstrance for display of the holy Eucharist during Adoration Services. A piece of lamb’s wool in the circle depicts Christ, the Lamb of God.
    • Surrounding the circle from the left to right are the Old Testament figures Elijah on the flaming chariot and Moses with his staff. Angels hover above Peter with his fishing net and Paul fallen from his horse, an ancient tradition. In the next panel, John the Baptist is pouring the water of baptism over the Trinity and the Annunciation of Mary with Angel Gabriel. David with his slingshot and Goliath are etched in the lower right of the top four panes.  An ongoing supper is depicted in the lower portion of the etching with Christ offering the bread and wine. This is not intended to be “The Last Supper” but continuing sacrifice which we celebrate whenever we gather for the Eucharist. The congregation surrounding Christ and sharing in this meal, is us, not the chosen Twelve. An excess of grapes and wheat can be found in the etching signifying the Eucharist, the ultimate expression of sacrifice and Catholic belief:

·  Stained Glass Windows:  There are a total of 18 stained glass windows and doors in the sanctuary and Eucharistic Chapel. They can be looked at individually or in various combinations. For the purpose of clarity in the guide they will be identified by # and location in the building.

  • Stations of the Cross:  The stations in the building incorporate those, which hung in the 1950 Church with enhancements in color, arrangement and design. The color in the tiles brings out the colors in the historic stations. Arches are used to support the orientation of the walker through the journey with Christ to Calvary, they are upright in those where Christ is upright and leaning to fallen when Christ is recumbent on the ground or in the grave. Reflective glass discs are mounted alongside the stations to bring the viewer into the scene and words etched into the discs and the tiles on the floor underneath are meant to trigger thoughts and aid meditation as we journey with Christ.

The atypical grouping of the stations is intended to highlight the acts of sacrifice of Christ which we are encouraged to imitate. Stations I and II are together to show fault, blame and acceptance. Stations V, VI, and VIII depict Simon on Cyrene, Veronica and the women who wept for Jesus, the caregivers who are meant to inspire us to are for each other. Stations III, VII, and IX, the falls of Jesus, are grouped together and placed on the wall outside the Reconciliation Room to remind us that when we fall, we can find healing through Reconciliation. Stations IV is placed near the Marian window to highlight her constant fidelity to her son, which we are encouraged to imitate. Stations X, XI, and XII show the stripping, nailing and death of Jesus to remind us we will one day be separated from all our earthly possessions and suffer pain, anguish and death. We can find hope and encouragement in the messages here. Stations XIII and XIV depict the human death of Jesus emphasized by the broken shafts and also His divine nature seen in the large glass etching of the “tree of life” growing out of the grave.

  • The Eucharistic Chapel:  The chapel is always open for adoration as the Eucharist is present in the tabernacle signified by the lighted candle suspended from the ceiling high above. A reminder of Christ’s sacrifice of His body and blood appears in the red color of all the windows and the quotes from scripture on them. The refinished tabernacle is from the 1950 Church and the chapel ceiling is of cedar as the temple built by King Solomon, 1 Kings, 6:9.
  • THE HOLY SACRAMENT CHAPEL: The Holy Eucharist is the continuing Presence of Christ among us. There is an essential relationship between the worshipping community’s celebration of Eucharist and the reservation of the Sacrament for private prayer, adoration and distribution to the sick.
    • Our Holy Sacrament Chapel, located directly behind the altar platform, contains a tabernacle and hanging lamp that were refashioned from those items used in our previous worship space. An etched glass reredos (df, an ornamental screen behind an altar) separates the chapel from the altar, page__. The dominant red coloration in the Chapel is intended to reflect the rich tones of wine and bread, blood and flesh. Scripture passages in the stained-glass doors and windows highlight events which lead to the institution of the Eucharist. The ceiling is of cedar as was the one in King Solomon’s Temple, 1 Kings, 6:9.
    • This chapel is accessible through the two exterior doors. In addition to being a worthy place for the reservation of the Holy Eucharist, the consecrated Chrism and Oils of the Sick and the Catechumens are reserved in the large wooden and glass armoire to the right of the tabernacle. The armoire to the left contains the vessels and linens used for the Eucharistic liturgies and the Sacrarium (df, a sink which drains directly into the earth). Liquid residue from the cleaning of sacred vessels never poured into a common sewer.
    • A reference to the scripture passage found on each of the numbered doors and windows in the chapel follows. See map on the page ___ for location. The donations of many friends and parishioners of St. Mary which made possible the beautiful art in this chapel is also noted. 
    • Door #14. This passage is from the Book of Exodus ___ at the time of the first Passover and is part of the manual Easter Vigil. Donated by Frank and Elizabeth Stano.
    • Window # 7. Jesus identifies Himself with Bread, ____. Catholics believe that Jesus intended the literal meaning of these words and thus believe in His ‘Real Presence’. Donated in memory of Ilene E. Hatfield.
    • Window # 8. Because Jesus is risen physically from His tomb and triumphed over death and because reception of the Eucharist physically makes us one with Him, Catholics can take comfort and have confidence in His promise ______________. Donated by Joseph and Cecilia Cinciala.
    • Window # 9. At the Last Supper, celebrated in the context of a Jewish Passover, Jesus identified Himself with the Passover lamb and foresaw His Passion and death as sacrifice. ____ Donated by Edward and Joyce Mullin.
    • Window # 10. In Jewish thought, life is in the blood. When Catholic and Orthodox Christians share the shed blood of the Lord, they link their lives and fate by claiming the promises of Jesus. ___. Donated by Mrs. Betty Parmerleau.
    • Window # 11. From the time of the first disciples, the Eucharist was the event in which deeper understanding and awareness of God’s presence was gained ____. Donated by Denise and Derek McEvers.
    • Window # 12. this early description of four inter-related aspects of the Christian community, Apostolic teaching, communion of life, celebration of Eucharist and prayer, remains both a goal and a description of this and all Catholic communities ___. Donated by Ann and Leroy Failing.
    • Window # 13. The door containing the inscription is closest to the historic center of Grayling and our hospital. These words are used when presenting the Eucharist to the sick and homebound. The formula summarizes the Eucharistic Prayers of the Mass. __ Donated in Memory of sister Annette Byrne RSM
  • The Noah Room: A beautiful sculpture especially designed for children is found in the Noah Room. The sculpture is made fun and simple for the enjoyment of both young and old and incorporates the basic tenets of our faith. The ark is a symbol of the church, a refuge and place of safety from storms of life. The Trinity is found in the sculpture with God the Father holding the whole in His hands; God the Son with the net fishing for souls, and in the Lamb; and God in Spirit in the Dove with us always. The message of the sculpture is direct and simple – Sing Praise, Play Music, Proclaim all His Wondrous Deeds-as all the characters appear to be doing.

 STAINED GLASS WINDOWS IN THE WORSHIP SPACE

The six stained glass windows in the worship space reflect the seasons of the liturgical year, which begins with Advent followed by Christmas, ordinary or numbered, Lent, Easter, and return to Ordinary. The remaining four windows reflect Catholic traditions.

Window #22 the liturgical colors for Advent and Christmas are violet contrasted with blue representing the winter sky and associated in popular art with the Virgin Mary. White ad silver accents are indicative of Jesus, the Light of the World. The quoted scriptures are part of the seasonal lectionary. Donated by Jim and Mona Rallides.

Window #23 Ordinary (numbered) Time following the Christmas season finds the Church proclaiming these scriptures. The liturgical color for this season is green. Donated by the Senske and Lerner families.

Window # 15 the doors flaking the Sanctuary and leading to the Blessed Sacrament Chapel contain scriptures proclaimed during the Easter Season. The colors of all liturgical seasons are found in these doors, while the dominant colors are the glorious golden springtime tomes of Easter.

Door #16 In the Jewish scriptures, God identify Himself with “I Am Who Am”. Jesus uses the “I Am” phrase with many variants throughout His ministry and during His trial. Colors are in door #15. Donated by Emil and Laurine Kraus.

Window #24, Of all the scriptures proclaimed during the Lenten season, this one describes the ongoing process which believers undertake. In Baptism, we enter into the death of the Lord. All the details of our personal lives can be understood in the dynamic of dying and rising. The liturgical color of the Lenten season is purple. Donated in memory of Ruth Ann Bowerman.

Window #25. The scriptures of Ordinary time after the Easter season instruct us on the nature and spirit of life in and with Christ. The liturgical color is again green. Donated by Phil and Rose Savoie and family.

 Window #26 Mary’s response to the revelation that she would be the mother of Jesus is proclaimed in the “Magnificat”. All the phrases flow from various Old Testament scriptures indicating how immersed the blessed Virgin Mary was in the Word. It has been said hat through the Word of God, Mary conceived the Lord in her heart before physically conceiving him. Donated in memory of the Wiltse and Londrigan families.

Window #27. There is a tendency in human nature to complicate reality. Our Faith can fall victim to this inclination. This scripture summarizes the goal and motive of Christian living. Donated by the Robert and Marie Scott family.

Window #28. The Reconciliation Chapel window contains the core of the sacramental formula given following confession of sins. We are forgiven, in the once for all sacrifice of the cross. We pray for the experience of that forgiveness that leads to peace and a changed lifestyle. Donated in memory of John and Clara Meyers.

Window #29. This is the only window in this Church design to be read from the outside. Any pedestrian walking down Lake Street is presented with the promise of Jesus’ guarantee of His presence. Our Community Gather Space, Worship Area, Ministry Wing, and Family Center are all venues in which the risen Lord presents Himself in our activities, services, worship, and His sacraments. Donated by the Bellomo family.