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November 19, 2020Bishop Theophile Meerschaert, Bishop of Oklahoma (the state was one diocese until 1973), had decerned that the growth of the Church in Tulsa had necessitated the erection of a new church to be called Sacred Heart. This occurred in 1917, and within a year a brick church had been constructed. It soon became clear with the oil boom of the 1920s and the influx of Catholics from the east coast that the need for a larger space was apparent.
The new bishop, Francis Clement Kelley (installed in 1924), took a special interest in its construction. It would become his favorite church. Kelley was fascinated by Chicago architect Barry Byrne who was a protégé of the famed Frank Lloyd Wright. Byrne was one of the first religious architects to abandon historic styles such as Gothic and Romanesque. According to Byrne, the church was a “holy enclosure” and should be planned from the inside-out. Alfonso Ianneli was hired to create the stained glass and mosaics and noted Oklahoma architect Bruce Goff also designed interior décor.
The result – Christ the King Catholic Church – with such creative talent was an Art Deco masterpiece. Iannelli’s stained glass reveals three kings who are canonized saints on the north side and two Old Testament kings along with the Magi all offering their crowns to the King of Kings. Liturgical artists have proclaimed them to be among the best in the United States.
With its completion in 1927, it was determined that it would be dedicated to the newly proclaimed feast of Christ the King by Pope Pius XI. It would become the first church in the world with that title. In 1934, Marquette School was completed in keeping with the style of the church.
Christ the King continues to be a vibrant parish in the heart of Tulsa and a source of pride for all Oklahoma Catholics. Along with Boston Avenue Methodist Church (also in the Art Deco style), it continues to be studied by students of architecture for its unique and daring (for the time) interpretation of the worship space.
In his book about Bishop Kelley, Monsignor James Gaffey offers this observation: “ …the church met each of Byrne’s stern specifications; and Tulsa was given a graceful, chaste building in which the sanctuary protruded into a wide, column free nave, an ideal setting for focusing attention to the Eucharistic rite. This concept of placing architecture at the service of the liturgy drew rave reviews from designers, including Wright, and Byrne’s creation was featured in general reference works like the Encyclopedia Britannica as a model of a functional contemporary church.”
