Celebrating 150 Years

This year marks the 150th Anniversary of the Cathedral Basilica of Saints Peter and Paul. Not only has it stood as the largest Cathedral in Pennsylvania, it also host some of the most gorgeous architecture modeled after the Lombard Church of Saint Charles (San Carlo al Corso) in Rome. It is an excellent example of Roman-Corinthian architecture. The façade is Notman’s greatest achievement while serving as architect. The Palladian façade and aqua oxidized-copper dome are in the Italian Renaissance manner. The façade is of brownstone, now atmosphere and weather-worn and pinkish in color. The stone originally came from quarries in Connecticut and northern New Jersey. The façade is graced by four massive stone columns of the Corinthian order, over 60 feet high and 6 feet in diameter. The four statues in the niches are: the Sacred Heart, to whom the diocese was consecrated by Bishop Wood on October 15, 1873; Mary, the Immaculate Conception, proclaimed patroness of the United States at the First Council of Baltimore in 1846; and Saints Peter and Paul, dauntless defenders of the faith, patrons of the Cathedral Basilica. The statue of Mary, the Immaculate Conception was placed in the niche in 1918. It was sculpted at the Joseph Sibbel Studios. The Statues of Saints Peter and Paul were sculpted in the Gorham Studios. The Cathedral Basilica measures more than 250 feet in length, 136 feet in width, and approximately 156 feet in height from the floor to the top of the dome. The total height is 209 feet from the floor to the top of the 11-foot gold cross atop the dome, bringing the total height of the Cathedral to 314 feet above the pavement. The dome is an iconic symbol of the Catholic Church in Philadelphia. The great dome is a recognizable sign of this religious landmark among the many civic ones on the Benjamin Franklin Parkway.

Cast bronze doors lead from the main façade into the narthex, or vestibule. The handrails, along with the doors of the Race Street entrance to the Cathedral, are also of bronze. These were all installed during the renovations of the 1950’s.

The interior of the basilica is in Roman-Corinthian style, is spacious with an oversize apse of stained glass and antique marble in magnificent proportions reminiscent of Roman churches and cross-shaped in form. The great nave is 50 feet wide and 192 feet long. Its vaulted ceiling is 80 feet above the floor. Massive pillars separate the nave and transept from the side aisles, which give way to arched recesses for altars and the Baptistery. The interior was largely decorated by Constantino Brumidi who also painted the Capitol in Washington. When the walls were first raised there were no original side windows because of the danger of destruction in the “Know-Nothing” era. Natural light is admitted through the lightly tinted clerestory windows close to the ceiling. The windows have simple religious symbols – JHS (Christ), Three lilies representing the Trinity, a key (Saint Peter), a Cross, a Crown of Thorns, a Sword and Scripture (Saint Paul) – as their most prominent decoration. Gold rosettes on a rich blue background adorn the coffered ceiling. Bronze chandeliers, weighing a half ton each, light the nave. The floor is marble tile. A white marble altar rail with three bronze gates separates the nave and transept from the sanctuary.

Inside the great dome rising 156 feet above the floor of the Cathedral Basilica reveals a striking painting of the Assumption of the Blessed Virgin. At the next level are panel paintings entitled “Angels of The Passion.” With each group of angels is an emblem of the Passion. In clockwise order (facing the Main Altar) they are: the chalice (Blood of Christ), the cross, the crown of thorns, Veronica’s veil, angels weeping, stripping of garments and scepter, the host (Body of Christ), angels weeping, the nails, the banner reading INRI, the sponge on a reed, and the scourging pillar. The third level are stained glass windows depicting the Blessed Mother holding the Child Jesus, Saint Peter on her right and Saint Paul on her left. The remaining are all Doctors of the Church. In clockwise order (facing the Main Altar) the windows depict Mary holding the Child, Saint Paul, Saint Augustine, Saint Jerome, Saint Ambrose, Saint Gregory, Saint Leo, Saint Basil, Saint John Chrysostom, Saint Cyril, Saint Athanasius, and Saint Peter. The oil on canvas paintings of the Assumption of the Blessed Virgin (at the top of the great dome), the pendentives, and the four Evangelists – Matthew (Angel), Mark (Lion), Luke (Winged Ox), and John (Eagle) – in the medallions on the spandrels at the base of the dome were painted by Constantino Brumidi, the famed artist of the Capitol Building in Washington, D.C.

On the Feast of the Maternity of Our Lady, October 11, 1955, The Chapel of Our Lady of the Blessed Sacrament, newly-built, on the north side of the Basilica, was dedicated. It replaced the old chapel that was built in 1856. From 1956 to 1957, shortly after the Chapel was completed, major renovations to the Cathedral were carried out. The principal work of the 1956-57 renovation was the construction of the semi-circular apse, to extend the sanctuary to its present dept of 54 feet. The focal point is the main altar. The altar is constructed of Botticino marble with Mandorlato rose marble trim. Three gilded bronze discs decorate the front, the central one bears the Greek inscription of Jesus Christ, IHS. The canopy, or baldachin, over the altar is of Antique Italian marble. It stands thirty-eight feet high and is surmounted by a semi-circular bronze dome. The underside of the dome is a marble mosaic. Its central figure is a dove, the symbol of the Holy Spirit. The mosaic carries in Latin an inscription which translates: “In every place there is offered and sacrificed in My Name a clean oblation.” At the corners of the baldachin stand ten foot high white Italian marble Angels. Its decorative rosettes are of Botticino marble.

The choir-stalls and the Cardinal’s chair are American black walnut. The wooden screens are inspired by the famous metal rejería found in many cathedrals in Spain. The pulpit, opposite the Cardinal’s chair, is octagonal in shape. It is constructed of marble matching the altar and has a carved walnut canopy. In the Sanctuary, stained glass windows contribute both beauty and light. The stained glass windows behind the altar were added in 1957. The center window is devoted to the Eucharist and depicts the sacrifice of Melchizedeck, the multiplication of the loaves and fishes, and the Last Supper. The window to the left portrays three events in the life of Saint Peter – his call by Christ to be a fisher of men; Christ giving Saint Peter, the Prince of the Apostles, the keys to Heaven; and his death, being crucified upside down. The right window portrays three scenes from the life of Saint Paul – his conversion, his preaching to the Athenians, and his death by beheading. Between the stained glass windows are two marble mosaics – Saint Peter and Saint Peter’s Basilica and Saint Paul and Saint Paul’s, Outside-the-Walls Basilica in Rome. The two side altars are dedicated to the Blessed Virgin Mary and the Sacred Heart of Jesus. The inscription translation over the main altar in the Sanctuary reads: “Thou are Peter and upon this rock I will build my Church.”

The Baptistery was also enlarged in 1957. The apse was added with the stained glass window, from Conmick of Boston, depicting the Baptism of Jesus by Saint John the Baptist and Saints Peter and Paul baptizing prisoners in the Mamertine prison in Rome with water from a miraculous spring. The Mandorlato Rose Baptismal font is surmounted by a bronze dome with the inscription of the Sign of the Cross. The baptistery is enclosed by a bronze screen inspired by a similar one in the Cathedral of Toledo in Spain. Set into the top center of the screen is the Coast of Arms of Cardinal O’Hara, carrying his motto in Latin “If you follow her you shall not go astray”, referring to our Lady.

The altar to the left of the Baptistery is dedicated to the Holy Souls modeled after the Blessed Sacrament Altar in Saint Peter’s Basilica in Rome.

In 1975 to celebrate the 100th anniversary of the Archdiocese of Philadelphia two mosaic murals designed by Leandro Velasco were set in place. The north mural depicts people and events in the Church’s involvement with Pennsylvania history. At the top are the coats of arms of Pope Paul VI and John Cardinal Krol, and the bottom is the symbol of the 41st Eucharistic Congress, Philadelphia, 1976. The historic scenes are of George Washington and members of the Continental Congress at Old Saint Mary’s Church; Saint Katharine Drexel, Sisters of Saint Joseph caring for the wounded on the Gettysburg battlefield; and Commodore Barry, founder of the United States Navy. The representation of Saint Charles Seminary, founded by Bishop Kenrick in 1832, includes a silhouette of the artist, Thomas Eakins, on a bicycle. The other buildings are St. Michael’s and St. Augustine’s churches, burned and rebuilt during the “Know-Nothing” riots and St. Martin’s Chapel at Saint Charles Seminary. Saint Mary’s Church was the first Cathedral of Philadelphia and it was the site of the first public religious commemoration of Independence Day on July 4, 1779.

The Cathedral Basilica seats approximately 1,240 people (1,500 with added temporary chairs) in pews of walnut wood. Since the 1856 renovations, the confessionals, too, are of walnut finish; their privacy is secured by red velvet curtains. The floor is of white and black marble tiles.

During the episcopate of John Cardinal O’Hara, in the years 1956-1957, the interior was extensively renewed and enlarged to provide an adequate sanctuary for pontifical functions. The ambulatory was added and the sanctuary was extended fifty-four feet. The mail altar was replaced with a free-standing altar, beneath a bronze baldachin, its interior being fitted with a gold mosaic depicting a dove in blue and white and crowned with four ten-foot-tall angels of Italian marble atop each supporting pillar.

The Holy Father on fitting occasions expresses his grateful appreciation to the faithful for outstanding catholic action rendered to the Church and the people of God. This great honor was bestowed on the Archdiocese of Philadelphia at the request of Cardinal John J. Krol, after it hosted the 41st International Eucharistic Congress. The archdiocese welcomed dignitaries like Mother Teresa of Calcutta, Dom Helder Camara, Dorothy Day and Cardinal Wojtwa, later Pope John Paul II to the Congress. Cardinal Krol participated in both conclaves in 1978 electing Pope John Paul I and Pope John Paul II, who visited the Archdiocese for two days in October, 1979.

Cardinal Rigali has been overseeing many renovations to the Cathedral Basilica and the Cathedral Chapel. In 2007, the Tabernacle was moved from the side altar dedicated to the Blessed Virgin Mary to the main altar. The Sanctuary Light indicating the place of reserve for the Blessed Sacrament was also moved to the main sanctuary.

The shrine to the Eucharist was removed in 2008 to install the new, more classical shrine to the Blessed Virgin Mary under the title of Our Lady of Grace/Our Lady of the Miraculous Medal. An heirloom copy of the icon of Our Lady of Perpetual Help, in the marble frame, was enthroned by Cardinal Rigali in June 6, 2009 at the time he blessed the other three new and/or refurbished marble side shrines (Blessed Virgin Mary, Saint Joseph, Saint John Neumann, Saint Katharine Drexel) in the Cathedral.

The shrines dedicated to Saint Katharine Drexel and Saint John Neumann were especially challenging because the seven-foot sculpted marble statues of these recent saints had to be based on true likenesses that are known and had to be captured by the sculptors. It was especially important that the original altar be retained at the Saint Katharine Shrine because it was donated in the 19th century by Saint Katharine herself, along with her sisters, Elizabeth and Louise, as a memorial to their deceased parents, Francis and Emma Drexel.

The altar to the right of the Altar dedicated to Saint Katharine Drexel is the memorial altar to Archbishop Ryan, designed with the ancient Celtic Cross. The statue to the left of the Celtic Cross is Saint Patrick; the statue to the right is Saint John the Evangelist.

The altar on the south side, between the Shrine to Our Lady of the Miraculous Medal and the Bapistry, is modeled after the Blessed Sacrament altar in Saint Peter’s Basilica in Rome and is dedicated to the Holy Souls.

In December, 2009 the Shrine to Our Lady of Guadalupe was installed in the Cathedral Basilica. The Shrine of Our Lady of Guadalupe was the thought of Cardinal Rigali.

Cathedral Organ

The choir loft is at the rear of the Cathedral. High above can be seen the majestic stained glass window of the Crucifixion. Below the window is the organ screen, or casing, constructed of carved walnut. The richly ornamental screen is the design of Otto Eggers, who also designed the Jefferson Monument, the Mellon Art Gallery, and the National Gallery of Art, all in Washington, D.C. The casing which encloses the pipes is one of the most outstanding in the country. It has been cited in national organ periodicals and organ-building manuals. The case enclosing the organ was most likely built by Edwin Forest Durang, one of the cathedral architects and builders.

The Cathedral organ is one of the largest in the city of Philadelphia, having seventy-five ranks of pipes, ninety stops and 4,648 pipes on four manuals and pedals. The first pipe organ known to have been installed in the cathedral was built by John C.B. Standbridge in 1868 at a cost of $10,000.00. It was replaced, except for the 16’ Subbass, which still plays today, by a new instrument, Opus 939, built by the Austin Organ Company of Hartford, Connecticut for a cost of $30,000.00 in 1920. The contract, signed by the Cathedral Rector Reverend Daniel Gercke, for the Austin Organ Opus 939 contained some interesting features. In the 1957 renovations it was rebuilt by the Tellers Organ Company and a new console was installed. During these renovations the organ loft was expanded to provide more room for the choir, which had been established in the 1920’s. During 1975-76 major renovations were completed on the organ in preparation for the 41st International Eucharistic Congress and the United States Bicentennial. In 1977 the Tellers console was replaced with a used Austin Console, originally built in 1922 for the Rochester Theatre. Further restoration, undertaken in 1987, included the addition of the Trumpet chamade, situated on the ceiling of the organ case. The organ is considered perfectly placed, speaking directly into the nave. Plans are underway for a new Cathedral Organ, however, the very best stops of the previous organs will be retained and restored.

The organ is known only from historical sources, including a pencil sketch of the case made by the Austin Organ Company. Standbridge began building organs in 1840 and quickly gained a reputation for building exceptional pipe organs in prominent churches in Philadelphia and the surrounding area.

The Statues of Saint Peter (South side/rear) and Saint Paul (North side/rear) Patrons of the Cathedral Basilica of Saints Peter and Paul were placed in the Cathedral Basilica in August of 2009. They were moved from the Church of the Most Blessed Sacrament, now closed, in Philadelphia.

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