Online Tour of the Basilica of St. John the Baptist
This section is a guide to the Basilica of St. John the Baptist. This guide is designed to give the visitor a fairly detailed
description of the Basilica of St. John the Baptist and an explanation of
the many items of beauty and interest to be found within and outside its
walls. Many of these objects date from the earliest days of the church;
others date from the 1903 and 1955 programmes of renovation and
redecoration. All have been dedicated, with love and faith, to the greater
honour and glory of God.
The floor plan has been provided, which gives the North-South orientation of
the church and which locates and names those parts of the church described
in the guide, with which the ordinary visitor may not be familiar. The
title "Basilica" is used throughout the guide, although the visitor will
understand that, prior to 1955, the church was referred to as a
"Cathedral."
It is our hope that this guide will enable you to share our joy and pride
in this magnificant structure.
The Piazza
As one stands in the piazza or churchyard of the Basilica, it is easy to
understand why Bishop Fleming was so insistent on procuring this particular
piece of land on which to build his church. There is a magnificent view of
the harbour and its narrow entrance; of Signal Hill, where so many historic
events took place; and of the old city of St. John's spread out in
colourful display. In turn, to those sailing through the Narrows to seek
safe anchorage, the Basilica on its commanding height stands like a beacon
to guide the wayfarer home.
The other buildings which stand in or near the piazza are the Mercy Convent
and School, and the Presentation Convent and School, to the east of the
church; and the basilica offices and Residence, and St. Bonaventure's Boys
School, to the west and north.
The Arch
To the south of the piazza stands the Entrance Arch, with its statue of St.
John the Baptist. The Arch, when erected on May 17, 1857, consisted of a
single span. Fifty years later (1907) it was taken down and moved back to
allow the widening of Military Road. When rebuilt, it was constructed with
a triple arch span.
The Arch is constructed of enormous blocks of granite and is surmounted by
a marble statue of St. John the Baptist, patron of the city and one of the
patrons of the Basilica. The statue is ten feet hight and was sculpted at
Carrara, Italy, of pure white marble, by Fillipio Ghersi, of Italy. It
represents the saint preaching penance, and holding in his right hand a
baptismal shell.
The height of the arch and statue is 42 feet.
In the centre of the piazza stands a marble statue of the Immaculate
Conception, ten feet high, on a granite pedestal of about the same height.
The statue was erected in 1858 by the Right Reverend J.T. Mullock. It is
the work of the Irish sculptor, John Edward Carew.
Located to the east and west on the main steps to the Basilica are marble
statues of Saint Francis of Assisi (East side) and St. Patrick (West side),
both by John Edward Carew. The statues are about nine feet high and are
mounted on granite pedestals. Early engravings of the Basilica show that at
one time (c. 1878) both these statues were located on free standing
pedestals within the piazza, equidistant from each other and from the
Immaculate Conception statue.
The Basilica
The church is built in the form of a cross and in the style of a Roman
Basilica. It is 246 feet, 6 inches long, and 186 feet, 6 inches in the
transept; the facade is 99 feet wide. It is, with the exception of the low
side aisles, faced with cut limestone from Galway, Ireland, and the
quoines, mouldings, cornices, window-frames, and string and felt courses,
are of Dublin granite. The facade is flanked by two towers, 150 feet high.
The nave and the transepts are each 52 feet wide, without including the
pillars. The low side aisles, or "ambulatories", are 12 feet wide and open
into the main building by a series of elegant arches. The walls are
ornamented with Corinthian pillasters, surmounted by a cornice 13 feet
wide; and the arches are artistically decorated. The ceiling of the nave is
flat, enriched with elaborate centrepieces, and panels, but that of the
ambulatories forms a succession of groined arches, corresponding to the
arches that open into the nave. The apse of the church is semi-circular,
and the forms the choir behind the High Altar.
There are seven side altars in the Basilica, all ornamented with statuary.
An eighth altar, St. Andrew's Altar, which was located in the apse, was
removed in 1954 to make room for the Echo Organ.
The architect actually responsible for the design of the Basilica was John
Philpot Jones of Clonmel, Co. Tipperary, Ireland. However, Bishop Fleming
also visited Hamburg, Germany, where he consulted a second architect, named
Schmidt, who prepared the detailed plans and a scale model of the new
church (a half inch to a foot), exact and complete inside and out, that
could be followed during its construction. He also hired a Michael McGrath
of Waterford, Ireland, to supervise the construction. Because of
differences of opinion, the original builder was later replaced by James
Purcell.
When consecrated on September 9, 1855, the Basilica's cost was placed at
half-a-million dollars, principally raised by the fishermen of the country,
an amazing testament to their enduring faith, and to the zeal of their
Bishop and clergy.
The Towers - Clock and Bells
The East Tower of the Basilica originally contained a "Town Clock",
manufactured by Borrel of Paris, with a dial in enamelled lava. The hours
and half-hours were struck on the great bell (the Bourdon) and could be
heard for miles around. There was a matching sundial in the West Tower but
this was removed some years ago. In 1954, the mechanical works of the
clock were converted to an electrical system, and a new dial was installed.
The East Tower also contains the largest and the first of the nine bells
currently in the possession of the Basilica. This bell was purchased by
Bishop Mullock in February, 1850. Struck by James Murphy of Dublin, it was
the largest ever cast in Ireland at that time, and won a Gold Medal at the
Dublin Exhibition of Irish Manufacturers. The bell, a massive piece, weighs
nearly two tons. Upon its arrival in St. John's in February, 1851, it was
hauled by hand to the Basilica, and installed in the East Tower.
There are eight bells in the West Tower. The three largest bells were cast
by James Murphy in 1854 and 1857. The five smaller bells were cast by
Matthew O'Byrne of the Fountain Head Bell Foundry, Ireland, in 1906.
For a number of years the bells were rarely rung because of the condition
of the towers, and of the frames and supports of the bells. However, in
1954-55 extensive repairs were carried out on the belfries. The bells were
supplied with new fittings and an electro-mechanical system was installed,
to replace the former manual system. Now, on special occasions, the sweet
sounds of the Joy Bells ring out once again over the city.
The Crosses
The three crosses, one over the main entry and one surmounting each tower,
are ten feet in height and appear to be of an age with the surrounding
structure. They would, therefore, have been installed during the final
stages of construction. The crosses located atop the East and West Towers
are illuminated at night.
The Foundation Stone of the church was laid by Bishop Fleming on May 20,
1841. It is a mass of granite, about two tons weight, having in the centre
a square cavity, in which was deposited a copper box lined with lead,
containing a large parchment scroll, signed by the twelve clergymen
present. The inscription reads:
This first stone of the Catholic Cathedral of St. John's, Newfoundland,
dedicated to the Most High God under the patronage of the Blessed St. John
the Baptist was laid by Rt. Rev. Dr. Fleming in the presence of the priests
whose names are herunto subscribed - and several thousands of other persons
- on Thursday the 20th day of May, in the year of our Redemption, 1841, in
the fourth year of the reign of Her Most Gracious Majest Queen Victoria and
the 11th of the Pontificate of His Holiness Pope Gregory XVI - Clergy -
Rev. C. Dalton, V.C., Very Rev. Dean Mackin, Revs: T. Waldron, J. Murphy,
P.J. Cleary, P. Nowlan, P.K. Ward, J. Forristall, J. Cummins, K. Walsh,
John Ryan and E. O'Keefe.
The stone is located under the base of the West Tower, and is not visible.
The Vestibule
On mounting the steps and entering the main door of the Church, the
visitor enters the vestibule. The only object of historical and religious
significance here is located in a niche to the left as one enters, it is a
life-size marble statue of "The Child Jesus in the Temple" or "Christ with
Doctors". It stands on a base which displays five identical sculptured
faces. Although it has been referred to as the oldest piece of statuary in
the Basilica, and is believed to be the work of Filippio Ghersi, its
origins have not been documented.
The Interior
As you enter the Basilica itself, preferably by the centre doors, the
beauty and elegance of the interior are immediately apparent. The
simplicity of decoration and design in the nave and transepts attracts the
eye to the beautiful High Altar, and upward to the magnificant ceiling.
The ceiling design, dating from 1903, consists of twelve raised panels in a
circle at the intersection of the nave and the transept. The circumference
of the circle is 200 feet. Besides the central circle, there are eleven
panels in each end of the transept, ten in the apse and twenty-five in the
nave. In 1903, the central circle contained figures of the apostles, and
some of the panels had floral designs. However, the entire ceiling was
redecorated at the time of the Centenary Celebration in 1954-55. The
twelve panels received elaborate floral designs with specially contrived
decorations in each panel symbolizing sacred themes surrounding the life of
the Blessed Virgin Mary. The large pendant drop at the central crossing, as
well as the five smaller drops, were richly polychromed and embellished
with a profusion of gold-leaf highlighting.
The whole interior of the Basilica was involved in this ambitious and
authentic example of the art of Church decoration, which still inspires our
admiration, although the original glowing colours have dulled somewhat with
the years. The extensive renovations carried out in the Basilica at that
time were the work of the Rambusch Decorating Co. of New York, who also
designed the new lighting system.
Stations of the Cross
Looking towards the High Altar one can see, fixed to the walls of the nave,
the fourteen Stations of the Cross. These are fabricated of a bronze-like
material, and were purchased by Bishop Mullock some time prior to 1855:
they had been fixed to the nave walls by the time of the Basilica's
Consecration. They were originally hung directly above the arches that
open from the ambulatories into the nave. In 1955, they were totally
reconditioned, cleaned of a century's patina, reframed and the central
figures of each were highlighted in gilt. At that time, they were rehung at
a reduced height to facilitate ease in viewing.
The Galleries in the East and West transepts were erected in 1904.
Permanent pews were first installed in the Basilica around 1855, prior to
its Consecration. At that time they numbered 200. The 322 pews at present
in the Basilica are constructed of white oak and were installed in 1904.
Kneeler pads were installed in 1954.
A hot water heating system was introduced into the Basilica in the 1880's
replacing the wood-burning stoves previously used for heat. Electric lights
were installed in 1904, replacing the gas-jets. The heating and lighting
systems have been modernized over the years and are now completely
up-to-date and cost-efficient.
The small marble fonts attached to the rear wall of the church contain holy
water (water which has been blessed). It is the custom, when entering and
leaving a church, to dip one's hand in the water and make the sign of the
cross on oneself.
On the rear wall, to the east of the main entrance, is fixed a table to the
memory of the Reverend John Forristall, who died in 1950. The patrons of
this work are unknown. Father Forristall, a Diocesan priest, was an
invaluable assistant to Bishop Fleming during the Basilica's construction.
He is listed among the celebrants of the cornerstone laying ceremonies of
May 20, 1841, and was also a participant in the Basilica's Consecration.
The following is a transcript of the text:
Erected
To the memory of the Rev. John Forristall who departed this life on the 20
Nov. 1850 in the 37th year of his age. His unaffected piety and unremitting
zeal in the discharge of the sacred duties attached to the Holy Order of
Priesthood gained him the respect and esteem of all who knew him during the
twelve years he officiated in this city. May the great and merciful God
grant him the reward promised to the good and faithful servant.
Amen
Requiescant in Pace
Continuing to the right, one enters the East Ambulatory and, walking along
this side aisle, one can see the stained glass windows which were installed
here (and in the West Ambulatory) during the renovations of 1954-55. There
are 26 windows in all, taking in both ambulatories, and the designs include
the Fifteen Mysteries of the Rosary, as well as miniature portraits of the
Saints, with one window devoted to a representation of the Canadian
Martyrs.
The Confessionals currently in use and located in each ambulatory were
installed in 1954. There are eight in all, constructed in white oak, and
all are equipped with devices to aid the hearing-impaired. Four of these
confessionals have been enlarged to provide Reconciliation Rooms called for
in the new Liturgical Regulations.
The first altar along the east ambulatory enshrines a statue of St. Brigid,
to recall the traditional link with Ireland.
The second side altar in this ambulatory is dedicated to St. Anthony of
Padua, the statue being ascribed to John Edward Carew (c.1850).
Beyond the St. Anthony altar is a shrine in honour of St. Theresa of
Lisieux. A relic of the Saint is preserved in the pedestal on which the
statue is erected.
These statues are all of marble and are larger than life-size. The statues
of St. Brigid and St. Theresa are of Italian workmanship.
The slight indentations in the tops of the altars are provided to
accommodate the altarstones when Mass is to be offered.
To the right, a little beyond St. Theresa's Altar, is a small room which
was at one time the Baptistry, and now houses a Religious Store. In this
room can be seen two stained glass windows depicting the Baptism of our
Lord, and the Resurrection.
A little further on, still on the right hand side, is the Marian Chapel,
erected in 1954 to commemorate the Marian Year.
The walls, pews and altar in this Chapel are of white oak, while the
tester, or canopy, is of walnut. The recessed Stations of the Cross are
handcarved wood. There are four beautiful stained glass windows
represnting the Immaculate Conception, the Assumption of Our Lady, the
Immaculate Heart of Mary, and Our Lady of Fatima. There is also a small
organ.
The Marian Chapel seats 90 and is used principally for small weddings,
private baptisms, and special anniversary Masses for small groups.
The Blessed Virgin Altar
Retracing one's steps, one enters the first archway to the right into the
Basilica near the Side Altar of the Blessed Virgin, also known as the
Immaculate Conception Altar.
The life-size statue of the Immaculate Conception which stands here is by
Filippio Ghersi. It is of Italian marble and was the gift of the Ladies of
the Contraternity of the Blessed Virgin. It was installed on September 1,
1864.
This altar is faced with a slab of oriental alabaster, exquisite, antique
and exceptionally rare. The ancient Egyptian quarries of this marble were
rediscovered in the 1800's by Ali Pasha of Egypt and portions of the marble
were presented by him to Pope Gregory XVI who used them to adorn the high
altar of St. Paul's Outside the Walls in Room. A small quantity of the
marble remained in Rome and, of this, two slabs were brought to St. John's
by Bishop Mullock to enhance the Basilica. The second slab was used to face
the Sacred Heart Altar to the west of the High Altar.
The candelabra here, and on the Blessed Sacrament Altar, are ornately
scrolled works in bronze and were a gift of the Altar Society, (c.1883).
On the wall to the right of the Blessed Virgin Altar is a small plaque of
marble with a gilt inscription. It commemorates the Altar as the Altar of
the Holy Rosary. This additional dedication was made by Archbishop Roche in
1932.
The large tablet to the right of the Blessed Virgin Altar is a memorial to
Archbishop Roche and bears a realistic bas-relief portrait of the
Archbishop. It was commissioned by his successor, Archbishop Skinner, and
was erected in 1951. It is the work of Armando Batilli of Italy and is of
Carrara marble. The inscription reads as follows:
Sacred to the memory of
The Most Rev. Edward Patrick Roche, D.D.
Archbishop of St. John's, 1915-1950
Born at Placentia, February 19th 1874
Ordained at All Hallows College, Dublin, June 24th 1897
Consecrrated Archbishop of St. John's, June 29th 1915
Made Assistant at the Pontifical Throne, June 24th 1940
Died at St. John's September 23rd 1950
Thirty-five Years
As Metropolitan of the Church in Newfoundland
Brilliant Scholar - Outstanding Educationalist
Beloved Benefactor - Eminent Churchman
Loyal Newfoundlander
Circumspice in Re
Requiescat in Pace
If the the visitor now looks to the right, to the columns under the east
gallery, two small ornamented crosses can be seen on the walls. These, and
the two located beneath the west gallery, are the only visible crosses of
the twelve consecration crosses in the Basilica. The other eight are fixed
to the walls of the nave and are concealed by the Stations of the Cross,
which were lowered to their present position during the 1954-55
renovations. These crosses were placed on the interior walls, blessed, and
anointed at the time of the consecration of the church. They may never be
removed and are proof, in the absence of documents, that a church has been
consecrated.
Facing the Blessed Virgin Altar is the Baptistry, which is located in a
space once occupied by a section of pews. The Font was orginally located in
the Sacristy, later in the Baptistry Room adjoining the Marian Chapel, and
was moved to its present location in 1981. The Font dates to 1855.
The Candleholder which stands here is part of the set which adorns the High
Altar. Thus, the visitor may see, close up, the intricate detailing which
constitutes the real beauty of these altar accessories.
On the column which stands behind the Baptistry is located a tablet
honouring Bishop O'Donel, the first Catholic Bishop of Newfoundland. This
table measures approximately 7 feet in height and some 4 1/2 feet in width.
It is made of marble and was executed by the Abbey Stained Glass Studios in
Dublin, Ireland. It contains a cameo portrait of the Bishop and carried the
following inscription:
In memory of Bishop James Louis O'Donel, O.D.F.
Born Knocklofty, Co. Tipperary, Ireland, 1937
Appointed first Perfect Apostolic of Newfoundland
May 30th 1784
Appointed first Vicar Apostolic of Newfoundland
January 5th 1796
Consecrated Bishop, September 21, 1796
Resigned January 1, 1807
Died at Waterford, Ireland, April 1, 1811
This tablet was erected in 1984, as part of the celebration of the 200th
Anniversary of the formal establishment of the Roman Catholic Church in
Newfoundland.
Immediately to the west of the Blessed Virgin Altar is located the Pulpit.
It is of hand carved Carrara marble, in colors which complement the Altar
Rail, and is graced with a delicate mosaic portrait of St. John the
Baptist. It also bears carved portrayals of the four evangelists, and the
base is adorned with scrolls and wreaths. Archbishop Roche commissioned its
execution as a memorial to his predecessor, Archbishop Howley, and it was
completed in 1918. Originally installed on a fluted marble pedestal, and
evlen feet in height, the pulpit was attained by mounting a gracefully
spiraled series of treads. In 1954, in order to alleviate difficulty in
ascending and descending, the pulpit was reduced in height by removal of
the pedestal, which was replaced by a reduced base, and the stairway
rearranged to allow easier access.
The plaque on the Pulpit reads as follows:
Erected by
Most Reverend Edward Patrick Roche, D.D.
In Memory of His
Illustrious Predecessor
Most Reverend Michael Francis Howley D.D.
First Archbishop of St. John's
The beautiful Altar or Communion Rail is of marble and was ordered from
Italy in 1914 by Archbishop Howley. The balusters and steps are of pure
white marble. The top rail is of a light brown marble known as Yellow
Verona, while the bottom rail and the rate supports are of black marble,
veined with white. There were three sets of bronze gates but the centre
gates, which carried an inscription indicating that the rail was the gift
of Mrs. Katherine Howley Morris (Archbishop Howley's sister), were removed
some years ago to provide a more intimate relationship between the
Sanctuary and the nave.
Moving on to the left, we stand before the High Altar, which dominates the
apse. It is fitting to note here the words of Bishop Mullock at the time of
the consecration in 1855:
"The High Altar stands apart at the intersection of the nave and transept
... the altar and tabernacle are faced with white marble, the rest is of
Caen stone ... a Triumphal Arch, or Baldachin ... is surmounted by a group
of angels bearing aloft the Cross, at a height of fifty-two feet from the
floor of the Church. This canopy, or arch, is supported by eight monolithic
columns of polished granite. Under the arch, on an elevated pedestal, is a
colossal group of the Baptism of Our Saviour, executed by Carew, in Caen
stone; by whom also are the group of angels, and the infantine angels, and
a lamb ... the remainder of the carving was executed by W. Sullivan. Under
the High Altar, which is open in front, is placed Hogan's ... "The Dead
Christ."
This altar has undergone several decorative and other transformations. Some
of these alterations were due to the gradual acquisition of new altar
furnishings, while others were the result of lilturgical requirements. In
1902, the entire altar was moved back about seven feet to create a more
spacious Sanctuary. At that time, the temporary wooden altar top was
replaced by a permanent marble slab, and the altar was officially
consecrated on February 7, 1903. A plaque commemorating this event is fixed
to the left side of the High Altar. It was commissioned by Bishop Howley.
Translated from the Latin, the inscription reads:
To God the Greatest and Best
This High Altar
Dedicated in the name of John (the) Baptist
Having been removed to its proper position
Being rebuilt in better form
And adorned with a marble table
M.F. Howley, Bishop of St. John's, Newfoundland
Consecrated with solemn ceremony
In the eleventh year of his episcopate
Of our Salvation 1903
On February 7.
During the renovations undertaken for the Basilica Centenary Celebrations
in 1955, the central sculpture of the "Baptism of the Saviour", along with
attendant sculpture, was removed. The middle section of the Altar table was
also removed and, in the space left vacant, the Presidential, or
Celebrant's, Chair was installed. The High Altar itself was partially
rebuilt and the eight pillars and capitals now support a simple arch. The
centre section of this structure is backed by a reredos. Attached to the
central panel of the altar screen is a carved wooden figure of John the
Baptist. (Italian, c. 1950).
At the top of the arch above the altar is a small carved shield bearing the
Greek monogram for the word "Christ". This is one of the earliest symbols
found in the catacombs in the 1st and 2nd centuries A.D., and is often
placed on or over an altar.
At each end of the altar, the marble supports bear mosaic inclusions, one a
representation of the heraldic device of Pope Pius IX, the second
containing a melding of the personal arms of Bishop Mullock and the
heraldic device of the Franciscan Order.
The High Altar is adorned with a great crucifix some 7 feet in height, and
six candlesticks of gilt bronze, ornately decorated. The latter are about 5
feet high and each has three Gothic niches, about 12 inches high,
surrounding the shaft half-way up. Each niche contains a figure about 6
inches high, representing some saint. The candlesticks were made to order
in France and were a gift of the Altar Society.
Interspersed with six elegant urns, these seven items, with their intricate
detailing, are fitting adornments, in keeping with the massive proportions
of the great altar. They date back to about 1883.
The Tester, suspended by chains above the High Altar, was installed in 1955
to fulfill the new Liturgical requirements inherent in the elevation of the
Cathedral to the status of Basilica. The Tester measures eighteen feet by
twelve feet and is richly gilt and polychromed. On the underside is
depicted a dove, rays and stars, symbolising the Holy Spirit. At the front
of the Tester is a hand-carved, polychromed replica of the Metropolitan
Coat-of-Arms.
The Altar of Sacrifice and "The Dead Christ"
The small altar, or Altar of Sacrifice, which stands at the front of the
Sanctuary, dates from 1974 and is of marble. It enshrines one of the most
revered and valuable pieces of statuary in the Basilica - "The Redeemer in
Death" or "The Dead Christ" - sculpted in Carrara marble by the Irish
sculptor John Hogan in 1850. In his will, Bishop Flemming bequeathed a sum
of L600 for such a statue and his successor, Right Rev. J.T. Mullock, on
one of his visits to Rome, purchased the statue and had it placed beneath
the table of the High Altar on March 19, 1855. It has twicebeen moved to
new locations, first in 1903 when the Sanctuary was expanded and then in
the early 1970's when it was moved to its present position.
The statue is Hogan's masterpiece. It is an awesome and beautiful work of
art, full of dignity, and conveying a sense of the serenity which follows
the acceptance of God's will and the peace which is a prelude to the glory
of the Resurrection. It was pronounced by Thorwaldsen, the great Danish
master of statuary, as proving Hogan to be the best sculptor he left after
him in Rome.
Grilled Windows
The visitor will notice grilled windows set in the east and west walls of
the apse. From the small rooms behind these windows, the Sisters of the
Presentation and Mercy Congregations can participate in the Parish Masses.
Clerical Stalls
On each side of the Sanctuary are the Clerical Stalls, or Seats, which were
installed in 1915, replacing those which dated from the earliest days of
the Church.
The Crypt
The Sanctuary is not open to sightseers but it is of interest to note that
one Archbishop and four Bishops are buried in the crypt beneath the High
Altar.
From this viewpoint in the Church, one can see the intersection of the nave
and transepts, some thirty feet above the floor, the statues of the four
evangelists, St. Matthew, St. Mark, St. Luke and St. John. These are of
Italian workmanship, and there are indications they were commissioned by
Bishop Mullock during the period 1850-55. They are of marble and are
slightly larger than life-size. Each evangelist is shown with his
appropriate symbol: St. Matthew with a child; St. Mark with a lion; St.
Luke with an ox; and St. John with an eagle. These symbols have their
origin in the "four living creatures" of the prophet Ezekiel and their
association with the evangelists dates from about the fourth century.
From this central point in the Basilica one has the best view of the
twenty-eight beautiful stained glass windows which adorn the upper walls
and which date from the early years of the church.
In the apse are five windows of English workmanship. Each window consists
of three panels, the outer ones being ornamented with fancywork, monograms,
etc., while the centre panels each contain three figures, depicting
altogether the twelve apostles, Our Lord, Our Lady and St. Joseph. Beneath
the windows are paintings of scenes from the life of St. John the Baptist.
The other stained glass windows in the upper walls are of English, French
and Irish workmanship. All the windows were the gifts of religious
societies, or individuals, and mainly date back to the 1880's and the
1890's.
The windows in the galleries and nave represent the following:
In the East Gallery, North to South - The Nativity and the Presentation, St. Francis of Assisi,
Queen of the Holy Rosary, St. Joseph, The Ascension.
In the East Nave, North to South - St. Luke, The Transfiguration, St.
Joseph and the Child Jesus, The Annunciation, St. Cecilia.
In the West Gallery, North to South - Melchizedec, St. John the Baptist,
St. Patrick, The Immaculate Conception, The Crucifixion.
In the West Nave, North to South - St. Patrick, St. Brigid, St. Francis
Borgia, The Resurrection, The Sacred Heart appearing to St. Margaret Mary.
In the south wall of the Basilica, above the organ gallery, stands the most
historically impressive of the stained glass windows - the Pallium Window -
erected to commemorate the establishment of the Ecclesiastical Province of
Newfoundland and the conferring of the pallium on Archbishop Howley on June
23, 1905.
The picture represents three great Prelates of the Church, vested in full
pontificals. The central figure, wearing the pallium, is Archbishop Howley.
On the Archbishop's right is Bishop McDonald of Harbour Grace,
Newfoundland, who conferred the pallium. At the Archbishop's left is Bishop
Neil McNeil of St. George's, Newfoundland.
There are over twenty-five figures in the window, including clergymen,
dignitaries, altar boys, cross-bearers, etc. The outlilne of the High Altar
forms the background, and an inscription across the window reads, in
translation, "Commemorative of the Conferring of the Pallium, Juen 23,
1905."
At the bottom of the window are shown the Arms of the three Dioceses which form
the Ecclesiastical Province.
The Window is from the workshop of M. Louis Koch of Beauvais, France, and
was presented by the Society of the Blessed Virgin Mary.
[Note: The pallium is a narrow circular band of white wool about two
inches wide, with two 12 inch pendants of the same material which hang, one
over the front and one over the back of the wearer. Six black crosses are
embroidered on the Pallium, one each on the front and back, one on each
shoulder, and one on each pendant.
The Pallium is specially woven in Rome from lamb's wool which has been
blessed. The lambs symbolize Christ as the Lamb of God, and the Good
Sheperd. The wearing of the Pallium is significant to the jurisdiction of
the Metropolitan in his ecclesiastical province and is a sign of his union
with the See of Peter. The Pallium is bestowed by the Pope, or his
representative, upon the Archbishop. On an Archbishop's death, the pallium
is interred with him.]
The stained glass windows to the eat and west of the Pallium window depict
St. Peter (east window) and St. Paul (west window).
Sacred Heart Altar
The visitor can now move on to the west of the High Altar, where is located
the Sacred Heart, or Blessed Sacrament Altar, companion to the Blessed
Virgin Altar. The statue of the Sacred Heart is life-sized, at 6 feet. It
was a gift of the League of the Sacred Heart, and was installed and blessed
by Bishop M.F. Howley on June 19, 1903, and the Feast of the Sacred Heart.
It is of Carrara marble and is the work of Cailaro Aureli of Rome, one of
the world's greatest sculptors of his time.
The Blesses Sacrament is reserved on the Sacred Heart Altar. The taberncale
is a new one installed in 1955. A Sanctuary lamp burns perpetually before
the tabernacle, and the lamp hanging there now is a particularly beautiful
one.
Immediately to the west of the Sacred Heart Altar a marble table, which is
fixed to the wall, commemorates Thomas Mullock, who died April 14, 1858 at
the age of 78. He was the father of Bishop Mullock. His mural monument is
12 feet in height and is the work of Italian sculptor Filippio Ghersi. The
pediment is adorned with the harp, crown, national emblems and floral
decorations. In the centre is a niche with a statue of the Archangel with a
trumpet, in three quarters relief, illustrating the inscription "Canet Tuba
et Mortis Resurgent" ("The trumpet shall sound and the dead arise."). It
is believe that Thomas Mullock is bured closeby the location of the
monument.
The following is a copy of the inscription:
Erected by John Thomas
Bishop of St. John's
In memory of his beloved father
Thomas Mullock
Born in Limerick 3 Dec. 1780
Died 14 April 1858
The just shall live for evermore.
RIP
Beyond the Sacred Heart Altar stands the Shrine of Our Lady of Fatima,
comprising a group of nine statues, of poly chromed and gilt plaster. A
gift of the Portuguese people, whose ties with Newfoundland are
well-documented, the statues were presented to the Basilica during the
Centenary Celebrations in 1955. On May 27 that year the statues were borne
in procession by thousands of Portuguese fishermen from their ships on the
waterfront to the Basilica. Following a special ceremony, they were
transferred to their present location. This shrine is visited regularly by
the Portuguese fishermen when their vessels are in port, and is held in
high esteem by the Catholic population of St. John's.
Side Altars - West Ambulatory
The West Ambulatory contains two side-altars similar to those in the East
Ambulatory. The first in order from the main entrance is the Altar of St.
Patrick. The statue of St. Patrick was probably commissioned by Bishop
Mullock during the period 1850-55, sculptor unknown, but almost certainly
Italian.
The second is the Altar of St. Joseph. The statue of St. Joseph is by John
Edward Carew (c. 1850).
Both statues are of white marble and are larger than life-size.
1. On a column in the west transept, facing the Blessed Sacrament Altar:-
A tablet to the memory of the Hon. Daniel A. Ryan. The author of this
memorial plaque is unknown but it was probably commissioned by the Ryan
family. Mr. Ryan, a Newfoundland merchant of high repute, was a benefactor
of the Basilica. He died in 1934.
The inscription reads as follows:
Erected
to the memory of
Hon. Daniel A. Ryan
Knight Commander, Order of St. Gregory
A Benefactor of the Cathedral
Died July 6, 1934
Requiescat in Pace
2. One the West wall of the nave, near the junctin of the transept:- A
tablet erected by Mr. Richard O'Dwyer, a benefactor of the Basilica in
memory of his wife, Frances Mary (nee McKenna) and his infant daughter,
Mary Wilhelmina Margaret. It is carved in marble and was likely executed in
the 1860's.
The inscription reads:
Sacred to the memory of
Frances Mary
McKenna
The beloved wife of Richard O'Dwyer
Esquire of Saint John's, Merchant
Who died on the
21st December, A.D. 1852
Aged 26 years
and also
Mary Wilhelmina Margaret, their infant daughter
Who died on the
16th December, A.D. 1852
Requiescat in Pace
3. On the west wall of the nave, midway between the apse and the
entrance:- A Cenotaph in bas-relief depicting the administration of the
Last Rites to Bishop Scallan by Bishop Flemin. Carved in Carrara marble by
John Hogan, it was posthumously commissioned by Bishop Fleming. It was
installed in May, 1854 and is a work of inherent beauty and historic
importance.
The following is a translation of the inscription:
Here lies
Rt. Rev. Dr. Thomas Scallan
Bishop of Drago and Vicar Apostolic
of Newfoundland
He dies in the year of our salvation
1830, in the 69th year of his age and
the 14th year of episcopate.
Erected, in honour of his predecessor, by
Bro. Michael Anthony Fleming O.F.M.
First Bishop of Newfoundland
4. On the east wall of the nave, on a pillar to the right of the
transept:- A Cenotaph in memory of Miss Mary Ann Bulger. The patron of this
memorial is unknown. Miss Bulger was the unmarried daughter of Captain John
Bulger of the Newfoundland Regiment. She was 60 at the time of her passing,
and she is buried in the Basilica. She was a generours benefactress of the
church, bequeathing one thousand pounds towards its construction. She also
directed in her will that her rights and titles to property in Ireland be
assigned towards the building of the Cathedral, and her personal belongings
be sold for the benefit of the poor.
Below is a coy of the inscription on the memorial:
This monument
is erected to the memory
of
Miss Mary Ann Bulger
Who departed this life on the
9th of March 1847
In the 60th year of her age
May she rest in peace
5. On the east wall of the nave near the junction with the transept: A
memorial tablet erected by Bishop Mullock to his predecessor, Bishop
Fleming. It is the work of the Irish sculptor John Hogan, executed in
Carrara marble and erected in 1855, and is one of the most interesting
monuments in the Basilica. In this memorial, Bishop Fleming is depicted as
holding in his right hand a scroll containing the plans for the completion
of the Cathedral and passing them over to his successor, Bishop Mullock. A
child is shown kneeling at the feet of the prelates and this has been
interpreted as representing the orphan children of the diocese, who were
always a subject of great concern to Bishop Fleming, and whose welfare is
now being entrusted to Bishop Mullock.
It is said that the figure of the child was further intended by Bishop
Mullock to be symbolic of the Cathedral which, having lost its father in
the death of Bishop Fleming, had become, as it were, an orphan.
The features of the Bishops were so faithfully reproduced by the artist
that they considered to be protraits in marble.
The inscription reads:
Erected by
John Thomas Mullock, O.S.F.
In memory of his friend and predecessor
Michael Anthony Fleming, O.S.F.
Bishop of Newfoundland
He died on the 14th of July, 1850, in the 57th year
of his age and the
21st of his episcopacy
The Cathedral and the Orphanage are enduring monuments
of his zeal and charity.
Requiescat in Pace
Proceeding now to the rear of the church the visitor will see two historic
objects to the west of the entrance doors. The first of these is the
Mission Cross. This larger-than-life size piece depicts the Crucified
Saviour. It was erected in 1882, to commemorate a very successful Mission
conducted by the Redemptorist Fathers in the Basilica in December of that
year. The Cross (or Crucifix, as it should more properly be called, since
it bears a corpus) was the gift of the Redemporist Fathers, who unveiled
and blessed it at the conclusion of the Mission. It was located, at that
time, at the right hand side of the Blessed Virgin Altar.
Next to the Mission Cross is a tablet, erected in 1855-56, commemorating
the Consecration of the Cathedral.
The inscription, translated from Latin, reads:
On September 9, 1855 A.D. this Cathedral and Mother Church of Newfoundland
was consecrated in honour of the Blessed and Immaculate Virgin, St. John
the Baptist, and St. Francis, by Brother John Thomas Mullock, O.F.M.,
Bishop of Newfoundland. There were present the following Most Illustrious
and Most Reverend Prelates: John Hughes, Archbishop of New York; Armand de
Charbonnel, Bishop of Toronto; Colin MacKinnon, Bishop of Arichat; and
Thomas L. Connolly, O.F.M., Bishop of Saint John, New Brunswick.
The Grand Organ which was originally installed in the Basilica was, by all
accounts, a truly magnificant instrument. It was constructed by Messrs.
Robsons of London, England, and was the gift of Bishop Mullock. Its debut
on October 9, 1853, saw Thomas Mullock (the Bishop's brother) as the
organist. Due to deterioration over the years, the Grand Organ had to be
dismantled in 1938 and was replaced by a Hammond electronic organ. This, in
turn, was replaced in 1954-55.
The new organ has 66 stops and a total of 4050 pipes. The installation
actually comprises two organs; the main organ of 51 stops located in the
organ gallery, and the sanctuary organ of 15 stops arranged behind the main
altar. Each organ may be played from the main organ gallery either
separately, or, if desired, simultaneously with the main organ.
The organ was built and installed by Casavant Freres Limited of St.
Hyacinthe, Quebec.
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