Center of the Cathedral (#1) - Nave. The classical Renaissance style of architecture
allows for a massive dome and large central interior space. The gentle curves of the
arches soften the space and invite contemplation. The dome is 186 feet high and 76 feet
in diameter. The sculptured plaster ceiling is painted and overlaid with gold leaf,
suggesting the glory of heavenly light. Saint Paul artisan Joseph Capecchi first decorated
the dome in 1952-54. His sons and grandsons redecorated it in 1976-77.
Sanctuary (#2). On the ceiling of the sanctuary, you will see a painting of a dove.
This symbol of the Holy Spirit reminds us of God's grace and love pouring out on us.
Below the dome you find seven paintings, each figure representing one of the seven gifts
of the Holy Spirit (from left to right): knowledge, counsel, understanding, piety,
wisdom, fear of the Lord and fortitude. Below each painting is a stained-glass window.
Each window depicts an Archangel holding a medallion, which represents one of the
sacraments of the Catholic Church: (from left to right) Baptism, Confirmation, Holy Orders,
Eucharist, Matrimony, Reconciliation and Anointing of the Sick. These windows are the
work of renowned stained-glass artist Charles J. Connick.
Statues of St. Matthew (#3), Saint John the Evangelist (#7), Saint Luke (#10) and
Saint Mark (#15). These massive statues (11’ 6” and 8 tons) portray each of the four
Gospel writers. Sculpted in Mankato cream stone, it is the design work of John Angel
of Connecticut. As you walk through the Cathedral, you will encounter all four
evangelists in the four "piers" supporting the dome. As the piers hold up the church
of stone, the Word of God sustains the Church of God.
Shrines of the Nations (#4 and #6). These six shrines commemorate various national
groups who settled in Minnesota. Each is represented through a great missionary
preacher venerated by these European Christians. The main walls of each chapel are
covered in Botticino marble. Behind the statue in each chapel is marble imported
from the country of the saint. This same marble is also bound in the round medallion
in the floor in front of each chapel. The stained-glass windows in each chapel depict
saints who are in some way related to the principal saint honored. Each shrine is
clearly marked with the name of the saint and the country.
Sacristy (#5). This is the room where preparations are made for each celebration.
Built in 1924-25, this addition to the Cathedral altered and softened Masqueray's
original design, which had ended too abruptly. Designed by Maginnis and Walsh of
Boston, it is a smaller version of the Cathedral, which it serves.
Chapel of the Sacred Heart (#8). The original intention was to have this be a chapel
of Saint Paul. Archbishop Ireland thought it was redundant to have a chapel dedicated
to the saint to whom the entire building was dedicated. In addition, devotion to the
Sacred Heart of Jesus was very popular. This devotion emphasized God's love and care
for us. The variety of marble and the rich reddish tones make this a soothing place.
The marble was placed beginning in 1931. The Depression was in full swing, and this
project provided much-needed work.
Confessionals, North and South Rose Windows (#9 and #16). The confessionals are used
for the celebration of the sacrament of Reconciliation. Above these confessionals (#9)
are three windows celebrating God's forgiveness. The north rose window depicts the eight
North American Martyrs surrounding Mary, "Queen of Martyrs": John de Brebeuf, Gabriel
Lalemant, Rene Goupil, Noel Chabanel, Charles Garnier, Anthony Daniel, Isaac Jogues
and Jean Lalande. These French Jesuits were missionaries to Native Americans in Canada
and present-day New York State. They were martyred in the 1640s.
Above the other set of confessionals (#16) are more stained-glass windows celebrating
God's mercy. The south rose window takes its theme from the Beatitudes spoken by Jesus
in the Sermon on the Mount ("Blessed are the..."). Christ stands at the center, surrounded
by eight men and women saints of the New World. Each of these saints lived one of the
Beatitudes in a particularly striking way. The saints depicted are (clockwise from the
upper right): a) Rose of Lima (suffering persecutions), b) Torbio of Mogrovejo
(peacemaking), c) Kateri Tekawitha (purity of heart), d) Francis Solano (mercy), e)
Frances Xavier Cabrini (hunger and thirst for justice), f) Peter Claver (mourning), g)
Rose Philippine Duchesne (meekness), h) Martin de Porres (poverty of spirit).
Chapel of Saint Joseph (#11). This chapel was built in honor of the earthly father of
Jesus, Saint Joseph. The windows extol the virtues of Saint Joseph. The altar, walls
and floor-border are American Danbury Cream marble from Vermont. The floor is Tennessee
Pink. German Rose and Black Italian Formosa are used in the panels. Work began in 1916;
because of interruptions due to World War I, the chapel was not completed until 1918.
The chapel was a gift from the Sisters of Saint Joseph of Carondelet, their students
and their friends.
Narthex (#12). Also known as the vestibule, this is one of the most common entrances
to the Cathedral. On the left is the Founders' Chapel and the Book of Names containing
the names of all the early contributors with amount listed, ranging from a few cents
to thousands of dollars. Also found in this chapel is a list of all of the contributors
to the "Remember, Restore, Rejoice" campaign for the restoration and preservation of
the Cathedral dome.
Baptistry (#13). At the south end to the narthex is the baptistry. Here the sacrament
of Baptism initiates new members into the church. Behind a heavily ornamented grill,
you can see the font of light Botticino marble standing out dramatically against the
darker walls. In 1990 a mosaic by Ade Bethune was added to the right wall of the
baptistry, showing Christ being baptized in the Jordan River.
Blessed Virgin Mary Chapel (#14). This is perhaps the most popular of all of the
Cathedral's chapels and is dedicated to Mary the Mother of God. The color scheme
and decoration of this chapel are the work of Masqueray. Begun in 1914, it was
finished in 1919. This chapel, like all the others, contains a rich mixture of marbles.
The most notable feature is Hermant's statue of the Blessed Mother and Child, which
he declared his masterpiece. Modeled after a 17th-Century statue in the Church of
Notre Dame des Victoires in Paris, it depicts, quite realistically, a young Mary
holding the child Jesus.
Chapel of Saint Peter (#17). The last chapel was actually the first completed. The
chapel of Saint Peter celebrates this important Apostle, the first pope, with whom
Saint Paul is often paired as a leader in the early Church. Leon Hermant created the statue.
The raised figures on the ceiling represent events in the life of Saint Peter. On the
curved back wall are inscribed, in Latin, the words by which Christ bestowed upon Peter
the leadership of His people. "You are Peter and upon this rock I will build my Church"
(Matthew 16:18). The mixture of marble gives the chapel a gold tone. The chapel was
completed in 1917.
Facade (#18). Though often overlooked by visitors, the facade is stunning. Below the
granite cross is a sixty-foot rendition of Christ and the twelve apostles. The
inscription reads "Go therefore and teach ye all nations." To the left is a
twelve-foot-high figure of Saint Peter. A matching one of Saint Paul is on the
right side. Below the facade is the last of the large rose stained-glass windows
of renowned stained-glass artist Charles J. Connick. The brilliant Resurrection
window is one of Connick's finest works. The nature of the glass and its position
facing east cause it to change in character and intensity throughout the day. In
Connick's own words, "Its response to the first light of morning - gray then rosy,
and finally a full burst of sunlight, symbolizes a spiritual awakening day after day."