The Cathedral Basilica of SS. Peter & Paul at 18th Street & Benjamin Franklin Parkway, Philadelphia, PA 19103 US - Our History

On the twenty-seventh day of September, 1976, in the fourteenth year of his Pontificate, Pope Paul VI, named and raised the Cathedral Church of Sts. Peter and Paul to the dignity and honor of a Basilica. The Apostolic See on fitting occasions expresses its grateful appreciation to the faithful for outstanding Catholic action rendered to the Church and the people of God. It was for such an occasion that our Holy Father rendered this great honor on the Archdiocese of Philadelphia after it hosted the 41st International Eucharistic Congress.

The Cathedral Basilica of SS. Peter and Paul, modeled after the Lombard Church of St. Charles (San Carlo al Corso) in Rome, is of the Roman-Corinthian style of architecture. The structure dates from 1846. Francis Patrick Kenrick, then Bishop of Philadelphia initiated the building venture. It was continued through the tenures of his successors, Saint John Neumann and Archbishop Wood, and completed in 1864.

The Church measures more than 250' in length, 136' in width, and 101'6"in height from the pavement to the apex of the pediment. The exterior of the building now weather-worn and pinkish in color, is of brownstone, which originally came from quarries of Connecticut and northern New Jersey. Like the green patina on the great copper dome, this coating on the stone, too, is a natural protection. The dome itself rises over 60'. The total height of the Cathedral is 209' to the top of the 11-foot gold cross. At their greatest diameters, the dome is 71', and the ball under the cross is 6'8". The most casual visitors to the city have been impressed by the great dome as the sign of this religious landmark among many civic ones on the Benjamin Franklin Parkway.

The facade of the Cathedral is graced by four massive stone columns of the Corinthian order, over 60' high and 6' in diameter. The four statues in the niches of the facade are the Sacred Heart, to whom the diocese was consecrated by Bishop Wood on October 15, 1973; Mary the Immaculate Conception, proclaimed patroness of the United States at the First Council of Baltimore in 1846; Saints Peter and Paul, patrons of the Cathedral.

Cast bronze doors lead from the main facade into the vestibule. The handrails, along with the doors of the Race Street entrance to the Cathedral, are also of bronze. These were all improvements during the extensive renovations of the mid 1950's.

Before entering the Cathedral, it may be well to comment further regarding its building and subsequent renovations. Bishop Kenrick’s pastoral letter of June 28, 1846, announced the project’s inception. On August 18, the lines of the building were laid out and the excavation of the foundation trenches begun. The cornerstone was laid on September 6. By the end of 1850, the side walls were raised to a height of 45'. Those were times of persecution and poverty for the Church in Philadelphia; at intervals, the work of building the Cathedral seemed almost to halt. Saint John Neumann issued a pastoral letter concerning the construction on May 4, 1852, but the work proceeded slowly. His successor, James Frederick Wood, the first Archbishop of Philadelphia, was at last able to dedicate the completed edifice on November 20, 1864.

The interior of the Cathedral is in Roman-Corinthian style, and cross-shaped in form. The great nave is 50' wide and 236' long, its vaulted ceiling 80' above the floor. Massive pillars separate the nave and transept from the side aisles, which give way to arched recesses for altars and the Baptistry.

There are no original side windows, because of the danger of destruction of them in the “Know Nothing” era in which the walls were first raised. Natural light is admitted through the clerestory windows close to the ceiling. These are of lightly tinted glass and carry simple religious symbols 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 Cathedral seats 900 (1,500 with added temporary chairs) in pews of walnut. The floor is marble tile over an inch thick, set in an appropriate cross design.

 A white marble altar rail with three bronze gates separates the nave and transept from the sanctuary. The principal work of the 1956-57 renovation was the construction of the semicircular apse, to extend the sanctuary to its present depth of 91'. The focal point is the altar. It is constructed of Botticino marble with Mandorlato rose marble trim. Three bronze discs decorate the front, the central one of which bears the Greek inscription of Jesus Christ, IHS. The crucifix and candlesticks are bronze.

The canopy, or baldachin, over the altar is of red Antique Italian marble. It stands 38' high and is surmounted by a dome of bronze panels. The underside of the dome is marble mosaic. Its central figure is the dove, 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.” The capitals and entablatures are cast bronze. White Italian marble Angels stand 10' high at the corners of the baldachin. Its decorative rosettes are of Botticino marble.

Six gigantic Verte Imperial marble columns, rising 40' high, and reputedly weighing in excess of twenty-five tons each, are set into the curved wall of the apse. Interspersed between these pillars at the rear of the sanctuary, stained glass windows contribute both beauty and light. The center window, devoted to the Eucharist, depicts the sacrifice of Melchizedek, 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, his selection by Christ as Prince of the Apostles, and his crucifixion. The window to the right reveals three scenes from the life of Saint Paul: his conversion on the road to Damascus, his preaching to the Athenians about the “unknown God,” and his death in Rome by beheading. Also at the rear of the apse are two mosiacs in Italian marble. One shows Saint Peter with Saint Peter’s Basilica in Rome as a background, and the other represents Saint Paul with Saint Paul’s Basilica Outside-the-Walls of Rome in the background.

The choir-stalls, the hand carved wooden screens which separate the sanctuary from the side altars, and the Cardinal’s throne are American black walnut. On the wall under the canopy of Cardinal Rigali’s coat of arms with its distinctive motto: VERBUM CARO FACTUM EST (The Word was made flesh). The wooden screens were inspired by the famous metal rejeria of the Spanish Renaissance found in many cathedrals in Spain.

The pulpit, opposite the Cardinal’s throne, is octagonal in shape. It is constructed of imported marbles matching those in the altar and also has a carved walnut canopy. High above the choir stalls on each side of the sanctuary are stained glass windows. The window on the throne side bears the coat of arms of Pope Benedict XV; that on the pulpit side, the insignia of Archbishop Prendergast, UT SIM FIDELIS (May I be faithful).

The side altars of the sanctuary are the design of the original architect, Napoleon LeBrun. They were placed in 1887 and dedicated to the Sacred Heart of Jesus and to the Blessed Virgin Mary. Above the altars are the famous Venetian glass mosaics of the Apparition of Our Lord to Saint Margaret Mary Alocoque and the Assumption of the Blessed Virgin Mary, set in place in 1915. The sanctuary lamp which burns at the altar of the Virgin is a reminder that this tabernacle is the place of reserve for the Blessed Sacrament in the Cathedral.

The interior of the great dome rising 156'8" above the floor of the Cathedral 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 stained glass windows below show Mary holding the Child Jesus, St. Peter on her right and St. 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, St. Paul, St. Augustine, St. Jerome, St. Ambrose, St. Gregory, St. Leo, St. Basil, St. Chrysostom, St. Cyril, St. Athanasius and St. Peter.

The medallions on the spandrels at the base of the dome represent the four Evangelists, Saints Matthew, Mark, Luke and John.

There are eight side altars in the Cathedral. The first on the south side expresses the theme of the Holy Eucharist in two parts and is based on Scriptural accounts. In the Passover scene the Hebrews are hastily preparing their departure from Egypt. The avenging angel is already striking dead the first-born of the Egyptians, avoiding the Hebrew dwellings with their blood-stained lintels. Above is written: “A Lamb Without Blemish,” a requirement for the Passover Supper. For the Last Supper, the Upper Room has been reproduced with close attention to the configuration of the existing scene in Jerusalem. The viewer enjoys a double perspective, looking upward at the scene and then down at Christ and his apostles.

The medallions commemorate:

The second altar on the south aisle is modeled after the Blessed Sacrament altar in Saint Peter’s Basilica in Rome and is dedicated to the Holy Souls. The last altar on this side is a memorial to Archbishop Wood, a gift of the Saint Vincent de Paul Society.

The third chapel on the south side was enlarged in 1956 to a semicircular apse for the Baptistry. The Mandorlato Rose Baptismal font is surmounted by a bronze dome with the inscription of the Sign of the Cross. Above the altar in the apse is an exquisite stained glass window, from Connick of Boston, depicting the Baptism of Jesus by Saint John, and a further scene, of Saints Peter and Paul in the Mamertine prison baptising prisoners with water from a miraculous spring. The Baptistry is enclosed by a bronze screen whose design was inspired by a similar one in the Cathedral of Toledo, Spain. Also set in metal into the top center of the Screen is the coat of arms of Cardinal O’Hara, carrying his motto: IPSAM SEQUENS NON DEVIAS (If you follow her you shall not go astray) referring to our Lady.

The first side altar on the north side aisle was dedicated by John Cardinal Krol as a shrine of the Sacrament of Holy Orders. The figures that constitute the altar depict the history and levels of the priesthood. The focal point of the wall is a sculpture of Christ with arms outstretched, pointing to the words, “Come follow Me.” Just below the figure of Christ is a fish and net symbolizing Christ’s promise, “I will make you fishers of men.” At the top of the altar wall, and demonstrating ordained priesthood, is a dove the symbol of the Holy Spirit. Radiating from the Holy Spirit are twelve tongues of fire. In the lower right corner is a depiction of Saint John Neumann ordaining a priest.

The priestly privileges of consecration and absolution are also portrayed on the shrine wall. In the upper left corner, representative of consecration, is a figure of Old Testament priest and king, Melchizedek. He stands beside a stone altar. In one hand he holds bread, in the other a chalice. The Melchizedek figure also represents the eternal character of priesthood recalling his prophecy that “You are a priest forever.” Also depicted is St. Maximilian Kolbe, wearing a concentration camp uniform and identification badge with the initial “P” for Pole and his prison number. Kolbe is grasping the barbed-wire prison fence, while carrying some bread with which to celebrate Mass. Across the middle is a figure of St. John Vianney, patron of parish priests. He is shown in the confessional giving absolution.

On the north aisle, the second altar was originally the Saint Joseph altar, but has been rededicated, to the Holy Family. Its beautifully hand-carved reredos contain an original oil painting of the Holy Family. Next is the Archbishop Ryan memorial altar, designed in the ancient Celtic cross. The last of the north altars is in memory of Francis A. and Emma Drexel, parents of St. Katharine Drexel, foundress of the Sisters of the Blessed Sacrament.

The mosaic murals on the rear walls, designed by Leandro Velasco, were set in place to commemorate the 100th anniversary (1975) of Philadelphia as an archdiocese. 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 International Eucharistic Congress, Philadelphia, 1976. The historic scenes are of George Washington and members of the Continental Congress at Old St. Mary’s Church; St. Katharine Drexel, Sisters of St. 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.

The south mosaic is dedicated to the life and works of Saint John Neumann, fourth Bishop of Philadelphia, who is the central figure in his episcopal garments. The phrase by which he shaped his life, SOLI DEO (For God alone), is repeated in German and Italian. The Cathedral at the top recalls the Bishop’s joy at the completion of its exterior in 1859. In further scenes Bishop Neumann is present at the promulgation of the dogma of the Immaculate Conception in 1854 at Pius IX’s invitation. Also shown are symbols of the eighty churches built during his years in Philadelphia (St. Peter’s Church, where the Bishop is interred, is recognizable) and he is surrounded by members of the numerous religious communities which he introduced to the diocese. In a scene suggestive of his zeal in traveling in the most remote areas to confer Confirmation, the Bishop receives young people and their sponsors. The monstrance recalls Bishop Neumann’s introducing into the diocese of the Forty Hours devotion in 1853 and the rule he wrote for the Confraternity of the Blessed Sacrament.

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 Cathedral organ is one of the largest in the city of Philadelphia, having seventy five ranks of pipes and four manuals. Originally, it was built by the Austin Organ Company. In the 1957 renovations, when it was rebuilt by the Tellers Organ Company, a new console was installed. During 1975-76 major renovations were completed on the organ in preparation for the 41st International Eucharistic Congress and the U. S. Bicentennial. Further restoration was undertaken in 1987, and included the addition of the Trumpet en chamade, situated on the ceiling of the organ case. The organ is considered perfectly placed, speaking directly into the nave. An echo organ is situated in the sanctuary.

THE CHOIR

The Cathedral Collegiate Choir was founded in 1965 under the patronage of John Cardinal Krol and under the direction of Dr. Peter LaManna. The choir sings at the Sunday eleven o’clock Mass and at special liturgies. Made up of students and young people from all walks of life in the Philadelphia area, the group has toured in addition to its work in the Cathedral, and enjoys the acclaim of music critics from the secular world. The term “collegiate” is used in a broad sense, emulating the ancient tradition of European cathedrals, with their SCHOLAE CANTORUM, or schools os singers.

CHAPEL OF OUR LADY OF THE BLESSED SACRAMENT

The Chapel of Our Lady of the Blessed Sacrament, on the north of the Cathedral, can be entered from the Cathedral proper or from the Chapel’s main entrance on Eighteenth Street. It was dedicated on the Feast of the Maternity of Our Lady, October 11, 1955. The Chapel is Roman Classic architecture; the facade is dressed brownstone. The interior is noted for its simplicity. The altar is of Verde Antique marble. The reredos, as well as the tester, or canopy, is of matched grain walnut with hand-carved filigree which is finished with gilt.

Since the Chapel is used for the daily Masses and for the ordinary devotions of the faithful, the Stations of the Cross are placed here. The stained glass window over the side entrance is Mary Queen of the Universe. The remaining side windows picture the Seven Joys of Our Lady: The Annunciation, The Visitation, The Nativity, The Adoration of the Magi, Jesus in the Temple, The Resurrection and The Assumption. The circular window over the main entrance shows the Blessed Mother looking down on the Blessed Sacrament in a monstrance.

THE CRYPT

Under the main altar of the Cathedral is a spacious crypt containing the remains of most of the Bishops and Archbishops, and of several prominent clergymen of Philadelphia. The crypt can be reached through both the sanctuary and by way of an ambulatory that extends from the rectory to the sacristy on the exterior apse wall. The walls and the ceiling of the crypt are of white Carrara marble. Within the crypt is a simple altar of Carrara marble where Mass is celebrated at regular intervals for the deceased. In the walls are vaults, in which remains of seven of the previous ten Bishops and Archbishops of Philadelphia are interred. Partial translations of the inscriptions in the crypt follow:

MICHAEL EGAN, O.S.F., first Bishop of Philadelphia, consecrated October 28, 1810, died 1814.

HENRY CONWELL, second Bishop of Philadelphia, consecrated 1820, died April 22, 1842.

 FRANCIS P. KENRICK, third Bishop of Philadelphia, 1842-1851, died as Archbishop of Baltimore and is buried there.

Saint JOHN N. NEUMANN, C.Ss.R., fourth Bishop of Philadelphia 1851-1860, is interred at St. Peter’s Church, Fifth Street and Girard Avenue, Philadelphia.

JAMES FREDERICK WOOD, fifth Bishop of Philadelphia, born in Philadelphia, April 17, 1813. Consecrated Bishop, April 26, 1857. When John N. Neumann died, January 5, 1860, he became Ordinary of Philadelphia. He died with a full share of merits June 20, 1882.

 Patrick John Ryan, born February 20, 1831, Thurles, County Tipperary. In 1884 he was transferred from St. Louis to Philadelphia and undertook the rule of this metropolitan See as its Ordinary. Finally this very pious man of many years gave back his soul to God, February 3, 1911 of the year of our redemption.

EDMOND FRANCIS PRENDERGAST, third Archbishop of Philadelphia, born in the town of Clonmel, Ireland, May 5, 1843, ordained to the priesthood, November 17, 1865, chosen Ordinary (of Philadelphia) May 27, 1911, went to Christ February 26, 1918.

DENNIS JOSEPH CARDINAL DOUGHERTY, cardinal priest of the Holy Roman Church. He died May 31, 1951, in his 86th year. May the heavenly halls receive the soul of this great and wise shepherd, and may posterity preserve his deserving memory.

JOHN CARDINAL O’HARA, C.S.C., ninth Bishop and fifth Archbishop of Philadelphia, 1951-1960, is buried in Sacred Heart Church at the University of Notre Dame, Indiana.

JOHN CARDINAL KROL, tenth Bishop and sixth Archbishop of Philadelphia, born October 26, 1910, Priest, February 20, 1937, Bishop, September 2, 1953, Archbishop, March 23, 1961, Died, March 3, 1996. DEUS REX MEUS - Rest in Peace.

Others buried in the crypt:

Rev. FRANCIS PATRICK O’NEILL, pastor of St. James, Philadelphia, 1843-1882.

Rev. JAMES CORCORAN, Professor at Saint Charles Seminary, died 1889.

Rev. FRANCIS I. CLARK, pastor of the Cathedral, 1872-1918.

Rev. MAURICE A WALSH, pastor of St. Paul’s Philadelphia, 1832-1888. J

AMES J. CARROLL, titular Bishop of Metellapolis, and shortly after, being appointed as pastor of St. Edward’s Church in this city, at the age of fifty gave his life for his sheep, April, 1913.

D. CLETUS BENJAMIN, (auxiliary of Archdiocese of Philadelphia), titular Bishop of Binda, born 1909, ordained 1935, consecrated 1960, died May 15, 1961.

GERALD P. O’HARA, titular Archbishop of Pessinunte and Apostolic Delegate to Great Britain, born 1895, ordained 1920, consecrated 1929, died July 16, 1963.

FRANCIS CARDINAL BRENNAN, (1894-1968), Prefect of the Sacred Congregation for the Discipline of the Sacraments, 1968.

Reverend GERALD V. McDEVITT, D.D., J.C.D., Vicar General, titular Bishop of Tigias and Auxiliary to the Cardinal Archbishop of Philadelphia; Pastor of St. Alice Church; born February 23, 1917; ordained May 30, 1942; consecrated August 1, 1962; died September 29, 1980.

BISHOPS (Ordinaries) OF THE ARCHDIOCESE OF PHILADELPHIA - 1808-PRESENT

ANTHONY CARDINAL BEVILACQUA, D.D., J.C.D., J.D.
Archbishop of Philadelphia

Ordained: June 11, 1949
Appointed Titular Bishop of Aquaealba and Auxiliary Bishop of Brooklyn: October 7, 1980 Consecrated : November 24, 1980
Appointed Bishop of Pittsburgh: October 7, 1983
Installed: December 12, 1983
Appointed Archbishop of Philadelphia: December 8, 1987
Installed: February 11, 1988
Pallium imposed: June 29, 1988
Elevated to the College of Cardinals: June 28, 1991
Appointed to the Pontifical Council “Cor Unum”: July 25, 1991
Appointed to the Pontificial Congregation for the Causes of Saints: July 25, 1991
Appointed to the Pontifical Council on the Pastoral Care of Migrants and Itinerant People: 1991 Appointed to the Congregation for the Clergy: 1994
Admitted to the Bar of New York State: 1976
Admitted to the Bar of the Supreme Court of Pennsylvania: 1984
Admitted to the Bar of the Supreme Court of the United States: June 26, 1989
Elected Chairman of the United States Conference of Catholic Bishops’ Committee for Pro-Life Activities: November 13, 2001

RECTORS OF THE CATHEDRAL CHURCH