School Office:

1716 NW Davis St. Portland, OR 97209 Parish Office: Phone: 503-228-4397 Fax: 503-242-2568 Website: www.maryscathedral.com School Office: 503-275-9370

Self-Guided Tour St. Mary s Cathedral of the Immaculate Conception

TABLE OF CONTENTS WELCOME WHAT IS A CATHEDRAL?.... 3 ORIGINS OF THE CATHEDRAL RESTORATION OF THE CATHEDRAL.... 4 EXTERIOR VESTIBULE.... 5 THE BAPTISTRY.... 6 THE ALTAR THE AMBO.... 7 THE EUCHARISTIC CHAPEL THE RECONCILIATION CHAPELS.... 8 THE APSE PAINTINGS IN THE APSE.... 9 STAINED GLASS: NAVE STAINED GLASS: TRANSEPTS.... 10-11 AMBRY STATUES ICON OF OUR LADY OF PERPETUAL HELP ICON OF ST. JOESPH.... 12 ICON OF THE NATIVITY STATIONS OF THE CROSS CHOIR ORGAN.... 13 GREAT ORGAN.... 14 PIANO FLOOR, PEWS, WALLS, AND CEILING CONCLUSION.... 15 Cover photo by Altura Studio, Portland Oregon

WELCOME Welcome to St. Mary s Cathedral of the Immaculate Conception! We hope that you will find peace and inspiration in this beautiful place. WHAT IS A CATHEDRAL? A cathedral is a church that takes its name from the bishop s cathedra (chair), located in it. St. Mary s Cathedral is the principal church of the Roman Catholic Archdiocese of Portland in Oregon. People of many faiths or of no faith come to the cathedral for various reasons: to worship together, and to see, hear, and experience the music, ceremony, and artistry contained within its walls. The cathedral is also a parish church. As such, it is home to its parishioners and a welcoming place for visitors. 3

ORIGINS OF THIS CATHEDRAL In 1851, a small group of Catholics built a modest church near the present NW 5th and NW Couch Streets. At the time, the area was a forested tract some distance from the center of town. In 1854, the parishioners purchased land at the present SW Third and SW Stark Streets and moved the church to this location. This church became the pro-cathedral in 1862, when Archbishop François Norbert Blanchet established residence in Portland. The parish thrived and additions were made to the cathedral. On August 15, 1885, a completely new cathedral was dedicated at the SW Third Street location. In 1895, following severe flooding of the downtown area, a temporary cathedral and school were built at the present NW 15th and NW Davis Streets. In 1925, Archbishop Alexander Christie authorized the construction of a new cathedral at NW 18th and NW Couch. With the support of Catholics around the archdiocese, the present cathedral opened on February 14, 1926. The first service was held on February 19, 1926. The cathedral was designed by the architectural firm of Jacobberger and Smith. It is in the Romanesque style with some Byzantine features and covers an area of 15,000 square feet. RESTORATION OF THE CATHEDRAL With the 150th anniversary of the Archdiocese of Portland, Archbishop William J. Levada determined that one of the principal anniversary activities would be to fulfill the plan of his predecessor, Archbishop Cornelius M. Power, to restore and renew the cathedral. So restored, it could rightfully stand as a symbol of the strength and vitality of the Church in Western Oregon and as a major center of worship in the city of Portland. The architectural firm of Thomas Hacker Associates was engaged for the work, which included liturgical and artistic modifications as well as seismic strengthening, electrical, heating, and lighting updating. Again, Catholics from around the archdiocese supported the project, and the rededication of the newly restored cathedral was celebrated on February 14, 1996. 4 ORIGINS OF THE CATHEDRAL RESTORATION OF THE CATHEDRAL

EXTERIOR The outside doors are white oak clad in cast bronze on the exterior. The rose reliefs on the doors symbolize both Mary, Mother of God, and Portland, the City of Roses. The granite sign features Roman majuscle lettering in the style of the Trajan inscription in Rome. It was written by Rev. Robert Palladino, a priest of the archdiocese. The coat of arms of the archdiocese completes the sign. The exterior of the building was cleaned, new granite steps were added at the entrance, and new concrete pavers replaced the cement sidewalk in front of the cathedral. VESTIBULE The vestibule, or narthex, is welcoming, but subdued in design. Glass doors and a glass wall allow parishioners to use the space as a cry room for young children. The glass wall features subtle references to the sacraments, and the wave design on these walls represents the waters of baptism, through which we enter into the Church. The glass etching is by Debora Coombs. EXTERIOR VESTIBULE 5

THE BAPTISTRY From the quiet lighting of the narthex, we enter into the brilliance of the cathedral by way of the baptistry. The placement of the baptistry near the front door shows that, through the sacrament of Baptism, we become members of the community of faith, the Church. Architect Thomas Hacker designed the Venetian tesserae tile mosaic in the baptistry pool. The mosaic was fabricated in Italy through Conrad Schmitt Studios of Milwaukee, Wisconsin, and features ancient Christian symbols of Baptism. The marble railing and iron gates are repurposed from the former Communion rail and altar gates. The interlocking Italian marble spirals on the floor symbolize the eternal spirit. The spirals are echoed on the floor surrounding the sanctuary, thus connecting our entrance into the Church at Baptism with our celebration of the Eucharist at the altar. 6 THE BAPTISTRY

THE ALTAR The principal activity of the cathedral, the celebration of the Mass, takes place at the altar. Therefore, the altar occupies the most central location in the church, where the nave and the transepts connect. A long standing church custom is that the altar be situated over the body or relic of a saint. Under the new cathedral altar is a relic of St. John Neumann, one of the saints of the Americas featured in the new stained glass windows for the nave. The Botticino Classico marble altar top was carved in Italy. The marble sides are from the former Communion rail. The four white oak altar candle stands were designed by Thomas Hacker Associates and crafted by Agrell and Thorpe, Ltd. of San Rafael, California. The candle stands and a reconditioned Metropolitan cross are gifts to the archdiocese from the four dioceses of the Portland Province: Baker, Boise, Helena, and Great Falls-Billings. THE AMBO The Word of God is proclaimed from the ambo. In this cathedral, the ambo is purposely situated so that all listeners are in front of the proclaimer. The marble front of the ambo is from the former Communion rail. THE ALTAR THE AMBO 7

THE EUCHARISTIC CHAPEL The ancient tradition of reserving the Eucharist continues in this chapel. Here we can spend time in prayer, meditation, and adoration. Thomas Hacker Associates designed the tabernacle, which was crafted in Spain. The gold plated exterior contains images of wheat, a grape vine and a rose. The rose symbolizes both Mary and the city of Portland. The architects also designed the patterned wood tower above the tabernacle. Agrell and Thorpe, Ltd. of San Rafael, California, fabricated the tower. The marble forming the base on which the tabernacle stands is from the former Communion rail. The two sanctuary lights are remade fixtures used in the cathedral in 1926. They are always lit when the Eucharist is present in the tabernacle. The large stained glass window was designed by Debora Coombs and fabricated by Cummings Glass Studio of North Adams, Massachusetts. Many Eucharistic symbols and themes are present in the glass: the host; the chalice; the seating design of the church; the twelve spheres of opalescent glass (apostles) surrounding the central Christ; and the ancient Christian image of the fish. THE RECONCILIATION CHAPELS White oak reconciliation chapels are located at the south end of each transept. They offer the penitent a choice between a face to face encounter or the anonymity provided by a screen when celebrating the Sacrament of Reconciliation. 8 THE EUCHARISTIC CHAPEL THE RECONCILIATION CHAPELS

THE APSE In the center of the apse is the cathedra, the chair used by the archbishop when he celebrates liturgies in the cathedral. It symbolizes the archbishop s authority and responsibilities. This particular cathedra dates from the earlier cathedral located at SW Third and SW Stark in Portland, and was refurbished by Aladdin Finishers of Portland. The smaller presider s chair is used by priests who celebrate cathedral liturgies in the absence of the archbishop. Along the walls of the apse is presbyteral seating for priests of the archdiocese. These pews and all the new tables were constructed by Mike Manion of Portland, Oregon. The art glass dome in the center of the apse ceiling was constructed for the 1926 cathedral by Povey Brothers of Portland and restored by Glass Craft Studios of Hillsboro. PAINTINGS IN THE APSE Between 1930 and 1936, Flemish artist Emil Jacques painted the canvases attached to the walls of the apse. At the time, he was Dean of the School of Fine Arts at the University of Notre Dame. The nine panels represent the life and influence of Mary. Looking from left to right, we can contemplate Salvation History from the original sin of Adam and Eve to the Assumption of Mary into Heaven. Along the way, we see images from the life of Mary, as well as images of ordinary people and various saints. Several angels hold symbols representing title given to Mary in her litany. The central panel represents the Queen of Heaven presenting her Child and the Book of the Gospels to the world. For more information about the images, see the Cathedral website: www.maryscathedral.org. THE APSE PAINTINGS IN THE APSE 9

STAINED GLASS: NAVE New windows in the nave feature the sacraments and the saints and blesseds of the Americas. They were designed by Debora Coombs, originally of England, but living and working since 1997 in Readsboro, Vermont and North Adams, Massachusetts. The eight clerestory windows high in the nave reference the seven sacraments. From the back of the nave on the west side, the saints and blesseds represented are as follows: A. (half-height) DAMIEN DE VEUSTER of Molokai (1840-1889) devoted his life to victims of leprosy. This window celebrates the Hawaiian people and serves as a symbol of healing and hope for ostracized and forgotten people the world over. B. Celebrating the people of South America this window shows ROSE OF LIMA (1586-1617) who lived a life of constant prayer and penance; TURIBIUS DE MOGROVEJO (1538-1606), Archbishop of Lima, a brilliant scholar and champion of oppressed native peoples; MARTIN DE PORRES (1579-1639), Patron of Social Justice; and his fellow brother JOHN MACIAS (1585-1645), Father of the Poor. C. A map of the Americas shows the paths and places of work of FRANCES XAVIER CABRINI (1850-1917), founder of 67 institutions across three continents; MARIE-ROSE DUROCHER (1811-1849), educator and believer in the power of women; and ANDRE BESSETTE (1845-1937), Christian healer devoted to St. Joseph, patron of laborers. 10 STAINED GLASS: NAVE

D. JUNIPERO SERRA (1713-1784) dedicated his life to achieving harmony between peoples of different ethnicities and creeds. He is best known for his founding of nine California missions. ROSE PHILIPPINE DUCHESNE (1769-1852) founded the Society of the Sacred Heart in North America, New Zealand, and Australia. E. This window celebrates all those who work in education. ELIZABETH ANN SETON (1774-1821), a native New Yorker, advanced the American parochial school system. JOHN NEUMANN (1811-1860), Bishop of Philadelphia was a multi-lingual scholar, a beloved pastor, and the publisher of two catechisms used throughout the United States. F. JOHN DE BREBEUF (1593-1649) and ISAAC JOGUES (1607-1646), missionary Jesuits martyred by the Mohawk, gained many conversions, thus preparing the ground for KATERI TEKAKWITHA (1656-1680), Lily of the Mohawks, who suffered for her Christian faith, and is beloved by Native American Catholics of all nations and tribes. G. This window celebrates freedom and equality for African Americans and all who have suffered racial injustice. PETER CLAVER (1581-1654) brought food, comfort, and medicines to victims of the slave trade. KATHERINE DREXEL (1858-1955) gave her fortune and life to the service of the under-privileged and established a system of black Catholic schools in thirteen states. H. (half-height) JUAN DIEGO (1474-1548) saw apparitions of the Virgin Mary at the top of Tepeyac Hill outside Mexico City, giving birth to the tradition of Our Lady of Guadalupe. Juan Diego s devoted and penitent life marked the cusp between the end of the Aztec civilization and the beginning of Christianity in the New World. STAINED GLASS: TRANSEPTS The stained glass windows in the transept were transferred from an earlier cathedral. They have been completely restored. The east transept window features images of the Four Evangelists: Matthew, Mark, Luke, and John, along with their traditional symbols. An image of Mary graces the lower left corner and an image of St. Jerome graces the lower right corner. The west transept window features St. Patrick, the Blessed Virgin Mary, St. Bridget, St. Dominic, and a woman and child. STAINED GLASS: NAVE (CON T) STAINED GLASS: TRANSEPTS 11

AMBRY The ambry is built into the west wall of the nave. It contains the three holy oils: oil of the catechumens, holy chrism, and oil of the sick. The archbishop blesses the oils at the annual Chrism Mass celebrated in the cathedral during Holy Week. The oils are then distributed among the parishes of the archdiocese for use in the administration of the sacraments. STATUES The marble statues of the Sacred Heart and the Madonna were carved in Switzerland and brought to the United States by the Benedictine monks of Engleberg. The monks sold the statues to the archdiocese for the pro-cathedral at NW 15th and NW Davis. The statues were placed in the present cathedral in 1926. ICON OF OUR LADY OF PERPETUAL HELP The icon of Our Lady of Perpetual Help is located in the shrine built into the east wall of the nave. Brother Claude Lane, OSB, of Mt. Angel Abbey wrote this contemporary version of the original icon, which is probably Byzantine in origin. The historical interpretation is that the child Jesus, upon seeing angels holding the instruments of his torture, runs to His mother for consolation, losing His sandal in the process. For centuries, this image has reminded Christians that we can always turn to Mary for help and comfort in times of trouble. ICON OF ST. JOSEPH Brother Claude Lane, OSB, wrote this icon, which shows St. Joseph and the child Jesus playing together. The child Jesus joyfully flings his hand towards His heavenly Father. Brother Claude wrote the icon so that it contrasts with the image of the frightened child running to His mother. 12 AMBRY STATUES ICON OF OUR LADY OF PERPETUAL HELP ICON OF ST. JOSEPH

ICON OF THE NATIVITY Brother Claude Lane, OSB, wrote the Icon of the Nativity to celebrate the third millennium of the Incarnation. Joseph raises his hand to signify that the Child is the Son of God. Mary wears red as a sign of the passion associated with childbirth. This color, along with the blue and gold of the birthing bed, foreshadows the coming flow of blood and water from the side of the Lord. A tub of water, left behind by the midwives, serves as a sign of our Baptism. The cave itself represents the tomb in which Jesus Christ will be buried, and the sixwinged Seraph hovers above, beholding the Face of God. STATIONS OF THE CROSS The Stations of the Cross are original to the cathedral. The R. Wagner Company of Portland repainted the stations and highlighted the crosses in gold. CHOIR ORGAN The choir organ was built for the newly restored cathedral by Martin Ott Pipe Organ Company of St. Louis, Missouri. This organ, the secondary instrument of the cathedral, was designed specifically to match the acoustics of the building. It is the company s Opus 75. The main task of the organ is to accompany the choir or the cantor. From the keyboard of the organ one can play the Great manual and the pedals of the great organ in the balcony. NOTE: For further information about this instrument, consult the Martin Ott Pipe Organ website: martinottpipeorgan.com. ICON OF THE NATIVITY STATIONS OF THE CROSS CHOIR ORGAN 13

GREAT ORGAN Located in the balcony, the great organ is a Murray/Harris Los Angeles Art 32 stop electro-pneumatic action pipe organ, built in 1904 for Holy Cross Church in San Francisco. After the 1906 earthquake, the organ was rebuilt. However, after the 1989 Oakland earthquake, the church was not restored, and the organ was brought to Portland, where Bond Pipe Organs, Inc. restored it and added four stops for the cathedral. The organ has been featured at meetings of the Organ Historical Society, having been selected for recognition as an instrument of exceptional historical merit worthy of preservation. Rising from a height of 17 3 at each side to 20 3 at its apex, and approximately 10 wide, the organ fits perfectly in the rear balcony. NOTE: For further information about this instrument, consult the Bond Organ Builders website: www.bondorgans.com.. 14 GREAT ORGAN

PIANO The rare 7 5 Steinway Model C, built in 1887, has been completely restored. FLOOR, PEWS, WALLS, AND CEILING The marble floor in the apse was laid in 1926. It is made of light pink Tennessee marble inlaid with patterns of black, gold, and Botticino marble, and Travertine. The new marble on the floor of the altar platform, in the Eucharistic chapel, in the aisles of the main body of the cathedral, and in the vestibule is a pattern of several Italian marbles. The pattern was designed by Thomas Hacker, fabricated in Italy, and shipped to Portland for installation by Columbia Stone. The design, inspired by early Christian churches in Rome, links the baptistry with the altar. The interlocking spiral pattern symbolizes the eternal spirit. The white oak pews are original to the cathedral. They have been refinished and reconfigured to fit the church s new liturgical design by National Church Furnishing of Centralia, Washington. Pendleton Wool fabric covers the seat cushions. The painting of the walls and Stations of the Cross, along with the gilding throughout the church, is the work of R. Wagner Company of Portland. The twelve crosses with their dedicatory candles located on the walls were designed by Thomas Hacker Associates and cast in bronze by George King. They are a sign that the cathedral has been consecrated and its principal use must always be as a house of worship. Speakers for the sound system, as well as lights, are inlaid in the coffered ceiling of indigo blue, gold, and natural wood. The architects designed the new hanging lamps, which were then constructed by George King to compliment the historic sanctuary lamps in the Eucharistic chapel. The new lamps are hand blown glass and cast metal with a bronze patina. CONCLUSION The beauty of St. Mary s Cathedral is apparent to anyone who enters, whether they be parishioners or visitors. But its greatest treasure lies in those who worship here, who welcome one another, who serve, and who care for this place. These are the people of the Archdiocese of Portland in Oregon, the people who built, restored, and maintain the cathedral for the glory of God and the welfare of all. PIANO FLOOR, PEWS, WALLS, AND CEILING CONCLUSION 15