A New Cathedral: Holy Name Cathedral in Raleigh, North Carolina

The erection of a new cathedral is, all things being equal, a rare event. After all, how often does this sort of event occur within ecclesiastical life, particularly in already established, non-mission territories? It is something we seldom see, but recently the architects at O'Brien and Keane, an architectural firm based in Northern Virginia and Maryland, were engaged for just such a project. 

The new cathedral is situated in Raleigh, North Carolina, and it is an impressive edifice indeed. Before we get into the photographs of the new cathedral however, O'Brien and Keane offer the following comments and description of their project:

The Holy Name of Jesus Cathedral, the new seat of the Bishop of Raleigh, will now serve as the site for major liturgical celebrations, pilgrimages, and events for the Catholic community of the Diocese of Raleigh, replacing the existing Sacred Heart Cathedral. Its design builds on the heritage of classical sacred architecture; it is arranged in a cruciform layout, with the main axis of the building placed in an east to west orientation, in keeping with tradition. The sanctuary is located at the crossing under a round dome upon a drum, while the tabernacle is placed within the eastern apse. Seating for the congregation, illuminated by clerestory windows, is located within the nave and transepts and is separated from the side aisles by an arcade... 

The main building entry announces the design theme and introduces classical orders: the Doric order comprises the first tier of the façade, while the Ionic order fills the second tier... 

The façade of the Cathedral is predominantly comprised of wood-mold brick, yielding a soft impression to the masonry. The brick displays a color range of rose to brown, lending visual interest and recalling the region’s architectural heritage, in concert with grapevine mortar joints. Cast stone, also specified in a range of colors, is incorporated into the most celebrated parts of the building. The roof surfaces are clad in copper. 

The transition from the surrounding grounds to the sacred spaces within is bridged by a tall and spacious narthex, from which one may also access the Chapel of All Saints. The chapel’s primary function in the cathedral is to provide a quiet space for reflection and adoration of the Blessed Sacrament. The sacred nature of this element is reflected in the design, which is accordingly distinguished through incorporation of the Corinthian order and rendering in cast stone. 

The stature of the cathedral in the community is conveyed by the inclusion of a prominent dome. The 162-ton copper-clad ribbed dome, topped with a decorative finial and a cross embellishment, reaches to a total height of 173 feet above the ground. The drum of the dome, adorned with a range of paired Corinthian columns and entablature and sixteen arched windows, is located directly above the sanctuary platform below it.  The dome is comprised of an inner and outer shell, with a cavity between them. This interstitial space provides access for maintenance. The interior of the dome exhibits many of the same characteristics as its exterior, including paired Corinthian pilasters and ribs. The interior height of the dome rises to 137 feet above the floor below. 

Below the dome, the sanctuary platform houses the vital liturgical furnishings, with the altar of sacrifice as the focal element. All of the liturgical furnishings, designed in concert with the building, are rendered in Bianco Carrara C marble, with Giallo Siena marble accents on the pilasters and panels. The design of the altar incorporates elements of the Ionic order, and the other furnishings, including the cathedra, ambo, and altar rail, relate with a consistent design language. 

The sanctuary flooring features Bardiglio Nuvolato marble slabs with diamond accents of Bianco Carrara C. A border of Bianco Carrara C marble with Giallo Siena diamond accents surrounds the principal elements. 

The interior of the nave and transepts repeats the articulation and rhythm of the exterior, providing further continuity in the architecture. The classical orders of Doric and Ionic are recalled once more on the interior of the aisle arcade and triforium, respectively. Colossal piers superimposed over these two tiers support the ribs of the barrel vault. 

The stained glass windows in the Nave and Transepts, as well as in the Chapel, are in part salvaged from the Church of the Ascension in Philadelphia. Additional newly fabricated windows feature the same border design as the original windows, but include translucent glass fields. 

We begin with the exterior of the cathedral which is characterized by many Roman and Italianate influences. 

The dome is, to my mind at least, reminiscent of Michelangelo's dome on St. Peter's Basilica in Rome, and as we turn our attention to the interior, some of those same echoes continue here -- as well as some differences.  What one is immediately struck by are the classical priorities for order and symmetry, harmony and proportion.

The font

The sanctuary follows a typical post-conciliar style arrangement with its free-standing altar that has been set forward in the sanctuary toward the nave. Interestingly, the tabernacle in this instance has been placed centrally on a raised platform behind the high altar, and is further surrounded by a reredos type of structure -- one that gives some necessary verticality and architectural substantiality to the sanctuary, leading one's eye ultimately to the high altar. 

Also of interest is the balustrade that surrounds this upper section that the tabernacle inhabits; it is done in a way that is reminiscent of the balustrades that one can find in more ancient basilicas, balustrades whose function was, in those instances, to separate the presbytery from the choir and/or nave.  In this particular instance it is not doing that, of course, but this ancient echo of this earlier arrangement is something that certainly caught my own attention and interest.

I had mentioned earlier that there were some echoes of St. Peter's in Rome also within the cathedral's interior and this comment came primarily in relation to the barrel vaults and especially the great cupola found directly above the cathedral's crossing.

Perhaps one of the most striking views in the entire cathedral is that which can be seem within the side aisles which showcase a beautiful series of repeated arches and columns in tight succession. 

Finally, we will conclude with a look into the Chapel of All Saints, a chapel meant for quiet prayer and adoration, and no doubt also intended to facilitate smaller daily Masses.  It is primarily characterized by its inclusion of six large, traditional stained glass windows. 

Many thanks to O'Brien and Keane for bringing this important project to our's and our readers attention. 

Photo Credits: Alan Karchmer

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