United States


New York


Saint Patrick's Cathedral





 

Summary Built of brick and clad in marble, St Patrick’s Cathedral was completed in 1878 to become a prominent New York City landmark.  It is the largest neo-Gothic-style Catholic cathedral in North America and can hold 3,000 people.  The cathedral has undergone a number of renovations over the years since its completion.  It contains some beautiful artifacts, including a Pietà, sculpted by William Ordway Partridge, which is three times larger than Michelangelo's Pietà found in St Peter’s Cathedral in the Vatican, Rome.

St. Patrick's Cathedral is located on the east side of Fifth Avenue and occupies a whole block between 50th and 51st Streets in Midtown Manhattan, New York City.  The largest Neo-Gothic-style Catholic cathedral in North America, it spans 174 feet (53.0 meters) wide and 332 feet (101.2 meters) long.  With the spires rising 330 feet (100.6 meters) from street level, it was, when first constructed, the tallest structure in New York City and the second highest in the United States.

Built of brick and clad in marble, the cathedral can hold 3,000 people.  As well as being the seat of the archbishop of the Roman Catholic Archdiocese of New York, the cathedral also serves as a parish church.
  
The cathedral stands on land purchased in 1810 by the Jesuit community on which to build a school, although this closed in 1814 and the land was sold to the diocese.  The land was designated as a future cemetery, although at that time an orphanage was located there, which was maintained by the diocese into the late 19th century. 

In 1853, Archbishop John Joseph Hughes announced the intention to construct a new cathedral to replace the old St. Patrick’s Cathedral situated in Lower Manhattan.  The new cathedral was to be in the Gothic Revival style and was designed by James Renwick, Jr.  On August 15, 1858, the cornerstone was laid just south of the diocese's orphanage.  The work ceased during the Civil War (1861 to 1865) to resume in 1865.  The cathedral was completed in 1878 and dedicated on May 25, 1879, although the spires were not added until 1888.

The twin spires are among the most iconic elements of the building and transformed St. Patrick’s from a large church into a true Gothic cathedral, visually commanding Midtown Manhattan long before skyscrapers surrounded it.

Built from Tuckahoe marble, the same stone used for the façade, the spires are slender, tapering, and intricately carved and decorated with pinnacles, crockets, and finials.

During the 2011–2015 restoration they were cleaned, repaired, and stabilised, Structural ironwork was reinforced and weather‑damaged stone was replaced. They were also fitted with LED lighting to illuminate them at night.

The main doorway sits within a deeply recessed decorated Gothic portal, framed by pointed arches and layered mouldings with the great rose window located above,  which is one of the cathedral’s most iconic features. It depicts Christ and the s​​​​​​aints in a circular, cosmic arrangement typical of French Gothic cathedrals.

 

The doorway is one of the most symbolically rich and architecturally refined Gothic Revival entrances in the United States. The current two doors are made of solid bronze, each weighing roughly 9,000 pounds, these were installed in 1949, replacing earlier wooden ones. Each one is 16.5 x 5.5 feet and weighs 4 tons (657 stones).  The doors are decorated with relief sculptures designed by sculptor John Angel, depicting saints associated with New York and the wider Catholic tradition.  They represent six people, including three women, who distinguished themselves for the significance of their work to the cathedral, and their missionary work and assistance to migrants. These doors underwent a restoration project between 2000 and 2013.

 

On entry the interior features a long, rib-vaulted nave lined with marble columns and pointed arches, illuminated by stained-glass windows crafted in Europe. The nave leads toward the sanctuary and high altar, which is elevated and framed by Gothic arches. It is one of the largest Catholic naves in North America. The nave’s height and stone surfaces create rich, resonant acoustics, ideal for choral music and organ performances.

 

At the far end, the nave opens into the transept, widening the space before the sanctuary and the High Altar.





Located along the north side of the nave, by the Sanctuary, is the pulpit which is positioned so the preacher can address the full congregation. It is crafted from carved stone, not wood, in keeping with the cathedral’s overall marble aesthetic. Architecturally, the pulpit features pointed Gothic arches, carved tracery panels and symbolic motifs such as the four evangelists and scriptural emblems.  Above the pulpit is a projecting stone canopy (sounding board) that helps carry the preacher’s voice. Although modern sound systems have reduced its practical necessity. 

 

Standing opposite the pulpit, is the Bishop’s Chair, also called the cathedra. This is positioned so the archbishop can preside over major liturgies. It is the ceremonial seat of the Archbishop of New York and the defining feature that makes St. Patrick’s a cathedral rather than simply a large church.

The chair is crafted in the Gothic Revival style, carved from marble and wood, with pointed arches and tracery that echo the cathedral’s overall design. It is elevated slightly to signify the bishop’s teaching and governing authority within the diocese. Whenever the archbishop presides at Mass, he does so from this chair, making it one of the most important liturgical focal points after the high altar.

 

During the late 1930’s and early 1940’s the High Altar area underwent renovation, and it was at this time that the High Altar was replaced, and a bronze baldachin and rose stained-glass window were added.  The High Altar was designed by Maginnis & Walsh, leading American ecclesiastical architects, and is a monumental Gothic Revival marble altar crowned by the bronze baldachin that was installed in 1942. This replaced the original 19th‑century altar to better harmonise with the cathedral’s architecture. The original High Altar installed in 1879, was grand but stylistically mismatched - its proportions and reredos did not integrate well with the cathedral’s Gothic interior. By the late 1930s, Cardinal Spellman commissioned a redesign to bring the sanctuary into harmony with the building’s architecture.  The original altar was moved to Fordham University’s church, where it still stands. The present altar remains one of the most visually commanding liturgical structures in any American cathedral.

 

The Baldachin (Ciborium), the bronze canopy over the altar, was inspired by early Christian and medieval basilicas. It creates a visual focus that separates the high altar from the Lady Chapel behind it.

Sitting directly behind the High Altar, forming the easternmost end of St. Patrick’s Cathedral is the Lady Chapel. This was added in the early twentieth century and designed by Charles T. Mathews, reflecting French-Gothic influences and featuring refined tracery and a glass façade that provides acoustic isolation while maintaining visual continuity. This was constructed between 1901 and 1906, with the Chapel’s stained-glass windows being added between 1912 and 1930.  

 


Most of the cathedral’s stained glass was created between the 1870s and 1880s in England, France and Germany.   

The windows illustrate scenes from the life of Christ, the Virgin Mary and the saints.  They also include Old Testament narratives and historical figures connected to the cathedral’s construction, such as the architect James Renwick Jr. presenting plans to Archbishop Hughes.

During the cathedral’s major renovation (2011-2015), every stained‑glass window underwent conservation.  This included the repair of cracked or bowed panels, the installation of new protective glazing with UV filtering, and a venting system to prevent heat and moisture damage.  This work restored the windows to their original brilliance in time for the visit of Pope Francis in 2015.

 

The Cathedral has 19 chapels. These are distributed in the side‑aisles along the nave with devotional chapels in the transepts. 

    

The chapels are also integrated into the sanctuary and crypt areas.  These allow for multiple simultaneous devotions, reflecting New York’s diverse Catholic communities.

In addition to the Lady Chapel several of the chapels are especially notable:

The St. Joseph Chapel - located along the north side aisle - is one of the cathedral’s principal side chapels, dedicated to St. Joseph, the foster father of Jesus and patron of workers, families, and the universal Church. The chapel follows the cathedral’s Gothic Revival Architecture with carved stone, pointed arches, and stained‑glass windows depicting scenes from the life of St. Joseph and the Holy Family. A statue of St. Joseph presents him as a protector and guide.

The chapel serves as a quiet devotional space for prayers related to family life, work, protection, and guidance, reflecting Joseph’s role as guardian of Jesus and Mary. Its placement near the chancel also connects it symbolically to the cathedral’s themes of vocation, service, and fidelity

 

Also located along the north aisle is the Our Lady of Guadalupe Chapel, one of St. Patrick’s most beloved side chapels, dedicated to Mary as she appeared in Mexico in 1531. The chapel centres on a prominent image of Our Lady of Guadalupe, surrounded by candles and often adorned with flowers, creating a warm, intimate atmosphere distinct from the cathedral’s soaring marble interior.

The chapel serves as a spiritual home for New York’s Latino Catholic community, making it one of the cathedral’s most frequently visited devotional sites. It embodies themes of protection, compassion, and cultural identity, and plays a vital role in the cathedral’s living devotional life, especially on December 12th, the Feast of Our Lady of Guadalupe.

 

The Chapel of the Holy Face of Jesus is a quiet, introspective side chapel dedicated to the devotion that centres on the Holy Face - the suffering, compassion, and redemptive love of Christ as revealed in His Passion, which emphasise his humanity and his willingness to suffer for the world.

At the centre of the chapel is an image of the Holy Face. The cathedral does not attribute the painting to any specific individual. It is a traditional devotional image created for the chapel’s consecration. The chapel creates a space that feels deeply personal. Visitors come here to pray for healing, forgiveness, and spiritual renewal, making it one of the cathedral’s more contemplative devotional stops.

 

The St. Elizabeth Ann Seton Chapel honours the first native‑born American saint, a woman whose life embodied charity, education, and service. A statue of St. Elizabeth Ann Seton is on the altar, presenting her as a figure of compassion, resilience, and American Catholic identity.  The stained‑glass windows depict events from the saint’s life - her conversion, her founding of the Sisters of Charity, and her work in education.

Devotionally, the chapel attracts visitors seeking guidance, perseverance, and intercession for family, education, and vocation - all central themes of the saint’s life. Its presence reinforces the cathedral’s role as a spiritual home for the diverse history of American Catholicism.

 

The St. Louis Chapel is dedicated to St. Louis IX of France, the 13th‑century king known for justice, charity, and deep personal piety. The stained‑glass windows highlight scenes from the life of St. Louis - his care for the poor, his devotion to the Eucharist, and his role as a Christian monarch. A statue of St. Louis shows him with a crown and a cross, symbolizing the union of kingship and holiness. Architecturally, the chapel follows the cathedral’s overall style: carved stone and pointed arches. 

Devotionally, the chapel attracts visitors seeking wisdom, justice, humility, and moral clarity, virtues strongly associated with St. Louis. It contributes to the cathedral’s broader symbolic landscape by representing the ideal of righteous leadership within the tapestry of saints who line the nave.

 

Beneath the main altar is “the crypt” or “the burial vault” which is not open to the public. It contains the tombs of the Archbishops of New York.  Its entrance is a small, unobtrusive doorway located in the sanctuary area, leading down to the burial vault its design intentionally avoids drawing attention, reflecting the humility and solemnity of the space below.  The entrance is positioned near the high altar, on the south side of the sanctuary.  The simple, stone-framed recessed doorway is modest, and integrated into the sanctuary architecture so that it does not interrupt the visual flow of the Gothic design.  Only clergy, cathedral staff, and those involved in funeral rites for an archbishop enter the crypt.

 


The Cathedral has two pipe organs. The Gallery Organ is located in the Choir Gallery below the Rose Window near the South Transept.  The Chancel Organ is in the North Ambulatory.  The first Gallery Organ was installed in 1879, and the following year the second organ was installed in the Chancel.

On January 30, 1928, a new Chancel Organ was dedicated.  Encased in a carved oak screen ornamented with Gothic elements of design and symbolism, its 1,480 pipes are located on the opposite side of the ambulatory.  This new organ required that the Gallery be extended to accommodate it, which resulted in the construction of a reinforced concrete extension.

The new Gallery Organ took three years to build and was dedicated on February 11, 1930.  Costing $250,000, it has one of the country’s most beautiful wood facades.  Adorned with angels and Latin inscriptions, it was designed by Robert J. Reiley and contains 7,855 pipes ranging in length from one-half inch to thirty-two feet. 

(See photo of Rose Window above).

 


Both organs underwent tonal changes in the 1940’s and 1950’s.  In the 1970’s and 1980’s, additional renovations were carried out. 

The cathedral contains several exhibits.  Of special interest is the Pietà, which stands in the north transept, near the entrance to the Lady Chapel, where the light and space allow visitors to approach it closely.

Carved from white marble, the Pietà follows a 19th‑century Romantic‑Gothic style, emphasising tenderness, sorrow, and maternal strength. Sculpted by American sculptor William Ordway Partridge, the monumental sculpture depicts the Virgin Mary cradling the body of Jesus after the Crucifixion. The sculpture is three times larger than Michelangelo's Pietà in St Peter's Basilica in the Vatican, Rome.  It is one of the cathedral’s most visited devotional artworks.

 

The cathedral contains a full set of 14 Stations of the Cross, arranged along the side aisles of the nave.  These depict the final journey of Jesus from His condemnation to His burial and form a meditative path for prayer and reflection. In 1893 they won an artistry prize at Chicago's World's Columbian Exposition.  

The stations are not simple plaques but large sculptural reliefs, that were crafted in the 19th century, in keeping with the cathedral’s Gothic Revival style.  Each station is framed with carved stone, rich detail, and expressive figures. The stations run sequentially along both aisles, creating a devotional path.
 

The cathedral itself underwent a restoration programme from 2012 to 2015 to clean the exterior marble, repair the flooring, steps and stained-glass windows, and paint the ceiling.  This was finished just prior to the visit of Pope Francis on 24th September 2015.

Three popes have visited St. Patrick’s Cathedral. Pope Paul VI in 1965, Pope John Paul II in 1979 and then again in 1995 and Pope Francis in 2015.  Their visits being commemorated with bronze busts in the cathedral’s vestibules.
 



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