A full congregation of Sisters and Priests, parishioners, attend the Solemn Mass elevating the Basilica of Saint Mary to a Co-Cathedral of the Archdiocese of St. Paul and Minneapolis.
Mass celebrating the Basilica being named Co-Cathedral of the Archdiocese of St. Paul and Minneapolis. At center behind forward altar, Archbishop Leo Binz, flanked by Father Colbert and Father Gormely.
Aerial view from the southwest, showing the church, rectory and school. A foundation hole has been dug for the convent building. To the west, most homes and businesses have been razed to make way for construction of Interstate 94.
Female students from area parochial schools, cadets from St. Thomas Academy, and a crowd lines up to the steps of the church for the annual May Day Rosary Procession. Crowd extends up Hennepin Avenue. Current newspaper accounts noted some 30,000 people participated.
At center, Knights of Columbus line up down steps of the church, parochial school students to either side, for the annual May Day Rosary Procession. Crowds fill Hennepin Avenue some distance up the hill to the south. Current newspaper accounts noted some 30,000 people participated.
East view across the Laurel Avenue bridge in Minneapolis. To left, the Foshay Tower stands alone in the skyline, to center is the Basilica of Saint Mary, to the left is Dunwoody Institute. Predates construction of Interstate 94.
Church and rectory seen through trees along 16th Street North. Noted on reverse by the rector, "The New Look" - probably refers to recent work cleaning the stone and retuckpointing.
No. 952-A. Drawn by G.B.M. Two side-by-side drawings: Door no. 3, with symbols for Peter, Andrew, John and James. This drawing has been colored with orange and blue pencils; Remaining 7 doors prototype. Also a sketch indicating door locations.
During renovation work on the Basilica, workers hung lines from the front edifice and used these to reach stonework around the rose window for tuckpointing and other repairs.
The vested Basilica Boys' Choir stands and sings carols before the 5:00 a.m. Mass on Christmas morning. Choir director and organist George Bussman plays a small portable organ just outside the sacristy rail. Boys pictured include: Tommy Hendricks, Martin Strong, Tom Bennett, Danny Stone, and Laird Miller.
Nave and Sanctuary filled with floor to ceiling scaffolding. The pews and pulpit are covered with drop cloths. Taken during restoration work, which included repainting of the ceiling and cleaning the stone, plaster and marble work by the St. Paul Statuary Company.
Aerial view from the southwest, showing the rectory and school buildings. Taken before construction of Interstate 94, so shows homes and businesses in surrounding neighborhood.
On the occasion of his Golden Jubilee, Monsignor James Michael Reardon poses beside Archbishop John Gregory Murray, along with a group of priests and altar boys.
Prelates gather during Solemn Pontifical Mass in connection with the Consecration of the Basilica of Saint Mary. Archbishop John Gregory Murray, celebrant, flanked by other higher ranking clergy, reverences the altar.
Consecration of the altar of the shrine of St. Anthony. Consecrator Bishop James Morrison, Bishop of Antigonish, Nova Scotia, is assisted by Father Thomas J. McNamara.
Interior view of sanctuary during Consecration Mass of the Basilica of Saint Mary. Banners for the Ninth National Eucharistic Congress bedeck the pillars and baldachin.
Front exterior is hung with multiple banners. A number of Congress events were held at the church, and rector Father James M. Reardon was General Chairman of the event.
View from Hennepin Avenue of the church, hung with banners for the Ninth National Eucharistic Congress on the day of its Consecration. Father Hennepin Memorial is obscured by a tree.
Men march in front of and behind banner for the Basilica of Saint Mary. Basilica rector Rev. James M. Reardon served as General Chairman of the event, held June 23-26 at venues around the Twin Cities.
The Solemn Communion Class for 1937 poses on the front steps of the Basilica. Father James M. Reardon and four assistant priests stand at the top. Children include: Colleen Macintosh, Katherine Wolfe, Bonny Howard, Mary Iacona, Pat Haverty, Teddy Lotz, Anthony Mandile, George Mastros, Anthony Battaglia, Joe Battaglia, Russel Favorite, Sammy Iacona, Robert Iacona, Terrence Sweeny, and Danny Skay.
Panoramic photograph of the students of the Basilica School, grades 1 through 8. The children are posed on the south side steps of the school building.
In the pulpit, Archbishop John Gregory Murray preaches his first Pontifical Mass at the Basilica. Assisting were Father James Reardon (rector), Father Thomas Cullen (former rector).
Father Charles Doran, Assistant Priest, and Father James M. Reardon, Rector, pose holding a string of fish caught on Crooked Lake. The priests were visiting the cabin of parishioner Charles Linsmayer.
Composite panoramic photograph showing crowds gathered for the dedication of the Father Hennepin Memorial on the grounds of the Basilica. Clergy and Knights of Columbus process down the steps towards the monument. Homes and the Beldon Porter Co. are visible along 17th St. N.
Interior view of Basilica, Memorial Mass for Marshall Ferdinand Foch, Generalissimo of the allied forces in WWI. The mass was said the same day Foch was laid to rest at Notre Dame Cathedral in Paris. The sanctuary is hung with flags representing the allied nations. Cross and statuary are covered for Good Friday.
Color guard exits down front steps, past large crowds to either side. Leaving Memorial Mass said for Marshall Ferdinand Foch, Generalissimo of the allied forces in WWI. The Mass was said the same day Foch was laid to rest at Notre Dame Cathedral in Paris.
View from the rectory down the west side of the church. The Fawkes building, Hennepin Avenue United Methodist Church steeple, and businesses along Lyndale Avenue are visible in the distance.
Sheet no. 105. Side view detail of table legs, upswept swirls, with center floral carvings. Below swirls, Basilica seal of shield and umbrellino. Also side view of detail.
Sheet no. 226. Detail ornamentation and section view, also notes. A section of the drawing, which appears to have contained ""typical detail of the 4 symbols to be hammered in low relief in 4 panels"" has been cut away.
Untitled sketch. On left, rough outline of Calvary grouping as carved by sculptor John Garratti. On right, more complete sketch of alternative pieta statuary for the pillar location, with Mary holding Christ below a cloth-draped cross.
Sheet no. 8. Details showing return of cresting at rear of canopy. Metal framework structure. Plan of platform (lower platform in 4 sections for easy removal and storage).
Three separate sketches: Section ""X-X""(straight front view, cut away for half showing interior construction and measurements); Section on center line (side view into priest's side of confessional); Side Elevation (left side, door into priest's side). Also Half Plan at ""A-A"" sketch (view from above looking down on roof plan and interior).
Sheet no. 10. Notes: Seat of Best Quality Leather; spring cushion; Same detail on sides as shown for sedillia. Penciled in very lightly beside the chair is a priest figure.
Building no. 2, sheet no. 100. Notes: Make 1 thus for St. Joseph's Altar (Base detailed on sheet #2). Make 1 thus for Sacred Heart Altar with Base as detailed on sheet no. 101. Noted materials: Ebony inlay on cross, ivory corpus.
Untitled sketch. Includes canopy, throne, stools and a walnut platform. Canopy details include the Archdiocesan coat-of-arms, painted in color, gold leaf and velour drapery. Throne detail shows carvings on seat back and posts, and note a spring cushion of ""best quality leather""
Sheet no. 201. St. Joseph monogram, S-J encircled by lilies. Encased in circle, with leaf and berry motif around outside of circle frame. To be centered along center line of the altar.
The Choir of the Pro-Cathedral of Saint Mary poses with director Father Francis A. Missia outside the northeast door of the church. Mrs. Grace Long stands in the front row, 6th from the left.
Sketch of Chapel of the Immaculate Conception. Pillars, decorations, and Mary emerging from a cave, with another woman kneeling below. Chapel bears inscription,""Je suis l'immaculee conception,", and is marked ""traced"" by FAA (architect Frank A. Abrahamson) and dated.
Book containing announcements made at Sunday mass, including marriage banns, deaths, parish activities and news, annual financial reports. Also includes detailed accounting of the interior finish of the church and its elevation to a minor basilica. Book was also used as a scrapbook for programs and newspaper clippings pertaining to the church and Catholic events in the city.
View from the pews of the temporary altar, decorated with lillies and greens for Easter. Taken before the interior granite facing, stained glass windows and raised pulpit were installed.
Untitled sketch. Angels top the posts on the chair back, and a heraldic shield (possibly a bishop's coat-of-arms) is above the back cushion. To right, a very lightly sketched priest faces the chair, perhaps to show scale.
Sheet no. 213-A. Revised section through baptismal font basin showing additional drain from storage compartment. Also, small sketch detail of baptismal font lid in lower left corner.
Sheet no. 203. Framed scene, Christ at center greeting Mary, the Cross against his shoulder. A centurion stands behind him to the right, another sketchy figure to his left. Frame design is sketched in to upper right corner. Also measurements, notion for ""inscription." Stations were crafted by McBride Studios - New York and Pietrasanta, Italy.
Sheet no. 115. Larger image is fan/shell design for panel above gallery door. Along left side, detail of archway over fan, with Celtic interlinked circles, centered with florettes.
Sheet no. 115-A. Rose tavernelle marble bowl, leafy/swirl design along bowl, mirrored across row of pearls. Dome shaped piece to cover plumbing beneath.
Sheet no. 225. Notes: Bronze chains bearing spun bronze counter-weight filled with lead shot. Cover handles arranged as spring clips to hold cover in place.
Inscription for the seventh station,""Jesus Falls a Second Time," is at the top, with portions of marble framing sketched in. Below, other inscriptions are written out full scale.
Bldg. no. 112, sheet no. 13B. Three sketches with measurements: Plan (overhead, showing half-sketch of flush veneered cover); End Elevation with piping; Half Elevation / Half Section.
Sheet no. 106. Pilaster front and side elevations, with smaller front elevation showing placement of detail work. Cartouche topped with fleur-de-lis (a symbol of Mary), centered with crown. Below, cross rising from leafy decorations.
Sheet no. 117. Wreath of thorns around disc-shaped symbol (located on separate drawings), upright bow and ribbon around hanging grape cluster, grape/leaf robe drapery to second bow/ribbon.
Untitled. Pattern sheet for plaster ornamentation, grape clusters, vines and leaves separated by S-curves. Pattern is repeated decorating the narrow ribs cross the overhead arch of the nave. Pattern is broken by smaller rosettes half-way up each side, and at center by a large protruding florette.
Sheet no. 8. Three separate sketches: Front elevation (4 thus); Side section details (4 thus); Plan with framing and composition grille (4 thus). Also includes detailed notes on wood for cases, woodwork finish, decoration of metal pipes and composition work.
Sheet no. 211. Detail of plaster ornament runner; raised square rose panels; Celtic circular runner panels; Full scale cornice; Elevation showing stone omitted at back of altar (cross section/elevation with measurements).