Notre-Dame Basilica of Montréal

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Table of Contents

Introduction
The Architect and Founder
The Notre-Dame Basilica during the Day
The Notre-Dame Basilica at Night
The Notre-Dame Basilica during winter
Conclusion
Works Cited

Introduction

Notre-Dame Basilica, in French Basilique Notre-Dame de Montréal, located in the heart of Old Montreal, overlooks the Place d’Armes. While its interior dates back to the mid and late –nineteenth century , the Notre-Dame Basilica of the City of Montreal has not been given the recognition it deserves for its excellent Gothic revival architecture whose exterior up to now still stands as it was designed between 1823 and 1829. As a monument, it symbolizes the Gothic revival spirit during that period in time when the Roman Catholic Sulpician Order arrived in Montreal in 1657. Even historians consider its construction as some kind of incomprehensible dream despite the lack of proper recognition. (Toker, pg 10-12).

Since the late 16^th century, the Notre-Dame together with the Vieux share a place in the d’Armes , the stylish deco Aldred edifice, Montreal’s one of the first skyscraper- the Bank of Montreal house together with the central monument to de maisonneuve, founder of the original settlement of Ville-Marie. Not only is the church of Notre-Dame a rational product of church architecture of Quebecois tradition, but also involves the admiral factors that best illustrate the Gothic resurgence movement overall. Except for the name, Montreal’s Notre-Dame Basilica has no similarity what so ever with the Notre-Dame in Paris. This Basilica was built a much older spot that had a much petite church that could not accommodate the ever increasing number of its parishioners, the neogothic Notre-Dame Basilica’s work commenced way back in 1829. The interior took a long time to be completed due to the craftsmanship of sculpting the entire interior.

Some of the key features that make this monument unique include the rich altarpiece, -tipped polychrome carvings, statues, paintings as well as stained glass windows that characterize its beautiful and lavish interiors. This building had its ceiling embellished in deep azure with gold stars and the rest of the structure was designed in polychrome of lilacs, ceruleans, azures, silver and gold as well. Its gigantic bell referred to as the “le Gros Bourdon” that happens to be the heaviest bell in the western hemisphere that weighs over 12 tons along with its notable Casavant organ.

The Architect and Founder

Opened in 1829, Notre-Dame became the largest church in North America after its construction was completed. James O’Donnell, a protestant by faith architect from New York, was assigned to come up with the blue print for the Neo-Gothic style that was chosen by the Sulpicians which was very popular then. So that he could be buried under this church, O’Donnell later converted to Roman Catholicism on his death bed on realizing that his protestant church could not accept to bury him. O’Donnell also happens to be the only person buried in the Notre-Dame Basilica crypt. The Neo-Gothic style he designed proved to be the high point of his career as an architect though he never lived to see the finished product of his work. He had vast experience of designing very large projects and his personal preference was Gothic. Found at the time in the United States, O’Donnell worked in the usual sort of “Meeting House Gothic”. In Ireland, he had come to know “Rococo Gothic” which he used to create more lavish interior details. All this knowledge he had for over a decade made him the most ideal person to design the Notre-Dame Basilica which was not only massive but also Gothic in style. (Toker, pg 20-23).

Equipped with vast experience in handling massive projects as well as sound knowledge in Gothic designs, O’Donnell’s only challenge was planning a church three times bigger than any he had seen in the United States. Left on his own as a free agent after the building committee gave him the general measurements and showed him the site where he church was to be built, O’Donnell incorporated features of other buildings he had high regard for into the design for the Notre-Dame Basilica. Though he did not make use of the several inspirational sources, the final design was an original creation (Toker, pg 10-12).

Appearing in France in 1800, the notion of having twin towers placed at the end of a flat parapet was not a new idea. O’Donnell completed the Notre-Dame Basilica design in 1824 and it was to four hundred thousand dollars to construct it. The other problem O’Donnell faced while designing the Notre-Dame Basilica was the exterior. The process of designing the exterior was more complicated than arranging the interior because the exterior had to visually resonate with the whole city of Montreal. From every point in Montreal, the two towers are visible. Due to the fact that the Notre-Dame Basilica’s location could be a fair distance from main populated areas physically, O’Donnell decided to give the Notre-Dame Basilica a visual dominance over the city.

This church was not only a work of art but also served as a historical document that depicted the social as well as national aspirations of the community. The erection of the Church of Notre-Dame turned out to be one of the boldest structural projects of the nineteenth century. Also known as the “wedding chapel”, the Sacred Heart Chapel is located behind the Basilica which after going down because of a fire was rebuilt in 1980 by sculptor Charles Daudelin with all its original décor as well as a modern bronze altarpiece in place. Under the supervision of Victor Bourgeau, the structure’s interior was rebuilt in the year 1870s that added features that were daintily designed polychrome wood adorned in gold leaf. Worshippers as well as visitors are usually mesmerized by the star-spangled vault, a masterpiece of decorative art by Louise Philippe Hebert and Henri Bouriche. (Toker, pg 32-34)

Selection of art work from the 17^th to 20^th centuries such as paintings, stained glass sculptures that belong to the Basilica’s sacred art collection are all very impressive to both worshippers as well as visitors. The sketches were designed to appeal to the audience’s civic pride as well as glorifying the architecture of the expanding city. In Montreal’s culture life, the Basilica plays an important role as it occasionally hosts regular concerts that sometimes use the 1891 Casavant organ and relayed to the masses via television.Notre-Dame Basilica in Montreal is a magnificent Neo-Gothic church large enough to accommodate 4,000 worshippers with its interior furnishings that are simply breathtaking. During a visit to the city on April 21, 1982 by Pope John Paul the second, Notre-Dame church was elevated to the status of a minor basilica. Canada’s 15^th prime minister, Pierre Trudeau state funeral took place at this site in 2000. It also was the same venue for Celine Dion’s wedding to Rene Angelil in 1994.

Notre-Dame Basilica’s interior is the most stunning of the hundreds of churches on the island of Montreal. Cast in bronze by Charles Daudelin of Montreal, the altar has 32 panels that represent birth, life, as well as death. The eastern tower has a ten-bell carillon while more than 12 tons massive single bell is in the west tower. Tolled only on special occasions, this massive bell has a low, resonant rumble that vibrates right up through your feet. Unlike other churches, the Notre-Dame Basilica’s stained-glass windows along the sanctuary walls are not biblical; instead they illustrate the religious history of Montreal. During every festive season i.e. in December of every year, Notre-Dame Basilica presents different musical programs of harmonic and instrument performances as a custom among several Montrealers for them to attend the yearly recitals of Handel’s messiah.

The Notre-Dame Basilica during the Day

During the day, the Notre-Dame Basilica is an imposing structure in the city’s skyline with its ancient and yet breathtaking design especially being located at the city center. It’s quite visible from a distance with its two Gothic towers. It’s one of the main tourist attractions in Montreal which also illustrates the religious history of the city. The Notre-Dame Basilica is one of the most beautiful monuments in Montreal that is open to both worshippers as well as visitors for a fee. The high walls incorporated with large windows keeps the inside well laminated. Apart from the great lamination of the inside, these large windows also keep it well ventilated throughout. While inside, the stained glass windows lets in just enough light that creates not only a holy ambience but a serene one as well.

The Notre-Dame Basilica at Night

When the night falls, the Notre-Dame Basilica is illuminated from the outside by powerful bulbs whose light bounces off these reflective ancient building turning it to a spectacle. The view from across Place d’Armes is the most magnificent during night time. The stained glass windows add ceiling looks magnificent at night when lights are switched on. Tuesday through Saturday evenings, sound and light show is offered that details the history of the Notre-Dame Basilica. For those who go there to attend mass, it’s free, while visitors are charged $ 5.00 as entry fee. Tickets for the light show are sold at $ 10 for 18+ adults, $9 for seniors whereas children and young adults buy them for just $5 (Toker, pg 50-55).

The Notre-Dame Basilica during winter

During snow fall, the Notre-Dame Basilica appears so surreal. Words alone cannot describe its beauty. When the snow falls, it actually compliments this ancient monument and takes its beauty to a level beyond imagination. The Notre-Dame Basilica is warmed in winter by means of heated air which is a much safer and better method compared to other means that are not only costly but dangerous as well. With all these unique features, it’s practically impossible to find more ideal beauty of this magnitude.

The Notre-Dame Basilica went through five stages before it was finally completed. The five stages included: the clearance of the site and planning, the laying of the foundation in the year 1823 and 1824, in 1825 and 1826 the erection of the exterior walls begun, the erection of the interior structure in 1827, completion of the ceiling and part of the woodwork in 1828 and in 1829 the painting and decoration started. The entire project was directed by O’Donnell himself both as architect as well as superintendent of construction. O’Donnell worked with other four chief foremen. They were good and experienced in their respective areas of specialty. One was a master stonecutter, the other master mason, the third was a master carpenter and the fourth chief foreman was a master blacksmith. During the peak periods each summer, two hundred and fifty workers were working on the Notre-Dame Basilica project. There were those who worked as volunteers or work crew members dispatched by the militia.

The other paid laborers were from nearby areas and came to work either before or after harvesting. There was work for everyone, both skilled and unskilled. The work that involved transportation of stones, erecting the scaffolding as well as lifting material up the walls was done by the least skilled laborers who were paid fifty cents a day. The skilled laborers were the masons, timber workers and joiners got paid one dollar per day for their services. (Toker,pg 56-60)

Each building season, O’Donnell was entrusted with extra responsibility of handling detailed estimates of the amount of building material as well as the required labor during the course of construction. These estimates are the ones that combine to give the total amount of money that was spend to construct the Notre-Dame Basilica. One of the major commercial exploits at the beginning of nineteenth century Canada came about during the negations for the continuous supply of building materials. The agents for this very purpose came from London, New York, Boston as well as the native Quebec. Stone and wood were the two materials that needed greatest attention. The best cut limestone came from the quarries of “Mile End” a district one and a half miles west of Notre-Dame, while the pine, fir, cedar and oak were cut from the surrounding forests of what is now referred to as Williamsburg, Ontario. (Toker)

The hard blue-grey, relatively expensive to cut but very durable Montreal limestone was used for both the nine-foot high foundation walls as well as the throughout the building. Except for the façade, the pointed joints of the Notre-Dame Basilica have stood the test of time and have not necessitated a major renovation. Very limited architectural hand-books were used by O’Donell in creating the decoration of the Notre-Dame Basilica. Most probably copied from a plate XX of Batty Langly’s gothic Architecture, the pulpit and gallery railings were ornamented with a pattern of three superimposed narrow ovals.

During the time the Notre-Dame Basilica was being constructed, there was only one book of Gothic designs which could have really helped O’Donell to decorate the Notre-Dame Basilica. Specimens of gothic Architecture was the name of the book that was both archeologically correct and quite easy to replicate, though there is no evidence that suggests that O’Donell did use it because of his different opinion of Gothic was not of stone but one of plaster and wood. A ground floor pew at Notre-Dame Basilica cost 15 pounds or 60 dollars a year. Therefore for a laborer to rent a good pew in The Notre-Dame Basilica, he would have to work for 120 days (Toker,80-82).

Conclusion

The Notre-Dame Basilica was the first outstanding example of Gothic Revival architecture in Canada. When it was finally completed, it was the largest building in North America. It’s not only a work of art but also a great representation of the social as well as communal aspirations back then in the nineteenth century. The Notre-Dame Basilica represents the epitome of O’Donnell’s career as an architect. The Notre-Dame Basilica is simply fascinating, it offers a kind of informed, wide and yet very articulate interpretation that is required to put the work in context and give it a definition. The Notre-Dame Basilica offers remarkable harmony, interdenominational and interracial surrounding the commission of its construction. The way it was constructed was quite resourceful especially the range of plates, the early prints, the historical photos, the stained glass, the architect’s drawings as well as its aerial view was a work of art. The Notre-Dame Basilica won the Alice Davis Hitchcook Book Award of the Society of Architectural Historians for being the most distinguished work of scholarship in the history of architecture in 1970 that was published by a North American scholar. The Notre-Dame Basilica still lives on despite the fact that it’s an ancient building. The Notre-Dame Basilica still captures the spirit of Montreal and it is still intact. No major repairs have been carried out on The Notre-Dame Basilica because of the durable building material that was used on it.

Works Cited

Toker, Franklin. The Church of Notre-Dame in Montreal: An Architectural History. New York: McGill-Queen’s Press – MQUP, 1991.

Notre-Dame Basilica. Web.

The old Seminary. Web.

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