Baltimore’s Basilica: The Nation’s First Cathedral

With its dome, gabled porch roof, and columns, most of the basilica’s exterior appears faithful to the architectural traditions of ancient Rome. But the twin spires are loosely inspired by Medieval Christian architecture, while the lack of symmetry from the front to the rear deviates from much neoclassical practice. Public Domain

In 1806, John Carroll, was America’s first Catholic bishop. His family was instrumental in the founding of the United States. Carroll had the satisfaction of seeing work commence on the new nation’s first cathedral. Now known as the Baltimore Basilica, the church is the greatest masterpiece of early America’s preeminent architect.

Best remembered for designing the original dome of Washington’s capitol building, Benjamin Henry Latrobe was in high demand at a time of prolific building. Carroll’s task for him, if far from simple, was at least straightforward.

Washington was being created from the ground up just 40 miles outside Baltimore. Its most important architectural works were designed in the neoclassicist style, which had become the unofficial architectural model of the new republic. Carroll wanted a cathedral to complement that project.

The exterior Latrobe design was primarily based on ancient Roman temples. Like Catholic churches, these were typically rectangular, deep from front to rear and narrow from side to side. Front porticoes with Ionic style columns and gabled roofs, all part of the Baltimore Basilica, were similarly standard.

A large dome that covers the sanctuary (and was possibly designed in collaboration with Thomas Jefferson) and twin spires at the front corners were built on that foundation. While these features aren’t generally found on Roman temples, the proportions and symmetry are exercises in pure classicism.

For the interior, Latrobe based his design on the standard arrangement of Christian churches—the basic cross shape formed by a central aisle leading to the sanctuary and two transepts.

Ready for use in 1821, the Baltimore Basilica wasn’t fully completed until 1863. Another 13 years would pass before it was consecrated by a man whose family would give the United States two presidents, Archbishop James Roosevelt Bayley.

The spire on the basilica’s left side displays a clock that can be seen on the side of the spire. The onion domes atop the spires were an uncommon choice for a Roman Catholic church. (Dan Hanscom/Shutterstock)  

The main entrance to the Baltimore Basilica, with tall double doors, is flanked by shorter single doors on either side. At close proximity, what can appear to be a white exterior is seen to consist of pale gray walls with white trim. (Ritu Manoj Jethani/Shutterstock)

A bright interior is among the key aesthetic features of the basilica. Light shining through its substantial windows can be seen farther in. The white and yellow of walls, pillars, and ceilings helps to preserve and enhance the illumination. Smallbones/CC0

The interior of the basilica’s “small dome” is located above the back of the nave. At its center and highest point, is a white ceiling edged with carved lilies. At the center is a dove symbolizing the Holy Spirit. Smallbones/CC0

On the sides of the high altar are the bishop’s chair (cathedra in Latin) and the pulpit, providing as close to a symmetrical arrangement as the tradition and requirements of Catholic ecclesial architecture allow for. (Felix Lipov/Shutterstock) 

The basilica's main altar is the focal point of attention from all directions. Red velvet on the chairs of the clergy and altar servers and the gentleness of the painting on the ceiling are features that subtly introduce a softer atmosphere than would otherwise be possible. Susan Natoli/Shutterstock

The choir loft and organ at the rear of the church. Dark paneling behind the organ and dark railings are some of the only exceptions to the basilica’s general reliance on paler, lighter colors. Ritu Manoj Jethani/Shutterstock

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