Basilica of Sainte-Anne-de-Beaupré: Canada’s Cultural Gem

Saint Anne de Beaupré’s façade is typical of medieval churches, stressing similarities between the Romanesque and Gothic. Aside from the Gothic spires, its features, most notably the rounded arches and lack of flying buttresses, are overwhelmingly Romanesque. Yet the dramatic impact creates a rather Gothic appearance overall. Wangkun Jia/Shutterstock

In 1658, French colonists in the Canadian settlement of Beaupré, 25 miles from the rapidly expanding Québec City, set aside land for a new chapel. The chapel became a shrine housing a miraculous statue of St. Anne (the mother of the Virgin Mary). By 1676, the site was a popular place of pilgrimage and on the way to becoming home to one of Canada’s most remarkable works of ecclesial architecture: the Basilica of Sainte-Anne-de-Beaupré.

The basilica is reminiscent of some of the oldest cathedrals and abbeys in France. Originally dating from the 1600s and rebuilt many times, the structure was largely rebuilt in the Romanesque style following a 1922 fire. The cross-shaped design, rounded arches, radiating semicircular side chapels, and spire-topped towers reveal a foundational faithfulness to mostly Romanesque tradition.

But it is not purist. Many Romanesque and Gothic Revival architectural works were intended to look as though they had been built in the Middle Ages and remained unaltered. To increase authenticity, materials and techniques often followed medieval models as closely as possible.

Rather than take that approach, the basilica was as deliberately new as its basic style was deliberately traditional. The original stained-glass windows, seen throughout much of the basilica, are a perfect example. Authentically medieval in appearance, they were made using new methods that allow sunlight to better illuminate the interior, while giving the windows a translucent quality.

Less modern but also less medieval are the basilica’s statues. Many are from the 19th century. Another is a first-class copy of Michelangelo’s Pietà.

The doors of the basilica’s main entrance are made of copper and decorated with sculpted scenes from the life of Christ. A large image of Saint Anne is at the center of the sculpted frieze above them. Adrien Le Toux/Shutterstock

Romanesque rounded arches pervade the basilica’s interior. In addition to the arched ceiling, arches extend between the pillars and above the windows. On the sides, the shorter pillars and the arches between them help direct attention to the high altar by visually separating the pews from the side aisles and confessionals. Wilfredo Rafael Rodriguez Hernandez/CC0

The side chapel of Saint John the Baptist, patron saint of French Canadians, is adorned with a sculpture of him above the altar. The letters “SJB” can be seen on the semi-circular outer wall, on either side of the middle stained-glass window. Kristi Blokhin/Shutterstock

The left- and right-side aisles of the basilica display groined vaulting, with the intersecting round arches used to support the ceiling. Green, present in the ceiling's contrast decoration, is the color traditionally associated with Saint Anne, while blue and white, also present in the ceiling, are associated with her daughter, the Virgin Mary. The pillars give the impression of separation from the pews. Jay Thaker/Shutterstock

A large, circular rose window is directly over the basilica’s choir loft and central doorway. Its stained-glass panes are authentically medieval in their aesthetics but more translucent thanks to modern construction methods. Small sculptures can be seen on friezes above the columns. Kristi Blokhin/Shutterstock

Buttressing the basilica's walls are what are called engaged columns. Giving the appearance of slightly rectangular decorative features jutting out from the main walls, they in fact provide structural support to the basilica. Also emerging from the wall are two of the basilica’s 10 semicircular radiating chapels. Kylauf/Shutterstock

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