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 are overwhelmingly Romanesque. most notably the rounded arches and lack of flying buttresses. But the spires’ disproportionately dramatic impact creates a rather Gothic overall appearance. Wangkun Jia/Shutterstock

In 1658, French colonists in the Canadian settlement of Beaupré set aside land for a new chapel. Beaupré was 25 miles from the rapidly expanding Quebec City. 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 Revivals 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 their appearance, they were made using new methods which 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 Pieta.

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

The 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 methods of production. Small sculptures can be seen on friezes above the columns. Kristi Blokhin/Shutterstock

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

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