Without a doubt, the Quebecois residents of Canada, and especially the citizens of Montreal, have experienced a complex relationship with the Catholic Church. Travelling around the city, which encompasses most of the island of Montreal, Catholic heritage and symbolism are ubiquitous. The city sports hundreds of Catholic religious structures; churches, chapels, and monasteries, as well as some of North America’s most popular pilgrimage destinations. The Church’s ever-presence in the regional fabric can be felt in other ways as well; a number of French Canadian swear words, oddly, have originated from Catholic liturgical terminology.
The so-called “collapse” of Catholicism in Montreal, and Quebec more generally, has its roots in the 1960s, and is reflected in recent church closings and declining attendance from parishioners. By the Diocese’s own statistics, Mass attendance has dropped to just 2-4% of the population in Montreal, although according to The Economist, an overwhelming majority of 75% of Quebecois continue to identify as Catholic.
What, possibly, could reverse the tide of one of the most drastic historical declines in practicing Catholicism in the history of Francophone nations, or even the world? I would suggest the greatest asset the Church in Montreal could call on for re-evangelization is one it already possesses: houses of worship that are among the most impressive of North America. These churches, some of them architectural masterpieces, remain well-suited for ministering to the particularistic faith identity of the region. Accordingly, each structure described below has been designated as a minor basilica by Rome.
Typically, the spirit of any given region can be best summarized through the appearance of its cathedral. Montreal is no different; the Cathedral of Mary Queen of the World’s sprawling Neo-Baroque structure evokes many of the great cathedrals worldwide. A central dome, topped with a cupola, rests above the altar amid the transepts of its cruciform plan, with richly decorated coffers and paintings covering the walls and ceilings. Circumambulating the structure, one will encounter a progression of murals recounting the harrowing stories of North American martyrs, and the efforts of the early French clergy and settlers to convert First Nation populations. Along the top of the front façade, its towering, horizontal structure nearly obscuring the dome behind it from the street, rest bronze statues of the patron saints of Montreal. The façade implies direct inspiration from that of St. Peter’s Basilica, and a replica of the Basilica’s baldacchino confirms the Cathedral’s claim as a seat of Catholic authority in the Americas.
St. Patrick’s Basilica, a gothic revival structure also located in downtown Montreal, was originally established to serve the English-speaking community in Montreal. Marked by a central steeple, its English influences are visible in the many wooden elements of the interior, although marble is also employed frequently in its interior decoration. Hundreds of saints line the walls, painted into small niches, accompanied by an invocation for their prayers, and the Basilica has its many relics on public display.
The nation’s largest church, Saint Joseph’s Oratory, a national shrine located atop one of Mount Royal’s summits, is Montreal’s most popular pilgrimage destination. Constructed and operated by the Congregation of the Holy Cross, its crypt also contains the tomb of Saint Andre Bessette, C.S.C., a 20th century brother with a reputation for healing. Walls surrounding the crypt are filled with crutches in his honor, and the local population exhibits a clear devotion to their hometown saint. Claiming the title of the world’s largest shrine to St. Joseph, the massive exterior structure and dome encase both a substantial chapel for the crypt and a bold sanctuary above. Its nave is embellished with many architectural features of the Art Deco Movement, a style of creation rarely represented in Catholic churches, and a mural in mosaic lines the apse behind the altar.
Finally, a summary of Montreal’s Catholic churches would be incomplete without the inclusion of its Notre Dame Basilica. Resembling Paris’ cathedral of the same name, the Basilica is situated within the old city, not far from the waterfront of the St. Lawrence River. Inside, lavishly painted wood exudes a radiant coloration of blue, green, and red, coupled with the reflective quality of decorative patterns along its pillars. The equally-detailed Chapelle du Sacré-Coeur, built immediately behind the sanctuary, was rebuilt after damage from arson in the 1970s. Known for its choral performances and its “Aura” light shows, millions of visitors flock to its events annually. The two-part light show illuminates the whole of the sanctuary and highlights many architectural details, but is made for a general tourist audience and lacks any message of faith. For better or worse, Quebecois and tourists alike are willing to pay hefty prices to witness these events, which have become cultural icons of the city. Recalling the Church’s dramatic slip in filling the pews in Montreal throughout the past half-decade, perhaps the Basilica’s status as a tourist haven might act as a sort of remedy, if only to return the people to the Church.
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