In a historic city of many churches, each one unique in its background and architecture, the Cathedral of St. John the Baptist is a standout.

With its tall twin spires soaring over Lafayette Square, the Catholic edifice stands like a confident sentinel keeping watch over the faithful not only in Savannah, Ga., but also throughout the southeastern United States.

Many visitors have noted that, for sheer physical impressiveness, it rivals the much older basilicas and cathedrals of Europe.

And a fine place it will be to pray come June 24, solemnity of the birth of St. John the Baptist.

The Diocese of Savannah was erected by Pope Pius IX on July 19, 1850. The cornerstone for the cathedral was laid in 1873. The church, built in the French Gothic style, was dedicated three years later.

In 1898, a fire destroyed all but the four walls, marble altars and two windows in the apse. The church was rebuilt and rededicated in 1900, yet it was not consecrated until its debt was cleared in 1920. That’s why most of the finishing details — the iconography and appointments, for example — date to the early 1900s.

Everything along the nave directs our attention to the altar of sacrifice. First you encounter the 8,000-pound baptismal font installed during the $11.7 million restoration of 2000. Solid marble, it was carved in Carrara, Italy, and shipped to the port of Savannah. The side panels are identical to those found on the old high altar (now the reredos).

The baptistery floor was made in Pietrasanta, Italy. Embedded in the center of the font, calling to mind Savannah’s rich Irish heritage, is a Celtic knot. It’s a traditional Irish symbol of eternity.

Meanwhile the Latin inscription on the font quotes the Baptist: “He who sent me to baptize with water, he it is who baptizes with the Holy Spirit.”

Weighty Wonders

Seated in the pews, you find yourself surrounded by images that lift your heart up to the Lord. The three windows behind the main altar depict scenes from the life of St. John the Baptist. The large north transept window shows Christ’s ascension into heaven. The south transept shows the assumption of Mary. And the stained-glass windows from Innsbruck, Austria, notable works of sacred art in their own right, were installed after the fire of 1898.

The 14 Stations of the Cross, wood carvings from Germany, are powerful reminders of God’s love.

The murals, commissioned by Savannah artist Charles Murphy, were painted in the Gutsche Studio in New York City between 1900 and 1912. The people depicted above either side of the center aisle represent the communion of saints.

Your eye finally rests on the main altar, also carved in Italy from Carrara marble. The panels are identical to the ones on the old high altar and the baptismal font. The altar, weighing 9,000 pounds, is scripted in Latin: “Happy are they who have been called to the supper of the Lamb.”

The pulpit, which was crafted in Savannah by the Guenther Wood Group, stands to the right of the main altar. In the niches on its body are the symbols of the four Evangelists. These carvings were executed in Ortesi, Italy.

In the recess to the right of the main altar is the Altar of the Immaculate Conception, where the two windows that survived the 1898 fire are located. The deep red colors found in them appear in no other windows in the building.

Moving farther to the right, on what was at one time St. Anthony’s Altar, is the huge crucifix that stood next to the pulpit for many years.

The oak cathedra (bishop’s chair), a lovely example of American woodwork, sits to the left of the main altar.

Farther to the left, on the Sacred Heart altar, is the tabernacle. The altar of reservation was given by bishops and priests of the United States in response to Bishop Thomas Becker’s plea for funds after the fire of 1898. The inscription on its base reads: “From his priests to the Great High Priest.” (Bishop Becker died the year after the fire.)

The holy oils are housed in an ambry (recess) located in the northeast alcove to the left of the Blessed Sacrament Chapel. The black interior of the ambry is made of granite from Poland and the bronze door frames were cast in Como, Italy.

Seasonal Reasons

On the left side of the church, you will find the new confessional. It was designed to allow the penitent to confess face-to-face or behind a grill. It was crafted in Pittsburgh. The glass panels on the doors depict the barren desert (sin), the prodigal son (forgiveness) and the tree of life (new beginnings). 

The church’s acoustics are, you could say, “music-friendly.” Often organ and choral concerts are presented, especially during the Savannah Music Festival in the spring. The Noack pipe organ, originally built in Georgetown, Mass., was installed in 1987. The instrument is a tracker organ with 2,308 pipes. The case is made entirely of solid white oak, and the console is black walnut. These woods were chosen to blend with the cathedral’s furnishings.

Savannah hosts one of the largest St. Patrick’s Day celebrations in the country. From the day the grand marshal is elected until March 17 itself, the cathedral becomes the center of this great gala.

The Celtic Mass is held on the Sunday prior to St. Patrick’s Day. That day, early in the morning, all the Irish societies meet for breakfast. They then proceed to the cathedral for the celebration of Mass. The parade begins at 10 a.m. and passes the cathedral in review. On the church steps, the bishop blesses the grand marshal.

During the Christmas season, local citizens and people from afar make it a point to visit the cathedral; its beautiful decorations alone are worth the trip. From the elaborate crèche designed each year by Marist Brother Robert Sokolowski, to the 16-foot poinsettia tree donated by parishioners in honor of loved ones, the church resonates with the birth of Christ.

Just a few days ago, I was in attendance at a memorial Mass for the golden jubilee of a deceased clergyman. It was early evening. The Mass was concelebrated by two bishops and 12 priests. As the fading sunlight poured in through the stained-glass windows, the white marble of the altar sparkled and the gold of the vessels glistened. At the consecration, as the Host was elevated, “Panis Angelicus” rang out from the loft. It truly seemed like a taste of heaven.

But one does not have to attend a special celebration. Just come, sit and contemplate the beauty that surrounds you. You cannot help but feel Jesus’ presence in this cathedral named for the great saint who cleared Our Lord’s path.

Mary-Clark Rechtiene writes from Savannah, Georgia.

Planning Your Visit

The cathedral is open for touring any time Mass is not under way (or about to begin). For a Mass schedule and other information, go to savannahcathedral.org on the Internet.

Getting There

The cathedral is located at 222 East Harris St., on the corner of Abercorn and Harris streets. Its twin spires are visible from anywhere in the city. For driving directions, go to savannahcathedral.org on the Internet.