HISTORY OF THE CATHEDRAL
HISTORY OF THE CATHEDRAL
OUR HISTORY
From the mighty Missouri, past the brooding Black Hills to the borders of Wyoming, from the rolling plains of North Dakota to the undulating sand hills of Nebraska, there in the Great Plains area is western South Dakota. This vast stretch of 43,000 square miles is our Rapid City Diocese.
At one time this country was populated only by the Lakota people. Great herds of buffalo thundered from horizon to horizon. The cry of “gold” changed the life of western South Dakota. Mining, farming and ranching developed and small settlements sprang up, grew and, in some cases, withered away. This area had its portion of famous and infamous people and its moments of romantic glory. Soon western South Dakota stabilized and our diocese became a story of sacrificial love and deep faith.
Our Catholic faith began with the native Lakota who were catechized by the early missionaries to South Dakota. The white settlers brought with them the memories of European cathedrals with spires raised like arms in prayer. To them it was a far different thing to have an occasional Mass said in a schoolhouse or celebrated on a kitchen table. In time, as priests became more plentiful and communities thrived, the circuit driving priests gave way to small wooden churches with small raised wooden spires. In larger communities, stone and brick churches became the homes of faith communities. In some communities, schools were added to assist parents in the formal education of their children in the ways of our faith.
This all meant sacrifice. This new land was not always kind. The Lakota knew well what the white settlers discovered. Drought browned the earth and dried up the water holes; grasshoppers darkened the sky; swift vengeful hail cut brutal swaths in the grain, and blizzards chilled and destroyed. Those who survived were people who had both hope and faith and who understood and lived the charity that marks our Catholic faith. Thus grew our Diocese of Rapid City. It did not grow by convulsive leaps and mighty instances of immediate heroism, but rather by daily growth built upon prayers, sacrifice and an intense desire to build a faith in what had once been a wilderness.
The original missionaries who shared the good news with the native Lakota were joined by additional priests and sisters. Their names are written in sacramental registries or forgotten records of one kind or another. The faith they lived and instilled in those they worked with remains strong in our diocese. In 1902, the Diocese of Lead was carved out of the Dakota Territory. In 1929, the see was transferred to Rapid City. During the last 123 years, Bishops Stariha, Busch, Lawler, McCarty, Dimmerling, Chaput, Cupich, Gruss, Muhich, and now Bishop Scott Bullock helped mold the spiritual progress and pattern of our Diocese.
On the edge of the Black Hills, sacred ground for the Lakota, the Cathedral of Our Lady of Perpetual Help was begun in 1960. It became the third Cathedral of our diocese following St. Patrick Church in Lead and Immaculate Conception Chapel near downtown Rapid City. Like the granite spires of the beautiful hills, the Cathedral of Our Lady of Perpetual Help reaches up to God. Like the sweeping vest prairie it expands into a sanctuary where God chooses to live on earth. Its steel girders and ordered stones reflect the faith of hard working and dedicated Catholics throughout the parishes and ages of our diocese who sacrificed to bring it to completion. Its stunning stained glass windows and beautiful art work lift the minds and hearts of our whole faithful diocesan family to the wonder of God’s magnificent presence with us. Our Blessed Mother, who is honored at the Cathedral, calls us to faithful discipleship in her Son through the many images that recount her own faithfulness to God in her Son Jesus.
Our Cathedral stands in our midst as a symbol of the strength of our faith. Whether it is Mass celebrated in a quiet town, a rosary recited in a remote ranch house, a prayer whispered by a child in one of our small town churches, or a magnificent burst of glorious music, our faith continues to stand strong and grow in our diocese. Our Cathedral is our collective spiritual home and the promise of God’s faithfulness for generations to come. On this 50th anniversary of the dedication of the Cathedral of Our Lady of Perpetual Help, we thank God in his Son Jesus through the power of the Holy Spirit for the great gift of our faith. We pray for all those who have gone before whose sacrifices have made this Cathedral and our Catholic faith live in our hearts today. We pray also for those yet to come, that the good work begun will be brought to completion to the honor and glory of God.
THE EXTERIOR
The Cathedral of Our Lady of Perpetual Help stands on a hill overlooking Rapid City. Modeled after the churches located in Bishop McCarty’s native eastern United States, the Cathedral is a unique structure on the western prairie of South Dakota. The structure is reinforced concrete with a stone shell. The whole structure encompasses 20,399 square feet. The exterior of the Cathedral is split face Mankato limestone from Minnesota. Cut Minnesota stone and buff Indiana limestone trim are also used on the exterior of the Cathedral. The exterior steps are black and white Cold Spring granite, and the railings are anodized aluminum. The portals in the main entrance are Cold Spring red granite.
The Main Entrance
The main entrance consists of three canopied double doors. The stained glass window doors were added in 1995 replacing the original wooden doors. They were created by Baut Studios in Pennsylvania. The images were taken from the Litany of Loreto which recalls the marvelous ways that Mary has been involved in the life of the Church and the disciples of her Son. Six of the ways Mary has been our intercessor before the Lord are shown in the windows. The symbolism of the images from left to right facing the doors from inside the entrance is:
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Mary as the Mirror of Justice. The window depicts the scales of justice resting on an upright sword. The scales remind us of the need for a right relationship with one another. The sword is a reminder that we are called to separate truth from falsehood in our relationships with each other. The Blessed Virgin in her relationship to her Son seeks to help us live in justice and right relationship with all people.
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Mary as the Health of the Sick. As Jesus’ Mother, Mary desires with her Son to bring healing and wholeness to our lives. The window shows crutches, symbol of our illness, crossed behind a red “M”, symbol of Mary. There are also two nails at the base, symbols of Jesus’ own suffering and Mary’s understanding of our suffering as well.
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Mary as the Queen of Peace. Giving Mary the title queen acknowledges her place as Queen Mother beside her Son, Christ the King. Mary brings with her Son peace to our lives. The dove holding the olive branch is an Old Testament image of peace that harkens back to the time of Noah and the flood. The dove who returned to the ark with an olive branch symbolizes the peace that had been restored to the earth.
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Mary as a Vessel of Honor. Mary is filled with the presence of God in her Son Jesus. The image of the covered cup with the Star of David on top, reminds us that Mary, a descendent of King David, received into herself the Lord and with him the great honor of being his Mother.
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Mary as the Mother of Good Counsel. The symbol on the door of the lamp of wisdom and learning recalls Mary’s role as the one who offers us her wisdom and leads us through reflection and study to believe in her Son. Her advice and counsel enable us to live as her Son’s disciples.
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Mary as the Refuge of Sinners. The last window shows a lily and a heart surrounded by a snake. Mary is represented by the flower and the heart. Although surrounded by sin, we are not lost. At the base of the image are the moon and the stars, also symbols of the honor given to Mary, the one who gave us Jesus who is our victory over sin. We can find in Mary a refuge as she embraces us in our sinfulness and leads us to her Son Jesus.
Above the doors are three mosaics. The center one depicts Christ the eternal teacher. The panel on the left shows St. Peter holding the symbolic keys of authority. The panel on the right is St. Paul with a sword. The sword represents the sword of truth. It is also the instrument used in Paul’s martyrdom. Over the entrance is the immense east window of the Cathedral, a multi-colored wall of heavy faceted glass panels glazed in a stone tracery. The cross atop the main entrance is nine feet. It is fashioned from wood, metal and gold leaf.
The South Exterior
The south entrance has a handicap accessible ramp built in 2008 that leads into the main church, Saint Joseph Hall, and Our Lady’s Chapel. The cross on the roof of the chapel is 30 feet tall. It is an open work fieche in anodized aluminum with gold leaf.
The North Exterior
To the right of the main entrance and connected to the narthex of the Cathedral stands a circular Baptistery surmounted by a slim bronze figure of St. John the Baptist. Flanking the nave on the north side is a slender graceful bell tower. It rises 107 feet and is adorned with stone tracery made from buff Bedford limestone and a gold cross reaching an additional 18 feet. It is made from wood, metal shell and gold leaf. Above the entrance at the base of the bell tower is a glass mosaic depicting Jesus, the Good Shepherd. Over the north entrance on the bell tower side of the Cathedral is a symbolic figure of the traditional Barc of Peter, the ship of the Church.
Exterior Images of Mary
On the exterior walls around the Cathedral there are stone reliefs depicting Our Lady of Lourdes (on the south exterior wall of Our Lady’s Chapel), Our Lady of Perpetual Help (over the east handicapped entrance to Our Lady’s Chapel), the Immaculate Heart of Mary (located over the south door below the main entrance) and the Pieta (located on the north side between the two stained glass windows of the Adoration Chapel).
THE MAIN ENTRANCE
The Episcopal Gallery
The main entrance of the Cathedral is 675 square feet. The floor is natural cleft slate stone and the walls are polished Mankato stone with Italian Verona marble trim. On the south wall are portraits and photographs of all the bishops in the history of the Diocese of Rapid City. They are arranged in order beginning with the first on the top left.
Bishop Stariha was the first Bishop of the Diocese of Lead. He was ordained bishop in St. Paul by Archbishop John Ireland and installed on November 23, 1902 at St. Patrick Cathedral in Lead, South Dakota. He was 57 at the time.
Bishop Joseph Busch succeeded Stariha on May 19, 1910. He was 44. Bishop Busch poured himself into his ministry and in the process incurred the wrath of the Homestake Mining Company for his defense of the miners. He lived in Rapid City and dedicated Immaculate Conception Chapel in 1911. This brick church on 5th Street in Rapid City would eventually become the Cathedral when the diocese was transferred to Rapid City. In 1915, Busch was transferred to St. Cloud, Minnesota.
Bishop John Lawler was installed in Lead on May 4, 1916. He was 54 and would lead the diocese for 33 years until his death in 1948. Bishop Lawler presided over the growth of the diocese establishing schools and hospitals and recruiting priests from the east coast and Ireland. He oversaw the transfer of the see from Lead to Rapid City which had grown to over 10,000 residents. He was a controversial leader, admired and despised. The chalice that was given to him by the priests of St. Paul/Minneapolis as an Episcopal ordination gift is still used at the Cathedral for special celebrations.
Bishop William McCarty, became the co-adjutor bishop in 1947 and succeeded Lawler in 1948. He was 59, a member of the Redemptorist Order and formerly an auxiliary bishop of New York who worked for the Military Ordinariate. McCarty presided over additional growth in the diocese. After outgrowing the Immaculate Conception Cathedral on 5th Street, Bishop McCarty’s crowning achievement was the creation of the Cathedral of Our Lady of Perpetual Help and Perpetual Help Grade School, both completed in 1962 as the Second Vatican Council was beginning. He retired seven years later.
Bishop Harold Dimmerling assumed the mantel of leadership with his Episcopal ordination in 1969. He was 55. He was charged with implementing the norms of Vatican II. Under him the Permanent Deaconate was revitalized, the West River Catholic born and Catholic Social Services created. Bishop Dimmerling, with all of Rapid City, also suffered through the flood of 1972. He died in 1987.
Bishop Charles Chaput, the current Archbishop of Philadelphia, was ordained in the Civic Center in July of 1988. Bishop Charles was 44 years old when he was selected to lead the diocese. He is a Franciscan and as our sixth bishop worked hard to expand upon the ministry of his predecessors. Bishop Chaput developed the social outreach of the diocese, built St. Thomas More High School on Cathedral property, established the Western South Dakota Catholic Foundation and served the Bishops’ Conference in several capacities. In 1997, he became the Archbishop of Denver, Colorado.
Bishop Blase Cupich, the current Archbishop of Chicago, was also ordained in the Civic Center in the fall of 1998. At 49 years, Bishop Blase hailed from Omaha, Nebraska. His energy and enthusiasm for his ministry and his love for his priests made him an effective leader of our growing diocese. He led the diocese through its centenary celebration and courageously stepped out to secure and develop the Terra Sancta Retreat Center and Catholic Grade School. As that project was getting underway, he was called to become the Bishop of Spokane, Washington.
Bishop Robert Gruss of Davenport, Iowa accepted the leadership of our diocese in 2011. As our current bishop, he shares a rich spirituality with our diocese and is developing the ministry of our diocese, standing on the shoulders of his predecessors.
Bishop Peter M. Muhich was ordained the 9th bishop of Rapid City on July 9, 2020. The Mass was held at the Cathedral of Our Lady of Perpetual Help, Rapid City. Covid-19 pandemic restrictions were in place and the faithful were asked to view the ordination by live-stream and television broadcast. He was born on May 13, 1961, in Eveleth, Minnesota. Bishop Muhich served on the Sister Thea Bowman Foundation Board of Directors, Pittsburgh, PA; Region VIII Bishops (Minnesota, North Dakota and South Dakota) representative to the United States Conference of Catholic Bishops (USCCB), 2021-2023; and the Washington, DC., USCCB Subcommittee on Native American Affairs, 2021-2024. He was the first bishop to hold office in the Main St. Chancery building in 2020. In June 2021, he issued a decree defining the diocesan parish boundaries. In July 2021, he established a convent for four Servants of the Pierced Hearts of Jesus and Mary from the Archdiocese of Miami. In 2022 he established the Flourishing Families Diocesan Strategic Planning Process to plan for the future of priests, parishes and Catholic ministry in western South Dakota. He passed away on February 17, 2024.
Bishop Scott E. Bullock was ordained the 10th Bishop of Rapid City, S.D. on September 23, 2024, at the Cathedral of Our Lady of Perpetual Help. Archbishop Bernard A. Hebda of the Archdiocese of St. Paul and Minneapolis was the principal consecrator, with 15 other bishops in attendance. Apostolic Delegate Cardinal Christophe Pierre of Washington, D.C. was present and read the letter of appointment from Pope Francis. For his Episcopal Motto, Bishop Bullock chose “Surgite Eamus” which translates “Rise, let us be on our way,” from Mt 26:46. According to Bishop Bullock the words from Jesus spur us to a life of fullness found through the Paschal Mystery of Jesus’ death and resurrection.
The other bishop whose portrait graces the entry way of the Cathedral is Archbishop John Ireland. He was the archbishop of St. Paul/Minneapolis and ordaining bishop of both Bishop Busch and Bishop Lawler. He was a great Church man and a great statesman.
Western South Dakota Memorial
In the southwest corner of the entry way is a brick from the Holy Door in St. Peter’s Basilica in Rome. The door was opened for the 2000 Holy Year. Below the brick is a book listing all the Cathedral parishioners who contributed to the Western South Dakota Catholic Foundation. In addition to this memorial there are other plaques in the entry in honor of various parishioners who have contributed to the Cathedral’s growth.
Madonna Image
The large round picture, on the north wall of the South entrance near Our Lady's Chapel, is a reproduction of Madonna of the Magnificat. The original was painted in 1609 by Sandro Botticelli. Mary is depicted holding the infant Jesus and being crowned by five adoring angels. For many years it hung in the stairway of the rectory. It was moved to the entry in 2010.
The Confessionals
After the renewal of the Sacrament of Confession following Vatican II, two storage areas, one by the northeast door and the other in the hall leading to the baptistery, were converted into confessionals.
THE BAPTISTRY
To the right of the main entrance, the 18-foot diameter circular baptistery is joined to the Cathedral Church by a short hallway. The gate is painted black metal patterned after water waves. Above the gate is a ceramic plaque which shows water flowing from a shell, a symbol of Baptism. The massive font of Verde Issarie Tipo marble is richly carved with the traditional symbols of Baptism. From the water of purification rises the cross of salvation and the fish, symbol of the Christian faithful through the power of the Holy Spirit.
As you step into the baptistery the wave-like windows separated by Rojo Alicanto marble pilasters give the appearance of water flowing around the entire space. Colorful symbols associated with Baptism and regeneration are decoratively integrated into the overall blue water background motif. Beginning on the left as you enter, the Old and New Testament symbols speak of our belief in the waters of salvation.
Moses stands in the parted waters of the crossing of the Red Sea as the chariot wheels float by. Through water, the people of God are ushered into a new land and a renewed life.
In the desert Moses strikes the rock at God’s invitation allowing water to flow out to nourish God’s people even in spite of their rebellious hearts.
Noah's ark carries Noah and his family to safety. The dove bringing an olive branch symbolizes the liberation and new beginning of God’s people through the water.
The Holy Spirit in the form of a dove symbolizes the creation of the world in Genesis giving new life to the created order. It also is a reminder of the Spirit descending on Jesus at the Jordan announcing the presence of the beloved Son who would bring salvation to all God’s people through his life, death and resurrection.
Balancing Noah’s ark is the ship of the Church. This is a traditional symbol of the Church buoyed on the waters of Baptism. The faithful remain safe in the ship of the Church on the sometimes-turbulent seas of life.
The white garment and candle given in baptism symbolize the new life in Christ that those who are baptized receive. Clothed in resurrection glory, the faithful also share in the light who is Christ.
The cross, tree, and serpent recall the sin of Adam and Eve. This original sin which we inherit in our human nature is washed away in the water that flowed from the side of the crucified Jesus symbolized in the cross.
Above the font a metal sculpture of the Holy Spirit with seven flames depicts the gift of the Holy Spirit given to those baptized below.
The floor in the baptistery made from Golden Mélange marble and Red Verona marble, recalls the ancient baptisteries of the early Church. They were rooms with pools in the center. The faithful would come into the baptistery from one side, disrobe and walk into the pool of water. The water would be poured over the whole person and they would dress in a white garment and emerge out the opposite side cleansed and freed from sin.
THE SANCTUARY
The Communion Rail
The Communion rail is the first structure one encounters in approaching the sanctuary. When the Cathedral was first dedicated, Communion was ministered to the faithful at this rail that runs across the full width of the sanctuary. It retains the openness and simplicity of the whole Cathedral design. The rail and its round supports are of Botticino marble while the carved panels of grapes and wheat are Verde Antique marble. Today it is not used but remains a sacred object in the Cathedral.
The Sanctuary Railing and Ambos
The sanctuary of the Cathedral is marked by a forged and tooled parapet rail of bronze with a wooden cap railing. Incorporated in the parapet rail are two ambos (lectern or podium). In the pre-Vatican II liturgy, the south ambo was used for the proclamation of the gospel and the north ambo was used for the reading of the other parts of the scripture. Today the south ambo is used for the proclamation of the whole Liturgy of the Word during the celebration of the Mass and other sacraments and devotions. The north ambo is used by the cantor to announce the musical selections and lead the assembly in song. The south ambo is made from Verde Antique marble. The frontal is a carved and gilded eagle, symbolizing St. John. The north ambo is of the same marble and the frontal is symbolic of St. Paul, the sword of truth and the scripture book.
The Sanctuary Flooring
The sanctuary is 48 feet high, 50 feet wide and 71 feet deep. The steps leading to the sanctuary are Swedish Silfolino marble. The floor in the sanctuary is a combination of terrazzo stone (polished cement with imbedded small stone aggregate) and Verde Antique marble. The predella steps leading up to the bishop’s chair and the former high altar are a geometric pattern of Verde Antique and Botticino marble.
The Bishop’s Cathedra or Chair
The bishop’s cathedra or chair stands just inside the railing to the left as you face the sanctuary. It is hand carved solid walnut. It rests on Botticino marble predella steps. The wood engraved and hand painted coat of arms above the cathedra seat is the Bishop’s Coat of Arms. The left side is the Coat of Arms of the Diocese of Rapid City and the right side is the Coat of Arms of Bishop Gruss. The Coat of Arms of the Diocese of Rapid City shows three black triangular peaks, called piles, meant to represent the Black Hills of South Dakota. They are depicted with shamrocks at their peaks, to allude to Saint Patrick, the patron saint of the church in Lead, which served as the first cathedral of the diocese from 1902 to 1930. The background of the shield is painted gold (Or) as a reminder of the gold ore which once drew many prospectors and settlers to the region. The green (vert) region at the base of the shield recalls the rich ranch land on which many South Dakotans past and present have relied for their livelihood; it is charged with a gold circle reminiscent of the sacred circle of the Lakota people and their belief in the interconnectedness of all created things. The white wavy stripe alludes to the Missouri River, the eastern boundary of the diocese.
This mystery of the Lord's sacred humanity and of his infinite love, "even unto death" (Phil 2:8), is central not only to the bishop's coat of arms, but to his identity and ministry as a priest and a bishop. The responsibility to love and to sacrifice in imitation of Jesus Christ is further recalled in the motto inscribed on the scroll below the shield. The phrase is taken from the words of the Lord to his apostles at the Last Supper: "There is no greater love than to lay down one's life for one's friends" (John 15:13).
The shield is ensigned with external elements that identify the bearer as a bishop. A gold processional cross appears behind the shield. The galero or "pilgrim's hat" is used heraldically in various colors and with specific numbers of tassels to indicate the rank of a bearer of a coat of arms. A bishop uses a green galero with three rows of green tassels
In designing the shield, a bishop has an opportunity to depict various aspects of his own life and heritage and to highlight particular aspects of Catholic faith and devotion that are important to him. A diocesan bishop shows his commitment to the flock he shepherds by “impaling” his personal coat of arms with that of the diocese.
The coat of arms of the Diocese of Rapid City is represented on the left side of the shield. Three black triangular peaks, called piles, represent the Black Hills of South Dakota. They are peaked with shamrocks, a reference to Saint Patrick, the patron of the church in Lead, which served as the first cathedral of the diocese from 1902-1930. The gold background symbolizes the gold mined in the Black Hills and the wavy white line represents the Missouri River, which forms the eastern border of the diocese. The green region at the base of the shield represents the rich ranch land on which many South Dakotans rely for their livelihood. It is charged with a golden circle reminiscent of the Lakota people and their belief in the interconnectedness of all created things.
The personal coat of arms of the bishop is represented on the right half of the shield. Bishop Bullock has chosen three symbols that represent the Holy Spirit, the Holy Scriptures/the Word, and the Blessed Virgin Mary. Behind the symbols, the shield is blue, symbolic of Our Lady. At the top of these three symbols is a white dove, surmounting a halo of golden rays, a representation of the Holy Spirit, “the Lord and giver of life,” who is the power of God by which the “Word became flesh” (Jn 1:14). Across the middle of the shield is a horizontal gold bar, called a “fess.” On the fess is an open book with parchment-colored pages, bound in a mulberry cover. The book represents the inspired Holy Scriptures, the Word of God, the very center of a bishop’s teaching ministry. At the same time, the book also suggests the written word in a more general sense, alluding to bishop’s love of literature, which he taught at the college level. Below the fess is a letter “M” in gold, symbolic of Mary upon whom the Holy Spirit descended and by whom, by Mary’s consent, the “Word became flesh.” This Marian symbol was borrowed from the shield of Saint John Paul II, a lifetime hero of the bishop and who was the reigning pope when bishop was ordained a deacon and a priest. Altogether, the three symbols speak of God’s life and salvation, bestowed by the descent of the Holy Spirit, coming in the Word and through the humanity given by the Mother of God, in Jesus Christ. That saving humanity is offered each time we gather at the source and summit of the Christian life, the Eucharist, where the Word becomes flesh for our salvation.
Atop the cathedra canopy is a wooden gilded replica of a bishop’s miter. The miter is the hat worn by the bishop in liturgical ceremonies to symbolize his special dignity as the leader of our local Church.
The Choir Stall Seating and Decoration
The walnut choir stalls on the south side of the sanctuary near the cathedra are used by the altar servers. On the north side toward the front of the sanctuary the original choir stalls were replaced in 2009 with chairs used by various musicians that lead the music at the Cathedral. The baby grand piano was purchased in 1989. The choir stalls toward the back of the sanctuary, across from each other and on either side of the former high altar are used by the priests when there is a diocesan celebration.
The framing around the west and north sanctuary openings are carved walnut. The wooden blinds on the west wall were added more recently.
The Altars, Baldchin, and Icon of Our Lady of Perpetual Help
When the Cathedral was dedicated, the high altar was the only altar used for the celebration of the Mass. In the original design of the space, the visual and ritual focus of the Cathedral was this high altar with the tabernacle in its center and the large icon of Our Lady of Perpetual Help hanging above. After the Second Vatican Council, an altar made of Botticino marble was placed toward the front of the sanctuary. The tabernacle was moved to the Sacred Heart Chapel. Due to its size and the expense of moving the former high altar, it has been left where it was originally placed. The candles and crucifix also remain on the high altar and these, together with the icon, form a beautiful setting for the action of the Eucharistic sacrifice.
The high altar is off-white Botticino marble. The letters on the front of it are the same Greek letters located in the upper left corner of the icon that hangs above. They are an abbreviation which means Mother of God. The hand-crafted candlesticks are bronze with a rich blue and green vitreous enamel in the center. The cross is of bronze with a delicately hand-carved ivory corpus.
Over the high altar hangs the Our Lady of Perpetual Help icon, Patroness of the Cathedral. This icon is hand painted on a selected composition panel overlaid with pure gold leaf. This is the largest known replica of the original 11th century icon located in Our Lady of Perpetual Help Church in Rome. This majestically proportioned reproduction bears the official seal of the Redemptorists, (the religious order Bishop McCarty belonged to) attesting to its excellence as a sensitive and accurate interpretation of the original. Mary wears a dark red dress representing the passion of Jesus and a blue mantle representing her perpetual virginity. Her veil symbolizes her pure modesty and the star on her forehead signifies her role as Star of the Sea. The icon depicts Mary comforting Jesus. His dangling sandal suggests his rapid movement toward his Mother when he was frightened by the vision of his crucifixion. Jesus looks at the Angels; Michael (left) who holds the lance and sponge on a hyssop reed and Gabriel (right) who holds the three-bar cross and nails. This cross was used by popes at the time of the creation of the icon. Mary gazes at us reminding us of her desire to comfort us as she comforts her Son. It is a reminder that she truly is “our” mother of perpetual help. The Greek letters are the names of those in the icon, 'MP-ΘΥ (Μήτηρ Θεού,) Mother of God, OAM Archangel Michael, OAΓ Archangel Gabriel and Iς-Xς ( Ἰησοῦς Χριστός,) Jesus Christ, The icon is framed by a choir of carved, gilded and burnished angelic hosts. The icon is attached to a free-standing reredos of deep tones which rises from the sanctuary floor. This curved wall of marble and smalto chips is over powdered with gold mosaic and accented with fused gold ceramic fleur de lis.
The High Altar baldachin rises on slim bronze standards. These support an arched bronze canopy which subtly repeats the curve of the roof above. The canopy with a relief symbol of the Holy Spirit surrounded by seven flames is vividly touched with vitreous enamel and supports a spire of three bronze crowns completed with a cross.
THE NAVE
The Floor, Walls and Doors
The floor is light buff terrazzo stone trimmed with Verde Antique marble. The space is 61 feet tall, 50 feet wide, and 235 feet long. The pilasters and outside aisle walls are light green Swedish Silfolino marble and the upper walls are painted plaster.
The doors that lead into the main church in all the entrances are oak with leather trim attached with brass brads.
The Unknown Tower Space and Surrounding Decoration
On the north wall there is an opening covered with decorative stone lattice work behind which is housed some of the pipes used for the organ. What it was originally intended for is unclear and whatever it was, it was not realized in the years following the dedication of the new Cathedral. Above this opening is a ceramic plaque depicting the sainted Pope Pius X. It was Pius X who established the Diocese of Lead in 1902. Below the opening for the pipes is a marble rendition of the three leafed shamrock representing the Holy Trinity. It also recalls the original St. Patrick Cathedral in Lead and perhaps even Bishop McCarty’s Irish heritage.
The Saint Windows
The eighteen majestic clerestory windows offer a varied scriptural and historical ensemble of saints associated with or devoted to Our Lady. These saints are described in a palette of rich colors and composed against a flowing abstract background. Beginning with the sanctuary windows on the north side and moving clockwise around the Cathedral interior toward the south side of the Sanctuary, the following Saints and their identifying symbols are pictured.
ST. JOSEPH, the spouse of Mary, is depicted as a strong young man holding a lily, the symbol of chastity. He devoted his life to the protection of Mary and the raising of Jesus.
ST. ELIZABETH is the cousin of Mary and mother of St. John the Baptist. At the visitation when Mary came to her door, Elizabeth was made aware of the presence of Christ and acknowledged Mary to be the Mother of God.
ST. JOACHIM was the father of Mary. Christian legend says that when mocked for being childless in old age, Joachim fasted for forty days in the desert until an angel announced that he and Anne would have a child.
ST. ANNE was Mary’s mother. She is holding a book since her example and teaching prepared Mary for a faithful life. Christian legend tells us that an angel appeared to Anne in her old age telling her she would conceive and that the fruit of her womb “shall be blessed by all the world.”
ST. LUKE is the evangelist who so beautifully recorded the infancy of Jesus. He is pictured holding an icon of the Madonna and Child recalling the miraculous icon Salus Populi Romani ascribed to him and enshrined in St. Mary Major’s Basilica in Rome
ST. IRENAEUS was the saintly Bishop of Lyons and a great Catholic theologian. He holds a palm, symbol of his martyrdom and a lighted torch of knowledge. Irenaeus, whose name means “peacemaker,” made the comparison of Eve, the first woman, with the second Eve, Mary the Mother of Jesus.
ST. CYRIL OF ALEXANDRIA is a doctor of the Church. He wrote in defense of the divine motherhood and thus holds aloft a book whose cover bears the image of a mother and child.
ST. EPHRAM is also a doctor of the Church and the deacon of Edessa. He is also called The Son of the Cyrians, hence the symbolic sun overhead. Ephram was a great champion of Marian Theology. His writings support the Immaculate Conception.
ST. ANSELM, the holy Archbishop of Canterbury is shown vested with the pallium, the collar vestment of an archbishop. He lived in England, was long known as Our Lady’s Dowry, and wrote in defense of the Immaculate Conception. Tradition states that the Blessed Virgin Mary appeared to Anselm and he is credited with miracles.
ST. DOMINIC founded the Order of Preachers, the Dominicans. His right hand is in a gesture of teaching with the symbol of the star overhead and the open book. He holds the lily of chastity in his left hand. His Order furthered devotion to the rosary.
ST. SIMON STOCK, an English Carmelite, was blessed with the vision of Our Lady who entrusted to him and the Carmelites propagation of the devotion of her Scapular. She declared to him, “This shall be the privilege of you and for all Carmelites that whosoever dies in the habit shall be saved.”
ST. BERNARD, yet another great doctor of the Church, according to tradition was favored with the vision of Our Lady. He frequently wrote about and was especially devoted to Our Blessed Mother. More than three hundred sermons were recorded, as well as five hundred letters, all demonstrating his devotion to the Blessed Virgin Mary and the infant Jesus.
ST. BONAVENTURE was a Franciscan Bishop who introduced the praying of the Angelus into this order and instituted the Saturday Mass in honor of the Blessed Virgin. He also wrote on the nativity and the Assumption of Our Lady.
ST. IGNATIUS LOYOLA founded the Jesuits. Determined to be a saint, he embarked on a pilgrimage to the Benedictine monastery and the miraculous Black Madonna of Montserrat. There, dressed in sackcloth, he confessed his sins, and placed his sword on the altar of the Blessed Virgin to whom he dedicated himself as a knight. While praying in the cave of the Madonna, Our Lady appeared to him.
ST. ALPHONSUS whose devotion to Our Lady was manifested in countless ways in his writings, was also a doctor of the Church. He wrote The Glories of Mary and the Little Office of the Immaculate Conception. The Redemptorist Order, which he founded, has promoted worldwide devotion of Our Lady under the title of Perpetual Help.
ST. JOHN EUDES founded the Congregation of Jesus and Mary and initiated devotion to the Sacred Heart. He is depicted holding aloft a flaming heart. St. John introduced the Badge of the Sacred Hearts of Jesus and Mary.
ST. CATHERINE LABOURE is among the very special women saints to whom Our Lady has appeared. After she received visions of Our Lady in the chapel of Rue de Bac, she introduced devotion to the now and ever popular miraculous medal honoring the Immaculate Conception. St. Catherine is dressed in the habit of a Daughter of Charity.
ST. BERNADETTE OF LOURDES is depicted not as the religious sister she became but as the simple and pious peasant girl who was honored by the great series of visions over a century ago. Our Lady revealed to St. Bernadette that she was the Immaculate Conception and encouraged her to pray the Rosary.
The Rosary Windows
The side aisle windows depict the mysteries of Jesus’ life prayed in the original fifteen mysteries of the rosary. Set against a unifying flow of background forms, the individual scenes and symbols are sensitively rendered with great care and attention given to the modeling of the facial and garment features. The mysteries begin on the south side of the nave nearest the sanctuary.
THE ANNUNCIATION shows Gabriel announcing the conception of Jesus to Mary. The Holy Spirit is posed over a vase with a lily of purity, symbol of Mary. A quarter moon and thirteen stars and the monogram MR recall Mary as queen (in Latin regina) of heaven and earth.
THE VISITATION reveals Mary coming to visit Elizabeth while Zachary watches from the door. Below is the symbol of the enclosed garden complementing the theme of Mary’s virginity.
THE NATIVITY depicts the birth of Christ with Mary and Joseph on either side and the ox and ass below.
THE PRESENTATION AND THE FINDING IN THE TEMPLE shows Simeon uttering his prayer of rejoicing as a sword symbolically pierces Mary’s heart at the prophecy. Mary and Joseph discover Jesus in the temple; one of the doctors holds a scroll with the Hebraic word “Peace.” Below is the book and scroll with the Alpha and Omega, a reminder that Christ is the beginning and the end of all things.
THE AGONY IN THE GARDEN reveals the Apostles sleeping as Judas leads the soldiers to take Jesus. He meanwhile assents to the will of his Father and accepts the cup of suffering.
THE SCOURGING AND CROWNING WITH THORNS represents Christ scourged at the pillar and then crowned with thorns. The symbols speak of Pilate washing his hands. The orb represents the world and the alpha and omega remind us that Jesus is the first and the last, the king of the whole world.
THE CARRYING OF THE CROSS AND CRUCIFIXION depicts Jesus’ suffering and death. Throughout the scene are symbols. The veil represents Veronica wiping Jesus’ face. The dice and the garment represent the stripping. The key reminds us that through his death the gates of heaven were unlocked.
THE RESURRECTION window shows Christ as he triumphantly emerges from the tomb while the three holy women approach with jars of ointment.
THE ASCENSION scene shows the footprints of Christ left on the mountain top as he ascends to the welcoming hand of his Father in heaven. Mary is shown witnessing this event with the apostles.
THE DESCENT OF THE HOLY SPIRIT shows the Holy Spirit enveloping the apostles and Mary.
THE ASSUMPTION speaks of our belief that Mary was assumed into heaven body and soul to share the fullness of Christ’s promise of eternal life. The apostles stand about her flower filled tomb.
THE CORONATION window shows Mary crowned as queen of heaven. The angels are surrounded in glory by the Trinity.
The Stations of the Cross
Below the saint windows, set in relief over the arches of the nave wall are the Stations of the Cross in hand carved wood. The garments are rendered in gold, gilded with accented highlights. The flesh is created from bleached ivory. The titles of the stations reflect St. Alphonsus Ligouri’s Way of the Cross. St Alphonsus was the founder of the Redemptorist Order, the order that Bishop McCarty belonged to.
The Angelic Choir
A Della Robbia choir of robed singing angels fashioned in ceramic bas-relief adorns the choir balustrade. It was made for the Cathedral in Florence, Italy,
The Confessionals
When it was dedicated, the Cathedral had four confessional areas, each with a central door for the priest and a door on either side for the penitent. Not long after the Cathedral's dedication, the two confessional areas under the choir loft have been converted to storage closets. The confessional areas to the north and south sides of the nave near the sanctuary have been converted into shrines dedicated to Saint Kateri Tekawitha and Blessed John Paul II. The Saint Kateri shrine will house a statue of her. The medicine wheel, a symbol of unity and the coming together of all nations, will be located on the wall. Devotional candles and kneelers will allow the faithful to offer prayers to God through the intercession of this Native American saint. In this shrine the Lakota people who first embraced Catholicism in western South Dakota will have a memorial to their faith in God and his Church. The Blessed John Paul Shrine will also have a statue of this modern-day saint. His coat of arms which includes the symbol of Mary will adorn the wall of this shrine. Like the other shrine, there will be devotional candles and kneelers allowing the faithful to remember with love and devotion this Holy Father who ushered in a renewal of our Catholic faith. Upon the more recent renewal of the Sacrament of Confession following Vatican II, two storage areas, one by the northeast door and the other in the hall leading to the baptistery, were converted back into confessionals.
The Pews
The pews made of light oak and originally held 1000 parishioners. In 2007, the front pews on either side were reconfigured to create handicapped seating. Wooden crosses were added to the face of the pews in the main aisle to designate where the hospitality ministers start and pick up the baskets during collections at various liturgical celebrations.
THE NORTH ENTRANCE
The north entrance holds a charcoal reproduction of the Assumption of Mary by Andrea del Sarto, Florence, Italy 1526-29. It was drawn free hand by Cathedral parishioner Leah Nixon and presented to the Cathedral in 2010.
Once inside the north entrance, on the east side is the shrine of St. Joseph. It has a white Botticino altar with paleotto of Macchia Vecchia marble. The life size original carved wood figure of St. Joseph is surrounded by four wood carved symbols from the Litany of St. Joseph. To the right, above “Renowned Offspring of David,” is the Star of David with a crown, a symbol of David’s house and descendants one of which is Jesus in his human origins. The pyramid, home and palm on the upper right represent the years the Holy Family spent in Egypt with St. Joseph as “Diligent Protector of Christ,” On the lower left is a typical American home, backed by a cross and dedicated to St. Joseph as “Glory of Family Life of the Home.” On the lower right the façade of St. Peter’s Basilica in Rome proclaims St. Joseph as “Patron of the Universal Church.” It is fitting that the shrine is dedicated to St. Joseph as “Patron of the Working Man” in appreciation for the good work enjoyed by so many in the Cathedral parish and the Diocese of Rapid City.
The Adoration Chapel is officially called Sacred Heart Chapel. The floor is Ozark Formasa marble and Light Clifdale marble. The walls are also Light Clifdale marble. It has a Red Botticino marble altar with a paleotto of booked Moroccan onyx accented on either side by panels of Rosso Rubino marble. The back wall is treated in a geometric pattern of Botticino marble framed in African mahogany. Decorative gold leaves adorn the mahogany framing. The life size hand-carved wood figure of Christ stands with outstretched arms in a symbolic gesture of His all-embracing love. A canopy of Venetian red polychrome linden wood accented with burnished gold carvings is over the altar. Illuminating the chapel, the inspiring text of the Litany of the Sacred Heart is beautifully described in a series of contrasting rich colored glass forming an over-all devotional and decorative pattern.
In 1985, the chapel was enclosed in glass and the tabernacle was moved from the former high altar to this location. The tabernacle matches the décor of the former high altar candle stands and crucifix. The bronze tabernacle is adorned with blue and green vitreous enamel and etchings of adoring angels. Now called the Adoration Chapel, this is a place for quiet prayer and meditation. In 2024 the tabernacle was returned to the former high altar.
THE SOUTH ENTRANCE
The corresponding space in the south handicap entrance is occupied by a chapel dedicated to St. Patrick, Patron of the first Cathedral of the Rapid City Diocese. The altar is white Botticino marble, and the predella is Verde Issori Tipo. The life-size figure of St. Patrick executed in full color mosaic, is surrounded by four symbols pertinent to his life. In the upper left is the ship signifying the journey of St. Patrick from France to Ireland. Balancing this on the right side is the bell which St. Patrick took with him; this is still in existence in Ireland. On the lower left is the Easter fire St. Patrick lit in defiance of the Druid’s pagan custom. The lower right symbol represents the typical early Irish Church which owes so much to its patron, St. Patrick.
Across from the St. Patrick shrine is the elevator to the lower level. In the space that was formerly a staircase; the elevator was installed in 1995. The external doors leading to the original staircase were removed and a granite plaque in honor of the Guardian Angel was added.
Saint Joseph Hall updates coming soon!
OUR LADY'S CHAPEL
To the south of the main sanctuary is Our Lady’s Chapel. It can be accessed through glass doors off the main sanctuary, through a security door located on the east side, or through a hallway ramp off the main south entrance. It is 30 feet high, 30 feet wide and 55 feet long. The side walls are painted plaster and walnut wainscot paneling. The floor is terrazzo trimmed in Red Leranto marble.
The Chapel Sanctuary
The floor of the sanctuary is Red Leranto and Golden Mélange marble. The walls are Golden Mélange marble as well. The original altar on the back sanctuary wall is a Botticino altar top with carved columns. Behind this altar is a paleotto of Verde St. Deny’s al Contro marble. Following the Second Vatican Council, the wooden altar that is currently used for Mass was added and the mahogany Communion rail was removed.
On the back wall, above the original altar is a depiction of the Coronation of Mary as Queen of Heaven and Earth. The figures are of wood, gilded with burnished highlights. God the Father with a long beard is envisioned as an old man holding the earth symbolizing creation. Jesus Christ is a younger man wearing a crown to symbolize his kingship and holding a cross topped scepter, symbol of his authority and power. The Holy Spirit is envisioned as a dove hovering over the scene. The Blessed Mother, kneeling in prayer, is receiving a crown as two adoring angels look on. A sunburst completes the inspiring statement. “Mother of God, pray for us” is the plea of all of us who witness this moment in our faith.
The presider’s chair in Our Lady’s Chapel is the cathedra from the former cathedral. It was refinished before being placed in the chapel.
The Chapel Windows
The tapering clerestory windows in this chapel impart a muted yet rich color palette. The symbols in the windows are from the Litany of Loretto and honor the Blessed Virgin as Mirror of Justice, Mystical Rose, Tower of David, Queen of Angels, Queen of Martyrs and Queen of Peace. Like the main church this chapel has small bronze plaques of the Stations of the Cross.
The Nave
The interior of Our Lady’s Chapel was repainted pale ecru with brown accent trim in the ceiling and windows in 2011. In the chapel is a Roger Alexandria electronic organ. The Reconciliation Room on the east wall of the chapel was remodeled at the same time the new Reconciliation Rooms in the main church were completed.
The pews are laminated African walnut. The seat backs are designed to flip backwards so that the chapel can be used for overflow crowds during major feast days and special events. In 2011 a portion of the front pew curtain on the left side was removed to allow for handicapped seating. The back pews on both sides were removed in 2012 to make it easier to place a casket in the back of the chapel during funerals. Currently the chapel holds about 160 people.
THE BELLS
Originally a carillon was designed and installed in the tower by Schulmeric Carillons, Incorporated. It combined the basic “Basilican” bell system with the multi-toned “Americana” unit. The “Basilican” carillon conformed exactly to the Bells of St. Peter’s Basilica in Rome from the standpoint of tonality and program. The “Americana” unit consisted of 110 miniature bell units.
Due to age and the unavailability of radio tubes, the carillon was replaced in 2012 with a computerized bell system.
THE CHOIR LOFT
The loft was originally designed to hold 200. A Three Manual Baldwin Electronic Organ was originally installed in the Cathedral. It was replaced in 1983 with the current pipe organ. This 60 rank pipe organ, the Opus 2659, was designed by the Casavant Freres Company in Quebec, Canada. The console of the organ is located in the Choir Gallery over the main entrance of the Cathedral. The pipes are located in the remodeled choir area and also in the open space on the north wall behind the bell tower.
in 2024, the piano was also moved from the sanctuary to the choir loft further limiting the amount of space for choir members and instrumentalists. Today the loft can comfortably seat about 50.
THE SOUND SYSTEM
The original Cathedral sound system consisted of a cluster of speaker horns in the ceiling which are still visible there. Installation of a new sound system was begun in 2001 and completed in 2011. The long speakers hanging in and around the sanctuary and on each pillar in the nave of the church were added in these sound system renovations.
SAINT JOSEPH HALL
Construction of Saint Joseph Hall began on May 7, 2022. The first phase of its construction was the relocation of the baptistry from the south side of the Cathedral to the north. To that end, a wooden ramp was erected for handicap access, and the baptistry, encircled in stained glass windows, was removed piece by piece from the south side for reconstruction on the north side of the church.
Saint Joseph Hall construction continued until the spring of 2024 and the ribbon cutting was held May 7, 2024 - the 61st anniversary of the cathedral dedication. Despite the Saint Joseph Hall being open, a second phase of construction continued through the summer and fall of 2024 in the basement; restroom renovations, building of permanent classrooms and meeting spaces, and renovation of the kitchen into a new Knights of Columbus Hall.
THE CATHEDRAL HALL
The lower level of the Cathedral has a large social hall complete with a stage, projection and amplification system. There are also meeting rooms, a nursery, bathrooms, storage areas and, a fully equipped kitchen. In 2000 the Cathedral Hall was remodeled, and moveable walls were installed to allow for greater flexibility in the use of the large open space.
In the summer of 2024, as part of the Saint Joseph Hall construction, the Cathedral Hall was renovated further. Classrooms were added, the stage was removed, and the kitchen was renovated into the Knights of Columbus Hall. These renovations were completed in late 2024 and on January 15, 2025, the new (and renamed) All Saints Hall was dedicated.