In 1823, the parish of Notre-Dame decided to build a grand new church. A fifteen-member committee was formed to raise funds and select an architect for a structure that would be not only large enough to accommodate 8,000 worshippers but also the most beautiful in North America. For this ambitious project, they surprisingly chose James O’Donnell (1774-1830), a Protestant architect from New York.
O’Donnell, despite his religious background, embraced the Gothic Revival style that was gaining popularity in Europe and the United States. His design for Notre-Dame Church drew inspiration from iconic European churches such as the Notre-Dame de Paris and the Church of Saint-Sulpice, both located in Paris. This choice of style made O’Donnell’s creation the first church in Canada built in the Gothic Revival style. Remarkably, until the completion of St. Patrick’s Cathedral in New York in 1879, Notre-Dame Church stood as the largest house of worship in North America, regardless of denomination.
Construction began in 1824 and impressively concluded in 1829, taking only 35 months of work between April and October each year due to winter weather limitations. However, the bell towers took an additional decade to complete. Tragically, O’Donnell passed away in 1830, having converted to Catholicism on his deathbed. His significant contribution is honored with a crypt beneath the Basilica, marked by a commemorative plaque that remains visible to this day.
The West Tower, christened La Persévérance (Perseverance), was finalized in 1841. Since 1848, it has housed the massive bell Jean-Baptiste, weighing 10,900 kg, which was imported from England. The East Tower, named La Tempérance (Temperance), was completed in 1843 and contains a carillon of ten bells, also from the same English manufacturer.
Today, these bells chime every hour from 9 a.m. to 6 p.m., adding one ring per hour to mark the time. The melody is intentionally the same as the famous Westminster carillon played by Big Ben in London. At 6 p.m., the Angelus is sounded, consisting of three sets of three rings from the largest bell followed by a rapid peal from the three largest bells. Jean-Baptiste, the bourdon bell, is reserved for only the most solemn occasions.
The original Notre-Dame church was demolished in 1830, and its tower followed in 1843, coinciding with the completion of the new church’s twin towers. The new Notre-Dame Church stands directly across from the site of the old one. Faint outlines of the old church’s foundations can still be seen on the ground between the churchyard and Place d’Armes, offering a glimpse into the past.
In 1865, the façade of the church was enhanced with the addition of three large statues representing significant religious figures: St. Joseph, the patron saint of Canada; the Virgin Mary, the patron saint of Montréal; and St. John the Baptist, the patron saint of Quebec. However, the interior decoration remained incomplete during O’Donnell’s lifetime. This led to criticism at the time, particularly regarding the lighting. A window placed where the sanctuary is now located caused significant glare, backlighting the Mass ceremony and hindering visibility for the congregation.
Beginning in 1856, La Fabrique Notre-Dame initiated a review of the interior plans. Under the guidance of Montréal architect Victor Bourgeau (1809-1888), interior decorations were undertaken in phases from 1872 to 1875 and again from 1879 to 1880. Bourgeau’s final contribution before his death in 1888 was the Chaire de Vérité (The Pulpit of Truth), a highly ornate and striking element within the church. Louis-Philippe Hébert (1850-1917) executed the wood carvings adorning the pulpit, based on designs by sculptor Henri Bouriché (1826-1906) which Bourgeau had adapted. This collaborative effort resulted in one of the most admired features of the Notre-Dame Basilica of Montreal, located on Notre-Dame Street West in Montreal, QC, Canada, a testament to architectural vision and artistic dedication.
