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The cathedral stands as both an affirmation and a reflection of the spiritual
power the Church represents among people. The
chair or cathedra-that from which the word cathedral is derived-refers to the
chair of the bishop and symbolizes his role as chief shepherd presiding over the
diocese.
This cathedral is the bishop's church. For
the faithful, it is where one expects to find the fullness of the liturgy,
exemplary in execution, even as one finds in the bishop the fullness of the
priesthood.
This cathedral is a diocesan gathering place.
The diversity and variety of the people, in their historic, cultural and
ethnic manifestations, find recognition and affirmation in the the art of Saint
Cecilia Cathedral and in the celebrations centered here.
As the bishop's church, this cathedral is the magnet for events involving
the Church beyond the natural bounds of the diocese.
Here the great issues and events of the day are reflected upon and
celebrated. It is a seat of culture
as well as cult, and as such, often witnesses the gathering of the larger
community when the fine arts, proportionate to our true stature as human beings,
are celebrated. Located on the
highest hill in Omaha, the cathedral can be seen for miles around.
Its bold presence proclaims that all are welcome here, for in Roman
Catholic tradition, it is Christ, in the person of the bishop and the assembly
over which he presides, who is our
host.
Begun in 1905 and consecrated in 1959, historic Saint Cecilia Cathedral is
the master work of renowned architect, Thomas Rogers Kimball.
Ranked among the ten largest cathedrals in the United at the time of its
completion, the structure is two hundred fifty-five feet in length, one hundred
fifty-eight feet in width and two hundred twenty-two feet in height.
The architectural style of the building is Spanish Renaissance Revival.
At the start of the century, the decision to employ this style
represented a bold departure from
the familiar European Gothic. Thomas
Kimball justified his choice because of the very early influence of Spain and
Mexico on the region and the fact that it was once part of the missionary area
subject to the See of Santiago, Cuba.
The cathedral interior was brought to completion following World War II.
The windows were created in the studio of Charles J. Connick of Boston
while much of the sculpture is the work of Albin Polasek.
The cathedral organs include a new dual-temperament instrument in the loft by
Martin Pasi installed in 2003, a portative located on the main level of the
nave, and a two manual instrument for the chapel both built by the Bedient
Organ Company of Lincoln, Nebraska.
About The Restoration of The Cathedral
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