La cathédrale catholique Sainte Marie de Sydney (St Mary's Cathedral en anglais) est le siège du cardinal-archevêque de Sydney. D'architecture gothique, elle est située au cœur de la ville de Sydney. C'est de là que, le 19 juillet 2008, le pape Benoît XVI présenta les excuses officielles de l'Église catholique aux enfants et familles d'enfants ayant été victimes d'abus sexuels de la part de religieux.

La première cathédrale
Alors que la ville de Sydney avait été fondée en 1788, à l'époque colonie pénitentiaire anglaise, les premiers représentants officiels de l'Église Catholique Romaine ne débarquèrent en Australie qu'en 1820. Le père John Joseph Therry arriva à Sydney cette année-là, et chercha rapidement un site pour construire une église. Ayant d'abord postulé pour un site sur Darling Harbour, dans la partie Ouest de Sydney, ce fut finalement le site actuel de la cathédrale qui lui fut attribué, dans l'Est de la ville. Ce site présentait l'indéniable avantage d'être facilement visible d'une grande partie de la ville.
La première pierre de la première cathédrale Sainte-Marie fut posée le 29 octobre 1821 par le gouverneur Lachlan Macquarie, et un édifice de style gothiquefut rapidement construit. En 1851, elle fut modifiée selon les plans de l'architecte Augustus Pugin. Mais le 29 juin 1865, la cathédrale prend feu et est détruite.

Construction
Immédiatement après, une levée de fonds fut lancée par l'archidiacre en place, dans l'idée de bâtir une plus grande structure. Une église provisoire en bois fut construite, mais fut également détruite par le feu en 1869. John Polding, qui avait été nommé archevêque en 1835 (il fut d'ailleurs le premier en Australie), fit appel à William Wardel, un élève de Pugin, et lui donna carte blanche. Il lui a écrit : "Any plan, any style, anything that is beautiful and grand, to the extent of our power. Ce qui pourrait se traduire par "N'importe quel style, n'importe quel plan, n'importe quoi pourvu que ce soit beau et grand, pour étendre notre influence."
Polding posa lui-même la première pierre de cette seconde cathédrale en 1868. Il mourut en 1877, sans voir la fin de la construction. Les travaux continuèrent de longues années. La nef, commencée en 1913, fut achevée en 1928. La décoration intérieure se poursuivit encore jusqu'en 1968.
Entre 1998 et 2000, pour marquer l'entrée dans le nouveau millénaire, les flèches initialement dessinées par Wardell furent enfin construites, amenant la cathédrale à l'aspect qu'on lui connaît aujourd'hui.

Architecture
Dans la tradition chrétienne occidentale, les cathédrales sont de préférence orientées selon l'axe Est-Ouest. Ici, à cause du relief et du positionnement par rapport au reste de la ville, il était plus facile de la bâtir selon l'axe Nord-Sud. Pour le reste, la cathédrale Sainte-Marie est en tous points similaire aux églises gothiques telles qu'elles ont pu être construites en Europe, avec un plan général en forme de croix, et deux grandes tours symétriques de part et d'autre de la porte principale.

Style
La cathédrale Sainte-Marie est très révélatrice du style néogothique du XIXe siècle. S'inscrivant dans la lignée d'autres projets récemment achevés, comme la cathédrale Saint-Andrew de Sydney dessinée par Edmund Blacket, elle les surpasse cependant par sa taille, que sa situation met en valeur.

Extérieur
Les façades latérales sont elles aussi de style gothique, avec de grands vitraux en ogives et des contreforts soutenant des arc-boutants. Si la majeure partie de la cathédrale est plutôt d'inspiration anglaise, la façade Sud aurait été inspirée par les cathédrales françaises. Certains lui prêtent même une lointaine ressemblance avec Notre-Dame de Paris. Les deux flèches ont cependant été inspirées de la cathédrale de Lichfield en Angleterre. Ses deux grandes flèches culminant à 75 mètres d'altitude font d'elle la quatrième cathédrale la plus haute d'Australie, après celles de Saint-Patrick et de Saint Paul à Melbourne, et celle du Sacré-Cœur à Bendigo.

Intérieur
Le grès donne à l'intérieur de la cathédrale une couleur ocre et chaleureuse. Cette impression de chaleur est renforcée par le toit en cèdre rouge et un éclairage artificiel principalement jaune. Des chapiteaux sculptés, ainsi que de nombreuses statues de saints viennent compléter la décoration. Les vitraux s'éloignent un peu du style gothique pour un style plus riche du début du XXe siècle. Ils représentent (pour une quarantaine d'entre eux) de nombreuses scènes bibliques. Ils ont fait l'objet d'un travail qui s'étala sur près de 50 ans. Notons aussi la présence de trois grandes rosaces, qui rappellent celles des cathédrales gothiques européennes.

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History
Sydney was colonised on 26 January 1788, as a penal settlement, governed in the name of King George III by Captain Arthur Phillip, for prisoners transported from Britain. A good number of the people to arrive in Sydney at that time were military, some with wives and family. There were also a number of free settlers. The colony was chaplained by the Reverend Richard Johnson of the Church of England. No specific provision was made for the religious needs of those many convicts and settlers who were Roman Catholic. To redress this, an Irish Catholic pastor, the Rev. Father O'Flynn, travelled to the colony of New South Wales, but as he arrived without government sanction, he was sent home. It was not until 1820 that two priests, a Father Conolly and Father John Therry, arrived to officially minister to the Roman Catholics in Australia. Father Conolly went to Tasmania and Father Therry remained in Sydney. It is claimed that on the day of his arrival, Therry had a vision of a mighty church of golden stone dedicated to the Blessed Virgin Mary raising its twin spires above the city of Sydney. This vision came to pass, but not until after 180 years and three intermediate buildings. Father Therry applied for a grant of land on which to build a church. He asked for land on the western side of Sydney, towards Darling Harbour. But the land allocated to him was towards the East, adjacent to a number of the Governor, Lachlan Macquarie's building projects, the hospital of 1811, the Hyde Park Barracks and St James' Anglican church which was also used as a law court. The site for the Catholic church overlooked a barren area upon which the bricks for Macquarie's buildings were made. The area is now Hyde Park, with avenues of trees and the Archibald Fountain. The foundation stone for the first St Mary's was laid on 29 October 1821 by Governor Macquarie. It was a simple cruciform stone structure which paid homage to the rising fashion for the Gothic style in its pointed windows and pinnacles. In 1835, the Most Reverend John Polding became the first archbishop of the Roman Catholic Church in Australia. In 1851 the church was modified to the designs of Augustus Welby Pugin. Father Therry died on 25 May 1864. On 29 June 1865, the church caught fire and was destroyed. The then archdeacon, Father McEnroe, immediately set about planning and fund raising in order to build the present cathedral, based upon a plan drawn up by Archbishop Polding. Polding wrote to William Wardell, a pupil of Augustus Welby Pugin, the most prominent architect of the Gothic Revival movement. Polding was impressed with Wardell's building of St John's College at Sydney University. In his letter, Polding gives Wardell a completely free hand in the design, saying "Any plan, any style, anything that is beautiful and grand, to the extent of our power. Wardell had also designed and commenced work on St Patrick's Cathedral, Melbourne in 1858. There were to be two intermediate stages. A temporary wooden church was constructed, which was also destroyed by fire in the summer of 1869. The third temporary provision was a sturdy brick building on the site, not of the cathedral but of St Mary's School, which it was to serve long after the present structure was in use. Archbishop Polding laid the foundation stone for the present cathedral in 1868. It was to be a huge and ambitious structure with a wide nave and aisle and three towers. Polding did not live to see it in use as he died in 1877. Five years later, on 8 September 1882, his successor, Archbishop Vaughan, presided at the dedication mass. Archbishop Vaughan gave the peal of bells which were rung for the first time on that day. Vaughan died while in England in 1883. The cathedral's builder (for this stage) was John Young, who also built a large sandstone house in the Gothic Revival style known as The Abbey in Annandale, New South Wales. The Abbey incorporated gargoyles which, according to rumour, had been stolen from St Mary's. But St Mary's was still far from finished, the work proceeding under Cardinal Moran. In 1913 Archbishop Kelly laid the foundation stone for the nave, which continued under the architects Hennessy, Hennessy and Co. In 1928 Kelly dedicated the nave in time for the commencement of the 29th International Eucharistic Congress. A slight difference of colour and texture of the sandstone on the internal walls marks the division between the first and second stage of building. The decoration and enrichment of the cathedral continued with the remains of Archbishop Vaughan being returned to Sydney and buried within the Chapel of the Irish Saints. The richly decorated crypt which enshrines the bodies of many of the early priests and bishops was not completed until 1961 when it was dedicated by Cardinal Gilroy. For many years the two squared-off towers of the façade gave a disappointing appearance to an otherwise-elegant building. It was from time to time suggested pinnacles should be put up to match the central tower as it appeared plain that William Wardell's proposed spires would never be built. But with the assistance of a grant from the Government to mark the new millennium, the spires were eventually built in 2000. In 2008, St Mary's Cathedral became the focus of World Youth Day 2008 and was visited by Pope Benedict XVI who, in his homily on 19 July, made the historic full apology for child sex abuse by Catholic priests in Australia, of whom 107 have been committed by the courts.

Architecture
St Mary's Cathedral is unusual among the world's large cathedrals in that, because of its size, the plan of the city around it and the fall of the land, it is oriented in a north-south direction rather than the usual east-west. The liturgical East End is at the north and the West Front is to the south. The plan of the cathedral is a conventional English cathedral plan, cruciform in shape, with a tower over the crossing of the nave and transepts and twin towers at the West Front (in this case, the south). The chancel is square-ended, like the chancels of Licoln, York and several other English cathedrals. There are three processional doors in the south with additional entrances conveniently placed in the transept facades so that they lead from Hyde Park and from the presbytery buildings and school adjacent the cathedral. The architecture is typical of the Gothic Revival of the 19th century, inspired by the journals of the Cambridge Camden Society, the writings of John Ruskin and the architecture of Augustus Welby Pugin. At the time that the foundation stone was laid, the architect Edmund Blacket had just completed Sydney's very much smaller Anglican cathedral in the Perpendicular Gothic style and the Main Building of Sydney University. St Mary's, when William Wardell's plan was realised, was to be a much larger, more imposing and more sombre structure than the pretty little St Andrew's and, because of its fortuitous siting, still dominates many views of the city despite the high-rise buildings. The style of the cathedral is Geometric Decorated Gothic, the archaeological antecedent being the ecclesiastical architecture of late 13th century England. It is based fairly closely on the style of Lincoln Cathedral, the tracery of the huge chancel window being almost a replica of that at Lincoln. The lateral view of the building from Hyde Park is marked by the regular progression of Gothic windows with pointed arches and simple tracery. The upper roofline is finished with a pierced parapet, broken by decorative gables above the clerestorey windows, above which rises a steeply pitched slate roof with many small dormers in the French manner. The roofline of the aisles is decorated with carved bosses between the sturdy buttresses which support flying buttresss to the clerestorey. Facing Hyde Park, the transept provides the usual mode of public entrance, as is common in many French cathedrals, and has richly decorated doors which, unlike those of the main front, have had their carved details completed and demonstrate the skills of local craftsmen in both designing and carving in the Gothic style. Included in the foliate bosses are Australian native plants such as the waratah, floral emblem of New South Wales. The appearance of St Mary's Cathedral to a visitor approaching from the city is through Hyde Park, where the transept front and central tower rise up behind the Archibald Fountain. The gardeners have further enhanced the vista by laying out a garden on the cathedral side of the park in which the plantings, over the years, have often taken the form of a cross. Despite the many English features of the architecture including its interior and chancel termination, the entrance façade is not English at all. It is a design loosely based on the most famous of all Gothic west fronts, that of Notre Dame de Paris with its balance of vertical and horizontal features, its three huge portals and its central rose window. There are two more large rose windows, one in each of the transepts. The French façade was, however, intended to have twin stone spires like those of Lichfield Cathedral, but they were not to be put in place until 132 years after the building was commenced. The crossing tower, which holds the bells, is quite stocky but its silhouette is made elegant by the provision of tall crocketted pinnacles. The completed spires of the main front enhance the view of the cathedral along College Street and particularly the ceremonial approach from the flight of stairs in front of the cathedral. Standing at 74.6 metres (245 ft), they make St Mary's the fourth tallest church in Australia, after the triple-spired St Patrick's Cathedral, Melbourne, St Paul's Cathedral, Melbourne and the Sacred Heart Cathedral in Bendigo. In cross-section the cathedral is typical of most large churches in having a high central nave and an aisle on either side, which serve to buttress the nave and provide passage around the interior. The interior of the nave thus rises in three stages, the arcade, the gallery and the clerestory which has windows to light the nave. See cathedral diagrame building is of golden-coloured sandstone which has weathered externally to golden-brown. The roof is of red cedar, that of the nave being of an open arch-braced construction enlivened by decorative pierced carvings. The chancel is vaulted with timber, which was probably intended to be richly decorated in red, blue and gold after the manner of the wooden roof at Peterborough, but this did not eventuate, and the warm colour of the timber contrasts well with the stonework. The side aisles are vaulted in stone, with a large round boss at the centre of each ribbed vault. Children who, over the years, have crawled into the arched space beneath the pulpit have discovered another such beautiful carved boss, in miniature and usually unseen. On all the terminals of arches within the buildings are carved heads of saints. Those that are near the confessionals are at eye-level and may be examined for their details. The screen behind the high altar is delicately carved in Oamaru limestone from New Zealand. It contains many open niches, but these, like the similar niches in the altar of Our Lady located directly behind the high altar, are empty and the statues have never been completed. There are two large chapels and two smaller ones, the larger being the Chapel of the Sacred Heart and the Chapel of the Irish Saints. On either side of the Lady Chapel are the Chapels of Ss Joseph and Peter all with ornately carved altars and a small statue in each niche. The embellished mosaics in the Kelly Chapel floor were laid by Melocco Co in 1937 approximately the same time as the mosaic floor in the Lady Chapel of St John's College also designed by Wardell. The lighting of the cathedral is its least satisfying aesthetic feature. Because of the brightness of Australian sunlight, it was decided to glaze the clerestorey with yellow glass. This glazing has darkened over the years, omits very little light and contrasts badly with the predominantly blue stained glass of the lower windows. To counteract the darkness, and with little understanding of the aesthetics of Gothic architecture, the cathedral installed extensive lighting in the 1970s, with the aim of giving more-or-less equal illumination to all parts of the buildings. The interior is lit with a diffuse yellow glow contrary to the effects of the natural light which penetrates the stained glass, and removing the sense of massive structure from the building. The stone vaulting of the aisles are bathed in even light which negates the surface modelling that is integral to a vaulted compartment. That part of the light in the nave which is directed upwards, illuminates the middle level, or triforium gallery much more brightly than any other part of the building.The glory of St Mary's Cathedral is the stained glass, all the work of Hardman & Co. and covering a period of about 50 years. There are about 40 pictorial windows representing several themes and culminating in the chancel window showing the Downfall of Humanity and Mary, crowned and enthroned beside her Son as he sits in Judgement, pleading Jesus' mercy upon Christians. Other windows include the Mysteries of the Rosary, the Birth and Childhood of Jesus and Lives of the Saints. Stylistically, the windows move from the Gothic Revival of the 19th century to a more painterly and lavish style of the early 20th century. The three rose windows above the entrances, in particular, excite a lot of admiration. Many of the windows are of exceptional quality but the masterpiece is the huge window of the chancel, which has few, if any, rivals among the world's 19th century windows for beauty of design. St Mary's is full of treasures and devotional objects. Around the walls of the aisles are located the Stations of the Cross, painted in oils by L. Chovet of Paris and selected for St Mary's by Cardinal Moran in 1885. In the western transept is a marble replica of Michelangelo's Pieta, the original of which is in St. Peter's Basilica, Rome. This sculpture was brought to Australia for display in David Jones Ltd. department store and was later donated to the cathedral.

The Unknown Soldier
Located previously in the crypt, where it was touched in the evening by the setting sun, was the Grave of the Unknown Soldier, a realistic depiction of a dead soldier sculpted by G.W.Lambert. Although previously visible to the public from above, the tomb has now been moved into the aisle of the cathedral, to give the public greater access to it. The crypt has an extensive mosaic floor, the achievement of Peter Melocco and his firm. This design has as its foundation a cross elaborately decorated like a vast Celtic illuminated manuscript, with rondels showing the Days of Creation and the titles of the Virgin Mary.

Pipe organs
* The first pipe organ installed in the original cathedral was built by Henry Bevington of London and installed in June 1841. Of two manuals and 23 stops, it was the largest organ in Australia until its destruction by fire in 1865.
* In 1942 a pipe organ built by Joseph Howell Whitehouse of Brisbane, (1874–1954), was installed in the gallery at the end of the nave, above the main door.
* Between 1959 and 1971 Ronald Sharp (b.1929) installed an electric-action pipe organ in the triforium gallery of the chancel, but this was never completed.
* In 1997 a new pipe organ was built by Orgues Létourneau of Saint Hyacinthe, Quebec, and installed on a new gallery built around the rose window in the western transept. It was completed in 1999 and dedicated by Cardinal Clancy. The Létourneau organ is of three manuals and 46 stops. In addition to being played from the gallery, it may be played with the Whitehouse organ, from a four-manual mobile electronic console located at floor level.
* There is also an organ in the crypt, made by Bellsham Pipe Organs (1985).

Bells
The ceiling of the central bell tower is of painted oak. Also visible is the wooden vault of the chancel and the arches of the nave.
The bells of St Mary's Cathedral have a unique place in Australian history. There have been three separate rings of bells at the Cathedral, all cast by the Whitechapel Bell Foundry of London. The first, of eight bells, arrived in Sydney in August 1843, and were installed in a wooden campanile located away from the main building (approximately where the pulpit is today). They were the first bells hung for change ringing in Australia and rang for the first time on New Year's Day 1844.
When the cathedral was destroyed by fire in June 1865, the bells escaped damage. Construction of new cathedral began in 1866, and during 1868 the bells were removed from the campanile and installed in the new tower, which was situated where the south-western tower now stands.
In 1881 the bells were traded in for a new ring of eight which were installed the following year (the Whitechapel Foundry was then using the name Mears & Stainbank). In 1885 a contract was signed for the construction of the Central Tower (the Moran Tower) to which the bells were transferred in 1898.
A century later an entirely new ring was ordered. Today the Central Tower houses a ring of twelve bells, plus two additional bells which allow alternative groups of bells to be rung, depending on the number and skill of the ringers available. They were rung for the first time in 1986.
Seven bells from the 1881 peal now form part of a ring of twelve bells at St Francis Xavier Cathedral in Adelaide. The old tenor bell (the Moran Bell) became the Angelus bell and is located in St Mary's south-western tower.
The bells are rung regularly before Solemn Mass on Sundays and on major Feast Days. They are also rung by arrangement for weddings and funerals and to mark important civic occasions. The bells of St Mary's were heard leading the ringing that marked the centenary of Australian Federation, and are rung as part of the finale to Sydney's Symphony in the Domain concert in January, in unison with Tchaikovsky's 1812 Overture.
The ringing and care of the bells is entrusted to the St Mary's Basilica Society of Change Ringers.