At the time of the founding of the Diocese of Chicago on September 30, 1843, Bishop William Quarter led his faithful from the Cathedral of Saint Mary at the southwest corner of Madison and Wabash Streets.

Meanwhile, Chicago's Catholics were forced to worship in what was called the shanty cathedral, a boarded-up burnt house on Cass Street.

In 1874, Brooklyn architect Patrick Charles Keely, who would later also design St. Stanislaus Kostka Church, was selected to draw plans for the new cathedral of Chicago.

On November 21 of the following year, Bishop Thomas Foley dedicated the church and christened it the Cathedral of the Holy Name.

A fire in the attic of a building in the style of Holy Name Cathedral is usually declared a loss and just contained; the action of the firefighters that day saved The structure.

When he returned from consistory at the Vatican, the new cardinal was greeted at Holy Name Cathedral with a celebratory procession of over 80,000 Catholics.

Mundelein also managed to get Chicago named the host city for the 28th International Eucharistic Congress in 1926, with the opening mass being held at the cathedral.

When Cardinal Mundelein died unexpectedly in his sleep in October 1939, Chicago City Hall hastily paved State Street where the subway was being constructed to accommodate the great influx of mourners expected to make the pilgrimage.

As Cardinal Mundelein lay in state in the nave of Holy Name Cathedral, over a million people paid their last respects.

[7] Holy Name Cathedral was built in the Gothic revival architectural style while at the same time integrating motifs symbolic of the message of the modern Church.

[8] Overall, the cathedral features motifs meant to instill an ambience of physically dwelling in the biblical tree of life.

The first feature that greets worshipers are massive bronze doors designed by Albert J. Friscia that weigh 1,200 pounds (540 kg) each.

Adorning the walls of the nave are the Stations of the Cross by artist Goffredo Verginelli depicting the Passion, Crucifixion and Resurrection of Christ.

Also by de Courten is the Ambo of the Evangelists, a bronze casting depicting the authors of the apostolic letters to the early Church communities: Peter, with keys to the Kingdom of God; Paul, who died by the sword; James, representing faith sustained by good works; and Jude, carrying a whip representing correction.

Six tons of monolithic red-black Rosso Imperiale di Solberga granite forms the mensa or table top of the altar.

The pedestal is encircled by a bronze bas-relief depicting Old Testament scenes of sacrificial offerings and preparation: Abel's offering of the first sacrifice, the priest Melchizedek giving bread and wine, Abraham's willingness to sacrifice his son Isaac, and the Prophet Elijah receiving bread and water from the Angel of the Lord for strength to continue on his journey.

The galero is hung in Holy Name Cathedral where they remain until they are reduced to dust, symbolizing how all earthly glory is passing.