20th Century – Research and Interpretation

Finland gained independence in 1917, and plans for renovating the Cathedral were launched in the same year. As part of the restoration, archaeological excavations were carried out to answer questions about the Cathedral’s various construction phases. The Winter War and the Continuation War posed additional challenges, and every effort was made to protect the Cathedral during those difficult times. The most recent major renovation was undertaken in the 1970s.

In Turku, both industry and culture flourished. Two universities were established in the city: Åbo Akademi and the University of Turku. From the 1930s and 1940s onward, the city expanded rapidly as Kaarina, Maaria, and other surrounding municipalities were incorporated into Turku. By the end of the century, the population had grown to over 172,000 inhabitants.

Renovation and Restoration of the Cathedral 

In the previous century, plans had been drawn up for a stylistic restoration of the Cathedral. However, these plans received so much criticism at the turn of the century that the Senate finally abandoned them in 1909. It had nevertheless been observed that the Cathedral was in somewhat deteriorated condition, and in 1917 plans were once again set in motion for a comprehensive renovation.

A multidisciplinary committee was appointed to oversee the renovation. The National Board of Public Works was represented by Chief Architect Magnus Schjerfbeck, who had also played a key role in the 1896 restoration plan. From the Cathedral chapter, Lecturer Julius Finnberg was selected. The committee also included a representative of the Archaeological Commission, the archaeologist Juhani Rinne—who would later become State Archaeologist—responsible for extensive archaeological investigations in the Cathedral (described below). Other members included architect Armas Lindgren, the later-famous art patron Amos Anderson, and mechanical engineer Rupert von Nadelstadh.

The renovation of the Cathedral was comprehensive. The gas lighting, which had been leaking fumes, was replaced with electric lighting. The heating system was modernized: iron stoves were replaced with steam heating, and a boiler room was built. At the same time, the sagging floor was repaired.

Previously, coke—and during wartime, wood—had been burned in the stoves. Because of this, caretakers had to frequently climb the tower to check that overheated pipes had not ignited a fire. The soot from the stoves had gradually blackened and dirtied the walls and vaults of the Cathedral. These surfaces were therefore repaired and cleaned, and especially in the present-day Agricola Chapel and Kijk Chapel, medieval wall paintings were uncovered and restored.

In 1923, architect Armas Lindgren drew up restoration plans focusing particularly on the interior. These included proposals to redesign the pulpit, pews, altarpiece frame, and organ façade. Amos Anderson, on the other hand, proposed an architectural competition that would result in stained-glass windows in the main choir depicting scenes from Finnish history.

The renovation was completed and celebrated in the summer of 1929, but the more ambitious restoration plans were never realized. Of Lindgren’s interior proposals, only the renewal of the organ façade was ultimately carried out, meaning that the organ pipes were rearranged. The organ gallery was also rebuilt somewhat narrower than before, while the existing fixed furnishings—pews and pulpit—were restored to their original places. Anderson’s vision of colorful stained-glass windows was likewise not implemented, even though competition winners had already been selected. Ultimately, the decision-makers feared that such windows would change the lighting of the Cathedral too much—and that the colored light filtering through them would appear too “catholic.”

Juhani Rinne’s Archaeological Research

During the Cathedral’s renovation, and especially with the installation of a new heating system, it became necessary to open parts of the church floor. This created an unprecedented opportunity for detailed archaeological study. Representing the Archaeological Commission, archaeologist Juhani Rinne (1872–1950) took charge of the investigations. He was assisted by church researcher Iikka Kronqvist.

When the floors were opened, graves beneath them were examined. From these, items such as 17th-century clothing were recovered, preserved, and later displayed in the newly established Cathedral Museum, which opened in the Ursula Chapel.

One of Rinne’s most significant achievements was dating the construction phases of the Cathedral. This work relied, among other things, on examining masonry joints, which helped establish the sequence of building extensions—what came first and what followed. Rinne also interpreted traces of earlier structures, such as walled-up windows and beam holes from demolished galleries. In addition to archaeological evidence, he made extensive use of archival sources.

As a result of the research, restoration work emphasized and highlighted certain historical features that remain visible in the Cathedral today (though it should be remembered that some of these reflect Rinne’s own interpretations, typical of his time). For example, above the sacristy door, a stone arch—possibly among the oldest parts of the church—is accentuated with plaster. Likewise, when walking toward the altar, mosaic flooring marks the site of an early expansion, indicating where the original eastern wall and altar once stood. It was also decided to reconstruct features such as the wooden gallery above the sacristy door, which may have existed as early as the Middle Ages.

The doorway of the Kankainen Chapel, which had been raised in late 19th-century renovations, was also returned to its original height. This restored the medieval choir passage that still runs along the eastern end of the Cathedral. Visitors are encouraged to look closely at the walls and ceilings to spot traces of earlier structures.

Inspired by medieval wrought ironwork, Rinne designed new railings in a similar style for the reliquary of Blessed Bishop Hemming and for the present Agricola Chapel, indicating the former existence of two separate chapels—those of Saint Catherine and Saint Bartholomew. The iron railings at the western ends of the side aisles also date from this period, bearing the Latin inscription: “This work was made in the year of the Lord 1928.”

Many of Rinne’s interpretations still form the basis of current understanding, partly because little new archaeological research has been conducted since the 1920s. He estimated, for example, that there had been 42 altars dedicated to saints in the Cathedral during the Catholic period, a figure still widely cited. His proposed sequence of construction phases is also largely still followed.

However, some of Rinne’s conclusions have since been reassessed. For instance, Turku traditionally marked its founding year as 1229 based on a papal bull by Pope Gregory IX allowing the bishop’s seat to be moved to a “better place.” Rinne interpreted this as the move from Koroinen to the site of the present Cathedral. More recent research suggests instead that the seat was moved from Nousiainen to Koroinen in 1229, and only later, around 1300, to its current location. Consequently, the dating of both the Cathedral’s beginnings and the founding of Turku has shifted closer to the late 13th century.

In general, many of Rinne’s datings have been revised to later periods. For example, he believed that the eastern end of the three-aisled nave—the so-called “Hemming’s choir”—was built during the time of Bishop Hemming (1338–1366). Modern research places this construction later, possibly in the 15th century during the episcopacy of Maunu II Tavast (1412–1450). Similarly, parts of the Cathedral, such as the present Agricola Chapel, are now dated later than Rinne suggested.

After Rinne, alternative interpretations have been proposed by scholars such as Knut Drake, C. J. Gardberg, and Markus Hiekkanen. New methods, including improved dating techniques and architectural analysis comparing details across Northern European churches, have contributed to revised views. Even so, many phases of the Cathedral’s medieval construction remain uncertain, and further research is needed.

Despite later revisions, Rinne’s work can be regarded as a remarkable lifetime achievement. In addition to his archaeological studies, he published a three-volume work on the Cathedral’s medieval history. His respect for the building’s historical layers earned international recognition, and his methods became influential in restoration practices elsewhere.

Bone Finds – Relics of the Cathedral

Relics—sacred remains—played an important role in the Cathedral during the Catholic Middle Ages. Relics include both the bones of saints and other objects imbued with holiness, and in churches they were incorporated into altars dedicated to saints. After the Reformation, however, relics lost their significance along with the cult of saints, and they were moved into storage, where many were eventually lost or destroyed over time. Some of the Cathedral’s relics were stored in the reliquary of Blessed Bishop Hemming, which itself spent the Lutheran period locked away in the sacristy storeroom.

At the beginning of the 18th century, during the Great Wrath, the Cathedral suffered a major loss when Russian forces looted the bones of its Catholic patron saint, Saint Henry. However, during restoration work in the 1920s, a walled-up cupboard was discovered in the sacristy. Inside were a skull and various bones, including two arm bones. Additional relics were also found hidden within Bishop Hemming’s reliquary. Altogether, the discovery contained around 90 relics.

The bones found in the sacristy cupboard were studied, and among others Juhani Rinne, who led the Cathedral’s archaeological investigations, published the findings in his 1932 work Saint Henry: Bishop and Martyr. The researcher Yrjö Kajava contributed anatomical analyses based on measurements and observations. Because the bones had been carefully hidden for safekeeping, it was believed that they might be the relics of Saint Henry once thought to have been stolen.

Further intrigue was caused by a 13th-century reliquary in the shape of a human head, made of Chinese silk damask, found in Hemming’s reliquary chest. Inside were bones of the jaw and skull. The embroidery on the reliquary depicted Saint Eric, King of Sweden, and therefore the remains were at the time believed to belong to him.

The other bones found in Hemming’s reliquary belonged to several individuals, though most were from a robust, elderly man—possibly Bishop Hemming himself. Other fragments were identified as belonging to, among others, the cults of Saint Ursula and Saint Bridget. The collection also included the so-called Stones of Gethsemane, now displayed in the National Museum of Finland—stones believed to be from the Garden of Gethsemane, where Jesus is said to have prayed before his arrest.

After their discovery, the relics were transferred to the National Museum for study, and in 1952 they were catalogued as part of the museum’s collections, held as an unofficial deposit from the Cathedral. In 1998, the relics once again became a topic of discussion when the Catholic parish of Saint Henry in Helsinki requested one relic—the forearm bone of Saint Henry. In response, efforts were made in Turku to have the relics returned to the Cathedral, their original home. After much debate, most of the relics were returned to the Cathedral in 2007, while the forearm bone was placed on deposit with the Parish of Saint Henry.

At the beginning of the new century, renewed scholarly interest in relics emerged, and since then the Cathedral’s relics have been the subject of ongoing research up to the present day. You can read about the published research on this page.

The Winter War and Continuation War Seen from the Cathedral

During the Second World War, as conflict raged across Europe, Finland and the Soviet Union were also at war with each other. The Winter War (1939–1940), which lasted 105 days, and the subsequent Continuation War (1941–1944) left their mark on Turku and the Cathedral as well. Turku Castle in particular suffered heavy damage, as Soviet bombers targeted the strategically important harbor area. Bombs also fell near the Cathedral, shaking its structures, and the resulting shockwaves destroyed several of its windows. For this reason, many of the windows now seen in the Cathedral (with the exception of Swertschkoff’s stained glass) date from post-war repairs.

Fortunately, the Cathedral escaped major war damage. Around the clock, church staff were on duty, ready to extinguish fires in case a bomb struck close enough to ignite the building. Valuable objects, including the altarpiece and Wladimir Swertschkoff’s stained glass windows, were moved to safety during the war, ensuring their preservation. During wartime, services were held in the sacristy.

Since the Cathedral was not a direct bombing target, it was able to serve as an important support point. High up in the tower—nearly 100 meters above sea level—a group of women from the Lotta Svärd organization, nicknamed “the grey jackdaws,” operated. They climbed the tower to receive radio messages from naval ships and relay them onward.

A tradition familiar to Finns today also dates back to this period. Beginning on June 19, 1944, during the Continuation War, the Finnish Broadcasting Company (Yle) has transmitted the noon chimes of the Cathedral bells by radio to the entire nation. The idea was inspired by a poem published in Hufvudstadsbladet, owned by Amos Anderson. At a difficult moment in July 1944, President Risto Ryti’s wife, Gerda Ryti, urged the nation to pray simultaneously at the time of the broadcast bells for the sake of the homeland. Peace was later concluded in September. Today, the noon chimes are broadcast on weekdays on Yle Radio 1. The current recording of the bells dates from 2006.

Let us hear every day, from the ancient place of the cross on the banks of the Aura River, from the high tower of the Cathedral whose bells mark the hours that flow like a mighty stream of time into the dark sea—let us hear the deep tolling of the bells when the twelfth hour of the day has come.

Modernizing Technology – The Renovation of the 1970s 

Toward the end of the century, in the 1970s, another major renovation of the Cathedral became necessary. The works carried out between 1976 and 1979 focused primarily on modernizing the building and improving fire safety. The Cathedral lacked adequate service facilities, and its technical systems were outdated. Planning the renovation was not straightforward, as restoring such a national landmark was not solely the responsibility of the parish, but also involved the Church Administration and the State Archaeological Commission (now the Finnish Heritage Agency).

The copper roof had already been in need of repair since the late 1960s, and during this renovation the roofing structures were addressed. When the old roofing material was dismantled, it was discovered that the copper used was impure; during smelting, traces of gold and silver were extracted. These metals were later used to create communion chalices and the baptismal font now located in the main choir, designed by architect Ola Laiho.

The tower was also repaired, as the heavy, swinging bells had weakened its structure. The clock was restored as well, with its dial repainted and numerals renewed. Greater attention was given to fire safety: the attic and tower were divided into smaller fire compartments, and a sprinkler system had already been installed earlier.

Various smaller repairs were carried out throughout the building. Cracks in the pulpit, walls, and vaults were repaired, and new tension rods were installed to prevent future damage. The frescoes in the main choir and several funerary monuments in the side chapels also required conservation.

Modern technology was introduced extensively. From a newly built control room in the sacristy, caretakers could now regulate lighting and control the ringing of the bells. The old steam heating system was dismantled, and the Cathedral was connected to a central heating plant located nearby. Electrical systems were also renewed, and the lighting fixtures in the pillars and chapels were designed by architect Ola Laiho.

For visitors, the most visible changes from this renovation—besides improved lighting—included the sanitation facilities installed in the Ursula Chapel. These were built as a separate structure to avoid altering medieval elements. The Cathedral Museum, previously housed in the chapel, was modernized and moved to the southern gallery upstairs. A permanent information and sales desk was also constructed in the entrance hall. The bronze statue of Mikael Agricola by Emil Wickström (1910) was relocated there from the Mayor’s Choir to greet visitors.

When the renovation was completed in 1979, the following year saw the inauguration of brand-new organs. The main organ on the gallery, built by Veikko Virtanen Oy, has 81 stops and is the largest mechanical organ in Finland, and the second largest by pipe count after the organ of Lapua Cathedral. Visitors—especially in summer—may often hear the instrument being practiced, its sound resonating magnificently throughout the nave, with some pipes even located behind the altarpiece. In addition, the Cathedral has organs in the Sharpshooter’s Chapel, choir organs near the pulpit, and a movable organ positive.