Salford Cathedral, a Gothic Revival landmark completed in 1848, has undergone a £22 million restoration aimed at returning the building’s interior and exterior to its original architectural vision while addressing decades of neglect and alteration. The restoration project, completed in 2026, has revitalised the cathedral’s stonework, decorative elements, and structural features, reaffirming its historical and liturgical significance.

Designed by Matthew Hadfield, a 19th-century architect influenced by AWN Pugin, Salford Cathedral was constructed using existing medieval models, notably drawing inspiration from Selby, Howden, and St Mary Magdalene in Newark. The cathedral’s original high altar and other intricate furnishings were the work of Hadfield’s pupil, George Goldie. However, the cathedral suffered major losses and unsympathetic modifications during the late 20th century. Between 1985 and 1988, much of the interior was painted white, and by 1990, the carved stone high altar, reredos, and pulpit had been removed, with reports suggesting that some stonework was destroyed. These changes reflected a period when Victorian ecclesiastical architecture was undervalued and liturgical spaces were often simplified following Vatican II reforms.

The extensive restoration has reversed many of these alterations. The cathedral’s sandstone exterior has been cleaned and the roof and towering spire restored, while modern amenities such as toilets have been discreetly added outside the nave. Inside, the white paint applied in the 1980s was stripped away to reveal the original stone surfaces beneath. A small Gothic-style freestanding altar now occupies the first bay of the chancel, complementing the reinstalled polychromatic crucifix on the chancel arch. Notably, the chancel roof is painted deep blue and adorned with gilded vaulting ribs and over 2,300 stenciled gold stars, executed in a distinctly Victorian style.

Among the stained glass features is a seven-light Decorated-style window crafted by William Wailes in 1856, situated behind the altar, choir, and Lady chapel at the east end of the building. The baptistery, located in the north transept, includes a large crucifix flanked by statues of Mary and John that were transferred from St Joseph’s Church in Ordsall, which closed in 2020. This area also houses the tomb of Bishop James Sharples, who laid the cathedral’s foundation stone in 1844. The Lee Chantry Chapel, one of the few surviving original sections, contains open stonework screens and stained glass commissioned by Goldie in memory of a benefactor.

The cathedral now accommodates around 450 worshippers, with attendance reportedly increasing following the refurbishment. Though it currently lacks a pipe organ, plans include the installation of underfloor heating powered by geothermal energy sourced from 600 feet underground. The restoration also features symbolic elements, such as an old stained glass window depicting Matthew Hadfield and George Goldie presenting their designs to their patron saints, underscoring the project’s effort to honor the cathedral’s architectural heritage.