A Cathedral for the 21st Century

A Cathedral for the 21st Century A

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A Cathedral for the 21st Century An Oral Biography of the Cathedral Church of Saint John the Divine New York City

Compiled by Bill Smith and Wayne Pearson

Edited by Rebecca Merrill

Assistant Editors Hannah Eisner Lisa Schubert Isadora Wilkenfeld

A Cathedral for the 21st Century An Oral Biography of the Cathedral Church of Saint John the Divine New York City

Compiled by Bill Smith and Wayne Pearson

Edited by Rebecca Merrill

Assistant Editors Hannah Eisner Lisa Schubert Isadora Wilkenfeld

heard a loud voice from the throne saying, “See, the home of God is among mortals. He will dwell with them; they will be His peoples, and God Himself will be with them.”

I, John, am the one who heard and saw these things.

From the Revelation to Saint John the Divine

A sculpture of Saint John located between the Great Bronze Doors of the Western Façade of the Cathedral. i D

heard a loud voice from the throne saying, “See, the home of God is among mortals. He will dwell with them; they will be His peoples, and God Himself will be with them.”

I, John, am the one who heard and saw these things.

From the Revelation to Saint John the Divine

A sculpture of Saint John located between the Great Bronze Doors of the Western Façade of the Cathedral. i D

A Cathedral for the 21st Century: An Oral Biography of the Cathedral Church of Saint John the Divine Cathedral Church of Saint John the Divine 1047 Amsterdam Avenue New York, NY 10025 stjohndivine.org info@stjohndivine.org Design by Michael Bierut, Delta Murphy, and Chantal Jahchan Pentagram Design, New York, NY Design production managment by Tess McCann Pentagram Design, New York, NY

Contents

1 A Cathedral for New York

1

Sacred Space

3

1892, Top of the Heap

6

Between the Wars

13

Changing City

18

The '70s, the '80s, and Then Some

25

9/11 and the Fire, 2001

36

Timeline 40

Production coordination by Officina Libraria Milan, Italy

2 Visit

43

Printed by Intergrafica Verona, Italy

3 People and Events

89

4 The Cathedral Year

137

5 Mission

165

First a Church

167

Music

173

The Arts

179

A Convening Authority

187

Unfinished: A Cathedral for the 21st Century

193

6 Cathedral Community

199

Congregation of St. Saviour

201

Cathedral Community Cares (CCC)

203

Advancing the Community of Tomorrow (ACT)

207

Nightwatch Crossroads

208

The Textile Conservation Laboratory

211

The Cathedral School

212

Appendix

215

Credits

236

Index

238

All rights reserved. This book or any portion thereof may not be reproduced or used in any manner whatsoever without the express written permission of the publisher except for the use of brief quotations in critical articles and reviews.

Copyright © Cathedral Church of Saint John the Divine 2019 Distribution by Officina Libraria, Milan, Italy, through ACC Art Book, New York ISBN 987-88-3367-085-0 Printed in Italy

A Cathedral for the 21st Century: An Oral Biography of the Cathedral Church of Saint John the Divine Cathedral Church of Saint John the Divine 1047 Amsterdam Avenue New York, NY 10025 stjohndivine.org info@stjohndivine.org Design by Michael Bierut, Delta Murphy, and Chantal Jahchan Pentagram Design, New York, NY Design production managment by Tess McCann Pentagram Design, New York, NY

Contents

1 A Cathedral for New York

1

Sacred Space

3

1892, Top of the Heap

6

Between the Wars

13

Changing City

18

The '70s, the '80s, and Then Some

25

9/11 and the Fire, 2001

36

Timeline 40

Production coordination by Officina Libraria Milan, Italy

2 Visit

43

Printed by Intergrafica Verona, Italy

3 People and Events

89

4 The Cathedral Year

137

5 Mission

165

First a Church

167

Music

173

The Arts

179

A Convening Authority

187

Unfinished: A Cathedral for the 21st Century

193

6 Cathedral Community

199

Congregation of St. Saviour

201

Cathedral Community Cares (CCC)

203

Advancing the Community of Tomorrow (ACT)

207

Nightwatch Crossroads

208

The Textile Conservation Laboratory

211

The Cathedral School

212

Appendix

215

Credits

236

Index

238

All rights reserved. This book or any portion thereof may not be reproduced or used in any manner whatsoever without the express written permission of the publisher except for the use of brief quotations in critical articles and reviews.

Copyright © Cathedral Church of Saint John the Divine 2019 Distribution by Officina Libraria, Milan, Italy, through ACC Art Book, New York ISBN 987-88-3367-085-0 Printed in Italy

Dedication The Most Reverend Michael Bruce Curry Presiding Bishop, The Episcopal Church

Saint John saw his vision of the world’s end in the Book of Revelation. Exiled and imprisoned for his witness to the way of Jesus, John was caught up “in the Spirit on the Lord’s day” (Revelation 1:10). He lifted up his head, and he saw the dream.

No more war.

No more suffering.

No more injustice.

No more bigotry.

No more violence.

No more hatred.

Every man and woman under their own vine or fig tree.

The rule of love. The way of God. The kingdom. The reign.

The great Shalom, Salaam of God. The dream.

God is on a mission to work through “our struggle and confusion,” as the Prayer Book says, to realize God’s dream.

My brothers and sisters, God has not given up on the work, and God is not finished with The Episcopal Church yet.

It is as the Jesus Movement, following Jesus’ way, that we join hands with brothers and sisters of different Christian communities, with brothers and sisters of other faith and religious traditions and with brothers and sisters. Some may be atheist or agnostic or just on a journey, but they long for a better world where children do not starve and where there is, as the old spiritual says, “plenty of room for all of God’s children.”

Bishop Curry preaching at the Evensong celebrating the 125th anniversary of the laying of the Cathedral's cornerstone, November 2018. v H

Dedication The Most Reverend Michael Bruce Curry Presiding Bishop, The Episcopal Church

Saint John saw his vision of the world’s end in the Book of Revelation. Exiled and imprisoned for his witness to the way of Jesus, John was caught up “in the Spirit on the Lord’s day” (Revelation 1:10). He lifted up his head, and he saw the dream.

No more war.

No more suffering.

No more injustice.

No more bigotry.

No more violence.

No more hatred.

Every man and woman under their own vine or fig tree.

The rule of love. The way of God. The kingdom. The reign.

The great Shalom, Salaam of God. The dream.

God is on a mission to work through “our struggle and confusion,” as the Prayer Book says, to realize God’s dream.

My brothers and sisters, God has not given up on the work, and God is not finished with The Episcopal Church yet.

It is as the Jesus Movement, following Jesus’ way, that we join hands with brothers and sisters of different Christian communities, with brothers and sisters of other faith and religious traditions and with brothers and sisters. Some may be atheist or agnostic or just on a journey, but they long for a better world where children do not starve and where there is, as the old spiritual says, “plenty of room for all of God’s children.”

Bishop Curry preaching at the Evensong celebrating the 125th anniversary of the laying of the Cathedral's cornerstone, November 2018. v H

1

A Cathedral for New York “It is a fortunate circumstance that the great Cathedral of St. John the Divine has reached completion at this time of world crisis. This happy consummation is a witness to all the world that American faith in the eternal verities of religion remains unshaken.”

FRANKLIN D. ROOSEVELT, 1941

J

Sacred Space

3

1892, Top of the Heap

6

Between the Wars

13

Changing City

18

The '70s, the '80s, and Then Some

25

9/11 and the Fire, 2001

36

1

1

A Cathedral for New York “It is a fortunate circumstance that the great Cathedral of St. John the Divine has reached completion at this time of world crisis. This happy consummation is a witness to all the world that American faith in the eternal verities of religion remains unshaken.”

FRANKLIN D. ROOSEVELT, 1941

J

Sacred Space

3

1892, Top of the Heap

6

Between the Wars

13

Changing City

18

The '70s, the '80s, and Then Some

25

9/11 and the Fire, 2001

36

1

Sacred Space Sacred and religious buildings are among our oldest monuments.

From prehistoric sites to ancient temples, architecture has evoked feelings of reverence and mystery. The Cathedral inspires awe to both strangers and those who turn to it in their daily lives.

Spirit and Hope

MARNIE WEIR The first thing people do is look up. Even if they’ve been here a hundred times, they look up.

JESSYE NORMAN I

PHILIPPE PETIT When you look up, your soul follows your eyes. You’re soaring.

WAYNE KEMPTON It is a fact. Almost everyone that walks down the Nave begins to whisper.

There’s no sign that says “silence” or anything like that. It is the building. It commands reverence.

MARILYN NELSON There is something that makes you lift your eyes. And lifting your eyes does something to your being. It is literally uplifting. Somebody wrote that we are searching for something that is equal to our capacity for awe. The Cathedral gives us that. It hints of a vastness that you can’t quite take in.

ABDEL R. SALAAM Coming in, one has a very clear picture of what it must have been like to walk into the Egyptian temples, or the temples of ancient Greece, or the Vatican when it was first built. You know, that BANG! And at the same time, it’s so “now.” And yet you get this ancient feeling. It’s almost like an ancient future.

TOM HURWITZ Watching

people come here is amazing. The looks on their faces when they see the building, its size, its design, its mystery.

They are awestruck, elevated somehow because the entire Cathedral is built with a theology, an incarnational theology.

TOM FEDOREK The

iconography of the Gothic cathedrals is a kind of code. Nothing is random.

The symbolism and images are part of a tradition that go back to the beginning of Christianity, and in many cases to the pre-Christian era.

WAYNE KEMPTON The Cathedral was designed under the principles of the sacred geometry.

That has a special impact for people. If you look at the giant Crystal of Quartz or the Nautilus in the bays, you see eternity. Cathedrals have a way of doing that.

Previous The Consecration of the Nave, November 30, 1941.

Left The Nave looking east toward the High Altar.

2

PHILIPPE PETIT Books are written on the mystery of the Cathedral. So many things are not evident, but still you are touched by them, the golden ratio of the arches, the way the sun plays through the glass to create color in the nave. This place elevates your spirit.

go to the Cathedral as often as I can. It has something different. Everybody speaks in a whisper.

PAUL WINTER When we were composing the Earth Mass, we stayed through the night. At 3 am, Keith Critchlow, a professor of sacred geometry, brought out drawings and described the sacred geometry of the Cathedral. From that night, from my own experience, and from the exaltation we shared, I understood that the purpose of the great cathedrals is to awaken a sense of the sacred.

Sacred­­—meaning a connectedness with the universe.

“The Gothic cathedral is a blossoming in stone subdued by the insatiable demand of harmony in nature.” RALPH WALDO EMERSON, INDUCTED INTO THE AMERICAN POETS CORNER, 1987 KEITH CRITCHLOW Laws, symbols, metaphors of sacred space are all at work in the experience of the Cathedral. They needn’t be understood fully to be experienced… Silence is called for, and the intelligence of the heart.

THE REV. TOM PIKE For

many years I thought buildings were a liability. I said, “The best thing that could happen would be a big fire to burn them all to the ground.” But I was wrong. I began to see that churches were launch pads for mission and programs. Many good things begin in church buildings. I began to think about architecture and storytelling and how buildings spoke in the community. I thought about buildings as something deeper that had to do with a spiritual view of society. I began to recognize that architecture and art were major resources for human dignity and civil rights. Church buildings hold a key to our hearts. When people see a spire on the horizon or a stone tower at the end of the street, they get in touch with peace, forgiveness, and mercy—feelings central to who they are. Buildings serve a function having to do with spirit and hope.

3

Sacred Space Sacred and religious buildings are among our oldest monuments.

From prehistoric sites to ancient temples, architecture has evoked feelings of reverence and mystery. The Cathedral inspires awe to both strangers and those who turn to it in their daily lives.

Spirit and Hope

MARNIE WEIR The first thing people do is look up. Even if they’ve been here a hundred times, they look up.

JESSYE NORMAN I

PHILIPPE PETIT When you look up, your soul follows your eyes. You’re soaring.

WAYNE KEMPTON It is a fact. Almost everyone that walks down the Nave begins to whisper.

There’s no sign that says “silence” or anything like that. It is the building. It commands reverence.

MARILYN NELSON There is something that makes you lift your eyes. And lifting your eyes does something to your being. It is literally uplifting. Somebody wrote that we are searching for something that is equal to our capacity for awe. The Cathedral gives us that. It hints of a vastness that you can’t quite take in.

ABDEL R. SALAAM Coming in, one has a very clear picture of what it must have been like to walk into the Egyptian temples, or the temples of ancient Greece, or the Vatican when it was first built. You know, that BANG! And at the same time, it’s so “now.” And yet you get this ancient feeling. It’s almost like an ancient future.

TOM HURWITZ Watching

people come here is amazing. The looks on their faces when they see the building, its size, its design, its mystery.

They are awestruck, elevated somehow because the entire Cathedral is built with a theology, an incarnational theology.

TOM FEDOREK The

iconography of the Gothic cathedrals is a kind of code. Nothing is random.

The symbolism and images are part of a tradition that go back to the beginning of Christianity, and in many cases to the pre-Christian era.

WAYNE KEMPTON The Cathedral was designed under the principles of the sacred geometry.

That has a special impact for people. If you look at the giant Crystal of Quartz or the Nautilus in the bays, you see eternity. Cathedrals have a way of doing that.

Previous The Consecration of the Nave, November 30, 1941.

Left The Nave looking east toward the High Altar.

2

PHILIPPE PETIT Books are written on the mystery of the Cathedral. So many things are not evident, but still you are touched by them, the golden ratio of the arches, the way the sun plays through the glass to create color in the nave. This place elevates your spirit.

go to the Cathedral as often as I can. It has something different. Everybody speaks in a whisper.

PAUL WINTER When we were composing the Earth Mass, we stayed through the night. At 3 am, Keith Critchlow, a professor of sacred geometry, brought out drawings and described the sacred geometry of the Cathedral. From that night, from my own experience, and from the exaltation we shared, I understood that the purpose of the great cathedrals is to awaken a sense of the sacred.

Sacred­­—meaning a connectedness with the universe.

“The Gothic cathedral is a blossoming in stone subdued by the insatiable demand of harmony in nature.” RALPH WALDO EMERSON, INDUCTED INTO THE AMERICAN POETS CORNER, 1987 KEITH CRITCHLOW Laws, symbols, metaphors of sacred space are all at work in the experience of the Cathedral. They needn’t be understood fully to be experienced… Silence is called for, and the intelligence of the heart.

THE REV. TOM PIKE For

many years I thought buildings were a liability. I said, “The best thing that could happen would be a big fire to burn them all to the ground.” But I was wrong. I began to see that churches were launch pads for mission and programs. Many good things begin in church buildings. I began to think about architecture and storytelling and how buildings spoke in the community. I thought about buildings as something deeper that had to do with a spiritual view of society. I began to recognize that architecture and art were major resources for human dignity and civil rights. Church buildings hold a key to our hearts. When people see a spire on the horizon or a stone tower at the end of the street, they get in touch with peace, forgiveness, and mercy—feelings central to who they are. Buildings serve a function having to do with spirit and hope.

3

A Place to Be Surprised

by God

BISHOP ANDREW M.L. DIETSCHE The power of the Cathedral is not simply the beauty or the complexity of its architecture, it is the sacredness of the space. As clergy we walk around that altar sensing its power, and then we sanctify the space around the altar to connect us to our loving God. PHILIPPE PETIT You can feel this power.

It invades you; it makes you strong; it makes you solid in whatever belief you have. I see people getting lost in the Cathedral. They realize that everything is a song to a higher power. They are discovering the unseen. When you are an artist, there are moments where nothing works. You lose faith. The Cathedral always rekindled the fire in me. It is a creative laboratory of the most inspiring kind because of the mysterious and sacred space.

“I think this is where God lives.”

MORNINGSIDE HEIGHTS NEIGHBOR, AGE 5 TOM FEDOREK In my late teens and early

twenties, I struggled. I often found myself visiting the Cathedral, just sitting there experiencing that vast space. It was a physical metaphor for what was going on inside of me. We measure physical growth in inches, but psychological growth involves much larger distances. That is what I found sitting in the Cathedral watching the light change.

SUSAN RODRIGUEZ If you are alone there, the magnitude can feel incredibly intimate. When there is a big celebration, it is jubilant and resonant.

The Cathedral lies in the balance between the beauty found in a ruin and being so incredibly alive.

THE REV. TOM PIKE What

you see is a place that has reached for the light in many directions.

The Cathedral perpetuates hope in New York City.

It has a dimension that goes beyond art because its roots are so deep and nurtured by so many things.

You don’t have to be an Episcopalian or a Christian to appreciate the Cathedral. You can just be somebody who’s sensitive to reality around you.

Top The Rev. Canon Edward Nason West celebrating the Holy Eucharist, 1970s.

Bottom left George Nakashima’s Altar for Peace was crafted from the trunk of a single 300-year-old black walnut tree. Nakashima, a woodworker, furniture maker, and design innovator, got the idea for his sacred table in a dream. The table was installed and blessed on New Year’s Eve, 1986, with representatives of the world’s religions and other exalted guests in attendance.

Bottom right Interior stair case, which features the famed Guastavino tile system, leading to the Crypt.

4

DEAN JAMES AUGUST KOWALSKI You come to expect the unexpected here. It may be Sunday morning at the High Altar facing the Rose Window. You raise the Host. Then a hymn starts and some phrase that you’ve sung since you were a kid dances with new meaning. New because you are surrounded by the Cathedral. You are in a natural place to be surprised by God. DEAN CLIFTON DANIEL III Anything we can do to point to the sacredness of creation, the sacredness of human life, or the sacredness of the Church, is what we’re about. We can find the wonder of creation everywhere, but here at the Cathedral, everything we see is beautiful. Every time I walk in I think, “Oh my God, look at this!” The Cathedral always references the Divine and reminds us that this beauty comes from somewhere.

“I do not believe in God except when I’m inside the Cathedral of St. John the Divine.” VISITOR THE REV. TOM PIKE The

Episcopal Church says a sacrament is an outward and visible sign of inward and spiritual grace. The Cathedral is an outward and visible sign of our community moving through time. It recalls the struggles of our past and it points to our future. People have an inkling that the roots of the building are deep in the mystery of existence. They know this is a place that has encouraged sharing and experiencing joy and peace.

Adlai Stevenson eulogized Eleanor Roosevelt here at this Cathedral. He said she would rather light a candle than curse the darkness. That is what the Cathedral has been, a candle in the midst of much darkness. The Cathedral transcends ethnic, racial, and economic things. That’s why it is so important spiritually to our community. Saint Paul has a wonderful line in the Eighth Chapter of Romans, “The Spirit gives utterance to the sighs of the heart that are too deep for words.” The Cathedral gives concrete expression to the sighs of the heart that are too deep for words. Just walking past the place you feel that you own it because it speaks to your heart. “It’s my Cathedral.”

TOM HURWITZ This

building is the end of uncountable pilgrimages, personal and spiritual.

It is used architecture, architecture that has been prayed in, walked over, and celebrated in.

A path gains meaning as more feet walk over it.

EDIE FALCO I think that over the years all the people who have gone there to worship have left a kind of deep vibe, for lack of a better word. The building holds that as a chorus in some way. It’s something I feel very powerfully.

You can find that place in yourself because the spirit is already there.

WAYNE KEMPTON You know how time works in space? All the old television shows are still playing out there somewhere. All the events still echo. That’s true with the Cathedral only all the events are contained inside this one room.

I don’t think you need a reminder that this is sacred space.

TOM FEDOREK Somebody once asked me, “Why have you stayed at the Cathedral so long?

What keeps you going?” I thought about it and said, “The place has never stopped being mysterious to me and I hope it never will.”

5

A Place to Be Surprised

by God

BISHOP ANDREW M.L. DIETSCHE The power of the Cathedral is not simply the beauty or the complexity of its architecture, it is the sacredness of the space. As clergy we walk around that altar sensing its power, and then we sanctify the space around the altar to connect us to our loving God. PHILIPPE PETIT You can feel this power.

It invades you; it makes you strong; it makes you solid in whatever belief you have. I see people getting lost in the Cathedral. They realize that everything is a song to a higher power. They are discovering the unseen. When you are an artist, there are moments where nothing works. You lose faith. The Cathedral always rekindled the fire in me. It is a creative laboratory of the most inspiring kind because of the mysterious and sacred space.

“I think this is where God lives.”

MORNINGSIDE HEIGHTS NEIGHBOR, AGE 5 TOM FEDOREK In my late teens and early

twenties, I struggled. I often found myself visiting the Cathedral, just sitting there experiencing that vast space. It was a physical metaphor for what was going on inside of me. We measure physical growth in inches, but psychological growth involves much larger distances. That is what I found sitting in the Cathedral watching the light change.

SUSAN RODRIGUEZ If you are alone there, the magnitude can feel incredibly intimate. When there is a big celebration, it is jubilant and resonant.

The Cathedral lies in the balance between the beauty found in a ruin and being so incredibly alive.

THE REV. TOM PIKE What

you see is a place that has reached for the light in many directions.

The Cathedral perpetuates hope in New York City.

It has a dimension that goes beyond art because its roots are so deep and nurtured by so many things.

You don’t have to be an Episcopalian or a Christian to appreciate the Cathedral. You can just be somebody who’s sensitive to reality around you.

Top The Rev. Canon Edward Nason West celebrating the Holy Eucharist, 1970s.

Bottom left George Nakashima’s Altar for Peace was crafted from the trunk of a single 300-year-old black walnut tree. Nakashima, a woodworker, furniture maker, and design innovator, got the idea for his sacred table in a dream. The table was installed and blessed on New Year’s Eve, 1986, with representatives of the world’s religions and other exalted guests in attendance.

Bottom right Interior stair case, which features the famed Guastavino tile system, leading to the Crypt.

4

DEAN JAMES AUGUST KOWALSKI You come to expect the unexpected here. It may be Sunday morning at the High Altar facing the Rose Window. You raise the Host. Then a hymn starts and some phrase that you’ve sung since you were a kid dances with new meaning. New because you are surrounded by the Cathedral. You are in a natural place to be surprised by God. DEAN CLIFTON DANIEL III Anything we can do to point to the sacredness of creation, the sacredness of human life, or the sacredness of the Church, is what we’re about. We can find the wonder of creation everywhere, but here at the Cathedral, everything we see is beautiful. Every time I walk in I think, “Oh my God, look at this!” The Cathedral always references the Divine and reminds us that this beauty comes from somewhere.

“I do not believe in God except when I’m inside the Cathedral of St. John the Divine.” VISITOR THE REV. TOM PIKE The

Episcopal Church says a sacrament is an outward and visible sign of inward and spiritual grace. The Cathedral is an outward and visible sign of our community moving through time. It recalls the struggles of our past and it points to our future. People have an inkling that the roots of the building are deep in the mystery of existence. They know this is a place that has encouraged sharing and experiencing joy and peace.

Adlai Stevenson eulogized Eleanor Roosevelt here at this Cathedral. He said she would rather light a candle than curse the darkness. That is what the Cathedral has been, a candle in the midst of much darkness. The Cathedral transcends ethnic, racial, and economic things. That’s why it is so important spiritually to our community. Saint Paul has a wonderful line in the Eighth Chapter of Romans, “The Spirit gives utterance to the sighs of the heart that are too deep for words.” The Cathedral gives concrete expression to the sighs of the heart that are too deep for words. Just walking past the place you feel that you own it because it speaks to your heart. “It’s my Cathedral.”

TOM HURWITZ This

building is the end of uncountable pilgrimages, personal and spiritual.

It is used architecture, architecture that has been prayed in, walked over, and celebrated in.

A path gains meaning as more feet walk over it.

EDIE FALCO I think that over the years all the people who have gone there to worship have left a kind of deep vibe, for lack of a better word. The building holds that as a chorus in some way. It’s something I feel very powerfully.

You can find that place in yourself because the spirit is already there.

WAYNE KEMPTON You know how time works in space? All the old television shows are still playing out there somewhere. All the events still echo. That’s true with the Cathedral only all the events are contained inside this one room.

I don’t think you need a reminder that this is sacred space.

TOM FEDOREK Somebody once asked me, “Why have you stayed at the Cathedral so long?

What keeps you going?” I thought about it and said, “The place has never stopped being mysterious to me and I hope it never will.”

5

1892, Top of the Heap Late nineteenth century America was a time of vision and optimism.

The Civil War was past; railroads were linking the country and immigrants from many nations were pouring in. In New York City, that optimism translated into building. Civic pride was strong; so too was the idea of America as more democratic and egalitarian than the Old World, and certainly more energetic. Those with influence wanted to make their mark on the city as the city made its mark on the world.

Come Everybody and Be Welcome

“Is there in the system of the Church in this country any legitimate place for a cathedral?

Can it have any such uses as will justify us in making so large an outlay as would be required to achieve anything worthy of the Diocese and of this great metropolis of the American continent? My dear Brethren, in my deliberate judgment of these questions, they can be strongly answered in the affirmative...”

BISHOP HORATIO POTTER

In 1828, the Episcopal Bishop of New York, John Henry Hobart met with the city’s mayor. Bishop Hobart proposed building a cathedral in the center of the city near Washington Square. But the American revolt and wars against the British were still fresh in the minds of New Yorkers. Mayor Paulding objected, “The people of New York will riot in the streets.”

Gradually, over many years, people came to embrace the idea of a cathedral for New York.

THE REV. TOM PIKE

ANDREW DOLKART In the 19th century, traveling Americans went to London, Paris, Rome, and Berlin. They visited museums, botanical gardens, zoos, and the opera, and they were determined to recreate those institutions in America—most particularly here in New York.

WAYNE KEMPTON New York was a booming metropolis, not to mention that in 1858 the Roman Catholics laid the cornerstone for St. Patrick’s Cathedral on Fifth Avenue. In 1872, Bishop Horatio Potter again called for an Episcopal cathedral. The time had come.

STEPHEN FACEY The original New York State Charter of 1873 charged the proposed Cathedral to be a “house of prayer for the use of all people; an instrument of church unity; and a center of intellectual light and leadership.”

DEAN JAMES PARKS MORTON The Cathedral commitment of being open to all people goes back to that Charter. A cathedral was meant to be an intellectual center of learning and compassion, and simultaneously the patron of the business and craft guilds—a mix of the sacred and the secular to meet the spiritual, economic, and human needs of the new cities. The great medieval cathedrals were designed to accommodate the entire population of their town or city. New York was the melting pot.

People from all over the world were coming here, and they weren’t just Episcopalians.

FRANCIS SYPHER Emphasis of the mission aspect, outreach, and involvement are all part of the founding story of the Cathedral. The commitment to social activism was there from the very beginning. Before St. John the Divine was built, the church had a “pro-cathedral,” a kind of a mission cathedral on the Lower East Side. Bishop Potter lived near there on Stanton Street and ministered to the people doing work among the poor and the immigrants.

WAYNE KEMPTON After 1873, the group that Bishop Horatio Potter drew together began to have doubts about whether the Diocese was up to such a huge encounter of planning and money. That stalled things for twenty years.

April 16, 1873, a charter for the Cathedral Church of Saint John the Divine was granted by the New York state legislature grants.

THE REV. TOM PIKE The founders of the Sixty-eight architectural firms entered the 1888 design competition to build the Cathedral. It was the most prominent project of its kind in the United States.

In 1891, Heins & LaFarge won with a design, pictured right, based on Romanesque forms with many Byzantine and Gothic elements.

6

Cathedral were living in a New York where the old ways of the world were exploding. This was a city full of contrast. Some New Yorkers were getting fabulously rich and some were starving. That old Bishop and these lay leaders understood that image of the apocalypse. It wasn’t by accident that they went to the Book of Revelation to come up with a name: “The Cathedral of St. John the Divine.”

7

1892, Top of the Heap Late nineteenth century America was a time of vision and optimism.

The Civil War was past; railroads were linking the country and immigrants from many nations were pouring in. In New York City, that optimism translated into building. Civic pride was strong; so too was the idea of America as more democratic and egalitarian than the Old World, and certainly more energetic. Those with influence wanted to make their mark on the city as the city made its mark on the world.

Come Everybody and Be Welcome

“Is there in the system of the Church in this country any legitimate place for a cathedral?

Can it have any such uses as will justify us in making so large an outlay as would be required to achieve anything worthy of the Diocese and of this great metropolis of the American continent? My dear Brethren, in my deliberate judgment of these questions, they can be strongly answered in the affirmative...”

BISHOP HORATIO POTTER

In 1828, the Episcopal Bishop of New York, John Henry Hobart met with the city’s mayor. Bishop Hobart proposed building a cathedral in the center of the city near Washington Square. But the American revolt and wars against the British were still fresh in the minds of New Yorkers. Mayor Paulding objected, “The people of New York will riot in the streets.”

Gradually, over many years, people came to embrace the idea of a cathedral for New York.

THE REV. TOM PIKE

ANDREW DOLKART In the 19th century, traveling Americans went to London, Paris, Rome, and Berlin. They visited museums, botanical gardens, zoos, and the opera, and they were determined to recreate those institutions in America—most particularly here in New York.

WAYNE KEMPTON New York was a booming metropolis, not to mention that in 1858 the Roman Catholics laid the cornerstone for St. Patrick’s Cathedral on Fifth Avenue. In 1872, Bishop Horatio Potter again called for an Episcopal cathedral. The time had come.

STEPHEN FACEY The original New York State Charter of 1873 charged the proposed Cathedral to be a “house of prayer for the use of all people; an instrument of church unity; and a center of intellectual light and leadership.”

DEAN JAMES PARKS MORTON The Cathedral commitment of being open to all people goes back to that Charter. A cathedral was meant to be an intellectual center of learning and compassion, and simultaneously the patron of the business and craft guilds—a mix of the sacred and the secular to meet the spiritual, economic, and human needs of the new cities. The great medieval cathedrals were designed to accommodate the entire population of their town or city. New York was the melting pot.

People from all over the world were coming here, and they weren’t just Episcopalians.

FRANCIS SYPHER Emphasis of the mission aspect, outreach, and involvement are all part of the founding story of the Cathedral. The commitment to social activism was there from the very beginning. Before St. John the Divine was built, the church had a “pro-cathedral,” a kind of a mission cathedral on the Lower East Side. Bishop Potter lived near there on Stanton Street and ministered to the people doing work among the poor and the immigrants.

WAYNE KEMPTON After 1873, the group that Bishop Horatio Potter drew together began to have doubts about whether the Diocese was up to such a huge encounter of planning and money. That stalled things for twenty years.

April 16, 1873, a charter for the Cathedral Church of Saint John the Divine was granted by the New York state legislature grants.

THE REV. TOM PIKE The founders of the Sixty-eight architectural firms entered the 1888 design competition to build the Cathedral. It was the most prominent project of its kind in the United States.

In 1891, Heins & LaFarge won with a design, pictured right, based on Romanesque forms with many Byzantine and Gothic elements.

6

Cathedral were living in a New York where the old ways of the world were exploding. This was a city full of contrast. Some New Yorkers were getting fabulously rich and some were starving. That old Bishop and these lay leaders understood that image of the apocalypse. It wasn’t by accident that they went to the Book of Revelation to come up with a name: “The Cathedral of St. John the Divine.”

7

A Cathedral for the Great Immigration

DEAN KOWALSKI The argument was whether to have a cathedral or not. Do we need one?

Do we want one? But as other American cathedrals got built, they began to understand what this Cathedral could mean for New York City and even for America.

WAYNE KEMPTON At the end of the 19th century if you wanted to rub elbows with the rich and famous, you were an Episcopalian. Up and down the East Coast, high society was one Episcopalian after another. In 1887, the first Bishop Potter was succeeded by his nephew, Henry Codman Potter. The second Bishop Potter was married to the widow of Alfred Corning Clark of the Singer Sewing Machine fortune. Potter was extremely wealthy and so was she. I’ve heard him described as “Pastor to the 400.” So by 1892, there was finally both the enthusiasm and the money to build an Episcopal cathedral.

BOB PENNOYER My great-grandfather, Pierpont Morgan, was a serious churchman.

He started the Cathedral and Pierpont is said to have underwritten the rewriting of the Episcopal prayer book. Pierpont had a lot of imagination. Every year he attended the Episcopal Convention for appointing bishops. He went to those conventions in private railroad cars along with his mistress.

WILLIAM BRYANT LOGAN Bishop Henry Codman Potter was an intimate of the Cathedral Trustees Morgan, Huntington, Vanderbilt, Astor, and the like—all of whom he turned to for funds to begin construction. He established the church as a social force in New York. He was perhaps the Gilded Age’s best example of “the man of conscience.” Issues were the heart of Potter’s ministry.

ANDREW DOLKART This was to be a cathedral, and it was going to be at the top of the heap.

Bishop Potter was very clear that the Cathedral would counteract the notion that New York was not only a commercial city. Potter was involved in social reform; he was involved in housing. He saw St. John’s as a place where people of other denominations could interact with the Episcopalians.

“Give me your tired, your poor, Your huddled masses yearning to breathe free.”

EMMA LAZARUS, INDUCTED INTO THE AMERICAN POETS CORNER, 2006 HANNAH WOLFE EISNER The idea that the Cathedral was conceived as a truly American cathedral even predates the charter. In the early 19th century, when more than half of New York’s population was foreign born, St. John the Divine was conceived as an American Cathedral, affirming common ground between political ideals and the Gospel message.

DEAN KOWALSKI If the Cathedral was built only for denominational purposes, they built it too big.

They had something else in mind. They believed they were building for everyone. New York was becoming the world’s most interfaith international city. Here would be a cathedral in which that great immigration would be represented. The Cornerstone was laid in 1892, the same year that Ellis Island opened. In the next decades, 71 percent of all immigrants arriving in America came through Ellis Island.

Under its roof you were going to house the great conversations of all of the diverse new people of this city.

FRANCIS SYPHER Combining ecclesiastical activity with lay activity was an American idea.

The whole cathedral idea was developed very much with the support of lay people. Lay people as donors, as the members of the board, and lay people consulting all around. This was by contrast to the British idea of the cathedral as a monastic community of clerics.

Top Forty percent of today’s American population had an ancestor enter through Ellis Island in New York City.

From 1892 until it closed on November 12, 1954, 12 million immigrants entered here. Today, one in five New Yorkers is an immigrant, and one in six is a native-born U.S. citizen with at least one immigrant parent.

Bottom J. Pierpont Morgan, right, with colleagues.

8

9

A Cathedral for the Great Immigration

DEAN KOWALSKI The argument was whether to have a cathedral or not. Do we need one?

Do we want one? But as other American cathedrals got built, they began to understand what this Cathedral could mean for New York City and even for America.

WAYNE KEMPTON At the end of the 19th century if you wanted to rub elbows with the rich and famous, you were an Episcopalian. Up and down the East Coast, high society was one Episcopalian after another. In 1887, the first Bishop Potter was succeeded by his nephew, Henry Codman Potter. The second Bishop Potter was married to the widow of Alfred Corning Clark of the Singer Sewing Machine fortune. Potter was extremely wealthy and so was she. I’ve heard him described as “Pastor to the 400.” So by 1892, there was finally both the enthusiasm and the money to build an Episcopal cathedral.

BOB PENNOYER My great-grandfather, Pierpont Morgan, was a serious churchman.

He started the Cathedral and Pierpont is said to have underwritten the rewriting of the Episcopal prayer book. Pierpont had a lot of imagination. Every year he attended the Episcopal Convention for appointing bishops. He went to those conventions in private railroad cars along with his mistress.

WILLIAM BRYANT LOGAN Bishop Henry Codman Potter was an intimate of the Cathedral Trustees Morgan, Huntington, Vanderbilt, Astor, and the like—all of whom he turned to for funds to begin construction. He established the church as a social force in New York. He was perhaps the Gilded Age’s best example of “the man of conscience.” Issues were the heart of Potter’s ministry.

ANDREW DOLKART This was to be a cathedral, and it was going to be at the top of the heap.

Bishop Potter was very clear that the Cathedral would counteract the notion that New York was not only a commercial city. Potter was involved in social reform; he was involved in housing. He saw St. John’s as a place where people of other denominations could interact with the Episcopalians.

“Give me your tired, your poor, Your huddled masses yearning to breathe free.”

EMMA LAZARUS, INDUCTED INTO THE AMERICAN POETS CORNER, 2006 HANNAH WOLFE EISNER The idea that the Cathedral was conceived as a truly American cathedral even predates the charter. In the early 19th century, when more than half of New York’s population was foreign born, St. John the Divine was conceived as an American Cathedral, affirming common ground between political ideals and the Gospel message.

DEAN KOWALSKI If the Cathedral was built only for denominational purposes, they built it too big.

They had something else in mind. They believed they were building for everyone. New York was becoming the world’s most interfaith international city. Here would be a cathedral in which that great immigration would be represented. The Cornerstone was laid in 1892, the same year that Ellis Island opened. In the next decades, 71 percent of all immigrants arriving in America came through Ellis Island.

Under its roof you were going to house the great conversations of all of the diverse new people of this city.

FRANCIS SYPHER Combining ecclesiastical activity with lay activity was an American idea.

The whole cathedral idea was developed very much with the support of lay people. Lay people as donors, as the members of the board, and lay people consulting all around. This was by contrast to the British idea of the cathedral as a monastic community of clerics.

Top Forty percent of today’s American population had an ancestor enter through Ellis Island in New York City.

From 1892 until it closed on November 12, 1954, 12 million immigrants entered here. Today, one in five New Yorkers is an immigrant, and one in six is a native-born U.S. citizen with at least one immigrant parent.

Bottom J. Pierpont Morgan, right, with colleagues.

8

9

The Presence and Mystery to Inspire

ANDREW DOLKART The period between the late 1880s and the beginning of World War I is when The Metropolitan Museum of Art, the American Museum of Natural History, and the Brooklyn Museum all expanded. The Public Library was founded. Carnegie Hall, the Metropolitan Opera, the New York Botanical Garden, and the Bronx Zoo were built. Columbia, NYU, City College, and Barnard all built their campuses. There was a huge expansion of the institutional realm.

JESSYE NORMAN These

places all had the same idea about how they could be a place for all people to come, to learn, and to take part. They were concerned about being a part of the community in which they were built. All of these great public places putting forth their attitudes of “Come everybody. And be welcome.”

ANDREW DOLKART The

New York Public Library was given land on Fifth Avenue. The Met was permitted to expand into Central Park, but other institutions had to look for places to build.

Morningside Heights was the most convenient spot. So Morningside Heights becomes this academic, intellectual, institutional center of the city. It was called "The Acropolis of New York."

WAYNE KEMPTON Morningside Heights is one of the highest points in Manhattan. The plan was when you pulled into New York Harbor, you would see the Cathedral of St. John the Divine overlooking the entire city.

Top left The eight granite columns were cut from the Wharff Quarry in Vinylhaven, Maine. They are 55 feet in height, 6 feet in diameter and weigh 130 tons each.

The foundation of the columns goes down 135 feet to bedrock. Moving the columns was a feat of engineering. They were loaded on a specially designed barge and shipped to the city two at a time.

A truck with wooden wheels pulled ahead by a powerful winch carried the columns to 112th Street and Amsterdam Avenue, a journey of about two miles. It took 19 days.

Top right Building surveyors photographed in the Town Building, December 10, 1895.

Middle left Raising the columns, 1904.

Middle right Stone carvers in the workshed of the north field. In the background, sculptures of the saints, which are now placed on the exterior roof line of the apse. The models were designed by Gutzon Borglum.

ANDREW DOLKART Actually, you would have to have a very strong pair of binoculars to see the Cathedral from New York Harbor. It was supposed to be visible to lower Manhattan because initially, the front of the Cathedral was planned to face south toward 110th Street. You would have had these very tall towers facing the southern end. It was a poetic notion. But in the Episcopal tradition, the Choir is at the east end. So the planners moved the Cathedral entrance to face west toward Amsterdam Avenue.

SUSAN RODRIGUEZ The Cathedral was very complex to construct. The whole thing was a technical feat. There was a tremendous operation just to quarry the stone. The excavation took much longer than they had planned.

WAYNE KEMPTON When they started to dig the foundation, they couldn’t reach bedrock.

They were running out of money. Pierpont Morgan donated half a million dollars, saying: “Here’s a little something to get you out of the hole.” I don’t know whether that’s an accurate quote, but it may be. In 1911, the Cathedral opened the Chancel, the Choir, and the Crossing: half a cathedral with a pulpit. By 1914, all the outer buildings had been completed. The Bishop’s House had 32 rooms. When Morgan was asked why he built such a big house, he said, “Why shouldn’t the Bishop live like the rest of us?”

THE REV. TOM PIKE There

is no way to escape the fact that many of those we call robber barons helped build the Cathedral. But it’s just one piece of the story. Pierpont Morgan understood that to have a great city, you had to have a great space. Not just to convene people, but to inspire them. What was the Cathedral trying to inspire? It wasn’t just about having the biggest organ in North America, or having a hundred million yards of stained glass, or fitting 10,000 people. The tougher issue was, “What is it that would make the Cathedral inspiring?” Like all of us, Morgan and the others were looking to create something that had the presence and mystery to inspire. The Cathedral is a place where the human situation is magnified. History, the present, and the future are all magnified here.

Shortly before he died, Morgan was preparing to go on his final trip. He was not well, as he got into his car, ready to leave New York for the last time, he told the chauffeur, “Take me up to the Cathedral of St. John the Divine.” It’s hard to know what was in Morgan’s head, but the Cathedral was the last thing he saw in New York.

FRANCIS SYPHER The idea was that it would be up here on the hill where everybody could see it and the doors would be opened to all. That design was part of the conception. That conception is also reflected on the seven Chapels of the Tongues with each one devoted to a different immigrant group with services in their own languages.

STEPHEN FACEY The seven chapels represented seven of the immigrant communities in New York at that time. Today, you would have to build dozens of chapels to represent the ethnic neighborhoods of the city.

Bottom The Consecration of the Choir, the Crossing, and the Chapels of St. Saviour and St. Columba, April 19, 1911.

10

11

The Presence and Mystery to Inspire

ANDREW DOLKART The period between the late 1880s and the beginning of World War I is when The Metropolitan Museum of Art, the American Museum of Natural History, and the Brooklyn Museum all expanded. The Public Library was founded. Carnegie Hall, the Metropolitan Opera, the New York Botanical Garden, and the Bronx Zoo were built. Columbia, NYU, City College, and Barnard all built their campuses. There was a huge expansion of the institutional realm.

JESSYE NORMAN These

places all had the same idea about how they could be a place for all people to come, to learn, and to take part. They were concerned about being a part of the community in which they were built. All of these great public places putting forth their attitudes of “Come everybody. And be welcome.”

ANDREW DOLKART The

New York Public Library was given land on Fifth Avenue. The Met was permitted to expand into Central Park, but other institutions had to look for places to build.

Morningside Heights was the most convenient spot. So Morningside Heights becomes this academic, intellectual, institutional center of the city. It was called "The Acropolis of New York."

WAYNE KEMPTON Morningside Heights is one of the highest points in Manhattan. The plan was when you pulled into New York Harbor, you would see the Cathedral of St. John the Divine overlooking the entire city.

Top left The eight granite columns were cut from the Wharff Quarry in Vinylhaven, Maine. They are 55 feet in height, 6 feet in diameter and weigh 130 tons each.

The foundation of the columns goes down 135 feet to bedrock. Moving the columns was a feat of engineering. They were loaded on a specially designed barge and shipped to the city two at a time.

A truck with wooden wheels pulled ahead by a powerful winch carried the columns to 112th Street and Amsterdam Avenue, a journey of about two miles. It took 19 days.

Top right Building surveyors photographed in the Town Building, December 10, 1895.

Middle left Raising the columns, 1904.

Middle right Stone carvers in the workshed of the north field. In the background, sculptures of the saints, which are now placed on the exterior roof line of the apse. The models were designed by Gutzon Borglum.

ANDREW DOLKART Actually, you would have to have a very strong pair of binoculars to see the Cathedral from New York Harbor. It was supposed to be visible to lower Manhattan because initially, the front of the Cathedral was planned to face south toward 110th Street. You would have had these very tall towers facing the southern end. It was a poetic notion. But in the Episcopal tradition, the Choir is at the east end. So the planners moved the Cathedral entrance to face west toward Amsterdam Avenue.

SUSAN RODRIGUEZ The Cathedral was very complex to construct. The whole thing was a technical feat. There was a tremendous operation just to quarry the stone. The excavation took much longer than they had planned.

WAYNE KEMPTON When they started to dig the foundation, they couldn’t reach bedrock.

They were running out of money. Pierpont Morgan donated half a million dollars, saying: “Here’s a little something to get you out of the hole.” I don’t know whether that’s an accurate quote, but it may be. In 1911, the Cathedral opened the Chancel, the Choir, and the Crossing: half a cathedral with a pulpit. By 1914, all the outer buildings had been completed. The Bishop’s House had 32 rooms. When Morgan was asked why he built such a big house, he said, “Why shouldn’t the Bishop live like the rest of us?”

THE REV. TOM PIKE There

is no way to escape the fact that many of those we call robber barons helped build the Cathedral. But it’s just one piece of the story. Pierpont Morgan understood that to have a great city, you had to have a great space. Not just to convene people, but to inspire them. What was the Cathedral trying to inspire? It wasn’t just about having the biggest organ in North America, or having a hundred million yards of stained glass, or fitting 10,000 people. The tougher issue was, “What is it that would make the Cathedral inspiring?” Like all of us, Morgan and the others were looking to create something that had the presence and mystery to inspire. The Cathedral is a place where the human situation is magnified. History, the present, and the future are all magnified here.

Shortly before he died, Morgan was preparing to go on his final trip. He was not well, as he got into his car, ready to leave New York for the last time, he told the chauffeur, “Take me up to the Cathedral of St. John the Divine.” It’s hard to know what was in Morgan’s head, but the Cathedral was the last thing he saw in New York.

FRANCIS SYPHER The idea was that it would be up here on the hill where everybody could see it and the doors would be opened to all. That design was part of the conception. That conception is also reflected on the seven Chapels of the Tongues with each one devoted to a different immigrant group with services in their own languages.

STEPHEN FACEY The seven chapels represented seven of the immigrant communities in New York at that time. Today, you would have to build dozens of chapels to represent the ethnic neighborhoods of the city.

Bottom The Consecration of the Choir, the Crossing, and the Chapels of St. Saviour and St. Columba, April 19, 1911.

10

11

Between the Wars The period between the wars brought sweeping change to the nation and to the Cathedral. As America recovered from the First World War, the economy boomed, and major philanthropists flocked to complete New York City’s great sacred space. The Roaring Twenties were followed by the Great Depression. Times—and priorities about where to invest private and public money—once again changed.

For the Whole World

“Whatever inspires and strengthens the religious belief and religious activity of the people, whatever ministers to their spiritual life, is of supreme importance. Without it all other efforts will fail. With it there lies the only hope of success.” CALVIN COOLIDGE MARNIE WEIR At the end of World War I, a new energy kicked in. A new confidence in the American people, a post-war, “We’re going to do this ourselves.” The Cathedral was moving in a new direction.

DEAN KOWALSKI It was the 1920s, the War was over and the new Bishop, William T. Manning, was eager to resume building the Cathedral.

Bishop Manning made the claim that $15 million would “Complete the Cathedral.” Franklin Delano Roosevelt led the Building Campaign— it was national news and widely followed across the country.

BISHOP WILLIAM THOMAS MANNING The Cathedral stands for the beauty and greatness of human life, not as it is but as Christ will make it, and so it stands for unending progress, for everything that will make this a better city, human life nobler and happier, and this world a better place.

STEPHEN FACEY The Campaign kicked off at Madison Square Garden. It was a “Ten-week $15-million campaign to finish the Cathedral.”

Ralph Adams Cram, who had succeeded the original architects, Heins & LaFarge, built a 12-foot, one-ton model of the Cathedral that was placed in the middle of Grand Central Station.

Children passing through Grand Central would throw their pennies in for the building.

THE REV. TOM PIKE They

used to have collections for the Cathedral on Sundays.

People all over the country would put out their dollars and their dimes. It was a love offering from a great cross section of the population.

WILLIAM BRYANT LOGAN

In the 1920s, the building of the nave became a project for the whole world, receiving gifts from the Emperor of Japan, the King of Siam, Adolph Ochs of the New York Times, Prime Minister Benes of Czechoslovakia, and thousands of ordinary citizens who thronged benefit track meets, poetry readings, boxing tournaments, horse shows, and other schemes—all to help finish the Cathedral.

DEAN KOWALSKI The plans to finish the Cathedral captured America’s imagination.

People, and not just Episcopalians, were thrilled with this vision to build something so big in this great city. “We’re going to build something amazing and what we are building is the Cathedral of St. John Divine.”

“The Cathedral when completed will be the greatest in the English-speaking world and will stand among the greatest ecclesiastical buildings ever erected… It will be one of the glories of Christendom; a sacrament in stone.”

CATHEDRAL ARCHIVES

New Yorkers celebrating the end of the War, 1918.

12

13

Between the Wars The period between the wars brought sweeping change to the nation and to the Cathedral. As America recovered from the First World War, the economy boomed, and major philanthropists flocked to complete New York City’s great sacred space. The Roaring Twenties were followed by the Great Depression. Times—and priorities about where to invest private and public money—once again changed.

For the Whole World

“Whatever inspires and strengthens the religious belief and religious activity of the people, whatever ministers to their spiritual life, is of supreme importance. Without it all other efforts will fail. With it there lies the only hope of success.” CALVIN COOLIDGE MARNIE WEIR At the end of World War I, a new energy kicked in. A new confidence in the American people, a post-war, “We’re going to do this ourselves.” The Cathedral was moving in a new direction.

DEAN KOWALSKI It was the 1920s, the War was over and the new Bishop, William T. Manning, was eager to resume building the Cathedral.

Bishop Manning made the claim that $15 million would “Complete the Cathedral.” Franklin Delano Roosevelt led the Building Campaign— it was national news and widely followed across the country.

BISHOP WILLIAM THOMAS MANNING The Cathedral stands for the beauty and greatness of human life, not as it is but as Christ will make it, and so it stands for unending progress, for everything that will make this a better city, human life nobler and happier, and this world a better place.

STEPHEN FACEY The Campaign kicked off at Madison Square Garden. It was a “Ten-week $15-million campaign to finish the Cathedral.”

Ralph Adams Cram, who had succeeded the original architects, Heins & LaFarge, built a 12-foot, one-ton model of the Cathedral that was placed in the middle of Grand Central Station.

Children passing through Grand Central would throw their pennies in for the building.

THE REV. TOM PIKE They

used to have collections for the Cathedral on Sundays.

People all over the country would put out their dollars and their dimes. It was a love offering from a great cross section of the population.

WILLIAM BRYANT LOGAN

In the 1920s, the building of the nave became a project for the whole world, receiving gifts from the Emperor of Japan, the King of Siam, Adolph Ochs of the New York Times, Prime Minister Benes of Czechoslovakia, and thousands of ordinary citizens who thronged benefit track meets, poetry readings, boxing tournaments, horse shows, and other schemes—all to help finish the Cathedral.

DEAN KOWALSKI The plans to finish the Cathedral captured America’s imagination.

People, and not just Episcopalians, were thrilled with this vision to build something so big in this great city. “We’re going to build something amazing and what we are building is the Cathedral of St. John Divine.”

“The Cathedral when completed will be the greatest in the English-speaking world and will stand among the greatest ecclesiastical buildings ever erected… It will be one of the glories of Christendom; a sacrament in stone.”

CATHEDRAL ARCHIVES

New Yorkers celebrating the end of the War, 1918.

12

13

Roosevelt, Rockefeller, and the Bishop

ANDREW DOLKART They were trying to get funding. And, in some cases, it was very successful.

One of the issues that arose was whether The Cathedral was going to be for Episcopalians or an ecumenical place for all Christians. The rhetoric of various bishops, beginning with Henry Codman Potter and continuing with Manning, was that St. John’s was a church for all people and that it welcomed everyone. But when non-Episcopalians asked to be involved in the governance of the Cathedral, they were turned away. This became very specific in 1925. John D. Rockefeller Jr. gave half a million dollars, and along with it, sent a letter to Manning saying that he thought he should be appointed to the Cathedral Board.

WAYNE KEMPTON Bishop Manning announced the Rockefeller gift to the newspapers without mentioning Rockefeller’s “other suggestion” about joining the Board. The next morning, February 7, 1925, the headline in the New York Times was, “Rockefeller Gives Cathedral $500,000.” Up to that point all the trustees had been Episcopalian.

Rockefeller was a devout Baptist. Rockefeller wrote Manning a second letter saying, “I see this article in the paper but there seems to be no mention of….” Manning wrote back, “Yes, thank you. We’ll take up the business of the trustees after the Cathedral is finished.”

WAYNE KEMPTON When Bishop Manning was asked whether salvation could be found outside The Episcopal Church, he replied, “Perhaps so, but no gentleman would care to avail himself of it.”

DEAN MORTON There is a story that Bishop Manning even suggested to Rockefeller that he might begin studying for an Episcopalian confirmation.

ANDREW DOLKART Rockefeller was really irritated.

He’d given his money but his request had been ignored. The end result was that it inspired Rockefeller to build his own church. And not only was he was going to build a church, but his church was going to be the rival of the Cathedral.

Initially he wanted to build nearby on Morningside Drive where it would have towered over the Cathedral. He was unable to obtain that site, so he opted for Riverside Drive. The Riverside Church was finished quickly, totally funded, and it was taller than the Cathedral.

“Build it as a protest against brutality, hatred, and wrong. Build it, not solely for the Diocese of New York, but build it for all the living in the world. Build it as a contribution of America to the spiritual life of all people.”

ELIHU ROOT, NOBEL PEACE LAUREATE, US SECRETARY OF STATE

Top As the leader of the Cathedral Building Campaign, Franklin D. Roosevelt utilized the new media of national radio to challenge all Americans to “Complete the Cathedral.” Roosevelt’s broadcast was delivered before a cheering crowd of 15,000 at Madison Square Garden, January 18, 1925.

Bottom left John D. Rockefeller Jr. trailed by reporters in the Cathedral Close.

Bottom right The 1925 Building Campaign.

14

15

Roosevelt, Rockefeller, and the Bishop

ANDREW DOLKART They were trying to get funding. And, in some cases, it was very successful.

One of the issues that arose was whether The Cathedral was going to be for Episcopalians or an ecumenical place for all Christians. The rhetoric of various bishops, beginning with Henry Codman Potter and continuing with Manning, was that St. John’s was a church for all people and that it welcomed everyone. But when non-Episcopalians asked to be involved in the governance of the Cathedral, they were turned away. This became very specific in 1925. John D. Rockefeller Jr. gave half a million dollars, and along with it, sent a letter to Manning saying that he thought he should be appointed to the Cathedral Board.

WAYNE KEMPTON Bishop Manning announced the Rockefeller gift to the newspapers without mentioning Rockefeller’s “other suggestion” about joining the Board. The next morning, February 7, 1925, the headline in the New York Times was, “Rockefeller Gives Cathedral $500,000.” Up to that point all the trustees had been Episcopalian.

Rockefeller was a devout Baptist. Rockefeller wrote Manning a second letter saying, “I see this article in the paper but there seems to be no mention of….” Manning wrote back, “Yes, thank you. We’ll take up the business of the trustees after the Cathedral is finished.”

WAYNE KEMPTON When Bishop Manning was asked whether salvation could be found outside The Episcopal Church, he replied, “Perhaps so, but no gentleman would care to avail himself of it.”

DEAN MORTON There is a story that Bishop Manning even suggested to Rockefeller that he might begin studying for an Episcopalian confirmation.

ANDREW DOLKART Rockefeller was really irritated.

He’d given his money but his request had been ignored. The end result was that it inspired Rockefeller to build his own church. And not only was he was going to build a church, but his church was going to be the rival of the Cathedral.

Initially he wanted to build nearby on Morningside Drive where it would have towered over the Cathedral. He was unable to obtain that site, so he opted for Riverside Drive. The Riverside Church was finished quickly, totally funded, and it was taller than the Cathedral.

“Build it as a protest against brutality, hatred, and wrong. Build it, not solely for the Diocese of New York, but build it for all the living in the world. Build it as a contribution of America to the spiritual life of all people.”

ELIHU ROOT, NOBEL PEACE LAUREATE, US SECRETARY OF STATE

Top As the leader of the Cathedral Building Campaign, Franklin D. Roosevelt utilized the new media of national radio to challenge all Americans to “Complete the Cathedral.” Roosevelt’s broadcast was delivered before a cheering crowd of 15,000 at Madison Square Garden, January 18, 1925.

Bottom left John D. Rockefeller Jr. trailed by reporters in the Cathedral Close.

Bottom right The 1925 Building Campaign.

14

15

The 1930s: From the Crash to the War

ANDREW DOLKART The Cathedral wasn’t finished when the Wall Street Crash happened in 1929. The whole economy was collapsing while the Cathedral continued major building work. But no one viewed the construction in a negative way. The Cathedral provided employment in New York and that was important.

The Episcopalians were doing what they were supposed to do, which was to finish the church for whatever role it was going to play in New York society. And by this time, I don’t mean a role in high society, but whatever role it could play in New York culture.

WAYNE KEMPTON Bishop Manning wanted to finish the Nave and he was providing jobs during the Depression. He used employment for continued fundraising so that the Cathedral could continue to build.

MARNIE WEIR Living conditions became a huge conversation in the 1930s. Thousands of families had been living in a Hooverville just blocks away on the Great Lawn of Central Park.

STEPHEN FACEY When construction was finished in November 1941, there was a week of celebration.

The huge front bronze doors would be opened, a curtain pulled back, and for the first time, visitors could view the full two-football-field-plus-a-foot length of the completed nave.

On Sunday, November 30, 1941, the congregation worshipped in the entire space for the first time.

The next Sunday, December 7, was the attack on Pearl Harbor. President Roosevelt’s “Great Day of Infamy” ended the Cathedral’s great week of celebration. Within months, building of the Cathedral ceased. Most of the workers went off to war; they just laid down their tools. Building did not resume until 38 years later, in 1979.

WAYNE KEMPTON The Midshipman's School of Coumbia University held its graduation exercises at the Cathedral. During the school's more than five years of operation, it graduated nearly 25,000 men. As of December 1945, 350 of those same men had been killed or reported missing in action.

BISHOP DIETSCHE Bishop Manning led a city-wide movement to eliminate the slums and tenements of New York. He dismantled an actual tenement apartment and re-erected it at the entrance door of the Cathedral. To enter the Cathedral, you had to pass through that slum and experience how the poor of New York were living. And then there is the famous story about All Souls, which is the nearest church to this Cathedral. One Easter morning the white people got to church early and locked the doors so that the Black people couldn’t come in.

Manning went down there with an axe and knocked the chains off the door.

“Nothing is too great, too high, or too beautiful to be true.” BISHOP MANNING

Top left Granite carvers working on the façade, early 1930s.

Top right Scaffolding enclosing the construction of the Nave, 1930s.

Bottom The Midshipman's School of Columbia University's graduation exercises.

16

17

The 1930s: From the Crash to the War

ANDREW DOLKART The Cathedral wasn’t finished when the Wall Street Crash happened in 1929. The whole economy was collapsing while the Cathedral continued major building work. But no one viewed the construction in a negative way. The Cathedral provided employment in New York and that was important.

The Episcopalians were doing what they were supposed to do, which was to finish the church for whatever role it was going to play in New York society. And by this time, I don’t mean a role in high society, but whatever role it could play in New York culture.

WAYNE KEMPTON Bishop Manning wanted to finish the Nave and he was providing jobs during the Depression. He used employment for continued fundraising so that the Cathedral could continue to build.

MARNIE WEIR Living conditions became a huge conversation in the 1930s. Thousands of families had been living in a Hooverville just blocks away on the Great Lawn of Central Park.

STEPHEN FACEY When construction was finished in November 1941, there was a week of celebration.

The huge front bronze doors would be opened, a curtain pulled back, and for the first time, visitors could view the full two-football-field-plus-a-foot length of the completed nave.

On Sunday, November 30, 1941, the congregation worshipped in the entire space for the first time.

The next Sunday, December 7, was the attack on Pearl Harbor. President Roosevelt’s “Great Day of Infamy” ended the Cathedral’s great week of celebration. Within months, building of the Cathedral ceased. Most of the workers went off to war; they just laid down their tools. Building did not resume until 38 years later, in 1979.

WAYNE KEMPTON The Midshipman's School of Coumbia University held its graduation exercises at the Cathedral. During the school's more than five years of operation, it graduated nearly 25,000 men. As of December 1945, 350 of those same men had been killed or reported missing in action.

BISHOP DIETSCHE Bishop Manning led a city-wide movement to eliminate the slums and tenements of New York. He dismantled an actual tenement apartment and re-erected it at the entrance door of the Cathedral. To enter the Cathedral, you had to pass through that slum and experience how the poor of New York were living. And then there is the famous story about All Souls, which is the nearest church to this Cathedral. One Easter morning the white people got to church early and locked the doors so that the Black people couldn’t come in.

Manning went down there with an axe and knocked the chains off the door.

“Nothing is too great, too high, or too beautiful to be true.” BISHOP MANNING

Top left Granite carvers working on the façade, early 1930s.

Top right Scaffolding enclosing the construction of the Nave, 1930s.

Bottom The Midshipman's School of Columbia University's graduation exercises.

16

17

Changing City America emerged from World War II as a country of profound and deepening contradictions. Black soldiers who had gone to fight for their homeland returned to Jim Crow laws and even lynchings.

The Episcopal Church traditionally represented a slice of New York society: well-to-do, and most of all, white.

The Episcopal Shift

THE REV. TOM PIKE

After the war, people thought The Episcopal Church was in decline in New York. There was less money, fewer people, and great social issues were falling all around.

But the Church did not go into decline because of a new prayer book or the embrace of different ethnic groups. The Episcopal shift reflected a cultural shift. Again welcoming new people and again recreating our city.

DEAN MORTON Urban unrest in American cities in the 1950s and 1960s was a problem to all established institutions: commercial, educational, and religious. The large white religious communities in particular were concerned because many of their long-established churches and synagogues were located in the racially challenged central cities.

PAMELA MORTON Traditional parishioners were leaving the inner-city congregations. The churches was a study done in the didn’t know how to cope, or maybe they just didn’t 1950s that said the most segregated occupation know how to invite the new people in. in the country was Episcopal clergyman. Even Sunday Schools were segregated. There were articles in the Diocesan newspapers about how the THE REV. SANDYE WILSON My family were Diocesan Convention was so nice because the two members of St. James Episcopal Church in races could talk in the same room. Well, we needed Baltimore for generations. In 1953, they joined more than that. The new Bishop, Horace Donegan, a small group of people who founded Church preached social activism. But that was the era of of the Holy Trinity down the street. A white “Father Knows Best.” You could preach equality congregation had left Holy Trinity because of the and still not really get anywhere. People would “changing neighborhood,” read: becoming more agree, but they wouldn’t take action.

Black. The white parishioners left all of the silver, the vestments, and everything else and told the diocese that they could make it a Black church but DEAN KOWALSKI I grew up in a church that doesn’t bear much resemblance to the church today. they weren’t staying to be a part of it. So the rector of St. James came down the street with the choir The 1950s and 1960s were not necessarily “the and some of the members to start Holy Trinity in good old times.” The religious institutions were its new incarnation. The first babies brought into moralistic, trying to control their congregants and Holy Trinity were my twin brother and me. the larger culture. Certainly, there was a shift. As the tent has gotten bigger, we’ve become more “The tide of statistics has been running against embracing. We have become more accepting. the Diocese of New York since the late 1930s.

What we see today is a product of a church that While the communicant lists of the Diocese was figuring out sociopolitical issues in terms of of New York slipped year by year, those of faith. the dioceses in New Jersey, Long Island, and Connecticut grew.” CATHEDRAL ARCHIVES BISHOP DIETSCHE Always we have had great progressive leaders and great conservative leaders both moving us, shaping us, and ultimately moving BOB PENNOYER In 1800, New York had been us forward. A lot of our victories and a lot of 98 percent Protestant, but that had changed. By that tolerance was hard won. Hard won with the the 1960s, New York’s population was 50 percent church battling with itself, trying to move forward. Roman Catholic, 25 percent Jewish, and the other 25 percent they called Protestant, although by that time, the church going Protestant population of WILLIAM BRYANT LOGAN The 1947 funeral New York City was down to four percent. for Fiorello LaGuardia marked a new era for the Cathedral. As the great representative of progressive city government went to his grave, the nation fell into the hysteria of the Cold War. WAYNE KEMPTON There

Leaving the Cathedral following the funeral service of former Mayor Fiorello LaGuardia.

Front, carrying the Bishop’s staff, is the Rev. Gerald V. Barry, rector of Christ Church, Riverdale; followed by the Rt. Rev. Charles K. Gilbert, Bishop of New York; Governor Thomas L. Dewey; and New York City Mayor William O'Dwyer, September 22, 1947.

18

19

Changing City America emerged from World War II as a country of profound and deepening contradictions. Black soldiers who had gone to fight for their homeland returned to Jim Crow laws and even lynchings.

The Episcopal Church traditionally represented a slice of New York society: well-to-do, and most of all, white.

The Episcopal Shift

THE REV. TOM PIKE

After the war, people thought The Episcopal Church was in decline in New York. There was less money, fewer people, and great social issues were falling all around.

But the Church did not go into decline because of a new prayer book or the embrace of different ethnic groups. The Episcopal shift reflected a cultural shift. Again welcoming new people and again recreating our city.

DEAN MORTON Urban unrest in American cities in the 1950s and 1960s was a problem to all established institutions: commercial, educational, and religious. The large white religious communities in particular were concerned because many of their long-established churches and synagogues were located in the racially challenged central cities.

PAMELA MORTON Traditional parishioners were leaving the inner-city congregations. The churches was a study done in the didn’t know how to cope, or maybe they just didn’t 1950s that said the most segregated occupation know how to invite the new people in. in the country was Episcopal clergyman. Even Sunday Schools were segregated. There were articles in the Diocesan newspapers about how the THE REV. SANDYE WILSON My family were Diocesan Convention was so nice because the two members of St. James Episcopal Church in races could talk in the same room. Well, we needed Baltimore for generations. In 1953, they joined more than that. The new Bishop, Horace Donegan, a small group of people who founded Church preached social activism. But that was the era of of the Holy Trinity down the street. A white “Father Knows Best.” You could preach equality congregation had left Holy Trinity because of the and still not really get anywhere. People would “changing neighborhood,” read: becoming more agree, but they wouldn’t take action.

Black. The white parishioners left all of the silver, the vestments, and everything else and told the diocese that they could make it a Black church but DEAN KOWALSKI I grew up in a church that doesn’t bear much resemblance to the church today. they weren’t staying to be a part of it. So the rector of St. James came down the street with the choir The 1950s and 1960s were not necessarily “the and some of the members to start Holy Trinity in good old times.” The religious institutions were its new incarnation. The first babies brought into moralistic, trying to control their congregants and Holy Trinity were my twin brother and me. the larger culture. Certainly, there was a shift. As the tent has gotten bigger, we’ve become more “The tide of statistics has been running against embracing. We have become more accepting. the Diocese of New York since the late 1930s.

What we see today is a product of a church that While the communicant lists of the Diocese was figuring out sociopolitical issues in terms of of New York slipped year by year, those of faith. the dioceses in New Jersey, Long Island, and Connecticut grew.” CATHEDRAL ARCHIVES BISHOP DIETSCHE Always we have had great progressive leaders and great conservative leaders both moving us, shaping us, and ultimately moving BOB PENNOYER In 1800, New York had been us forward. A lot of our victories and a lot of 98 percent Protestant, but that had changed. By that tolerance was hard won. Hard won with the the 1960s, New York’s population was 50 percent church battling with itself, trying to move forward. Roman Catholic, 25 percent Jewish, and the other 25 percent they called Protestant, although by that time, the church going Protestant population of WILLIAM BRYANT LOGAN The 1947 funeral New York City was down to four percent. for Fiorello LaGuardia marked a new era for the Cathedral. As the great representative of progressive city government went to his grave, the nation fell into the hysteria of the Cold War. WAYNE KEMPTON There

Leaving the Cathedral following the funeral service of former Mayor Fiorello LaGuardia.

Front, carrying the Bishop’s staff, is the Rev. Gerald V. Barry, rector of Christ Church, Riverdale; followed by the Rt. Rev. Charles K. Gilbert, Bishop of New York; Governor Thomas L. Dewey; and New York City Mayor William O'Dwyer, September 22, 1947.

18

19

A Church Informed by Social Justic

BISHOP PAUL MOORE JR. In almost direct proportion to the increasing importance of the city in American culture has been the withdrawal—both physical and spiritual—of the Protestant Church…. After World War II, various groups in The Episcopal Church spontaneously began to look for a positive approach to the inner-city situation. Formal Anglican religion faced Southern Negroes, Puerto Ricans, Mexicans, Asians, Kentucky farmers, Italians, Irish, and the other culturally different dwellers of the tenements. None of these people could feel sympathetic to the restrained orderliness of classical Anglicanism… Could the cumbersome, dignified, proper, and occasionally over respectable Episcopal Church reach the throbbing life of a city?

FRANCIS SYPHER The West

Side suddenly went from being a premier neighborhood in the city, with all the glitter and glamour that was attached to it, to a neighborhood with social problems.

And this changed the perspective of the institutions that found themselves here. They had to decide, “Are we going to stay and minister to the people in the neighborhood?” The Cathedral was one of the institutions that decided to face that need rather than to turn away from it.

VIVIEN HEWITT The West Side went through changes for sure. It was not the upper-middleclass white enclave envisioned by its 19th-century builders. But the period after the War also stirred a new cultural vitality in the neighborhoods of Morningside Heights, Harlem, and Sugar Hill. Not only were the new families of the Great Migration pouring in, but within blocks of the Cathedral, the luminaries of Black America were living. Langston Hughes, Thurgood Marshall, Paul Robeson, Duke Ellington, Katherine Dunham, W. E. B. Du Bois, and even a young Ruby Dee all were within walking distance of St. John’s. Many became devoted members of the Cathedral community.

Top The Rt. Rev. Horace W. B. Donegan, the Rev. Dr. Martin Luther King Jr., the Very Rev. James Pike.

“Pike possessed a unique ability to commend the faith of the Church to thinking men and women. He had charisma.” william bryant logan

Bottom The Rt. Rev. Paul Moore, then Suffragan Bishop of Washington, D.C., marching for the District of Columbia Home Rule with the Rev. Dr. Martin Luther King Jr. and the Rev. Walter Fauntroy, 1968.

“My father marched with Dr. King and the DC Coalition of Conscience, which my father and Rev. Walter E. Fauntroy cochaired.” honor moore 20

WILLIAM BRYANT LOGAN Through the 1950s and 1960s, Dean James Pike and Bishop Horace Donegan spoke continually against Senator Joseph McCarthy, against loyalty oaths, against racism and prejudice. For the first time, the Cathedral found itself on the defensive. Sentiments which had been music to the ears of a LaGuardia or a Roosevelt—were regarded by a Nixon or McCarthy as decidedly “Pink.” That Dean Pike could fill the Cathedral for his sermons against apartheid, against the House Un-American Activities Committee, and against unethical business was a tribute to his eloquence, but also a sign of the negative turn liberalism had been forced to make.

DEAN JAMES PIKE The church has often been healthiest when it was illegal; we got our start that way.

“There is hardly anything more obvious than the fact that evil is present in the universe.

It projects its nagging, prehensile tentacles into every level of human existence. We may debate over the origin of evil, but only the person victimized with a superficial optimism will debate over its reality. Evil is with us as a stark, grim, and colossal reality.”

THE REVEREND DOCTOR MARTIN LUTHER KING JR., PREACHING AT THE CATHEDRAL IN 1956 TOM FEDOREK The

Cathedral was very much a part of the movement. When the 1960s frieze Taking a Stand was added over the Great Bronze Doors, it was defaced with swastikas.

TOM FEDOREK

Social concerns had always been connected with the church, but in the 1960s there was an expanding educational movement.

Urban churches began to come together and have exchanges about issues. There was definitely an urban church movement. The national Church asked Jim to train people to work in the inner cities to stop the flight to the suburbs and to identify the new sources of power.

DEAN MORTON

DEAN MORTON In 1962, the new National Office of The Episcopal Church recruited me to start an Inner-City and Metropolitan Office.

The leadership of the Church was largely ignorant about the changed dynamics of the cities. My job was to make the hard-up inner-city Episcopal Churches of America’s changed neighborhoods “cued-in.”

Bishop Donegan was not overtly a radical, though he was definitely a social liberal. But probably what turned things around at the Cathedral was the new Dean, James Pike. There were very few radical causes that Pike didn’t sign on to. He was a rebel within the church. He even got on the cover of TIME Magazine.

Donegan and Pike worked together.

From 1952 to 1958, the Cathedral’s brilliant fifth dean, the Very Reverend James Pike, made the Cathedral’s pulpit a voice to be listened to far beyond The Episcopal Church. He was one of the first religious leaders to appear regularly on national television. He regularly invited the congregation for discussion on television after the 11 am service. Dean Pike was a prophet, a priest, and a scholar. His views on racial segregation, birth control, capital punishment, the ordination of women, and the recognition and acceptance of homosexuals and lesbians gave him a national voice and a packed Cathedral.

PAMELA MORTON

THE REV. JESSE JACKSON

Jim Morton and I go back to the days when the mission of a generation was being born in the churches of America: when we prayed, preached, marched together, and put our hearts and souls on the line for civil rights and civil justice.

21

A Church Informed by Social Justic

BISHOP PAUL MOORE JR. In almost direct proportion to the increasing importance of the city in American culture has been the withdrawal—both physical and spiritual—of the Protestant Church…. After World War II, various groups in The Episcopal Church spontaneously began to look for a positive approach to the inner-city situation. Formal Anglican religion faced Southern Negroes, Puerto Ricans, Mexicans, Asians, Kentucky farmers, Italians, Irish, and the other culturally different dwellers of the tenements. None of these people could feel sympathetic to the restrained orderliness of classical Anglicanism… Could the cumbersome, dignified, proper, and occasionally over respectable Episcopal Church reach the throbbing life of a city?

FRANCIS SYPHER The West

Side suddenly went from being a premier neighborhood in the city, with all the glitter and glamour that was attached to it, to a neighborhood with social problems.

And this changed the perspective of the institutions that found themselves here. They had to decide, “Are we going to stay and minister to the people in the neighborhood?” The Cathedral was one of the institutions that decided to face that need rather than to turn away from it.

VIVIEN HEWITT The West Side went through changes for sure. It was not the upper-middleclass white enclave envisioned by its 19th-century builders. But the period after the War also stirred a new cultural vitality in the neighborhoods of Morningside Heights, Harlem, and Sugar Hill. Not only were the new families of the Great Migration pouring in, but within blocks of the Cathedral, the luminaries of Black America were living. Langston Hughes, Thurgood Marshall, Paul Robeson, Duke Ellington, Katherine Dunham, W. E. B. Du Bois, and even a young Ruby Dee all were within walking distance of St. John’s. Many became devoted members of the Cathedral community.

Top The Rt. Rev. Horace W. B. Donegan, the Rev. Dr. Martin Luther King Jr., the Very Rev. James Pike.

“Pike possessed a unique ability to commend the faith of the Church to thinking men and women. He had charisma.” william bryant logan

Bottom The Rt. Rev. Paul Moore, then Suffragan Bishop of Washington, D.C., marching for the District of Columbia Home Rule with the Rev. Dr. Martin Luther King Jr. and the Rev. Walter Fauntroy, 1968.

“My father marched with Dr. King and the DC Coalition of Conscience, which my father and Rev. Walter E. Fauntroy cochaired.” honor moore 20

WILLIAM BRYANT LOGAN Through the 1950s and 1960s, Dean James Pike and Bishop Horace Donegan spoke continually against Senator Joseph McCarthy, against loyalty oaths, against racism and prejudice. For the first time, the Cathedral found itself on the defensive. Sentiments which had been music to the ears of a LaGuardia or a Roosevelt—were regarded by a Nixon or McCarthy as decidedly “Pink.” That Dean Pike could fill the Cathedral for his sermons against apartheid, against the House Un-American Activities Committee, and against unethical business was a tribute to his eloquence, but also a sign of the negative turn liberalism had been forced to make.

DEAN JAMES PIKE The church has often been healthiest when it was illegal; we got our start that way.

“There is hardly anything more obvious than the fact that evil is present in the universe.

It projects its nagging, prehensile tentacles into every level of human existence. We may debate over the origin of evil, but only the person victimized with a superficial optimism will debate over its reality. Evil is with us as a stark, grim, and colossal reality.”

THE REVEREND DOCTOR MARTIN LUTHER KING JR., PREACHING AT THE CATHEDRAL IN 1956 TOM FEDOREK The

Cathedral was very much a part of the movement. When the 1960s frieze Taking a Stand was added over the Great Bronze Doors, it was defaced with swastikas.

TOM FEDOREK

Social concerns had always been connected with the church, but in the 1960s there was an expanding educational movement.

Urban churches began to come together and have exchanges about issues. There was definitely an urban church movement. The national Church asked Jim to train people to work in the inner cities to stop the flight to the suburbs and to identify the new sources of power.

DEAN MORTON

DEAN MORTON In 1962, the new National Office of The Episcopal Church recruited me to start an Inner-City and Metropolitan Office.

The leadership of the Church was largely ignorant about the changed dynamics of the cities. My job was to make the hard-up inner-city Episcopal Churches of America’s changed neighborhoods “cued-in.”

Bishop Donegan was not overtly a radical, though he was definitely a social liberal. But probably what turned things around at the Cathedral was the new Dean, James Pike. There were very few radical causes that Pike didn’t sign on to. He was a rebel within the church. He even got on the cover of TIME Magazine.

Donegan and Pike worked together.

From 1952 to 1958, the Cathedral’s brilliant fifth dean, the Very Reverend James Pike, made the Cathedral’s pulpit a voice to be listened to far beyond The Episcopal Church. He was one of the first religious leaders to appear regularly on national television. He regularly invited the congregation for discussion on television after the 11 am service. Dean Pike was a prophet, a priest, and a scholar. His views on racial segregation, birth control, capital punishment, the ordination of women, and the recognition and acceptance of homosexuals and lesbians gave him a national voice and a packed Cathedral.

PAMELA MORTON

THE REV. JESSE JACKSON

Jim Morton and I go back to the days when the mission of a generation was being born in the churches of America: when we prayed, preached, marched together, and put our hearts and souls on the line for civil rights and civil justice.

21

1967, A Stunning Announcement

DEAN KOWALSKI The Civil Rights movement was the real test of faith in our time. We were marching, and the Church was trying to catch up.

The Church was fighting itself about what position to take—either embracing civil rights or not.

THE REV. CANON TOM MILLER

In the decade of John F. Kennedy and Dr. Martin Luther King Jr., the Vietnam War, and civil rights marches, many people and groups were struggling to maintain a balance between attempting to draw strength from their ties with the traditional institutions from which these movements had sprung and, at the same time, to shake up and destabilize those same institutions.

THE REV. TOM PIKE

I was ordained at the Cathedral in 1963. I began my ministry feeling that justice was a legitimate concern for the religious community. I was adamantly committed to social justice as the reasonable expression of religious commitment. When Dr. King came out against the war in Vietnam, I remember being very nervous that he was confusing things— and that opposition to the war was going to dilute the Civil Rights movement. But I slowly began to realize that Dr. King was on target.

That addressing this issue of the war was central to the soul and life of America. I moved as a parish priest from my opposition to racism to an opposition to the war in Vietnam. And I was not alone. People were marching and getting arrested. There was a lot of turmoil. Many people resented what the activists were doing. One of my star acolytes was killed in Vietnam. The funeral was held at my church. I think if the soldiers who came to that funeral had had loaded rifles they would have shot me right there in my own church.

HONOR MOORE We were taken to demonstrations as children, but just my brother Paul went to the 1963 Jobs and Freedom March in Washington.

My father had been in Mississippi, and he’d been around the Klan, the gunfire, and feared the violence. He had nine children and he didn’t want to be careless.

“During this long travail our ancestors spoke to us, and we listened, and we tried to make you hear life in our song but now it matters not at all to me whether you know what I am talking about— or not: I know why we are not blinded by your brightness, are able to see you, who cannot see us. I know why we are still here.”

JAMES BALDWIN, INDUCTED INTO THE AMERICAN POETS CORNER, 2011 WAYNE KEMPTON Segregation and discrimination were on the forefront of the national consciousness. Housing projects were falling apart.

Unemployment was skyrocketing. Bishop Donegan had a plan to finish the Cathedral. He was in the embryonic stages of fundraising. But Donegan stopped the construction. Instead, he put money into street and storefront community organizations that were helping their own neighborhoods.

THE REV. TOM PIKE

Bishop Donegan followed the old tradition of a Prince Bishop. He lived in the days when the Bishop had a chauffeur and was driven around from place to place.

We joked about someone pulling a subway token out, and Bishop Donegan asking, “What’s that coin?” But in 1967 he made the stunning announcement that donations for finishing St. John the Divine would be given instead to housing and development projects in Harlem.

BISHOP HORACE WILLIAM BADEN DONEGAN We will not pour money into a building when our cities are burning. This unfinished Cathedral, towering as it does over our great and suffering metropolis, shall be the prophetic symbol that our society is still as rough-hewn, ragged, broken, and incomplete as the building itself.

PAMELA MORTON Selma changed everything.

We used to bring our children to protests, but we never expected to be attacked. In 1965, the Selma kids were brutally beaten, and there was an immediate response. Selma was important.

I would say very, very important.

DEAN MORTON When we got the message about Selma, we just said, “Let’s go.” In hindsight, it was so decisive. We were there with Reverend Reeb, the Unitarian minister, the night he was shot. We got to know Dr. King and his staff in action. It was unforgettable.

Bishop Horace W. B. Donegan photographed with New York City Mayor John Lindsay.

22

23

1967, A Stunning Announcement

DEAN KOWALSKI The Civil Rights movement was the real test of faith in our time. We were marching, and the Church was trying to catch up.

The Church was fighting itself about what position to take—either embracing civil rights or not.

THE REV. CANON TOM MILLER

In the decade of John F. Kennedy and Dr. Martin Luther King Jr., the Vietnam War, and civil rights marches, many people and groups were struggling to maintain a balance between attempting to draw strength from their ties with the traditional institutions from which these movements had sprung and, at the same time, to shake up and destabilize those same institutions.

THE REV. TOM PIKE

I was ordained at the Cathedral in 1963. I began my ministry feeling that justice was a legitimate concern for the religious community. I was adamantly committed to social justice as the reasonable expression of religious commitment. When Dr. King came out against the war in Vietnam, I remember being very nervous that he was confusing things— and that opposition to the war was going to dilute the Civil Rights movement. But I slowly began to realize that Dr. King was on target.

That addressing this issue of the war was central to the soul and life of America. I moved as a parish priest from my opposition to racism to an opposition to the war in Vietnam. And I was not alone. People were marching and getting arrested. There was a lot of turmoil. Many people resented what the activists were doing. One of my star acolytes was killed in Vietnam. The funeral was held at my church. I think if the soldiers who came to that funeral had had loaded rifles they would have shot me right there in my own church.

HONOR MOORE We were taken to demonstrations as children, but just my brother Paul went to the 1963 Jobs and Freedom March in Washington.

My father had been in Mississippi, and he’d been around the Klan, the gunfire, and feared the violence. He had nine children and he didn’t want to be careless.

“During this long travail our ancestors spoke to us, and we listened, and we tried to make you hear life in our song but now it matters not at all to me whether you know what I am talking about— or not: I know why we are not blinded by your brightness, are able to see you, who cannot see us. I know why we are still here.”

JAMES BALDWIN, INDUCTED INTO THE AMERICAN POETS CORNER, 2011 WAYNE KEMPTON Segregation and discrimination were on the forefront of the national consciousness. Housing projects were falling apart.

Unemployment was skyrocketing. Bishop Donegan had a plan to finish the Cathedral. He was in the embryonic stages of fundraising. But Donegan stopped the construction. Instead, he put money into street and storefront community organizations that were helping their own neighborhoods.

THE REV. TOM PIKE

Bishop Donegan followed the old tradition of a Prince Bishop. He lived in the days when the Bishop had a chauffeur and was driven around from place to place.

We joked about someone pulling a subway token out, and Bishop Donegan asking, “What’s that coin?” But in 1967 he made the stunning announcement that donations for finishing St. John the Divine would be given instead to housing and development projects in Harlem.

BISHOP HORACE WILLIAM BADEN DONEGAN We will not pour money into a building when our cities are burning. This unfinished Cathedral, towering as it does over our great and suffering metropolis, shall be the prophetic symbol that our society is still as rough-hewn, ragged, broken, and incomplete as the building itself.

PAMELA MORTON Selma changed everything.

We used to bring our children to protests, but we never expected to be attacked. In 1965, the Selma kids were brutally beaten, and there was an immediate response. Selma was important.

I would say very, very important.

DEAN MORTON When we got the message about Selma, we just said, “Let’s go.” In hindsight, it was so decisive. We were there with Reverend Reeb, the Unitarian minister, the night he was shot. We got to know Dr. King and his staff in action. It was unforgettable.

Bishop Horace W. B. Donegan photographed with New York City Mayor John Lindsay.

22

23

The ’70s, the ’80s, and Then Some Bishop Paul Moore and Dean James Parks Morton were a partnership for their time, an era that saw the coming of environmental awareness, ongoing Vietnam protests, agitation for nuclear disarmament, second-wave feminism, and the rise of Gay Pride—tempered in the fires of AIDS. It was an era that called for activist and creative clergy.

Everything was Happening

MARY JANE BROCK Jim Morton and Paul Moore really put that place on the map. It was a tumultuous time and they were the right team to embrace those conversations. Jim Morton was a master marketer; he knew all the players and most of them were his friends. There was a certain allure to Jim Morton’s Era.

DEAN MORTON When Paul Moore was elected Bishop of New York he asked me to consider being the Dean of St. John. He said, “This place is dead. It needs to be turned around, and I think you’re crazy enough to do it.”

Paul Moore became Diocesan Bishop in 1972, it was pretty clear that things were going to be different. But nobody knew quite how different.

PAMELA MORTON Jim wanted to create a contemporary Cathedral, a sacred place where all sorts of things could happen, where people came together that you didn’t necessarily find in a church. Jim was given a lot of freedom. It was a very exciting time.

STEPHEN FACEY Paul Moore was one of the great liberal bishops. He had a real theological point of view, a focus about the Church being engaged.

His preaching generated national interest.

DEAN MORTON The Cathedral came to life. The most extraordinary minds and spirits in the world began coming to the Cathedral because that’s what the Cathedral was supposed to be.

THE REV. TOM PIKE When

THE REV. CANON TOM MILLER

Moore, before becoming Bishop of New York, had served as Bishop Suffragan in Washington D.C., where he was close to the center of political power, had participated in public demonstrations, and grappled with the church’s ambivalence about taking politically controversial stands.

Once elected Bishop of New York, Paul Moore— with his dynamic personality—became a forceful public advocate for peace and social justice and seemed determined that the Cathedral would be stage for civic engagement in its many forms by many means.

HONOR MOORE When he came to the Cathedral as Diocesan Bishop, my father had to contend with ministering to parishes as diverse as St. Thomas on Fifth Avenue and Reverend Bob Castle’s activist ministry in Harlem.

THE REV. TOM PIKE

As Bishop, Paul Moore always thought his most creative action and perhaps his most extreme commitment to peace and civil rights was to appoint Jim Morton as Dean. Jim was a great gentleman and a great entrepreneur. He may not have been your ideal institutional figure, but he was a prophet.

He drew people to him because he was so darn creative. Jim would dream things.

“The Very Reverend James Parks Morton, always larger than life and sometimes better.”

HOWARD E. QUIRK THE REV. CANON JAY WEGMAN The

dean of a cathedral needs the gift of a good imagination because you need to imagine what’s possible, you need to imagine new things.

STEVEN C. ROCKEFELLER It was in this spirit of experimental innovation that Dean Morton opened wide the doors of the Cathedral to the Morningside Heights community and the larger world. He found creative ways to link sacred Christian tradition and practice with contemporary needs and aspirations. For many thousands of people from diverse cultures and religious traditions, the Cathedral became a unique spiritual center where they could awaken to and celebrate the liberating and unifying sacred presence within themselves and in and through all things.

THE REV. CANON TOM MILLER The Cathedral of

St. John the Divine in the 1970s began a period of dynamic collaboration between religion and education, the arts, science, social awareness, and political advocacy.

The Cathedral and Diocesan staff, 1970s.

24

25

The ’70s, the ’80s, and Then Some Bishop Paul Moore and Dean James Parks Morton were a partnership for their time, an era that saw the coming of environmental awareness, ongoing Vietnam protests, agitation for nuclear disarmament, second-wave feminism, and the rise of Gay Pride—tempered in the fires of AIDS. It was an era that called for activist and creative clergy.

Everything was Happening

MARY JANE BROCK Jim Morton and Paul Moore really put that place on the map. It was a tumultuous time and they were the right team to embrace those conversations. Jim Morton was a master marketer; he knew all the players and most of them were his friends. There was a certain allure to Jim Morton’s Era.

DEAN MORTON When Paul Moore was elected Bishop of New York he asked me to consider being the Dean of St. John. He said, “This place is dead. It needs to be turned around, and I think you’re crazy enough to do it.”

Paul Moore became Diocesan Bishop in 1972, it was pretty clear that things were going to be different. But nobody knew quite how different.

PAMELA MORTON Jim wanted to create a contemporary Cathedral, a sacred place where all sorts of things could happen, where people came together that you didn’t necessarily find in a church. Jim was given a lot of freedom. It was a very exciting time.

STEPHEN FACEY Paul Moore was one of the great liberal bishops. He had a real theological point of view, a focus about the Church being engaged.

His preaching generated national interest.

DEAN MORTON The Cathedral came to life. The most extraordinary minds and spirits in the world began coming to the Cathedral because that’s what the Cathedral was supposed to be.

THE REV. TOM PIKE When

THE REV. CANON TOM MILLER

Moore, before becoming Bishop of New York, had served as Bishop Suffragan in Washington D.C., where he was close to the center of political power, had participated in public demonstrations, and grappled with the church’s ambivalence about taking politically controversial stands.

Once elected Bishop of New York, Paul Moore— with his dynamic personality—became a forceful public advocate for peace and social justice and seemed determined that the Cathedral would be stage for civic engagement in its many forms by many means.

HONOR MOORE When he came to the Cathedral as Diocesan Bishop, my father had to contend with ministering to parishes as diverse as St. Thomas on Fifth Avenue and Reverend Bob Castle’s activist ministry in Harlem.

THE REV. TOM PIKE

As Bishop, Paul Moore always thought his most creative action and perhaps his most extreme commitment to peace and civil rights was to appoint Jim Morton as Dean. Jim was a great gentleman and a great entrepreneur. He may not have been your ideal institutional figure, but he was a prophet.

He drew people to him because he was so darn creative. Jim would dream things.

“The Very Reverend James Parks Morton, always larger than life and sometimes better.”

HOWARD E. QUIRK THE REV. CANON JAY WEGMAN The

dean of a cathedral needs the gift of a good imagination because you need to imagine what’s possible, you need to imagine new things.

STEVEN C. ROCKEFELLER It was in this spirit of experimental innovation that Dean Morton opened wide the doors of the Cathedral to the Morningside Heights community and the larger world. He found creative ways to link sacred Christian tradition and practice with contemporary needs and aspirations. For many thousands of people from diverse cultures and religious traditions, the Cathedral became a unique spiritual center where they could awaken to and celebrate the liberating and unifying sacred presence within themselves and in and through all things.

THE REV. CANON TOM MILLER The Cathedral of

St. John the Divine in the 1970s began a period of dynamic collaboration between religion and education, the arts, science, social awareness, and political advocacy.

The Cathedral and Diocesan staff, 1970s.

24

25

A Place that Transformed Your World

WILLIAM BRYANT LOGAN Within a few months, the two men had given notice of the phenomenal energy that would propel the Cathedral into the national conscience. They were midwives of innovative self-help and outreach programs like the Urban Homesteading Assistance Board, Homes for the Homeless, and Manhattan Valley Youth Outreach. They gathered artists of the stature of Leonard Bernstein, Paul Winter, Philippe Petit, Richard Westenberg, Godspell author John-Michael Tebelak, and poet Muriel Rukeyser. William Irwin Thompson and his Lindisfarne association began to function as a think-tank on the relations between the planet, society, and the divine, while visitors like the Dalai Lama, Bishop Tutu, ecologists Rene Dubos and James Lovelock, anthropologists Gregory Bateson and Margaret Mead, Native American activist Vine DeLoria, UFW boss Cesar Chavez, and financial planner Felix Rohatyn all spoke from the pulpit.

PAMELA MORTON The people with the most interesting ideas were not always clergy.

Jim invited everyone to preach from Al Gore to Whoopi Goldberg. The themes were always universal, like food or climate. There were several on water: there was a series of sermons on “Homelessness,” and “Earth’s Sacred Voyage.”

Jim has a strong liturgical understanding so he would introduce the speakers by connecting them to the readings from the day expanding on the Gospel. And the visiting speakers were in awe of being in that pulpit. They were usually very reverent, I would say inspired.

DEAN MORTON Our Environmental Sundays gave St. John’s the name of “The Green Cathedral” and myself the “Green Dean.” Between 1975 and 1996, over 150 Green sermons were delivered by over 30 Green preachers: Mary Catherine Bateson, Carl Sagan, Lewis Thomas, Buckminster Fuller, and others.

Top Buckminster Fuller and the Cathedral's Green Team viewing Fuller's model for a proposed central tower.

“During Dean Morton’s tenure there had been several models for finishing the Cathedral.

Unbeknownst to most people, Buckminster Fuller did a model for completing the central tower.” stephen facey

Bottom Swami Satchidananda, spiritual adviser to the Beatles and opening speaker at Woodstock in 1969, at the Cathedral with Dean Morton on St. Francis Day. 26

“Worshippers wound through the cavernous Cathedral… on a recent Sunday, shaking tambourines, singing plainsong, and watching medieval mystery plays. In the basement, members of a mystical Islamic sect thumped their drums. Black feminists met in the Synod House.… Members of a Tai Chi workshop did oriental meditation exercises. These diverse activities reflect the changes that in recent months have given new life to one of New York’s best-known landmark institutions.”

TIME MAGAZINE DEAN MORTON How could a 20th-century Episcopal Cathedral embrace the global diversity of New York? The jump-start came in 1974 when the United Nations and America’s oldest interfaith organization, The Temple of Understanding, together requested we host the 30th anniversary of the UN’s founding at the Cathedral. The event culminated with prayers by Mother Teresa and Hindu leader Sri Chinmoy. Our meeting UN Secretary General Kurt Waldheim resulted in the Cathedral’s Annual October United Nations Sunday.

When the Dalai Lama made his first trip to America, his first public address was at the Cathedral on Sunday, October 14, 1979. With Philip Glass at the organ, thousands of New Yorkers queued up to meet him.

DIANNE DUBLER I remember being in a long, long line waiting for His Holiness’ blessing. We heard a commotion in the back and saw Andy Warhol and his entourage coming up the aisle. Andy stepped in front—cutting off everyone else, simply pushed his Polaroid in the Dalai Lama’s face, took a picture— with a flash—then walked away.

MADELEINE L’ENGLE A Green Cathedral meant that the Cathedral was concerned about what was happening in the city around it, in the United States, and on the planet. It meant we care about keeping the forests, that we care about pollution, the hole in the ozone layer, and that we take seriously God’s order that the people of God care for creation.

TOM HURWITZ

Jim Morton never forgot this was still a church. Cathedral is an adjective; it modifies church, this was a Cathedral Church.

It got very close to not being an Episcopal Church.

But it was very, very much a church. The liturgy was ornate and gorgeous. Everything that the Cathedral stood for was deeply based in Christianity. Walking into this place was like walking into a holy mystery. It was walking into a place that transformed your world every time you went through the doors.

27

A Place that Transformed Your World

WILLIAM BRYANT LOGAN Within a few months, the two men had given notice of the phenomenal energy that would propel the Cathedral into the national conscience. They were midwives of innovative self-help and outreach programs like the Urban Homesteading Assistance Board, Homes for the Homeless, and Manhattan Valley Youth Outreach. They gathered artists of the stature of Leonard Bernstein, Paul Winter, Philippe Petit, Richard Westenberg, Godspell author John-Michael Tebelak, and poet Muriel Rukeyser. William Irwin Thompson and his Lindisfarne association began to function as a think-tank on the relations between the planet, society, and the divine, while visitors like the Dalai Lama, Bishop Tutu, ecologists Rene Dubos and James Lovelock, anthropologists Gregory Bateson and Margaret Mead, Native American activist Vine DeLoria, UFW boss Cesar Chavez, and financial planner Felix Rohatyn all spoke from the pulpit.

PAMELA MORTON The people with the most interesting ideas were not always clergy.

Jim invited everyone to preach from Al Gore to Whoopi Goldberg. The themes were always universal, like food or climate. There were several on water: there was a series of sermons on “Homelessness,” and “Earth’s Sacred Voyage.”

Jim has a strong liturgical understanding so he would introduce the speakers by connecting them to the readings from the day expanding on the Gospel. And the visiting speakers were in awe of being in that pulpit. They were usually very reverent, I would say inspired.

DEAN MORTON Our Environmental Sundays gave St. John’s the name of “The Green Cathedral” and myself the “Green Dean.” Between 1975 and 1996, over 150 Green sermons were delivered by over 30 Green preachers: Mary Catherine Bateson, Carl Sagan, Lewis Thomas, Buckminster Fuller, and others.

Top Buckminster Fuller and the Cathedral's Green Team viewing Fuller's model for a proposed central tower.

“During Dean Morton’s tenure there had been several models for finishing the Cathedral.

Unbeknownst to most people, Buckminster Fuller did a model for completing the central tower.” stephen facey

Bottom Swami Satchidananda, spiritual adviser to the Beatles and opening speaker at Woodstock in 1969, at the Cathedral with Dean Morton on St. Francis Day. 26

“Worshippers wound through the cavernous Cathedral… on a recent Sunday, shaking tambourines, singing plainsong, and watching medieval mystery plays. In the basement, members of a mystical Islamic sect thumped their drums. Black feminists met in the Synod House.… Members of a Tai Chi workshop did oriental meditation exercises. These diverse activities reflect the changes that in recent months have given new life to one of New York’s best-known landmark institutions.”

TIME MAGAZINE DEAN MORTON How could a 20th-century Episcopal Cathedral embrace the global diversity of New York? The jump-start came in 1974 when the United Nations and America’s oldest interfaith organization, The Temple of Understanding, together requested we host the 30th anniversary of the UN’s founding at the Cathedral. The event culminated with prayers by Mother Teresa and Hindu leader Sri Chinmoy. Our meeting UN Secretary General Kurt Waldheim resulted in the Cathedral’s Annual October United Nations Sunday.

When the Dalai Lama made his first trip to America, his first public address was at the Cathedral on Sunday, October 14, 1979. With Philip Glass at the organ, thousands of New Yorkers queued up to meet him.

DIANNE DUBLER I remember being in a long, long line waiting for His Holiness’ blessing. We heard a commotion in the back and saw Andy Warhol and his entourage coming up the aisle. Andy stepped in front—cutting off everyone else, simply pushed his Polaroid in the Dalai Lama’s face, took a picture— with a flash—then walked away.

MADELEINE L’ENGLE A Green Cathedral meant that the Cathedral was concerned about what was happening in the city around it, in the United States, and on the planet. It meant we care about keeping the forests, that we care about pollution, the hole in the ozone layer, and that we take seriously God’s order that the people of God care for creation.

TOM HURWITZ

Jim Morton never forgot this was still a church. Cathedral is an adjective; it modifies church, this was a Cathedral Church.

It got very close to not being an Episcopal Church.

But it was very, very much a church. The liturgy was ornate and gorgeous. Everything that the Cathedral stood for was deeply based in Christianity. Walking into this place was like walking into a holy mystery. It was walking into a place that transformed your world every time you went through the doors.

27

Here for the First Time

“Learn to do good, seek justice, correct DEAN MORTON Everything was happening. If oppression, bring justice to the fatherless, someone came in to the Cathedral and we saw plead the widow’s cause.” ISAIAH 1:17 that they had energy and agency, we tried to pull them in. It was about people saying, “Let’s do this.”

Then we would find good leadership and they DEAN MORTON We were a tower of white Anglotook it from there.

Saxon Protestantism in a Black, Puerto Rican, Cuban, and Dominican neighborhood. We had an extraordinarily varied constituency that we JOSÉ V. TORRES Jim was all over the place but had to answer to. Our first duty had to be serving we loved him. He would notoriously call late the community in which we live. We started at night and want a meeting. “Come on, let’s have the Manhattan Valley Youth Program, programs a talk.” He would brainstorm with you and for families and kids, food programs, a soup you would say yes. He was exciting, and he got kitchen, a men’s shelter, we even had a Cathedral us excited. Because of our youth programs, baseball team. In 1973, we founded the Urban we saw Black and Latino kids come in here for Homesteading Assistance Board, UHAB. At its the first time.

30th anniversary in 2003, UHAB recorded over 30,000 rehabilitated apartments. Homes for THE REV. SANDYE WILSON Jim Morton was the Homeless was conceived at the Cathedral deeply connected to the students. He was always in 1986 and initially financed by business leader looking at how you could connect the reality Leonard Stern. It still exists today, as one of change, and that included changes in the of the city’s largest private housing organization.

Morningside and Harlem neighborhood and the The single largest Cathedral social-justice Cathedral demographics, with the gift of the arts. program was The Valley, a seven-day-a-week teenage counseling center started in 1978 THE REV. CANON TOM MILLER The Cathedral

by John Bess and Alfonso Wyatt. At its peak, community responded directly to local needs. it served some 4,000 young people, largely As the area around the Cathedral became home from Harlem. to many Hispanic and Latino immigrants. And as homelessness became a critical issue throughout the city, St. John the Divine initiated what THE REV. JESSE JACKSON Jim took the lead would grow to be Cathedral Community Cares. on housing and homelessness. His were among Aspects of the mission included a shelter and the earliest initiatives for urban homesteading. feeding program, immigration advice services, His was one for the first churches in New York and the Crisis Intervention Center—a drop-in to shelter homeless men, even to bring them to the social service located in the base of the south tower. Cathedral’s pulpit. He is a man of the City in the best sense—the human city and the City of God.

Top Group photo of the Manhattan Valley Youth Program.

Bottom The Rev. Mary Michael Simpson (center) with her sponsors, the Very Rev. James Parks Morton and Sister Andrea, at her ordination, January 9, 1977.

28

29

Here for the First Time

“Learn to do good, seek justice, correct DEAN MORTON Everything was happening. If oppression, bring justice to the fatherless, someone came in to the Cathedral and we saw plead the widow’s cause.” ISAIAH 1:17 that they had energy and agency, we tried to pull them in. It was about people saying, “Let’s do this.”

Then we would find good leadership and they DEAN MORTON We were a tower of white Anglotook it from there.

Saxon Protestantism in a Black, Puerto Rican, Cuban, and Dominican neighborhood. We had an extraordinarily varied constituency that we JOSÉ V. TORRES Jim was all over the place but had to answer to. Our first duty had to be serving we loved him. He would notoriously call late the community in which we live. We started at night and want a meeting. “Come on, let’s have the Manhattan Valley Youth Program, programs a talk.” He would brainstorm with you and for families and kids, food programs, a soup you would say yes. He was exciting, and he got kitchen, a men’s shelter, we even had a Cathedral us excited. Because of our youth programs, baseball team. In 1973, we founded the Urban we saw Black and Latino kids come in here for Homesteading Assistance Board, UHAB. At its the first time.

30th anniversary in 2003, UHAB recorded over 30,000 rehabilitated apartments. Homes for THE REV. SANDYE WILSON Jim Morton was the Homeless was conceived at the Cathedral deeply connected to the students. He was always in 1986 and initially financed by business leader looking at how you could connect the reality Leonard Stern. It still exists today, as one of change, and that included changes in the of the city’s largest private housing organization.

Morningside and Harlem neighborhood and the The single largest Cathedral social-justice Cathedral demographics, with the gift of the arts. program was The Valley, a seven-day-a-week teenage counseling center started in 1978 THE REV. CANON TOM MILLER The Cathedral

by John Bess and Alfonso Wyatt. At its peak, community responded directly to local needs. it served some 4,000 young people, largely As the area around the Cathedral became home from Harlem. to many Hispanic and Latino immigrants. And as homelessness became a critical issue throughout the city, St. John the Divine initiated what THE REV. JESSE JACKSON Jim took the lead would grow to be Cathedral Community Cares. on housing and homelessness. His were among Aspects of the mission included a shelter and the earliest initiatives for urban homesteading. feeding program, immigration advice services, His was one for the first churches in New York and the Crisis Intervention Center—a drop-in to shelter homeless men, even to bring them to the social service located in the base of the south tower. Cathedral’s pulpit. He is a man of the City in the best sense—the human city and the City of God.

Top Group photo of the Manhattan Valley Youth Program.

Bottom The Rev. Mary Michael Simpson (center) with her sponsors, the Very Rev. James Parks Morton and Sister Andrea, at her ordination, January 9, 1977.

28

29

The Ordination of Women and LGBT Priests, 1977

HONOR MOORE The radical part of feminism was gearing up 1968-69, which is the same time that gay rights exploded. My father, having six daughters, was an early advocate for women’s ordination, but he thought that that great a change should take place within the settled processes of the Church. His mode had always been to introduce change from within a system in order to bring as many people as possible along.

He was always radical but he was also pragmatic.

His diction might not have been as radical as his attitude. He always had in mind that he was speaking to those who may have held another position.

THE REV. SANDYE WILSON There

were rumblings and there were women who were pushing for ordination to happen. But up until the late 1970s, women’s ordination was not a reality in The Episcopal Church. I wasn’t called to be a deacon.

I wasn’t called to be a nun. I did not believe in poverty, chastity, or obedience, so I probably would have gotten thrown out of the convent. I felt called to be a priest and I was just waiting for the God of surprises to help to make it happen

When those first women, the Philadelphia 11, got ordained in the summer of 1974, they couldn’t get ordained in your regular white cathedral of The Episcopal Church. They were ordained in a Black church in Philadelphia.

HONOR MOORE When the first 11 women were ordained—not through the system—my father was furious. He later understood that the renegade ordination had been the right step, that the more radical women and the participating bishops had been right.

WAYNE KEMPTON The first woman to be ordained a priest in the Diocese of New York was the Rev. Carol Linda Anderson in January 1977. This ordination was followed quickly

by Julia Sibley, Mary Michael Simpson, Isabel Carter Heyward, Ellen Barrett, Annette Ruark, Barbara Schlachter, Fleming Rutledge, and Sister Columba Gilliss.

Top The Ordination of the Rev. Sandye Wilson. Front: the Rev. Martha Blacklock, the Rt. Rev. Barbara Harris, the Rev. Pauli Murray, the Rev. Canon Susan Harriss.

Middle: the Rev. Canon Jimmye Kimmey, the Rev. Jackie Schmidt, the Rev. Ellen Barrett, the Rev. Canon Jane Henderson.

Back: the Rev. Sandye Wilson, the Rt. Rev. Gayle Harris, and the Rev. Susan Schaeffer.

Bottom The ordination of the Rev. Mary Michael Simpson, January 9, 1977.

30

REBECCA MERRILL Among the nine women ordained that January was the Rev. Ellen Barrett, a founding member and first co-president of Integrity, an organization formed to advocate the participation of lesbians, gays, and bisexuals in The Episcopal Church. Ellen Barrett was the first openly acknowledged lesbian priest of the American Episcopalian church.

BISHOP MOORE I had been through many crises both during the Civil Rights days and in the peace movement. I was used to criticism and knew that it was part of being a bishop. I had no idea, however, that the reaction to the ordination of Ellen Barrett would be more violent and last longer than all the rest of such experiences put together. Loyalties, betrayals, anger, sorrow, now joy and relief. It all came flooding out.

THE REV. SANDYE WILSON

In 1980, I was the first Black woman ordained at the Cathedral.

Pauli Murray, the first Black woman ordained in America, presented me. Pauli Murray was a friend of Eleanor Roosevelt, a founder of the National Organization of Women, a professor of constitutional law at Yale and at Brandeis.

She argued before the United States Supreme Court. Ruth Bader Ginsberg said that she would not be on the Court now had it not been for Pauli. The second Black woman ordained in America was Mary Adabanajo of the Diocese of Pennsylvania. Mary produced the first Afro-centric Sunday School curriculum in The Episcopal Church by a Black priest. She was one of the people in my ordination service.

The third Black woman ordained in the nation was Barbra Harris, who went on to become the first woman bishop of any color in the WorldWide Anglican Communion. Barbara Harris was the Bishop’s Chaplain in my ordination. Gayle Harris­—now Suffragan Bishop of Massachusetts— was the deacon at my service. That ordination has become a legend of history.

BISHOP MARY GLASSPOOL If you were a lesbian, it was a huge mixed message. It was okay to be a woman and be ordained, but it was not okay to be gay and ordained. And you had to separate gay men from lesbians because the gender differences were applicable. The church had always had gay men—always, from time immemorial. The question was, were we honest about it or were we open about it?

REBECCA MERRILL It was a time of massive progressive change in The Episcopal Church and at the Cathedral. As the saying goes, though, hindsight is 20/20, and we’ve now heard troubling stories of what was happening behind the scenes. While Bishop Moore wielded his position to enact necessary and important changes in the culture of the church, it seems he also crossed boundaries in his personal relationships in inappropriate ways.

BISHOP GLASSPOOL It’s difficult to know that your heroes, especially heroes of your childhood, had clay feet or were imperfect. The recent public revelation of Paul Moore’s sexual misconduct and abuse of power has highlighted some of the changes in the Diocese. It is worth saying, and it is worth repeating, that we didn’t get here overnight and the healing is not going to come overnight. It’s a process, it’s a journey. It’s going to be gradual. He is not the only one.

We need to be discerning about what is productive and helpful to raise out of the past, what will be healing, and what we may need to correct the narrative around but also let go of. We’re asked to deal with that complexity.

31

The Ordination of Women and LGBT Priests, 1977

HONOR MOORE The radical part of feminism was gearing up 1968-69, which is the same time that gay rights exploded. My father, having six daughters, was an early advocate for women’s ordination, but he thought that that great a change should take place within the settled processes of the Church. His mode had always been to introduce change from within a system in order to bring as many people as possible along.

He was always radical but he was also pragmatic.

His diction might not have been as radical as his attitude. He always had in mind that he was speaking to those who may have held another position.

THE REV. SANDYE WILSON There

were rumblings and there were women who were pushing for ordination to happen. But up until the late 1970s, women’s ordination was not a reality in The Episcopal Church. I wasn’t called to be a deacon.

I wasn’t called to be a nun. I did not believe in poverty, chastity, or obedience, so I probably would have gotten thrown out of the convent. I felt called to be a priest and I was just waiting for the God of surprises to help to make it happen

When those first women, the Philadelphia 11, got ordained in the summer of 1974, they couldn’t get ordained in your regular white cathedral of The Episcopal Church. They were ordained in a Black church in Philadelphia.

HONOR MOORE When the first 11 women were ordained—not through the system—my father was furious. He later understood that the renegade ordination had been the right step, that the more radical women and the participating bishops had been right.

WAYNE KEMPTON The first woman to be ordained a priest in the Diocese of New York was the Rev. Carol Linda Anderson in January 1977. This ordination was followed quickly

by Julia Sibley, Mary Michael Simpson, Isabel Carter Heyward, Ellen Barrett, Annette Ruark, Barbara Schlachter, Fleming Rutledge, and Sister Columba Gilliss.

Top The Ordination of the Rev. Sandye Wilson. Front: the Rev. Martha Blacklock, the Rt. Rev. Barbara Harris, the Rev. Pauli Murray, the Rev. Canon Susan Harriss.

Middle: the Rev. Canon Jimmye Kimmey, the Rev. Jackie Schmidt, the Rev. Ellen Barrett, the Rev. Canon Jane Henderson.

Back: the Rev. Sandye Wilson, the Rt. Rev. Gayle Harris, and the Rev. Susan Schaeffer.

Bottom The ordination of the Rev. Mary Michael Simpson, January 9, 1977.

30

REBECCA MERRILL Among the nine women ordained that January was the Rev. Ellen Barrett, a founding member and first co-president of Integrity, an organization formed to advocate the participation of lesbians, gays, and bisexuals in The Episcopal Church. Ellen Barrett was the first openly acknowledged lesbian priest of the American Episcopalian church.

BISHOP MOORE I had been through many crises both during the Civil Rights days and in the peace movement. I was used to criticism and knew that it was part of being a bishop. I had no idea, however, that the reaction to the ordination of Ellen Barrett would be more violent and last longer than all the rest of such experiences put together. Loyalties, betrayals, anger, sorrow, now joy and relief. It all came flooding out.

THE REV. SANDYE WILSON

In 1980, I was the first Black woman ordained at the Cathedral.

Pauli Murray, the first Black woman ordained in America, presented me. Pauli Murray was a friend of Eleanor Roosevelt, a founder of the National Organization of Women, a professor of constitutional law at Yale and at Brandeis.

She argued before the United States Supreme Court. Ruth Bader Ginsberg said that she would not be on the Court now had it not been for Pauli. The second Black woman ordained in America was Mary Adabanajo of the Diocese of Pennsylvania. Mary produced the first Afro-centric Sunday School curriculum in The Episcopal Church by a Black priest. She was one of the people in my ordination service.

The third Black woman ordained in the nation was Barbra Harris, who went on to become the first woman bishop of any color in the WorldWide Anglican Communion. Barbara Harris was the Bishop’s Chaplain in my ordination. Gayle Harris­—now Suffragan Bishop of Massachusetts— was the deacon at my service. That ordination has become a legend of history.

BISHOP MARY GLASSPOOL If you were a lesbian, it was a huge mixed message. It was okay to be a woman and be ordained, but it was not okay to be gay and ordained. And you had to separate gay men from lesbians because the gender differences were applicable. The church had always had gay men—always, from time immemorial. The question was, were we honest about it or were we open about it?

REBECCA MERRILL It was a time of massive progressive change in The Episcopal Church and at the Cathedral. As the saying goes, though, hindsight is 20/20, and we’ve now heard troubling stories of what was happening behind the scenes. While Bishop Moore wielded his position to enact necessary and important changes in the culture of the church, it seems he also crossed boundaries in his personal relationships in inappropriate ways.

BISHOP GLASSPOOL It’s difficult to know that your heroes, especially heroes of your childhood, had clay feet or were imperfect. The recent public revelation of Paul Moore’s sexual misconduct and abuse of power has highlighted some of the changes in the Diocese. It is worth saying, and it is worth repeating, that we didn’t get here overnight and the healing is not going to come overnight. It’s a process, it’s a journey. It’s going to be gradual. He is not the only one.

We need to be discerning about what is productive and helpful to raise out of the past, what will be healing, and what we may need to correct the narrative around but also let go of. We’re asked to deal with that complexity.

31

Art and Advocacy

DEAN MORTON The other aspect of what we were doing was about intellectual, literary, and artistic New York. We gave the Big Apple Circus its first residence in 1977. In 1978 we began to invite visual and performing artists to become Cathedral Artists in Residence. Our first New Year’s Eve Concert for Peace in 1983 paired Leonard Bernstein with Odetta. Muriel Rukeyser initiated the Poetry Wall with poems written by both children and prisoners from all over the country.

A sign invited readers to write to the poets—and many did, and some important and compassionate relationships were born. We established The American Poets Corner in 1984.

STEPHEN FACEY Jim was following the belief that artists and civic activists, in concert with the religious community, are among the people in society doing sacred work.

PHILIPPE PETIT

I believe I was the first person to become a Cathedral Artist in Residence.

It is something extremely important and inspiring in my life. I’ve associated myself with this church for almost four decades. My heart, my home, is the Cathedral of St. John the Divine.

GRIFFIN DUNNE My introduction to St. John was sort of celebrity-oriented. I was invited to be a speaker at the 1982 Nuclear Disarmament Rally, it was huge. I remember how vast St. John’s was, and how full it was, thousands and thousands of people. We all wore t-shirts with everybody’s name listed: Peter, Paul and Mary; Joan Baez; Bob Dylan; Patti Smith; Susan Sarandon; Bonnie Raitt; James Taylor; Jackson Browne; Bruce Springsteen—everybody was listed except me.

I went through the shirt like three times to see if my eyes were deceiving me. They were not.

WAYNE KEMPTON During Morton’s time these grounds looked like the infield of the Indianapolis 500 with cars parked in every direction. It was extremely open with a lot of people: a couple on the grass; groups outside—here, there, and in every room—all the windows wide open, and usually with somebody hanging out of them. Not every churchman appreciated Moore’s activism and Morton’s eccentricities.

BOB PENNOYER I served on the Cathedral Board for nine years. I was there because I liked Jim Morton and I liked Paul Moore and I believed in what they were doing. In the early years, Jim did not pay much attention to the budget.

We never knew what Jim was going to do next. He didn’t care; he just spent the money.

Finally we told him we had to have a budget approved by the Board and he had to stay within the budget. Things improved after that.

"I believe everything we dream can come to pass through our union we can turn the world around we can turn the earth's revolution we have the power People have the power" PATTI SMITH AND FRED “SONIC” SMITH

The June 12, 1982 National March and Rally for Nuclear Disarmament.

Approximately one million people marched in New York City against nuclear arms and an end to the arms race and the Cold War. It was the largest political demonstration in American history. A celebrity-packed kickoff concert for the March was held at the Cathedral.

32

33

Art and Advocacy

DEAN MORTON The other aspect of what we were doing was about intellectual, literary, and artistic New York. We gave the Big Apple Circus its first residence in 1977. In 1978 we began to invite visual and performing artists to become Cathedral Artists in Residence. Our first New Year’s Eve Concert for Peace in 1983 paired Leonard Bernstein with Odetta. Muriel Rukeyser initiated the Poetry Wall with poems written by both children and prisoners from all over the country.

A sign invited readers to write to the poets—and many did, and some important and compassionate relationships were born. We established The American Poets Corner in 1984.

STEPHEN FACEY Jim was following the belief that artists and civic activists, in concert with the religious community, are among the people in society doing sacred work.

PHILIPPE PETIT

I believe I was the first person to become a Cathedral Artist in Residence.

It is something extremely important and inspiring in my life. I’ve associated myself with this church for almost four decades. My heart, my home, is the Cathedral of St. John the Divine.

GRIFFIN DUNNE My introduction to St. John was sort of celebrity-oriented. I was invited to be a speaker at the 1982 Nuclear Disarmament Rally, it was huge. I remember how vast St. John’s was, and how full it was, thousands and thousands of people. We all wore t-shirts with everybody’s name listed: Peter, Paul and Mary; Joan Baez; Bob Dylan; Patti Smith; Susan Sarandon; Bonnie Raitt; James Taylor; Jackson Browne; Bruce Springsteen—everybody was listed except me.

I went through the shirt like three times to see if my eyes were deceiving me. They were not.

WAYNE KEMPTON During Morton’s time these grounds looked like the infield of the Indianapolis 500 with cars parked in every direction. It was extremely open with a lot of people: a couple on the grass; groups outside—here, there, and in every room—all the windows wide open, and usually with somebody hanging out of them. Not every churchman appreciated Moore’s activism and Morton’s eccentricities.

BOB PENNOYER I served on the Cathedral Board for nine years. I was there because I liked Jim Morton and I liked Paul Moore and I believed in what they were doing. In the early years, Jim did not pay much attention to the budget.

We never knew what Jim was going to do next. He didn’t care; he just spent the money.

Finally we told him we had to have a budget approved by the Board and he had to stay within the budget. Things improved after that.

"I believe everything we dream can come to pass through our union we can turn the world around we can turn the earth's revolution we have the power People have the power" PATTI SMITH AND FRED “SONIC” SMITH

The June 12, 1982 National March and Rally for Nuclear Disarmament.

Approximately one million people marched in New York City against nuclear arms and an end to the arms race and the Cold War. It was the largest political demonstration in American history. A celebrity-packed kickoff concert for the March was held at the Cathedral.

32

33

Celebration and Sorrow

DEAN MORTON In 1976, the Trustees made the decision to continue building the Cathedral and to train young people to be apprentice stonecutters and carvers—particularly young minority women and men from our community. Over the next three years enough stone had been cut and carved to begin the construction of the southwest Tower of St. Paul.

GREG WYATT Approaching the Cathedral, I would hear the stone masons, “tap tap tap.”

That sound and that construction caught the imagination of everyone in New York. To hear the metal hammers chisel stone in the cutting yard and witness this master achievement being built here in New York City was remarkable.

DEAN MORTON On September 29, 1982, the great moment took place. All heads looked up to where Philippe Petit was set to walk the high wire to secure the cornerstone in our new tower.

PHILIPPE PETIT I strung a wire 16 stories high, crossing Amsterdam Avenue to the South Tower, to celebrate the renewal of the Cathedral construction after a 41-year building hiatus.

I crossed the sky carrying the same golden trowel that had been used for the first cornerstone in 1892.

HOWARD RUBENSTEIN

York City in its tracks.

Philippe stopped New

PAMELA MORTON The

1980s were a time of celebration and sorrow. The AIDS crisis in New York was enormous. People needed a place to be able to lay their concerns and their mourning.

BRAD GOOCH

People were dying of AIDS who were close to the Cathedral, including many priests in this Diocese. Before it had been one of those “don’t ask, don’t tell” situations, but AIDS blew that apart. We were all in it.

DEAN MORTON It is a large volume in which the names of those who had died of AIDS are inscribed. Beside the lectern and memorial book is a tall memorial candle that burned night and day. The names of all New York AIDS victims were also honored in the annual AIDS Memorial Concert. The Memorial and the Concert were powerful and deeply moving projects.

“As a person with AIDS, I’m alone with my illness and my fear. But the feeling of being alone is different in the Cathedral….

This space is alive because so much life has gone into it. All the belief and a sincerity and warmth that people have given it fills the place... The Cathedral is strong enough to allow me to be weak. It’s one of the only places I have ever felt safe.” MARK REYNOLDS ELIE WIESEL Under Jim Morton’s leadership, the Cathedral became an oasis of beauty in a city of violence, an instrument of dialogue and religious reconciliation in a time of hatred and intolerance. Of human beings like James Morton, there are all too few. To be human is to see what others see, to break one’s solitude: our worst enemy. Jim felt the anguish of the survivors, encouraged our questions, and respected our silence.

THE REV. CANON JAY WEGMAN

People used to say that Jim Morton was the Pied Piper for all the crazies in New York City, and he totally was.

Just totally. But that’s what made him great.

PAMELA MORTON There were people who thought that Jim never said no and that maybe he should have.

DEAN MORTON

Oh? I don’t think so...

PAMELA MORTON In 1985 the AIDS Memorial was established in the Cathedral’s Medical Bay. There were benefits by the Gay Men’s Health Chorus, the Cathedral hosted the AIDS Memorial Quilt, and of course, the AIDS Book of Remembrance. When people heard about the book, they came from all over the country to write in it.

Top The Cathedral’s stoneworkers.

Bottom left Governor Mario Cuomo representing New York State’s Job Development Agency, mid-1980s.

Bottom middle The laying of the foundation stone, atop the south tower.

Philippe Petit, Bishop Moore, and Dean Morton, September 29, 1982.

Bottom right The AIDS Memorial.

34

35

Celebration and Sorrow

DEAN MORTON In 1976, the Trustees made the decision to continue building the Cathedral and to train young people to be apprentice stonecutters and carvers—particularly young minority women and men from our community. Over the next three years enough stone had been cut and carved to begin the construction of the southwest Tower of St. Paul.

GREG WYATT Approaching the Cathedral, I would hear the stone masons, “tap tap tap.”

That sound and that construction caught the imagination of everyone in New York. To hear the metal hammers chisel stone in the cutting yard and witness this master achievement being built here in New York City was remarkable.

DEAN MORTON On September 29, 1982, the great moment took place. All heads looked up to where Philippe Petit was set to walk the high wire to secure the cornerstone in our new tower.

PHILIPPE PETIT I strung a wire 16 stories high, crossing Amsterdam Avenue to the South Tower, to celebrate the renewal of the Cathedral construction after a 41-year building hiatus.

I crossed the sky carrying the same golden trowel that had been used for the first cornerstone in 1892.

HOWARD RUBENSTEIN

York City in its tracks.

Philippe stopped New

PAMELA MORTON The

1980s were a time of celebration and sorrow. The AIDS crisis in New York was enormous. People needed a place to be able to lay their concerns and their mourning.

BRAD GOOCH

People were dying of AIDS who were close to the Cathedral, including many priests in this Diocese. Before it had been one of those “don’t ask, don’t tell” situations, but AIDS blew that apart. We were all in it.

DEAN MORTON It is a large volume in which the names of those who had died of AIDS are inscribed. Beside the lectern and memorial book is a tall memorial candle that burned night and day. The names of all New York AIDS victims were also honored in the annual AIDS Memorial Concert. The Memorial and the Concert were powerful and deeply moving projects.

“As a person with AIDS, I’m alone with my illness and my fear. But the feeling of being alone is different in the Cathedral….

This space is alive because so much life has gone into it. All the belief and a sincerity and warmth that people have given it fills the place... The Cathedral is strong enough to allow me to be weak. It’s one of the only places I have ever felt safe.” MARK REYNOLDS ELIE WIESEL Under Jim Morton’s leadership, the Cathedral became an oasis of beauty in a city of violence, an instrument of dialogue and religious reconciliation in a time of hatred and intolerance. Of human beings like James Morton, there are all too few. To be human is to see what others see, to break one’s solitude: our worst enemy. Jim felt the anguish of the survivors, encouraged our questions, and respected our silence.

THE REV. CANON JAY WEGMAN

People used to say that Jim Morton was the Pied Piper for all the crazies in New York City, and he totally was.

Just totally. But that’s what made him great.

PAMELA MORTON There were people who thought that Jim never said no and that maybe he should have.

DEAN MORTON

Oh? I don’t think so...

PAMELA MORTON In 1985 the AIDS Memorial was established in the Cathedral’s Medical Bay. There were benefits by the Gay Men’s Health Chorus, the Cathedral hosted the AIDS Memorial Quilt, and of course, the AIDS Book of Remembrance. When people heard about the book, they came from all over the country to write in it.

Top The Cathedral’s stoneworkers.

Bottom left Governor Mario Cuomo representing New York State’s Job Development Agency, mid-1980s.

Bottom middle The laying of the foundation stone, atop the south tower.

Philippe Petit, Bishop Moore, and Dean Morton, September 29, 1982.

Bottom right The AIDS Memorial.

34

35

9/11 and the Fire, 2001 The attacks on September 11 resonated around the world, but the people of New York City lived it: the images of buildings we knew, the fire visible for months, the countless small memorials at fire stations and parks, the placards seeking missing loved ones. Weeks later, the Cathedral itself was threatened by a devastating fire.

The City Reached Out for Prayer

“The unmentionable odour of death Offends the September night.”

W. H. AUDEN, INDUCTED INTO THE AMERICAN POETS CORNER, 2005 THE REV. CANON JAY WEGMAN

On the morning of 9/11 we started tolling the bells. We didn’t stop until six that night. Everybody was out in the streets and people were streaming in to the Cathedral.

STEPHEN FACEY Within hours, we cleared the gym to use as a blood bank and Synod Hall for use as a morgue. Thankfully, this proved unnecessary, but the resident clergy decided to keep the Cathedral open around the clock and hold evening services for as long as necessary.

KEITH HINKSON We’ve always had a very close relationship with the fire department. There is an engine company right across the street on 113th Street. The Cathedral's Firefighters Memorial became a place to come for the whole city.

THE REV. CANON JAY WEGMAN The

Cathedral is in the middle of Manhattan; it is on one of the highest points of the Island. It became the spiritual crossroads of the city. On the Sunday after 9/11, people just flocked here.

STEPHEN FACEY In the Narthex there is an Altar for Peace cut from a huge American walnut tree by George Nakashima. That Altar was a daily gathering place for folks to leave notes, photos, and newsprint messages and poems for months after 9/11.

KEITH HINKSON 9/11 is a vivid memory for everyone that lived through it. At that point, I was MEREDITH BERGMANN The pervasive fellowship the Assistant Director of Security. Immediately that many of us shared after the attacks, the pure, after the planes hit, we saw a huge uptick of traffic sharp gratitude for the living people around us has at the Cathedral. People started coming in record faded. But I still feel that spirit in the way people numbers; I mean they were coming in day and treat each other in this building. night and it stayed that way for days. We stayed open 24 hours a day. The readiness and willingness “After 9/11 we need your kind of ministering to leave these doors open at a time when the more than we have in a long time. Now more city reached out for prayer was a decision made than ever, we need the Cathedral, harnessing the without hesitation, without regard to how we were energies of love through thousands of beautiful going to staff it, security-wise or maintenance-wise. acts of kindness and generosity. I believe God It was going to happen no matter what it took. has blessed us with your presence. Deo Gratias.

Shalom. Salaam Alaikum. Peace.”

JENNIFER DORR WHITE My husband John and I GOVERNOR MARIO CUOMO AT THE INSTALLATION both had a need to be in community with people.

OF THE VERY REV. DR. JAMES A. KOWALSKI, 2002 We heard that there was going to be a gathering at the Cathedral. I remember people needing to GEOFF SMITH The aftershocks of 9/11 lasted for be together sitting in a circle crying. a long time. We were still reeling in December, still reading the stories of the lost and learning the details of the attack. And then, a much smaller TOM HURWITZ There were special masses for tragedy, but one that felt like an echo: the fire at weeks. It was very profound and very necessary. the Cathedral. The stories of the fire continue to haunt everyone here.

STEPHEN FACEY Until 9/11 the largest number of firefighters lost in a single event was the 12 firefighters of the 1966 Madison Square fire.

There is a memorial in the Cathedral’s Labor Bay honoring them. Two or three days after 9/11, it was announced that over 343 firefighters, 60 police officers, and 8 paramedics had been lost.

September 11, 2001.

36

37

9/11 and the Fire, 2001 The attacks on September 11 resonated around the world, but the people of New York City lived it: the images of buildings we knew, the fire visible for months, the countless small memorials at fire stations and parks, the placards seeking missing loved ones. Weeks later, the Cathedral itself was threatened by a devastating fire.

The City Reached Out for Prayer

“The unmentionable odour of death Offends the September night.”

W. H. AUDEN, INDUCTED INTO THE AMERICAN POETS CORNER, 2005 THE REV. CANON JAY WEGMAN

On the morning of 9/11 we started tolling the bells. We didn’t stop until six that night. Everybody was out in the streets and people were streaming in to the Cathedral.

STEPHEN FACEY Within hours, we cleared the gym to use as a blood bank and Synod Hall for use as a morgue. Thankfully, this proved unnecessary, but the resident clergy decided to keep the Cathedral open around the clock and hold evening services for as long as necessary.

KEITH HINKSON We’ve always had a very close relationship with the fire department. There is an engine company right across the street on 113th Street. The Cathedral's Firefighters Memorial became a place to come for the whole city.

THE REV. CANON JAY WEGMAN The

Cathedral is in the middle of Manhattan; it is on one of the highest points of the Island. It became the spiritual crossroads of the city. On the Sunday after 9/11, people just flocked here.

STEPHEN FACEY In the Narthex there is an Altar for Peace cut from a huge American walnut tree by George Nakashima. That Altar was a daily gathering place for folks to leave notes, photos, and newsprint messages and poems for months after 9/11.

KEITH HINKSON 9/11 is a vivid memory for everyone that lived through it. At that point, I was MEREDITH BERGMANN The pervasive fellowship the Assistant Director of Security. Immediately that many of us shared after the attacks, the pure, after the planes hit, we saw a huge uptick of traffic sharp gratitude for the living people around us has at the Cathedral. People started coming in record faded. But I still feel that spirit in the way people numbers; I mean they were coming in day and treat each other in this building. night and it stayed that way for days. We stayed open 24 hours a day. The readiness and willingness “After 9/11 we need your kind of ministering to leave these doors open at a time when the more than we have in a long time. Now more city reached out for prayer was a decision made than ever, we need the Cathedral, harnessing the without hesitation, without regard to how we were energies of love through thousands of beautiful going to staff it, security-wise or maintenance-wise. acts of kindness and generosity. I believe God It was going to happen no matter what it took. has blessed us with your presence. Deo Gratias.

Shalom. Salaam Alaikum. Peace.”

JENNIFER DORR WHITE My husband John and I GOVERNOR MARIO CUOMO AT THE INSTALLATION both had a need to be in community with people.

OF THE VERY REV. DR. JAMES A. KOWALSKI, 2002 We heard that there was going to be a gathering at the Cathedral. I remember people needing to GEOFF SMITH The aftershocks of 9/11 lasted for be together sitting in a circle crying. a long time. We were still reeling in December, still reading the stories of the lost and learning the details of the attack. And then, a much smaller TOM HURWITZ There were special masses for tragedy, but one that felt like an echo: the fire at weeks. It was very profound and very necessary. the Cathedral. The stories of the fire continue to haunt everyone here.

STEPHEN FACEY Until 9/11 the largest number of firefighters lost in a single event was the 12 firefighters of the 1966 Madison Square fire.

There is a memorial in the Cathedral’s Labor Bay honoring them. Two or three days after 9/11, it was announced that over 343 firefighters, 60 police officers, and 8 paramedics had been lost.

September 11, 2001.

36

37

Fire

STEPHEN FACEY At dawn, on Tuesday, December 18, I was called by security alerting me to a fire in the North Transept. When I arrived, there was a lot of smoke penetrating the Cathedral.

The flames had engulfed the entire space.

MARIE DEL TEJO I was walking up Amsterdam Avenue and saw the fire. My heart dropped.

There were firefighters everywhere.

JENNIFER DORR WHITE It started at 6 am.

We were getting ready to take our daughter Hannah to school at the Cathedral but then something was on the news. The Cathedral was on fire. It was awful. We saw it and we were all imagining that we were about to lose this building that meant so much to us. It went on for 12 hours.

KEITH HINKSON

Because of 9/11, everyone thought it was a terrorist act. By the time I got in, they had shut down the streets, 110th to 113th and all the traffic going down Amsterdam Avenue.

“The intense heat shattered several stainedglass windows, and orange towers of fire leapt 40 feet in the air, as the cavernous sanctuary was filled from floor to vaulted ceiling with a haze of inky smoke…. The firefighters treated the Cathedral tenderly. They refrained from smashing the stained-glass windows, a measure that would have vented the fire and made conditions less smoky. They used heat sensors to detect flames to cut down on the amount of water used.” CATHEDRAL ARCHIVES STEPHEN FACEY The fire department’s action saved the important elements of the Nave, the Baptistery, and even the elaborate wood carvings of the Great Choir stalls. The flames did, however, seriously damage two tapestries hanging at that time.

Top December 18, 2001.

Bottom left The 1925 Ralph Adams Cram model of the Cathedral that had been placed in Grand Central Station, destroyed by the fire.

Bottom upper right Former President Bill Clinton, Senator Hillary Clinton, and Keith Hinkson, December 24, 2001.

MARLENE EIDELHEIT Those of us who work in the Textile Conservation Lab waited on 113th Street watching the fire burn for hours and hours.

People would come out of the Cathedral and say, “The tapestries are okay.” Then someone would say, “They’re gone.” We had no way of knowing what was happening. The fireman let me in at about 11 pm. It was dark. The electricity was off. The Cathedral was filled with smoke.

You couldn’t see across the nave. The tapestries had fallen down and were gathered like two huge wet rags on tables. Just these big dark wet rags, all crumbled up. The Last Supper had burned from the top down. Most of the Apostles’ heads were burnt away. But Christ’s head was still there; you could still see some of the nimbus radiating light. In the second tapestry, The Resurrection, only Christ’s figure had been burned away.

JOSÉ V. TORRES

I see the Cathedral as a living organism. It’s not just a building. It reflects certain times, certain moments, and history. You feel it.

Those of us who had been here a long time really grieved that this “being” could be hurt that way.

A lot of us cried when we saw what had happened.

STEVEN FACEY Late in the day, a young man introduced himself as the Mayor’s Office of Emergency Managements staff person. He had ordered huge pumpers on 111th Street to get the water out of the Cathedral’s basement.

Our basement houses the boiler plant for the Close. Beneath it is a huge sub-basement, perhaps 20-30 feet deep, created during the original construction. The water there was within a foot of the boilers. Without those pumpers the Cathedral would have been out of business for months. The fire department’s performance was extraordinary.

The Cathedral was always an important place for the local fire department.

They went there on their breaks to pray.

JAKE MAYER EISNER

DEAN KOWALSKI I never doubted that we would get the Cathedral back. I saw the faces of the firefighters and the people on the street that terrible day. Their reverence and love made clear their commitment to the Cathedral.

THE REV. CANON JAY WEGMAN The

fire happened exactly a week before Christmas.

We wanted to open for the Christmas service.

We were in there scrubbing down every single chair of soot. Thankfully, the stars aligned, and the Cathedral opened.

JENNIFER DORR WHITE We

didn’t know what to expect. We went to the Christmas Eve service and the smell of the smoke was so strong but I remember everybody was there, just sitting there on Christmas Eve being so grateful that the Cathedral had survived.

KEITH HINKSON There was such a strong smell of smoke that we left the Cathedral doors open all day and night for a week. We managed to air it out so that we could have services for Christmas. That year former President Clinton and Hillary and Chelsea came in a show of support for the Cathedral.

THE REV. CANON JAY WEGMAN

I got a call that Hillary Clinton, our Senator at the time, would like to attend Christmas Eve services. Hillary came, the President came, and Chelsea Clinton came. I saw about 15 of our local firefighters in the Cathedral. At the Offertory the firefighters came up, and the Cathedral went berserk.

The worshipers had gone berserk over the Clintons, but then when the firefighters came up the whole place erupted with applause, cheers, tears.

Bottom lower right New York firefighters honored at the Cathedral.

38

39

125 Years and Counting

Fire

STEPHEN FACEY At dawn, on Tuesday, December 18, I was called by security alerting me to a fire in the North Transept. When I arrived, there was a lot of smoke penetrating the Cathedral.

The flames had engulfed the entire space.

MARIE DEL TEJO I was walking up Amsterdam Avenue and saw the fire. My heart dropped.

There were firefighters everywhere.

JENNIFER DORR WHITE It started at 6 am.

We were getting ready to take our daughter Hannah to school at the Cathedral but then something was on the news. The Cathedral was on fire. It was awful. We saw it and we were all imagining that we were about to lose this building that meant so much to us. It went on for 12 hours.

KEITH HINKSON

Because of 9/11, everyone thought it was a terrorist act. By the time I got in, they had shut down the streets, 110th to 113th and all the traffic going down Amsterdam Avenue.

“The intense heat shattered several stainedglass windows, and orange towers of fire leapt 40 feet in the air, as the cavernous sanctuary was filled from floor to vaulted ceiling with a haze of inky smoke…. The firefighters treated the Cathedral tenderly. They refrained from smashing the stained-glass windows, a measure that would have vented the fire and made conditions less smoky. They used heat sensors to detect flames to cut down on the amount of water used.” CATHEDRAL ARCHIVES STEPHEN FACEY The fire department’s action saved the important elements of the Nave, the Baptistery, and even the elaborate wood carvings of the Great Choir stalls. The flames did, however, seriously damage two tapestries hanging at that time.

Top December 18, 2001.

Bottom left The 1925 Ralph Adams Cram model of the Cathedral that had been placed in Grand Central Station, destroyed by the fire.

Bottom upper right Former President Bill Clinton, Senator Hillary Clinton, and Keith Hinkson, December 24, 2001.

MARLENE EIDELHEIT Those of us who work in the Textile Conservation Lab waited on 113th Street watching the fire burn for hours and hours.

People would come out of the Cathedral and say, “The tapestries are okay.” Then someone would say, “They’re gone.” We had no way of knowing what was happening. The fireman let me in at about 11 pm. It was dark. The electricity was off. The Cathedral was filled with smoke.

You couldn’t see across the nave. The tapestries had fallen down and were gathered like two huge wet rags on tables. Just these big dark wet rags, all crumbled up. The Last Supper had burned from the top down. Most of the Apostles’ heads were burnt away. But Christ’s head was still there; you could still see some of the nimbus radiating light. In the second tapestry, The Resurrection, only Christ’s figure had been burned away.

JOSÉ V. TORRES

I see the Cathedral as a living organism. It’s not just a building. It reflects certain times, certain moments, and history. You feel it.

Those of us who had been here a long time really grieved that this “being” could be hurt that way.

A lot of us cried when we saw what had happened.

STEVEN FACEY Late in the day, a young man introduced himself as the Mayor’s Office of Emergency Managements staff person. He had ordered huge pumpers on 111th Street to get the water out of the Cathedral’s basement.

Our basement houses the boiler plant for the Close. Beneath it is a huge sub-basement, perhaps 20-30 feet deep, created during the original construction. The water there was within a foot of the boilers. Without those pumpers the Cathedral would have been out of business for months. The fire department’s performance was extraordinary.

The Cathedral was always an important place for the local fire department.

They went there on their breaks to pray.

JAKE MAYER EISNER

DEAN KOWALSKI I never doubted that we would get the Cathedral back. I saw the faces of the firefighters and the people on the street that terrible day. Their reverence and love made clear their commitment to the Cathedral.

THE REV. CANON JAY WEGMAN The

fire happened exactly a week before Christmas.

We wanted to open for the Christmas service.

We were in there scrubbing down every single chair of soot. Thankfully, the stars aligned, and the Cathedral opened.

JENNIFER DORR WHITE We

didn’t know what to expect. We went to the Christmas Eve service and the smell of the smoke was so strong but I remember everybody was there, just sitting there on Christmas Eve being so grateful that the Cathedral had survived.

KEITH HINKSON There was such a strong smell of smoke that we left the Cathedral doors open all day and night for a week. We managed to air it out so that we could have services for Christmas. That year former President Clinton and Hillary and Chelsea came in a show of support for the Cathedral.

THE REV. CANON JAY WEGMAN

I got a call that Hillary Clinton, our Senator at the time, would like to attend Christmas Eve services. Hillary came, the President came, and Chelsea Clinton came. I saw about 15 of our local firefighters in the Cathedral. At the Offertory the firefighters came up, and the Cathedral went berserk.

The worshipers had gone berserk over the Clintons, but then when the firefighters came up the whole place erupted with applause, cheers, tears.

Bottom lower right New York firefighters honored at the Cathedral.

38

39

125 Years and Counting

Fire

STEPHEN FACEY At dawn, on Tuesday, December 18, I was called by security alerting me to a fire in the North Transept. When I arrived, there was a lot of smoke penetrating the Cathedral.

The flames had engulfed the entire space.

MARIE DEL TEJO I was walking up Amsterdam Avenue and saw the fire. My heart dropped.

There were firefighters everywhere.

JENNIFER DORR WHITE It started at 6 am.

We were getting ready to take our daughter Hannah to school at the Cathedral but then something was on the news. The Cathedral was on fire. It was awful. We saw it and we were all imagining that we were about to lose this building that meant so much to us. It went on for 12 hours.

KEITH HINKSON

Because of 9/11, everyone thought it was a terrorist act. By the time I got in, they had shut down the streets, 110th to 113th and all the traffic going down Amsterdam Avenue.

“The intense heat shattered several stainedglass windows, and orange towers of fire leapt 40 feet in the air, as the cavernous sanctuary was filled from floor to vaulted ceiling with a haze of inky smoke…. The firefighters treated the Cathedral tenderly. They refrained from smashing the stained-glass windows, a measure that would have vented the fire and made conditions less smoky. They used heat sensors to detect flames to cut down on the amount of water used.” CATHEDRAL ARCHIVES STEPHEN FACEY The fire department’s action saved the important elements of the Nave, the Baptistery, and even the elaborate wood carvings of the Great Choir stalls. The flames did, however, seriously damage two tapestries hanging at that time.

Top December 18, 2001.

Bottom left The 1925 Ralph Adams Cram model of the Cathedral that had been placed in Grand Central Station, destroyed by the fire.

Bottom upper right Former President Bill Clinton, Senator Hillary Clinton, and Keith Hinkson, December 24, 2001.

MARLENE EIDELHEIT Those of us who work in the Textile Conservation Lab waited on 113th Street watching the fire burn for hours and hours.

People would come out of the Cathedral and say, “The tapestries are okay.” Then someone would say, “They’re gone.” We had no way of knowing what was happening. The fireman let me in at about 11 pm. It was dark. The electricity was off. The Cathedral was filled with smoke.

You couldn’t see across the nave. The tapestries had fallen down and were gathered like two huge wet rags on tables. Just these big dark wet rags, all crumbled up. The Last Supper had burned from the top down. Most of the Apostles’ heads were burnt away. But Christ’s head was still there; you could still see some of the nimbus radiating light. In the second tapestry, The Resurrection, only Christ’s figure had been burned away.

JOSÉ V. TORRES

I see the Cathedral as a living organism. It’s not just a building. It reflects certain times, certain moments, and history. You feel it.

Those of us who had been here a long time really grieved that this “being” could be hurt that way.

A lot of us cried when we saw what had happened.

STEVEN FACEY Late in the day, a young man introduced himself as the Mayor’s Office of Emergency Managements staff person. He had ordered huge pumpers on 111th Street to get the water out of the Cathedral’s basement.

Our basement houses the boiler plant for the Close. Beneath it is a huge sub-basement, perhaps 20-30 feet deep, created during the original construction. The water there was within a foot of the boilers. Without those pumpers the Cathedral would have been out of business for months. The fire department’s performance was extraordinary.

The Cathedral was always an important place for the local fire department.

They went there on their breaks to pray.

JAKE MAYER EISNER

DEAN KOWALSKI I never doubted that we would get the Cathedral back. I saw the faces of the firefighters and the people on the street that terrible day. Their reverence and love made clear their commitment to the Cathedral.

THE REV. CANON JAY WEGMAN The

fire happened exactly a week before Christmas.

We wanted to open for the Christmas service.

We were in there scrubbing down every single chair of soot. Thankfully, the stars aligned, and the Cathedral opened.

JENNIFER DORR WHITE We

didn’t know what to expect. We went to the Christmas Eve service and the smell of the smoke was so strong but I remember everybody was there, just sitting there on Christmas Eve being so grateful that the Cathedral had survived.

KEITH HINKSON There was such a strong smell of smoke that we left the Cathedral doors open all day and night for a week. We managed to air it out so that we could have services for Christmas. That year former President Clinton and Hillary and Chelsea came in a show of support for the Cathedral.

THE REV. CANON JAY WEGMAN

I got a call that Hillary Clinton, our Senator at the time, would like to attend Christmas Eve services. Hillary came, the President came, and Chelsea Clinton came. I saw about 15 of our local firefighters in the Cathedral. At the Offertory the firefighters came up, and the Cathedral went berserk.

The worshipers had gone berserk over the Clintons, but then when the firefighters came up the whole place erupted with applause, cheers, tears.

Bottom lower right New York firefighters honored at the Cathedral.

38

39

125 Years and Counting

1828 The Rt. Rev. John Henry Hobart, Bishop of New York, consults with Mayor Philip Hone about the feasibility of building an Episcopal Cathedral in New York City.

1911 Consecration of the Chapel of St. Columbia, the Great Choir and the Crossing.

Ralph Adams Cram is hired to complete the Cathedral.

1854 The Rt. Rev. Horatio Potter succeeds Bishop Hobart.

1922 Installation of the Historical Parapet, depicting figures in the history of Christianity.

The Very Rev. William Mercer Grosvenor is named the Cathedral’s first Dean.

1872 Bishop Potter takes the lead by suggesting to the Episcopalian Diocesan Convention that it is time to build an American Cathedral.

1887 Bishop Potter dies and is succeeded by his nephew, the Rt. Rev. Henry Codman Potter, who begins to solicit financial support for construction of the Cathedral.

1913 The Cathedral School building is constructed to accommodate 45 resident choristers.

1928 Consecration of the Baptistery.

1914 Consecration of the Chapel of St. Ambrose.

An 11.5-acre site is acquired for the Cathedral atop the plateau known as Morningside Heights.

1891 George Heins and Christopher Grant LaFarge win a three-year architecture competition to design Cathedral. Their eclectic design features Romanesque, Byzantine, and Gothic elements.

1930 New York Times publisher Adolph Ochs donates two 12-foot tall menorahs to flank the High Altar as an acknowledgement of the Cathedral’s efforts to improve JewishChristian relations.

1916 Consecration of the Chapels of St. James and St. Boniface.

The Very Rev. Milo Hudson Gates is named the third Dean.

Work begins on the foundation for the Nave but is suspended due to shortage of funds.

1892 Bishop Potter lays the cornerstone on St. John’s Day, December 27.

1893 Excavation begins for the foundation of the apse.

1917 The Very Rev. Howard Chandler Robbins is named the second Dean of the Cathedral.

The Very Rev. James Parks Morton is named the seventh Dean. Bishop Moore and Dean Morton expand the Cathedral’s advocacy of peace, social justice, and the environment.

1950 Bishop Gilbert dies and is succeeded by the Rt. Rev. Horace Donegan.

1952 The Very Rev. James Albert Pike is named the fifth Dean. Under Dean Pike and Bishop Donegan, the Cathedral’s pulpit becomes a forum for important national issues such as civil rights, McCarthyism and the Cold War.

1954 The Aeolian-Skinner Organ Company expands the Great Organ from its original 5,000 pipes to the present size of 8,035 pipes arranged in 141 ranks. The State Trumpets are mounted on the wall at the west end of the Nave.

1956 The Rev. Dr. Martin Luther King Jr. preaches at an ecumenical service.

1932 The Rose Window is installed.

1985 Artist in Residence Greg Wyatt creates Peace Fountain in celebration of the 200th anniversary of the of the Episcopal Diocese of New York.

1986 Archbishop Desmond Tutu speaks at the Cathedral.

1989 Thousands attend the memorial service for choreographer Alvin Ailey.

1947 Bishop Manning retires and is succeeded by the Rt. Rev. Charles Gilbert.

1960 The Very Rev. John Vernon Butler is named the sixth Dean.

1899 The first services are held in a chapel of the crypt.

1972 Bishop Donegan retires and is succeeded by the Rt. Rev. Paul Moore, Jr.

1945 Thousands fill the Cathedral for services of thanksgiving for the end of the war.

1925 Franklin Delano Roosevelt, a Cathedral Trustee, chairs a fundraising drive.

1873 New York State legislature grants a Charter for The Cathedral Church of Saint John the Divine. Economic depression delays selection of a site for the Cathedral.

1942 Five tons of Cathedral scrap metal are donated for the war effort, including wrought iron railings. The Cathedral accepts silver altar vessels from London’s Chapel Royal for safekeeping during the war, giving rise to the urban legend that the Cathedral housed the Crown Jewels.

Bishop Moore retires and is succeeded by the Rt. Rev. Richard Grein.

1973 The Cathedral School becomes co-educational.

1974 Duke Ellington’s funeral is attended by jazz luminaries and 12,500 mourners.

1976 Bishop Moore preaches a headline-making Easter sermon in which he challenges corporations to keep their operations in New York rather than join others who have fled to other states, thus worsening the city’s fiscal crisis.

1978 Dean Morton announces plans to revive construction of the Cathedral, halted in 1941. Local youth are recruited as apprentice stonecutters for the Cathedral stoneyard.

1990 Vaclav Havel, playwright and president of the newly-liberated Czech Republic, is guest of honor at a gala concert.

Big Bird and other Muppets pay tribute to puppeteer Jim Henson at his memorial service in the Cathedral.

1992 The Congregation of St. Saviour is formed.

His Holiness the Dalai Lama pays the first of many visits to the Cathedral.

1992 The Cathedral marks its centennial with an architectural competition calling for designs that explore connections between ecology and spirituality. Spanish architect Santiago Calatrava wins the competition with a design incorporating greenhouselike structures to serve as North and South Transepts and a glass-enclosed arboretum atop the Nave.

1982 The Cathedral establishes a soup kitchen and overnight shelter.

1993 Lack of funding halts construction of the South Tower.

Artist in Residence Philippe Petit walks a wire strung across Amsterdam Avenue to the Cathedral’s West Front to inaugurate the new South Tower building program.

1997 The Very Rev. Harry H. Pritchett, Jr. is named eighth Dean.

1979 Construction resumes.

1983 Leonard Bernstein conducts the first New Year’s Eve Concert for Peace.

1901 The Cathedral School is founded as a boarding school for the boys in the Cathedral’s choir.

1918 Consecration of the Chapels of St. Angsar and St. Martin.

1903 The eight massive granite columns to support the Cathedral’s East End are transported from a quarry in Maine and hoisted into place.

1937 A model of a slum tenement dwelling is exhibited in the Nave to publicize the need for decent housing in New York.

1939 The first services are conducted in the Nave.

1940 The Very Rev. James P. DeWolfe is named the fourth Dean.

1907 George Heins dies, thus breaking his firm’s design contract with the Cathedral.

1908 The roof for the Great Choir is completed.

1919 Bishop Greer dies and is succeeded by the Rt. Rev. Charles Sumner Burch.

Bishop Potter dies and is succeeded by the Rt. Rev. David Greer.

1920 Bishop Burch dies and is succeeded by the Rt. Rev. William Thomas Manning. Bishop Manning applies himself to the reactivation of the building and fundraising campaigns.

1909 Rafael Guastavino constructs a tile dome for the Crossing, intended as a temporary roof.

The dome covers the Crossing to the present day and is one of the largest freestanding domes in the world.

1910 Ernst Skinner begins building the Great Organ.

40

1941 The entire length of the Cathedral is consecrated on November 30. One week later, the attack on Pearl Harbor halts work on the Cathedral as the country enters World War II.

1964 Six thousand attend an ecumenical service to support civil rights legislation and to call for an end to racial segregation.

1968 Madeleine L’Engle publishes The Young Unicorns, a novel for young adults set at the Cathedral.

Duke Ellington premieres his Second Sacred Concert at the Cathedral.

1969 A solemn litany listing names of U.S. soldiers killed in action is part of a nationwide protest against the escalating war in Vietnam.

1971 ACT, an after-school and summer program for community children, is established.

Cathedral dramaturg John-Michael Tebelek adapts the Gospel of Matthew into the hit musical Godspell with composer Stephen Shwartz. The musical celebrates its first and second anniversaries and final performance with special liturgies at the Cathedral.

1984 The Cathedral hosts the first annual Feast of Saint Francis and Blessing of the Animals.

The service includes the music of Artist in Residence Paul Winter and Paul Halley’s Missa Gaia/Earth Mass. Saint Francis Day continues to be one of the largest services at the Cathedral, drawing visitors from all over the world.

Inauguration of The American Poets Corner in the Arts Bay, dedicated to American writers.

Edwina Sandys’ Christa, a sculpture of a female Christ on a crucifix, is displayed during Holy Week and taken down early after causing a small but historical controversy. The piece returns to the Cathedral as part of The Christa Project in 2016.

2005 More than 1,000 people fill the Crossing for an anti-war rally to hear activist Cindy Sheehan on the Bring Them Home Now Tour.

2017 The Cathedral is officially designated a historic landmark by the New York City Landmarks Preservation Commission.

Post-fire cleaning and restoration of the Cathedral’s interior begins in the east end and chapels.

Newly restored baroque tapestries are installed for the first time for the exhibition The Barberini Tapestries: Woven Monuments of the Baroque Rome.

2006 The Cathedral enters into an agreement with a real estate investment trust, leasing land for the construction of a residential building with twenty percent affordable housing units to the south of the Cathedral.

Restoration and the removal of scaffolding renders the upper 55 feet of the South Tower visible for the first time in 15 years.

2008 Thousands of people attend a rededication service and celebration in honor of the reopening of the entire length of the Cathedral. Guests at the service include New York Senators Hillary R. Clinton and Charles E. Schumer, Cardinal Edward Egan, and firefighters who battled the 2001 fire.

2010 The Cathedral's “Enter the Conversation” series hosts guests such as His Holiness the Dalai Lama, Gwen Ifill, Michelle Norris, Karen Armstrong, and Wangari Maathai, among others.

2011 The Value of Water: Sustaining a Green Planet opens, ushering in a new wave of large-scale art exhibitions, including Jane Alexander: Surveys (From the Cape of Good Hope) (2013), The Phoenix Project: Xu Bing at the Cathedral (2014), The Value of Food (2015-2016), and The Christa Project (2016-2017).

The Cathedral reestablishes its gift shop for the first time since the fire in the 2001.

The Cathedral commemorates the ten-year anniversary of 9/11 by offering “A Day of Community, A Day of Faith,” which includes four services, a “Spotlight on Spirit” tour, and music, readings, and messages of hope from local, national, and international guests.

Music Director Kent Tritle revives the “Great Music in a Great Space” program, an annual series of choral, organ, and orchestral concerts.

South African president Nelson Mandela speaks at a memorial service for antiapartheid activist Archbishop Trevor Huddleston.

2013 The Rt. Rev. Andrew M.L. Dietsche succeeds Bishop Sisk.

2001 Hundreds spontaneously congregate at the Cathedral within hours of the terrorist attacks on September 11.

A six-alarm fire in December destroys the North Transept and the gift shop within it.

Bishop Grein is succeeded by the Rt. Rev. Mark S. Sisk.

2002 The Very Rev. Dr. James A. Kowalski is installed as the ninth Dean of the Cathedral.

Plans for post-fire restoration begin.

2014 The Cathedral hosts “Religions for the Earth: A Multifaith Celebration” following the People’s Climate March.

2015 The Cathedral Choristers record a breathtaking version of “Silent Night” with Spanish tenor Plácido Domingo and American musical group The Piano Guys.

2016 Over the course of the year, Cathedral Community Cares reaches a new record, offering 26,000 meals to 68,580 clients at its Sunday Soup Kitchen.

41

Aretha Franklin gives her final public performance as part of the twenty-fifth anniversary celebration of the Elton John AIDS Foundation.

The annual Cathedral Craft Fair, sponsored by the Congregation, moves after twenty-five years from Synod Hall to the Cathedral itself, becoming a signature program.

2018 Phase one of renovation of the North Transept is complete.

The Rt. Rev. Clifton Daniel III is installed as the tenth Dean.

The Cathedral celebrates the 125th anniversary of the laying of its cornerstone with a special evensong on November 18th.

During the service, the Most Rev. Michael Curry, the 27th Presiding Bishop and Primate of The Episcopal Church, is seated in the International Ecumenical Cathedra and preaches his message of love.

2019 In the midst of heightened attacks on the rights of immigrants and people seeking asylum, the Cathedral opened its doors, working with The Episcopal Diocese to provide resources and connect with activist organizations in New York City and at the U.S.-Mexico border.

The Value of Sanctuary: Building a House Without Walls, an exhibition featuring the work of more than 30 modern and contemporary artists, explored the political and social issues of this complex period in American history through the context of the Cathedral’s own ever-evolving American legacy.

2020 and Beyond After years of study, a team of architects arrived at an elegant solution for rehabilitating the Cathedral’s massive, vaulted dome. A new bronze-hued copper exterior covering was added to the structure’s existing granite dome, which was initially intended as a temporary roof and had remained in place for over 100 years, preserving the Cathedral’s magnificent structure for years to come.

Dreaming and planning is underway for the completed rennovation of the North Transept, a reimagined Cathedral Crypt, and a restored Synod Hall.

The Cathedral commits to continue advancing environmental stewardship through increasing its energy efficiency and reducing greenhouse gas emissions related to its operations as well as using its religious, civic and cultural voice to seek an ethical system that can grow and protect the wellbeing of humans, wildlife, and the planet.

1828 The Rt. Rev. John Henry Hobart, Bishop of New York, consults with Mayor Philip Hone about the feasibility of building an Episcopal Cathedral in New York City.

1911 Consecration of the Chapel of St. Columbia, the Great Choir and the Crossing.

Ralph Adams Cram is hired to complete the Cathedral.

1854 The Rt. Rev. Horatio Potter succeeds Bishop Hobart.

1922 Installation of the Historical Parapet, depicting figures in the history of Christianity.

The Very Rev. William Mercer Grosvenor is named the Cathedral’s first Dean.

1872 Bishop Potter takes the lead by suggesting to the Episcopalian Diocesan Convention that it is time to build an American Cathedral.

1887 Bishop Potter dies and is succeeded by his nephew, the Rt. Rev. Henry Codman Potter, who begins to solicit financial support for construction of the Cathedral.

1913 The Cathedral School building is constructed to accommodate 45 resident choristers.

1928 Consecration of the Baptistery.

1914 Consecration of the Chapel of St. Ambrose.

An 11.5-acre site is acquired for the Cathedral atop the plateau known as Morningside Heights.

1891 George Heins and Christopher Grant LaFarge win a three-year architecture competition to design Cathedral. Their eclectic design features Romanesque, Byzantine, and Gothic elements.

1930 New York Times publisher Adolph Ochs donates two 12-foot tall menorahs to flank the High Altar as an acknowledgement of the Cathedral’s efforts to improve JewishChristian relations.

1916 Consecration of the Chapels of St. James and St. Boniface.

The Very Rev. Milo Hudson Gates is named the third Dean.

Work begins on the foundation for the Nave but is suspended due to shortage of funds.

1892 Bishop Potter lays the cornerstone on St. John’s Day, December 27.

1893 Excavation begins for the foundation of the apse.

1917 The Very Rev. Howard Chandler Robbins is named the second Dean of the Cathedral.

The Very Rev. James Parks Morton is named the seventh Dean. Bishop Moore and Dean Morton expand the Cathedral’s advocacy of peace, social justice, and the environment.

1950 Bishop Gilbert dies and is succeeded by the Rt. Rev. Horace Donegan.

1952 The Very Rev. James Albert Pike is named the fifth Dean. Under Dean Pike and Bishop Donegan, the Cathedral’s pulpit becomes a forum for important national issues such as civil rights, McCarthyism and the Cold War.

1954 The Aeolian-Skinner Organ Company expands the Great Organ from its original 5,000 pipes to the present size of 8,035 pipes arranged in 141 ranks. The State Trumpets are mounted on the wall at the west end of the Nave.

1956 The Rev. Dr. Martin Luther King Jr. preaches at an ecumenical service.

1932 The Rose Window is installed.

1985 Artist in Residence Greg Wyatt creates Peace Fountain in celebration of the 200th anniversary of the of the Episcopal Diocese of New York.

1986 Archbishop Desmond Tutu speaks at the Cathedral.

1989 Thousands attend the memorial service for choreographer Alvin Ailey.

1947 Bishop Manning retires and is succeeded by the Rt. Rev. Charles Gilbert.

1960 The Very Rev. John Vernon Butler is named the sixth Dean.

1899 The first services are held in a chapel of the crypt.

1972 Bishop Donegan retires and is succeeded by the Rt. Rev. Paul Moore, Jr.

1945 Thousands fill the Cathedral for services of thanksgiving for the end of the war.

1925 Franklin Delano Roosevelt, a Cathedral Trustee, chairs a fundraising drive.

1873 New York State legislature grants a Charter for The Cathedral Church of Saint John the Divine. Economic depression delays selection of a site for the Cathedral.

1942 Five tons of Cathedral scrap metal are donated for the war effort, including wrought iron railings. The Cathedral accepts silver altar vessels from London’s Chapel Royal for safekeeping during the war, giving rise to the urban legend that the Cathedral housed the Crown Jewels.

Bishop Moore retires and is succeeded by the Rt. Rev. Richard Grein.

1973 The Cathedral School becomes co-educational.

1974 Duke Ellington’s funeral is attended by jazz luminaries and 12,500 mourners.

1976 Bishop Moore preaches a headline-making Easter sermon in which he challenges corporations to keep their operations in New York rather than join others who have fled to other states, thus worsening the city’s fiscal crisis.

1978 Dean Morton announces plans to revive construction of the Cathedral, halted in 1941. Local youth are recruited as apprentice stonecutters for the Cathedral stoneyard.

1990 Vaclav Havel, playwright and president of the newly-liberated Czech Republic, is guest of honor at a gala concert.

Big Bird and other Muppets pay tribute to puppeteer Jim Henson at his memorial service in the Cathedral.

1992 The Congregation of St. Saviour is formed.

His Holiness the Dalai Lama pays the first of many visits to the Cathedral.

1992 The Cathedral marks its centennial with an architectural competition calling for designs that explore connections between ecology and spirituality. Spanish architect Santiago Calatrava wins the competition with a design incorporating greenhouselike structures to serve as North and South Transepts and a glass-enclosed arboretum atop the Nave.

1982 The Cathedral establishes a soup kitchen and overnight shelter.

1993 Lack of funding halts construction of the South Tower.

Artist in Residence Philippe Petit walks a wire strung across Amsterdam Avenue to the Cathedral’s West Front to inaugurate the new South Tower building program.

1997 The Very Rev. Harry H. Pritchett, Jr. is named eighth Dean.

1979 Construction resumes.

1983 Leonard Bernstein conducts the first New Year’s Eve Concert for Peace.

1901 The Cathedral School is founded as a boarding school for the boys in the Cathedral’s choir.

1918 Consecration of the Chapels of St. Angsar and St. Martin.

1903 The eight massive granite columns to support the Cathedral’s East End are transported from a quarry in Maine and hoisted into place.

1937 A model of a slum tenement dwelling is exhibited in the Nave to publicize the need for decent housing in New York.

1939 The first services are conducted in the Nave.

1940 The Very Rev. James P. DeWolfe is named the fourth Dean.

1907 George Heins dies, thus breaking his firm’s design contract with the Cathedral.

1908 The roof for the Great Choir is completed.

1919 Bishop Greer dies and is succeeded by the Rt. Rev. Charles Sumner Burch.

Bishop Potter dies and is succeeded by the Rt. Rev. David Greer.

1920 Bishop Burch dies and is succeeded by the Rt. Rev. William Thomas Manning. Bishop Manning applies himself to the reactivation of the building and fundraising campaigns.

1909 Rafael Guastavino constructs a tile dome for the Crossing, intended as a temporary roof.

The dome covers the Crossing to the present day and is one of the largest freestanding domes in the world.

1910 Ernst Skinner begins building the Great Organ.

40

1941 The entire length of the Cathedral is consecrated on November 30. One week later, the attack on Pearl Harbor halts work on the Cathedral as the country enters World War II.

1964 Six thousand attend an ecumenical service to support civil rights legislation and to call for an end to racial segregation.

1968 Madeleine L’Engle publishes The Young Unicorns, a novel for young adults set at the Cathedral.

Duke Ellington premieres his Second Sacred Concert at the Cathedral.

1969 A solemn litany listing names of U.S. soldiers killed in action is part of a nationwide protest against the escalating war in Vietnam.

1971 ACT, an after-school and summer program for community children, is established.

Cathedral dramaturg John-Michael Tebelek adapts the Gospel of Matthew into the hit musical Godspell with composer Stephen Shwartz. The musical celebrates its first and second anniversaries and final performance with special liturgies at the Cathedral.

1984 The Cathedral hosts the first annual Feast of Saint Francis and Blessing of the Animals.

The service includes the music of Artist in Residence Paul Winter and Paul Halley’s Missa Gaia/Earth Mass. Saint Francis Day continues to be one of the largest services at the Cathedral, drawing visitors from all over the world.

Inauguration of The American Poets Corner in the Arts Bay, dedicated to American writers.

Edwina Sandys’ Christa, a sculpture of a female Christ on a crucifix, is displayed during Holy Week and taken down early after causing a small but historical controversy. The piece returns to the Cathedral as part of The Christa Project in 2016.

2005 More than 1,000 people fill the Crossing for an anti-war rally to hear activist Cindy Sheehan on the Bring Them Home Now Tour.

2017 The Cathedral is officially designated a historic landmark by the New York City Landmarks Preservation Commission.

Post-fire cleaning and restoration of the Cathedral’s interior begins in the east end and chapels.

Newly restored baroque tapestries are installed for the first time for the exhibition The Barberini Tapestries: Woven Monuments of the Baroque Rome.

2006 The Cathedral enters into an agreement with a real estate investment trust, leasing land for the construction of a residential building with twenty percent affordable housing units to the south of the Cathedral.

Restoration and the removal of scaffolding renders the upper 55 feet of the South Tower visible for the first time in 15 years.

2008 Thousands of people attend a rededication service and celebration in honor of the reopening of the entire length of the Cathedral. Guests at the service include New York Senators Hillary R. Clinton and Charles E. Schumer, Cardinal Edward Egan, and firefighters who battled the 2001 fire.

2010 The Cathedral's “Enter the Conversation” series hosts guests such as His Holiness the Dalai Lama, Gwen Ifill, Michelle Norris, Karen Armstrong, and Wangari Maathai, among others.

2011 The Value of Water: Sustaining a Green Planet opens, ushering in a new wave of large-scale art exhibitions, including Jane Alexander: Surveys (From the Cape of Good Hope) (2013), The Phoenix Project: Xu Bing at the Cathedral (2014), The Value of Food (2015-2016), and The Christa Project (2016-2017).

The Cathedral reestablishes its gift shop for the first time since the fire in the 2001.

The Cathedral commemorates the ten-year anniversary of 9/11 by offering “A Day of Community, A Day of Faith,” which includes four services, a “Spotlight on Spirit” tour, and music, readings, and messages of hope from local, national, and international guests.

Music Director Kent Tritle revives the “Great Music in a Great Space” program, an annual series of choral, organ, and orchestral concerts.

South African president Nelson Mandela speaks at a memorial service for antiapartheid activist Archbishop Trevor Huddleston.

2013 The Rt. Rev. Andrew M.L. Dietsche succeeds Bishop Sisk.

2001 Hundreds spontaneously congregate at the Cathedral within hours of the terrorist attacks on September 11.

A six-alarm fire in December destroys the North Transept and the gift shop within it.

Bishop Grein is succeeded by the Rt. Rev. Mark S. Sisk.

2002 The Very Rev. Dr. James A. Kowalski is installed as the ninth Dean of the Cathedral.

Plans for post-fire restoration begin.

2014 The Cathedral hosts “Religions for the Earth: A Multifaith Celebration” following the People’s Climate March.

2015 The Cathedral Choristers record a breathtaking version of “Silent Night” with Spanish tenor Plácido Domingo and American musical group The Piano Guys.

2016 Over the course of the year, Cathedral Community Cares reaches a new record, offering 26,000 meals to 68,580 clients at its Sunday Soup Kitchen.

41

Aretha Franklin gives her final public performance as part of the twenty-fifth anniversary celebration of the Elton John AIDS Foundation.

The annual Cathedral Craft Fair, sponsored by the Congregation, moves after twenty-five years from Synod Hall to the Cathedral itself, becoming a signature program.

2018 Phase one of renovation of the North Transept is complete.

The Rt. Rev. Clifton Daniel III is installed as the tenth Dean.

The Cathedral celebrates the 125th anniversary of the laying of its cornerstone with a special evensong on November 18th.

During the service, the Most Rev. Michael Curry, the 27th Presiding Bishop and Primate of The Episcopal Church, is seated in the International Ecumenical Cathedra and preaches his message of love.

2019 In the midst of heightened attacks on the rights of immigrants and people seeking asylum, the Cathedral opened its doors, working with The Episcopal Diocese to provide resources and connect with activist organizations in New York City and at the U.S.-Mexico border.

The Value of Sanctuary: Building a House Without Walls, an exhibition featuring the work of more than 30 modern and contemporary artists, explored the political and social issues of this complex period in American history through the context of the Cathedral’s own ever-evolving American legacy.

2020 and Beyond After years of study, a team of architects arrived at an elegant solution for rehabilitating the Cathedral’s massive, vaulted dome. A new bronze-hued copper exterior covering was added to the structure’s existing granite dome, which was initially intended as a temporary roof and had remained in place for over 100 years, preserving the Cathedral’s magnificent structure for years to come.

Dreaming and planning is underway for the completed rennovation of the North Transept, a reimagined Cathedral Crypt, and a restored Synod Hall.

The Cathedral commits to continue advancing environmental stewardship through increasing its energy efficiency and reducing greenhouse gas emissions related to its operations as well as using its religious, civic and cultural voice to seek an ethical system that can grow and protect the wellbeing of humans, wildlife, and the planet.

1828 The Rt. Rev. John Henry Hobart, Bishop of New York, consults with Mayor Philip Hone about the feasibility of building an Episcopal Cathedral in New York City.

1911 Consecration of the Chapel of St. Columbia, the Great Choir and the Crossing.

Ralph Adams Cram is hired to complete the Cathedral.

1854 The Rt. Rev. Horatio Potter succeeds Bishop Hobart.

1922 Installation of the Historical Parapet, depicting figures in the history of Christianity.

The Very Rev. William Mercer Grosvenor is named the Cathedral’s first Dean.

1872 Bishop Potter takes the lead by suggesting to the Episcopalian Diocesan Convention that it is time to build an American Cathedral.

1887 Bishop Potter dies and is succeeded by his nephew, the Rt. Rev. Henry Codman Potter, who begins to solicit financial support for construction of the Cathedral.

1913 The Cathedral School building is constructed to accommodate 45 resident choristers.

1928 Consecration of the Baptistery.

1914 Consecration of the Chapel of St. Ambrose.

An 11.5-acre site is acquired for the Cathedral atop the plateau known as Morningside Heights.

1891 George Heins and Christopher Grant LaFarge win a three-year architecture competition to design Cathedral. Their eclectic design features Romanesque, Byzantine, and Gothic elements.

1930 New York Times publisher Adolph Ochs donates two 12-foot tall menorahs to flank the High Altar as an acknowledgement of the Cathedral’s efforts to improve JewishChristian relations.

1916 Consecration of the Chapels of St. James and St. Boniface.

The Very Rev. Milo Hudson Gates is named the third Dean.

Work begins on the foundation for the Nave but is suspended due to shortage of funds.

1892 Bishop Potter lays the cornerstone on St. John’s Day, December 27.

1893 Excavation begins for the foundation of the apse.

1917 The Very Rev. Howard Chandler Robbins is named the second Dean of the Cathedral.

The Very Rev. James Parks Morton is named the seventh Dean. Bishop Moore and Dean Morton expand the Cathedral’s advocacy of peace, social justice, and the environment.

1950 Bishop Gilbert dies and is succeeded by the Rt. Rev. Horace Donegan.

1952 The Very Rev. James Albert Pike is named the fifth Dean. Under Dean Pike and Bishop Donegan, the Cathedral’s pulpit becomes a forum for important national issues such as civil rights, McCarthyism and the Cold War.

1954 The Aeolian-Skinner Organ Company expands the Great Organ from its original 5,000 pipes to the present size of 8,035 pipes arranged in 141 ranks. The State Trumpets are mounted on the wall at the west end of the Nave.

1956 The Rev. Dr. Martin Luther King Jr. preaches at an ecumenical service.

1932 The Rose Window is installed.

1985 Artist in Residence Greg Wyatt creates Peace Fountain in celebration of the 200th anniversary of the of the Episcopal Diocese of New York.

1986 Archbishop Desmond Tutu speaks at the Cathedral.

1989 Thousands attend the memorial service for choreographer Alvin Ailey.

1947 Bishop Manning retires and is succeeded by the Rt. Rev. Charles Gilbert.

1960 The Very Rev. John Vernon Butler is named the sixth Dean.

1899 The first services are held in a chapel of the crypt.

1972 Bishop Donegan retires and is succeeded by the Rt. Rev. Paul Moore, Jr.

1945 Thousands fill the Cathedral for services of thanksgiving for the end of the war.

1925 Franklin Delano Roosevelt, a Cathedral Trustee, chairs a fundraising drive.

1873 New York State legislature grants a Charter for The Cathedral Church of Saint John the Divine. Economic depression delays selection of a site for the Cathedral.

1942 Five tons of Cathedral scrap metal are donated for the war effort, including wrought iron railings. The Cathedral accepts silver altar vessels from London’s Chapel Royal for safekeeping during the war, giving rise to the urban legend that the Cathedral housed the Crown Jewels.

Bishop Moore retires and is succeeded by the Rt. Rev. Richard Grein.

1973 The Cathedral School becomes co-educational.

1974 Duke Ellington’s funeral is attended by jazz luminaries and 12,500 mourners.

1976 Bishop Moore preaches a headline-making Easter sermon in which he challenges corporations to keep their operations in New York rather than join others who have fled to other states, thus worsening the city’s fiscal crisis.

1978 Dean Morton announces plans to revive construction of the Cathedral, halted in 1941. Local youth are recruited as apprentice stonecutters for the Cathedral stoneyard.

1990 Vaclav Havel, playwright and president of the newly-liberated Czech Republic, is guest of honor at a gala concert.

Big Bird and other Muppets pay tribute to puppeteer Jim Henson at his memorial service in the Cathedral.

1992 The Congregation of St. Saviour is formed.

His Holiness the Dalai Lama pays the first of many visits to the Cathedral.

1992 The Cathedral marks its centennial with an architectural competition calling for designs that explore connections between ecology and spirituality. Spanish architect Santiago Calatrava wins the competition with a design incorporating greenhouselike structures to serve as North and South Transepts and a glass-enclosed arboretum atop the Nave.

1982 The Cathedral establishes a soup kitchen and overnight shelter.

1993 Lack of funding halts construction of the South Tower.

Artist in Residence Philippe Petit walks a wire strung across Amsterdam Avenue to the Cathedral’s West Front to inaugurate the new South Tower building program.

1997 The Very Rev. Harry H. Pritchett, Jr. is named eighth Dean.

1979 Construction resumes.

1983 Leonard Bernstein conducts the first New Year’s Eve Concert for Peace.

1901 The Cathedral School is founded as a boarding school for the boys in the Cathedral’s choir.

1918 Consecration of the Chapels of St. Angsar and St. Martin.

1903 The eight massive granite columns to support the Cathedral’s East End are transported from a quarry in Maine and hoisted into place.

1937 A model of a slum tenement dwelling is exhibited in the Nave to publicize the need for decent housing in New York.

1939 The first services are conducted in the Nave.

1940 The Very Rev. James P. DeWolfe is named the fourth Dean.

1907 George Heins dies, thus breaking his firm’s design contract with the Cathedral.

1908 The roof for the Great Choir is completed.

1919 Bishop Greer dies and is succeeded by the Rt. Rev. Charles Sumner Burch.

Bishop Potter dies and is succeeded by the Rt. Rev. David Greer.

1920 Bishop Burch dies and is succeeded by the Rt. Rev. William Thomas Manning. Bishop Manning applies himself to the reactivation of the building and fundraising campaigns.

1909 Rafael Guastavino constructs a tile dome for the Crossing, intended as a temporary roof.

The dome covers the Crossing to the present day and is one of the largest freestanding domes in the world.

1910 Ernst Skinner begins building the Great Organ.

40

1941 The entire length of the Cathedral is consecrated on November 30. One week later, the attack on Pearl Harbor halts work on the Cathedral as the country enters World War II.

1964 Six thousand attend an ecumenical service to support civil rights legislation and to call for an end to racial segregation.

1968 Madeleine L’Engle publishes The Young Unicorns, a novel for young adults set at the Cathedral.

Duke Ellington premieres his Second Sacred Concert at the Cathedral.

1969 A solemn litany listing names of U.S. soldiers killed in action is part of a nationwide protest against the escalating war in Vietnam.

1971 ACT, an after-school and summer program for community children, is established.

Cathedral dramaturg John-Michael Tebelek adapts the Gospel of Matthew into the hit musical Godspell with composer Stephen Shwartz. The musical celebrates its first and second anniversaries and final performance with special liturgies at the Cathedral.

1984 The Cathedral hosts the first annual Feast of Saint Francis and Blessing of the Animals.

The service includes the music of Artist in Residence Paul Winter and Paul Halley’s Missa Gaia/Earth Mass. Saint Francis Day continues to be one of the largest services at the Cathedral, drawing visitors from all over the world.

Inauguration of The American Poets Corner in the Arts Bay, dedicated to American writers.

Edwina Sandys’ Christa, a sculpture of a female Christ on a crucifix, is displayed during Holy Week and taken down early after causing a small but historical controversy. The piece returns to the Cathedral as part of The Christa Project in 2016.

2005 More than 1,000 people fill the Crossing for an anti-war rally to hear activist Cindy Sheehan on the Bring Them Home Now Tour.

2017 The Cathedral is officially designated a historic landmark by the New York City Landmarks Preservation Commission.

Post-fire cleaning and restoration of the Cathedral’s interior begins in the east end and chapels.

Newly restored baroque tapestries are installed for the first time for the exhibition The Barberini Tapestries: Woven Monuments of the Baroque Rome.

2006 The Cathedral enters into an agreement with a real estate investment trust, leasing land for the construction of a residential building with twenty percent affordable housing units to the south of the Cathedral.

Restoration and the removal of scaffolding renders the upper 55 feet of the South Tower visible for the first time in 15 years.

2008 Thousands of people attend a rededication service and celebration in honor of the reopening of the entire length of the Cathedral. Guests at the service include New York Senators Hillary R. Clinton and Charles E. Schumer, Cardinal Edward Egan, and firefighters who battled the 2001 fire.

2010 The Cathedral's “Enter the Conversation” series hosts guests such as His Holiness the Dalai Lama, Gwen Ifill, Michelle Norris, Karen Armstrong, and Wangari Maathai, among others.

2011 The Value of Water: Sustaining a Green Planet opens, ushering in a new wave of large-scale art exhibitions, including Jane Alexander: Surveys (From the Cape of Good Hope) (2013), The Phoenix Project: Xu Bing at the Cathedral (2014), The Value of Food (2015-2016), and The Christa Project (2016-2017).

The Cathedral reestablishes its gift shop for the first time since the fire in the 2001.

The Cathedral commemorates the ten-year anniversary of 9/11 by offering “A Day of Community, A Day of Faith,” which includes four services, a “Spotlight on Spirit” tour, and music, readings, and messages of hope from local, national, and international guests.

Music Director Kent Tritle revives the “Great Music in a Great Space” program, an annual series of choral, organ, and orchestral concerts.

South African president Nelson Mandela speaks at a memorial service for antiapartheid activist Archbishop Trevor Huddleston.

2013 The Rt. Rev. Andrew M.L. Dietsche succeeds Bishop Sisk.

2001 Hundreds spontaneously congregate at the Cathedral within hours of the terrorist attacks on September 11.

A six-alarm fire in December destroys the North Transept and the gift shop within it.

Bishop Grein is succeeded by the Rt. Rev. Mark S. Sisk.

2002 The Very Rev. Dr. James A. Kowalski is installed as the ninth Dean of the Cathedral.

Plans for post-fire restoration begin.

2014 The Cathedral hosts “Religions for the Earth: A Multifaith Celebration” following the People’s Climate March.

2015 The Cathedral Choristers record a breathtaking version of “Silent Night” with Spanish tenor Plácido Domingo and American musical group The Piano Guys.

2016 Over the course of the year, Cathedral Community Cares reaches a new record, offering 26,000 meals to 68,580 clients at its Sunday Soup Kitchen.

41

Aretha Franklin gives her final public performance as part of the twenty-fifth anniversary celebration of the Elton John AIDS Foundation.

The annual Cathedral Craft Fair, sponsored by the Congregation, moves after twenty-five years from Synod Hall to the Cathedral itself, becoming a signature program.

2018 Phase one of renovation of the North Transept is complete.

The Rt. Rev. Clifton Daniel III is installed as the tenth Dean.

The Cathedral celebrates the 125th anniversary of the laying of its cornerstone with a special evensong on November 18th.

During the service, the Most Rev. Michael Curry, the 27th Presiding Bishop and Primate of The Episcopal Church, is seated in the International Ecumenical Cathedra and preaches his message of love.

2019 In the midst of heightened attacks on the rights of immigrants and people seeking asylum, the Cathedral opened its doors, working with The Episcopal Diocese to provide resources and connect with activist organizations in New York City and at the U.S.-Mexico border.

The Value of Sanctuary: Building a House Without Walls, an exhibition featuring the work of more than 30 modern and contemporary artists, explored the political and social issues of this complex period in American history through the context of the Cathedral’s own ever-evolving American legacy.

2020 and Beyond After years of study, a team of architects arrived at an elegant solution for rehabilitating the Cathedral’s massive, vaulted dome. A new bronze-hued copper exterior covering was added to the structure’s existing granite dome, which was initially intended as a temporary roof and had remained in place for over 100 years, preserving the Cathedral’s magnificent structure for years to come.

Dreaming and planning is underway for the completed rennovation of the North Transept, a reimagined Cathedral Crypt, and a restored Synod Hall.

The Cathedral commits to continue advancing environmental stewardship through increasing its energy efficiency and reducing greenhouse gas emissions related to its operations as well as using its religious, civic and cultural voice to seek an ethical system that can grow and protect the wellbeing of humans, wildlife, and the planet.

1828 The Rt. Rev. John Henry Hobart, Bishop of New York, consults with Mayor Philip Hone about the feasibility of building an Episcopal Cathedral in New York City.

1911 Consecration of the Chapel of St. Columbia, the Great Choir and the Crossing.

Ralph Adams Cram is hired to complete the Cathedral.

1854 The Rt. Rev. Horatio Potter succeeds Bishop Hobart.

1922 Installation of the Historical Parapet, depicting figures in the history of Christianity.

The Very Rev. William Mercer Grosvenor is named the Cathedral’s first Dean.

1872 Bishop Potter takes the lead by suggesting to the Episcopalian Diocesan Convention that it is time to build an American Cathedral.

1887 Bishop Potter dies and is succeeded by his nephew, the Rt. Rev. Henry Codman Potter, who begins to solicit financial support for construction of the Cathedral.

1913 The Cathedral School building is constructed to accommodate 45 resident choristers.

1928 Consecration of the Baptistery.

1914 Consecration of the Chapel of St. Ambrose.

An 11.5-acre site is acquired for the Cathedral atop the plateau known as Morningside Heights.

1891 George Heins and Christopher Grant LaFarge win a three-year architecture competition to design Cathedral. Their eclectic design features Romanesque, Byzantine, and Gothic elements.

1930 New York Times publisher Adolph Ochs donates two 12-foot tall menorahs to flank the High Altar as an acknowledgement of the Cathedral’s efforts to improve JewishChristian relations.

1916 Consecration of the Chapels of St. James and St. Boniface.

The Very Rev. Milo Hudson Gates is named the third Dean.

Work begins on the foundation for the Nave but is suspended due to shortage of funds.

1892 Bishop Potter lays the cornerstone on St. John’s Day, December 27.

1893 Excavation begins for the foundation of the apse.

1917 The Very Rev. Howard Chandler Robbins is named the second Dean of the Cathedral.

The Very Rev. James Parks Morton is named the seventh Dean. Bishop Moore and Dean Morton expand the Cathedral’s advocacy of peace, social justice, and the environment.

1950 Bishop Gilbert dies and is succeeded by the Rt. Rev. Horace Donegan.

1952 The Very Rev. James Albert Pike is named the fifth Dean. Under Dean Pike and Bishop Donegan, the Cathedral’s pulpit becomes a forum for important national issues such as civil rights, McCarthyism and the Cold War.

1954 The Aeolian-Skinner Organ Company expands the Great Organ from its original 5,000 pipes to the present size of 8,035 pipes arranged in 141 ranks. The State Trumpets are mounted on the wall at the west end of the Nave.

1956 The Rev. Dr. Martin Luther King Jr. preaches at an ecumenical service.

1932 The Rose Window is installed.

1985 Artist in Residence Greg Wyatt creates Peace Fountain in celebration of the 200th anniversary of the of the Episcopal Diocese of New York.

1986 Archbishop Desmond Tutu speaks at the Cathedral.

1989 Thousands attend the memorial service for choreographer Alvin Ailey.

1947 Bishop Manning retires and is succeeded by the Rt. Rev. Charles Gilbert.

1960 The Very Rev. John Vernon Butler is named the sixth Dean.

1899 The first services are held in a chapel of the crypt.

1972 Bishop Donegan retires and is succeeded by the Rt. Rev. Paul Moore, Jr.

1945 Thousands fill the Cathedral for services of thanksgiving for the end of the war.

1925 Franklin Delano Roosevelt, a Cathedral Trustee, chairs a fundraising drive.

1873 New York State legislature grants a Charter for The Cathedral Church of Saint John the Divine. Economic depression delays selection of a site for the Cathedral.

1942 Five tons of Cathedral scrap metal are donated for the war effort, including wrought iron railings. The Cathedral accepts silver altar vessels from London’s Chapel Royal for safekeeping during the war, giving rise to the urban legend that the Cathedral housed the Crown Jewels.

Bishop Moore retires and is succeeded by the Rt. Rev. Richard Grein.

1973 The Cathedral School becomes co-educational.

1974 Duke Ellington’s funeral is attended by jazz luminaries and 12,500 mourners.

1976 Bishop Moore preaches a headline-making Easter sermon in which he challenges corporations to keep their operations in New York rather than join others who have fled to other states, thus worsening the city’s fiscal crisis.

1978 Dean Morton announces plans to revive construction of the Cathedral, halted in 1941. Local youth are recruited as apprentice stonecutters for the Cathedral stoneyard.

1990 Vaclav Havel, playwright and president of the newly-liberated Czech Republic, is guest of honor at a gala concert.

Big Bird and other Muppets pay tribute to puppeteer Jim Henson at his memorial service in the Cathedral.

1992 The Congregation of St. Saviour is formed.

His Holiness the Dalai Lama pays the first of many visits to the Cathedral.

1992 The Cathedral marks its centennial with an architectural competition calling for designs that explore connections between ecology and spirituality. Spanish architect Santiago Calatrava wins the competition with a design incorporating greenhouselike structures to serve as North and South Transepts and a glass-enclosed arboretum atop the Nave.

1982 The Cathedral establishes a soup kitchen and overnight shelter.

1993 Lack of funding halts construction of the South Tower.

Artist in Residence Philippe Petit walks a wire strung across Amsterdam Avenue to the Cathedral’s West Front to inaugurate the new South Tower building program.

1997 The Very Rev. Harry H. Pritchett, Jr. is named eighth Dean.

1979 Construction resumes.

1983 Leonard Bernstein conducts the first New Year’s Eve Concert for Peace.

1901 The Cathedral School is founded as a boarding school for the boys in the Cathedral’s choir.

1918 Consecration of the Chapels of St. Angsar and St. Martin.

1903 The eight massive granite columns to support the Cathedral’s East End are transported from a quarry in Maine and hoisted into place.

1937 A model of a slum tenement dwelling is exhibited in the Nave to publicize the need for decent housing in New York.

1939 The first services are conducted in the Nave.

1940 The Very Rev. James P. DeWolfe is named the fourth Dean.

1907 George Heins dies, thus breaking his firm’s design contract with the Cathedral.

1908 The roof for the Great Choir is completed.

1919 Bishop Greer dies and is succeeded by the Rt. Rev. Charles Sumner Burch.

Bishop Potter dies and is succeeded by the Rt. Rev. David Greer.

1920 Bishop Burch dies and is succeeded by the Rt. Rev. William Thomas Manning. Bishop Manning applies himself to the reactivation of the building and fundraising campaigns.

1909 Rafael Guastavino constructs a tile dome for the Crossing, intended as a temporary roof.

The dome covers the Crossing to the present day and is one of the largest freestanding domes in the world.

1910 Ernst Skinner begins building the Great Organ.

40

1941 The entire length of the Cathedral is consecrated on November 30. One week later, the attack on Pearl Harbor halts work on the Cathedral as the country enters World War II.

1964 Six thousand attend an ecumenical service to support civil rights legislation and to call for an end to racial segregation.

1968 Madeleine L’Engle publishes The Young Unicorns, a novel for young adults set at the Cathedral.

Duke Ellington premieres his Second Sacred Concert at the Cathedral.

1969 A solemn litany listing names of U.S. soldiers killed in action is part of a nationwide protest against the escalating war in Vietnam.

1971 ACT, an after-school and summer program for community children, is established.

Cathedral dramaturg John-Michael Tebelek adapts the Gospel of Matthew into the hit musical Godspell with composer Stephen Shwartz. The musical celebrates its first and second anniversaries and final performance with special liturgies at the Cathedral.

1984 The Cathedral hosts the first annual Feast of Saint Francis and Blessing of the Animals.

The service includes the music of Artist in Residence Paul Winter and Paul Halley’s Missa Gaia/Earth Mass. Saint Francis Day continues to be one of the largest services at the Cathedral, drawing visitors from all over the world.

Inauguration of The American Poets Corner in the Arts Bay, dedicated to American writers.

Edwina Sandys’ Christa, a sculpture of a female Christ on a crucifix, is displayed during Holy Week and taken down early after causing a small but historical controversy. The piece returns to the Cathedral as part of The Christa Project in 2016.

2005 More than 1,000 people fill the Crossing for an anti-war rally to hear activist Cindy Sheehan on the Bring Them Home Now Tour.

2017 The Cathedral is officially designated a historic landmark by the New York City Landmarks Preservation Commission.

Post-fire cleaning and restoration of the Cathedral’s interior begins in the east end and chapels.

Newly restored baroque tapestries are installed for the first time for the exhibition The Barberini Tapestries: Woven Monuments of the Baroque Rome.

2006 The Cathedral enters into an agreement with a real estate investment trust, leasing land for the construction of a residential building with twenty percent affordable housing units to the south of the Cathedral.

Restoration and the removal of scaffolding renders the upper 55 feet of the South Tower visible for the first time in 15 years.

2008 Thousands of people attend a rededication service and celebration in honor of the reopening of the entire length of the Cathedral. Guests at the service include New York Senators Hillary R. Clinton and Charles E. Schumer, Cardinal Edward Egan, and firefighters who battled the 2001 fire.

2010 The Cathedral's “Enter the Conversation” series hosts guests such as His Holiness the Dalai Lama, Gwen Ifill, Michelle Norris, Karen Armstrong, and Wangari Maathai, among others.

2011 The Value of Water: Sustaining a Green Planet opens, ushering in a new wave of large-scale art exhibitions, including Jane Alexander: Surveys (From the Cape of Good Hope) (2013), The Phoenix Project: Xu Bing at the Cathedral (2014), The Value of Food (2015-2016), and The Christa Project (2016-2017).

The Cathedral reestablishes its gift shop for the first time since the fire in the 2001.

The Cathedral commemorates the ten-year anniversary of 9/11 by offering “A Day of Community, A Day of Faith,” which includes four services, a “Spotlight on Spirit” tour, and music, readings, and messages of hope from local, national, and international guests.

Music Director Kent Tritle revives the “Great Music in a Great Space” program, an annual series of choral, organ, and orchestral concerts.

South African president Nelson Mandela speaks at a memorial service for antiapartheid activist Archbishop Trevor Huddleston.

2013 The Rt. Rev. Andrew M.L. Dietsche succeeds Bishop Sisk.

2001 Hundreds spontaneously congregate at the Cathedral within hours of the terrorist attacks on September 11.

A six-alarm fire in December destroys the North Transept and the gift shop within it.

Bishop Grein is succeeded by the Rt. Rev. Mark S. Sisk.

2002 The Very Rev. Dr. James A. Kowalski is installed as the ninth Dean of the Cathedral.

Plans for post-fire restoration begin.

2014 The Cathedral hosts “Religions for the Earth: A Multifaith Celebration” following the People’s Climate March.

2015 The Cathedral Choristers record a breathtaking version of “Silent Night” with Spanish tenor Plácido Domingo and American musical group The Piano Guys.

2016 Over the course of the year, Cathedral Community Cares reaches a new record, offering 26,000 meals to 68,580 clients at its Sunday Soup Kitchen.

41

Aretha Franklin gives her final public performance as part of the twenty-fifth anniversary celebration of the Elton John AIDS Foundation.

The annual Cathedral Craft Fair, sponsored by the Congregation, moves after twenty-five years from Synod Hall to the Cathedral itself, becoming a signature program.

2018 Phase one of renovation of the North Transept is complete.

The Rt. Rev. Clifton Daniel III is installed as the tenth Dean.

The Cathedral celebrates the 125th anniversary of the laying of its cornerstone with a special evensong on November 18th.

During the service, the Most Rev. Michael Curry, the 27th Presiding Bishop and Primate of The Episcopal Church, is seated in the International Ecumenical Cathedra and preaches his message of love.

2019 In the midst of heightened attacks on the rights of immigrants and people seeking asylum, the Cathedral opened its doors, working with The Episcopal Diocese to provide resources and connect with activist organizations in New York City and at the U.S.-Mexico border.

The Value of Sanctuary: Building a House Without Walls, an exhibition featuring the work of more than 30 modern and contemporary artists, explored the political and social issues of this complex period in American history through the context of the Cathedral’s own ever-evolving American legacy.

2020 and Beyond After years of study, a team of architects arrived at an elegant solution for rehabilitating the Cathedral’s massive, vaulted dome. A new bronze-hued copper exterior covering was added to the structure’s existing granite dome, which was initially intended as a temporary roof and had remained in place for over 100 years, preserving the Cathedral’s magnificent structure for years to come.

Dreaming and planning is underway for the completed rennovation of the North Transept, a reimagined Cathedral Crypt, and a restored Synod Hall.

The Cathedral commits to continue advancing environmental stewardship through increasing its energy efficiency and reducing greenhouse gas emissions related to its operations as well as using its religious, civic and cultural voice to seek an ethical system that can grow and protect the wellbeing of humans, wildlife, and the planet.

CHAPEL OF ST. SAVIOUR

N CHAPEL OF ST. COLUMBA

CHAPEL OF ST. MARTIN

CHAPEL OF ST. BONIFACE

CHAPEL OF ST. AMBROSE AMBULATORY

HIGH ALTAR

COLUMBARIUM

CHAPEL OF ST. ANSGAR

BAPTISTERY

CHAPEL OF ST. JAMES

GREAT CHOIR

NORTH TRANSEPT

CROSSING

AMERICAN HISTORY BAY

ANGLICAN HISTORY BAY

ARMED FORCES BAY

NAVE

LAW BAY

EARTH BAY MEDICINE BAY

EDUCATION BAY

COMMUNICATIONS BAY

CRUSADERS BAY

LABOR BAY

ARTS BAY/POETS CORNER

MISSIONARY BAY

SPORTS BAY

2

Visit

“Anybody from New York City has seen the Cathedral. As a kid I had always seen it just from being on Amsterdam Avenue or coming from Harlem—you see the big church. If you’ve only seen it from the outside, you think it’s just another church that’s really huge. But when you go inside, you get a totally different perspective. I was amazed.”

KALIE KAMARA

ALL SOULS BAY

NARTHEX

GREAT ROSE WINDOW 42

43

CHAPEL OF ST. SAVIOUR

N CHAPEL OF ST. COLUMBA

CHAPEL OF ST. MARTIN

CHAPEL OF ST. BONIFACE

CHAPEL OF ST. AMBROSE AMBULATORY

HIGH ALTAR

COLUMBARIUM

CHAPEL OF ST. ANSGAR

BAPTISTERY

CHAPEL OF ST. JAMES

GREAT CHOIR

NORTH TRANSEPT

CROSSING

AMERICAN HISTORY BAY

ANGLICAN HISTORY BAY

ARMED FORCES BAY

NAVE

LAW BAY

EARTH BAY MEDICINE BAY

EDUCATION BAY

COMMUNICATIONS BAY

CRUSADERS BAY

LABOR BAY

ARTS BAY/POETS CORNER

MISSIONARY BAY

SPORTS BAY

2

Visit

“Anybody from New York City has seen the Cathedral. As a kid I had always seen it just from being on Amsterdam Avenue or coming from Harlem—you see the big church. If you’ve only seen it from the outside, you think it’s just another church that’s really huge. But when you go inside, you get a totally different perspective. I was amazed.”

KALIE KAMARA

ALL SOULS BAY

NARTHEX

GREAT ROSE WINDOW 42

43

CHAPEL OF ST. SAVIOUR

N CHAPEL OF ST. COLUMBA

CHAPEL OF ST. MARTIN

CHAPEL OF ST. BONIFACE

CHAPEL OF ST. AMBROSE AMBULATORY

HIGH ALTAR

COLUMBARIUM

CHAPEL OF ST. ANSGAR

BAPTISTERY

CHAPEL OF ST. JAMES

GREAT CHOIR

NORTH TRANSEPT

CROSSING

AMERICAN HISTORY BAY

ANGLICAN HISTORY BAY

ARMED FORCES BAY

NAVE

LAW BAY

EARTH BAY MEDICINE BAY

EDUCATION BAY

COMMUNICATIONS BAY

CRUSADERS BAY

LABOR BAY

ARTS BAY/POETS CORNER

MISSIONARY BAY

SPORTS BAY

2

Visit

“Anybody from New York City has seen the Cathedral. As a kid I had always seen it just from being on Amsterdam Avenue or coming from Harlem—you see the big church. If you’ve only seen it from the outside, you think it’s just another church that’s really huge. But when you go inside, you get a totally different perspective. I was amazed.”

KALIE KAMARA

ALL SOULS BAY

NARTHEX

GREAT ROSE WINDOW 42

43

44

45

44

45

The Western Façade

The Cathedral of St. John the Divine is the largest Gothic Cathedral in the world. Traditionally, cathedrals are built on an east/west axis, following a pre-Christian tradition of sun worship.

The Cathedral’s 207-foot Western Façade, facing Amsterdam Avenue at 112th Street, is half again wider than the interior Nave.

HOWARD QUIRK One enters from the west, leaving behind death, symbolized by the setting sun, and looks east to the altar, behind which is the rising sun representing the risen Son of God. MURRY STEGELMANN Our steps are very wide and inviting, anyone can walk right up and come on in. Something to remember is that the 110th Street subway stop is actually named after the Cathedral.

THE REV. CANON JAY WEGMAN

I grew up in Minnesota, and I always wanted to visit St. John the Divine. The Cathedral was pictured in my World Book Encyclopedia. I knew that it was “the big church.”

The Great Bronze Doors and the Portal of Paradise

The four Great Bronze Doors were cast by the studio of Ferdinand Barbedienne, which also cast New York’s famous Statue of Liberty.

Each bronze door is 18 feet high, six feet wide, and each door weighs three tons. The 28 panels of the northern doors illustrate events from the Old Testament. Those of the southern doors represent the New Testament. Above the doors is the Portal of Paradise, carved in 1988, with 32 Biblical figures completed by the Cathedral stone carvers working with master carver Simon Verity.

SIMON VERITY The procession of prophets leads you through the Portal to be uplifted. We come in as ordinary New Yorkers, and leave as a bishop, or a martyr, or a saint.

HOWARD RUBENSTEIN I was born and raised in New York. I’ve always seen the Cathedral as the embodiment of the spirit and substance our city. Its very presence makes a statement.

It’s tough and resilient. It reaches for the sky.

There is nothing else like it.

SUSAN BRIND MORROW The Cathedral has been for me over a lifetime a kind of magical refuge, forest-like in its immensity, with treasures hidden throughout. It has always been one of the great New York institutions, open to all, always there, filled with beauty and inspiration.

Previous The Western Façade entrance to the Cathedral, as seen from Amsterdam Avenue.

Right The four Great Bronze Doors beneath the Portal of Paradise.

46

MARNIE WEIR I was once leading a school group through the Cathedral, maybe a group of third graders. I asked, “Any questions before we get started?” One little girl raised her hand and said, “Will I see God here today?”

47

The Western Façade

The Cathedral of St. John the Divine is the largest Gothic Cathedral in the world. Traditionally, cathedrals are built on an east/west axis, following a pre-Christian tradition of sun worship.

The Cathedral’s 207-foot Western Façade, facing Amsterdam Avenue at 112th Street, is half again wider than the interior Nave.

HOWARD QUIRK One enters from the west, leaving behind death, symbolized by the setting sun, and looks east to the altar, behind which is the rising sun representing the risen Son of God. MURRY STEGELMANN Our steps are very wide and inviting, anyone can walk right up and come on in. Something to remember is that the 110th Street subway stop is actually named after the Cathedral.

THE REV. CANON JAY WEGMAN

I grew up in Minnesota, and I always wanted to visit St. John the Divine. The Cathedral was pictured in my World Book Encyclopedia. I knew that it was “the big church.”

The Great Bronze Doors and the Portal of Paradise

The four Great Bronze Doors were cast by the studio of Ferdinand Barbedienne, which also cast New York’s famous Statue of Liberty.

Each bronze door is 18 feet high, six feet wide, and each door weighs three tons. The 28 panels of the northern doors illustrate events from the Old Testament. Those of the southern doors represent the New Testament. Above the doors is the Portal of Paradise, carved in 1988, with 32 Biblical figures completed by the Cathedral stone carvers working with master carver Simon Verity.

SIMON VERITY The procession of prophets leads you through the Portal to be uplifted. We come in as ordinary New Yorkers, and leave as a bishop, or a martyr, or a saint.

HOWARD RUBENSTEIN I was born and raised in New York. I’ve always seen the Cathedral as the embodiment of the spirit and substance our city. Its very presence makes a statement.

It’s tough and resilient. It reaches for the sky.

There is nothing else like it.

SUSAN BRIND MORROW The Cathedral has been for me over a lifetime a kind of magical refuge, forest-like in its immensity, with treasures hidden throughout. It has always been one of the great New York institutions, open to all, always there, filled with beauty and inspiration.

Previous The Western Façade entrance to the Cathedral, as seen from Amsterdam Avenue.

Right The four Great Bronze Doors beneath the Portal of Paradise.

46

MARNIE WEIR I was once leading a school group through the Cathedral, maybe a group of third graders. I asked, “Any questions before we get started?” One little girl raised her hand and said, “Will I see God here today?”

47

The Narthex and the Nave

The Narthex is the entrance foyer of the Cathedral that opens into the Nave, which measures 601 feet long and 124 feet high. Six interior column rows divide the five aisles of the Nave. The inner three aisles are passageways containing the Pilgrims’ Pavement flooring, which symbolize exceptional places in the history of Christianity. The outer two aisles lead to the Ambulatory and the Chapels of the Tongues.

S U S A N R O DR IG U EZ When you enter the Cathedral there’s an explosion of space. The scale of the city comes inside. It’s so big that when you’re inside, you’re in a space as monumental as the city itself.

MU R RY S T EG EL MA N N The size is gargantuan.

You can fit the Washington Monument here in length and the Statue of Liberty in height.

B IL L B A K ER It is a meeting place for the greatest number of people you can amass under one roof in New York, and that it has a moral value and a moral purpose is great. Because of the beauty, the power, and the scale of this place, you feel this is where God has to be.

Top The columns of the Nave.

Left The Nave seen from the Crossing.

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The Narthex and the Nave

The Narthex is the entrance foyer of the Cathedral that opens into the Nave, which measures 601 feet long and 124 feet high. Six interior column rows divide the five aisles of the Nave. The inner three aisles are passageways containing the Pilgrims’ Pavement flooring, which symbolize exceptional places in the history of Christianity. The outer two aisles lead to the Ambulatory and the Chapels of the Tongues.

S U S A N R O DR IG U EZ When you enter the Cathedral there’s an explosion of space. The scale of the city comes inside. It’s so big that when you’re inside, you’re in a space as monumental as the city itself.

MU R RY S T EG EL MA N N The size is gargantuan.

You can fit the Washington Monument here in length and the Statue of Liberty in height.

B IL L B A K ER It is a meeting place for the greatest number of people you can amass under one roof in New York, and that it has a moral value and a moral purpose is great. Because of the beauty, the power, and the scale of this place, you feel this is where God has to be.

Top The columns of the Nave.

Left The Nave seen from the Crossing.

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The Crossing

Most cathedrals are built in a cruciform design.

The long arm of a cathedral’s architecture begins with the western nave and leads to the altar at the eastern end. The shorter arm of the cruciform is the perpendicular made up of a cathedral’s north and south transepts. The crossing is where the long and short arms intersect. At St. John the Divine, the Cathedral’s pulpit is located at the northeast corner of the Crossing.

DEAN KOWALSKI The crossing is where the two arms of the cross meet. Everything in the Cathedral leads to it and eventually you always make your way back to it. The pulpit is there, the crossing altar is there, you make your way to the chapels from there.

DEAN DANIEL When I climb up into that pulpit and look out over this crowd of people, I think of being on the command deck of the Starship Enterprise but in a 13th-century way.

The Cathedral’s Crossing also marks the end of the Pilgrims’ Pavement. During construction on the Nave the 1920s and 1930s, the Laymen’s “The long rays of light were refracted by the Club donated the creation of 30 medallions, crown of windows in the brilliant lantern which came to be called the Pilgrims’ Pavement. of the Octagon, so that the stone columns Founded in 1908, The Laymen’s Club has offered soared upwards in the light, no longer massive a remarkable demonstration of civic involvement supports of granite, but a structure made of in this uniquely American cathedral. For over color and air, rose, lavender, blue, holding the a century, The Laymen’s Club has taken a leading Cathedral in weightless effort.” role in welcoming visitors, sponsoring publications, MADELEINE L’ENGLE and in building and restoration at the Cathedral.

THE REV. CANON TOM MILLER In

Top The Crossing with the pulpit at the far left.

so many ways, the Cathedral of St. John the Divine is itself a pilgrim destination. No one builds a cathedral as large as this one without that thought in mind. To underscore the Cathedral’s association with sacred sites and holy places around the world, our ancestors bequeathed to us the Pilgrims’ Pavement. We are grateful for their vision and commitment to our continuing pilgrimage.

Right The High Altar seen from the Crossing. Behind it is the octagon of granite columns bordering the ambulatory corridor of the seven Chapels of the Tongues.

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The Crossing

Most cathedrals are built in a cruciform design.

The long arm of a cathedral’s architecture begins with the western nave and leads to the altar at the eastern end. The shorter arm of the cruciform is the perpendicular made up of a cathedral’s north and south transepts. The crossing is where the long and short arms intersect. At St. John the Divine, the Cathedral’s pulpit is located at the northeast corner of the Crossing.

DEAN KOWALSKI The crossing is where the two arms of the cross meet. Everything in the Cathedral leads to it and eventually you always make your way back to it. The pulpit is there, the crossing altar is there, you make your way to the chapels from there.

DEAN DANIEL When I climb up into that pulpit and look out over this crowd of people, I think of being on the command deck of the Starship Enterprise but in a 13th-century way.

The Cathedral’s Crossing also marks the end of the Pilgrims’ Pavement. During construction on the Nave the 1920s and 1930s, the Laymen’s “The long rays of light were refracted by the Club donated the creation of 30 medallions, crown of windows in the brilliant lantern which came to be called the Pilgrims’ Pavement. of the Octagon, so that the stone columns Founded in 1908, The Laymen’s Club has offered soared upwards in the light, no longer massive a remarkable demonstration of civic involvement supports of granite, but a structure made of in this uniquely American cathedral. For over color and air, rose, lavender, blue, holding the a century, The Laymen’s Club has taken a leading Cathedral in weightless effort.” role in welcoming visitors, sponsoring publications, MADELEINE L’ENGLE and in building and restoration at the Cathedral.

THE REV. CANON TOM MILLER In

Top The Crossing with the pulpit at the far left.

so many ways, the Cathedral of St. John the Divine is itself a pilgrim destination. No one builds a cathedral as large as this one without that thought in mind. To underscore the Cathedral’s association with sacred sites and holy places around the world, our ancestors bequeathed to us the Pilgrims’ Pavement. We are grateful for their vision and commitment to our continuing pilgrimage.

Right The High Altar seen from the Crossing. Behind it is the octagon of granite columns bordering the ambulatory corridor of the seven Chapels of the Tongues.

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The Great Choir and the Historical Parapet

Elaborately carved oak stalls flank the north and south sides of the Great Choir. The carvings of the choir stalls rise in three tiers. Alongside the east Choir is the Historical Parapet, a carved marble sculpture which depicts heroic individuals, one from each of the first 20 centuries of Christian history, including Charlemagne, William Shakespeare, and Abraham Lincoln.

WAYNE KEMPTON What is chosen to put into the Cathedral permanently is important. Every generation has a different story to tell—the right object, the right place, the right time. That is the story of the Cathedral. It is eternal in itself.

ISADORA WILKENFELD We may well ask ourselves who will be chosen to represent the 21st century.

“Cautious, careful people, always casting about to preserve their reputation and social standing, never can bring about a reform.”

SUSAN B. ANTHONY

Far left Elaborately carved oak stalls flank the north and south sides of the Great Choir. The carvings of the choir stalls rise in three tiers.

Left Detail from the Historical Parapet showing the Rev. Dr. Martin Luther King Jr., Albert Einstein, Susan B. Anthony, and Mahatma Gandhi, who were chosen to represent the 20th century.

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The Great Choir and the Historical Parapet

Elaborately carved oak stalls flank the north and south sides of the Great Choir. The carvings of the choir stalls rise in three tiers. Alongside the east Choir is the Historical Parapet, a carved marble sculpture which depicts heroic individuals, one from each of the first 20 centuries of Christian history, including Charlemagne, William Shakespeare, and Abraham Lincoln.

WAYNE KEMPTON What is chosen to put into the Cathedral permanently is important. Every generation has a different story to tell—the right object, the right place, the right time. That is the story of the Cathedral. It is eternal in itself.

ISADORA WILKENFELD We may well ask ourselves who will be chosen to represent the 21st century.

“Cautious, careful people, always casting about to preserve their reputation and social standing, never can bring about a reform.”

SUSAN B. ANTHONY

Far left Elaborately carved oak stalls flank the north and south sides of the Great Choir. The carvings of the choir stalls rise in three tiers.

Left Detail from the Historical Parapet showing the Rev. Dr. Martin Luther King Jr., Albert Einstein, Susan B. Anthony, and Mahatma Gandhi, who were chosen to represent the 20th century.

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The High Altar

The High Altar is the culmination of the Cathedral as it contains the Cathedra, or Bishop’s chair. The High Altar also contains the International Ecumenical Cathedra.

On the north and south sides of the Altar are gifts from the Cathedral’s early history, including two Japanese cloisonné vases presented on behalf of the Imperial Family and the people of Japan in 1926 and two 12-foot Menorahs presented in 1925 by New York Times publisher Adolph S. Ochs.

BISHOP DIETSCHE If you are in front of the altar and a step down, there is a terra cotta tile set into the floor with a brass frame around it.

It says, “Whoever will have prayed in this place will have pressed with his foot a tile from the ancient church of St. John the Divine in Ephesus built by the Emperor Justinian in the sixth century over the traditional resting place of the Apostle John.” That tile is my favorite thing in the Cathedral.

DEAN MORTON If you get lost, remember, the High Altar is on the side of the rising sun.

The High Altar.

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The High Altar

The High Altar is the culmination of the Cathedral as it contains the Cathedra, or Bishop’s chair. The High Altar also contains the International Ecumenical Cathedra.

On the north and south sides of the Altar are gifts from the Cathedral’s early history, including two Japanese cloisonné vases presented on behalf of the Imperial Family and the people of Japan in 1926 and two 12-foot Menorahs presented in 1925 by New York Times publisher Adolph S. Ochs.

BISHOP DIETSCHE If you are in front of the altar and a step down, there is a terra cotta tile set into the floor with a brass frame around it.

It says, “Whoever will have prayed in this place will have pressed with his foot a tile from the ancient church of St. John the Divine in Ephesus built by the Emperor Justinian in the sixth century over the traditional resting place of the Apostle John.” That tile is my favorite thing in the Cathedral.

DEAN MORTON If you get lost, remember, the High Altar is on the side of the rising sun.

The High Altar.

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The Ambulatory

Circling behind the Great Choir, the corridor that leads to the seven Chapels of the Tongues, is the Ambulatory. The entrance to the center chapel, the Chapel of St. Saviour, is flanked by the angel carvings of Gutzon Borglum. Borglum is also the sculptor of the presidential portraits of Mount Rushmore.

LISA SCHUBERT In 1905, 40 angels were commissioned for the columns of St. Saviour.

The sculptor believed that certain angels— specifically the Angel of the Annunciation and the Angel of the Resurrection—must be female.

A visiting clergyman complained, “Whoever heard of a woman angel?” To which a member of the Cathedral Building Committee responded, “How can anyone tell the sex of angels? I have never seen one. Those who have—the shepherds in the fields—were too frightened to notice if they were male or female.”

HANNAH WOLFE EISNER

Angels are technically male in the Bible. The story goes that the Cathedral asked Borglum to remake his female angels as men. Instead of reworking the angels he shattered the originals. Borglum felt that those angels belonged only as they had been made and only in the Cathedral.

Left The Ambulatory.

Right Gutzon Borglum’s column of angels at the entrance of the Chapel of St. Saviour.

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The Ambulatory

Circling behind the Great Choir, the corridor that leads to the seven Chapels of the Tongues, is the Ambulatory. The entrance to the center chapel, the Chapel of St. Saviour, is flanked by the angel carvings of Gutzon Borglum. Borglum is also the sculptor of the presidential portraits of Mount Rushmore.

LISA SCHUBERT In 1905, 40 angels were commissioned for the columns of St. Saviour.

The sculptor believed that certain angels— specifically the Angel of the Annunciation and the Angel of the Resurrection—must be female.

A visiting clergyman complained, “Whoever heard of a woman angel?” To which a member of the Cathedral Building Committee responded, “How can anyone tell the sex of angels? I have never seen one. Those who have—the shepherds in the fields—were too frightened to notice if they were male or female.”

HANNAH WOLFE EISNER

Angels are technically male in the Bible. The story goes that the Cathedral asked Borglum to remake his female angels as men. Instead of reworking the angels he shattered the originals. Borglum felt that those angels belonged only as they had been made and only in the Cathedral.

Left The Ambulatory.

Right Gutzon Borglum’s column of angels at the entrance of the Chapel of St. Saviour.

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The Chapels of the Tongues

The seven Chapels of the Tongues, consecrated between 1904 and 1918, are among the oldest sites in the Cathedral. Each chapel is dedicated to an immigrant group of the early 20th century, reminding us that the essence of St. John the Divine is, and always has been, to welcome all people.

VIVIAN HEWITT If you want to get the feeling of being in a church, go to the chapels.

They’re intimate and small.

BISHOP RICHARD GREIN There are seven Chapels of the Tongues, but the liturgy is now celebrated regularly in eleven different languages. That diversity is central to our mission. In many respects, our diocese today has surpassed even the vision of the Cathedral’s founders.

NICOLE TOUTOUNJI As the cathedral beekeeper, the Chapel of St. Ambrose is my favorite place.

Saint Ambrose is the patron saint of bees and beekeepers. There is a legend that as an infant, a swarm of bees settled on his face leaving behind a drop of honey. His father considered this a sign of his future eloquence, “a honeyed tongue.”

“Good-will expands in the body of the Church, by fellowship in faith, by the bond of baptism, by kinship through grace received, by communion in the mysteries. For all these bonds claim for themselves the name of intimacy, the reverence of children, the authority and religious care of parents, the relationship of brothers.” SAINT AMBROSE

REBECCA MERRILL We

say all are welcome here, but the people who built the Cathedral not only said it, they built that message into this place.

The Chapels of the Tongues were representative of the immigrant groups of their time. But there is nothing here that tells the story of the next wave to arrive, the Great Migration. And there is nothing telling the enormous story of immigration today. What story do we as a cathedral want to tell to people 125 years from now? What would it look like to fortify our commitment to welcome all people by actually constructing something that evidences that openness today?

Top left The Chapel of St. Martin.

Top right The Chapel of St. Saviour.

Bottom The Chapel of St. Ambrose.

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The Chapels of the Tongues

The seven Chapels of the Tongues, consecrated between 1904 and 1918, are among the oldest sites in the Cathedral. Each chapel is dedicated to an immigrant group of the early 20th century, reminding us that the essence of St. John the Divine is, and always has been, to welcome all people.

VIVIAN HEWITT If you want to get the feeling of being in a church, go to the chapels.

They’re intimate and small.

BISHOP RICHARD GREIN There are seven Chapels of the Tongues, but the liturgy is now celebrated regularly in eleven different languages. That diversity is central to our mission. In many respects, our diocese today has surpassed even the vision of the Cathedral’s founders.

NICOLE TOUTOUNJI As the cathedral beekeeper, the Chapel of St. Ambrose is my favorite place.

Saint Ambrose is the patron saint of bees and beekeepers. There is a legend that as an infant, a swarm of bees settled on his face leaving behind a drop of honey. His father considered this a sign of his future eloquence, “a honeyed tongue.”

“Good-will expands in the body of the Church, by fellowship in faith, by the bond of baptism, by kinship through grace received, by communion in the mysteries. For all these bonds claim for themselves the name of intimacy, the reverence of children, the authority and religious care of parents, the relationship of brothers.” SAINT AMBROSE

REBECCA MERRILL We

say all are welcome here, but the people who built the Cathedral not only said it, they built that message into this place.

The Chapels of the Tongues were representative of the immigrant groups of their time. But there is nothing here that tells the story of the next wave to arrive, the Great Migration. And there is nothing telling the enormous story of immigration today. What story do we as a cathedral want to tell to people 125 years from now? What would it look like to fortify our commitment to welcome all people by actually constructing something that evidences that openness today?

Top left The Chapel of St. Martin.

Top right The Chapel of St. Saviour.

Bottom The Chapel of St. Ambrose.

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The Baptistery and Columbarium

At the northeast corner of the Crossing is a three-chambered complex containing both the Cathedral Baptistery and Columbarium.

The Baptistery was the gift of the descendants of Peter Stuyvesant, the last Dutch governor of the colony of New Amsterdam. Its decoration honors New York’s Dutch heritage and early colonization. The 500-vault Columbarium extends from the chambers of the Baptistery into the Chapel of St. Ansgar. The Columbarium is open to anyone who chooses the Cathedral as a final resting place and is currently being expanded.

“I baptize you with water for repentance.

But after me will come one who is more powerful than I, whose sandals I am not fit to carry. He will baptize you with the Holy Spirit and with fire.”

MATTHEW 3:11 GRIFFIN DUNNE My aunt Joan Didion has as strong a feeling for St. John as a not-religious person could have for a religious institution.

When her mother died, she chose to place her ashes in the Columbarium; we call it “the wall.”

Her husband John is in the wall and now my cousin Quintana has joined her grandmother and father in the wall, too.

EMMA STRAUB The idea of spending eternity at the Cathedral isn’t a bad one. The floors are shiny and squeak underneath the sneakers of running children; there is enough marble to build a small city; and the ceilings are high enough to make you feel that there is something of the divine floating overhead, even if it’s just a note held by a soprano voice, or the light coming through a stained glass window.

MARY JANE BROCK My husband and I will spend eternity in the Cathedral. Our Columbarium vault is as close to the organ as I could possibly get it.

PHILIPPE PETIT The Cathedral reflects life, and when I say life, I mean life and death.

The Columbarium is in the same room as the baptistery. When you put life and death together a building resonates between those extremes, birth and the end of life. I had a little girl called Gypsy: She was at the Cathedral with me all the time. She died at nine and a half.

Her ashes are in the Columbarium.

Top The vaulted ceiling and crowning lantern of the Baptistery.

Bottom left The Columbarium.

Bottom right The Baptistery.

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The Baptistery and Columbarium

At the northeast corner of the Crossing is a three-chambered complex containing both the Cathedral Baptistery and Columbarium.

The Baptistery was the gift of the descendants of Peter Stuyvesant, the last Dutch governor of the colony of New Amsterdam. Its decoration honors New York’s Dutch heritage and early colonization. The 500-vault Columbarium extends from the chambers of the Baptistery into the Chapel of St. Ansgar. The Columbarium is open to anyone who chooses the Cathedral as a final resting place and is currently being expanded.

“I baptize you with water for repentance.

But after me will come one who is more powerful than I, whose sandals I am not fit to carry. He will baptize you with the Holy Spirit and with fire.”

MATTHEW 3:11 GRIFFIN DUNNE My aunt Joan Didion has as strong a feeling for St. John as a not-religious person could have for a religious institution.

When her mother died, she chose to place her ashes in the Columbarium; we call it “the wall.”

Her husband John is in the wall and now my cousin Quintana has joined her grandmother and father in the wall, too.

EMMA STRAUB The idea of spending eternity at the Cathedral isn’t a bad one. The floors are shiny and squeak underneath the sneakers of running children; there is enough marble to build a small city; and the ceilings are high enough to make you feel that there is something of the divine floating overhead, even if it’s just a note held by a soprano voice, or the light coming through a stained glass window.

MARY JANE BROCK My husband and I will spend eternity in the Cathedral. Our Columbarium vault is as close to the organ as I could possibly get it.

PHILIPPE PETIT The Cathedral reflects life, and when I say life, I mean life and death.

The Columbarium is in the same room as the baptistery. When you put life and death together a building resonates between those extremes, birth and the end of life. I had a little girl called Gypsy: She was at the Cathedral with me all the time. She died at nine and a half.

Her ashes are in the Columbarium.

Top The vaulted ceiling and crowning lantern of the Baptistery.

Bottom left The Columbarium.

Bottom right The Baptistery.

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Stained Glass

The Cathedral’s 40-foot Great Rose Window is the largest stained glass work in the United States.

A second, smaller rose window sits below. To have two rose windows in a cathedral is rare.

BILL BAKER The historic purpose was to teach people who couldn’t read. They could see the story of creation in a stained-glass window, or the story of the saints in statuary.

Each of the Cathedral’s 14 bays is illuminated by an arcade window. More stained glass is found in the 16 clerestory windows of the Nave.

The eastern end of the Cathedral contains seven ambulatory clerestory windows with smaller windows placed above. There is also remarkable stained glass within each of the Cathedral Chapels.

HOWARD QUIRK What

other church portrays in its stained glass Hippocrates, Homer, Philosopher Immanuel Kant, and Ottoman jurist Abu Hanifa?

VIVIAN HEWITT You

can get a PhD on each of the stained-glass windows.

TOM FEDOREK The

colors of the Rose Windows will be different in the middle of winter then they are as we approach the summer solstice. In the winter, the blues are prominent but in the summer the reds and golds come to the forefront.

It’s almost like a living thing, like a flower or a tree. The Great Rose Window is basically a mandala. It contains elements of the iconography that we share with other cultures and other faith traditions. This Cathedral is part of a whole cathedral tradition that goes back 900 years.

The Cathedral is full of narratives. In every detail of the windows there is a story.

Left Centered in the Western Façade, the Cathedral’s two rose windows. The Great Rose Window contains 10,000 pieces of glass. The central figure of Christ seated in glory measures a life size, 5-feet, 7-inches high.

Right The dome of Chapel of St. Columba above the altar.

Following The stained-glass windows light the columns of the Nave.

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Stained Glass

The Cathedral’s 40-foot Great Rose Window is the largest stained glass work in the United States.

A second, smaller rose window sits below. To have two rose windows in a cathedral is rare.

BILL BAKER The historic purpose was to teach people who couldn’t read. They could see the story of creation in a stained-glass window, or the story of the saints in statuary.

Each of the Cathedral’s 14 bays is illuminated by an arcade window. More stained glass is found in the 16 clerestory windows of the Nave.

The eastern end of the Cathedral contains seven ambulatory clerestory windows with smaller windows placed above. There is also remarkable stained glass within each of the Cathedral Chapels.

HOWARD QUIRK What

other church portrays in its stained glass Hippocrates, Homer, Philosopher Immanuel Kant, and Ottoman jurist Abu Hanifa?

VIVIAN HEWITT You

can get a PhD on each of the stained-glass windows.

TOM FEDOREK The

colors of the Rose Windows will be different in the middle of winter then they are as we approach the summer solstice. In the winter, the blues are prominent but in the summer the reds and golds come to the forefront.

It’s almost like a living thing, like a flower or a tree. The Great Rose Window is basically a mandala. It contains elements of the iconography that we share with other cultures and other faith traditions. This Cathedral is part of a whole cathedral tradition that goes back 900 years.

The Cathedral is full of narratives. In every detail of the windows there is a story.

Left Centered in the Western Façade, the Cathedral’s two rose windows. The Great Rose Window contains 10,000 pieces of glass. The central figure of Christ seated in glory measures a life size, 5-feet, 7-inches high.

Right The dome of Chapel of St. Columba above the altar.

Following The stained-glass windows light the columns of the Nave.

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The Bays: Honoring Human Life

The 14 bays of the Nave, seven each along the north and south walls, honor the everyday life of lay people and workers: artists, athletes, lawyers, communicators, medical workers, soldiers, civil servants, social workers, and laborers are tributed for the efforts and contributions they make to improve the lives of the New York community.

REBECCA MERRILL We

have the traditional religious bays you might find in any church, for example, the All Saints Bay or the Missionary Bay. But there are other bays which speak to the unique American character of the Cathedral.

The blending of public life with religion, with memorials to tragic events people can visit to mourn, an acceptance that the true role of religion is in the daily lives of the people of the city.

They remind us that spirituality exists not just in a church but in our ordinary lives. The bays provide another sort of melting pot.

THE REV. CANON TOM MILLER

Each bay is dedicated to an aspect of civic and religious life in New York. One bay, dedicated to St. Francis and other ecological icons, has become known as the Earth Bay. Another, the Medical Bay, is home to the National AIDS Memorial. The Arts Bay houses the American Poets Corner and after 9/11 our Labor Bay has become a pilgrim shrine to fire fighters and other public servants.

REBECCA MERRILL

The stained glass of the bays were designed in the 1920s, during the construction of the Nave. The Communications Bay included figures from the past like Mayan scribes, a Chinese block printer, and even an Indigenous Person sending smoke signals. The artists also wanted to represent communications of the future. The story goes that they went to the U.S. Patent Office and asked what had been filed recently for a new communication device. The television was patented in 1930 but no one had seen one yet so the stained glass artist created what he thought it might look like. You might go to the Communications Bay and think: “What’s that weird square thing with lights coming off the top?” That’s what the designer thought a TV would be.

Top Detail of the Communications Bay stained glass.

Bottom Meredith Bergmann’s bronze sculpture, September 11: A Memorial, was created after the attacks on the World Trade Center.

The glass reliquary below the sculpture contains actual shards and debris from the site.

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The Bays: Honoring Human Life

The 14 bays of the Nave, seven each along the north and south walls, honor the everyday life of lay people and workers: artists, athletes, lawyers, communicators, medical workers, soldiers, civil servants, social workers, and laborers are tributed for the efforts and contributions they make to improve the lives of the New York community.

REBECCA MERRILL We

have the traditional religious bays you might find in any church, for example, the All Saints Bay or the Missionary Bay. But there are other bays which speak to the unique American character of the Cathedral.

The blending of public life with religion, with memorials to tragic events people can visit to mourn, an acceptance that the true role of religion is in the daily lives of the people of the city.

They remind us that spirituality exists not just in a church but in our ordinary lives. The bays provide another sort of melting pot.

THE REV. CANON TOM MILLER

Each bay is dedicated to an aspect of civic and religious life in New York. One bay, dedicated to St. Francis and other ecological icons, has become known as the Earth Bay. Another, the Medical Bay, is home to the National AIDS Memorial. The Arts Bay houses the American Poets Corner and after 9/11 our Labor Bay has become a pilgrim shrine to fire fighters and other public servants.

REBECCA MERRILL

The stained glass of the bays were designed in the 1920s, during the construction of the Nave. The Communications Bay included figures from the past like Mayan scribes, a Chinese block printer, and even an Indigenous Person sending smoke signals. The artists also wanted to represent communications of the future. The story goes that they went to the U.S. Patent Office and asked what had been filed recently for a new communication device. The television was patented in 1930 but no one had seen one yet so the stained glass artist created what he thought it might look like. You might go to the Communications Bay and think: “What’s that weird square thing with lights coming off the top?” That’s what the designer thought a TV would be.

Top Detail of the Communications Bay stained glass.

Bottom Meredith Bergmann’s bronze sculpture, September 11: A Memorial, was created after the attacks on the World Trade Center.

The glass reliquary below the sculpture contains actual shards and debris from the site.

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The Tapestries

The Cathedral’s collection of Renaissance tapestries is unrivaled among the churches of the world. The 12 Barberini Life of Christ Tapestries were presented to the Cathedral

by Elizabeth Underhill Coles in 1891, one year before the Cathedral’s cornerstone was laid.

The Cathedral is also renowned for its acclaimed Textile Conservation Laboratory.

MARLENE EIDELHEIT

It is unusual to have this scale of tapestries in an active church here in the States. For many people this might be their first experience of seeing tapestries at all. I watched one woman break away from her tour and make a beeline for one of the tapestries. She just went straight for it. She wanted to feel it. People cannot resist touching them, which says something.

There is a tradition of touching in a church. I look at the wear in some of the pieces and it is often on the figure of Mary or on Christ. That says a lot.

It’s devotional.

KALIE KAMARA The

symbology of our art and imagery is really about history. They are signs and the people that come here see that in the art.

DEAN KOWALSKI Tapestry holds a particularly special place in the history of the Church, where splendid woven decorations served the glory of God while providing visual storytelling so that the messages of the Scriptures might reach the illiterate.

MARLENE EIDELHEIT

As far as I know, the tapestries are the oldest gift that the Cathedral has. They came before the Cathedral was even built. I have seen the tapestries hang in various places, and in their own way I see them become icons.

The Agony in the Garden and The Baptism of Christ, from the Life of Christ Series, designed

by Giovanni Francesco Romanelli and woven in the Barberini manufactory of Rome, 1651–1652. The tapestries are photographed hanging behind the tomb of Bishop Henry Codman Potter.

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The Tapestries

The Cathedral’s collection of Renaissance tapestries is unrivaled among the churches of the world. The 12 Barberini Life of Christ Tapestries were presented to the Cathedral

by Elizabeth Underhill Coles in 1891, one year before the Cathedral’s cornerstone was laid.

The Cathedral is also renowned for its acclaimed Textile Conservation Laboratory.

MARLENE EIDELHEIT

It is unusual to have this scale of tapestries in an active church here in the States. For many people this might be their first experience of seeing tapestries at all. I watched one woman break away from her tour and make a beeline for one of the tapestries. She just went straight for it. She wanted to feel it. People cannot resist touching them, which says something.

There is a tradition of touching in a church. I look at the wear in some of the pieces and it is often on the figure of Mary or on Christ. That says a lot.

It’s devotional.

KALIE KAMARA The

symbology of our art and imagery is really about history. They are signs and the people that come here see that in the art.

DEAN KOWALSKI Tapestry holds a particularly special place in the history of the Church, where splendid woven decorations served the glory of God while providing visual storytelling so that the messages of the Scriptures might reach the illiterate.

MARLENE EIDELHEIT

As far as I know, the tapestries are the oldest gift that the Cathedral has. They came before the Cathedral was even built. I have seen the tapestries hang in various places, and in their own way I see them become icons.

The Agony in the Garden and The Baptism of Christ, from the Life of Christ Series, designed

by Giovanni Francesco Romanelli and woven in the Barberini manufactory of Rome, 1651–1652. The tapestries are photographed hanging behind the tomb of Bishop Henry Codman Potter.

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The American Poets Corner

The American Poets Corner, located in the Arts Bay, is dedicated to American literature. Each year, the Cathedral chooses to honor an American poet, fiction writer, essayist, or dramatist by adding that person to the Poets Corner. An engraved stone notes the name, life span dates, and a single line from the inducted writer’s work.

THE REV. CANON TOM MILLER It may well be that

The American Poets Corner.

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the most accurate account of who we are as a people is the American Poets Corner. The writers remembered here engaged in the social set-ups, and uncertainties of their times in deeply personal ways.

Their words endure as examples of how the literary arts speak of qualities and values that exist beyond the boundaries of culture, nationality, religion, and history.

LYN CHASE It was the Cathedral of St. John’s inspired initiative, preceded by that of no other institution, secular or religious, to honor poets and other creative people in this way. The Cathedral is one of the most visited monuments in the United States, and New York City is, after all, the cultural capital of the country. It would seem to be the perfect place to honor our greatest writers.

MARTHA GRAHAM This is a visionary project honoring those who depict the inner landscape that is man’s soul.

MARGARET DIEHL Our Poets Corner is modeled on the Poet’s Corner of Westminster Abbey.

Its electors and Poets in Residence include 17 U.S. Poet Laureates and the winners of every literary prize an American writer can aspire to, including the Nobel.

DANIEL HABERMAN The

Poets Corner will become a permanent memorial for those who strove for the excellence and achieved what has become our extraordinary literary heritage.

“The air of this place is full of poems.”

REBECCA MERRILL In addition to the Poets Corner, the Cathedral is known for the Muriel Rukeyser Poetry Wall. Once a physical wall in the Cathedral, it has now been reimagined as a digital archive.

TOM FEDOREK The

Muriel Rukeyser Poetry Wall now mainly includes prisoners’ writings. When I give tours, I remind people that the very first writings in the New Testament, older than the Gospels, are the Letters of Paul and so many of those letters were written from prison.

MURIEL RUKEYSER

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The American Poets Corner

The American Poets Corner, located in the Arts Bay, is dedicated to American literature. Each year, the Cathedral chooses to honor an American poet, fiction writer, essayist, or dramatist by adding that person to the Poets Corner. An engraved stone notes the name, life span dates, and a single line from the inducted writer’s work.

THE REV. CANON TOM MILLER It may well be that

The American Poets Corner.

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the most accurate account of who we are as a people is the American Poets Corner. The writers remembered here engaged in the social set-ups, and uncertainties of their times in deeply personal ways.

Their words endure as examples of how the literary arts speak of qualities and values that exist beyond the boundaries of culture, nationality, religion, and history.

LYN CHASE It was the Cathedral of St. John’s inspired initiative, preceded by that of no other institution, secular or religious, to honor poets and other creative people in this way. The Cathedral is one of the most visited monuments in the United States, and New York City is, after all, the cultural capital of the country. It would seem to be the perfect place to honor our greatest writers.

MARTHA GRAHAM This is a visionary project honoring those who depict the inner landscape that is man’s soul.

MARGARET DIEHL Our Poets Corner is modeled on the Poet’s Corner of Westminster Abbey.

Its electors and Poets in Residence include 17 U.S. Poet Laureates and the winners of every literary prize an American writer can aspire to, including the Nobel.

DANIEL HABERMAN The

Poets Corner will become a permanent memorial for those who strove for the excellence and achieved what has become our extraordinary literary heritage.

“The air of this place is full of poems.”

REBECCA MERRILL In addition to the Poets Corner, the Cathedral is known for the Muriel Rukeyser Poetry Wall. Once a physical wall in the Cathedral, it has now been reimagined as a digital archive.

TOM FEDOREK The

Muriel Rukeyser Poetry Wall now mainly includes prisoners’ writings. When I give tours, I remind people that the very first writings in the New Testament, older than the Gospels, are the Letters of Paul and so many of those letters were written from prison.

MURIEL RUKEYSER

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High Up: The Triforium and the Clerestory

The Cathedral’s architecture is designed in three ascending tiers: the Arcade level, the Triforium level, and at the highest level, the Clerestory.

PHILIPPE PETIT When you climb the stairs to the Triforium, you encounter the artistry of the unseen or the invisible. Each column has a sculpted volute but the inside part of it is never seen. Or you may have a detail of stained glass much too high to be viewed. The builders of this place were building to glorify their God. Everywhere it had to be beautiful.

TOBIAS HELLER I

learned more about how the Cathedral was constructed by going up into the triforium. When you’re in those passages, you can really see the masonry, the stone, the bricks, whereas from the ground level it really doesn’t come to fruition.

MARNIE WEIR A

student on one of our tours said, “Looking at the Cathedral was like looking at the stars in the night time.” I often think about that, that sort of heaven going on in the architecture.

The south ambulatory spiral staircase.

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High Up: The Triforium and the Clerestory

The Cathedral’s architecture is designed in three ascending tiers: the Arcade level, the Triforium level, and at the highest level, the Clerestory.

PHILIPPE PETIT When you climb the stairs to the Triforium, you encounter the artistry of the unseen or the invisible. Each column has a sculpted volute but the inside part of it is never seen. Or you may have a detail of stained glass much too high to be viewed. The builders of this place were building to glorify their God. Everywhere it had to be beautiful.

TOBIAS HELLER I

learned more about how the Cathedral was constructed by going up into the triforium. When you’re in those passages, you can really see the masonry, the stone, the bricks, whereas from the ground level it really doesn’t come to fruition.

MARNIE WEIR A

student on one of our tours said, “Looking at the Cathedral was like looking at the stars in the night time.” I often think about that, that sort of heaven going on in the architecture.

The south ambulatory spiral staircase.

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Upper left The Cathedral’s State Trumpets are located between the two Rose Windows in the Western Façade.

The 61 pipes of the State Trumpet create one of the loudest and grandest organ stops in existence.

Lower Left Looking down from the Triforium.

Right The levels of the Cathedral: Arcade, Triforium and Clerestory.

Following The aisle ceiling on the south side of the Nave.

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Upper left The Cathedral’s State Trumpets are located between the two Rose Windows in the Western Façade.

The 61 pipes of the State Trumpet create one of the loudest and grandest organ stops in existence.

Lower Left Looking down from the Triforium.

Right The levels of the Cathedral: Arcade, Triforium and Clerestory.

Following The aisle ceiling on the south side of the Nave.

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The Close: An Outdoor Cathedral

Historically, cathedrals are built on the highest point of a town so that they could be seen by pilgrims traveling from miles away. At the turn of the last century, when the Cathedral was first being built, the Crossing arches could be seen from New Jersey and Queens. In the medieval cathedrals, the grounds and gardens that surrounded the church provided for the daily needs of travelers and to the local community for its education, relaxation, recuperation, and inspiration. The same is offered by the Close at St. John the Divine today.

JOHN CLINTON EISNER This

whole part of New York is defined by St. John the Divine. If anybody asks me where I live, I say I live in the Cathedral neighborhood, up near the Cathedral.

SUSAN RODRIGUEZ In its own way, this huge volume of public space is an outdoor Cathedral.

GREG WYATT The

Peace Fountain is dedicated to the creativity of the world’s children. We invited students of greater New York to help us define the Fountain with their own models of “animals of freedom and liberty.” Three thousand-plus K-12 students submitted animal sculptures.

At the unveiling these young artists brought their families, their art teachers, and often their school principals too. The pride just went to the sky. Their 120 animals of freedom go around the basin, pass under the rainbow, and keep going forever.

MAUREEN NIPAR I

work with a local group of dedicated “Divine” gardeners. It’s difficult to identify a favorite part of the gardens, though springtime is beautiful with thousands of flowering bulbs and trees all planted by volunteers the previous autumn. One lovely place is the Meditation Walk in the Biblical Garden. It’s a quiet spot to sit and marvel at the gifts the Cathedral offers, and if you are lucky, to hear music ranging from Vivaldi to Coltrane in the adjoining Chapel of St. James.

Left The Peace Fountain is a 40foot high bronze sculpture

by Artist in Residence Greg Wyatt. The Fountain was dedicated in 1985 to commemorate the 200th Anniversary of the Diocese of New York.

Following The Biblical Garden is a secluded haven, containing herbs and plants mentioned in scripture. The crossshaped layout, Gothiccanopied seating areas, and central floral mosaic echo the Cathedral’s own architecture. Surrounding the Biblical Garden is the Meditation Walk which contains greenery, boxwoods, and medicinal and culinary herbs similar to those of a medieval cathedral garden.

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The Close: An Outdoor Cathedral

Historically, cathedrals are built on the highest point of a town so that they could be seen by pilgrims traveling from miles away. At the turn of the last century, when the Cathedral was first being built, the Crossing arches could be seen from New Jersey and Queens. In the medieval cathedrals, the grounds and gardens that surrounded the church provided for the daily needs of travelers and to the local community for its education, relaxation, recuperation, and inspiration. The same is offered by the Close at St. John the Divine today.

JOHN CLINTON EISNER This

whole part of New York is defined by St. John the Divine. If anybody asks me where I live, I say I live in the Cathedral neighborhood, up near the Cathedral.

SUSAN RODRIGUEZ In its own way, this huge volume of public space is an outdoor Cathedral.

GREG WYATT The

Peace Fountain is dedicated to the creativity of the world’s children. We invited students of greater New York to help us define the Fountain with their own models of “animals of freedom and liberty.” Three thousand-plus K-12 students submitted animal sculptures.

At the unveiling these young artists brought their families, their art teachers, and often their school principals too. The pride just went to the sky. Their 120 animals of freedom go around the basin, pass under the rainbow, and keep going forever.

MAUREEN NIPAR I

work with a local group of dedicated “Divine” gardeners. It’s difficult to identify a favorite part of the gardens, though springtime is beautiful with thousands of flowering bulbs and trees all planted by volunteers the previous autumn. One lovely place is the Meditation Walk in the Biblical Garden. It’s a quiet spot to sit and marvel at the gifts the Cathedral offers, and if you are lucky, to hear music ranging from Vivaldi to Coltrane in the adjoining Chapel of St. James.

Left The Peace Fountain is a 40foot high bronze sculpture

by Artist in Residence Greg Wyatt. The Fountain was dedicated in 1985 to commemorate the 200th Anniversary of the Diocese of New York.

Following The Biblical Garden is a secluded haven, containing herbs and plants mentioned in scripture. The crossshaped layout, Gothiccanopied seating areas, and central floral mosaic echo the Cathedral’s own architecture. Surrounding the Biblical Garden is the Meditation Walk which contains greenery, boxwoods, and medicinal and culinary herbs similar to those of a medieval cathedral garden.

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Top left Ogilvie House, built in 1913 as a residence for the Dean, is currently the home of the Bishop of the Episcopal Diocese of New York.

Bottom left The Cathedral School was founded by Bishop Henry Codman Potter as a boarding school for boys of the Cathedral’s choir. The School has evolved into an independent, coeducational, Episcopal K-8 day school for children of all faiths.

Top The Town Building is the oldest structure on the grounds and the oldest building in Morningside Heights. Completed in 1843 as the Leake and Watts Orphan Asylum, the building and land were acquired by Cathedral trustees in 1887. Today the Town Building houses the Cathedral’s world renowned Textile Conservation Laboratory.

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Top left Ogilvie House, built in 1913 as a residence for the Dean, is currently the home of the Bishop of the Episcopal Diocese of New York.

Bottom left The Cathedral School was founded by Bishop Henry Codman Potter as a boarding school for boys of the Cathedral’s choir. The School has evolved into an independent, coeducational, Episcopal K-8 day school for children of all faiths.

Top The Town Building is the oldest structure on the grounds and the oldest building in Morningside Heights. Completed in 1843 as the Leake and Watts Orphan Asylum, the building and land were acquired by Cathedral trustees in 1887. Today the Town Building houses the Cathedral’s world renowned Textile Conservation Laboratory.

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Top left Synod House was built in 1913 from contributions

by J. P. Morgan and Bayard Cutting. The portal features 36 carved apostles and notables, including American President George Washington. Synod House is used for special events at the Cathedral and the Diocese.

Bottom left The Pulpit Green is the central gathering place of the Close, named for the open-air pulpit where Sunday sermons were preached in the early Cathedral history.

Top right Diocesan House was designed in 1909 as a training school for deaconesses. There have been no Episcopal deaconesses since 1970 when women began serving as deacons and priests. Madeleine L’Engle, author of A Wrinkle in Time, served as Writer In Residence in this building for over 30 years.

Bottom right Cathedral House was built in 1914 as a 28-room residence for the bishop.

It now houses Cathedral administration and clergy.

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Top left Synod House was built in 1913 from contributions

by J. P. Morgan and Bayard Cutting. The portal features 36 carved apostles and notables, including American President George Washington. Synod House is used for special events at the Cathedral and the Diocese.

Bottom left The Pulpit Green is the central gathering place of the Close, named for the open-air pulpit where Sunday sermons were preached in the early Cathedral history.

Top right Diocesan House was designed in 1909 as a training school for deaconesses. There have been no Episcopal deaconesses since 1970 when women began serving as deacons and priests. Madeleine L’Engle, author of A Wrinkle in Time, served as Writer In Residence in this building for over 30 years.

Bottom right Cathedral House was built in 1914 as a 28-room residence for the bishop.

It now houses Cathedral administration and clergy.

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Welcoming All Creatures

AMY LEISSNER Peacocks have lived on the Close since the 1970s when a Cathedral trustee brought three chicks down from a farm in Massachusetts.

Sometimes the birds wander off the Close in their search for adventure. Luckily, neighbors know where they belong and will call for someone to pick up the intrepid bird.

“The peacocks love to lie on the Bishop’s flowers. Especially after we replant them.”

RAY GUYETTE LISA SCHUBERT Deans of the Cathedral have always been committed to reinforcing the grounds as an oasis for visitors and for wildlife.

Along with the peacocks and our tended beehives, there are migrating birds and a couple of red tailed hawks. Each year, we look forward to the appearance of the hatchlings.

MARIE DEL TEJO

People I knew as kids come back here with their own kids and say, “Look what a special and wonderful place you have living in New York.” You see it in the faces of the children.

I mean, where else can you see peacocks roaming around in New York?

JENNIFER DORR WHITE When

my daughter Hannah was young we had to take her to the Cathedral Garden three times a day. In the morning we put her in a stroller to see the peacocks. Before her nap we had to take her to see the peacocks again. And right before bedtime we went to see the peacocks a third time. She even named our dog “Pico.” It took us years to realize that Hannah had named her after the peacocks.

Two of the Cathedral peacocks.

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Welcoming All Creatures

AMY LEISSNER Peacocks have lived on the Close since the 1970s when a Cathedral trustee brought three chicks down from a farm in Massachusetts.

Sometimes the birds wander off the Close in their search for adventure. Luckily, neighbors know where they belong and will call for someone to pick up the intrepid bird.

“The peacocks love to lie on the Bishop’s flowers. Especially after we replant them.”

RAY GUYETTE LISA SCHUBERT Deans of the Cathedral have always been committed to reinforcing the grounds as an oasis for visitors and for wildlife.

Along with the peacocks and our tended beehives, there are migrating birds and a couple of red tailed hawks. Each year, we look forward to the appearance of the hatchlings.

MARIE DEL TEJO

People I knew as kids come back here with their own kids and say, “Look what a special and wonderful place you have living in New York.” You see it in the faces of the children.

I mean, where else can you see peacocks roaming around in New York?

JENNIFER DORR WHITE When

my daughter Hannah was young we had to take her to the Cathedral Garden three times a day. In the morning we put her in a stroller to see the peacocks. Before her nap we had to take her to see the peacocks again. And right before bedtime we went to see the peacocks a third time. She even named our dog “Pico.” It took us years to realize that Hannah had named her after the peacocks.

Two of the Cathedral peacocks.

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3 People and Events “It is therefore fitting and proper that we assemble here, just two years after the Supreme Court’s momentous decision on desegregation, and praise God for His power and the greatness of His purpose, and pray that we gain the vision and the will to be His co-workers in this struggle.”

THE REV. DR. MARTIN LUTHER KING JR., MAY 17, 1956 AT THE CATHEDRAL

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3 People and Events “It is therefore fitting and proper that we assemble here, just two years after the Supreme Court’s momentous decision on desegregation, and praise God for His power and the greatness of His purpose, and pray that we gain the vision and the will to be His co-workers in this struggle.”

THE REV. DR. MARTIN LUTHER KING JR., MAY 17, 1956 AT THE CATHEDRAL

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Activist Church

Left Thurgood Marshall with members of the Cathedral community.

Top right Coretta Scott King, Cesar Chavez, and Dorothy Day at the Cathedral for a service for the United Farm Workers, February 20, 1973.

Throughout the turbulent 1950s, the Cathedral was a convening center for both clerical and lay activists united in the struggle to advance human rights.

STEPHEN FACEY

In the 1950s, The Episcopal Church was one of the few institutions that was intellectually questioning American culture.

“We must believe that a prejudiced mind can be changed, and that man, by the grace of God, can be lifted from the valley of hate to the high mountain of love.”

THE REV. DR. MARTIN LUTHER KING JR., MAY 17, 1956 AT THE CATHEDRAL

DEAN JAMES PIKE The church has never regarded the civil law as the final norm for the Christian conscience.

Bottom right Mayor John Lindsey and New York City leaders at a tribute to the Rev. Dr. Martin Luther King Jr. 90

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Activist Church

Left Thurgood Marshall with members of the Cathedral community.

Top right Coretta Scott King, Cesar Chavez, and Dorothy Day at the Cathedral for a service for the United Farm Workers, February 20, 1973.

Throughout the turbulent 1950s, the Cathedral was a convening center for both clerical and lay activists united in the struggle to advance human rights.

STEPHEN FACEY

In the 1950s, The Episcopal Church was one of the few institutions that was intellectually questioning American culture.

“We must believe that a prejudiced mind can be changed, and that man, by the grace of God, can be lifted from the valley of hate to the high mountain of love.”

THE REV. DR. MARTIN LUTHER KING JR., MAY 17, 1956 AT THE CATHEDRAL

DEAN JAMES PIKE The church has never regarded the civil law as the final norm for the Christian conscience.

Bottom right Mayor John Lindsey and New York City leaders at a tribute to the Rev. Dr. Martin Luther King Jr. 90

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The Memorial Service for Eleanor Roosevelt, November 17, 1962

Top left After the Cathedral memorial service, Eleanor Roosevelt’s burial took place at Hyde Park. Bishop Donegan is seen with former, present, and future presidents and first ladies: Harry and Bess Truman, Dwight Eisenhower, John F. and Jacqueline Kennedy, and Lyndon Johnson.

Following a life of ongoing commitment to the mission of the Cathedral, Eleanor Roosevelt requested that her 1962 memorial service be held at the Cathedral of St. John the Divine.

ADLAI STEVENSON A

woman whose lucid and luminous faith testified always for sanity in an insane time and for hope in a time of obscure hope. A woman who spoke for the good toward which man aspires in a world which has seen too much of the evil of which man is capable.

“Surely, in the light of history, it is more intelligent to hope rather than to fear, to try rather than not to try. For one thing we know beyond all doubt: Nothing has ever been achieved by the person who says, ‘It can’t be done.’” ELEANOR ROOSEVELT

Top right Adlai Stevenson delivers the eulogy for Eleanor Roosevelt.

Bottom right Bishop Donegan with Adlai Stevenson proceeding up the Nave. Roosevelt’s five children and their families are shown standing in the Cathedral Choir.

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The Memorial Service for Eleanor Roosevelt, November 17, 1962

Top left After the Cathedral memorial service, Eleanor Roosevelt’s burial took place at Hyde Park. Bishop Donegan is seen with former, present, and future presidents and first ladies: Harry and Bess Truman, Dwight Eisenhower, John F. and Jacqueline Kennedy, and Lyndon Johnson.

Following a life of ongoing commitment to the mission of the Cathedral, Eleanor Roosevelt requested that her 1962 memorial service be held at the Cathedral of St. John the Divine.

ADLAI STEVENSON A

woman whose lucid and luminous faith testified always for sanity in an insane time and for hope in a time of obscure hope. A woman who spoke for the good toward which man aspires in a world which has seen too much of the evil of which man is capable.

“Surely, in the light of history, it is more intelligent to hope rather than to fear, to try rather than not to try. For one thing we know beyond all doubt: Nothing has ever been achieved by the person who says, ‘It can’t be done.’” ELEANOR ROOSEVELT

Top right Adlai Stevenson delivers the eulogy for Eleanor Roosevelt.

Bottom right Bishop Donegan with Adlai Stevenson proceeding up the Nave. Roosevelt’s five children and their families are shown standing in the Cathedral Choir.

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Duke Ellington

Edward “The Duke” Ellington was a beloved presence at the Cathedral both as a worshipper and a musician.

DEAN MORTON Before my time at the Cathedral, the second of Ellington’s Three Sacred Concerts premiered here in 1968. After becoming Dean, my first vivid image of the Cathedral as a powerful and true “Center of the City” was the Duke’s funeral in 1974: Ten thousand worshipers became one family as the Duke’s body was carried down the aisle.

PAUL WINTER The very first time I ever visited the Cathedral was for the funeral of Duke Ellington, in May of 1974. It was an epiphanic musical experience for me. Various Ellington Orchestra alumni played and sang. Ella Fitzgerald sang “Solitude,” and tears ran down our faces.

The songs spoke of our caring, our struggles, of our time together. They were hymns of our lives.

I still recall walking through the Nave, as we were leaving, and Johnny Hodges’s saxophone sounded like it was coming from heaven, as the recordings echoed from the vault above us.

RAYMOND NAGEM In 1994, Ellington’s sister Ruth gave the Cathedral two of the Duke’s pianos, which he used frequently as practice instruments.

These pianos are now an integral part of the Cathedral’s collection, and the white Steinway baby grand is often used for services in the Chapel of St. James and is also played by visiting pianists.

Top Duke Ellington leading the Ellington Orchestra in a rehearsal for the premier of Second Sacred Concert.

Bottom The Bishop and the Duke.

Ellington with Bishop Horace Donegan.

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Duke Ellington

Edward “The Duke” Ellington was a beloved presence at the Cathedral both as a worshipper and a musician.

DEAN MORTON Before my time at the Cathedral, the second of Ellington’s Three Sacred Concerts premiered here in 1968. After becoming Dean, my first vivid image of the Cathedral as a powerful and true “Center of the City” was the Duke’s funeral in 1974: Ten thousand worshipers became one family as the Duke’s body was carried down the aisle.

PAUL WINTER The very first time I ever visited the Cathedral was for the funeral of Duke Ellington, in May of 1974. It was an epiphanic musical experience for me. Various Ellington Orchestra alumni played and sang. Ella Fitzgerald sang “Solitude,” and tears ran down our faces.

The songs spoke of our caring, our struggles, of our time together. They were hymns of our lives.

I still recall walking through the Nave, as we were leaving, and Johnny Hodges’s saxophone sounded like it was coming from heaven, as the recordings echoed from the vault above us.

RAYMOND NAGEM In 1994, Ellington’s sister Ruth gave the Cathedral two of the Duke’s pianos, which he used frequently as practice instruments.

These pianos are now an integral part of the Cathedral’s collection, and the white Steinway baby grand is often used for services in the Chapel of St. James and is also played by visiting pianists.

Top Duke Ellington leading the Ellington Orchestra in a rehearsal for the premier of Second Sacred Concert.

Bottom The Bishop and the Duke.

Ellington with Bishop Horace Donegan.

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There’s Something Happening Here

The Cathedral was the place to be for New York’s creative counterculture. Award winning science fiction author Madeleine L’Engle presided as the Cathedral’s Writer in Residence. Playwright and director John-Michael Tebelak included St. John the Divine in the profits of his Broadway hit Godspell while a second Broadway sensation, the musical Hair, celebrated its third anniversary performance in the mobbed interior of the Cathedral Nave.

BRAD GOOCH Canon West met Madeleine L’Engle at a party. She was talking about her life and he said, “Well, you should be a writer.”

THE REV. CANON JAY WEGMAN John-Michael Tebelak who wrote Godspell loved the Cathedral.

When he died he left a royalty from Godspell to the Cathedral. The Cathedral still gets royalties from Godspell every year.

RANDY BOURSCHEIDT In May of 1971, the Broadway hit Hair was about to celebrate its anniversary. Rodney Kirk, the priest in charge of cultural activities, had the brilliant idea that the celebration should take place in the Cathedral. The Cathedral was completely jammed. Everybody was standing. Even if you had a seat you were standing so you could see. The only problem with visibility was the marijuana. You got high just by being there. This was a union of two kinds of spiritual experiences and it was unforgettable.

Top Madeleine L’Engle, Writer in Residence for over thirty years, photographed with her close friend and mentor the Rev. Canon Edward Nason West and Dean Morton.

Bottom Bishop Donegan with the Broadway cast of Godspell.

Following The Cathedral’s “Be-In” at the third anniversary performance of the premier of the musical Hair.

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There’s Something Happening Here

The Cathedral was the place to be for New York’s creative counterculture. Award winning science fiction author Madeleine L’Engle presided as the Cathedral’s Writer in Residence. Playwright and director John-Michael Tebelak included St. John the Divine in the profits of his Broadway hit Godspell while a second Broadway sensation, the musical Hair, celebrated its third anniversary performance in the mobbed interior of the Cathedral Nave.

BRAD GOOCH Canon West met Madeleine L’Engle at a party. She was talking about her life and he said, “Well, you should be a writer.”

THE REV. CANON JAY WEGMAN John-Michael Tebelak who wrote Godspell loved the Cathedral.

When he died he left a royalty from Godspell to the Cathedral. The Cathedral still gets royalties from Godspell every year.

RANDY BOURSCHEIDT In May of 1971, the Broadway hit Hair was about to celebrate its anniversary. Rodney Kirk, the priest in charge of cultural activities, had the brilliant idea that the celebration should take place in the Cathedral. The Cathedral was completely jammed. Everybody was standing. Even if you had a seat you were standing so you could see. The only problem with visibility was the marijuana. You got high just by being there. This was a union of two kinds of spiritual experiences and it was unforgettable.

Top Madeleine L’Engle, Writer in Residence for over thirty years, photographed with her close friend and mentor the Rev. Canon Edward Nason West and Dean Morton.

Bottom Bishop Donegan with the Broadway cast of Godspell.

Following The Cathedral’s “Be-In” at the third anniversary performance of the premier of the musical Hair.

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The 1973 Centennial Medal of Honor

Playwright Tennessee Williams, dancer and choreographer Martha Graham, and musicians Yoko Ono and John Lennon were the recipients of the newly inaugurated Cathedral Centennial Medal of Honor for their contributions to the arts.

“The Gothic cathedral, with its arched doorways, vaulted ceilings, and mighty spires, all reaching up to something beyond attainment!” TENNESSEE WILLIAMS, INDUCTED INTO THE AMERICAN POETS CORNER, 2009 WAYNE KEMPTON At one point John Lennon was about to be deported by the Bureau of Immigration for possession of marijuana. Lennon decided to go right to the top: He called Bishop Moore.

As the story goes, Moore headed downtown to the INS where Lennon was being detained on a Sunday night. He handed over the bail money, and freed Lennon. John and Yoko were friends of the Cathedral ever after.

Top Martha Graham.

Top right John Lennon and Yoko Ono. Bottom right Tennessee Williams.

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The 1973 Centennial Medal of Honor

Playwright Tennessee Williams, dancer and choreographer Martha Graham, and musicians Yoko Ono and John Lennon were the recipients of the newly inaugurated Cathedral Centennial Medal of Honor for their contributions to the arts.

“The Gothic cathedral, with its arched doorways, vaulted ceilings, and mighty spires, all reaching up to something beyond attainment!” TENNESSEE WILLIAMS, INDUCTED INTO THE AMERICAN POETS CORNER, 2009 WAYNE KEMPTON At one point John Lennon was about to be deported by the Bureau of Immigration for possession of marijuana. Lennon decided to go right to the top: He called Bishop Moore.

As the story goes, Moore headed downtown to the INS where Lennon was being detained on a Sunday night. He handed over the bail money, and freed Lennon. John and Yoko were friends of the Cathedral ever after.

Top Martha Graham.

Top right John Lennon and Yoko Ono. Bottom right Tennessee Williams.

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The Easter Sunday Sermon, 1976

Bishop Paul Moore made national headlines when he exhorted New York City’s wealthy and powerful business leaders not to abandon the needs of their city.

RALPH LEE If something was amiss in city or national politics, Paul Moore would get up in that pulpit and lambast the people who needed to be called to task. No holds barred.

“Look over your city and weep, for your city is dying. In sections of the Bronx, Brooklyn, and Harlem, great hulks of buildings stand abandoned and burned… the rats are leaving a sinking ship. We of the religious community will not stand by as this betrayal of the city takes place. Cut through the fog of statistics and see the moral decisions behind them.

Be part of the rising, not the dying!”

TOM HURWITZ Paul

Moore stood in that pulpit and said the rich corporations, including the folks who ran them who were sitting there in front of him, were deserting New York.

The whole city shook.

HONOR MOORE My father was an antiracist person, an antipoverty person, a peace advocate, and a gay rights advocate. It is important to define the strands of radicalism he advocated because he was consistent and never wavered.

BISHOP MOORE

Left The Rt. Rev. Paul Moore Jr. in the pulpit of the Cathedral.

Top right The Rt. Rev. Paul Moore Jr. entering the Cathedral with Coretta Scott King and Cesar Chavez to attend a Service of Solidarity and Intercession on behalf of Cesar Chavez and the United Farm Workers, February 20, 1973.

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The Easter Sunday Sermon, 1976

Bishop Paul Moore made national headlines when he exhorted New York City’s wealthy and powerful business leaders not to abandon the needs of their city.

RALPH LEE If something was amiss in city or national politics, Paul Moore would get up in that pulpit and lambast the people who needed to be called to task. No holds barred.

“Look over your city and weep, for your city is dying. In sections of the Bronx, Brooklyn, and Harlem, great hulks of buildings stand abandoned and burned… the rats are leaving a sinking ship. We of the religious community will not stand by as this betrayal of the city takes place. Cut through the fog of statistics and see the moral decisions behind them.

Be part of the rising, not the dying!”

TOM HURWITZ Paul

Moore stood in that pulpit and said the rich corporations, including the folks who ran them who were sitting there in front of him, were deserting New York.

The whole city shook.

HONOR MOORE My father was an antiracist person, an antipoverty person, a peace advocate, and a gay rights advocate. It is important to define the strands of radicalism he advocated because he was consistent and never wavered.

BISHOP MOORE

Left The Rt. Rev. Paul Moore Jr. in the pulpit of the Cathedral.

Top right The Rt. Rev. Paul Moore Jr. entering the Cathedral with Coretta Scott King and Cesar Chavez to attend a Service of Solidarity and Intercession on behalf of Cesar Chavez and the United Farm Workers, February 20, 1973.

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Building Again, 1982

After a construction hiatus of 42 years, “the man on the wire” crossed high above Amsterdam Avenue to deliver the 1892 Cathedral Golden Trowel, launching the 1982 building of the Cathedral’s South Tower.

HOWARD RUBENSTEIN On September 29, 1982, Philippe stopped New York City in its tracks.

PHILIPPE PETIT I always title my walks: This one was called Building Again­—to celebrate the renewal of the Cathedral construction. There was a huge crowd, including the Dean and the Bishop, who were among the dignitaries at the top of the unfinished tower to welcome me when I arrived. That walk had a big, big resonance. The next morning, there was a giant picture on the front page of the New York Times, really half of the newspaper.

HOWARD QUIRK One cynical reporter suggested that under existing conditions the high wire over Amsterdam Avenue was safer then crossing at street level.

Philippe Petite crossing Amsterdam Avenue to the South Tower, September 29, 1982.

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Building Again, 1982

After a construction hiatus of 42 years, “the man on the wire” crossed high above Amsterdam Avenue to deliver the 1892 Cathedral Golden Trowel, launching the 1982 building of the Cathedral’s South Tower.

HOWARD RUBENSTEIN On September 29, 1982, Philippe stopped New York City in its tracks.

PHILIPPE PETIT I always title my walks: This one was called Building Again­—to celebrate the renewal of the Cathedral construction. There was a huge crowd, including the Dean and the Bishop, who were among the dignitaries at the top of the unfinished tower to welcome me when I arrived. That walk had a big, big resonance. The next morning, there was a giant picture on the front page of the New York Times, really half of the newspaper.

HOWARD QUIRK One cynical reporter suggested that under existing conditions the high wire over Amsterdam Avenue was safer then crossing at street level.

Philippe Petite crossing Amsterdam Avenue to the South Tower, September 29, 1982.

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Voices from the Pulpit

Dean Morton brought together a legendary community of interfaith and international leaders to share a message of universalism and planetary awareness for the citizens of New York and the world.

DEAN MORTON I wanted the most interesting preachers in the world.

JIMMY NEWBORG Spiritual

leaders of all faiths, artists, activists, and scholars have been welcomed.

Coretta King, Chief Oren Lyons, and in recent years Karen Armstrong and the Rev. William J. Barber are among the many who delivered their thoughtful messages from the pulpit.

MARY JANE BROCK When the Dalai Lama wants a place that is safe enough, big enough, and neutral enough, where does he go? The Cathedral!

Top left His Holiness the Dalai Lama presenting The Albert Schweitzer Award at the Cathedral, 1989.

Middle left Soviet leader Mikhail Gorbachev with Dean Morton.

Middle right United States Vice President Al Gore.

Bottom left Author James Baldwin with the Rev. Richard Rodney Kirk, Director of the Cathedral Ministry and the Arts. Behind Baldwin and Kirk is the Rev. Canon Walter D. Dennis, Canon Residentiary at the Cathedral.

Bottom right Actor Robert Redford with anthropologist Margaret Mead at the Cathedral, 1978.

Top middle Native American dancers.

Top right Cathedral Writer in Residence Madeleine L’Engle.

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Voices from the Pulpit

Dean Morton brought together a legendary community of interfaith and international leaders to share a message of universalism and planetary awareness for the citizens of New York and the world.

DEAN MORTON I wanted the most interesting preachers in the world.

JIMMY NEWBORG Spiritual

leaders of all faiths, artists, activists, and scholars have been welcomed.

Coretta King, Chief Oren Lyons, and in recent years Karen Armstrong and the Rev. William J. Barber are among the many who delivered their thoughtful messages from the pulpit.

MARY JANE BROCK When the Dalai Lama wants a place that is safe enough, big enough, and neutral enough, where does he go? The Cathedral!

Top left His Holiness the Dalai Lama presenting The Albert Schweitzer Award at the Cathedral, 1989.

Middle left Soviet leader Mikhail Gorbachev with Dean Morton.

Middle right United States Vice President Al Gore.

Bottom left Author James Baldwin with the Rev. Richard Rodney Kirk, Director of the Cathedral Ministry and the Arts. Behind Baldwin and Kirk is the Rev. Canon Walter D. Dennis, Canon Residentiary at the Cathedral.

Bottom right Actor Robert Redford with anthropologist Margaret Mead at the Cathedral, 1978.

Top middle Native American dancers.

Top right Cathedral Writer in Residence Madeleine L’Engle.

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The Honorary Canons and Cathedral Colleagues

“The Dean said he likes to think of St. John the Divine as a medieval cathedral—the focus of a town’s activities…” THE NEW YORK TIMES, 1990 LISA SCHUBERT Over the years, the Cathedral has invited a range of scholars to be Honorary Canons and Cathedral Colleagues. From Dorothy Day to Buckminster Fuller and so many more in between, the Cathedral has always been a place for the great thinkers of our times to gather.

“There is divine beauty in learning... To learn means to accept the postulate that life did not begin at my birth. Others have been here before me, and I walk in their footsteps.

The books I have read were composed by generations of fathers and sons, mothers and daughters, teachers and disciples. I am the sum total of their experiences, their quests.

And so are you.” ELIE WIESEL

Left Author Kurt Vonnegut speaking from the pulpit, 1982.

Top Nobel Laureate Elie Wiesel with His Holiness the Dalai Lama.

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The Honorary Canons and Cathedral Colleagues

“The Dean said he likes to think of St. John the Divine as a medieval cathedral—the focus of a town’s activities…” THE NEW YORK TIMES, 1990 LISA SCHUBERT Over the years, the Cathedral has invited a range of scholars to be Honorary Canons and Cathedral Colleagues. From Dorothy Day to Buckminster Fuller and so many more in between, the Cathedral has always been a place for the great thinkers of our times to gather.

“There is divine beauty in learning... To learn means to accept the postulate that life did not begin at my birth. Others have been here before me, and I walk in their footsteps.

The books I have read were composed by generations of fathers and sons, mothers and daughters, teachers and disciples. I am the sum total of their experiences, their quests.

And so are you.” ELIE WIESEL

Left Author Kurt Vonnegut speaking from the pulpit, 1982.

Top Nobel Laureate Elie Wiesel with His Holiness the Dalai Lama.

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MARY BLOOM I remember asking Eudora to sit with her flowers so I could get a decent photo. She was happy to be resting. It was a long time on her feet with so many “devotees” around her.

Top left New York City Mayor David Dinkins, the Rt. Rev. Richard S. Grein, New York State Governor Mario Cuomo, and Dean Morton.

“My continuing passion is to part a curtain, that invisible veil of indifference that falls between us and that blinds us to each other’s presence, each other’s wonder, each other’s human plight.” EUDORA WELTY

Bottom left Composer Leonard Bernstein at the first Cathedral New Year’s Eve Concert for Peace, 1984.

Top middle The Rev. Jesse Jackson, Dean Morton, and the Rev. Michael S. Kendall, Archdeacon of New York.

Bottom middle Activists Cesar Chavez, Dorothy Day, and the Rev. Canon William A. Johnson at the Cathedral service for the United Farm Workers, 1973.

Top right Author Eudora Welty at the American Poets Corner Induction Ceremony honoring writers Nathaniel Hawthorne and Robert Frost, 1986.

Bottom right Author Norman Mailer at the Cathedral.

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MARY BLOOM I remember asking Eudora to sit with her flowers so I could get a decent photo. She was happy to be resting. It was a long time on her feet with so many “devotees” around her.

Top left New York City Mayor David Dinkins, the Rt. Rev. Richard S. Grein, New York State Governor Mario Cuomo, and Dean Morton.

“My continuing passion is to part a curtain, that invisible veil of indifference that falls between us and that blinds us to each other’s presence, each other’s wonder, each other’s human plight.” EUDORA WELTY

Bottom left Composer Leonard Bernstein at the first Cathedral New Year’s Eve Concert for Peace, 1984.

Top middle The Rev. Jesse Jackson, Dean Morton, and the Rev. Michael S. Kendall, Archdeacon of New York.

Bottom middle Activists Cesar Chavez, Dorothy Day, and the Rev. Canon William A. Johnson at the Cathedral service for the United Farm Workers, 1973.

Top right Author Eudora Welty at the American Poets Corner Induction Ceremony honoring writers Nathaniel Hawthorne and Robert Frost, 1986.

Bottom right Author Norman Mailer at the Cathedral.

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Memorials

The Cathedral has been chosen as the site for the memorials of New York Mayor Fiorello H. La Guardia, former First Lady Eleanor Roosevelt, the legendary Duke Ellington, Justice Thurgood Marshall, Diplomat Dag Hammarskjöld, musician Cab Calloway, author Toni Morrison, choreographer George Balanchine, and author James Baldwin.

James Baldwin, 1987

AMIRI BARAKA This

man traveled the earth like its history and its biographer. He reported, criticized, made beautiful, analyzed, cajoled, lyricized, attacked, sang, made us think, made us better, made us consciously human, or perhaps more acidly prehuman.

TONI MORRISON This

man gave us a tenderness and vulnerability that asked everything of us, expected everything of us… And yet, like the world’s own Merlin, he also gave us the means to deliver.

DEAN MORTON As the lead chorister in the Cathedral Choir, Jimmy’s 13-year-old nephew, Trevor Baldwin, sang a solo. The long silence following Trevor’s solo was dramatically and tearfully broken by the sobbing scream, “Jimmy! Jimmy!” from Baldwin’s mother sitting with the mourners.

“In some ways it was as if the service were a pageant, meant to be seen as a play is seen... At the end, the congregation slowly filed out but didn’t leave. Instead, people stood on the wide steps in small groups...

They seemed less like isolated mourners than like friends who hadn’t seen one another in an age—who had come not as strangers but as a family.” FROM THE NEW YORKER

Left James Baldwin’s casket being carried from the Cathedral by members of the Baldwin family, December 8, 1987.

Top right Authors Maya Angelou and Toni Morrison, December 8, 1987.

Bottom right Author Amiri Baraka delivering Baldwin’s eulogy, December 8, 1987.

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Memorials

The Cathedral has been chosen as the site for the memorials of New York Mayor Fiorello H. La Guardia, former First Lady Eleanor Roosevelt, the legendary Duke Ellington, Justice Thurgood Marshall, Diplomat Dag Hammarskjöld, musician Cab Calloway, author Toni Morrison, choreographer George Balanchine, and author James Baldwin.

James Baldwin, 1987

AMIRI BARAKA This

man traveled the earth like its history and its biographer. He reported, criticized, made beautiful, analyzed, cajoled, lyricized, attacked, sang, made us think, made us better, made us consciously human, or perhaps more acidly prehuman.

TONI MORRISON This

man gave us a tenderness and vulnerability that asked everything of us, expected everything of us… And yet, like the world’s own Merlin, he also gave us the means to deliver.

DEAN MORTON As the lead chorister in the Cathedral Choir, Jimmy’s 13-year-old nephew, Trevor Baldwin, sang a solo. The long silence following Trevor’s solo was dramatically and tearfully broken by the sobbing scream, “Jimmy! Jimmy!” from Baldwin’s mother sitting with the mourners.

“In some ways it was as if the service were a pageant, meant to be seen as a play is seen... At the end, the congregation slowly filed out but didn’t leave. Instead, people stood on the wide steps in small groups...

They seemed less like isolated mourners than like friends who hadn’t seen one another in an age—who had come not as strangers but as a family.” FROM THE NEW YORKER

Left James Baldwin’s casket being carried from the Cathedral by members of the Baldwin family, December 8, 1987.

Top right Authors Maya Angelou and Toni Morrison, December 8, 1987.

Bottom right Author Amiri Baraka delivering Baldwin’s eulogy, December 8, 1987.

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Jim Henson, 1990

MARY BLOOM There were 3,000 people there all wearing green. For days the puppeteers from Sesame Street had been making beautiful paper butterflies—like origami, very light—almost tissue mounted to green flower wire. When you walked into the Cathedral, you were given one of these butterflies. Then, at one moment in the service, all the butterflies were raised so that all you saw was a sea of butterflies. You didn’t see people.

You didn’t hear music. Just butterflies.

DEAN MORTON Jim Henson specified his desire to have his funeral at the Cathedral including a Dixieland band to lead the procession and Big Bird as Master of Ceremonies.

“Bad days happen to everyone, but when one happens to you, just keep doing your best and never let a bad day make you feel bad about yourself.” BIG BIRD

Top Harry Belafonte and singers perform “Turn the World Around” in tribute to Jim Henson, May 21, 1990.

Right Big Bird, the Master of Ceremonies.

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Jim Henson, 1990

MARY BLOOM There were 3,000 people there all wearing green. For days the puppeteers from Sesame Street had been making beautiful paper butterflies—like origami, very light—almost tissue mounted to green flower wire. When you walked into the Cathedral, you were given one of these butterflies. Then, at one moment in the service, all the butterflies were raised so that all you saw was a sea of butterflies. You didn’t see people.

You didn’t hear music. Just butterflies.

DEAN MORTON Jim Henson specified his desire to have his funeral at the Cathedral including a Dixieland band to lead the procession and Big Bird as Master of Ceremonies.

“Bad days happen to everyone, but when one happens to you, just keep doing your best and never let a bad day make you feel bad about yourself.” BIG BIRD

Top Harry Belafonte and singers perform “Turn the World Around” in tribute to Jim Henson, May 21, 1990.

Right Big Bird, the Master of Ceremonies.

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The Mississippi Freedom Caravan, 1989

The 1989 Mississippi Freedom Caravan celebrated the advancements of civil rights in Mississippi 25 years after the 1964 slaying of freedom fighters there. The Caravan began in Philadelphia, Mississippi, advanced to Washington, D.C., and ended at the Cathedral of St. John the Divine in New York City.

DEAN MORTON Hundreds gathered in front of the Cathedral to meet the Freedom Caravan busloads returning from Mississippi where services had been held commemorating the three young Freedom Riders—James Early Chaney, Andrew Goodman, and Michael H. Schwerner, who had been murdered there 25 years earlier while working to register Black voters.

“We are all foot soldiers on the march to freedom, here and everywhere. We all belong to the America that Lincoln called ‘the last, best hope of earth.’’’ DAVID DINKINS

Greeting the 1989 Mississippi Freedom Caravan, from the steps of the Cathedral, are former New York City Mayor Ed Koch; activist Joseph P. Kennedy Jr.; Dr. Carolyn Goodman, the mother of slain civil rights activist Andrew Goodman; and New York City Mayor David Dinkins, June 24, 1989.

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The Mississippi Freedom Caravan, 1989

The 1989 Mississippi Freedom Caravan celebrated the advancements of civil rights in Mississippi 25 years after the 1964 slaying of freedom fighters there. The Caravan began in Philadelphia, Mississippi, advanced to Washington, D.C., and ended at the Cathedral of St. John the Divine in New York City.

DEAN MORTON Hundreds gathered in front of the Cathedral to meet the Freedom Caravan busloads returning from Mississippi where services had been held commemorating the three young Freedom Riders—James Early Chaney, Andrew Goodman, and Michael H. Schwerner, who had been murdered there 25 years earlier while working to register Black voters.

“We are all foot soldiers on the march to freedom, here and everywhere. We all belong to the America that Lincoln called ‘the last, best hope of earth.’’’ DAVID DINKINS

Greeting the 1989 Mississippi Freedom Caravan, from the steps of the Cathedral, are former New York City Mayor Ed Koch; activist Joseph P. Kennedy Jr.; Dr. Carolyn Goodman, the mother of slain civil rights activist Andrew Goodman; and New York City Mayor David Dinkins, June 24, 1989.

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Global Icons at the Cathedral

The Cathedral offers itself as an internationally recognized center for anyone and everyone with a message of social justice and humanitarianism.

DEAN MORTON The first Global Forum for Human Survival was held at Oxford’s Christ Church College. It included Mother Teresa, the Dalai Lama, Cardinal Koenig, the Grand Mufti of Damascus, Native American leader Chief Oren Lyons, the High Priest of the African Rain Forest, Carl Sagan, James Lovelock, UN Secretary-General Perez de Cuellar, parliamentarians from 12 countries, and several Anglican cathedral deans. That is where I met Mother Teresa for the first time.

KEITH HINKSON Archbishop Tutu had a love for kids. When he interacted with the kids in the choir, he was just beaming with smiles.

I remember seeing the joy on his face.

MARY BLOOM In 1988, I traveled with Dean Morton to The Global Forum of Spiritual and Parliamentary Leaders for Human Survival.

Word got out that the Dalai Lama was about to arrive. All the photographers and everybody else scrambled to meet him. Mother Teresa was there with a few of her sisters who must have been about 12 years old. She hurried off down a side aisle and hid against a wall by herself with all these little girls. I followed her. The Dalai Lama walks slowly. As he was coming down the aisle all we could see was the top of his head and this crowd of people following him, everybody excited, all this commotion. But he has eagle eyes.

As he approached the crossing he turned, looked, and spotted Mother Teresa way over there.

“Oh!” He made his way right towards us. They had never met before.

Top Dean Morton with Mother Teresa photographed at Oxford’s Christ Church College, the United Kingdom, April 1988.

Right Archbishop Desmond Tutu at the Cathedral, 1986.

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Global Icons at the Cathedral

The Cathedral offers itself as an internationally recognized center for anyone and everyone with a message of social justice and humanitarianism.

DEAN MORTON The first Global Forum for Human Survival was held at Oxford’s Christ Church College. It included Mother Teresa, the Dalai Lama, Cardinal Koenig, the Grand Mufti of Damascus, Native American leader Chief Oren Lyons, the High Priest of the African Rain Forest, Carl Sagan, James Lovelock, UN Secretary-General Perez de Cuellar, parliamentarians from 12 countries, and several Anglican cathedral deans. That is where I met Mother Teresa for the first time.

KEITH HINKSON Archbishop Tutu had a love for kids. When he interacted with the kids in the choir, he was just beaming with smiles.

I remember seeing the joy on his face.

MARY BLOOM In 1988, I traveled with Dean Morton to The Global Forum of Spiritual and Parliamentary Leaders for Human Survival.

Word got out that the Dalai Lama was about to arrive. All the photographers and everybody else scrambled to meet him. Mother Teresa was there with a few of her sisters who must have been about 12 years old. She hurried off down a side aisle and hid against a wall by herself with all these little girls. I followed her. The Dalai Lama walks slowly. As he was coming down the aisle all we could see was the top of his head and this crowd of people following him, everybody excited, all this commotion. But he has eagle eyes.

As he approached the crossing he turned, looked, and spotted Mother Teresa way over there.

“Oh!” He made his way right towards us. They had never met before.

Top Dean Morton with Mother Teresa photographed at Oxford’s Christ Church College, the United Kingdom, April 1988.

Right Archbishop Desmond Tutu at the Cathedral, 1986.

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Vaclav Havel, President of Liberated Czechoslovakia, Arrives in New York

On the night of February 22, 1990, New Yorkers gathered at the Cathedral to pay tribute to Vaclav Havel and to celebrate the end of the Cold War. WILLIAM BRYANT LOGAN There was Paul Newman and Spike Lee, Ellen Burstyn and Zubin Mehta, Mikhail Baryshnikov and Roberta Flack, Paul Simon and Tom Hulce, Placido Domingo and James Taylor, Maximillian Schell and Ron Silver, Saul Bellow and Susan Sarandon, Harry Belafonte and Barbara Walters, Arthur Miller and Gregory Peck, Joseph Papp and Elie Wiesel, Treat Williams and Marcello Panni, Lukas Foss and “Superman” Christopher Reeves, Dizzy Gillespie and even Henry Kissinger.

Vaclav Havel, the guest of honor, sat dwarfed among the dignitaries and the stars, but his smile—frank, broad and unpracticed—made him stand out like mica in the grain of rock.

HARRY BELAFONTE Besides the importance of its religious offerings, the Cathedral of St. John the Divine’s presence in our lives, and in particular, our community, has been a source of great comfort to the many of us who have participated in various rituals held at the church.

Top Olga Havlova, singer Harry Belafonte, Vaclav Havel, actor Ron Silver, and impresario Joseph Papp.

Bottom Vaclav Havel meets musician Dizzy Gillespie with Susan Sarandon behind them.

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Vaclav Havel, President of Liberated Czechoslovakia, Arrives in New York

On the night of February 22, 1990, New Yorkers gathered at the Cathedral to pay tribute to Vaclav Havel and to celebrate the end of the Cold War. WILLIAM BRYANT LOGAN There was Paul Newman and Spike Lee, Ellen Burstyn and Zubin Mehta, Mikhail Baryshnikov and Roberta Flack, Paul Simon and Tom Hulce, Placido Domingo and James Taylor, Maximillian Schell and Ron Silver, Saul Bellow and Susan Sarandon, Harry Belafonte and Barbara Walters, Arthur Miller and Gregory Peck, Joseph Papp and Elie Wiesel, Treat Williams and Marcello Panni, Lukas Foss and “Superman” Christopher Reeves, Dizzy Gillespie and even Henry Kissinger.

Vaclav Havel, the guest of honor, sat dwarfed among the dignitaries and the stars, but his smile—frank, broad and unpracticed—made him stand out like mica in the grain of rock.

HARRY BELAFONTE Besides the importance of its religious offerings, the Cathedral of St. John the Divine’s presence in our lives, and in particular, our community, has been a source of great comfort to the many of us who have participated in various rituals held at the church.

Top Olga Havlova, singer Harry Belafonte, Vaclav Havel, actor Ron Silver, and impresario Joseph Papp.

Bottom Vaclav Havel meets musician Dizzy Gillespie with Susan Sarandon behind them.

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Nelson Mandela at the Cathedral, 1990

MARY BLOOM There was a time when the stone yard apprentices were asked to create anything they wanted. One carver chose Nelson Mandela and carved his image. When Mandela visited the Cathedral, I dragged him over to his statue so I could photograph him for the young carver who wasn’t there. Nelson Mandela was overwhelmed.

And imagine how important that picture is to the man who created it.

KEITH HINKSON Over the years we have had so many really huge events, and I do mean huge, huge events. I remember some more than the others because of how symbolic they were.

I remember Nelson Mandela’s visit in 1990.

I was assigned to him. Anywhere he would go I would go so I was with him when he first saw the stone carving of his image. That is a lasting memory for me.

Nelson Mandela in the Cathedral stone yard.

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Nelson Mandela at the Cathedral, 1990

MARY BLOOM There was a time when the stone yard apprentices were asked to create anything they wanted. One carver chose Nelson Mandela and carved his image. When Mandela visited the Cathedral, I dragged him over to his statue so I could photograph him for the young carver who wasn’t there. Nelson Mandela was overwhelmed.

And imagine how important that picture is to the man who created it.

KEITH HINKSON Over the years we have had so many really huge events, and I do mean huge, huge events. I remember some more than the others because of how symbolic they were.

I remember Nelson Mandela’s visit in 1990.

I was assigned to him. Anywhere he would go I would go so I was with him when he first saw the stone carving of his image. That is a lasting memory for me.

Nelson Mandela in the Cathedral stone yard.

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After the Fire: Restoration, 2001–2008

The Cathedral underwent four full years of careful restoration and preservation following the devastating December 2001 fire.

JOHN CLINTON EISNER After

the fire, they closed up most of the Cathedral for years. Most of the Nave was closed off. You’d walk on these little paths between plywood barriers and go all the way up to the front for services.

MARY JANE BROCK During the restoration the scaffolding was like lace, just these narrow bars and weavings, knuckles, and joints that went all the way up and up and up.

SUSAN RODRIGUEZ Over

time, the interior had become darkened. Because of the fire, it was renewed. For the first time in years, you could realize the beauty of the colors, the range of materials, all the stones and the stonework in the High Altar, and the craft and quality of light in the Chapels.

THE REV. CANON TOM MILLER Beginning in 2002, in a time of restoration and renewed fiscal responsibility, the new Dean, James Kowalski, brought about a different approach to Cathedral mission and responsible governance. The fire had caused enormous water and soot damage. The finances of the Cathedral were perilous and the endowment severely depleted. The Cathedral made strategic decisions about program, finance, and development. The mission, carried on from a previous generation, continued but in a more sustainable way even as new initiatives in the integration of the arts, faith, and public discourse emerged. Real estate initiatives produced new funds to support the maintenance and mission of the Cathedral.

The scaffolding in the Great Choir.

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After the Fire: Restoration, 2001–2008

The Cathedral underwent four full years of careful restoration and preservation following the devastating December 2001 fire.

JOHN CLINTON EISNER After

the fire, they closed up most of the Cathedral for years. Most of the Nave was closed off. You’d walk on these little paths between plywood barriers and go all the way up to the front for services.

MARY JANE BROCK During the restoration the scaffolding was like lace, just these narrow bars and weavings, knuckles, and joints that went all the way up and up and up.

SUSAN RODRIGUEZ Over

time, the interior had become darkened. Because of the fire, it was renewed. For the first time in years, you could realize the beauty of the colors, the range of materials, all the stones and the stonework in the High Altar, and the craft and quality of light in the Chapels.

THE REV. CANON TOM MILLER Beginning in 2002, in a time of restoration and renewed fiscal responsibility, the new Dean, James Kowalski, brought about a different approach to Cathedral mission and responsible governance. The fire had caused enormous water and soot damage. The finances of the Cathedral were perilous and the endowment severely depleted. The Cathedral made strategic decisions about program, finance, and development. The mission, carried on from a previous generation, continued but in a more sustainable way even as new initiatives in the integration of the arts, faith, and public discourse emerged. Real estate initiatives produced new funds to support the maintenance and mission of the Cathedral.

The scaffolding in the Great Choir.

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The Place to Be

For all of its 125 years, the Cathedral of St. John the Divine has offered a convening place for New Yorkers, their leaders, and their activists to spread the word of divine justice and human equality. From Bishop Manning’s reconstructed tenement housing during the Depression to the Black Lives Matter tribute to Trayvon Martin in 2018, the convening authority of the Cathedral stands firm.

KALIE KAMARA If you’re concerned about your message, this is the place to be.

THE REV. WILLIAM J. BARBER II Some may say, “Why does the Cathedral Church of Saint John the Divine concern itself with the business of free speech? Why does it concern itself with the creating of sanctuary and a safe place to display all this work of all these artists and activists? Why in a sanctuary?” Because it is the church’s business to involve itself in moral issues. That is why.

MARSHA RA When the United Farm Workers were striking under the leadership of Cesar Chavez, the Cathedral iconostasis was covered with UFW flags and the Cathedral was completely filled. During Wounded Knee, every Native American within driving distance was here.

DOROTHY DAY Cesar spoke of nonviolence and how we had to deepen our understanding of Gandhi’s teaching. He spoke with gentleness, with encouragement, to all those who are striving towards a truly human life.

THE REV. CANON JAY WEGMAN When

Amadou Diallo was killed by the police in 1999, his mother was here, the Imams came, we had a huge service.

This is the Church where this can happen.

THE REV. JESSE JACKSON Through

a dark time– when it seemed as though the world had turned to greed and away from need, the Cathedral has held high the struggles that are central to our survival as a nation, a people, and a broad and various community of faith.

MARILYN NELSON A church always has to decide how far it can take a religious community in the direction of Christ’s teachings about social justice and service without losing people who want to hold onto the laws of tradition and dogma.

ANGELA DAVIS The

somebody else.

function of freedom is to free

Top Food & Water Watch, the first national organization to call for an all-out ban on fracking, at the Cathedral.

Bottom left The Rev. Dr. William J. Barber II preaching at the Cathedral, 2019.

Bottom center Jessye Norman and journalist Amy Goodman.

Bottom right Angela Davis speaking to imprisoned activist Mumia Abu-Jamal.

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The Place to Be

For all of its 125 years, the Cathedral of St. John the Divine has offered a convening place for New Yorkers, their leaders, and their activists to spread the word of divine justice and human equality. From Bishop Manning’s reconstructed tenement housing during the Depression to the Black Lives Matter tribute to Trayvon Martin in 2018, the convening authority of the Cathedral stands firm.

KALIE KAMARA If you’re concerned about your message, this is the place to be.

THE REV. WILLIAM J. BARBER II Some may say, “Why does the Cathedral Church of Saint John the Divine concern itself with the business of free speech? Why does it concern itself with the creating of sanctuary and a safe place to display all this work of all these artists and activists? Why in a sanctuary?” Because it is the church’s business to involve itself in moral issues. That is why.

MARSHA RA When the United Farm Workers were striking under the leadership of Cesar Chavez, the Cathedral iconostasis was covered with UFW flags and the Cathedral was completely filled. During Wounded Knee, every Native American within driving distance was here.

DOROTHY DAY Cesar spoke of nonviolence and how we had to deepen our understanding of Gandhi’s teaching. He spoke with gentleness, with encouragement, to all those who are striving towards a truly human life.

THE REV. CANON JAY WEGMAN When

Amadou Diallo was killed by the police in 1999, his mother was here, the Imams came, we had a huge service.

This is the Church where this can happen.

THE REV. JESSE JACKSON Through

a dark time– when it seemed as though the world had turned to greed and away from need, the Cathedral has held high the struggles that are central to our survival as a nation, a people, and a broad and various community of faith.

MARILYN NELSON A church always has to decide how far it can take a religious community in the direction of Christ’s teachings about social justice and service without losing people who want to hold onto the laws of tradition and dogma.

ANGELA DAVIS The

somebody else.

function of freedom is to free

Top Food & Water Watch, the first national organization to call for an all-out ban on fracking, at the Cathedral.

Bottom left The Rev. Dr. William J. Barber II preaching at the Cathedral, 2019.

Bottom center Jessye Norman and journalist Amy Goodman.

Bottom right Angela Davis speaking to imprisoned activist Mumia Abu-Jamal.

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All Are Welcome

THE REV. CANON JAY WEGMAN When

Mathew Shepard was murdered in 1998, people knew that the Cathedral was the place to go.

MARILYN NELSON The commandments are written in stone but the way we live is in our daily lives. The many small decisions we make every day depend on situation and circumstance, which are not carved in stone.

KEITH HARING Part of the reason that I’m not having trouble facing the reality of death is that it’s not a limitation, in a way. It could have happened any time and it is going to happen to someone any time. If you live your life according to that, death is irrelevant. Everything I’m doing right now is exactly what I want to do.

Top Dean Daniel and Eureka O’Hara, from RuPaul’s Drag Race, photographed in the Cathedral at The Trailblazer Honors Ceremony, described as a combined “queer State of the Union, Hall of Fame, and Oscars,” June 2018.

Bottom Artist Keith Haring’s 1990 Memorial Service.

Yoko Ono, Dean Jim Morton, and the Rt. Rev. E. Don Taylor, Vicar Bishop of New York. Behind Yoko Ono stands the Rev. Canon Joel Gibson, Sub-Dean of the Cathedral.

Following Keith Haring bequeathed his Life of Christ altarpiece to the Cathedral.

The triptych, cast in bronze and covered in white gold, was the artist’s final sculpture before his death from complications of AIDS in 1990.

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All Are Welcome

THE REV. CANON JAY WEGMAN When

Mathew Shepard was murdered in 1998, people knew that the Cathedral was the place to go.

MARILYN NELSON The commandments are written in stone but the way we live is in our daily lives. The many small decisions we make every day depend on situation and circumstance, which are not carved in stone.

KEITH HARING Part of the reason that I’m not having trouble facing the reality of death is that it’s not a limitation, in a way. It could have happened any time and it is going to happen to someone any time. If you live your life according to that, death is irrelevant. Everything I’m doing right now is exactly what I want to do.

Top Dean Daniel and Eureka O’Hara, from RuPaul’s Drag Race, photographed in the Cathedral at The Trailblazer Honors Ceremony, described as a combined “queer State of the Union, Hall of Fame, and Oscars,” June 2018.

Bottom Artist Keith Haring’s 1990 Memorial Service.

Yoko Ono, Dean Jim Morton, and the Rt. Rev. E. Don Taylor, Vicar Bishop of New York. Behind Yoko Ono stands the Rev. Canon Joel Gibson, Sub-Dean of the Cathedral.

Following Keith Haring bequeathed his Life of Christ altarpiece to the Cathedral.

The triptych, cast in bronze and covered in white gold, was the artist’s final sculpture before his death from complications of AIDS in 1990.

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Sustaining a Green Planet

For a half century, the Cathedral has been recognized as a leader for environmental sustainability. Beginning in 2012, “The Green Cathedral” has dedicated itself to art exhibitions under the umbrella of The Dignity Initiative.

Art lovers and environmentalists travel to 112th Street to view exhibitions including The Value of Water, The Value of Food, and The Value of Sanctuary.

From the scriptural account in Genesis, we are charged with proper stewardship of the whole creation, which is defined by the prayer book as “reverence for the earth as God’s own creation, that we may use its resources rightly in the service of others and to God’s honor and glory.”

THE REV. CANON TOM MILLER

Today, the understanding of the natural world as divinely created and a gift from God marks widespread interreligious views on care for the environment and sustainable, equitable food practices.

Ecotheology is both the newest, and the most ancient, justice theology movement, and never has it been so timely.

THE REV. CANON JULIA WHITWORTH

“Jesus told us that the Kingdom of God is within. Why are so many uncomfortable with that notion? And if God is within us, is God not also within other living things? Is God not also in the rest of creation? We can receive a revelation from all of the world. We are not separate from the earth. God is not separate from the earth.” AL GORE AT THE CATHEDRAL IN 1991

Thousands gather at the Cathedral for the premier of composer John Luther Adams choral tribute to nature, In the Name of the Earth, which was directed by Simon Halsey, as a part of Lincoln Center’s Mostly Mozart festival, August 11, 2018.

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Sustaining a Green Planet

For a half century, the Cathedral has been recognized as a leader for environmental sustainability. Beginning in 2012, “The Green Cathedral” has dedicated itself to art exhibitions under the umbrella of The Dignity Initiative.

Art lovers and environmentalists travel to 112th Street to view exhibitions including The Value of Water, The Value of Food, and The Value of Sanctuary.

From the scriptural account in Genesis, we are charged with proper stewardship of the whole creation, which is defined by the prayer book as “reverence for the earth as God’s own creation, that we may use its resources rightly in the service of others and to God’s honor and glory.”

THE REV. CANON TOM MILLER

Today, the understanding of the natural world as divinely created and a gift from God marks widespread interreligious views on care for the environment and sustainable, equitable food practices.

Ecotheology is both the newest, and the most ancient, justice theology movement, and never has it been so timely.

THE REV. CANON JULIA WHITWORTH

“Jesus told us that the Kingdom of God is within. Why are so many uncomfortable with that notion? And if God is within us, is God not also within other living things? Is God not also in the rest of creation? We can receive a revelation from all of the world. We are not separate from the earth. God is not separate from the earth.” AL GORE AT THE CATHEDRAL IN 1991

Thousands gather at the Cathedral for the premier of composer John Luther Adams choral tribute to nature, In the Name of the Earth, which was directed by Simon Halsey, as a part of Lincoln Center’s Mostly Mozart festival, August 11, 2018.

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Shared Planet

EIKO OTAKE Long before people could name what they say, our ancestors found dignity in forest, rivers, mountains, and seas. We humans now hurt the very places from which we could learn. If humans learned dignity, how had we not learned hesitation?

WANGARI MAATHAI We are called to assist the Earth to heal her wounds and in the process heal our own—indeed, to embrace the whole creation in all its diversity, beauty and wonder. This will happen if we see the need to revive our sense of belonging to a larger family of life, with which we have shared our evolutionary process.

“The care of the Earth is our most ancient and most worthy, and after all our most pleasing, responsibility. To cherish what remains of it and to foster its renewal is our only legitimate hope for survival.” WENDELL BERRY

Left Robert F. Kennedy Jr., environmental activist and co-founder of Waterkeepers Alliance, speaking from the Cathedral pulpit.

Right Nobel Laureate Wangari Maathai, Kenyan environmental activist and founder of the international Green Belt Movement, in conversation with Dean Kowalski.

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DEAN KOWALSKI Our survival and that of this island home depend on our understanding of and commitment to the care of those elements that initiated and still anchor creation. Faith is best expressed in building up just communities and abundant life for all. All ages, across the generations, will be challenged by our roles and responsibilities as citizens and creatures who share a planet—and its limited resources. May the nourishment of wonder and awe guide us to embrace the complexity of those challenges with reverence and gratitude.

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Shared Planet

EIKO OTAKE Long before people could name what they say, our ancestors found dignity in forest, rivers, mountains, and seas. We humans now hurt the very places from which we could learn. If humans learned dignity, how had we not learned hesitation?

WANGARI MAATHAI We are called to assist the Earth to heal her wounds and in the process heal our own—indeed, to embrace the whole creation in all its diversity, beauty and wonder. This will happen if we see the need to revive our sense of belonging to a larger family of life, with which we have shared our evolutionary process.

“The care of the Earth is our most ancient and most worthy, and after all our most pleasing, responsibility. To cherish what remains of it and to foster its renewal is our only legitimate hope for survival.” WENDELL BERRY

Left Robert F. Kennedy Jr., environmental activist and co-founder of Waterkeepers Alliance, speaking from the Cathedral pulpit.

Right Nobel Laureate Wangari Maathai, Kenyan environmental activist and founder of the international Green Belt Movement, in conversation with Dean Kowalski.

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DEAN KOWALSKI Our survival and that of this island home depend on our understanding of and commitment to the care of those elements that initiated and still anchor creation. Faith is best expressed in building up just communities and abundant life for all. All ages, across the generations, will be challenged by our roles and responsibilities as citizens and creatures who share a planet—and its limited resources. May the nourishment of wonder and awe guide us to embrace the complexity of those challenges with reverence and gratitude.

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4 The Cathedral Year

“If it is timely and cultural and worldy, it belongs here in our Cathedral.”

BRUCE MACLEOD

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4 The Cathedral Year

“If it is timely and cultural and worldy, it belongs here in our Cathedral.”

BRUCE MACLEOD

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The New Year's Eve Concert for Peace

Leonard Bernstein founded the New Year's Eve Concert for Peace in 1984 as an affirmation of hope for all New Yorkers for the new year.

JUDY COLLINS

I love seeing the Cathedral on the night of New Year’s Eve and knowing that this is a place of hope—and it always will be a place of hope.

SUSAN BRIND MORROW I’ve been at the Cathedral on New Year’s Eve in a crowd of people of all kinds. We held up candles and sang together in the dark, “We Shall Overcome.”

ANNE DENNIN It is one of this city’s—and certainly this neighborhood’s—favorite concerts; the spirit, the space, the candles that close the evening offer profound promise.

Martin Luther King Jr. Sunday

Each year, Dr. King’s January 15th birthday is celebrated both solemnly and joyfully with readings, music, and guest speakers at the Cathedral.

BISHOP DIETSCHE We have a full calendar of people who have come before us that we commemorate and celebrate as exemplars of the Christian life, the saintly life. January 15th is the Feast of Martin Luther King in the church to whom we hold up as a modern prophet.

KALIE KAMARA Dr. King had a sermon here back in the 1950s. Some people aren’t with us anymore, but because they had their say in this place, we remember what they said, and they are still a piece of the puzzle trying to figure out where we go from here.

“Darkness cannot drive out the darkness, only love can do that. Hate cannot drive out hate, only love can do that.” THE REV. DR. MARTIN LUTHER KING JR.

Previous Sharing the communal candles at the New Year's Eve Concert for Peace.

Top Judy Collins at the Cathedral’s New Year’s Eve Concert for Peace.

Bottom New Yorkers offer tribute to the Rev. Dr. Martin Luther King Jr. after his tragic assassination.

Included left to right are Sammy Davis Jr., Mayor John Lindsay, the Rev. Wyatt Tee Walker, Bishop Horace Donegan, Governor Nelson Rockefeller, Archbishop Terrence J. Cooke, Manhattan Borough President Percy E. Sutton, and the Director of the New York Protestant Council, the Rev. Daniel M. Potter, Palm Sunday, 1968.

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The New Year's Eve Concert for Peace

Leonard Bernstein founded the New Year's Eve Concert for Peace in 1984 as an affirmation of hope for all New Yorkers for the new year.

JUDY COLLINS

I love seeing the Cathedral on the night of New Year’s Eve and knowing that this is a place of hope—and it always will be a place of hope.

SUSAN BRIND MORROW I’ve been at the Cathedral on New Year’s Eve in a crowd of people of all kinds. We held up candles and sang together in the dark, “We Shall Overcome.”

ANNE DENNIN It is one of this city’s—and certainly this neighborhood’s—favorite concerts; the spirit, the space, the candles that close the evening offer profound promise.

Martin Luther King Jr. Sunday

Each year, Dr. King’s January 15th birthday is celebrated both solemnly and joyfully with readings, music, and guest speakers at the Cathedral.

BISHOP DIETSCHE We have a full calendar of people who have come before us that we commemorate and celebrate as exemplars of the Christian life, the saintly life. January 15th is the Feast of Martin Luther King in the church to whom we hold up as a modern prophet.

KALIE KAMARA Dr. King had a sermon here back in the 1950s. Some people aren’t with us anymore, but because they had their say in this place, we remember what they said, and they are still a piece of the puzzle trying to figure out where we go from here.

“Darkness cannot drive out the darkness, only love can do that. Hate cannot drive out hate, only love can do that.” THE REV. DR. MARTIN LUTHER KING JR.

Previous Sharing the communal candles at the New Year's Eve Concert for Peace.

Top Judy Collins at the Cathedral’s New Year’s Eve Concert for Peace.

Bottom New Yorkers offer tribute to the Rev. Dr. Martin Luther King Jr. after his tragic assassination.

Included left to right are Sammy Davis Jr., Mayor John Lindsay, the Rev. Wyatt Tee Walker, Bishop Horace Donegan, Governor Nelson Rockefeller, Archbishop Terrence J. Cooke, Manhattan Borough President Percy E. Sutton, and the Director of the New York Protestant Council, the Rev. Daniel M. Potter, Palm Sunday, 1968.

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Holy Week and Easter Sunday

Holy Week begins with Palm Sunday. Participants are invited to join the Liturgy of the Palms outside, which is followed by a procession to Amsterdam Avenue.

On Holy Tuesday, the clergy of the Diocese gather to reaffirm their ordination vows and observe the consecration of sacramental chrism oil. The Maundy Thursday Eucharist and Stripping of the Altar mark the beginning of the three solemn days of remembrance.

On Good Friday, the liturgy and choral lamentations prepares for the Saturday’s Great Vigil of Easter. On Easter, the Cathedral celebrates the Festal Eucharist for Easter Day.

JUDY COLLINS When those doors open up on Easter Morning, you know the true meaning of openness and that Christ has risen. And to be present in a place where you can understand that there is sorrow and even hate on the planet but we move on. The miracle is Christ. And Christ was the original rebel. Can you imagine that we are supposed to forgive? That was about as radical as it gets but it’s the Christ story. That is the miracle.

MARY JANE BROCK Where I get the most power punch of emotion is on the High Altar for Easter.

Is there anything better?

Top Easter morning processional.

Right Bishop Dietsche and clergy proceed through the Great Bronze doors, which are opened only on St. Francis Day and Easter morning.

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Holy Week and Easter Sunday

Holy Week begins with Palm Sunday. Participants are invited to join the Liturgy of the Palms outside, which is followed by a procession to Amsterdam Avenue.

On Holy Tuesday, the clergy of the Diocese gather to reaffirm their ordination vows and observe the consecration of sacramental chrism oil. The Maundy Thursday Eucharist and Stripping of the Altar mark the beginning of the three solemn days of remembrance.

On Good Friday, the liturgy and choral lamentations prepares for the Saturday’s Great Vigil of Easter. On Easter, the Cathedral celebrates the Festal Eucharist for Easter Day.

JUDY COLLINS When those doors open up on Easter Morning, you know the true meaning of openness and that Christ has risen. And to be present in a place where you can understand that there is sorrow and even hate on the planet but we move on. The miracle is Christ. And Christ was the original rebel. Can you imagine that we are supposed to forgive? That was about as radical as it gets but it’s the Christ story. That is the miracle.

MARY JANE BROCK Where I get the most power punch of emotion is on the High Altar for Easter.

Is there anything better?

Top Easter morning processional.

Right Bishop Dietsche and clergy proceed through the Great Bronze doors, which are opened only on St. Francis Day and Easter morning.

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The Blessing of the Bicycles

On the Saturday before the city’s annual Five Boro Bike Tour, New York City cyclists make their way to St. John the Divine to be blessed by clergy for the continued safety of all New York bicycle riders throughout the year.

SUB-DEAN PAT MALLOY It is wonderful to welcome the bicyclists into the Cathedral.

They leave here knowing that God is in the people they see on the streets of the city and in the scenery of all the city’s landscape.

THE REV. CANON JAY WEGMAN When

Dean Harry Pritchett started the Blessing of the Bicycles in 1998, the first reading he chose was “Ezekiel saw the wheel and the wheels went up.”

Of course it sounds like a bike ride.

Spirit of the City

In the 1970s, the Cathedral inaugurated the Spirit of the City to honor those who serve and inspire our great metropolis. Today, the gala has expanded to honor global citizens—a sign of how our always-international city is ever more rooted in global culture.

RANDY BOURSCHEIDT In the tradition of the church, cathedrals were the centers of social life for their cities, their regions, and their nations.

There would have been all kinds of activity going on, including fairs, festivals, and entertainments.

People came to the cathedral to have a good time in a social setting provided for them by the Holy Church.

PRISCILLA BAYLEY Spirit of the City was conceived as a way to celebrate New York City and the people who embody its spirit when faced with tremendous economic and social challenges. As our city changes, some problems diminish while others are made more pressing so the way we celebrate our philanthropic, politcal, and community leaders will adapt as well.

One thing that will always remain, though, is our love for this city and all the people who call it home.

Top Excited cyclists gather to be blessed before embarking on the Five Boro Bike Tour.

Bottom Spirit of the City raises funds for Cathedral’s concerts, programming, spiritual, and civic conversations; children’s education and care; the Soup Kitchen and Clothing Closet; and art exhibits—all that the Cathedral stands for and represents to New Yorkers and visitors from around the world.

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The Blessing of the Bicycles

On the Saturday before the city’s annual Five Boro Bike Tour, New York City cyclists make their way to St. John the Divine to be blessed by clergy for the continued safety of all New York bicycle riders throughout the year.

SUB-DEAN PAT MALLOY It is wonderful to welcome the bicyclists into the Cathedral.

They leave here knowing that God is in the people they see on the streets of the city and in the scenery of all the city’s landscape.

THE REV. CANON JAY WEGMAN When

Dean Harry Pritchett started the Blessing of the Bicycles in 1998, the first reading he chose was “Ezekiel saw the wheel and the wheels went up.”

Of course it sounds like a bike ride.

Spirit of the City

In the 1970s, the Cathedral inaugurated the Spirit of the City to honor those who serve and inspire our great metropolis. Today, the gala has expanded to honor global citizens—a sign of how our always-international city is ever more rooted in global culture.

RANDY BOURSCHEIDT In the tradition of the church, cathedrals were the centers of social life for their cities, their regions, and their nations.

There would have been all kinds of activity going on, including fairs, festivals, and entertainments.

People came to the cathedral to have a good time in a social setting provided for them by the Holy Church.

PRISCILLA BAYLEY Spirit of the City was conceived as a way to celebrate New York City and the people who embody its spirit when faced with tremendous economic and social challenges. As our city changes, some problems diminish while others are made more pressing so the way we celebrate our philanthropic, politcal, and community leaders will adapt as well.

One thing that will always remain, though, is our love for this city and all the people who call it home.

Top Excited cyclists gather to be blessed before embarking on the Five Boro Bike Tour.

Bottom Spirit of the City raises funds for Cathedral’s concerts, programming, spiritual, and civic conversations; children’s education and care; the Soup Kitchen and Clothing Closet; and art exhibits—all that the Cathedral stands for and represents to New Yorkers and visitors from around the world.

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The Memorial Day Concert with the New York Philharmonic

Since the Memorial Day Concert was first introduced in 1992, this gift to the people of the city from the Anna-Maria and Stephen Kellen Foundation has become a traditional start of the New York City summer.

ALAN GILBERT The Cathedral is a rare place.

It allows us to mark a solemn occasion in a way that is ultimately joyous because its hospitality and grandeur allow so many to come together to share a profound and spiritual experience. The Philharmonic is acutely aware of the honor of being part of something that all New Yorkers look forward to and connect with. I am proud of being part this tradition.

Alan Gilbert conducts the New York Philharmonic at the Cathedral.

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The Memorial Day Concert with the New York Philharmonic

Since the Memorial Day Concert was first introduced in 1992, this gift to the people of the city from the Anna-Maria and Stephen Kellen Foundation has become a traditional start of the New York City summer.

ALAN GILBERT The Cathedral is a rare place.

It allows us to mark a solemn occasion in a way that is ultimately joyous because its hospitality and grandeur allow so many to come together to share a profound and spiritual experience. The Philharmonic is acutely aware of the honor of being part of something that all New Yorkers look forward to and connect with. I am proud of being part this tradition.

Alan Gilbert conducts the New York Philharmonic at the Cathedral.

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The Cathedral School Graduation and Spring Fair

The Cathedral spring ends with the graduation ceremonies of the School’s eighth grade class as well as a Saturday Spring Fair, which welcomes all Morningside Heights neighbors to celebrate together on the Cathedral Close.

ANGIE KARNA As a member of the Cathedral School Board, I have attended a number of the Cathedral School graduations. It doesn’t matter who speaks, it doesn’t matter who the kids are, I’m always moved to tears that these kids have had their educational career in such a magical and majestic setting.

HANNAH WOLFE EISNER To graduate from this place and go out into the world with the civic and spiritual power of the Cathedral as your guide makes all the difference.

ANGIE KARNA The Spring Fair is a fantastic community tradition. The Close is set up with games, food, music, and a giant rummage sale. We invite our neighborhood to come in and have fun.

Summer Solstice

At dawn on the first day of summer, the Paul Winter Consort celebrates one of humankind’s most ancient rituals: observing the summer solstice.

PAUL WINTER We begin playing in total darkness at 4:30 am. We embark on a continuous musical journey, with players stationed in distant corners or moving among the audience. Gradually, as the great stained-glass windows slowly begin to illuminate, the light joins the sound to carry us into the first dawn of the summer.

Of all the places I’ve played in the world only two could host an event on this scale: the Cathedral and the Grand Canyon.

ACT Summer Camp

The Advancing the Community of Tomorrow (ACT) Summer Camp runs from June through early August. ACT’s Summer Camp is a one-ofa-kind experience for hundreds of neighborhood kids—toddlers to teens—both inside the Cathedral and in the parks of the Cathedral Close.

JEN GOWERS The

Cathedral’s inclusivity, beauty, and core values set a strong foundation for this diverse, nurturing educational organization.

Top Graduating eighth graders toss their caps in celebration.

MICHELE BARNWELL For a city girl, the entire environment was a great escape: peacocks, grass, places to run and play. ACT was this whole other place in the middle of the city.

Bottom left Paul Winter.

Bottom right ACT Summer Camp.

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The Cathedral School Graduation and Spring Fair

The Cathedral spring ends with the graduation ceremonies of the School’s eighth grade class as well as a Saturday Spring Fair, which welcomes all Morningside Heights neighbors to celebrate together on the Cathedral Close.

ANGIE KARNA As a member of the Cathedral School Board, I have attended a number of the Cathedral School graduations. It doesn’t matter who speaks, it doesn’t matter who the kids are, I’m always moved to tears that these kids have had their educational career in such a magical and majestic setting.

HANNAH WOLFE EISNER To graduate from this place and go out into the world with the civic and spiritual power of the Cathedral as your guide makes all the difference.

ANGIE KARNA The Spring Fair is a fantastic community tradition. The Close is set up with games, food, music, and a giant rummage sale. We invite our neighborhood to come in and have fun.

Summer Solstice

At dawn on the first day of summer, the Paul Winter Consort celebrates one of humankind’s most ancient rituals: observing the summer solstice.

PAUL WINTER We begin playing in total darkness at 4:30 am. We embark on a continuous musical journey, with players stationed in distant corners or moving among the audience. Gradually, as the great stained-glass windows slowly begin to illuminate, the light joins the sound to carry us into the first dawn of the summer.

Of all the places I’ve played in the world only two could host an event on this scale: the Cathedral and the Grand Canyon.

ACT Summer Camp

The Advancing the Community of Tomorrow (ACT) Summer Camp runs from June through early August. ACT’s Summer Camp is a one-ofa-kind experience for hundreds of neighborhood kids—toddlers to teens—both inside the Cathedral and in the parks of the Cathedral Close.

JEN GOWERS The

Cathedral’s inclusivity, beauty, and core values set a strong foundation for this diverse, nurturing educational organization.

Top Graduating eighth graders toss their caps in celebration.

MICHELE BARNWELL For a city girl, the entire environment was a great escape: peacocks, grass, places to run and play. ACT was this whole other place in the middle of the city.

Bottom left Paul Winter.

Bottom right ACT Summer Camp.

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United Nations Sunday

Commemorating the opening session of the United Nation’s General Assembly, every September the President of the General Assembly preaches from the Cathedral’s Pulpit.

H.E. MR. MIROSLAV LAJ ČÁK We all need faith to do our jobs… For some, this is faith in God. For others, it is faith in humanity. Thank you for gathering us here, this morning, to reinforce this faith. I hope it will give us all strength to face the challenges ahead.

The Feast of Saint Francis and the Blessing of the Animals

Visitors travel from all over the world to join in the Cathedral’s Feast of Saint Francis on the first Sunday in October. At its core is the Missa Gaia, or Earth Mass, composed by Paul Winter and Paul Halley, “a call to worship addressed to all creation.”

The service ends with the famous Procession of the Animals down the Cathedral Nave.

DEAN MORTON On the first Sunday of October comes the annual Saint Francis Day Sunday Mass with 3,000 human worshipers, a choir of 400, two dance companies, full orchestra, soloists, plus camel, elephant, African Eagle, goat, pig, a New York rat-on-red-velvet-cushion, 23 million blue-green algae in a bottle, and some 2,000 dogs, cats, parrots, and goldfish in the world’s most beguiling, enchanting, funny, lovable, unforgettable and deeply religious environmental experience.

PAUL WINTER I wanted to create a mass that was both ecumenical and ecological, one which embraces the whole Earth as a sacred space.

ALESSANDRA BELLONI The St. Francis Day mass is called the Earth Mass, the Missa Gaia, “in celebration of Mother Earth.” All of the work that Paul Winter does is ecological, it is the vision of the female earth. That was started in the 1980s, when nobody else was offering this female concept, only showing us the male god.

EDIE FALCO It is a tenderness towards the vulnerable and that makes it so very special. For many people those animals are their family members. To have the blessings said to the people and the animals, not differentiating, with everyone so quiet, standing there with my son holding a turtle and my daughter with a little chick, it never ceases to amaze me how moved I am.

Top The Procession of the Animals.

Bottom Bishop Dietsche greets a llama.

Following St. Francis Day at the Cathedral, a full Mass connecting all of Earth’s creatures.

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BILL BAKER PBS broadcast The Blessing of the Animals to a live audience all over America. We needed five or six cameras and a huge mobile unit with sound capacity for dozens of microphones.

God was with us—on cue, the animals paraded into a full mass with thousands of people, music, and dance connecting all of earth’s creatures with the Creator. It was one of the most powerful events I’ve ever seen on television.

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United Nations Sunday

Commemorating the opening session of the United Nation’s General Assembly, every September the President of the General Assembly preaches from the Cathedral’s Pulpit.

H.E. MR. MIROSLAV LAJ ČÁK We all need faith to do our jobs… For some, this is faith in God. For others, it is faith in humanity. Thank you for gathering us here, this morning, to reinforce this faith. I hope it will give us all strength to face the challenges ahead.

The Feast of Saint Francis and the Blessing of the Animals

Visitors travel from all over the world to join in the Cathedral’s Feast of Saint Francis on the first Sunday in October. At its core is the Missa Gaia, or Earth Mass, composed by Paul Winter and Paul Halley, “a call to worship addressed to all creation.”

The service ends with the famous Procession of the Animals down the Cathedral Nave.

DEAN MORTON On the first Sunday of October comes the annual Saint Francis Day Sunday Mass with 3,000 human worshipers, a choir of 400, two dance companies, full orchestra, soloists, plus camel, elephant, African Eagle, goat, pig, a New York rat-on-red-velvet-cushion, 23 million blue-green algae in a bottle, and some 2,000 dogs, cats, parrots, and goldfish in the world’s most beguiling, enchanting, funny, lovable, unforgettable and deeply religious environmental experience.

PAUL WINTER I wanted to create a mass that was both ecumenical and ecological, one which embraces the whole Earth as a sacred space.

ALESSANDRA BELLONI The St. Francis Day mass is called the Earth Mass, the Missa Gaia, “in celebration of Mother Earth.” All of the work that Paul Winter does is ecological, it is the vision of the female earth. That was started in the 1980s, when nobody else was offering this female concept, only showing us the male god.

EDIE FALCO It is a tenderness towards the vulnerable and that makes it so very special. For many people those animals are their family members. To have the blessings said to the people and the animals, not differentiating, with everyone so quiet, standing there with my son holding a turtle and my daughter with a little chick, it never ceases to amaze me how moved I am.

Top The Procession of the Animals.

Bottom Bishop Dietsche greets a llama.

Following St. Francis Day at the Cathedral, a full Mass connecting all of Earth’s creatures.

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BILL BAKER PBS broadcast The Blessing of the Animals to a live audience all over America. We needed five or six cameras and a huge mobile unit with sound capacity for dozens of microphones.

God was with us—on cue, the animals paraded into a full mass with thousands of people, music, and dance connecting all of earth’s creatures with the Creator. It was one of the most powerful events I’ve ever seen on television.

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Halloween and the Procession of the Ghouls

For Halloween, the Cathedral offers Crypt Crawls and the annual Halloween Extravaganza, choreographed by Artist in Residence Ralph Lee and Casey Compton of the Mettawee River Theatre Company.

RALPH LEE Our shows are based on myths and legends from different cultures and all the great myths go to the underworld. So often we end up going to hell. For the Christian and even pre-Christian era, if you wanted to talk to somebody who was dead, All Hallows Eve was the time you could do it.

CASEY COMPTON It’s curious that this great pagan event of New York is in the Cathedral. Religion gives us that vocabulary. That’s where the devil concept comes from. The imagery of the Cathedral, the carving, the art, is filled with both the sacred and the profane.

RALPH LEE The creatures that are invited in the Halloween Extravaganza are the corrupt, nasty potentates: the ones that really deserve to be in Hell. For example, our tap-dancing skeletons are not invited.

CASEY COMPTON All the creatures come out of the crypt through the Hell Mouth, a medieval tradition from the days when people were illiterate and the mystery plays taught religion.

The Hell Mouth gave a really close sense of where people were headed if things didn’t work out. The Cathedral is generous to offer the underworld creatures their moment. They can’t take over but they do have their moment.

Top Ralph Lee examining the attire of an underworld ghoul.

Right Fantastic creatures emerge from the crypt to electrify the audience with their macabre and unearthly presence.

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Halloween and the Procession of the Ghouls

For Halloween, the Cathedral offers Crypt Crawls and the annual Halloween Extravaganza, choreographed by Artist in Residence Ralph Lee and Casey Compton of the Mettawee River Theatre Company.

RALPH LEE Our shows are based on myths and legends from different cultures and all the great myths go to the underworld. So often we end up going to hell. For the Christian and even pre-Christian era, if you wanted to talk to somebody who was dead, All Hallows Eve was the time you could do it.

CASEY COMPTON It’s curious that this great pagan event of New York is in the Cathedral. Religion gives us that vocabulary. That’s where the devil concept comes from. The imagery of the Cathedral, the carving, the art, is filled with both the sacred and the profane.

RALPH LEE The creatures that are invited in the Halloween Extravaganza are the corrupt, nasty potentates: the ones that really deserve to be in Hell. For example, our tap-dancing skeletons are not invited.

CASEY COMPTON All the creatures come out of the crypt through the Hell Mouth, a medieval tradition from the days when people were illiterate and the mystery plays taught religion.

The Hell Mouth gave a really close sense of where people were headed if things didn’t work out. The Cathedral is generous to offer the underworld creatures their moment. They can’t take over but they do have their moment.

Top Ralph Lee examining the attire of an underworld ghoul.

Right Fantastic creatures emerge from the crypt to electrify the audience with their macabre and unearthly presence.

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The American Poets Corner Induction

On the second Sunday in November, the annual Poets Corner induction ceremony honors an outstanding literary figure with an evening of readings and conversation with scholars, poets, and friends and family of the honoree.

LISA SCHUBERT The Poets Corner is our country’s only shrine to American Literature.

MARGARET DIEHL The American literary writer connects us to history and to the moment, to our forgotten selves and to those we have not yet become.

THE REV. CANON TOM MILLER Their

bodies of work provide an historic record, and at the same time, a living witness to the relentless investigation of what it means to be human.

“Centre of equal daughters, equal sons, All, all alike endear’d, grown, ungrown, young or old, Strong, ample, fair, enduring, capable, rich, Perennial with the Earth, with Freedom, Law and Love, A grand, sane, towering, seated Mother, Chair’d in the adamant of Time.”

WALT WHITMAN, INDUCTED INTO THE AMERICAN POETS CORNER, 1984

Top Anne Jackson, Eli Wallach, Sylvia Miles, Olympia Dukakis, John Guare, and Vanessa Redgrave at the American Poets Corner Induction Ceremony honoring Tennessee Williams, November 2009.

Bottom Cathedral Poet in Residence Marilyn Nelson.

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The American Poets Corner Induction

On the second Sunday in November, the annual Poets Corner induction ceremony honors an outstanding literary figure with an evening of readings and conversation with scholars, poets, and friends and family of the honoree.

LISA SCHUBERT The Poets Corner is our country’s only shrine to American Literature.

MARGARET DIEHL The American literary writer connects us to history and to the moment, to our forgotten selves and to those we have not yet become.

THE REV. CANON TOM MILLER Their

bodies of work provide an historic record, and at the same time, a living witness to the relentless investigation of what it means to be human.

“Centre of equal daughters, equal sons, All, all alike endear’d, grown, ungrown, young or old, Strong, ample, fair, enduring, capable, rich, Perennial with the Earth, with Freedom, Law and Love, A grand, sane, towering, seated Mother, Chair’d in the adamant of Time.”

WALT WHITMAN, INDUCTED INTO THE AMERICAN POETS CORNER, 1984

Top Anne Jackson, Eli Wallach, Sylvia Miles, Olympia Dukakis, John Guare, and Vanessa Redgrave at the American Poets Corner Induction Ceremony honoring Tennessee Williams, November 2009.

Bottom Cathedral Poet in Residence Marilyn Nelson.

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Winter Solstice

Each December, New Yorkers are invited to the Cathedral for the Winter Solstice Celebration.

The concert celebrates the beginning of winter and the longest night of the calendar year.

PAUL WINTER I could never have imagined then that this would become an annual tradition and that the event would be enduring 40 years later.

Christmas Eve Lessons and Carols

Christmas week is a jubilant series of orchestral performances, choral concerts, caroling, and services for family. The festivities of Christmas week culminate in the Christmas Eve Festal Eucharist and the splendor of Christmas morning’s Choral Eucharist.

TOM FEDOREK A

lot of children attend and you see these huge puppets of the Virgin Mary, the Angel Gabriel, Joseph, and of course the baby Jesus walk slowly through the Cathedral.

There is one person inside the puppet and two other puppeteers to manipulate the arms.

I have friends who think the Cathedral is kind of a weird place. I enjoy telling them that on Christmas I play the Virgin Mary here.

Previous The Winter Solstice Celebration is an extravaganza of music and dance, offering a contemporary take on ancient solstice rituals.

SUB-DEAN PAT MALLOY Most of the people who come to us on Christmas don’t go to church at other times of the year, but they want to be here at those special times. We have so many people who show up, just thousands of people who show up. I’m always struck by how much good we can do here simply by welcoming people here.

Top left The dancers and drummers of the Cathedral Artists in Residence, Forces of Nature Dance Theatre welcome the return of the sun at the Winter Solstice Celebration.

Top right The Cathedral’s Peace Tree is dedicated to world peace.

The crane symbolizes happiness and long life in Japan where legend claims that it lives for 1,000 years.

Folding 1,000 origami cranes is said to make wishes come true. Lore Schirokauer, a friend and longtime volunteer at the Cathedral, suggested the Christmas Peace Tree in the mid-1980s.

Bottom The Rev. Kent Curtis, verger Tom Hurwitz, Bishop Dietsche, Margaret Klenk, the Rev. Canon Blake Rider, and members of the Diocesan clergy lead the Christmas Mass.

Following On Christmas Eve, the Cathedral Choristers and Cathedral Choir lead a family-friendly service that includes towering puppets to tell the Nativity Story.

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Winter Solstice

Each December, New Yorkers are invited to the Cathedral for the Winter Solstice Celebration.

The concert celebrates the beginning of winter and the longest night of the calendar year.

PAUL WINTER I could never have imagined then that this would become an annual tradition and that the event would be enduring 40 years later.

Christmas Eve Lessons and Carols

Christmas week is a jubilant series of orchestral performances, choral concerts, caroling, and services for family. The festivities of Christmas week culminate in the Christmas Eve Festal Eucharist and the splendor of Christmas morning’s Choral Eucharist.

TOM FEDOREK A

lot of children attend and you see these huge puppets of the Virgin Mary, the Angel Gabriel, Joseph, and of course the baby Jesus walk slowly through the Cathedral.

There is one person inside the puppet and two other puppeteers to manipulate the arms.

I have friends who think the Cathedral is kind of a weird place. I enjoy telling them that on Christmas I play the Virgin Mary here.

Previous The Winter Solstice Celebration is an extravaganza of music and dance, offering a contemporary take on ancient solstice rituals.

SUB-DEAN PAT MALLOY Most of the people who come to us on Christmas don’t go to church at other times of the year, but they want to be here at those special times. We have so many people who show up, just thousands of people who show up. I’m always struck by how much good we can do here simply by welcoming people here.

Top left The dancers and drummers of the Cathedral Artists in Residence, Forces of Nature Dance Theatre welcome the return of the sun at the Winter Solstice Celebration.

Top right The Cathedral’s Peace Tree is dedicated to world peace.

The crane symbolizes happiness and long life in Japan where legend claims that it lives for 1,000 years.

Folding 1,000 origami cranes is said to make wishes come true. Lore Schirokauer, a friend and longtime volunteer at the Cathedral, suggested the Christmas Peace Tree in the mid-1980s.

Bottom The Rev. Kent Curtis, verger Tom Hurwitz, Bishop Dietsche, Margaret Klenk, the Rev. Canon Blake Rider, and members of the Diocesan clergy lead the Christmas Mass.

Following On Christmas Eve, the Cathedral Choristers and Cathedral Choir lead a family-friendly service that includes towering puppets to tell the Nativity Story.

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5 Mission “You look up at those flags and think, ‘Yes, that’s what we need.’

Those flags saying that everybody should come. That everybody is welcome from everywhere. Immigrants we all are.” JESSYE NORMAN

First a Church

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Music 173 The Arts

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A Convening Authority

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Unfinished: A Cathedral for the 21st Century 193

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5 Mission “You look up at those flags and think, ‘Yes, that’s what we need.’

Those flags saying that everybody should come. That everybody is welcome from everywhere. Immigrants we all are.” JESSYE NORMAN

First a Church

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Music 173 The Arts

179

A Convening Authority

187

Unfinished: A Cathedral for the 21st Century 193

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First a Church Cathedrals, regardless of size or splendor, are set apart from all other churches as the seat of a bishop and principle church of a diocese. The building reflects the glory of God as it houses the works of its community. At an Episcopal cathedral, scripture, tradition, and reason are equally valued. Every service and each event here gives witness to what lies at the core of our worship: the opening of the spirit.

Here We Worship God

SUB-DEAN PAT MALLOY The Cathedral is a house of prayer, a meeting place, a forum for discussion, a host to extraordinary events—and it is more than all of these. It is a sanctuary. It is where people come to build an abiding connection to each other and to God. DEAN MORTON The

word “religion” comes from the Latin verb regligare: meaning “to connect, to join together.” The function of every religion and every holy place is to make humans feel connected to all other human beings, to the earth, the cosmos­—and ultimately to the Divine.

BILL BAKER We easily forget that of the sevenand-a-half-billion people on this earth, 85 percent, over six billion, have faith or are seeking faith.

Faith is critical to most people on earth and has been through all of history. And somehow, that faith gets those billions of people through their daily lives and gives them a moral direction.

BISHOP MANNING Here

in this metropolis of the new world, we are erecting this great building for no material or utilitarian purpose but to witness to the things that are eternal. This building speaks of the Heavenly realities, of the power and glory of the supernatural.

DEAN DANIEL This place is meant to be overwhelming, it is meant to be grand. But in the end, what the grandeur encases is the heart of love that yearns to touch human life. That’s what it’s all about. The love of God for all humans.

It is my job as one who serves in this place to express that love the best I can in order that others might experience something of the love that created this building, our world, and everything in it. The cathedral is the spiritual center of the diocese. It’s where the Bishop sits, and it is where as a larger body, we’re drawn to convene and express what we can never express quite completely in our smaller parishes.

The Episcopal Diocese of New York includes 199 local parishes with approximately 66,000 members, 70 deacons, 600 priests and three bishops, including the Diocesan Bishop, who is the chief pastor.

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THE REV. CANON JAY WEGMAN The

cathedral is the hub of a diocesan wheel. Everything feeds into it. In turn, the cathedral feeds everything back to the churches in the diocese.

BISHOP DIETSCHE The first purpose of the Cathedral is to be the seat of the Bishop of New York. If you took away the Bishop’s chair they would have to change our name to "The Church of St. John the Divine."

BISHOP ALLEN SHIN Historically, there has been a tension between whether the Cathedral is a house of prayer for all people or the Episcopal Diocese of New York first. I think that’s a false dichotomy. It is an Episcopal Church, which is open. It also has the primary mission to welcome and be hospitable to all people from this city.

They go hand-in-hand.

DEAN DANIEL The Cathedral is a great crossroads where a community comes together.

It is like a mosaic of people and places and things. It expresses the diversity of that whole community.

THE REV. CANON JAY WEGMAN The

Cathedral is a living laboratory. It’s a place that sets the standards for liturgy, for preaching, for theology, and it does that by having a broad worldview.

Everything is contained within that building.

BISHOP DIETSCHE Why do we do have art in the Cathedral? Why do we have music? Why do we invite the city to be here? Why do elected officials speak from our pulpit, why do we engage in social action, direct ministries, and advocacy?

Because this is a church. If we start by saying it is a church, a place “set apart” for the Glory of God, it means we will bring into that space, before the altar, and into our midst the very best of what we have from the creation and the expressions of our co-creation with God as artists, or writers, or musicians. When we begin by saying the Cathedral is a space set apart for the Glory of God, which is what any church is, it then becomes what do we “do” in that space. We worship God. We come before God here. We bring our offerings and oblations, the supplications of our heart, our whole lives and labors before the altar and here we pray, we offer praise. Here we worship God.

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First a Church Cathedrals, regardless of size or splendor, are set apart from all other churches as the seat of a bishop and principle church of a diocese. The building reflects the glory of God as it houses the works of its community. At an Episcopal cathedral, scripture, tradition, and reason are equally valued. Every service and each event here gives witness to what lies at the core of our worship: the opening of the spirit.

Here We Worship God

SUB-DEAN PAT MALLOY The Cathedral is a house of prayer, a meeting place, a forum for discussion, a host to extraordinary events—and it is more than all of these. It is a sanctuary. It is where people come to build an abiding connection to each other and to God. DEAN MORTON The

word “religion” comes from the Latin verb regligare: meaning “to connect, to join together.” The function of every religion and every holy place is to make humans feel connected to all other human beings, to the earth, the cosmos­—and ultimately to the Divine.

BILL BAKER We easily forget that of the sevenand-a-half-billion people on this earth, 85 percent, over six billion, have faith or are seeking faith.

Faith is critical to most people on earth and has been through all of history. And somehow, that faith gets those billions of people through their daily lives and gives them a moral direction.

BISHOP MANNING Here

in this metropolis of the new world, we are erecting this great building for no material or utilitarian purpose but to witness to the things that are eternal. This building speaks of the Heavenly realities, of the power and glory of the supernatural.

DEAN DANIEL This place is meant to be overwhelming, it is meant to be grand. But in the end, what the grandeur encases is the heart of love that yearns to touch human life. That’s what it’s all about. The love of God for all humans.

It is my job as one who serves in this place to express that love the best I can in order that others might experience something of the love that created this building, our world, and everything in it. The cathedral is the spiritual center of the diocese. It’s where the Bishop sits, and it is where as a larger body, we’re drawn to convene and express what we can never express quite completely in our smaller parishes.

The Episcopal Diocese of New York includes 199 local parishes with approximately 66,000 members, 70 deacons, 600 priests and three bishops, including the Diocesan Bishop, who is the chief pastor.

166

THE REV. CANON JAY WEGMAN The

cathedral is the hub of a diocesan wheel. Everything feeds into it. In turn, the cathedral feeds everything back to the churches in the diocese.

BISHOP DIETSCHE The first purpose of the Cathedral is to be the seat of the Bishop of New York. If you took away the Bishop’s chair they would have to change our name to "The Church of St. John the Divine."

BISHOP ALLEN SHIN Historically, there has been a tension between whether the Cathedral is a house of prayer for all people or the Episcopal Diocese of New York first. I think that’s a false dichotomy. It is an Episcopal Church, which is open. It also has the primary mission to welcome and be hospitable to all people from this city.

They go hand-in-hand.

DEAN DANIEL The Cathedral is a great crossroads where a community comes together.

It is like a mosaic of people and places and things. It expresses the diversity of that whole community.

THE REV. CANON JAY WEGMAN The

Cathedral is a living laboratory. It’s a place that sets the standards for liturgy, for preaching, for theology, and it does that by having a broad worldview.

Everything is contained within that building.

BISHOP DIETSCHE Why do we do have art in the Cathedral? Why do we have music? Why do we invite the city to be here? Why do elected officials speak from our pulpit, why do we engage in social action, direct ministries, and advocacy?

Because this is a church. If we start by saying it is a church, a place “set apart” for the Glory of God, it means we will bring into that space, before the altar, and into our midst the very best of what we have from the creation and the expressions of our co-creation with God as artists, or writers, or musicians. When we begin by saying the Cathedral is a space set apart for the Glory of God, which is what any church is, it then becomes what do we “do” in that space. We worship God. We come before God here. We bring our offerings and oblations, the supplications of our heart, our whole lives and labors before the altar and here we pray, we offer praise. Here we worship God.

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A Visual Symbol of Faith

DEAN KOWALSKI There is nowhere you can go that has not been touched by the love of God. I don’t care what bad thing you do, you cannot be separated from that love. It just can’t happen.

MARSHA RA One Sunday morning, I just walked into the Cathedral. And I was terrified.

My experience at first was that it was very dark, very big, very frightening. Then the organ started playing and procession started and you just had the sense that something really important was happening. I knew I was where I had to be. I know that every Sunday something very important happens and I’m a part of it and I’m very glad to be here. I think it’s the kindness and I think it fills everybody.

BISHOP DIETSCHE It’s not an easy thing to come before God. When we begin talking about coming before God, immediately we are captivated by our sense of unworthiness, the shame that we carry in our life, all the guilt, the things that we’ve done to other people, things that other people have done to us. All of this is the knot with which people live. We bring that into the church with us.

And we want the church to create an opening where we can come in and apprehend—and I don’t mean an emotional feeling—but apprehend the presence of the spirit and have an authentic encounter with God where we may know we are forgiven and where we may forgive others and become one. Jesus said, “I only came for one reason: that all may be one as the Father and I are one.” He came to make us one. And we come into the church that we may be reformed as a holy people. This place is set apart for the glory of God. It becomes a clearing in the thicket of the world. So, when we gather in the Cathedral or any of the other 199 churches in my Diocese, or any other church in the world, we come to that clearing.

MARILYN NELSON A church has to be there to gently help people to wake up, to remind people that they are followers of the Christ, to indicate to people what Christ’s nature is, to help people think through ethical issues.

Top left Farewell service for Bishop Moore, June 11, 1989.

KALIE KAMARA People can go to religious sanctuaries thinking they are going to get their answers that day. But the Cathedral is always here. It’s always going to be here. Coming here is more like a piece to a puzzle for the next time or even the time after. Really, it’s for your whole life.

DEAN KOWALSKI People are struggling to understand the spirituality of being human, or just “being what I’m meant to be.”

They come here, and they start resonating.

They start feeling they’ve come home.

MARILYN NELSON A church is not a where; it is a when. It’s when we gather to invite awe, when we strip our faith naked down to doubt, when we struggle to see beyond the surfaces to the bedrock of striving to understand. When ethics are not thou-shalt-nots carved in stone, but choices written with a stick in dust.

DENNIS REED

In Harlem, Christianity for young black men is not a welcome option. It represents “turn the other cheek, be submissive.” I was surrounded by that. But as a kid I felt the rites of the church like a magnet. I would hear the name of Christ and cry. This pulled at me, and I wanted that to come out. Because of its bigness and the eternal stone, the Cathedral is a visual symbol of faith. The only place that could hold me was something as big and strong as the Cathedral. The grandeur and bigness center me.

Every Sunday, amid the pageantry, I find deeper insights into the origins of the service. It’s a whole world for me.

MARSHA RA I hope that the Cathedral can be strong enough to survive hundreds of years into the future. People say they are spiritual not religious, but to me, you can’t be spiritual without religion—it doesn’t work. You can’t grow on your own. I would like to see the Congregation of St. Saviour remain spiritually very strong.

BISHOP DIETSCHE When I get up into the pulpit and I look out on 3,000 people, I know that there are people in the Cathedral who just found that they have Stage IV colon cancer and it’s inoperable.

There are people sitting next to their spouse and they both know it’s over. There are people who are desperate for a child who’s spinning away from them. We bring all that with us into the church.

We need the church to help us to apprehend the presence of the spirit. We need the church to help us make that journey into the presence of God.

Top right A Cathedral Chorister.

Middle right Procession in the Nave, March 2018.

Bottom left Dean Kowalski at the pulpit.

Bottom right Misa Español celebrated at the Altar for Peace by the Rev. Canon John B. Luce, January 1987.

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A Visual Symbol of Faith

DEAN KOWALSKI There is nowhere you can go that has not been touched by the love of God. I don’t care what bad thing you do, you cannot be separated from that love. It just can’t happen.

MARSHA RA One Sunday morning, I just walked into the Cathedral. And I was terrified.

My experience at first was that it was very dark, very big, very frightening. Then the organ started playing and procession started and you just had the sense that something really important was happening. I knew I was where I had to be. I know that every Sunday something very important happens and I’m a part of it and I’m very glad to be here. I think it’s the kindness and I think it fills everybody.

BISHOP DIETSCHE It’s not an easy thing to come before God. When we begin talking about coming before God, immediately we are captivated by our sense of unworthiness, the shame that we carry in our life, all the guilt, the things that we’ve done to other people, things that other people have done to us. All of this is the knot with which people live. We bring that into the church with us.

And we want the church to create an opening where we can come in and apprehend—and I don’t mean an emotional feeling—but apprehend the presence of the spirit and have an authentic encounter with God where we may know we are forgiven and where we may forgive others and become one. Jesus said, “I only came for one reason: that all may be one as the Father and I are one.” He came to make us one. And we come into the church that we may be reformed as a holy people. This place is set apart for the glory of God. It becomes a clearing in the thicket of the world. So, when we gather in the Cathedral or any of the other 199 churches in my Diocese, or any other church in the world, we come to that clearing.

MARILYN NELSON A church has to be there to gently help people to wake up, to remind people that they are followers of the Christ, to indicate to people what Christ’s nature is, to help people think through ethical issues.

Top left Farewell service for Bishop Moore, June 11, 1989.

KALIE KAMARA People can go to religious sanctuaries thinking they are going to get their answers that day. But the Cathedral is always here. It’s always going to be here. Coming here is more like a piece to a puzzle for the next time or even the time after. Really, it’s for your whole life.

DEAN KOWALSKI People are struggling to understand the spirituality of being human, or just “being what I’m meant to be.”

They come here, and they start resonating.

They start feeling they’ve come home.

MARILYN NELSON A church is not a where; it is a when. It’s when we gather to invite awe, when we strip our faith naked down to doubt, when we struggle to see beyond the surfaces to the bedrock of striving to understand. When ethics are not thou-shalt-nots carved in stone, but choices written with a stick in dust.

DENNIS REED

In Harlem, Christianity for young black men is not a welcome option. It represents “turn the other cheek, be submissive.” I was surrounded by that. But as a kid I felt the rites of the church like a magnet. I would hear the name of Christ and cry. This pulled at me, and I wanted that to come out. Because of its bigness and the eternal stone, the Cathedral is a visual symbol of faith. The only place that could hold me was something as big and strong as the Cathedral. The grandeur and bigness center me.

Every Sunday, amid the pageantry, I find deeper insights into the origins of the service. It’s a whole world for me.

MARSHA RA I hope that the Cathedral can be strong enough to survive hundreds of years into the future. People say they are spiritual not religious, but to me, you can’t be spiritual without religion—it doesn’t work. You can’t grow on your own. I would like to see the Congregation of St. Saviour remain spiritually very strong.

BISHOP DIETSCHE When I get up into the pulpit and I look out on 3,000 people, I know that there are people in the Cathedral who just found that they have Stage IV colon cancer and it’s inoperable.

There are people sitting next to their spouse and they both know it’s over. There are people who are desperate for a child who’s spinning away from them. We bring all that with us into the church.

We need the church to help us to apprehend the presence of the spirit. We need the church to help us make that journey into the presence of God.

Top right A Cathedral Chorister.

Middle right Procession in the Nave, March 2018.

Bottom left Dean Kowalski at the pulpit.

Bottom right Misa Español celebrated at the Altar for Peace by the Rev. Canon John B. Luce, January 1987.

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An Authentic Experience of God

BISHOP DIETSCHE Our Episcopal house of prayer for all people invites those from many faiths to worship together in services held more than 30 times a week.

ANNE HARRISON Through the quiet round of daily services and the splendor of festive occasions it is the regular worship that undergirds everything that happens here.

MADELEINE L’ENGLE On any Sunday you will see worshippers of all races and of every economic standard. When I think of Jesus’ friends, and the people with whom He associated, I think He would have been at home with the Cathedral congregation.

DEAN MORTON The ancient word for worship is the Greek Madeleine eucharistia, “communion,” the emotional response to feeling connected— gratitude, thankfulness, and joy. It’s wonderful to be with my friend, my lover, my God and Lord.

BISHOP DIETSCHE What we’re trying to do in the church is to clear that space in the world whereby we may know the presence of the Holy Spirit and have an authentic experience of God. That’s what this is all about. When we get this right we can help people have an experience of God that is life transforming.

JAMES CARROLL The

Bible never exempts itself from its own judgment. In a similar way, the Cathedral speaks of and to its world from within because it points beyond itself to God as the one who saves. The Cathedral is not silenced by its own disorders, its own need to be redeemed.

Indeed, its message is: We all need to be redeemed.

MADELEINE L’ENGLE The central activity of the church given to the disciples by Jesus is also the central activity of the Cathedral. There are celebrations of Holy Communion every day.

DEAN KOWALSKI The moment of the sacramental transformation is when we consecrate the bread and the wine, the body, and blood of Christ. “Christ has died, Christ has risen, Christ will come again.”

My arms are stretched back to the communion of saints and out toward the future. The old, the now, and the new. The point is the sacramental life, where ordinary things become extraordinary things.

You start looking at what things can reveal. You are surprised by God. JAMES CARROLL The

vibrancy, enthusiasm, diversity and mere happiness that are the marks of this place and its people make the Cathedral’s simple, strong statement. Its many voices say finally the same thing, this: The Redeemer comes and comes and comes again. Jesus Christ. To name Him and welcome Him and submit to Him and eat with Him and hand over to Him all our troubles, the city’s, nation’s, world’s, and finally to glory in Him is the point of every song, sermon, and stone that builds this place, one on top of another; around the Book and around the Bread, even now.

Bishop Dietsche celebrating the Eucharist with clergy including the Most Rev. Katherine Jefferts Schori and the Rt. Rev. Mark S. Sisk.

“Planning communion for 3,500 people is like planning the invasion of Normandy.” bishop dietsche 170

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An Authentic Experience of God

BISHOP DIETSCHE Our Episcopal house of prayer for all people invites those from many faiths to worship together in services held more than 30 times a week.

ANNE HARRISON Through the quiet round of daily services and the splendor of festive occasions it is the regular worship that undergirds everything that happens here.

MADELEINE L’ENGLE On any Sunday you will see worshippers of all races and of every economic standard. When I think of Jesus’ friends, and the people with whom He associated, I think He would have been at home with the Cathedral congregation.

DEAN MORTON The ancient word for worship is the Greek Madeleine eucharistia, “communion,” the emotional response to feeling connected— gratitude, thankfulness, and joy. It’s wonderful to be with my friend, my lover, my God and Lord.

BISHOP DIETSCHE What we’re trying to do in the church is to clear that space in the world whereby we may know the presence of the Holy Spirit and have an authentic experience of God. That’s what this is all about. When we get this right we can help people have an experience of God that is life transforming.

JAMES CARROLL The

Bible never exempts itself from its own judgment. In a similar way, the Cathedral speaks of and to its world from within because it points beyond itself to God as the one who saves. The Cathedral is not silenced by its own disorders, its own need to be redeemed.

Indeed, its message is: We all need to be redeemed.

MADELEINE L’ENGLE The central activity of the church given to the disciples by Jesus is also the central activity of the Cathedral. There are celebrations of Holy Communion every day.

DEAN KOWALSKI The moment of the sacramental transformation is when we consecrate the bread and the wine, the body, and blood of Christ. “Christ has died, Christ has risen, Christ will come again.”

My arms are stretched back to the communion of saints and out toward the future. The old, the now, and the new. The point is the sacramental life, where ordinary things become extraordinary things.

You start looking at what things can reveal. You are surprised by God. JAMES CARROLL The

vibrancy, enthusiasm, diversity and mere happiness that are the marks of this place and its people make the Cathedral’s simple, strong statement. Its many voices say finally the same thing, this: The Redeemer comes and comes and comes again. Jesus Christ. To name Him and welcome Him and submit to Him and eat with Him and hand over to Him all our troubles, the city’s, nation’s, world’s, and finally to glory in Him is the point of every song, sermon, and stone that builds this place, one on top of another; around the Book and around the Bread, even now.

Bishop Dietsche celebrating the Eucharist with clergy including the Most Rev. Katherine Jefferts Schori and the Rt. Rev. Mark S. Sisk.

“Planning communion for 3,500 people is like planning the invasion of Normandy.” bishop dietsche 170

171

Music The first music of the Cathedral is traditional Anglican church music, but we also celebrate earth music, early music, jazz, rock, Broadway, gospel, and programs from all around the world: Sephardic and Sufi songs, Japanese flutes, Tibetan chants, and African drums—to name just a few. As we say at the Cathedral, “All are welcome.”

The Sacred is Clear

“Glorious music fulfills its highest function by being transmuted into praise.”

CATHEDRAL ARCHIVES PAUL WINTER Playing in the Cathedral is always a revelation. The first time I took my horn into the Cathedral, it was empty. I stood in the reverberating silence for a moment. When I began to play, the sound floated and hovered.

It seemed to glow with a richness I had never known before. The acoustics here combine thousands of tiny echoes bouncing off all the surfaces at different distances. Each time, the glory of the sound is more magical than I had remembered.

KENT TRITLE The sacred element is absolutely clear here. You are hearing something beautiful surrounded by arches, stained glass, and all these objects of spiritual significance in the staggering dimensions of this space.

JESSYE NORMAN

I’ve sung in cathedrals around the world. In some of the grand cathedrals, one can feel rather small and not a part of what is happening. But it isn’t the same here.

This is a place where light and peace just grab you.

Here, there is a oneness with the grandeur of the space that is not overwhelming to the spirit.

One finds a beautiful feeling of calm and involvement always. I don’t know how else to describe it, but it isn’t like singing at a concert at all. It is something more personal about being in that space and making music. Even when the Church is full of so many people, when you are there you feel that it is happening just for you.

I have been attached to the Cathedral since I was 21. That is a long relationship.

JUDY COLLINS

For a long time, I have sung at the Cathedral on Easter Morning and New Year’s Eve. When I first saw the Cathedral, I thought, “I need to sing in this place and I’m going to sing a capella here.” I usually wind up singing Amazing Grace. It is like a prayer not only for me, but for everybody in the Cathedral.

JOHN CLINTON EISNER A

lot of the most profound experiences of being at the Cathedral are hearing the words spoken. But when you sing, it is even more beautiful: The lyrics are essentially in poetic form and so they become metaphoric.

DEAN KOWALSKI The best way to know what it is to be Anglican is to come to church and listen to how we pray and listen to our hymns.

BRUCE NESWICK Music and worship have been tied together as far back as we can trace.

And that music has taken many forms. But in Christian services, the human voice has always been considered the most sacred and for centuries the only acceptable instrument.

BRUCE FIFER Who is singing? The music is part of the place, the place is part of the liturgy, the liturgy absorbs the congregation…. Who is singing? Who is singing is God. With me, in me, through me, is me.

KENT TRITLE The Cathedral looms large in the imagination of the city. The vision of what it can be both liturgically and secularly as an icon for New Yorkers is extraordinary. Music is the thing that can draw New Yorkers from different cultures here and because of the scale of the Cathedral, we can do it at a level other places only dream of.

Theresa Thomason at the Feast of Saint Francis.

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173

Music The first music of the Cathedral is traditional Anglican church music, but we also celebrate earth music, early music, jazz, rock, Broadway, gospel, and programs from all around the world: Sephardic and Sufi songs, Japanese flutes, Tibetan chants, and African drums—to name just a few. As we say at the Cathedral, “All are welcome.”

The Sacred is Clear

“Glorious music fulfills its highest function by being transmuted into praise.”

CATHEDRAL ARCHIVES PAUL WINTER Playing in the Cathedral is always a revelation. The first time I took my horn into the Cathedral, it was empty. I stood in the reverberating silence for a moment. When I began to play, the sound floated and hovered.

It seemed to glow with a richness I had never known before. The acoustics here combine thousands of tiny echoes bouncing off all the surfaces at different distances. Each time, the glory of the sound is more magical than I had remembered.

KENT TRITLE The sacred element is absolutely clear here. You are hearing something beautiful surrounded by arches, stained glass, and all these objects of spiritual significance in the staggering dimensions of this space.

JESSYE NORMAN

I’ve sung in cathedrals around the world. In some of the grand cathedrals, one can feel rather small and not a part of what is happening. But it isn’t the same here.

This is a place where light and peace just grab you.

Here, there is a oneness with the grandeur of the space that is not overwhelming to the spirit.

One finds a beautiful feeling of calm and involvement always. I don’t know how else to describe it, but it isn’t like singing at a concert at all. It is something more personal about being in that space and making music. Even when the Church is full of so many people, when you are there you feel that it is happening just for you.

I have been attached to the Cathedral since I was 21. That is a long relationship.

JUDY COLLINS

For a long time, I have sung at the Cathedral on Easter Morning and New Year’s Eve. When I first saw the Cathedral, I thought, “I need to sing in this place and I’m going to sing a capella here.” I usually wind up singing Amazing Grace. It is like a prayer not only for me, but for everybody in the Cathedral.

JOHN CLINTON EISNER A

lot of the most profound experiences of being at the Cathedral are hearing the words spoken. But when you sing, it is even more beautiful: The lyrics are essentially in poetic form and so they become metaphoric.

DEAN KOWALSKI The best way to know what it is to be Anglican is to come to church and listen to how we pray and listen to our hymns.

BRUCE NESWICK Music and worship have been tied together as far back as we can trace.

And that music has taken many forms. But in Christian services, the human voice has always been considered the most sacred and for centuries the only acceptable instrument.

BRUCE FIFER Who is singing? The music is part of the place, the place is part of the liturgy, the liturgy absorbs the congregation…. Who is singing? Who is singing is God. With me, in me, through me, is me.

KENT TRITLE The Cathedral looms large in the imagination of the city. The vision of what it can be both liturgically and secularly as an icon for New Yorkers is extraordinary. Music is the thing that can draw New Yorkers from different cultures here and because of the scale of the Cathedral, we can do it at a level other places only dream of.

Theresa Thomason at the Feast of Saint Francis.

172

173

An Acoustic Marvel

KENT TRITLE The Cathedral’s Great Organ is one of the top ten in America. The original organ is from 1911. It was renovated and expanded in 1954. Then, because there was no funding for repairs, it was virtually untouched through the 1970s, 1980s, and 1990s. Ironically, the silver lining was the 2001 fire. When our organ was restored it was essentially in its original condition. All of that makes it an extremely sought-after instrument for people who want to record or play concerts.

DAVID BRIGGS When I first came here the organ console looked as though it had chickenpox— many of the stops had little red dots stuck on them, which meant “these don’t work.” Since the magnificent restoration after the fire, the organ is one of the very finest instruments in the world.

“Rolling down the Cathedral came the brilliant notes of the organ rising up to the great arched vault in a curving wave of sound.”

MADELEINE L’ENGLE DOUG HUNT The Great Organ has several extraordinary features, including the world famous State Trumpet above the Cathedral’s West End, one of the most powerful organ stops in the world.

It is considered a masterpiece of American pipe organ building.

KENT TRITLE Acoustically, this is a challenging environment. Understanding what’s going on in the room is hard. It’s a room and it’s a room of different rooms. The structure, the weightiness, the wood and the rock create different sounds in different parts of the Cathedral. If the sound is not done right, it can make a total jumble.

PAUL WINTER Purists might say there is not enough clarity. But these “live” acoustics generate a collective embrace that to me transcends those considerations. This tsunami of sound has a living spirit that speaks of life.

DAVID BRIGGS I believe strongly that people’s lives can be changed by organ music, especially in an ambience like St. John the Divine. It has something to do with the vibrations, which can affect the very deepest parts of our consciousness— no other instrument can really do this in quite the same way. The word “awesome” is often used colloquially, but every time this word does sum up the experience of playing in the Cathedral. You’re really aware of the infinite grandeur, warmth, and serenity of God.

DEAN DANIEL When I was a very young priest, a group of my friends and I were invited up into the organ loft. A man welcomed us and said, “Why don’t you sit down and play? I said, “I can’t play the organ.” He said, “All right. Then just press that key.” So I pressed the key but nothing happened. I pressed it again. Nothing. Then I heard the state trumpet go “Waaaaeeeee.”

The man explained that it takes seven seconds for sound to get from the back of the Cathedral to the front. I said, “So if you make a mistake, you don’t hear it for seven seconds?” He said, “Yes. So just keep playing.” I’ve used that same principle in services. If you stop, you’re lost so just keep on playing. It’s a great insight for life.

Top Dean Daniel with Paul Winter at the Winter Solstice Celebration, December 2017.

Bottom left The final performance of the legendary Aretha Franklin at the Cathedral at the Elton John Foundation AIDS Foundation Benefit, November 7, 2017.

Bottom right The Cathedral contains six organs. The largest, the Great Organ, is located in the eastern loft. It was built by the Ernest M. Skinner Company in 1910 as Op. 150, and rebuilt and enlarged by G. Donald Harrison of Aeolian-Skinner in 1954 as Op. 150-A. After the 2001 fire, the Great Organ was restored

by Quimby Pipe Organs of Warrensburgh, Missouri.

174

175

An Acoustic Marvel

KENT TRITLE The Cathedral’s Great Organ is one of the top ten in America. The original organ is from 1911. It was renovated and expanded in 1954. Then, because there was no funding for repairs, it was virtually untouched through the 1970s, 1980s, and 1990s. Ironically, the silver lining was the 2001 fire. When our organ was restored it was essentially in its original condition. All of that makes it an extremely sought-after instrument for people who want to record or play concerts.

DAVID BRIGGS When I first came here the organ console looked as though it had chickenpox— many of the stops had little red dots stuck on them, which meant “these don’t work.” Since the magnificent restoration after the fire, the organ is one of the very finest instruments in the world.

“Rolling down the Cathedral came the brilliant notes of the organ rising up to the great arched vault in a curving wave of sound.”

MADELEINE L’ENGLE DOUG HUNT The Great Organ has several extraordinary features, including the world famous State Trumpet above the Cathedral’s West End, one of the most powerful organ stops in the world.

It is considered a masterpiece of American pipe organ building.

KENT TRITLE Acoustically, this is a challenging environment. Understanding what’s going on in the room is hard. It’s a room and it’s a room of different rooms. The structure, the weightiness, the wood and the rock create different sounds in different parts of the Cathedral. If the sound is not done right, it can make a total jumble.

PAUL WINTER Purists might say there is not enough clarity. But these “live” acoustics generate a collective embrace that to me transcends those considerations. This tsunami of sound has a living spirit that speaks of life.

DAVID BRIGGS I believe strongly that people’s lives can be changed by organ music, especially in an ambience like St. John the Divine. It has something to do with the vibrations, which can affect the very deepest parts of our consciousness— no other instrument can really do this in quite the same way. The word “awesome” is often used colloquially, but every time this word does sum up the experience of playing in the Cathedral. You’re really aware of the infinite grandeur, warmth, and serenity of God.

DEAN DANIEL When I was a very young priest, a group of my friends and I were invited up into the organ loft. A man welcomed us and said, “Why don’t you sit down and play? I said, “I can’t play the organ.” He said, “All right. Then just press that key.” So I pressed the key but nothing happened. I pressed it again. Nothing. Then I heard the state trumpet go “Waaaaeeeee.”

The man explained that it takes seven seconds for sound to get from the back of the Cathedral to the front. I said, “So if you make a mistake, you don’t hear it for seven seconds?” He said, “Yes. So just keep playing.” I’ve used that same principle in services. If you stop, you’re lost so just keep on playing. It’s a great insight for life.

Top Dean Daniel with Paul Winter at the Winter Solstice Celebration, December 2017.

Bottom left The final performance of the legendary Aretha Franklin at the Cathedral at the Elton John Foundation AIDS Foundation Benefit, November 7, 2017.

Bottom right The Cathedral contains six organs. The largest, the Great Organ, is located in the eastern loft. It was built by the Ernest M. Skinner Company in 1910 as Op. 150, and rebuilt and enlarged by G. Donald Harrison of Aeolian-Skinner in 1954 as Op. 150-A. After the 2001 fire, the Great Organ was restored

by Quimby Pipe Organs of Warrensburgh, Missouri.

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Performance and Choral Groups

KENT TRITLE Great Music in a Great Space is comprised of three concert series: the Great Choir choral series, the Great Organ recital series, and the holiday concerts for the Christmas season and New Year’s Eve.

Here we have a place that invokes so much imagination, and at the same time, knocks the socks off the people.

The members of our 14-voice professional Cathedral Choir include some of the city’s finest choral performers; many are accomplished soloists in their own right. The Cathedral Chorale is an auditioned volunteer choir with members from the neighborhood and greater New York City.

BRYAN ZAROS The Cathedral Choristers are an ensemble of 20-30 students from The Cathedral School’s 4th through 8th grade classes founded when The Cathedral School opened its doors in 1901. Performances have include concerts at Carnegie Hall, a music video with Placido Domingo and the Piano Guys, Evensong at the National Cathedral in Washington, D.C., and residencies at Christ Church Cathedral, Dublin, and Westminster Abbey, London.

BISHOP DIETSCHE We have concerts here because that music is an expression of the Glory of God. It is an expression of what we must say as people, as creatures, of what we must say back to God. And we say it in the form of these incredible pieces of music, the language of a great Handel oratorio, the wonderful poetic expressions of the songs.

All of this is here in the Cathedral because music is a way that we lift ourselves up before God. We express the beauty of the creation, the wonder of God and then we well up with it and give it back.

PHILIPPE PETIT There is something otherworldly about listening to the song of prayers.

Sometimes, in the evening, you hear the beautiful songs and see the procession with the candles that finish the day from above. It is a trip to the Middle Ages.

JENNIFER DORR WHITE

At the end of third grade all the students have to audition for the Cathedral choir. When my daughter Hannah started at the School, she said, “I absolutely do not want to be in the choir.” So we were surprised when they called to say she got in. I went down to her bedroom and said, “Hannah, you’ve been accepted. Do you want to do it?” Immediately her face lit up, "Oh, I would love to!"

Top Kent Tritle, Director of Cathedral Music and organist.

Center Wynton Marsalis leads his Dixieland Band up the Nave.

Bottom left The Cathedral Choristers.

Bottom right Drummers from the Forces of Nature Dance Theatre, Cathedral Artists in Residence.

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Performance and Choral Groups

KENT TRITLE Great Music in a Great Space is comprised of three concert series: the Great Choir choral series, the Great Organ recital series, and the holiday concerts for the Christmas season and New Year’s Eve.

Here we have a place that invokes so much imagination, and at the same time, knocks the socks off the people.

The members of our 14-voice professional Cathedral Choir include some of the city’s finest choral performers; many are accomplished soloists in their own right. The Cathedral Chorale is an auditioned volunteer choir with members from the neighborhood and greater New York City.

BRYAN ZAROS The Cathedral Choristers are an ensemble of 20-30 students from The Cathedral School’s 4th through 8th grade classes founded when The Cathedral School opened its doors in 1901. Performances have include concerts at Carnegie Hall, a music video with Placido Domingo and the Piano Guys, Evensong at the National Cathedral in Washington, D.C., and residencies at Christ Church Cathedral, Dublin, and Westminster Abbey, London.

BISHOP DIETSCHE We have concerts here because that music is an expression of the Glory of God. It is an expression of what we must say as people, as creatures, of what we must say back to God. And we say it in the form of these incredible pieces of music, the language of a great Handel oratorio, the wonderful poetic expressions of the songs.

All of this is here in the Cathedral because music is a way that we lift ourselves up before God. We express the beauty of the creation, the wonder of God and then we well up with it and give it back.

PHILIPPE PETIT There is something otherworldly about listening to the song of prayers.

Sometimes, in the evening, you hear the beautiful songs and see the procession with the candles that finish the day from above. It is a trip to the Middle Ages.

JENNIFER DORR WHITE

At the end of third grade all the students have to audition for the Cathedral choir. When my daughter Hannah started at the School, she said, “I absolutely do not want to be in the choir.” So we were surprised when they called to say she got in. I went down to her bedroom and said, “Hannah, you’ve been accepted. Do you want to do it?” Immediately her face lit up, "Oh, I would love to!"

Top Kent Tritle, Director of Cathedral Music and organist.

Center Wynton Marsalis leads his Dixieland Band up the Nave.

Bottom left The Cathedral Choristers.

Bottom right Drummers from the Forces of Nature Dance Theatre, Cathedral Artists in Residence.

176

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The Arts Art has always had a place in churches. The eye and imagination presenting and interpreting beauty is an act of devotion. From the early donation of rare tapestries to contemporary art exhibitions, the Cathedral celebrates creativity.

Giving Way to the Transcendent

“In art we are once again able to do all the things we have forgotten; we are able to walk on water; we speak to the angels who call us; we move, unfettered, among the stars.”

MADELEINE L’ENGLE BISHOP MANNING God has planted in all of us the longing for beauty, for greatness, for perfection. Here in this great Temple speaking to us of our fellowship with God, we find that deep instinct of our souls visibly and gloriously expressed. The Cathedral speaks to us of the limitless possibilities of our human nature. It tells us that “nothing is too great, or too high, or too beautiful, to be true,” that all this world is God’s, and that everything in art, in music, in the theatre, in literature, in education, should lift us nearer to Him. BILL BAKER Art makes us human, and art brings us closer to God. From the beginning, cathedrals were places where beautiful art was encouraged. When you come to a service or an event at the Cathedral, you feel the presence of God through the art. The presence of God, illuminated through all this beauty.

THE REV. CANON TOM MILLER In

Dancers and drummers from the Forces of Nature Dance Theatre perform with musicians at Paul Winter's Annual Winter Solstice Celebration.

178

Morningside Heights, the architecture of the Cathedral is certainly key to how closely the arts and faith work together on a grand scale to bring creativity both human and divine—and perhaps there is not too much difference between the two—to the life of St. John the Divine. In the Episcopal tradition, incarnation is an important part of the doctrine. So it is part of tradition to think that everyone in the world, not just church people, are created with this creative impulse.

Artists live to investigate and understand the world and sometimes advocate. As New York’s cathedral, we claim to be a house of prayer, broadly defined, for all people, which means we have a profile beyond our denominational identity or doctrinal focus. Our mission is to serve the enlightenment of all people in ways of justice and peace, and in that regard, to encourage respect for the dignity of all human beings.

Art helps us to do that.

DEAN MORTON From time immemorial, religion’s major partners in bringing people together in gratitude and thankfulness have been the arts: music, poetry, literature, dance, theater, architecture, sculpture, and the visual arts—all of which throughout history have deepened compassion leading to personal involvement in working for peace and justice.

BISHOP DIETSCHE The art that we are bringing here expresses the ways in which people are living out that attempt to give way to the transcendent.

A lot of the work we bring is very secular.

Every work doesn’t have to be a picture of Jesus.

That doesn’t matter because it is the artistic enterprise in itself that is sacred and that flows from God through us. I started off in architecture school and I worked as a cartoonist for years before I was a priest. Even when I am drawing a cartoon, I feel that it is an expression of something which is speaking in and through me of God. MARILYN NELSON The Cathedral uses contemporary art as a way of inviting people to that experience of awe. I don’t know another church that does anything quite like this.

When you invite art and artists into a place like this, you’re inviting them to bring their own most ambitious works. And the ambition of most artists is to create awe.

“I dwell in Possibility — A fairer House than Prose — More numerous of Windows — Superior — for Doors —” EMILY DICKINSON, INDUCTED INTO THE AMERICAN POETS CORNER, 1984

179

The Arts Art has always had a place in churches. The eye and imagination presenting and interpreting beauty is an act of devotion. From the early donation of rare tapestries to contemporary art exhibitions, the Cathedral celebrates creativity.

Giving Way to the Transcendent

“In art we are once again able to do all the things we have forgotten; we are able to walk on water; we speak to the angels who call us; we move, unfettered, among the stars.”

MADELEINE L’ENGLE BISHOP MANNING God has planted in all of us the longing for beauty, for greatness, for perfection. Here in this great Temple speaking to us of our fellowship with God, we find that deep instinct of our souls visibly and gloriously expressed. The Cathedral speaks to us of the limitless possibilities of our human nature. It tells us that “nothing is too great, or too high, or too beautiful, to be true,” that all this world is God’s, and that everything in art, in music, in the theatre, in literature, in education, should lift us nearer to Him. BILL BAKER Art makes us human, and art brings us closer to God. From the beginning, cathedrals were places where beautiful art was encouraged. When you come to a service or an event at the Cathedral, you feel the presence of God through the art. The presence of God, illuminated through all this beauty.

THE REV. CANON TOM MILLER In

Dancers and drummers from the Forces of Nature Dance Theatre perform with musicians at Paul Winter's Annual Winter Solstice Celebration.

178

Morningside Heights, the architecture of the Cathedral is certainly key to how closely the arts and faith work together on a grand scale to bring creativity both human and divine—and perhaps there is not too much difference between the two—to the life of St. John the Divine. In the Episcopal tradition, incarnation is an important part of the doctrine. So it is part of tradition to think that everyone in the world, not just church people, are created with this creative impulse.

Artists live to investigate and understand the world and sometimes advocate. As New York’s cathedral, we claim to be a house of prayer, broadly defined, for all people, which means we have a profile beyond our denominational identity or doctrinal focus. Our mission is to serve the enlightenment of all people in ways of justice and peace, and in that regard, to encourage respect for the dignity of all human beings.

Art helps us to do that.

DEAN MORTON From time immemorial, religion’s major partners in bringing people together in gratitude and thankfulness have been the arts: music, poetry, literature, dance, theater, architecture, sculpture, and the visual arts—all of which throughout history have deepened compassion leading to personal involvement in working for peace and justice.

BISHOP DIETSCHE The art that we are bringing here expresses the ways in which people are living out that attempt to give way to the transcendent.

A lot of the work we bring is very secular.

Every work doesn’t have to be a picture of Jesus.

That doesn’t matter because it is the artistic enterprise in itself that is sacred and that flows from God through us. I started off in architecture school and I worked as a cartoonist for years before I was a priest. Even when I am drawing a cartoon, I feel that it is an expression of something which is speaking in and through me of God. MARILYN NELSON The Cathedral uses contemporary art as a way of inviting people to that experience of awe. I don’t know another church that does anything quite like this.

When you invite art and artists into a place like this, you’re inviting them to bring their own most ambitious works. And the ambition of most artists is to create awe.

“I dwell in Possibility — A fairer House than Prose — More numerous of Windows — Superior — for Doors —” EMILY DICKINSON, INDUCTED INTO THE AMERICAN POETS CORNER, 1984

179

Divinity is Very Real

Top left Author Joan Didion and actor Vanessa Redgrave, who performed her one-woman shows of Didion's A Year of Magical Thinking in 2010 and Blue Nights in 2014.

"Bless all the people who have worked, worshiped and wondered and wandered here." vanessa redgrave

Bottom left Organized by the Museum for African Art, New York, and presented in collaboration with the Cathedral, Jane Alexander: Surveys (from the Cape of Good Hope) was the first major North American survey of tableaux, sculptures, and photomontages by important South African artist Jane Alexander.

Infantry, 2013.

Top The Mystic Marriage of St. Catherine, attributed to Bagnacavallo (Bartolomeo Ramenghi the Elder). 16th century Italian. Installed in the Chapel of St. Ambrose.

180

MICHAEL BIERUT The unrepeatable is hard to find in our world today. So to go to a very special place and experience something new that was created just for that space, or to experience a text or a voice that is transformed by being in a singular space, is a one and only thing. This is what happens when you experience art or music at the Cathedral.

“Nothing that God ever made is the same thing to more than one person. That is natural.

There is no single face in nature, because every eye that looks upon it, sees it from its own angle. So every man’s spice-box seasons his own food.” ZORA NEALE HURSTON, INDUCTED INTO THE AMERICAN POETS CORNER, 2015 MARY JANE BROCK Very often when I’m at the Cathedral, it’s not about a church service.

I am there learning something, listening to Vanessa Redgrave and Joan Didion, or looking at art like Xu Bing's Phoenix.. That sense of divinity is very real, but it’s not necessarily a religious feeling.

M. NEELIKA JAYAWARDANE When I heard that Jane Alexander’s work would be shown in the Cathedral of St. John the Divine, I wondered how the work I always associated with South Africa would translate here. Alexander’s work arrived in the Cathedral during the same fortnight as excerpts from a new memoir by Guantanamo Bay detainee, Mohamedou Ould Slahi, were released in Slate magazine. The towering Cathedral walls, the cornerstone that was laid in 1892, mirror the longings of the first great waves of European immigrants to the city; 1892 was the year that Ellis Island—the conduit to the hungry and the penniless of Europe—opened. There, strengthened by the walls enclosing the seven Chapels of the Tongues, commemorating the major immigrant groups pouring into and building the city, I sat and read an excerpt of Slahi’s memoirs, thinking of the hundred men on hunger strike, and the many who are being force-fed as I wrote. I thought about what it might mean, in a time of historical amnesia, for a church such as St. John the Divine to carve out spaces in which we can remember the body in pain: to invite the liturgies of other faiths, to share the pulpit with the other, to invite in difficult cargos. This, I understood, is not a church that aims to use its monumental structure or its gilded beauty for forgetting.

181

Divinity is Very Real

Top left Author Joan Didion and actor Vanessa Redgrave, who performed her one-woman shows of Didion's A Year of Magical Thinking in 2010 and Blue Nights in 2014.

"Bless all the people who have worked, worshiped and wondered and wandered here." vanessa redgrave

Bottom left Organized by the Museum for African Art, New York, and presented in collaboration with the Cathedral, Jane Alexander: Surveys (from the Cape of Good Hope) was the first major North American survey of tableaux, sculptures, and photomontages by important South African artist Jane Alexander.

Infantry, 2013.

Top The Mystic Marriage of St. Catherine, attributed to Bagnacavallo (Bartolomeo Ramenghi the Elder). 16th century Italian. Installed in the Chapel of St. Ambrose.

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MICHAEL BIERUT The unrepeatable is hard to find in our world today. So to go to a very special place and experience something new that was created just for that space, or to experience a text or a voice that is transformed by being in a singular space, is a one and only thing. This is what happens when you experience art or music at the Cathedral.

“Nothing that God ever made is the same thing to more than one person. That is natural.

There is no single face in nature, because every eye that looks upon it, sees it from its own angle. So every man’s spice-box seasons his own food.” ZORA NEALE HURSTON, INDUCTED INTO THE AMERICAN POETS CORNER, 2015 MARY JANE BROCK Very often when I’m at the Cathedral, it’s not about a church service.

I am there learning something, listening to Vanessa Redgrave and Joan Didion, or looking at art like Xu Bing's Phoenix.. That sense of divinity is very real, but it’s not necessarily a religious feeling.

M. NEELIKA JAYAWARDANE When I heard that Jane Alexander’s work would be shown in the Cathedral of St. John the Divine, I wondered how the work I always associated with South Africa would translate here. Alexander’s work arrived in the Cathedral during the same fortnight as excerpts from a new memoir by Guantanamo Bay detainee, Mohamedou Ould Slahi, were released in Slate magazine. The towering Cathedral walls, the cornerstone that was laid in 1892, mirror the longings of the first great waves of European immigrants to the city; 1892 was the year that Ellis Island—the conduit to the hungry and the penniless of Europe—opened. There, strengthened by the walls enclosing the seven Chapels of the Tongues, commemorating the major immigrant groups pouring into and building the city, I sat and read an excerpt of Slahi’s memoirs, thinking of the hundred men on hunger strike, and the many who are being force-fed as I wrote. I thought about what it might mean, in a time of historical amnesia, for a church such as St. John the Divine to carve out spaces in which we can remember the body in pain: to invite the liturgies of other faiths, to share the pulpit with the other, to invite in difficult cargos. This, I understood, is not a church that aims to use its monumental structure or its gilded beauty for forgetting.

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A Way of Bringing God to People

LISA SCHUBERT In the 1970s, the Cathedral founded its Artist in Residence program, which has since woven living art and artists into the fabric of the Cathedral, providing time and space for artists to respond to the Cathedral as a powerful creative statement in stone, and opportunities for the public to access their work.

MARGARET DIEHL The Cathedral is full of art, from its towering nave, pillars, Pilgrims' Pavement and stained glass windows to the tapestries, paintings, and statues that adorn the bays and chapels. Art exhibited in a large public building, especially one with history and durability, devoted not to commerce or power but to the gifts of the spirit, reinforces the meanings we give our lives, our dreams, our sacrifices. This is where art soars beyond the artist’s vision and is shaped by the place it inhabits and the events that mark the consciousness of an era.

MARSHA RA Art

to people.

LISA SCHUBERT Art matters to the future because it speaks directly to the individual; it is here now, directly in front of us. Unlike the effects of history, which are always with us, it is visible and set apart from us, inviting reflection.

MARION KAHAN And, worth mentioning, is that it is always a challenge to figure out how to hang something in a place where you can’t hang anything. We have to use holes that are already there. We cannot create new ones.

is a way of bringing God

ISADORA WILKENFELD Beginning with The Value of Water in 2011 and continuing through The Value of Food in 2015, The Christa Project: Manifesting Divine Bodies in 2016, and The Value of Sanctuary in 2019, the Cathedral has explored a number of overlapping themes relating to life, value, and human dignity. Through these interlinked exhibitions, we’ve worked to expand upon a vision that begins with the need people have for the understanding and respect of others, and the faith that all people have within them a divine spark.

ANDREW MROCZEK & JUAN JOSE BARBOZA-GUBO The

Top Dancers from the Forces of Nature Dance Theatre, Cathedral Artists in Residence.

Middle left Fools Mass, a work of medieval hymns and chants, is performed by the Dzieci Theatre Company in the Cathedral.

Middle right Artist in residence Eiko Otake performing at the Cathedral as a part of the Dignity initiative.

Bottom left The Last Supper. Naoto Nakagawa. Acrylic on linen canvas. 54 x 84" inches.

2014. The Value of Food.

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process of creating the Virgenes de la Puerta series began with in-depth conversations with several transgender women in Peru. To be a part of the Cathedral’s Sanctuary exhibition provided our work with a site and an audience that we didn’t imagine possible.

The roster of artists in the Sanctuary exhibition is a list of artists we’ve loved and followed for years: Kiki Smith, Latoya Ruby-Frazier, Jenny Holzer, and Louise Bourgeois, just to name a few.

What might not be apparent is just how special this is for the women we’ve worked with, who are generally not able to enter into spaces like these in the more urban areas of Peru. The majority of the women in our series were living in Lima at the time we collaborated with them. Unfortunately, there are members of the clergy who are very vocal in their ridicule of LGBTQ–identifying people within their sermons, their writings, and even on television and radio interviews. This creates a toxic environment for gay and trans Peruvians—it makes it permissible for people to hate, chastise, and discriminate against gender and sexual minorities. For the Cathedral of St. John the Divine to allow this work to be displayed within its walls sends a message of inclusivity to the women we’ve photographed. We like to think it also provides them some hope.

183

A Way of Bringing God to People

LISA SCHUBERT In the 1970s, the Cathedral founded its Artist in Residence program, which has since woven living art and artists into the fabric of the Cathedral, providing time and space for artists to respond to the Cathedral as a powerful creative statement in stone, and opportunities for the public to access their work.

MARGARET DIEHL The Cathedral is full of art, from its towering nave, pillars, Pilgrims' Pavement and stained glass windows to the tapestries, paintings, and statues that adorn the bays and chapels. Art exhibited in a large public building, especially one with history and durability, devoted not to commerce or power but to the gifts of the spirit, reinforces the meanings we give our lives, our dreams, our sacrifices. This is where art soars beyond the artist’s vision and is shaped by the place it inhabits and the events that mark the consciousness of an era.

MARSHA RA Art

to people.

LISA SCHUBERT Art matters to the future because it speaks directly to the individual; it is here now, directly in front of us. Unlike the effects of history, which are always with us, it is visible and set apart from us, inviting reflection.

MARION KAHAN And, worth mentioning, is that it is always a challenge to figure out how to hang something in a place where you can’t hang anything. We have to use holes that are already there. We cannot create new ones.

is a way of bringing God

ISADORA WILKENFELD Beginning with The Value of Water in 2011 and continuing through The Value of Food in 2015, The Christa Project: Manifesting Divine Bodies in 2016, and The Value of Sanctuary in 2019, the Cathedral has explored a number of overlapping themes relating to life, value, and human dignity. Through these interlinked exhibitions, we’ve worked to expand upon a vision that begins with the need people have for the understanding and respect of others, and the faith that all people have within them a divine spark.

ANDREW MROCZEK & JUAN JOSE BARBOZA-GUBO The

Top Dancers from the Forces of Nature Dance Theatre, Cathedral Artists in Residence.

Middle left Fools Mass, a work of medieval hymns and chants, is performed by the Dzieci Theatre Company in the Cathedral.

Middle right Artist in residence Eiko Otake performing at the Cathedral as a part of the Dignity initiative.

Bottom left The Last Supper. Naoto Nakagawa. Acrylic on linen canvas. 54 x 84" inches.

2014. The Value of Food.

182

process of creating the Virgenes de la Puerta series began with in-depth conversations with several transgender women in Peru. To be a part of the Cathedral’s Sanctuary exhibition provided our work with a site and an audience that we didn’t imagine possible.

The roster of artists in the Sanctuary exhibition is a list of artists we’ve loved and followed for years: Kiki Smith, Latoya Ruby-Frazier, Jenny Holzer, and Louise Bourgeois, just to name a few.

What might not be apparent is just how special this is for the women we’ve worked with, who are generally not able to enter into spaces like these in the more urban areas of Peru. The majority of the women in our series were living in Lima at the time we collaborated with them. Unfortunately, there are members of the clergy who are very vocal in their ridicule of LGBTQ–identifying people within their sermons, their writings, and even on television and radio interviews. This creates a toxic environment for gay and trans Peruvians—it makes it permissible for people to hate, chastise, and discriminate against gender and sexual minorities. For the Cathedral of St. John the Divine to allow this work to be displayed within its walls sends a message of inclusivity to the women we’ve photographed. We like to think it also provides them some hope.

183

Extending the Meaning of Prayer and Personhood

DEAN KOWALSKI Art must clarify what is so that we can imagine what might be. If, by being under this roof, art and liturgy create a conversation to draw people into how they might be an agent for justice, then that work is a fit for the Cathedral.

ISADORA WILKENFELD Edwina Sandys’ Christa astounded its first viewers by reminding them that the Incarnation is a radically political concept, inseparable from the politics of the human body.

Through the work of the artists brought together in The Christa Project, the vital importance of otherwise unseen and unmemorialized bodies became clear. Not only were Black, female, queer, poor, Latinx, transgender, maimed, scarred, oppressed, and triumphant bodies essential to the completion of the physical structure of this church—they are essential to its spiritual wholeness as well. By honoring the histories of these bodies, all bodies, the Cathedral added a new layer to its founding mission, extending the meaning of prayer and personhood to all the pilgrims at our doors.

"WHEREVER YOU LIE, YOU WILL FACE THAT PLACE’S PROBLEMS. IF YOU HAVE PROBLEMS, THEN YOU HAVE ART." XU BING

Top Phoenix, Xu Bing. Mixed materials. Xu Bing at the Cathedral, curated

by Judith Goldman.

2014-2015.

“Of all of the art, Phoenix takes the crown. In the western tradition, the phoenix is a symbol of resurrection. In the Chinese tradition, it’s a symbol of the life well lived according to Confucian virtues. You had these enormous, really over-the-top works of art within the enormous over the top architecture of the Cathedral. The only other place for them might have been an airline terminal.”

BISHOP DIETSCHE Christa had first been hung at the Cathedral over a third of a century ago. That occasion was met with substantial controversy, not only in the general public, but among bishops, clergy, and lay members of this church. The very idea of a female depiction of the suffering Jesus hanging in a church dedicated to the worship of God and the glory of Christ was more than many were ready for in the early 1980s. But in an evolving, growing, learning church, we may be ready to see Christa not only as a work of art but as an object of devotion, over our altar, with all of the challenges that may come with that for many visitors to the Cathedral, or indeed, for all of us. We welcome those challenges, for if any rendering of the cross of Christ or any depiction of the crucifixion does not trouble us in the most personal and intimate ways, we may not be truly seeing what is before us. Saint Paul wrote that the cross is both scandal and stumbling block, and it is so, and must be so, in every age.

EDWINA SANDYS Christa was not a conscious feminist statement, although at the time, the United Nations had just announced the Decade for Women. One of the most important things for me has been naming the piece Christa. Giving a name to a work of art is a way of communicating with the viewer. After Christa had been named, she started to have a life of her own.

BISHOP DIETSCSHE In a world and church in which we can see representations of the Christ in every race and color and ethnicity, and in the maleness of the historical Jesus, we believe that it may be, it must be, that we will be all the more blessed to see the Christ who embraces the fullness of the female as well.

ALESSANDRA BELLONI When Christa came to the Cathedral, she was considered art.

Now Christa is on the altar, she is considered sacred. The Cathedral understands that Christianity is also based on pre-Christian rituals and beliefs including the female aspect of God: that God is not necessarily male. St. John the Divine accepts the female God; it is part of their spiritual mission.

“Artists are here to disturb the peace.”

JAMES BALDWIN, INDUCTED INTO THE AMERICAN POETS CORNER, 2011 XU BING The Phoenix traveled to many places in the world, but the best display was seeing the pieces floating in the monumental Nave of the Cathedral. I thought it would be meaningful for Phoenix to face the doors as if the birds were ready to journey to the world outside, but I worried that the Cathedral would want the Phoenix's to face the altar. I went to Dean Kowalski. He said he would support any idea I had, explaining: “Although there are thousands of interpretations of Christianity, the core concept is to be open-minded.”

LISA SCHUBERT At the Cathedral, we believe not only that art can do work in the world, but that it can’t help doing such work: that art, like every other human activity, has multiple causes and consequences. It is easy to understand how benefit performances help people.

But how does a free performance promote peace?

How does an art exhibition foster social justice or encourage reverence for the natural world?

Growth is subtle, incremental—except when it’s not, when the sudden wave comes, and men and women stand up and say, “Enough!” Art is a first draft of change.

tom fedorek

Bottom Christa. Edwina Sandys.

Resin with bronze patina on a lucite cross.

184

185

Extending the Meaning of Prayer and Personhood

DEAN KOWALSKI Art must clarify what is so that we can imagine what might be. If, by being under this roof, art and liturgy create a conversation to draw people into how they might be an agent for justice, then that work is a fit for the Cathedral.

ISADORA WILKENFELD Edwina Sandys’ Christa astounded its first viewers by reminding them that the Incarnation is a radically political concept, inseparable from the politics of the human body.

Through the work of the artists brought together in The Christa Project, the vital importance of otherwise unseen and unmemorialized bodies became clear. Not only were Black, female, queer, poor, Latinx, transgender, maimed, scarred, oppressed, and triumphant bodies essential to the completion of the physical structure of this church—they are essential to its spiritual wholeness as well. By honoring the histories of these bodies, all bodies, the Cathedral added a new layer to its founding mission, extending the meaning of prayer and personhood to all the pilgrims at our doors.

"WHEREVER YOU LIE, YOU WILL FACE THAT PLACE’S PROBLEMS. IF YOU HAVE PROBLEMS, THEN YOU HAVE ART." XU BING

Top Phoenix, Xu Bing. Mixed materials. Xu Bing at the Cathedral, curated

by Judith Goldman.

2014-2015.

“Of all of the art, Phoenix takes the crown. In the western tradition, the phoenix is a symbol of resurrection. In the Chinese tradition, it’s a symbol of the life well lived according to Confucian virtues. You had these enormous, really over-the-top works of art within the enormous over the top architecture of the Cathedral. The only other place for them might have been an airline terminal.”

BISHOP DIETSCHE Christa had first been hung at the Cathedral over a third of a century ago. That occasion was met with substantial controversy, not only in the general public, but among bishops, clergy, and lay members of this church. The very idea of a female depiction of the suffering Jesus hanging in a church dedicated to the worship of God and the glory of Christ was more than many were ready for in the early 1980s. But in an evolving, growing, learning church, we may be ready to see Christa not only as a work of art but as an object of devotion, over our altar, with all of the challenges that may come with that for many visitors to the Cathedral, or indeed, for all of us. We welcome those challenges, for if any rendering of the cross of Christ or any depiction of the crucifixion does not trouble us in the most personal and intimate ways, we may not be truly seeing what is before us. Saint Paul wrote that the cross is both scandal and stumbling block, and it is so, and must be so, in every age.

EDWINA SANDYS Christa was not a conscious feminist statement, although at the time, the United Nations had just announced the Decade for Women. One of the most important things for me has been naming the piece Christa. Giving a name to a work of art is a way of communicating with the viewer. After Christa had been named, she started to have a life of her own.

BISHOP DIETSCSHE In a world and church in which we can see representations of the Christ in every race and color and ethnicity, and in the maleness of the historical Jesus, we believe that it may be, it must be, that we will be all the more blessed to see the Christ who embraces the fullness of the female as well.

ALESSANDRA BELLONI When Christa came to the Cathedral, she was considered art.

Now Christa is on the altar, she is considered sacred. The Cathedral understands that Christianity is also based on pre-Christian rituals and beliefs including the female aspect of God: that God is not necessarily male. St. John the Divine accepts the female God; it is part of their spiritual mission.

“Artists are here to disturb the peace.”

JAMES BALDWIN, INDUCTED INTO THE AMERICAN POETS CORNER, 2011 XU BING The Phoenix traveled to many places in the world, but the best display was seeing the pieces floating in the monumental Nave of the Cathedral. I thought it would be meaningful for Phoenix to face the doors as if the birds were ready to journey to the world outside, but I worried that the Cathedral would want the Phoenix's to face the altar. I went to Dean Kowalski. He said he would support any idea I had, explaining: “Although there are thousands of interpretations of Christianity, the core concept is to be open-minded.”

LISA SCHUBERT At the Cathedral, we believe not only that art can do work in the world, but that it can’t help doing such work: that art, like every other human activity, has multiple causes and consequences. It is easy to understand how benefit performances help people.

But how does a free performance promote peace?

How does an art exhibition foster social justice or encourage reverence for the natural world?

Growth is subtle, incremental—except when it’s not, when the sudden wave comes, and men and women stand up and say, “Enough!” Art is a first draft of change.

tom fedorek

Bottom Christa. Edwina Sandys.

Resin with bronze patina on a lucite cross.

184

185

A Convening Authority The Cathedral was founded as “a center of intellectual light and leadership.” From the beginning, this has been a place for social and political activism, for the exploration of ideas, and for community in the widest sense. Many people—both known and unknown—have chosen the pulpit of St. John to bring their messages to the world.

As times change, the conversations change. What doesn’t change is the effort to see, understand, include, and most of all, to listen.

The Cathedral of our Common Humanity

THE DALAI LAMA

In 1979, I visited the USA for the very first time. Although I am a simple Buddhist monk from faraway Tibet, I remember being warmly welcomed at the Cathedral as a fellow spiritual brother. What began then was a conversation, which continues to this day, about the value of love, kindness, compassion, and the sense of global responsibility. Despite the different philosophical approaches we may take, we agreed then as now that these qualities are at the heart of all the world’s major religious traditions.

PRISCILLA BAYLEY The Cathedral was founded as a specifically American Cathedral, which makes it unique because of its commitment to democratic and egalitarian ideals.

BILL BAKER The Cathedral is the biggest indoor space in New York City. That it is also a place for moral purposes and that it has a history of people coming to share and express their values and faith makes the Cathedral a special place to hold the heart of this great city.

MIKE EDWARDS The Cathedral’s identity is well known in the city, forged in the social movements of 100 years ago, 50 years ago, 20 years ago and the present moment. From the welcoming of European immigrants to support for civil rights to the care of AIDS patients and the environment, the Cathedral has always been in the forefront of new struggle.

BRUCE MACLEOD There are no other places like this in New York. Our issues are universal— value of being an our issues are everything that affects humanity.

American space is that it provides a way to broaden the category of the sacred. A lot of my family’s stories are about the Cathedral community, “This is the Cathedral of our common people being in this space regardless of what humanity.” DAVID DINKINS they believe. That says something important about the Cathedral.

DEAN KOWALSKI When people say the Cathedral is only a place for worship and art, it overlooks history. The Cathedral has always been a place PHILIPPE PETIT The policy of open doors, where the meeting of the sacred and the secular open to all religions, all persuasions, and all people were expressed not as opposites, but as dialogical is what makes this Cathedral different. The tensions. Here, the secular and the sacred work Cathedral becomes a beacon of the community. together. The Cathedral expresses God’s love affair with the unfolding world.

THE REV. TOM PIKE You should walk into a religious building and say, “Something is missing.

It’s the people.” That sense of embracing MIKE EDWARDS The Cathedral is foremost a community, and being the sign of community, is place to be used. The Cathedral’s mission the very center of what the Cathedral is all about. has ever been democratic and egalitarian; as the centuries pass, that mission requires more service, and to some extent, different kinds of service.

MARNIE WEIR Since its founding the mission has been to be a center for intellectual light and leadership and a house of prayer for all people.

WAYNE KEMPTON A building this size can take That’s what we’re supposed to do, and that’s what anything. The Cathedral is big enough to allow the Cathedral has done. The Cathedral is a forum a community inside and let the space change to to shape society. There are ways to make that be what you want it to be. It can take Gregorian happen here. chants, whirling dervishes, the Dalai Lama, or dope-smoking peace freaks listening to The Chambers Brothers.

HANNAH WOLFE EISNER The

Dean Kowalski, scholar Thupten Jinpa, His Holiness the Dalai Lama and Professor Sakena Yacoobi, founder of the Afghan Institute of Learning, participating in a dialogue on “Kinship and its meaning in our world today,” May 23, 2010.

186 186

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A Convening Authority The Cathedral was founded as “a center of intellectual light and leadership.” From the beginning, this has been a place for social and political activism, for the exploration of ideas, and for community in the widest sense. Many people—both known and unknown—have chosen the pulpit of St. John to bring their messages to the world.

As times change, the conversations change. What doesn’t change is the effort to see, understand, include, and most of all, to listen.

The Cathedral of our Common Humanity

THE DALAI LAMA

In 1979, I visited the USA for the very first time. Although I am a simple Buddhist monk from faraway Tibet, I remember being warmly welcomed at the Cathedral as a fellow spiritual brother. What began then was a conversation, which continues to this day, about the value of love, kindness, compassion, and the sense of global responsibility. Despite the different philosophical approaches we may take, we agreed then as now that these qualities are at the heart of all the world’s major religious traditions.

PRISCILLA BAYLEY The Cathedral was founded as a specifically American Cathedral, which makes it unique because of its commitment to democratic and egalitarian ideals.

BILL BAKER The Cathedral is the biggest indoor space in New York City. That it is also a place for moral purposes and that it has a history of people coming to share and express their values and faith makes the Cathedral a special place to hold the heart of this great city.

MIKE EDWARDS The Cathedral’s identity is well known in the city, forged in the social movements of 100 years ago, 50 years ago, 20 years ago and the present moment. From the welcoming of European immigrants to support for civil rights to the care of AIDS patients and the environment, the Cathedral has always been in the forefront of new struggle.

BRUCE MACLEOD There are no other places like this in New York. Our issues are universal— value of being an our issues are everything that affects humanity.

American space is that it provides a way to broaden the category of the sacred. A lot of my family’s stories are about the Cathedral community, “This is the Cathedral of our common people being in this space regardless of what humanity.” DAVID DINKINS they believe. That says something important about the Cathedral.

DEAN KOWALSKI When people say the Cathedral is only a place for worship and art, it overlooks history. The Cathedral has always been a place PHILIPPE PETIT The policy of open doors, where the meeting of the sacred and the secular open to all religions, all persuasions, and all people were expressed not as opposites, but as dialogical is what makes this Cathedral different. The tensions. Here, the secular and the sacred work Cathedral becomes a beacon of the community. together. The Cathedral expresses God’s love affair with the unfolding world.

THE REV. TOM PIKE You should walk into a religious building and say, “Something is missing.

It’s the people.” That sense of embracing MIKE EDWARDS The Cathedral is foremost a community, and being the sign of community, is place to be used. The Cathedral’s mission the very center of what the Cathedral is all about. has ever been democratic and egalitarian; as the centuries pass, that mission requires more service, and to some extent, different kinds of service.

MARNIE WEIR Since its founding the mission has been to be a center for intellectual light and leadership and a house of prayer for all people.

WAYNE KEMPTON A building this size can take That’s what we’re supposed to do, and that’s what anything. The Cathedral is big enough to allow the Cathedral has done. The Cathedral is a forum a community inside and let the space change to to shape society. There are ways to make that be what you want it to be. It can take Gregorian happen here. chants, whirling dervishes, the Dalai Lama, or dope-smoking peace freaks listening to The Chambers Brothers.

HANNAH WOLFE EISNER The

Dean Kowalski, scholar Thupten Jinpa, His Holiness the Dalai Lama and Professor Sakena Yacoobi, founder of the Afghan Institute of Learning, participating in a dialogue on “Kinship and its meaning in our world today,” May 23, 2010.

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A Special Call to Advocacy

JOHN CLINTON EISNER The

question really is what is the Cathedral supposed to be and for whom? If you actually take this major New York City resource and try do something in the spirit of why it was built, how do you do that?

SUSAN RODRIGUEZ The Cathedral is experiential.

Its role is not as an edifice but as a place that offers connection between leaders and people. People who are concerned with the health of our world, our city, and our community.

DIANA COHN I think that the capacity of the Cathedral to bring in a wide diversity of people who are engaged or want to learn about any issue— from water, to fracking, to food, to sanctuary—is a real strength. The Cathedral has the gravitas to do that for any problem we face.

BISHOP DIETSCHE We do not get to choose the world we live in. But as I like to say, we do get to choose what kind of witness we will be in that world.

SUB-DEAN PAT MALLOY Liturgy, when it’s done well, is inherently revolutionary. It paints a picture of a world that is not the world we live in. There is structure, there is hierarchy, but there is also shared responsibility, there is a common project, all of which leads to a re-commitment to living in the world… there is a hunger for something transcendent and a desire for commitment to community. I think even just participation at that level is revolutionary.

MURRY STEGELMANN The Cathedral is one place where we can figure out what it means to be part of God’s family and understand the work we have to do on this planet.

BILL BAKER The Cathedral represents our highest values and purposes: serving God and having a strong moral focus. The Cathedral offers itself as a place where you can ask, “What should we do?

What is right? How can we maximize our lives for the best purpose?”

Top Archbishop Desmond Tutu, May 20, 2003.

Bottom Lucas Benitez of the Coalition of the Immokalee Workers and Patricia Cipollitti of the Alliance for Fair Food with Dean Daniel at the Cathedral, March 2018.The Coalition of Immokalee Workers persuade growers to Fair Food standards including better pay and zero tolerance for sexual harassment. In exchange, the growers gain the opportunity to sell to committed retailers who have promised to only buy from Fair Food farms.

188

MARILYN NELSON A Cathedral like this can help people think through the issues, help people listen to each other. The hope is that it is possible to hear each other and that hearing can make a difference.

DEAN KOWALSKI The reach of the great conversations that have convened under this roof are breathtaking. All sorts of people have been brought together across cultures and faiths to dream about holy cities and just societies—and then they—“we”—are called into action. Across time, cultures, and faiths, the Cathedral invites each and all of us to enter the conversation. That invitation is from God. “Just come and be a part of it and the truth will unfold. It will be revealed.”

That is the message.

ARCHBISHOP DESMOND TUTU At a time when the world is turning inward upon itself in growing xenophobia, the Cathedral carries out a vital ministry as it both celebrates diversity and demonstrates openness to all.

“We will stand as one united force, Muslim and Jewish and Christian and Buddhist and Shia, black and white and male and female. We will stand boldly, because the earth needs us.”

THE REV. GERALD DURLEY BISHOP DIETSCHE This was the place where we asked people to come join the March for our Lives.

We gathered here and headed down to 72nd Street.

Those things are not separate. They are part of what we mean by the Glory of God. They are all an expression of the central fundamental religious enterprise that we are engaged in at the Cathedral.

JUDY COLLINS St. John

leads the way. It is interdenominational and all-embracing.

It is a realization of what we are as a community, as a city, as an international point of adventure and departure. This is the treasure we have up here on the Upper West Side, and it’s not a mistake that it’s here in New York.

JAN ELIASSON When

I was Deputy SecretaryGeneral of the United Nations, I was in the Cathedral with colleagues from all over the world sending a message about the oppressed, the vulnerable, and the equality between all people.

To send that message from the Cathedral was a privilege. This great Cathedral shares the UN’s mission to promote peace, development, and human rights throughout the world.

THE DALAI LAMA

Since the first occasion, I have returned to the Cathedral several times, participating in interreligious services and interfaith dialogues to foster closer harmony and understanding. Each time I have been reminded that all religions emphasize love and compassion, betterment, improving human beings, and a sense of brotherhood and sisterhood—these are things that we have in common.

JAMES CARROLL The

Bible speaks with a thousand voices. The unity of its belief is created out of conversations, not pronouncements….

Nothing human is forbidden here; no voice need be silent before Silence itself.

189

A Special Call to Advocacy

JOHN CLINTON EISNER The

question really is what is the Cathedral supposed to be and for whom? If you actually take this major New York City resource and try do something in the spirit of why it was built, how do you do that?

SUSAN RODRIGUEZ The Cathedral is experiential.

Its role is not as an edifice but as a place that offers connection between leaders and people. People who are concerned with the health of our world, our city, and our community.

DIANA COHN I think that the capacity of the Cathedral to bring in a wide diversity of people who are engaged or want to learn about any issue— from water, to fracking, to food, to sanctuary—is a real strength. The Cathedral has the gravitas to do that for any problem we face.

BISHOP DIETSCHE We do not get to choose the world we live in. But as I like to say, we do get to choose what kind of witness we will be in that world.

SUB-DEAN PAT MALLOY Liturgy, when it’s done well, is inherently revolutionary. It paints a picture of a world that is not the world we live in. There is structure, there is hierarchy, but there is also shared responsibility, there is a common project, all of which leads to a re-commitment to living in the world… there is a hunger for something transcendent and a desire for commitment to community. I think even just participation at that level is revolutionary.

MURRY STEGELMANN The Cathedral is one place where we can figure out what it means to be part of God’s family and understand the work we have to do on this planet.

BILL BAKER The Cathedral represents our highest values and purposes: serving God and having a strong moral focus. The Cathedral offers itself as a place where you can ask, “What should we do?

What is right? How can we maximize our lives for the best purpose?”

Top Archbishop Desmond Tutu, May 20, 2003.

Bottom Lucas Benitez of the Coalition of the Immokalee Workers and Patricia Cipollitti of the Alliance for Fair Food with Dean Daniel at the Cathedral, March 2018.The Coalition of Immokalee Workers persuade growers to Fair Food standards including better pay and zero tolerance for sexual harassment. In exchange, the growers gain the opportunity to sell to committed retailers who have promised to only buy from Fair Food farms.

188

MARILYN NELSON A Cathedral like this can help people think through the issues, help people listen to each other. The hope is that it is possible to hear each other and that hearing can make a difference.

DEAN KOWALSKI The reach of the great conversations that have convened under this roof are breathtaking. All sorts of people have been brought together across cultures and faiths to dream about holy cities and just societies—and then they—“we”—are called into action. Across time, cultures, and faiths, the Cathedral invites each and all of us to enter the conversation. That invitation is from God. “Just come and be a part of it and the truth will unfold. It will be revealed.”

That is the message.

ARCHBISHOP DESMOND TUTU At a time when the world is turning inward upon itself in growing xenophobia, the Cathedral carries out a vital ministry as it both celebrates diversity and demonstrates openness to all.

“We will stand as one united force, Muslim and Jewish and Christian and Buddhist and Shia, black and white and male and female. We will stand boldly, because the earth needs us.”

THE REV. GERALD DURLEY BISHOP DIETSCHE This was the place where we asked people to come join the March for our Lives.

We gathered here and headed down to 72nd Street.

Those things are not separate. They are part of what we mean by the Glory of God. They are all an expression of the central fundamental religious enterprise that we are engaged in at the Cathedral.

JUDY COLLINS St. John

leads the way. It is interdenominational and all-embracing.

It is a realization of what we are as a community, as a city, as an international point of adventure and departure. This is the treasure we have up here on the Upper West Side, and it’s not a mistake that it’s here in New York.

JAN ELIASSON When

I was Deputy SecretaryGeneral of the United Nations, I was in the Cathedral with colleagues from all over the world sending a message about the oppressed, the vulnerable, and the equality between all people.

To send that message from the Cathedral was a privilege. This great Cathedral shares the UN’s mission to promote peace, development, and human rights throughout the world.

THE DALAI LAMA

Since the first occasion, I have returned to the Cathedral several times, participating in interreligious services and interfaith dialogues to foster closer harmony and understanding. Each time I have been reminded that all religions emphasize love and compassion, betterment, improving human beings, and a sense of brotherhood and sisterhood—these are things that we have in common.

JAMES CARROLL The

Bible speaks with a thousand voices. The unity of its belief is created out of conversations, not pronouncements….

Nothing human is forbidden here; no voice need be silent before Silence itself.

189

Hope for Change

MARIAN WRIGHT EDELMAN We are at a crucial turning point in America today. We no longer believe that the rents in the moral fabric of our society will heal themselves. We are called up to take action, initiative, and responsibility for our future and our children’s future.

Implicit in the mission of the Cathedral is the hope for change. As an institution in the midst of an urban microcosm of poverty, violence, and despair, the Cathedral towers, physically and spiritually, over the everyday adversity that is New York. In a society increasingly fragmented and plagued by an ever-growing rift between the “haves” and the “have nots,” the Cathedral offers a redemptive community, a place of welcoming where those of every race and class may come to share and worship.

THE REV. JESSE JACKSON The

Cathedral of St. John the Divine has been an indispensable prophetic pulpit for New York City and America.

Through a dark time—when it seemed as though the world had turned to greed and away from need, the Cathedral has held high the struggles that are central to our survival as a nation, a people, and a broad and various community of faith.

While others are burying their heads in the sand, the Cathedral stood up against homelessness, against inhuman budgets, against inverted national priorities. It stood up for equal rights, for the renewal of neighborhoods—including its own—for the powerless, for the indigenous peoples struggling to protect their homes, for people with AIDS. DEAN KOWALSKI The

Cathedral has a convening authority. There are conversations that can only happen here. Something transformational can happen here. That is a very special call to advocacy. The Cathedral has often angered people when it has taken positions—but we’re still fighting. We at the Cathedral can’t move away from any narrative about human dignity.

Anywhere you look you see extremism and polarization, people feeling left out, or victimized.

God is in everyone, everywhere. If the Cathedral doesn’t have what it takes to attract people as different as the right and the left in America, then maybe we don’t need a Cathedral. More than ever the Cathedral is part of a conversation.

Top Sybrina Fulton and Tracy Martin, the parents of Trayvon Martin, honored for their activism at the at the Cathedral, June 2018.

BISHOP DIETSCHE Every Cathedral program is a vehicle for inspiration and social change, whether it is our community outreach and food kitchen for hungry neighbors, our pastoral work, our concert series, or our thought-provoking and memorable art exhibitions, conversations, and lectures. In the 1930s, we spoke out against the rise of Hitler in Germany. In the 1950s, we spoke out for racial justice, with the Rev. Dr. Martin Luther King Jr. In the 1980s during the height of the epidemic, we spoke out against the stigma of AIDS and homophobia.

Immigration. Affordable housing. Intolerance.

Today, we are speaking out against the violence of religious extremism and the backlash of religious intolerance… and confronting the jarring episodes of racial injustice that have no place in 21st century America. Our humanity calls us to compassion, hope and peace.

THE DALAI LAMA The

welcome you have given to so many traditions is a shining example of the spirit of cooperation that the human family is in such urgent need of today.

ARCHBISHOP DESMOND TUTU Your example is an inspiration to us all. We reach out to you across the oceans and hold hands, linking our humanity to your humanity, our struggle to yours and proclaiming: “Justice and peace have kissed each other and goodness and love will prevail, for if God is for us, who can be against us?”

KALIE KAMARA I want to be in a place where there is tolerance, where I don’t have to feel that if I’m different or my heritage or cultures’ values are different, that somehow we’re against each other. Many times religion tries to do that, but not here.

“God really had to work on me to strengthen me to get me to speak up for other people.

To speak up for my son. To speak up for myself… Even though I gave birth to Trayvon, I just think that he is everybody's son.”

SYBRINA FULTON

Bottom Maya Angelou commemorating 1964 Mississippi Freedom Riders James Early Chaney, Andrew Goodman, and Michael H. Schwerner, who were killed while working to register Black voters, June 24, 1989.

190

191

Hope for Change

MARIAN WRIGHT EDELMAN We are at a crucial turning point in America today. We no longer believe that the rents in the moral fabric of our society will heal themselves. We are called up to take action, initiative, and responsibility for our future and our children’s future.

Implicit in the mission of the Cathedral is the hope for change. As an institution in the midst of an urban microcosm of poverty, violence, and despair, the Cathedral towers, physically and spiritually, over the everyday adversity that is New York. In a society increasingly fragmented and plagued by an ever-growing rift between the “haves” and the “have nots,” the Cathedral offers a redemptive community, a place of welcoming where those of every race and class may come to share and worship.

THE REV. JESSE JACKSON The

Cathedral of St. John the Divine has been an indispensable prophetic pulpit for New York City and America.

Through a dark time—when it seemed as though the world had turned to greed and away from need, the Cathedral has held high the struggles that are central to our survival as a nation, a people, and a broad and various community of faith.

While others are burying their heads in the sand, the Cathedral stood up against homelessness, against inhuman budgets, against inverted national priorities. It stood up for equal rights, for the renewal of neighborhoods—including its own—for the powerless, for the indigenous peoples struggling to protect their homes, for people with AIDS. DEAN KOWALSKI The

Cathedral has a convening authority. There are conversations that can only happen here. Something transformational can happen here. That is a very special call to advocacy. The Cathedral has often angered people when it has taken positions—but we’re still fighting. We at the Cathedral can’t move away from any narrative about human dignity.

Anywhere you look you see extremism and polarization, people feeling left out, or victimized.

God is in everyone, everywhere. If the Cathedral doesn’t have what it takes to attract people as different as the right and the left in America, then maybe we don’t need a Cathedral. More than ever the Cathedral is part of a conversation.

Top Sybrina Fulton and Tracy Martin, the parents of Trayvon Martin, honored for their activism at the at the Cathedral, June 2018.

BISHOP DIETSCHE Every Cathedral program is a vehicle for inspiration and social change, whether it is our community outreach and food kitchen for hungry neighbors, our pastoral work, our concert series, or our thought-provoking and memorable art exhibitions, conversations, and lectures. In the 1930s, we spoke out against the rise of Hitler in Germany. In the 1950s, we spoke out for racial justice, with the Rev. Dr. Martin Luther King Jr. In the 1980s during the height of the epidemic, we spoke out against the stigma of AIDS and homophobia.

Immigration. Affordable housing. Intolerance.

Today, we are speaking out against the violence of religious extremism and the backlash of religious intolerance… and confronting the jarring episodes of racial injustice that have no place in 21st century America. Our humanity calls us to compassion, hope and peace.

THE DALAI LAMA The

welcome you have given to so many traditions is a shining example of the spirit of cooperation that the human family is in such urgent need of today.

ARCHBISHOP DESMOND TUTU Your example is an inspiration to us all. We reach out to you across the oceans and hold hands, linking our humanity to your humanity, our struggle to yours and proclaiming: “Justice and peace have kissed each other and goodness and love will prevail, for if God is for us, who can be against us?”

KALIE KAMARA I want to be in a place where there is tolerance, where I don’t have to feel that if I’m different or my heritage or cultures’ values are different, that somehow we’re against each other. Many times religion tries to do that, but not here.

“God really had to work on me to strengthen me to get me to speak up for other people.

To speak up for my son. To speak up for myself… Even though I gave birth to Trayvon, I just think that he is everybody's son.”

SYBRINA FULTON

Bottom Maya Angelou commemorating 1964 Mississippi Freedom Riders James Early Chaney, Andrew Goodman, and Michael H. Schwerner, who were killed while working to register Black voters, June 24, 1989.

190

191

Unfinished: A Cathedral for the 21st Century The Cathedral, built stone-on-stone by thousands of hands over more than a century, remains unfinished. Periods of intense construction were followed by long stretches when no building could be done. Will the Cathedral ever be finished? Could the Cathedral ever be finished? What the Cathedral will be in the future depends on how powerfully we imagine it and how enthusiastically we participate.

Whatever Complete Means

DEAN DANIEL God calls us to work together to create a just society, where all are fed, all are clothed, all are educated and respected in order that all may flourish. That’s what the Cathedral was called to do 125 years ago and it's what we will be called to do 125 years from now.

DAVID KIRBY Since the cornerstone was laid in 1892, construction has been halted by engineering problems, economic shortfalls, and changing architectural tastes, as well as two world wars, the social upheaval of the 1960s, and the real estate bust of the late 1980s.

DEAN HARRY PRITCHETT We could argue back and forth about whether it’s advantageous to have the biggest Gothic cathedral in the world but the truth is, we’ve already got it. The question becomes, what to do with it? How can you be a good steward of this incredible gift?

DEAN MORTON

Cathedrals are monsters. They are big, heavy, and very expensive. They’ve got to be maintained. If not, you’re in deep trouble.

REBECCA MERRILL In our first 125 years, the Cathedral completed chapels and grillwork, built ceilings by Tiffany, installed organs, mounted stained glass, and committed to ongoing stonemasonry. Construction is always happening at the Cathedral. Projects might not always be visible, but that doesn’t mean we’re not working and building on the mastery of the past with 21st-century vision.

JIM PATTERSON

“The commandments are written in stone but the way we live is in our daily lives. The many small decisions we make every day depend on situation and circumstance, which are not carved in stone.”

Most places say, “Okay, 20 years from now this will still be fine.” But we’re doing things that need to be fine 100 years from now.

That gets intimidating. I would love to know that everybody is working towards completing this Cathedral, whatever complete means. Complete is different for everybody. To know what to complete or just conserve and to what degree depends on a balance of emotions and good judgment.

We just need to make sure that whatever we do, people can enjoy it in the future.

LAURA F. BOSLEY Of course, we would like to finish it. If we had the money, we would. If a donor wished to make it possible for the North Tower to rise or the North Transept to open its doors, the Cathedral community would be very thankful but the needs of people, programs, and ongoing maintenance take precedence.

SUSAN RODRIGUEZ The day-to-day care is challenging. We all consider it vulnerable.

The Nave is complete, the Apse is complete, but the crossing is completely incomplete.

The towers on the west front facing Amsterdam were supposed to have been completed before the Second World War. The War happened, and the work was never finished. Anything that happens to move the Cathedral forward has to build on the past. Each piece and each part of this history is important.

BRUCE MACLEOD That the Cathedral is not finished, it’s not buffed up and shined, it is vulnerable and needs the care of human hands.

That gives it a special character, a kind of human frailty.

JIM PATTERSON

It’s not just the building and it’s not just the people here. It’s the concept.

When you see the guests come in all smiling or with that surprised look when they see the inside the first time, you get a feeling of “I am a part of this.” That’s what the Facilities team has. They feel they are a part of what the Cathedral represents.

LISA SCHUBERT The enduring legacy of the Cathedral will not be in the stone, the artwork, the organs, or other treasures. The fire of December 2001, coming so soon after 9/11, made it clear that even the biggest and most venerable buildings are vulnerable. The heart of the Cathedral’s legacy is and will be what happens in the lives of the thousands of people who come here: the results of an Easter service, an evening of music, a hot meal, a childhood of summer camp on the Close, or a prayer under the dome looking up at the Rose Window.

marilyn nelson

192

193

Unfinished: A Cathedral for the 21st Century The Cathedral, built stone-on-stone by thousands of hands over more than a century, remains unfinished. Periods of intense construction were followed by long stretches when no building could be done. Will the Cathedral ever be finished? Could the Cathedral ever be finished? What the Cathedral will be in the future depends on how powerfully we imagine it and how enthusiastically we participate.

Whatever Complete Means

DEAN DANIEL God calls us to work together to create a just society, where all are fed, all are clothed, all are educated and respected in order that all may flourish. That’s what the Cathedral was called to do 125 years ago and it's what we will be called to do 125 years from now.

DAVID KIRBY Since the cornerstone was laid in 1892, construction has been halted by engineering problems, economic shortfalls, and changing architectural tastes, as well as two world wars, the social upheaval of the 1960s, and the real estate bust of the late 1980s.

DEAN HARRY PRITCHETT We could argue back and forth about whether it’s advantageous to have the biggest Gothic cathedral in the world but the truth is, we’ve already got it. The question becomes, what to do with it? How can you be a good steward of this incredible gift?

DEAN MORTON

Cathedrals are monsters. They are big, heavy, and very expensive. They’ve got to be maintained. If not, you’re in deep trouble.

REBECCA MERRILL In our first 125 years, the Cathedral completed chapels and grillwork, built ceilings by Tiffany, installed organs, mounted stained glass, and committed to ongoing stonemasonry. Construction is always happening at the Cathedral. Projects might not always be visible, but that doesn’t mean we’re not working and building on the mastery of the past with 21st-century vision.

JIM PATTERSON

“The commandments are written in stone but the way we live is in our daily lives. The many small decisions we make every day depend on situation and circumstance, which are not carved in stone.”

Most places say, “Okay, 20 years from now this will still be fine.” But we’re doing things that need to be fine 100 years from now.

That gets intimidating. I would love to know that everybody is working towards completing this Cathedral, whatever complete means. Complete is different for everybody. To know what to complete or just conserve and to what degree depends on a balance of emotions and good judgment.

We just need to make sure that whatever we do, people can enjoy it in the future.

LAURA F. BOSLEY Of course, we would like to finish it. If we had the money, we would. If a donor wished to make it possible for the North Tower to rise or the North Transept to open its doors, the Cathedral community would be very thankful but the needs of people, programs, and ongoing maintenance take precedence.

SUSAN RODRIGUEZ The day-to-day care is challenging. We all consider it vulnerable.

The Nave is complete, the Apse is complete, but the crossing is completely incomplete.

The towers on the west front facing Amsterdam were supposed to have been completed before the Second World War. The War happened, and the work was never finished. Anything that happens to move the Cathedral forward has to build on the past. Each piece and each part of this history is important.

BRUCE MACLEOD That the Cathedral is not finished, it’s not buffed up and shined, it is vulnerable and needs the care of human hands.

That gives it a special character, a kind of human frailty.

JIM PATTERSON

It’s not just the building and it’s not just the people here. It’s the concept.

When you see the guests come in all smiling or with that surprised look when they see the inside the first time, you get a feeling of “I am a part of this.” That’s what the Facilities team has. They feel they are a part of what the Cathedral represents.

LISA SCHUBERT The enduring legacy of the Cathedral will not be in the stone, the artwork, the organs, or other treasures. The fire of December 2001, coming so soon after 9/11, made it clear that even the biggest and most venerable buildings are vulnerable. The heart of the Cathedral’s legacy is and will be what happens in the lives of the thousands of people who come here: the results of an Easter service, an evening of music, a hot meal, a childhood of summer camp on the Close, or a prayer under the dome looking up at the Rose Window.

marilyn nelson

192

193

We Have Hardly Started

SUSAN RODRIGUEZ I don't think you'll ever fly over and see the Cathedral as it was originally conceived because history has made it something else—something better, something richer.

MARIAN WRIGHT EDELMAN Let us hope that in the hundreds of years to come, the Cathedral will continue into its mission to heal the frayed bonds of community and spirituality. As the population of youth grows in our nation, and particularly in our cities, let us turn to institutions like the Cathedral as sources of regeneration...

Let us remember the fate of our children in each choice we make for the future.

MICHAEL BIERUT In some ways, the lights go out when the artist declares that a work is finished.

The whole time something is being created it is unfinished. In ways, unfinished is really closer to life. The Cathedral may be perpetually unfinished “In all our deliberations, we must be mindful and maybe that is exactly what it should be to make it alive. The unfinished, even the unfinishable. of the impact of the decisions on the seven generations to follow ours.” FROM THE CONSTITUTION OF THE IROQUOIS NATION, GREG WYATT When you begin a sculpture you have an inspiration, you make something, and then WHICH INSPIRED FREDERICK FRANCK'S it evolves through the events of time and emotion.

SCULPTURE, THE SEVEN GENERATIONS, LOCATED The Cathedral is the same. It evolves through the ON THE CATHEDRAL CLOSE events of time, through the artworks added, the emotions of those who come to pray, or who come WILLIAM BRYANT LOGAN A cathedral is not a for whatever reason. A church is always unfinished. building. It is an idea that takes form in times when old ways are dying and the new ones have not quite come to exist. Today, the old city of WILLIAM BRYANT LOGAN Cathedrals belong to the 19th and 20th centuries is as much a thing the life of humanity. Many are scarcely begun of the past as the feudal domain was in the after one hundred years. It is better to suggest that 12th century. The city is coming apart at the after one hundred a cathedral leaves its infancy seams; no one knows what is coming next. and enters the time of its real possibility and real struggles. We have hardly started.

DEAN MORTON The world we live in is an “As I look around at this Cathedral and am analogue of the medieval world that built reminded of other cathedrals around the world, the cathedrals. The responsibility of the I think that those who start such a project Cathedral is, just as it was in medieval times, do so knowing that they will not live to see to serve this various and strange world of new it finished. We need more of those people.” cultural meanings.

WYNTON MARSALIS

DEAN KOWALSKI The

one thing that will never be finished is a place that is convened through liturgy, art, and discourse. We can never stop looking and stop asking. We can never assume we have arrived at the answer.

SUSAN RODRIGUEZ The incompleteness asks questions of you, the bigger questions about how the Cathedral could be relevant today.

“The dream is the truth.”

ZORA NEALE

HURSTON, INDUCTED INTO THE AMERICAN

SUB-DEAN PAT MALLOY Good things happen at the Cathedral—but I hope that we again become a place where things happen that are revolutionary, imaginative, and worthy of emulation. The Archbishop of Canterbury is establishing an intentional residential community at his house in London for people ages 21 to 35. They would live together in an intentional monastic community for about ten months.

It isn’t a permanent commitment. We would like to bring a similar program here. It could be a real witness to the people of New York, a sign of hope.

POETS CORNER, 2015

Top Dean Daniel pictured with his grandchildren.

Easter service, 2018.

Bottom The Boots Project: Honoring Those Who Lost Their Lives in Combat, 2006.

194

MARILYN NELSON It feels unfinished, but I can’t say that I feel it as a wound. I think that may be positive because our work is unfinished. I have visited a lot of European cathedrals. In my experience of them they seemed to stand as cultural relics rather than living containers for faith.

St. John the Divine is living, it’s alive, it’s growing, it’s struggling, it’s trying to connect with the living city. It’s not a relic from the past. It’s moving forward with the same kind of brokenness that the society has, that we have as individuals too.

RABBI WOLFE KELMAN I pray that the Cathedral will continue to experiment fearlessly by affirming that in religion we not only worship the Holy in words but in deeds of compassion and a spirit of unity.

195

We Have Hardly Started

SUSAN RODRIGUEZ I don't think you'll ever fly over and see the Cathedral as it was originally conceived because history has made it something else—something better, something richer.

MARIAN WRIGHT EDELMAN Let us hope that in the hundreds of years to come, the Cathedral will continue into its mission to heal the frayed bonds of community and spirituality. As the population of youth grows in our nation, and particularly in our cities, let us turn to institutions like the Cathedral as sources of regeneration...

Let us remember the fate of our children in each choice we make for the future.

MICHAEL BIERUT In some ways, the lights go out when the artist declares that a work is finished.

The whole time something is being created it is unfinished. In ways, unfinished is really closer to life. The Cathedral may be perpetually unfinished “In all our deliberations, we must be mindful and maybe that is exactly what it should be to make it alive. The unfinished, even the unfinishable. of the impact of the decisions on the seven generations to follow ours.” FROM THE CONSTITUTION OF THE IROQUOIS NATION, GREG WYATT When you begin a sculpture you have an inspiration, you make something, and then WHICH INSPIRED FREDERICK FRANCK'S it evolves through the events of time and emotion.

SCULPTURE, THE SEVEN GENERATIONS, LOCATED The Cathedral is the same. It evolves through the ON THE CATHEDRAL CLOSE events of time, through the artworks added, the emotions of those who come to pray, or who come WILLIAM BRYANT LOGAN A cathedral is not a for whatever reason. A church is always unfinished. building. It is an idea that takes form in times when old ways are dying and the new ones have not quite come to exist. Today, the old city of WILLIAM BRYANT LOGAN Cathedrals belong to the 19th and 20th centuries is as much a thing the life of humanity. Many are scarcely begun of the past as the feudal domain was in the after one hundred years. It is better to suggest that 12th century. The city is coming apart at the after one hundred a cathedral leaves its infancy seams; no one knows what is coming next. and enters the time of its real possibility and real struggles. We have hardly started.

DEAN MORTON The world we live in is an “As I look around at this Cathedral and am analogue of the medieval world that built reminded of other cathedrals around the world, the cathedrals. The responsibility of the I think that those who start such a project Cathedral is, just as it was in medieval times, do so knowing that they will not live to see to serve this various and strange world of new it finished. We need more of those people.” cultural meanings.

WYNTON MARSALIS

DEAN KOWALSKI The

one thing that will never be finished is a place that is convened through liturgy, art, and discourse. We can never stop looking and stop asking. We can never assume we have arrived at the answer.

SUSAN RODRIGUEZ The incompleteness asks questions of you, the bigger questions about how the Cathedral could be relevant today.

“The dream is the truth.”

ZORA NEALE

HURSTON, INDUCTED INTO THE AMERICAN

SUB-DEAN PAT MALLOY Good things happen at the Cathedral—but I hope that we again become a place where things happen that are revolutionary, imaginative, and worthy of emulation. The Archbishop of Canterbury is establishing an intentional residential community at his house in London for people ages 21 to 35. They would live together in an intentional monastic community for about ten months.

It isn’t a permanent commitment. We would like to bring a similar program here. It could be a real witness to the people of New York, a sign of hope.

POETS CORNER, 2015

Top Dean Daniel pictured with his grandchildren.

Easter service, 2018.

Bottom The Boots Project: Honoring Those Who Lost Their Lives in Combat, 2006.

194

MARILYN NELSON It feels unfinished, but I can’t say that I feel it as a wound. I think that may be positive because our work is unfinished. I have visited a lot of European cathedrals. In my experience of them they seemed to stand as cultural relics rather than living containers for faith.

St. John the Divine is living, it’s alive, it’s growing, it’s struggling, it’s trying to connect with the living city. It’s not a relic from the past. It’s moving forward with the same kind of brokenness that the society has, that we have as individuals too.

RABBI WOLFE KELMAN I pray that the Cathedral will continue to experiment fearlessly by affirming that in religion we not only worship the Holy in words but in deeds of compassion and a spirit of unity.

195

This Won't Happen Again

THE REV. TOM PIKE What

modern cities need most are forums from which all forms of expression can radiate. Many people are lost about the past, they’re frightened about the future, and the present isn’t very nice. In this great complex world, there is anxiety. The Cathedral represents a bridge into the past that may enable people to be more effective in the present and in the future.

THE REV. STEVEN LEE What

has not become meaningless is the language of space and beauty. When you walk into the Cathedral, it communicates something that translates to now. This crazy building dedicated to the worship of God stands as an argument that we believe that there is something greater, and that it’s worth all the sweat and blood and tears.

BRUCE MACLEOD There is a history layered throughout this 125-year-old Cathedral.

This building will never be re-created. This won’t happen again.

BISHOP GLASSPOOL The Cathedral has always, always, always been good at creativity, innovation, and openness to being multicultural and interfaith.

This is a place that can bring hope to the whole world that needs a lot of hope right now.

I am hoping that the Cathedral, as the Cathedral “of and for” the Diocese of New York, continues to grow. I am hopeful, period.

“Take hope, be strong, be brave, be free, be open, be loving, and hold up the vision of the Heavenly City. Remove the scales from your eyes so that you can see the City so clearly that you will never cease until you have built Jerusalem in our land.” BISHOP MOORE DEAN MORTON The Bible ends with the Revelation of St. John the Divine and Saint John’s word for us is that the garden is the city.

“The Heavenly Jerusalem” is as urban as you can get. Our job is to become urban gardeners.

At the Cathedral, we do the best we can on our 11 acres inhabited by peacocks, artists, theologians, scientists, and givers of care—patient, responsive, willing, and practical—capable of preparing God's people and God's earth for real communion.

Top “I love going into the Cathedral when it’s virtually empty. At times, there may be only two or three other people in that huge place and to go there and pray alone is supremely powerful sensing that this is where hundreds of thousands, maybe even millions of people, have prayed and tried to reach God there over its lifetime is uplifting.” bill baker

Bottom The Archangel Gabriel, “The Messenger of God," on the roof of the Cathedral.

196

WAYNE KEMPTON The Cathedral was designed to reflect the New Jerusalem of the Book of Revelation. The mission of “Saving Heaven on Earth” is designed and built into the Cathedral.

That is the universe all these architectural intentions are happening within.

PAUL GORMAN The worst scenario for our city and our Cathedral is that we will have seen we had choices to make and missed them through lack of courage, support, or wisdom. The best scenario is that God’s grace has good in store for us that we don't know about yet. While things here are built in stone, they are not set in stone.

THE REV. JESSE JACKSON The

world is becoming a tougher place, day by day. There is an evergreater gulf between rich and poor. More than ever, the Cathedral is needed as a bridge to change ignorance and understanding. You will have to have the guts to hold your course in the coming years as the popularity of issues wane and the true cost of dealing with them becomes apparent.

The words of a prophet are important, but what matters more are his patience, perseverance, and unfailing presence. If we have the faith, He has the power. Let's together keep the faith, hope, and love alive.

THE REV. SANDYE WILSON

Going into the future, the Cathedral has a chance to think about how it will powerfully serve its community to form bridges of care over what sometimes feels like chasms of indifference. The Cathedral has an opportunity to be a seed sower of goodness, to be a fire starter, for the passion of what can be and what it means to stand up for justice and mercy and peace and love. And always, always, to be a peddler of hope in what can feel like a sea of hopelessness.

BISHOP DIETSCHE I believe that it is especially a privilege to be the church in uncertain times.

It is the greatest gift to face challenges that surpass our ability and understanding, for it is only then that we learn what it really means to trust God. We are in a season in which so much of our common life, the life and health of so many churches, and the resources on which our ministries and our mission have depended can no longer be taken for granted. The challenges we will contend with in this next chapter of our life will test us. But I am certain that, God being our helper, we will prevail over fear and doubt and—by the witness of a courageous faith, give glory to God. THE DALAI LAMA

Since the founding of the Cathedral, our world has grown smaller yet we have become increasingly aware of the great and rich diversity that characterizes humanity.

When we remember that each of us is just a human being like everyone else, that we all desire happiness and seek to avoid suffering, and have an equal right to pursue these goals, we can learn a great deal from the differences between us… I offer my greetings and prayers that you may long continue to be a beacon of inspiration, helping the weak to find courage and reminding the powerful that there is strength in peace and brotherhood.

DEAN DANIEL As ever, this great Cathedral will continue to proclaim the Gospel of Jesus Christ for the inclusion of all people, for reconciliation and the peace of the world, and for the celebration of the Sacraments of the New Covenant in Jesus Christ as we move confidently into and beyond the 126th year of the Cathedral’s life and witness.

DEAN KOWALSKI For the record, architecturally, it’s only two-thirds done and still this is the largest Gothic Cathedral in the world.

197

This Won't Happen Again

THE REV. TOM PIKE What

modern cities need most are forums from which all forms of expression can radiate. Many people are lost about the past, they’re frightened about the future, and the present isn’t very nice. In this great complex world, there is anxiety. The Cathedral represents a bridge into the past that may enable people to be more effective in the present and in the future.

THE REV. STEVEN LEE What

has not become meaningless is the language of space and beauty. When you walk into the Cathedral, it communicates something that translates to now. This crazy building dedicated to the worship of God stands as an argument that we believe that there is something greater, and that it’s worth all the sweat and blood and tears.

BRUCE MACLEOD There is a history layered throughout this 125-year-old Cathedral.

This building will never be re-created. This won’t happen again.

BISHOP GLASSPOOL The Cathedral has always, always, always been good at creativity, innovation, and openness to being multicultural and interfaith.

This is a place that can bring hope to the whole world that needs a lot of hope right now.

I am hoping that the Cathedral, as the Cathedral “of and for” the Diocese of New York, continues to grow. I am hopeful, period.

“Take hope, be strong, be brave, be free, be open, be loving, and hold up the vision of the Heavenly City. Remove the scales from your eyes so that you can see the City so clearly that you will never cease until you have built Jerusalem in our land.” BISHOP MOORE DEAN MORTON The Bible ends with the Revelation of St. John the Divine and Saint John’s word for us is that the garden is the city.

“The Heavenly Jerusalem” is as urban as you can get. Our job is to become urban gardeners.

At the Cathedral, we do the best we can on our 11 acres inhabited by peacocks, artists, theologians, scientists, and givers of care—patient, responsive, willing, and practical—capable of preparing God's people and God's earth for real communion.

Top “I love going into the Cathedral when it’s virtually empty. At times, there may be only two or three other people in that huge place and to go there and pray alone is supremely powerful sensing that this is where hundreds of thousands, maybe even millions of people, have prayed and tried to reach God there over its lifetime is uplifting.” bill baker

Bottom The Archangel Gabriel, “The Messenger of God," on the roof of the Cathedral.

196

WAYNE KEMPTON The Cathedral was designed to reflect the New Jerusalem of the Book of Revelation. The mission of “Saving Heaven on Earth” is designed and built into the Cathedral.

That is the universe all these architectural intentions are happening within.

PAUL GORMAN The worst scenario for our city and our Cathedral is that we will have seen we had choices to make and missed them through lack of courage, support, or wisdom. The best scenario is that God’s grace has good in store for us that we don't know about yet. While things here are built in stone, they are not set in stone.

THE REV. JESSE JACKSON The

world is becoming a tougher place, day by day. There is an evergreater gulf between rich and poor. More than ever, the Cathedral is needed as a bridge to change ignorance and understanding. You will have to have the guts to hold your course in the coming years as the popularity of issues wane and the true cost of dealing with them becomes apparent.

The words of a prophet are important, but what matters more are his patience, perseverance, and unfailing presence. If we have the faith, He has the power. Let's together keep the faith, hope, and love alive.

THE REV. SANDYE WILSON

Going into the future, the Cathedral has a chance to think about how it will powerfully serve its community to form bridges of care over what sometimes feels like chasms of indifference. The Cathedral has an opportunity to be a seed sower of goodness, to be a fire starter, for the passion of what can be and what it means to stand up for justice and mercy and peace and love. And always, always, to be a peddler of hope in what can feel like a sea of hopelessness.

BISHOP DIETSCHE I believe that it is especially a privilege to be the church in uncertain times.

It is the greatest gift to face challenges that surpass our ability and understanding, for it is only then that we learn what it really means to trust God. We are in a season in which so much of our common life, the life and health of so many churches, and the resources on which our ministries and our mission have depended can no longer be taken for granted. The challenges we will contend with in this next chapter of our life will test us. But I am certain that, God being our helper, we will prevail over fear and doubt and—by the witness of a courageous faith, give glory to God. THE DALAI LAMA

Since the founding of the Cathedral, our world has grown smaller yet we have become increasingly aware of the great and rich diversity that characterizes humanity.

When we remember that each of us is just a human being like everyone else, that we all desire happiness and seek to avoid suffering, and have an equal right to pursue these goals, we can learn a great deal from the differences between us… I offer my greetings and prayers that you may long continue to be a beacon of inspiration, helping the weak to find courage and reminding the powerful that there is strength in peace and brotherhood.

DEAN DANIEL As ever, this great Cathedral will continue to proclaim the Gospel of Jesus Christ for the inclusion of all people, for reconciliation and the peace of the world, and for the celebration of the Sacraments of the New Covenant in Jesus Christ as we move confidently into and beyond the 126th year of the Cathedral’s life and witness.

DEAN KOWALSKI For the record, architecturally, it’s only two-thirds done and still this is the largest Gothic Cathedral in the world.

197

6

The Cathedral Community “Within our buildings and on our 11 acres of grounds and garden in the midst of New York City, there are innumerable hidden gems to discover...”

BISHOP DIETSCHE

Congregation of St. Saviour

201

Cathedral Community Cares (CCC)

203

Advancing the Community of Tomorrow (ACT) 207

198

Nightwatch Crossroads

208

The Textile Conservation Laboratory

211

The Cathedral School

212

199

6

The Cathedral Community “Within our buildings and on our 11 acres of grounds and garden in the midst of New York City, there are innumerable hidden gems to discover...”

BISHOP DIETSCHE

Congregation of St. Saviour

201

Cathedral Community Cares (CCC)

203

Advancing the Community of Tomorrow (ACT) 207

198

Nightwatch Crossroads

208

The Textile Conservation Laboratory

211

The Cathedral School

212

199

Congregation of St. Saviour Incorporated in 1992, the Congregation of St. Saviour’s mission is to build and nurture an active Christian community; to support the mission of the Cathedral; to offer opportunities for exploration and expressing spirituality; affirming the diversities that exist among us; and above all, through worship, service, and example, to witness to Christ’s healing and reconciling love to neighbors, pilgrims and visitors.

Throw the Doors Open to One and All

MARSHA RA When Dean Morton became Dean, he threw the Cathedral doors open to one and all, enthusiastically inviting people to come and to stay. The seeds for an Episcopal congregation were planted. During the 1980s, Christians who considered themselves members of the “congregation” frequently discussed what it would take to become an Episcopal parish. Although many worshippers had no interest in a more formal structure, others were troubled by the fact that they had no involvement in the greater life of The Episcopal Church, no formal relationship with the Diocese of New York, and no input on how the Cathedral was managed.

“In 1985, the informal Congregation Council developed and ratified a purpose and bylaws, which included building a sense of Christian Community within the Cathedral.”

CONGREGATION ARCHIVES TIM DWYER There

were many groups within the Cathedral’s active community, which were diverse and not necessarily Christian. Buddhists, Hindus, Jews, Muslims, and new-agers were all welcome and became very much a part of the Cathedral’s life. These various groups interacted loosely, but it would be untrue to say there were no ruffled feathers among those who considered themselves traditional Christians.

“In 1990, Bishop Grein invited the Congregation Council to pursue formal incorporation. It was at first thought the goal would be to create its own parish, but because parishes are tied to areas of land, the appropriate step would be to form a congregation. After open meetings and reflection, the Council voted to pursue incorporation. The Cathedral’s Board of Trustees approved of the incorporation and on October 24, 1992, the Congregation of St. Saviour was recognized by the Diocese of New York.”

Previous Mettawee River Theatre Company ushers in the beginning of fall, 2019.

Left Gates in the Chapel of St. Saviour.

200

CONGREGATION ARCHIVES

MARSHA RA The name Congregation of St. Saviour had been chosen after a period of open solicitation of suggestions. Dean Morton had suggested the name because St. Saviour was the first of the chapels completed at the Cathedral and it was his favorite as well as the chapel in which he presided over the Dean’s Mass on Thursday mornings. St. Saviour, of course, refers to Jesus Christ.

THE REV. CANON SUSAN HARRISS It’s been

said that the world is at our communion table here.

Congregants are attracted by the building, the music, and the sense of possibility. It’s hard to feel cramped here, and their attitudes mirror this. The congregation is a mix of race, class, and background.

Like other New York City congregations, members are very sophisticated, not in the stylish sense, rather they are wise, sharp.

MARSHA RA Congregation leadership and heads of Cathedral programs work cooperatively on several projects, such as the Congregation’s annual crafts fair, which we’ve organized for over 20 years.

THE REV. STEVEN LEE The

kind of community we are attempting to create in our Cathedral congregation is one that—no matter how angry you become or how disappointed you are or how many hard words are spoken—never sees any conflict as a final break. Rather, each conflict is an opportunity of deepening our faith that through such tests we will grow closer together.

MARSHA RA I

would like to see the congregation become spiritually very strong, whether the numbers go up or not—I hope they do—but I’d like this to be a place for real spiritual growth I mean in an explicitly Christian way.

THE REV. STEVEN LEE In

the years to come, we will begin to orient around these core discipleship activities: connecting people to one another more deeply and more authentically; growing in our faith through service, prayer, and knowledge; and giving generously back to the parish as a sign of our thankfulness for how much God has given us through this community.

201

Congregation of St. Saviour Incorporated in 1992, the Congregation of St. Saviour’s mission is to build and nurture an active Christian community; to support the mission of the Cathedral; to offer opportunities for exploration and expressing spirituality; affirming the diversities that exist among us; and above all, through worship, service, and example, to witness to Christ’s healing and reconciling love to neighbors, pilgrims and visitors.

Throw the Doors Open to One and All

MARSHA RA When Dean Morton became Dean, he threw the Cathedral doors open to one and all, enthusiastically inviting people to come and to stay. The seeds for an Episcopal congregation were planted. During the 1980s, Christians who considered themselves members of the “congregation” frequently discussed what it would take to become an Episcopal parish. Although many worshippers had no interest in a more formal structure, others were troubled by the fact that they had no involvement in the greater life of The Episcopal Church, no formal relationship with the Diocese of New York, and no input on how the Cathedral was managed.

“In 1985, the informal Congregation Council developed and ratified a purpose and bylaws, which included building a sense of Christian Community within the Cathedral.”

CONGREGATION ARCHIVES TIM DWYER There

were many groups within the Cathedral’s active community, which were diverse and not necessarily Christian. Buddhists, Hindus, Jews, Muslims, and new-agers were all welcome and became very much a part of the Cathedral’s life. These various groups interacted loosely, but it would be untrue to say there were no ruffled feathers among those who considered themselves traditional Christians.

“In 1990, Bishop Grein invited the Congregation Council to pursue formal incorporation. It was at first thought the goal would be to create its own parish, but because parishes are tied to areas of land, the appropriate step would be to form a congregation. After open meetings and reflection, the Council voted to pursue incorporation. The Cathedral’s Board of Trustees approved of the incorporation and on October 24, 1992, the Congregation of St. Saviour was recognized by the Diocese of New York.”

Previous Mettawee River Theatre Company ushers in the beginning of fall, 2019.

Left Gates in the Chapel of St. Saviour.

200

CONGREGATION ARCHIVES

MARSHA RA The name Congregation of St. Saviour had been chosen after a period of open solicitation of suggestions. Dean Morton had suggested the name because St. Saviour was the first of the chapels completed at the Cathedral and it was his favorite as well as the chapel in which he presided over the Dean’s Mass on Thursday mornings. St. Saviour, of course, refers to Jesus Christ.

THE REV. CANON SUSAN HARRISS It’s been

said that the world is at our communion table here.

Congregants are attracted by the building, the music, and the sense of possibility. It’s hard to feel cramped here, and their attitudes mirror this. The congregation is a mix of race, class, and background.

Like other New York City congregations, members are very sophisticated, not in the stylish sense, rather they are wise, sharp.

MARSHA RA Congregation leadership and heads of Cathedral programs work cooperatively on several projects, such as the Congregation’s annual crafts fair, which we’ve organized for over 20 years.

THE REV. STEVEN LEE The

kind of community we are attempting to create in our Cathedral congregation is one that—no matter how angry you become or how disappointed you are or how many hard words are spoken—never sees any conflict as a final break. Rather, each conflict is an opportunity of deepening our faith that through such tests we will grow closer together.

MARSHA RA I

would like to see the congregation become spiritually very strong, whether the numbers go up or not—I hope they do—but I’d like this to be a place for real spiritual growth I mean in an explicitly Christian way.

THE REV. STEVEN LEE In

the years to come, we will begin to orient around these core discipleship activities: connecting people to one another more deeply and more authentically; growing in our faith through service, prayer, and knowledge; and giving generously back to the parish as a sign of our thankfulness for how much God has given us through this community.

201

Cathedral Community Cares (CCC) The Cathedral has always worked against suffering and inequality.

Cathedral Community Cares grew out of early efforts to combat AIDS and was formally established by the Congregation of St. Saviour in the early 1990s. CCC continues that mission through preventive poverty services, education, and advocacy, specifically targeting health and hunger.

We Can Provide

DEAN MORTON Service is at the very heart of scripture. Service is not just something we do.

Service is what we are. It isn’t a profession, a hobby, a part-time activity. Service is being.

BISHOP DIETSCHE Outreach brings benefits to those in need, to those who help, and to the community as a whole.

MARSHA RA It is inevitable that when people regularly share the Eucharist they will want to respond to pain in the world. In 1981, several members of the worshipping community asked permission to start a homeless shelter on the grounds. The Episcopal Church Women group opened a soup kitchen in the Undercroft.

Those programs live on today in Cathedral Community Cares.

KALIE KAMARA CCC is the social services program part of the Cathedral. We provide services to alleviate poverty. I’m the outreach coordinator here. I work every day all day to help people who really need help.

THOMAS PERRY There

are three of us. Whoever gets here first opens up. Usually there are two or three people waiting either outside or in the Cathedral. They are looking for help with food stamps, housing, job referrals. They need a place to sleep or sometimes, especially if the weather is colder, a jacket.

MURRY STEGELMANN I have been a Trustee at the Cathedral for eight years. A hundred thousand people a month come through the Cathedral. Our mission is making this a place that those people leave feeling invigorated, energized, and craving more. The Cathedral should only be a home base. It’s not just what we do here, it’s what we do that multiplies and spreads out into the world.

CCC staff and volunteers Thomas Perry, Marva Kennedy, and Kalie Kamara at work at the Clothing Closet. Not pictured: Robert Finn.

202

BILL BAKER The Cathedral has always been a moral place that sheds light on the most critical things that get buried in a society, the human lives that have often been ignored.

KALIE KAMARA We have a Soup Kitchen on Sundays. We serve breakfast around 10 am and lunch at 12:30 pm. Clients know about us through different soup kitchens, or shelters, or food pantries. It’s almost like a community, like its own world of people who are surviving off the different programs. If you see our soup kitchen, there are women and sometimes there are children, but you will be amazed at how much of it is black men living from shelter to shelter. About 150 to 200 people come. There are times it gets really crowded, sometimes it gets to 250. We try not to turn people away. We have to be creative.

TOM FEDOREK The soup kitchen has huge pots

for cooking. It felt like “Jack and the Beanstalk in the Giant’s kitchen.” You know, you hear about the Holy Spirit and it’s kind of an abstract concept.

But the camaraderie of the people working in the Soup Kitchen is what I think of when I think about the Holy Spirit. That’s the spirit there.

ISADORA WILKENFELD New Yorkers are hungry.

Nearly one-sixth of our neighbors live in poverty, and many struggle to provide themselves and their families with adequate food.

ROBERT FINN The numbers of those seeking food at the Cathedral Soup Kitchen and other foodbanks around the country have been going up since 2008. It would be impossible for us to meet this need without all of the volunteers who help out.

MARSHA RA Sunday, into the pantry to get supplies for today’s lunch: 220 pounds of ground beef; 50 pounds of potato flakes; 30 pounds of cheese; 15 cases of canned fruits and vegetables; 50 pounds of sugar; 15 pounds of flour, honey, raisin, nuts; 10 pounds of butter; and all the necessary utensils, urns, and casserole dishes.

I learned to cook a lot of really big things.

Egg Foo Young for 200.

THOMAS PERRY We’re

serving food in the same building at the same time that church services are happening. The clergy usually stop in during meal times so it really feels like we are just an extension of what is happening upstairs.

203

Cathedral Community Cares (CCC) The Cathedral has always worked against suffering and inequality.

Cathedral Community Cares grew out of early efforts to combat AIDS and was formally established by the Congregation of St. Saviour in the early 1990s. CCC continues that mission through preventive poverty services, education, and advocacy, specifically targeting health and hunger.

We Can Provide

DEAN MORTON Service is at the very heart of scripture. Service is not just something we do.

Service is what we are. It isn’t a profession, a hobby, a part-time activity. Service is being.

BISHOP DIETSCHE Outreach brings benefits to those in need, to those who help, and to the community as a whole.

MARSHA RA It is inevitable that when people regularly share the Eucharist they will want to respond to pain in the world. In 1981, several members of the worshipping community asked permission to start a homeless shelter on the grounds. The Episcopal Church Women group opened a soup kitchen in the Undercroft.

Those programs live on today in Cathedral Community Cares.

KALIE KAMARA CCC is the social services program part of the Cathedral. We provide services to alleviate poverty. I’m the outreach coordinator here. I work every day all day to help people who really need help.

THOMAS PERRY There

are three of us. Whoever gets here first opens up. Usually there are two or three people waiting either outside or in the Cathedral. They are looking for help with food stamps, housing, job referrals. They need a place to sleep or sometimes, especially if the weather is colder, a jacket.

MURRY STEGELMANN I have been a Trustee at the Cathedral for eight years. A hundred thousand people a month come through the Cathedral. Our mission is making this a place that those people leave feeling invigorated, energized, and craving more. The Cathedral should only be a home base. It’s not just what we do here, it’s what we do that multiplies and spreads out into the world.

CCC staff and volunteers Thomas Perry, Marva Kennedy, and Kalie Kamara at work at the Clothing Closet. Not pictured: Robert Finn.

202

BILL BAKER The Cathedral has always been a moral place that sheds light on the most critical things that get buried in a society, the human lives that have often been ignored.

KALIE KAMARA We have a Soup Kitchen on Sundays. We serve breakfast around 10 am and lunch at 12:30 pm. Clients know about us through different soup kitchens, or shelters, or food pantries. It’s almost like a community, like its own world of people who are surviving off the different programs. If you see our soup kitchen, there are women and sometimes there are children, but you will be amazed at how much of it is black men living from shelter to shelter. About 150 to 200 people come. There are times it gets really crowded, sometimes it gets to 250. We try not to turn people away. We have to be creative.

TOM FEDOREK The soup kitchen has huge pots

for cooking. It felt like “Jack and the Beanstalk in the Giant’s kitchen.” You know, you hear about the Holy Spirit and it’s kind of an abstract concept.

But the camaraderie of the people working in the Soup Kitchen is what I think of when I think about the Holy Spirit. That’s the spirit there.

ISADORA WILKENFELD New Yorkers are hungry.

Nearly one-sixth of our neighbors live in poverty, and many struggle to provide themselves and their families with adequate food.

ROBERT FINN The numbers of those seeking food at the Cathedral Soup Kitchen and other foodbanks around the country have been going up since 2008. It would be impossible for us to meet this need without all of the volunteers who help out.

MARSHA RA Sunday, into the pantry to get supplies for today’s lunch: 220 pounds of ground beef; 50 pounds of potato flakes; 30 pounds of cheese; 15 cases of canned fruits and vegetables; 50 pounds of sugar; 15 pounds of flour, honey, raisin, nuts; 10 pounds of butter; and all the necessary utensils, urns, and casserole dishes.

I learned to cook a lot of really big things.

Egg Foo Young for 200.

THOMAS PERRY We’re

serving food in the same building at the same time that church services are happening. The clergy usually stop in during meal times so it really feels like we are just an extension of what is happening upstairs.

203

“Whoever has two shirts should share with the person who doesn’t have any. Whoever has food should share it too.” LUKE 3:11 KALIE KAMARA When the government cuts down food stamps or certain benefits, we’ll see an influx in a heartbeat. When I first started, we had this clock. It showed the number of hours to the day until the funding was going to be cut. The day the clock ended, literally that hour, we saw a surge of clients.

“I believe that in the faces of the homeless we may catch a glimpse of Christ.” TOM FEDOREK JESSYE NORMAN I’ve

gotten to know some of the people who have taken up residence around the 110th Street side of the Cathedral. I’ve encouraged them to take themselves to the Soup Kitchen where they have the chance to sit down and have something to eat. It is welcoming to everybody.

That is what is so important.

FRANCIS EDMONDS We live across town and can see the Cathedral up on the hill. So when we had no food, we came to the Soup Kitchen.

Now we come to mass on Sundays and then eat dinner here so we can save our food stamps to feed our children.

THOMAS PERRY We’re

not going to turn someone away. If we don’t have what the person is looking for we are a part of a network, so we know the places that serve hot meals every day or can provide a bed. And other organizations know to send people to us for the things that we can provide.

KALIE KAMARA Eventually I start to see people I know. I try to at least have a conversation.

I take their hand and see how they’re doing unless it’s someone who’s just not in the right state of mind to get personal. People get into their own feelings if they’re going through a lot.

Economic stress leads to psychological stress.

This is one of the places they’ll come to vent. It could feel dehumanizing knowing that you have to go from one social services program to another just to survive. We also provide health screenings. We have HIV testing twice a month.

This past Sunday we were working with the American Italian Cancer Foundation for breast cancer screenings. I learn a lot from the clients and the volunteers because every life is different.

It really is even more than I knew.

KALIE KAMARA We also have a Clothing Closet.

About 40 clients come in every Tuesday or Thursday. Most are women trying to get clothing for their families. A good amount of the guys are coming out of prison trying to get back into the workforce. There are also grown men and women living in the streets just coming to get shoes on their feet and clothes to stay warm.

You’re allowed to get clothing for your family members if you bring their IDs. Like a mother might have three kids. So she’s going to get clothing for herself and three others. The majority of clothes come from neighborhood people who donate to us. Most of our people are flexible finding things on their own. They’re not putting pressure on us. It’s never been that way. It could feel that way because you want to have the answer to help somebody immediately. I’ll find a way for someone to get to the next step. I do research and maybe look around. I have lists of different shelters, lists of food pantries, lists for jobs, lists for job-skills training, lists of clothing resources, or even just places where my people can take showers.

If I don’t know the answer, I’ll find the answer.

Top Homeless Jesus. Timothy P. Schmalz. Bronze. 2017.

Bottom left Who Cooked the Last Supper? Robin Kahn. Neon.

1991. From The Value of Food: Sustaining a Green Planet, 2015-2016.

Bottom right Fresh and healthy ingredients serve as the foundation for everything cooked and served at the Soup Kitchen.

204

205

“Whoever has two shirts should share with the person who doesn’t have any. Whoever has food should share it too.” LUKE 3:11 KALIE KAMARA When the government cuts down food stamps or certain benefits, we’ll see an influx in a heartbeat. When I first started, we had this clock. It showed the number of hours to the day until the funding was going to be cut. The day the clock ended, literally that hour, we saw a surge of clients.

“I believe that in the faces of the homeless we may catch a glimpse of Christ.” TOM FEDOREK JESSYE NORMAN I’ve

gotten to know some of the people who have taken up residence around the 110th Street side of the Cathedral. I’ve encouraged them to take themselves to the Soup Kitchen where they have the chance to sit down and have something to eat. It is welcoming to everybody.

That is what is so important.

FRANCIS EDMONDS We live across town and can see the Cathedral up on the hill. So when we had no food, we came to the Soup Kitchen.

Now we come to mass on Sundays and then eat dinner here so we can save our food stamps to feed our children.

THOMAS PERRY We’re

not going to turn someone away. If we don’t have what the person is looking for we are a part of a network, so we know the places that serve hot meals every day or can provide a bed. And other organizations know to send people to us for the things that we can provide.

KALIE KAMARA Eventually I start to see people I know. I try to at least have a conversation.

I take their hand and see how they’re doing unless it’s someone who’s just not in the right state of mind to get personal. People get into their own feelings if they’re going through a lot.

Economic stress leads to psychological stress.

This is one of the places they’ll come to vent. It could feel dehumanizing knowing that you have to go from one social services program to another just to survive. We also provide health screenings. We have HIV testing twice a month.

This past Sunday we were working with the American Italian Cancer Foundation for breast cancer screenings. I learn a lot from the clients and the volunteers because every life is different.

It really is even more than I knew.

KALIE KAMARA We also have a Clothing Closet.

About 40 clients come in every Tuesday or Thursday. Most are women trying to get clothing for their families. A good amount of the guys are coming out of prison trying to get back into the workforce. There are also grown men and women living in the streets just coming to get shoes on their feet and clothes to stay warm.

You’re allowed to get clothing for your family members if you bring their IDs. Like a mother might have three kids. So she’s going to get clothing for herself and three others. The majority of clothes come from neighborhood people who donate to us. Most of our people are flexible finding things on their own. They’re not putting pressure on us. It’s never been that way. It could feel that way because you want to have the answer to help somebody immediately. I’ll find a way for someone to get to the next step. I do research and maybe look around. I have lists of different shelters, lists of food pantries, lists for jobs, lists for job-skills training, lists of clothing resources, or even just places where my people can take showers.

If I don’t know the answer, I’ll find the answer.

Top Homeless Jesus. Timothy P. Schmalz. Bronze. 2017.

Bottom left Who Cooked the Last Supper? Robin Kahn. Neon.

1991. From The Value of Food: Sustaining a Green Planet, 2015-2016.

Bottom right Fresh and healthy ingredients serve as the foundation for everything cooked and served at the Soup Kitchen.

204

205

Advancing the Community of Tomorrow (ACT) The guiding philosophy of ACT has always been, “We learn best that which we enjoy doing.” Campers, pre-school kids, and after-school kids play sports; practice arts and crafts, cooking and dance; work in the gardens; and learn about worms, honeybees, and peacocks. ACT provides children and their families year-round, affordable, and non-sectarian activities.

Every Cathedral Should Have an ACT

“As we like to say, ‘Get in on the ACT.’” JOSÉ V. TORRES KEITH HEFNER Since its founding as a small summer camp in 1971, ACT has expanded to meet the changing needs of the community. Today, it is an Upper West Side institution that has provided a safe haven to over 100,000 toddlers to teens.

DEAN KOWALSKI For decades children and young adults of different faith, cultural, and economic backgrounds have learned, played and grown together at ACT.

We started with a summer camp for kids in the school and the neighborhood. As time went on, we extended the ages from three to 15, we developed a Preschool Program, a Nursery Program, and then After-School Programs. ACT has grown, we have an enrollment of close to 1,200 kids.

JOSÉ V. TORRES You

name a holiday, we’ve celebrated it. Working in a diverse environment forces you to diversify your approach. You can’t treat everyone the same way. It was working with whites, Blacks, Latinos, educated, not-soeducated, verbal, not-so-verbal. When you talk about “community building,” a lot of staff will say we’re not just building for the kids but also for the adults. We are basically here to support families as cathedrals used to do when they were the center of the community. Things at the Cathedral are very special to our kids.

When the Phoenix was here, our nursery school went every morning to watch the progress. There are crafts related to the Cathedral construction and the medieval period. I’ve had some kids look at the altar and ask, “Why a menorah?” Or, “Why is there something from China up there?”

JEN GOWERS Working with ACT is a wonderful

Children of ACT. 206

mix of interacting with young people of all ages, connecting with their families, supporting our diverse and exceptional staff, finding awesome parttime and seasonal staff, and collaborating with ACT folks, Cathedral folks, community folks, and the geniuses I have been lucky enough to know over the course of my career to dream up ways to make these strong youth programs even more awesome.

MARIE DEL TEJO ACT is about community. From the very beginning, our kids know how be together and feel included. Kids from private schools learn to work with kids that didn’t get the breaks.

I was born next door in St. Luke’s and I’ve worked with the Cathedral for 26 years. I’ve always lived in this neighborhood. I recognize the families on the street. When the kids come here, they create a home away from home together. We talk about what neighbors do. We like to see the generations.

There is one family here whose grandmother was an original ACT board member. Her son grew up at ACT, and now his daughter is here. One of our teachers started as a four-year-old and went through everything we offer: Camp, After School, Vacation Camp, she became a junior counselor, then a counselor, then an Assistant Teacher.

Talk about full circle!

AMORREENA CLEMENT You might start off at 14 helping a three-year-old play in the mini-pools and end up at 18 as a swim instructor. You learn so much and you are always prepared to share it with others. I love ACT.

“Every cathedral should have an ACT.” NORA SCHAAF JULIA HOLDEN Running a camp is never an easy

task, but running a day camp in the heart of New York City is a feat of astounding proportions.

It takes an immense amount of hard work, logistical and organizational control and scheduling, and a team of outstanding and dedicated staff who can adapt to an ever-changing environment.

JOSÉ V. TORRES You’re

here to really be with the kids. A lot of people ask themselves, “Is what you’ve done in your life worth living?” I have, I feel it. That’s what keeps us here. We think that what we do makes a difference. That’s really the key.

207

Advancing the Community of Tomorrow (ACT) The guiding philosophy of ACT has always been, “We learn best that which we enjoy doing.” Campers, pre-school kids, and after-school kids play sports; practice arts and crafts, cooking and dance; work in the gardens; and learn about worms, honeybees, and peacocks. ACT provides children and their families year-round, affordable, and non-sectarian activities.

Every Cathedral Should Have an ACT

“As we like to say, ‘Get in on the ACT.’” JOSÉ V. TORRES KEITH HEFNER Since its founding as a small summer camp in 1971, ACT has expanded to meet the changing needs of the community. Today, it is an Upper West Side institution that has provided a safe haven to over 100,000 toddlers to teens.

DEAN KOWALSKI For decades children and young adults of different faith, cultural, and economic backgrounds have learned, played and grown together at ACT.

We started with a summer camp for kids in the school and the neighborhood. As time went on, we extended the ages from three to 15, we developed a Preschool Program, a Nursery Program, and then After-School Programs. ACT has grown, we have an enrollment of close to 1,200 kids.

JOSÉ V. TORRES You

name a holiday, we’ve celebrated it. Working in a diverse environment forces you to diversify your approach. You can’t treat everyone the same way. It was working with whites, Blacks, Latinos, educated, not-soeducated, verbal, not-so-verbal. When you talk about “community building,” a lot of staff will say we’re not just building for the kids but also for the adults. We are basically here to support families as cathedrals used to do when they were the center of the community. Things at the Cathedral are very special to our kids.

When the Phoenix was here, our nursery school went every morning to watch the progress. There are crafts related to the Cathedral construction and the medieval period. I’ve had some kids look at the altar and ask, “Why a menorah?” Or, “Why is there something from China up there?”

JEN GOWERS Working with ACT is a wonderful

Children of ACT. 206

mix of interacting with young people of all ages, connecting with their families, supporting our diverse and exceptional staff, finding awesome parttime and seasonal staff, and collaborating with ACT folks, Cathedral folks, community folks, and the geniuses I have been lucky enough to know over the course of my career to dream up ways to make these strong youth programs even more awesome.

MARIE DEL TEJO ACT is about community. From the very beginning, our kids know how be together and feel included. Kids from private schools learn to work with kids that didn’t get the breaks.

I was born next door in St. Luke’s and I’ve worked with the Cathedral for 26 years. I’ve always lived in this neighborhood. I recognize the families on the street. When the kids come here, they create a home away from home together. We talk about what neighbors do. We like to see the generations.

There is one family here whose grandmother was an original ACT board member. Her son grew up at ACT, and now his daughter is here. One of our teachers started as a four-year-old and went through everything we offer: Camp, After School, Vacation Camp, she became a junior counselor, then a counselor, then an Assistant Teacher.

Talk about full circle!

AMORREENA CLEMENT You might start off at 14 helping a three-year-old play in the mini-pools and end up at 18 as a swim instructor. You learn so much and you are always prepared to share it with others. I love ACT.

“Every cathedral should have an ACT.” NORA SCHAAF JULIA HOLDEN Running a camp is never an easy

task, but running a day camp in the heart of New York City is a feat of astounding proportions.

It takes an immense amount of hard work, logistical and organizational control and scheduling, and a team of outstanding and dedicated staff who can adapt to an ever-changing environment.

JOSÉ V. TORRES You’re

here to really be with the kids. A lot of people ask themselves, “Is what you’ve done in your life worth living?” I have, I feel it. That’s what keeps us here. We think that what we do makes a difference. That’s really the key.

207

Nightwatch Crossroads Nightwatch Crossroads is a Friday overnight spiritual retreat for middle and high school students and their adult chaperones.

Participants unplug from the distractions of daily life to connect with God and one another in the Cathedral. Nightwatch Crossroads offers both a Christian-oriented retreat and an interspiritual retreat for youth of all faiths.

A Night Up in That Sacred Space

THE REV. CANON PATTI WELCH Nightwatch has been at the Cathedral since 1975, which is a really long time. A lot of our chaperones will say, “I did this when I was a teenager.” There’s one guy who comes with a Nightwatch t-shirt from, like, 1978, and it’s still intact!

We spend the whole night up in that sacred space.

I think it has a real impact on these young people’s experiences. I tell people we almost don’t have to do anything—they just need to be in the space— but we do scavenger hunts, we study mystics, and write poetry, we have a drum circle. Every year we mix it up, but we always have an organ demo with the Cathedral organist, Ray Nagem, which is awesome.

Many people's favorite part of Nightwatch is the candlelit meditation at the end. Everyone is given a candle that gets lit in the basement. We go up a back stairwell into the dark Cathedral. The kids have been told that this is their opportunity to commune with God. They can go anywhere they want: They go into the bays and the far corners, and sometimes just lie in the middle of the Nave looking up holding those candles, and it’s silent for 20 minutes.

I love to see those opportunities of settling, of going into the inner life, because I don’t think that young people today get as much opportunity to do that with everything that’s bustling around us all the time.

We have a labyrinth modeled after the one in Chartres. It’s a portable labyrinth on canvas.

When the kids get to the center, they either get out as fast as they can, or they stay to see what comes to them.

We’ve added an Interspiritual Nightwatch so the students get a feel for spiritual practices from different traditions—how we’re different and also how we intersect so that we can all become better neighbors to each other.

Participants light candles at Nightwatch.

208

209

Nightwatch Crossroads Nightwatch Crossroads is a Friday overnight spiritual retreat for middle and high school students and their adult chaperones.

Participants unplug from the distractions of daily life to connect with God and one another in the Cathedral. Nightwatch Crossroads offers both a Christian-oriented retreat and an interspiritual retreat for youth of all faiths.

A Night Up in That Sacred Space

THE REV. CANON PATTI WELCH Nightwatch has been at the Cathedral since 1975, which is a really long time. A lot of our chaperones will say, “I did this when I was a teenager.” There’s one guy who comes with a Nightwatch t-shirt from, like, 1978, and it’s still intact!

We spend the whole night up in that sacred space.

I think it has a real impact on these young people’s experiences. I tell people we almost don’t have to do anything—they just need to be in the space— but we do scavenger hunts, we study mystics, and write poetry, we have a drum circle. Every year we mix it up, but we always have an organ demo with the Cathedral organist, Ray Nagem, which is awesome.

Many people's favorite part of Nightwatch is the candlelit meditation at the end. Everyone is given a candle that gets lit in the basement. We go up a back stairwell into the dark Cathedral. The kids have been told that this is their opportunity to commune with God. They can go anywhere they want: They go into the bays and the far corners, and sometimes just lie in the middle of the Nave looking up holding those candles, and it’s silent for 20 minutes.

I love to see those opportunities of settling, of going into the inner life, because I don’t think that young people today get as much opportunity to do that with everything that’s bustling around us all the time.

We have a labyrinth modeled after the one in Chartres. It’s a portable labyrinth on canvas.

When the kids get to the center, they either get out as fast as they can, or they stay to see what comes to them.

We’ve added an Interspiritual Nightwatch so the students get a feel for spiritual practices from different traditions—how we’re different and also how we intersect so that we can all become better neighbors to each other.

Participants light candles at Nightwatch.

208

209

The Textile Conservation Laboratory The Cathedral’s Textile Conservation Laboratory is at the forefront of conservation technology. The Lab individuates its work based on the requirements, history, and fragility of each textile it conserves.

The staff analyzes, cleans, and stabilizes not only the Cathedral’s tapestries but also textiles of all kinds belonging to museums and private collectors throughout the world.

A Story as Old as the Cathedral Itself

“The Cathedral is a place of unexpected opportunity.” MARLENE EIDELHEIT VALERIE SOLL The story of why the Cathedral has a Textile Conservation Lab is older than the Cathedral itself. In 1891, a year before the cornerstone was laid, American art collector Elizabeth Underhill Coles donated a set of the Barberini Life of Christ tapestries to the Cathedral. This donation created the tradition of art stewardship at the Cathedral that continues to this day.

MARLENE EIDELHEIT As

the construction of the Cathedral progressed, the tapestries started being hung. The first two were in the Crypt chapel.

Then, when the East End was finished, all 12 were hung for the first time. In the late 1930s, Baroness Wilhelmine von Godin, a seasoned expert on tapestry, spent two years restoring the set for the dedication of the Nave in 1941.

VALERIE SOLL In

the 1980s, the Textile Lab was started with a conservator, restorer, and some apprentices. It was during the same period that the stoneyard project was established under Dean Morton and Bishop Moore. The people who ran the programs were looking at tapestry and textile conservation as a profession. The point was to train young, interested people to care for the Cathedral collection. The Lab began to attract serious students of conservation and grew to take in conservation projects from museums in and outside of New York.

MARLENE EIDELHEIT The

more the tapestries hang, the more they need maintenance.

The panels rotate in and out usually for the holiday seasons, but sometimes they hang for long stretches. We are a staff of seven people devoted to our tapestries, the conservation trade, and training future conservators. Our core team has been here close to two decades.

Conservation work at the Textile Lab. 210

211

The Textile Conservation Laboratory The Cathedral’s Textile Conservation Laboratory is at the forefront of conservation technology. The Lab individuates its work based on the requirements, history, and fragility of each textile it conserves.

The staff analyzes, cleans, and stabilizes not only the Cathedral’s tapestries but also textiles of all kinds belonging to museums and private collectors throughout the world.

A Story as Old as the Cathedral Itself

“The Cathedral is a place of unexpected opportunity.” MARLENE EIDELHEIT VALERIE SOLL The story of why the Cathedral has a Textile Conservation Lab is older than the Cathedral itself. In 1891, a year before the cornerstone was laid, American art collector Elizabeth Underhill Coles donated a set of the Barberini Life of Christ tapestries to the Cathedral. This donation created the tradition of art stewardship at the Cathedral that continues to this day.

MARLENE EIDELHEIT As

the construction of the Cathedral progressed, the tapestries started being hung. The first two were in the Crypt chapel.

Then, when the East End was finished, all 12 were hung for the first time. In the late 1930s, Baroness Wilhelmine von Godin, a seasoned expert on tapestry, spent two years restoring the set for the dedication of the Nave in 1941.

VALERIE SOLL In

the 1980s, the Textile Lab was started with a conservator, restorer, and some apprentices. It was during the same period that the stoneyard project was established under Dean Morton and Bishop Moore. The people who ran the programs were looking at tapestry and textile conservation as a profession. The point was to train young, interested people to care for the Cathedral collection. The Lab began to attract serious students of conservation and grew to take in conservation projects from museums in and outside of New York.

MARLENE EIDELHEIT The

more the tapestries hang, the more they need maintenance.

The panels rotate in and out usually for the holiday seasons, but sometimes they hang for long stretches. We are a staff of seven people devoted to our tapestries, the conservation trade, and training future conservators. Our core team has been here close to two decades.

Conservation work at the Textile Lab. 210

211

The Cathedral School The Cathedral School opened in 1901 as a boarding school for boys in the Cathedral’s choir. Non-singing boys were admitted in 1964, and students of all genders were admitted in 1974. Today, the School nurtures 300 K-8 students through commitments to academic excellence, character education, and curricula that support underrepresented voices and foster respect for all individuals.

Who Else Gets to Do This?

“I never know how to explain what that place means to me. I view it as a home.”

JAKE MAYER EISNER MARSHA NELSON When they first sent me literature about the School, I saw that there were 11 acres of flowers, trees, and the largest Gothic cathedral in the world­—with peacocks! At that moment my heart opened. To be in New York City with greenery and life-inspiring architecture filled me with the sense of remarkable possibilities.

Other schools don’t have the learning environment that we have. Our students explore geometry by looking at shapes in the Cathedral. We study history through the Cathedral’s art and stories.

We have a science laboratory at our front door.

Most of all, we benefit from the Cathedral’s commitment to caring outreach programs.

ANGIE KARNA It

is the best playground in the world. The Cathedral becomes a part of who they are. I am grateful every single day for the beauty, the peace, and the calm that we all experience as we reach Amsterdam Avenue.

MARSHA NELSON We grow our students in understanding the gifts that they have and the gifts that they could share. We want our kids to see themselves as allies for marginalized groups and become leaders in a world of greater justice. The Episcopal faith is one of inclusion.

We clearly state that we are an Episcopal school, and we add “for all faiths and children not practicing faith.” Our liturgy follows Episcopal guidelines, but interspersed are readings from different cultures and stories representing different holidays and faith traditions. Do our students sense the uniqueness of this place? Absolutely.

Students of The Cathedral School investigating the “living laboratory” of the plant and animal life of the Cathedral Close.

212

ANNI-MING LARSON The School opens people’s minds to all of these differences—not just religion and faith, but also lifestyles, views, and cultures.

I remember during the Rosh Hashanah chapel we ate apples and honey. We always had the Absalom Jones Evensong; we celebrated Kwanzaa and the Day of the Dead.

BRYAN ZAROS One of the School’s oldest traditions is its Chorister program. It represents a unique partnership between the School and the Cathedral. The two dozen participating students earn a rigorous musical education in exchange for their professionalism and leadership. The Choristers sing at Cathedral services throughout the school year, and tour around the world.

ANNI-MING LARSON Being

a Chorister is special because there is a sense of giving back to your community and school, which you secretly love but won’t admit because you’re a twelve-year-old.

HANNAH WOLFE EISNER Every year the seventh grade would put together a Medieval Evensong inspired by The Canterbury Tales.

It was this amazing project that was only possible at the Cathedral. Each student devised their own character based on the history we had studied.

We processed into the Cathedral singing a Gregorian chant with fifth grade pages carrying flags we had painted in art class. We read our own poems from the pulpit and performed dumbshows and medieval dances that we rehearsed in music.

PATTI WELCH Every December the Cathedral adorns a Peace Tree with a thousand origami cranes.

At the Peace Tree Evensong, one student from each grade reflects on the word “peace.” You get the kindergartener’s response all the way to the eighth grader’s response. We always sing Dona Nobis Pacem and Let There Be Peace on Earth, and then we bless the Peace Tree together. That’s how we dismiss for winter break.

ANNI-MING LARSON So many alumni have lasting friendships. Those bonds are formed because of our desire to live out what we were taught and to keep going forward with that.

MARSHA NELSON As we prepare for graduation I tell the eighth graders to look around, feel this place. Because I guarantee you, nothing will ever match the Cathedral. Cathedral students absolutely carry a sense of sacred place throughout their lives.

213

The Cathedral School The Cathedral School opened in 1901 as a boarding school for boys in the Cathedral’s choir. Non-singing boys were admitted in 1964, and students of all genders were admitted in 1974. Today, the School nurtures 300 K-8 students through commitments to academic excellence, character education, and curricula that support underrepresented voices and foster respect for all individuals.

Who Else Gets to Do This?

“I never know how to explain what that place means to me. I view it as a home.”

JAKE MAYER EISNER MARSHA NELSON When they first sent me literature about the School, I saw that there were 11 acres of flowers, trees, and the largest Gothic cathedral in the world­—with peacocks! At that moment my heart opened. To be in New York City with greenery and life-inspiring architecture filled me with the sense of remarkable possibilities.

Other schools don’t have the learning environment that we have. Our students explore geometry by looking at shapes in the Cathedral. We study history through the Cathedral’s art and stories.

We have a science laboratory at our front door.

Most of all, we benefit from the Cathedral’s commitment to caring outreach programs.

ANGIE KARNA It

is the best playground in the world. The Cathedral becomes a part of who they are. I am grateful every single day for the beauty, the peace, and the calm that we all experience as we reach Amsterdam Avenue.

MARSHA NELSON We grow our students in understanding the gifts that they have and the gifts that they could share. We want our kids to see themselves as allies for marginalized groups and become leaders in a world of greater justice. The Episcopal faith is one of inclusion.

We clearly state that we are an Episcopal school, and we add “for all faiths and children not practicing faith.” Our liturgy follows Episcopal guidelines, but interspersed are readings from different cultures and stories representing different holidays and faith traditions. Do our students sense the uniqueness of this place? Absolutely.

Students of The Cathedral School investigating the “living laboratory” of the plant and animal life of the Cathedral Close.

212

ANNI-MING LARSON The School opens people’s minds to all of these differences—not just religion and faith, but also lifestyles, views, and cultures.

I remember during the Rosh Hashanah chapel we ate apples and honey. We always had the Absalom Jones Evensong; we celebrated Kwanzaa and the Day of the Dead.

BRYAN ZAROS One of the School’s oldest traditions is its Chorister program. It represents a unique partnership between the School and the Cathedral. The two dozen participating students earn a rigorous musical education in exchange for their professionalism and leadership. The Choristers sing at Cathedral services throughout the school year, and tour around the world.

ANNI-MING LARSON Being

a Chorister is special because there is a sense of giving back to your community and school, which you secretly love but won’t admit because you’re a twelve-year-old.

HANNAH WOLFE EISNER Every year the seventh grade would put together a Medieval Evensong inspired by The Canterbury Tales.

It was this amazing project that was only possible at the Cathedral. Each student devised their own character based on the history we had studied.

We processed into the Cathedral singing a Gregorian chant with fifth grade pages carrying flags we had painted in art class. We read our own poems from the pulpit and performed dumbshows and medieval dances that we rehearsed in music.

PATTI WELCH Every December the Cathedral adorns a Peace Tree with a thousand origami cranes.

At the Peace Tree Evensong, one student from each grade reflects on the word “peace.” You get the kindergartener’s response all the way to the eighth grader’s response. We always sing Dona Nobis Pacem and Let There Be Peace on Earth, and then we bless the Peace Tree together. That’s how we dismiss for winter break.

ANNI-MING LARSON So many alumni have lasting friendships. Those bonds are formed because of our desire to live out what we were taught and to keep going forward with that.

MARSHA NELSON As we prepare for graduation I tell the eighth graders to look around, feel this place. Because I guarantee you, nothing will ever match the Cathedral. Cathedral students absolutely carry a sense of sacred place throughout their lives.

213

Appendix

Narrator Biographies, Bishops and Deans, Board of Trustees, International and Ecumenical Cathedra, Spirit of the City Honorees, American Poets Corner Inductees, Residencies, Affiliate Groups, Cathedral and Diocesan Staff

214

215

Appendix

Narrator Biographies, Bishops and Deans, Board of Trustees, International and Ecumenical Cathedra, Spirit of the City Honorees, American Poets Corner Inductees, Residencies, Affiliate Groups, Cathedral and Diocesan Staff

214

215

Narrator Biographies

A

C

W. H. AUDEN

(1907–1973) poet; inducted into the American Poets Corner in 2005

JAMES CARROLL

(340–397) patron saint of beekeepers, beggars, and learners

ETHELYN “LYN” CHASE

SAINT AMBROSE

(1820–1906) women’s

SUSAN B. ANTHONY

suffrage activist

generous supporter of the arts, especially poetry; helped establish the American Poets Corner

AMOREENA CLEMENT DIANA COHN

B

public television executive, journalist, and professor

DOCTOR BILL BAKER

(1924–1987) writer and social critic; inducted into the American Poets Corner in 2011

JAMES BALDWIN

(1934–2014) writer, director, actor, activist, and teacher AMIRI BARAKA

THE REVEREND DOCTOR WILLIAM J.BARBER II

pastor and social justice advocate; leader of the Poor People’s Campaign MICHELE BARNWELL

alum, ACT

Director, Cathedral Development (2014–present) PRISCILLA BAYLEY

HARRY BELAFONTE

civil rights activist

Foundation

alum, ACT

Executive Director, Panta Rhea

singer-songwriter, author, and social activist; Cathedral Artist in Residence

JUDY COLLINS

Founding Member and Managing Director of Mettawee River Theatre Company with Cathedral Artist in Residence Ralph Lee CASEY (ELIZABETH) COMPTON

(1872–1933) 30th President of the United States (1923–1929)

CALVIN COOLIDGE

artist, professor, and writer; Director of the Cathedral’s Library of Sacred Geometry

KEITH CRITCHLOW

(1932–2015) 52nd Governor of New York (1983–1994) GOVERNOR MARIO CUOMO

singer, songwriter, actor, and

singer, actor, and Artistic Director, i Giullari di Piazza; Cathedral Artist in Residence

ALESSANDRA BELLONI

THE MOST REVEREND MICHAEL BRUCE CURRY

27th Presiding Bishop and Primate of The Episcopal Church (2015–present) D HIS HOLINESS THE DALAI LAMA

14th Dalai Lama

MEREDITH BERGMANN

(1940–present)

graphic designer and Partner at Pentagram, Inc., the long-time design firm of the Cathedral

Tenth Dean of the Cathedral (2017–present)

sculptor, September 11th: A Memorial (Cathedral Collection)

MICHAEL BIERUT

artist, The Phoenix Project (installed in the Cathedral in 2014) XU BING

8-foot, 2-inch bird; lives in a large nest on Sesame Street

BIG BIRD

photographer and animal rights activist; former Cathedral Photographer in Residence

MARY BLOOM

Coordinator, Office of the Dean of the Cathedral (2014–present)

LAURA BOSLEY

RANDY BOURSCHEIDT

Alliance for the Arts DAVID BRIGGS

Residence

President Emeritus,

organist; Cathedral Artist in

MARY JANE BROCK Secretary, Cathedral

Trustees (2011–present)

216

author and former priest; guest preacher at the Cathedral

Board of

THE RIGHT REVEREND CLIFTON DANIEL III

DOCTOR ANGELA Y. DAVIS

academic, and author

political activist,

ANDREW DOLKART professor, Columbia

University; former director of Columbia’s Historic Preservation Program THE RIGHT REVEREND HORACE W. B. DONEGAN

(1990–present) ANNE DENNIN

Director of Programs, ACT

neighborhood resident

poet and author; has written regularly for the Cathedral

MARGARET DIEHL

THE RIGHT REVEREND ANDREW M.L. DIETSCHE

XVI Bishop of the Episcopal Diocese of New York (2013–present) EMILY DICKINSON (1830–1886) poet; inducted into the American Poets Corner in 1984 MAYOR DAVID DINKINS

City (1990–1993)

106th Mayor of New York

Food Manager, CCC

FREDERICK FRANCK

DIANE DUBLER author and artist; frequent photographer of the Cathedrals tapestries with her husband John Bigelow Taylor

GRIFFIN DUNNE actor, film producer, and film director

SYBRINA FULTON

Pastor Emeritus of Providence Missionary Baptist Church, Atlanta, Georgia

THE REVEREND GERALD DURLEY

TIM DWYER

St. Saviour

Member, Congregation of

(1909–2006) artist, Seven Generations (Cathedral Collection) activist and parent of Trayvon Martin, a teenager fatally shot by a police officer in 2012

G

conductor, musician, and teacher; 25th Music Director, New York Philharmonic

ALAN GILBERT

THE RIGHT REVEREND MARY GLASSPOOL

Assistant Bishop, The Episcopal Diocese of New York (2016–present) BRAD GOOCH

poet, novelist, and biographer

E

VICE PRESIDENT AL GORE

Founder, Children’s Defense Fund; Cathedral Colleague

of the United States

MARION WRIGHT EDELMAN

FRANCIS EDMONDS

member

Cathedral community

Chief Financial Officer and Vice President, Cathedral Administration (2012–present)

MIKE EDWARDS

Director, Textile Conservation Lab (1992–present)

MARLENE EIDELHEIT

JOHN CLINTON EISNER

School

parent, The Cathedral

alum, The Cathedral School; Co-Curator, The Christa Project (2016–2017); Coordinator, Cathedral Programming & External Relations (2018–2019)

HANNAH WOLFE EISNER

DOROTHY DAY

MARIE DEL TEJO

ROBERT FINN

(1900–1991) XII Bishop of the Episcopal Diocese of New York (1950–1972)

JAKE MAYER EISNER

journalist, social activist, and Catholic convert

Director, Cathedral Liturgical Music and Theatre (1983–1996)

BRUCE FIFER

alum, The Cathedral School

Governing Board Chair of the Stockholm International Peace Research Institute (2017–present); former Deputy Secretary General, United Nations (2012–2016)

JAN ELIASSON

RALPH WALDO EMERSON (1803–1882) poet; inducted into the American Poets Corner in 1987

45th Vice President

PAUL GORMAN Co-Founder, National Religious Partnership for the Environment (founded in 1993 at the Cathedral) JEN GOWERS Executive Director, ACT (2017–present)

(1894–1991) dancer and choreographer; developed the Graham technique

MARTHA GRAHAM

THE RIGHT REVEREND RICHARD F. GREIN XIV Bishop of the Diocese of New York (1987– 2001) RAY GUYETTE (d. 2014) Cathedral Director of Facilities Management (1996-2014) H DANIEL HABERMAN poet, translator, and

designer; Cathedral Poet in Residence (1983–1986)

graphic

KEITH HARING (1958–1990) iconic artist, designer, and social activist; artist, Life of Christ (Cathedral Collection)

former Chair, The Cathedral Congregational Council

ANNE HARRISON

F

THE REVEREND CANON SUSAN HARRISS

STEPHEN FACEY

Executive Vice President of the Cathedral (1992–2013)

Canon Residentiary, Cathedral (1996-2000) and Chaplain, The Cathedral School (1991-1996)

film, television, and stage actor; long-time participant in the animal procession at the Cathedral’s annual Feast of Saint Francis and Blessing of the Animals

KEITH HEFNER

historian, educator, and long-time Cathedral guide

St. Saviour

EDIE FALCO

TOM FEDOREK

ACT community member

TOBIAS HELLER

Cathedral School student

VIVIAN HEWITT

Member, Congregation of

217

Narrator Biographies

A

C

W. H. AUDEN

(1907–1973) poet; inducted into the American Poets Corner in 2005

JAMES CARROLL

(340–397) patron saint of beekeepers, beggars, and learners

ETHELYN “LYN” CHASE

SAINT AMBROSE

(1820–1906) women’s

SUSAN B. ANTHONY

suffrage activist

generous supporter of the arts, especially poetry; helped establish the American Poets Corner

AMOREENA CLEMENT DIANA COHN

B

public television executive, journalist, and professor

DOCTOR BILL BAKER

(1924–1987) writer and social critic; inducted into the American Poets Corner in 2011

JAMES BALDWIN

(1934–2014) writer, director, actor, activist, and teacher AMIRI BARAKA

THE REVEREND DOCTOR WILLIAM J.BARBER II

pastor and social justice advocate; leader of the Poor People’s Campaign MICHELE BARNWELL

alum, ACT

Director, Cathedral Development (2014–present) PRISCILLA BAYLEY

HARRY BELAFONTE

civil rights activist

Foundation

alum, ACT

Executive Director, Panta Rhea

singer-songwriter, author, and social activist; Cathedral Artist in Residence

JUDY COLLINS

Founding Member and Managing Director of Mettawee River Theatre Company with Cathedral Artist in Residence Ralph Lee CASEY (ELIZABETH) COMPTON

(1872–1933) 30th President of the United States (1923–1929)

CALVIN COOLIDGE

artist, professor, and writer; Director of the Cathedral’s Library of Sacred Geometry

KEITH CRITCHLOW

(1932–2015) 52nd Governor of New York (1983–1994) GOVERNOR MARIO CUOMO

singer, songwriter, actor, and

singer, actor, and Artistic Director, i Giullari di Piazza; Cathedral Artist in Residence

ALESSANDRA BELLONI

THE MOST REVEREND MICHAEL BRUCE CURRY

27th Presiding Bishop and Primate of The Episcopal Church (2015–present) D HIS HOLINESS THE DALAI LAMA

14th Dalai Lama

MEREDITH BERGMANN

(1940–present)

graphic designer and Partner at Pentagram, Inc., the long-time design firm of the Cathedral

Tenth Dean of the Cathedral (2017–present)

sculptor, September 11th: A Memorial (Cathedral Collection)

MICHAEL BIERUT

artist, The Phoenix Project (installed in the Cathedral in 2014) XU BING

8-foot, 2-inch bird; lives in a large nest on Sesame Street

BIG BIRD

photographer and animal rights activist; former Cathedral Photographer in Residence

MARY BLOOM

Coordinator, Office of the Dean of the Cathedral (2014–present)

LAURA BOSLEY

RANDY BOURSCHEIDT

Alliance for the Arts DAVID BRIGGS

Residence

President Emeritus,

organist; Cathedral Artist in

MARY JANE BROCK Secretary, Cathedral

Trustees (2011–present)

216

author and former priest; guest preacher at the Cathedral

Board of

THE RIGHT REVEREND CLIFTON DANIEL III

DOCTOR ANGELA Y. DAVIS

academic, and author

political activist,

ANDREW DOLKART professor, Columbia

University; former director of Columbia’s Historic Preservation Program THE RIGHT REVEREND HORACE W. B. DONEGAN

(1990–present) ANNE DENNIN

Director of Programs, ACT

neighborhood resident

poet and author; has written regularly for the Cathedral

MARGARET DIEHL

THE RIGHT REVEREND ANDREW M.L. DIETSCHE

XVI Bishop of the Episcopal Diocese of New York (2013–present) EMILY DICKINSON (1830–1886) poet; inducted into the American Poets Corner in 1984 MAYOR DAVID DINKINS

City (1990–1993)

106th Mayor of New York

Food Manager, CCC

FREDERICK FRANCK

DIANE DUBLER author and artist; frequent photographer of the Cathedrals tapestries with her husband John Bigelow Taylor

GRIFFIN DUNNE actor, film producer, and film director

SYBRINA FULTON

Pastor Emeritus of Providence Missionary Baptist Church, Atlanta, Georgia

THE REVEREND GERALD DURLEY

TIM DWYER

St. Saviour

Member, Congregation of

(1909–2006) artist, Seven Generations (Cathedral Collection) activist and parent of Trayvon Martin, a teenager fatally shot by a police officer in 2012

G

conductor, musician, and teacher; 25th Music Director, New York Philharmonic

ALAN GILBERT

THE RIGHT REVEREND MARY GLASSPOOL

Assistant Bishop, The Episcopal Diocese of New York (2016–present) BRAD GOOCH

poet, novelist, and biographer

E

VICE PRESIDENT AL GORE

Founder, Children’s Defense Fund; Cathedral Colleague

of the United States

MARION WRIGHT EDELMAN

FRANCIS EDMONDS

member

Cathedral community

Chief Financial Officer and Vice President, Cathedral Administration (2012–present)

MIKE EDWARDS

Director, Textile Conservation Lab (1992–present)

MARLENE EIDELHEIT

JOHN CLINTON EISNER

School

parent, The Cathedral

alum, The Cathedral School; Co-Curator, The Christa Project (2016–2017); Coordinator, Cathedral Programming & External Relations (2018–2019)

HANNAH WOLFE EISNER

DOROTHY DAY

MARIE DEL TEJO

ROBERT FINN

(1900–1991) XII Bishop of the Episcopal Diocese of New York (1950–1972)

JAKE MAYER EISNER

journalist, social activist, and Catholic convert

Director, Cathedral Liturgical Music and Theatre (1983–1996)

BRUCE FIFER

alum, The Cathedral School

Governing Board Chair of the Stockholm International Peace Research Institute (2017–present); former Deputy Secretary General, United Nations (2012–2016)

JAN ELIASSON

RALPH WALDO EMERSON (1803–1882) poet; inducted into the American Poets Corner in 1987

45th Vice President

PAUL GORMAN Co-Founder, National Religious Partnership for the Environment (founded in 1993 at the Cathedral) JEN GOWERS Executive Director, ACT (2017–present)

(1894–1991) dancer and choreographer; developed the Graham technique

MARTHA GRAHAM

THE RIGHT REVEREND RICHARD F. GREIN XIV Bishop of the Diocese of New York (1987– 2001) RAY GUYETTE (d. 2014) Cathedral Director of Facilities Management (1996-2014) H DANIEL HABERMAN poet, translator, and

designer; Cathedral Poet in Residence (1983–1986)

graphic

KEITH HARING (1958–1990) iconic artist, designer, and social activist; artist, Life of Christ (Cathedral Collection)

former Chair, The Cathedral Congregational Council

ANNE HARRISON

F

THE REVEREND CANON SUSAN HARRISS

STEPHEN FACEY

Executive Vice President of the Cathedral (1992–2013)

Canon Residentiary, Cathedral (1996-2000) and Chaplain, The Cathedral School (1991-1996)

film, television, and stage actor; long-time participant in the animal procession at the Cathedral’s annual Feast of Saint Francis and Blessing of the Animals

KEITH HEFNER

historian, educator, and long-time Cathedral guide

St. Saviour

EDIE FALCO

TOM FEDOREK

ACT community member

TOBIAS HELLER

Cathedral School student

VIVIAN HEWITT

Member, Congregation of

217

KEITH HINKSON

(1984–present) JULIA HOLDEN DOUG HUNT

Director, Cathedral Security

alum, ACT

Cathedral Organ Curator

(1891–1960) writer and anthropologist; inducted into the American Poets Corner in 2015

ZORA NEALE HURSTON

cinematographer; Member, Congregation of St. Saviour

TOM HURWITZ

puppeteer, theatre artist, teacher, and Artistic Director, Mettawee River Theatre Company; Cathedral Artist in Residence

RALPH LEE

THE REVEREND STEVEN LEE Vicar, The Congregation of St. Saviour (2018–present) AMY LEISSNER

(2015–present)

Director, Cathedral Budget

WILLIAM BRYANT LOGAN writer; arborist; President, Urban Arborists, Inc.

civil rights leader, minister, and politician; Founder, The National Rainbow Coalition M. NEELIKA JAYAWARDANE

SUNY Oswego

Professor of English,

Registrar and Exhibition Manager, Cathedral Art Collection (2011–present)

MARION KAHAN

(2013 – 2019)

Outreach Coordinator, CCC

President, Cathedral School Board of Trustees (2015–2018)

ANGIE KARNA

(1923–1990) Rabbi and leader in Conservative Judaism; supported the rabbinic ordination of women RABBI WOLF KELMAN KELMAN

Archivist, Episcopal Diocese of New York (1996–present) WAYNE KEMPTON

THE REVEREND DOCTOR MARTIN LUTHER KING JR. (1926–1968) civil rights activist and Baptist minister; famously preached at an ecumenical service at the Cathedral in 1956

DAVID KIRBY Cathedral community member THE VERY REVEREND DOCTOR JAMES A.

Ninth Dean of the Cathedral (2002–2017)

KOWALSKI

L

(1918–2007) author, Cathedral Writer in Residence

MADELEINE L’ENGLE

HIS EXCELLENCY MIROSLAV LAJČÁK politician and former President, United Nations General Assembly (2017–2018) ANNI-MING LARSON

alum, The Cathedral School

(1849–1887) poet, writer, translator, and activist; inducted into the American Poets Corner in 2007 EMMA LAZARUS

218

(2003–present) BRUCE NESWICK

(2008–2011)

President, Cathedral Board of Trustees (2011–2019)

Head, The Cathedral School Director, Cathedral Music

JIMMY NEWBORG Cathedral Development Program Manager (2016–present)

Conservancy

MALLOY Sub-Dean and Canon, Cathedral Liturgy and the Arts (2016–present) THE RIGHT REVEREND WILLIAM T. MANNING

(1866-1949) 10th Bishop of the Episcopal Diocese of New York (1921–1946)

WYNTON MARSALIS trombonist, jazz musician and Artistic Director, Jazz at Lincoln Center

REBECCA MERRILL Webmaster and Manager, Cathedral Communications (2016–present)

(1945–2019) opera singer and

THE REVEREND CANON THOMAS MILLER

Canon, Cathedral Liturgy and the Arts (2003–2013)

HONOR MOORE author, poet, and professor; daughter of Bishop Moore THE RIGHT REVEREND PAUL MOORE JR.

(1919–2003) XIII Bishop of the Episcopal Diocese of New York (1972–1989) SUSAN BRIND MORROW author and poet; Cathedral Scholar in Residence THE VERY REVEREND JAMES PARKS MORTON Seventh Dean of the Cathedral (1972–1995)

PAMELA MORTON artist; founder, The Cathedral Shop; wife of Dean Morton

ANDREW MROCZEK & JUAN JOSE BARBOZA-

artists whose work appeared in The Value of Sanctuary

GUBO

TONI MORRISON

(1931–2019) author and professor

N

Cathedral Associate Director of Music and Organist (2010–present)

RAYMOND NAGEM

O

dancer, choreographer, and teacher; Cathedral Artist in Residence

EIKO OTAKE

P

Director, Cathedral Facilities and Capital Projects (2018–present)

JAMES PATTERSON

ROBERT PENNOYER lawyer; grandson

of J. P. Morgan, who helped fund the construction of the Cathedral THOMAS PERRY

(2004–present)

MARK REYNOLDS

member

(d. 1988) Cathedral community

STEVEN C. ROCKEFELLER philanthropist and educator; member of the Rockefeller Family, who helped fund the Cathedral’s early construction

SUSAN RODRIGUEZ Founding Partner, Ennead Architects, an architecture firm working with the Cathedral on ongoing projects ELEANOR ROOSEVELT

human rights activist

(1884-162) First Lady and

PRESIDENT FRANKLIN D. ROOSEVELT

JESSYE NORMAN

recitalist

Member, Cathedral Gardens

BRUCE MACLEOD

THE REVEREND CANON DOCTOR PATRICK

K

KALIE KAMARA

(1940-2011) Founder, the Green Belt Movement; 2004 Nobel Peace Prize Laureate WANGARI MAATHAI

THE REVEREND JESSE L. JACKSON

MARSHA NELSON

MAUREEN NIPAR

M J

author, poet, and translator; Cathedral Poet in Residence (2010–2019)

MARILYN NELSON

Program Manager, CCC

high wire artist, juggler, and magician; Cathedral Artist in Residence

PHILIPPE PETIT

THE REVEREND DOCTOR THOMAS PIKE former Rector, Calvary-St. George’s Church; former Member, New York City Landmarks Preservation Commission; Member, Cathedral Board of Trustees (1978–2016)

(1913–1969) Fifth Dean of the Cathedral (1952–1958) THE VERY REVEREND JAMES PIKE

THE RIGHT REVEREND HORATIO POTTER

(1802-1887) VI Bishop of the Episcopal Diocese of New York (1861–1887)

(1882–1945) 32nd President of the United States (1933–1945) THE HONORABLE ELIHU ROOT (1845–1937) lawyer, politician, and Nobel Peace Prize Laureate

HOWARD RUBENSTEIN Chairman, Rubenstein Public Relations, long-time firm of the Cathedral

MURIEL RUKEYSER (1913–1980) poet; creator of the Cathedral’s Muriel Rukeyser Poetry Wall S ABDEL R. SALAAM Choreographer and CoFounder, the Forces of Nature Dance Theatre Company; Cathedral Artist in Residence

EDWINA SANDYS artist, Christa (Cathedral Collection) NORA SCHAAF

ACT

parent and committee member,

LISA SCHUBERT Vice President, Cathedral Programming and External Relations (2008–present) THE RIGHT REVEREND ALLEN K. SHIN Bishop Suffragan, The Episcopal Diocese of New York (2013–present) FRED “SONIC” SMITH

(1948-1994) musician

GEOFF SMITH Director of Information Technology, Cathedral and Episcopal Diocese of New York THE VERY REVEREND HARRY PRITCHETT (2002–present) Eighth Dean of the Cathedral (1997–2001) Q

(1924–1994) minister, executive, and tourguide; author, The Living Cathedral: St. John the Divine: A History and Guide (Crossroad Publishing Co., 1993)

HOWARD E. QUIRK

R

Member, Congregation of St. Saviour and Cathedral Community (1972–present)

DENNIS REED former Stonecutter, Cathedral Stone Yard MARSHA RA

PATTI SMITH

musician, writer, artist

VALERIE SOLL Conservator, Textile Conservation Lab (1993–present)

MURRY STEGELMANN Treasurer, Cathedral Board of Trustees (2010–2017); Chair of the Investment Sub-Committee (2017–present)

ADLAI STEVENSON lawyer, politician, and diplomat

EMMA STRAUB novelist and bookstore owner; alum, The Cathedral School 219

KEITH HINKSON

(1984–present) JULIA HOLDEN DOUG HUNT

Director, Cathedral Security

alum, ACT

Cathedral Organ Curator

(1891–1960) writer and anthropologist; inducted into the American Poets Corner in 2015

ZORA NEALE HURSTON

cinematographer; Member, Congregation of St. Saviour

TOM HURWITZ

puppeteer, theatre artist, teacher, and Artistic Director, Mettawee River Theatre Company; Cathedral Artist in Residence

RALPH LEE

THE REVEREND STEVEN LEE Vicar, The Congregation of St. Saviour (2018–present) AMY LEISSNER

(2015–present)

Director, Cathedral Budget

WILLIAM BRYANT LOGAN writer; arborist; President, Urban Arborists, Inc.

civil rights leader, minister, and politician; Founder, The National Rainbow Coalition M. NEELIKA JAYAWARDANE

SUNY Oswego

Professor of English,

Registrar and Exhibition Manager, Cathedral Art Collection (2011–present)

MARION KAHAN

(2013 – 2019)

Outreach Coordinator, CCC

President, Cathedral School Board of Trustees (2015–2018)

ANGIE KARNA

(1923–1990) Rabbi and leader in Conservative Judaism; supported the rabbinic ordination of women RABBI WOLF KELMAN KELMAN

Archivist, Episcopal Diocese of New York (1996–present) WAYNE KEMPTON

THE REVEREND DOCTOR MARTIN LUTHER KING JR. (1926–1968) civil rights activist and Baptist minister; famously preached at an ecumenical service at the Cathedral in 1956

DAVID KIRBY Cathedral community member THE VERY REVEREND DOCTOR JAMES A.

Ninth Dean of the Cathedral (2002–2017)

KOWALSKI

L

(1918–2007) author, Cathedral Writer in Residence

MADELEINE L’ENGLE

HIS EXCELLENCY MIROSLAV LAJČÁK politician and former President, United Nations General Assembly (2017–2018) ANNI-MING LARSON

alum, The Cathedral School

(1849–1887) poet, writer, translator, and activist; inducted into the American Poets Corner in 2007 EMMA LAZARUS

218

(2003–present) BRUCE NESWICK

(2008–2011)

President, Cathedral Board of Trustees (2011–2019)

Head, The Cathedral School Director, Cathedral Music

JIMMY NEWBORG Cathedral Development Program Manager (2016–present)

Conservancy

MALLOY Sub-Dean and Canon, Cathedral Liturgy and the Arts (2016–present) THE RIGHT REVEREND WILLIAM T. MANNING

(1866-1949) 10th Bishop of the Episcopal Diocese of New York (1921–1946)

WYNTON MARSALIS trombonist, jazz musician and Artistic Director, Jazz at Lincoln Center

REBECCA MERRILL Webmaster and Manager, Cathedral Communications (2016–present)

(1945–2019) opera singer and

THE REVEREND CANON THOMAS MILLER

Canon, Cathedral Liturgy and the Arts (2003–2013)

HONOR MOORE author, poet, and professor; daughter of Bishop Moore THE RIGHT REVEREND PAUL MOORE JR.

(1919–2003) XIII Bishop of the Episcopal Diocese of New York (1972–1989) SUSAN BRIND MORROW author and poet; Cathedral Scholar in Residence THE VERY REVEREND JAMES PARKS MORTON Seventh Dean of the Cathedral (1972–1995)

PAMELA MORTON artist; founder, The Cathedral Shop; wife of Dean Morton

ANDREW MROCZEK & JUAN JOSE BARBOZA-

artists whose work appeared in The Value of Sanctuary

GUBO

TONI MORRISON

(1931–2019) author and professor

N

Cathedral Associate Director of Music and Organist (2010–present)

RAYMOND NAGEM

O

dancer, choreographer, and teacher; Cathedral Artist in Residence

EIKO OTAKE

P

Director, Cathedral Facilities and Capital Projects (2018–present)

JAMES PATTERSON

ROBERT PENNOYER lawyer; grandson

of J. P. Morgan, who helped fund the construction of the Cathedral THOMAS PERRY

(2004–present)

MARK REYNOLDS

member

(d. 1988) Cathedral community

STEVEN C. ROCKEFELLER philanthropist and educator; member of the Rockefeller Family, who helped fund the Cathedral’s early construction

SUSAN RODRIGUEZ Founding Partner, Ennead Architects, an architecture firm working with the Cathedral on ongoing projects ELEANOR ROOSEVELT

human rights activist

(1884-162) First Lady and

PRESIDENT FRANKLIN D. ROOSEVELT

JESSYE NORMAN

recitalist

Member, Cathedral Gardens

BRUCE MACLEOD

THE REVEREND CANON DOCTOR PATRICK

K

KALIE KAMARA

(1940-2011) Founder, the Green Belt Movement; 2004 Nobel Peace Prize Laureate WANGARI MAATHAI

THE REVEREND JESSE L. JACKSON

MARSHA NELSON

MAUREEN NIPAR

M J

author, poet, and translator; Cathedral Poet in Residence (2010–2019)

MARILYN NELSON

Program Manager, CCC

high wire artist, juggler, and magician; Cathedral Artist in Residence

PHILIPPE PETIT

THE REVEREND DOCTOR THOMAS PIKE former Rector, Calvary-St. George’s Church; former Member, New York City Landmarks Preservation Commission; Member, Cathedral Board of Trustees (1978–2016)

(1913–1969) Fifth Dean of the Cathedral (1952–1958) THE VERY REVEREND JAMES PIKE

THE RIGHT REVEREND HORATIO POTTER

(1802-1887) VI Bishop of the Episcopal Diocese of New York (1861–1887)

(1882–1945) 32nd President of the United States (1933–1945) THE HONORABLE ELIHU ROOT (1845–1937) lawyer, politician, and Nobel Peace Prize Laureate

HOWARD RUBENSTEIN Chairman, Rubenstein Public Relations, long-time firm of the Cathedral

MURIEL RUKEYSER (1913–1980) poet; creator of the Cathedral’s Muriel Rukeyser Poetry Wall S ABDEL R. SALAAM Choreographer and CoFounder, the Forces of Nature Dance Theatre Company; Cathedral Artist in Residence

EDWINA SANDYS artist, Christa (Cathedral Collection) NORA SCHAAF

ACT

parent and committee member,

LISA SCHUBERT Vice President, Cathedral Programming and External Relations (2008–present) THE RIGHT REVEREND ALLEN K. SHIN Bishop Suffragan, The Episcopal Diocese of New York (2013–present) FRED “SONIC” SMITH

(1948-1994) musician

GEOFF SMITH Director of Information Technology, Cathedral and Episcopal Diocese of New York THE VERY REVEREND HARRY PRITCHETT (2002–present) Eighth Dean of the Cathedral (1997–2001) Q

(1924–1994) minister, executive, and tourguide; author, The Living Cathedral: St. John the Divine: A History and Guide (Crossroad Publishing Co., 1993)

HOWARD E. QUIRK

R

Member, Congregation of St. Saviour and Cathedral Community (1972–present)

DENNIS REED former Stonecutter, Cathedral Stone Yard MARSHA RA

PATTI SMITH

musician, writer, artist

VALERIE SOLL Conservator, Textile Conservation Lab (1993–present)

MURRY STEGELMANN Treasurer, Cathedral Board of Trustees (2010–2017); Chair of the Investment Sub-Committee (2017–present)

ADLAI STEVENSON lawyer, politician, and diplomat

EMMA STRAUB novelist and bookstore owner; alum, The Cathedral School 219

New York historian; author of books including Strangers & Pilgrims: A Centennial History of the Laymen’s Club of the Cathedral Church of Saint John the Divine (2012)

FRANCIS J. SYPHER, JR

JOSÉ V. TORRES Co-Founder and Executive Director, ACT (1980–2018)

Founding Member, Bee Village; Cathedral Beekeeper in Residence NICOLE TOUTOUNJI

Director, Cathedral Music and Organist (2011–present)

KENT TRITLE

THE MOST REVEREND DESMOND TUTU Archbishop Emeritus of Cape Town and former Bishop of Johannesburg JOHN TIEBOUT

Episcopal priest and Chief Operating Officer, Saint Augustine’s University; one of the first women to be ordained in The Episcopal Church

soprano saxophonist and Founder, Paul Winter Consort; Cathedral Artist in Residence

PAUL WINTER

T

Resources

THE REVEREND CANON DOCTOR SANDYE WILSON

GREG WYATT sculptor, Peace Fountain (Cathedral Collection); Cathedral Artist in Residence Z BRYAN ZAROS Cathedral Associate Choirmaster (2016–present)

Director, Cathedral Human

V

sculptor and master stonecarver; Cathedral Artist in Residence; oversaw the carving of the Cathedral’s main entry (1988–1997)

SIMON VERITY

W THE REVEREND CANON JAY WEGMAN arts entrepeneur; Canon, Cathedral Liturgy and the Arts (1993–2002)

MARNIE WEIR Director, Public Education and Visitor Services (2005–2018) THE REVEREND CANON PATTI WELCH Chaplain, The Cathedral School (2002–present); Canon for Education; Director, Nightwatch Crossroads EUDORA WELTY

(1909-2001) writer

JENNIFER DORR WHITE

School

parent, The Cathedral

(1819-1892) poet, inducted into the American Poets Corner in 1984

WALT WHITMAN

THE REVEREND CANON JULIA WHITWORTH

Canon, Cathedral Liturgy and the Arts (2013–2016) ELIE WIESEL (1928–2016) Romanian-American Jewish writer, professor, activist, and Nobel Laureate; Cathedral Colleague

Manager, Cathedral Programming and Communications (2012–present); lead curator, The Value of Sanctuary: Building a House Without Walls (2019)

ISADORA WILKINFELD

TENNESSEE WILLIAMS (1911–1983) playwright; inducted into the American Poets Corner in 2009 At work on the Close.

220

221

New York historian; author of books including Strangers & Pilgrims: A Centennial History of the Laymen’s Club of the Cathedral Church of Saint John the Divine (2012)

FRANCIS J. SYPHER, JR

JOSÉ V. TORRES Co-Founder and Executive Director, ACT (1980–2018)

Founding Member, Bee Village; Cathedral Beekeeper in Residence NICOLE TOUTOUNJI

Director, Cathedral Music and Organist (2011–present)

KENT TRITLE

THE MOST REVEREND DESMOND TUTU Archbishop Emeritus of Cape Town and former Bishop of Johannesburg JOHN TIEBOUT

Episcopal priest and Chief Operating Officer, Saint Augustine’s University; one of the first women to be ordained in The Episcopal Church

soprano saxophonist and Founder, Paul Winter Consort; Cathedral Artist in Residence

PAUL WINTER

T

Resources

THE REVEREND CANON DOCTOR SANDYE WILSON

GREG WYATT sculptor, Peace Fountain (Cathedral Collection); Cathedral Artist in Residence Z BRYAN ZAROS Cathedral Associate Choirmaster (2016–present)

Director, Cathedral Human

V

sculptor and master stonecarver; Cathedral Artist in Residence; oversaw the carving of the Cathedral’s main entry (1988–1997)

SIMON VERITY

W THE REVEREND CANON JAY WEGMAN arts entrepeneur; Canon, Cathedral Liturgy and the Arts (1993–2002)

MARNIE WEIR Director, Public Education and Visitor Services (2005–2018) THE REVEREND CANON PATTI WELCH Chaplain, The Cathedral School (2002–present); Canon for Education; Director, Nightwatch Crossroads EUDORA WELTY

(1909-2001) writer

JENNIFER DORR WHITE

School

parent, The Cathedral

(1819-1892) poet, inducted into the American Poets Corner in 1984

WALT WHITMAN

THE REVEREND CANON JULIA WHITWORTH

Canon, Cathedral Liturgy and the Arts (2013–2016) ELIE WIESEL (1928–2016) Romanian-American Jewish writer, professor, activist, and Nobel Laureate; Cathedral Colleague

Manager, Cathedral Programming and Communications (2012–present); lead curator, The Value of Sanctuary: Building a House Without Walls (2019)

ISADORA WILKINFELD

TENNESSEE WILLIAMS (1911–1983) playwright; inducted into the American Poets Corner in 2009 At work on the Close.

220

221

Bishops and Deans

BISHOPS OF NEW YORK

I​ 1787–1815​ Samuel Provoost (Resigned 1801)​ II​ 1815–1816​ Benjamin Moore (Disabled 1811)​ III​ 1816–1830 ​John Henry Hobart​ IV​ 1830–1861 ​Benjamin Tredwell Onderdonk​ V​ 1852–1854​ Jonathan Mayhew Wainwright​ VI ​1861–1887​ Horatio Potter​ VII​ 1887–1908​ Henry Codman Potter VIII​ 1908–1919​ David Hummel Greer​ IX​ 1919–1920 ​Charles Sumner Burch X​ 1921–1946 ​William Thomas Manning​ XI​ 1947–1950 ​Charles Kendall Gilbert​ XII​ 1950–1972 ​Horace William Baden Donegan​

XIII​ 1972–1989​ Paul Moore Jr.​ XIV​ 1989–2001​ Richard Frank Grein XV​ 2001–2013​ Mark Sean Sisk XVI From 2013 Andrew Marion Lenow Dietsche

Acting Bishop 1801–1815 Acting Bishop 1811–1816 Suspended 1845–1861​ Provisional 1852–1854 Provisional 1854–1861 Acting Bishop 1883–1887 Coadjutor 1904–1908 Suffragan 1911–1919 Suffragan Suffragan Coadjutor Coadjutor Coadjutor Coadjutor Coadjutor

Current Board of Trustees

Bill Bermont The Rev. Matthew Calkins Roberta Connolly The Rt. Rev. Clifton Daniel III Gary A. Glynn John Griffen The Rev. Matthew F. Heyd The Rev. Nigel Massey The Rev. Dr. Daniel P. Matthews The Rev. Richard McKeon Bruce G. Paulsen The Rev. Jacob A. Smith E. Waide Warner Jr. Kathi Watts-Grossman June Yearwood

1930–1946 1947–1949, 1949–1950 1970–1972 1989 1998–2001 2012–2013

1921–1936​ Arthur Selden Lloyd 1921–1930​ Herbert Shipman 1951–1969​ Charles Francis Boynton 1960–1987 ​James Stuart Wetmore 1974–1978​ Harold Lewis Wright 1979–1998​ Walter Decoster Dennis Jr. 1996–2011​ Catherine Scimeca Roskam From 2014 Allen Kunho Shin

1994-2009​ From 1993​ 2010-2013​ 2012​ From 2013 From 2016​

E. Don Taylor​ Herbert Alcorn Donovan Jr.​ Andrew Donnan Smith​ Bruce Edward Caldwell​ Chilton Abbie Richardson Knudsen Mary Glasspool

DEANS OF THE CATHEDRAL OF ST. JOHN THE DIVINE

I II III IV V VI VII VIII IX X

1911–1916 1917–1929 1930–1939 1940–1942 1952–1958 1960–1966 1972–1997 1997–2001 2001–2017 2017–present

William Mercer Grosvenor Howard Chandler Robbins Milo Hudson Gates James Pernette DeWolfe James Albert Pike John Vernon Butler James Parks Morton Harry Houghton Pritchett Jr. James August Kowalski Clifton Daniel III

Chair, Ex-Officio President President-elect Secretary Treasurer

President, Cathedral School, Ex-Officio President, Diocesan Standing Committee, Ex-Officio Dean, Ex-Officio

Chancellor, Ex - Officio

TRUSTEES EMERITI

James E. Bacon Mrs. Edward T. Chase The Rev. Stephen J. Chinlund The Rev. Edward Johnston John T. Lane Wallace Mathai-Davis Harry Smith Phoebe Stanton Fred Wibiralske E. T. Williams, Jr.

BISHOPS ASSISTING THE DIOCESE OF NEW YORK

The Rt. Rev. Andrew M.L. Dietsche Bruce Macleod J. Frank Brown Mary Jane Brock David Gordon MEMBERS

BISHOPS SUFFRAGAN OF NEW YORK

OFFICERS

Vicar Bishop of NYC Assisting Bishop Assistant Bishop Assisting Bishop Assisting Bishop Assistant Bishop

Current Advisory Councils

THE DEAN’S COUNCIL

Mrs. Mary Jane Brock and Mr. Charles Brock Mr. and Mrs. J. Frank Brown The Reverend Canon Constance C. Coles and Mr. William B. McKeown Mr. Constantine M. Dakolias and Ms. Monique Cusson Mr. and Mrs. Gary A. Glynn Mr. William H. Herrman Mr. Michael Jalving Mr. and Mrs. Bruce Macleod The Reverend Dr. and Mrs. Daniel P. Matthews Mr. Byron Nimocks and Ms. Emily Murphy Mr. John Salmon Dr. Steven M. Shulman and Ms. Vicki Drew Mr. Jerry Speyer Mr. Murry Stegelmann Mr. Simon Yates and Mr. Kevin Roon THE DEAN’S FOUNDATION AND CORPORATE COUNCIL

222

G. A. Ackermann Memorial Fund The Emma and Georgina Bloomberg Foundation The Brodsky Organization Columbia Community Service Davis Polk & Wardwell LLC The Robert G. and Jane V. Engel Foundation, Inc. Episcopal Charities of New York The Horace W. Goldsmith Foundation The Florence Gould Foundation The Hagedorn Fund The Ambrose Monell Foundation, Inc. The Panta Rhea Foundation

223

Bishops and Deans

BISHOPS OF NEW YORK

I​ 1787–1815​ Samuel Provoost (Resigned 1801)​ II​ 1815–1816​ Benjamin Moore (Disabled 1811)​ III​ 1816–1830 ​John Henry Hobart​ IV​ 1830–1861 ​Benjamin Tredwell Onderdonk​ V​ 1852–1854​ Jonathan Mayhew Wainwright​ VI ​1861–1887​ Horatio Potter​ VII​ 1887–1908​ Henry Codman Potter VIII​ 1908–1919​ David Hummel Greer​ IX​ 1919–1920 ​Charles Sumner Burch X​ 1921–1946 ​William Thomas Manning​ XI​ 1947–1950 ​Charles Kendall Gilbert​ XII​ 1950–1972 ​Horace William Baden Donegan​

XIII​ 1972–1989​ Paul Moore Jr.​ XIV​ 1989–2001​ Richard Frank Grein XV​ 2001–2013​ Mark Sean Sisk XVI From 2013 Andrew Marion Lenow Dietsche

Acting Bishop 1801–1815 Acting Bishop 1811–1816 Suspended 1845–1861​ Provisional 1852–1854 Provisional 1854–1861 Acting Bishop 1883–1887 Coadjutor 1904–1908 Suffragan 1911–1919 Suffragan Suffragan Coadjutor Coadjutor Coadjutor Coadjutor Coadjutor

Current Board of Trustees

Bill Bermont The Rev. Matthew Calkins Roberta Connolly The Rt. Rev. Clifton Daniel III Gary A. Glynn John Griffen The Rev. Matthew F. Heyd The Rev. Nigel Massey The Rev. Dr. Daniel P. Matthews The Rev. Richard McKeon Bruce G. Paulsen The Rev. Jacob A. Smith E. Waide Warner Jr. Kathi Watts-Grossman June Yearwood

1930–1946 1947–1949, 1949–1950 1970–1972 1989 1998–2001 2012–2013

1921–1936​ Arthur Selden Lloyd 1921–1930​ Herbert Shipman 1951–1969​ Charles Francis Boynton 1960–1987 ​James Stuart Wetmore 1974–1978​ Harold Lewis Wright 1979–1998​ Walter Decoster Dennis Jr. 1996–2011​ Catherine Scimeca Roskam From 2014 Allen Kunho Shin

1994-2009​ From 1993​ 2010-2013​ 2012​ From 2013 From 2016​

E. Don Taylor​ Herbert Alcorn Donovan Jr.​ Andrew Donnan Smith​ Bruce Edward Caldwell​ Chilton Abbie Richardson Knudsen Mary Glasspool

DEANS OF THE CATHEDRAL OF ST. JOHN THE DIVINE

I II III IV V VI VII VIII IX X

1911–1916 1917–1929 1930–1939 1940–1942 1952–1958 1960–1966 1972–1997 1997–2001 2001–2017 2017–present

William Mercer Grosvenor Howard Chandler Robbins Milo Hudson Gates James Pernette DeWolfe James Albert Pike John Vernon Butler James Parks Morton Harry Houghton Pritchett Jr. James August Kowalski Clifton Daniel III

Chair, Ex-Officio President President-elect Secretary Treasurer

President, Cathedral School, Ex-Officio President, Diocesan Standing Committee, Ex-Officio Dean, Ex-Officio

Chancellor, Ex - Officio

TRUSTEES EMERITI

James E. Bacon Mrs. Edward T. Chase The Rev. Stephen J. Chinlund The Rev. Edward Johnston John T. Lane Wallace Mathai-Davis Harry Smith Phoebe Stanton Fred Wibiralske E. T. Williams, Jr.

BISHOPS ASSISTING THE DIOCESE OF NEW YORK

The Rt. Rev. Andrew M.L. Dietsche Bruce Macleod J. Frank Brown Mary Jane Brock David Gordon MEMBERS

BISHOPS SUFFRAGAN OF NEW YORK

OFFICERS

Vicar Bishop of NYC Assisting Bishop Assistant Bishop Assisting Bishop Assisting Bishop Assistant Bishop

Current Advisory Councils

THE DEAN’S COUNCIL

Mrs. Mary Jane Brock and Mr. Charles Brock Mr. and Mrs. J. Frank Brown The Reverend Canon Constance C. Coles and Mr. William B. McKeown Mr. Constantine M. Dakolias and Ms. Monique Cusson Mr. and Mrs. Gary A. Glynn Mr. William H. Herrman Mr. Michael Jalving Mr. and Mrs. Bruce Macleod The Reverend Dr. and Mrs. Daniel P. Matthews Mr. Byron Nimocks and Ms. Emily Murphy Mr. John Salmon Dr. Steven M. Shulman and Ms. Vicki Drew Mr. Jerry Speyer Mr. Murry Stegelmann Mr. Simon Yates and Mr. Kevin Roon THE DEAN’S FOUNDATION AND CORPORATE COUNCIL

222

G. A. Ackermann Memorial Fund The Emma and Georgina Bloomberg Foundation The Brodsky Organization Columbia Community Service Davis Polk & Wardwell LLC The Robert G. and Jane V. Engel Foundation, Inc. Episcopal Charities of New York The Horace W. Goldsmith Foundation The Florence Gould Foundation The Hagedorn Fund The Ambrose Monell Foundation, Inc. The Panta Rhea Foundation

223

The International and Ecumenical Cathedra

BISHOP DIETSCHE

The Cathedral Church of

Saint John the Divine is unusual in having two cathedra facing each other across the sanctuary.

The word cathedra is Greek, and refers to the seat of the Bishop of the Diocese. It signifies his or her teaching authority, and it is the presence of the bishop’s seat which makes a church a cathedral.

The cathedra on the south side of our cathedral is the seat of the Bishop of New York. The cathedra on the north side, facing the bishop’s chair, has throughout the life of our cathedral been used variously by bishops coadjutor, bishops suffragan and bishops assistant, as well as visiting bishops from outside our diocese.

When Richard Grein became the 14th Bishop of New York in 1989, he sought to establish a tradition by which the Diocese of New York could honor primates and bishops from other provinces in the Anglican Communion, and ecumenical bishops in full communion partnership, with whom our diocese enjoys a special relationship.

He designated our cathedral’s second cathedra the International and Ecumenical Cathedra, as a place where we might, by offering a formal seating, honor our international partners by providing them a permanent seat in our cathedral.

Bishop Sisk began to extend this honorific to the Presiding Bishops of The Episcopal Church as well. These formal seatings are an ongoing and continuing tradition and practice, but from 1989 until this writing in 2019, only eighteen bishops have been seated in the cathedra and given this honor.

SEATED BY THE RIGHT REVEREND RICHARD F. GREIN, XIV BISHOP OF NEW YORK

HIS ALL HOLINESS BARTHOLOMEW I OF

Archbishop of Constantinople, New Rome, and Ecumenical Patriarch, from 1991. Seated on October 24, 1997.

CONSTANTINOPLE

SEATED BY THE RIGHT REVEREND MARK S. SISK, XV BISHOP OF NEW YORK THE MOST REVEREND PETER JASPER AKINOLA

III Archbishop and Primate of the Anglican Church of Nigeria, 2000-2010. Seated on July 7, 2002.

THE MOST REVEREND FRANK TRACY GRISWOLD

XXV Presiding Bishop and Primate of The Episcopal Church, 1997-2006. Seated on September 12, 2002.

THE MOST REVEREND WINSTON HUGH NJONGONKULU NDUNGANE XII Archbishop of Capetown and Primate of the Anglican Church of Southern Africa, 1996-2007. Seated on November 3, 2004.

THE RIGHT REVEREND AND RIGHT HONOURABLE RICHARD JOHN CAREW CHARTRES CXXXII Bishop of London in the Church of England, 1995-2017. Seated on September 20, 2006.

THE MOST REVEREND KATHARINE JEFFERTS

XXVI Presiding Bishop and Primate of The Episcopal Church, 2006-2015. Seated on September 30, 2008.

SCHORI

THE MOST REVEREND BARRY CENNYDD MORGAN

XII Archbishop and Primate of the Anglican Church in Wales, 2003-2017. Seated on September 30, 2009.

HIS HOLINESS VASKEN I OF BUCHAREST SEATED BY THE RIGHT REVEREND ANDREW M.L.

HIS HOLINESS KAREKIN II Catholikos of the Holy See of Cilicia, 1983-1994. Seated on February 12, 1989.

THE MOST REVEREND PAUL KEUN SANG KIM

VII Archbishop and Primate of the Anglican Church of Korea, 2010-2017. Seated on May 18, 2014.

THE RIGHT REVEREND GEORGE STEPHEN

THE MOST REVEREND AND RIGHT HONOURABLE

THE MOST REVEREND MICHAEL BRUCE CURRY

GEORGE LEONARD CAREY

CIII Archbishop of Canterbury and Primate of All England, 1991-2002. Seated on September 20, 1992.

XXVII Presiding Bishop and Primate of The Episcopal Church, from 2015. Seated on November 18, 2018.

THE MOST REVEREND ORLAND UGHAM LINDSAY

THE RIGHT REVEREND DICKSON CHILONGANI

X Archbishop and Primate of the Anglican Church of the West Indies, 1986-1996. Seated on June 19, 1994.

VI Bishop of Central Tanganyika in the Anglican Church of Tanzania, from 2014. Seated on September 15, 2019.

Archbishop and Chancellor of the Moscow Patriarchate.

Seated on March 30, 1997.

THE RIGHT REVEREND ENRIQUE TREVIÑO CRUZ

METROPOLITAN SERGEI

224

DIETSCHE, XVI BISHOP OF NEW YORK

XI Archbishop and Primate of the Anglican Church of Canada, 1986-2004.

Seated on October 14, 1989.

PEERS

Spirit of the City was conceived in the 1970s to celebrate New York City and the people who embody its spirit when it was facing tremendous economic and social challenges. From Mario Cuomo and 9/11 rescuers to Michael Bloomberg and Judy Collins, Spirit of the City thanks the artists, political leaders, philanthropists, and public servants who contribute to our community.

Spirit of the City is also an important source of funding for the Cathedral, providing critical support for the myriad ways the Cathedral lift up the hearts, minds, and souls of all who enter its doors.

III

Supreme Patriarch and Catholikos of All Armenians, 1953-1994. Seated on February 5, 1989.

THE MOST REVEREND MICHAEL GEOFFREY

Spirit of the City Honorees

Bishop of Madras in the Church of South India, from 2016. Seated on May 13, 2018.

JAYARAJ

IV Bishop of Cuernavaca in the Anglican Church of Mexico, from 2013. Seated on November 10, 2019.

AWARD RECIPIENTS

1976

1977 1978 1979 1980 1981 1982 1983 1984

1986 1987 1988

1989 1991 1992

1993

1994

1995

John Frey Felix G. Rohatyn Walter F. Mondale Michael Blumenthal Morris D. Crawford Jr. William M. Ellinghaus Peter G. Peterson David J. Mahoney James D. Robinson III Mario Cuomo John C. Whitehead Joseph L. Dionne Milton and Carroll Petrie Aileen Mehle Mrs. Douglas MacArthur Vartan Gregorian Stephen C. Swid Howard L. Clark Kent Barwick Lee Dunham John F. McGillicuddy Sally Hernandez-Pinero Rabbi Marshall Meyer Walter V. Shipley Reuben Mark Luis Garden Acosta Geoffrey Canada Aida Rosa Reverend Johnny Ray Youngblood Arthur Ashe, In Memoriam Patrick F. Daly Dr. Gwendolyn Calvert Baker Teresa Heinz Dr. Prema Mathai-Davis Julian H. Robertson Jr. South Africa Free Elections Fund Roland Betts The Honorable Schuyler G. Chapin The Booth Ferris Foundation Marvin Hamlisch The Honorable Kitty Carlisle Hart Kurt Masur Midori Sherrill Milnes Philip Morris Companies Jacqueline Kennedy Onassis, Posthumous Jerome Robbins George C. Wolfe

1996

1997

1998

1999

2000

2001

2002

2003

2004

2006

2007

2008

2010

2012

2014

2015

2016 2017 2018

Wayne Calloway Diana Ross Anna-Maria and Stephen Kellen Marilyn Horne Joan and Sanford Weill Robert Rauschenberg Sylvia McNair Dave Brubeck Rudolf F. Crew Eugene M. Lang Susan Weber Soros Richard H. Jenrette James S. Polshek Paul Winter Jack Rudin Lewis Rudin Wynton Marsalis Rescue and Service Personnel of September 11, 2001 and of the Cathedral’s fire in December 2001 William J. McDonough Judy Collins Anthony L. Watson Sam Waterston Lauren Flanigan Vernon Hill Shirley Hill Regis Philbin Jessica M. Bibliowicz Katie Couric Avalon Bay Communities, Inc. Frederick S. Harris David W. Bellman Rachel L. Loeb The Honorable Michael R. Bloomberg Dick Wolf Drs. Wallace and Prema Mathai-Davis Ellen and James Marcus Zarin Mehta Peter Georgescu Xu Bing A Celebration of the Chapels of the Tongues, featuring Jason Robert Brown Patti LuPone The Very Reverend Dr. James A. Kowalski José V. Torres

225

The International and Ecumenical Cathedra

BISHOP DIETSCHE

The Cathedral Church of

Saint John the Divine is unusual in having two cathedra facing each other across the sanctuary.

The word cathedra is Greek, and refers to the seat of the Bishop of the Diocese. It signifies his or her teaching authority, and it is the presence of the bishop’s seat which makes a church a cathedral.

The cathedra on the south side of our cathedral is the seat of the Bishop of New York. The cathedra on the north side, facing the bishop’s chair, has throughout the life of our cathedral been used variously by bishops coadjutor, bishops suffragan and bishops assistant, as well as visiting bishops from outside our diocese.

When Richard Grein became the 14th Bishop of New York in 1989, he sought to establish a tradition by which the Diocese of New York could honor primates and bishops from other provinces in the Anglican Communion, and ecumenical bishops in full communion partnership, with whom our diocese enjoys a special relationship.

He designated our cathedral’s second cathedra the International and Ecumenical Cathedra, as a place where we might, by offering a formal seating, honor our international partners by providing them a permanent seat in our cathedral.

Bishop Sisk began to extend this honorific to the Presiding Bishops of The Episcopal Church as well. These formal seatings are an ongoing and continuing tradition and practice, but from 1989 until this writing in 2019, only eighteen bishops have been seated in the cathedra and given this honor.

SEATED BY THE RIGHT REVEREND RICHARD F. GREIN, XIV BISHOP OF NEW YORK

HIS ALL HOLINESS BARTHOLOMEW I OF

Archbishop of Constantinople, New Rome, and Ecumenical Patriarch, from 1991. Seated on October 24, 1997.

CONSTANTINOPLE

SEATED BY THE RIGHT REVEREND MARK S. SISK, XV BISHOP OF NEW YORK THE MOST REVEREND PETER JASPER AKINOLA

III Archbishop and Primate of the Anglican Church of Nigeria, 2000-2010. Seated on July 7, 2002.

THE MOST REVEREND FRANK TRACY GRISWOLD

XXV Presiding Bishop and Primate of The Episcopal Church, 1997-2006. Seated on September 12, 2002.

THE MOST REVEREND WINSTON HUGH NJONGONKULU NDUNGANE XII Archbishop of Capetown and Primate of the Anglican Church of Southern Africa, 1996-2007. Seated on November 3, 2004.

THE RIGHT REVEREND AND RIGHT HONOURABLE RICHARD JOHN CAREW CHARTRES CXXXII Bishop of London in the Church of England, 1995-2017. Seated on September 20, 2006.

THE MOST REVEREND KATHARINE JEFFERTS

XXVI Presiding Bishop and Primate of The Episcopal Church, 2006-2015. Seated on September 30, 2008.

SCHORI

THE MOST REVEREND BARRY CENNYDD MORGAN

XII Archbishop and Primate of the Anglican Church in Wales, 2003-2017. Seated on September 30, 2009.

HIS HOLINESS VASKEN I OF BUCHAREST SEATED BY THE RIGHT REVEREND ANDREW M.L.

HIS HOLINESS KAREKIN II Catholikos of the Holy See of Cilicia, 1983-1994. Seated on February 12, 1989.

THE MOST REVEREND PAUL KEUN SANG KIM

VII Archbishop and Primate of the Anglican Church of Korea, 2010-2017. Seated on May 18, 2014.

THE RIGHT REVEREND GEORGE STEPHEN

THE MOST REVEREND AND RIGHT HONOURABLE

THE MOST REVEREND MICHAEL BRUCE CURRY

GEORGE LEONARD CAREY

CIII Archbishop of Canterbury and Primate of All England, 1991-2002. Seated on September 20, 1992.

XXVII Presiding Bishop and Primate of The Episcopal Church, from 2015. Seated on November 18, 2018.

THE MOST REVEREND ORLAND UGHAM LINDSAY

THE RIGHT REVEREND DICKSON CHILONGANI

X Archbishop and Primate of the Anglican Church of the West Indies, 1986-1996. Seated on June 19, 1994.

VI Bishop of Central Tanganyika in the Anglican Church of Tanzania, from 2014. Seated on September 15, 2019.

Archbishop and Chancellor of the Moscow Patriarchate.

Seated on March 30, 1997.

THE RIGHT REVEREND ENRIQUE TREVIÑO CRUZ

METROPOLITAN SERGEI

224

DIETSCHE, XVI BISHOP OF NEW YORK

XI Archbishop and Primate of the Anglican Church of Canada, 1986-2004.

Seated on October 14, 1989.

PEERS

Spirit of the City was conceived in the 1970s to celebrate New York City and the people who embody its spirit when it was facing tremendous economic and social challenges. From Mario Cuomo and 9/11 rescuers to Michael Bloomberg and Judy Collins, Spirit of the City thanks the artists, political leaders, philanthropists, and public servants who contribute to our community.

Spirit of the City is also an important source of funding for the Cathedral, providing critical support for the myriad ways the Cathedral lift up the hearts, minds, and souls of all who enter its doors.

III

Supreme Patriarch and Catholikos of All Armenians, 1953-1994. Seated on February 5, 1989.

THE MOST REVEREND MICHAEL GEOFFREY

Spirit of the City Honorees

Bishop of Madras in the Church of South India, from 2016. Seated on May 13, 2018.

JAYARAJ

IV Bishop of Cuernavaca in the Anglican Church of Mexico, from 2013. Seated on November 10, 2019.

AWARD RECIPIENTS

1976

1977 1978 1979 1980 1981 1982 1983 1984

1986 1987 1988

1989 1991 1992

1993

1994

1995

John Frey Felix G. Rohatyn Walter F. Mondale Michael Blumenthal Morris D. Crawford Jr. William M. Ellinghaus Peter G. Peterson David J. Mahoney James D. Robinson III Mario Cuomo John C. Whitehead Joseph L. Dionne Milton and Carroll Petrie Aileen Mehle Mrs. Douglas MacArthur Vartan Gregorian Stephen C. Swid Howard L. Clark Kent Barwick Lee Dunham John F. McGillicuddy Sally Hernandez-Pinero Rabbi Marshall Meyer Walter V. Shipley Reuben Mark Luis Garden Acosta Geoffrey Canada Aida Rosa Reverend Johnny Ray Youngblood Arthur Ashe, In Memoriam Patrick F. Daly Dr. Gwendolyn Calvert Baker Teresa Heinz Dr. Prema Mathai-Davis Julian H. Robertson Jr. South Africa Free Elections Fund Roland Betts The Honorable Schuyler G. Chapin The Booth Ferris Foundation Marvin Hamlisch The Honorable Kitty Carlisle Hart Kurt Masur Midori Sherrill Milnes Philip Morris Companies Jacqueline Kennedy Onassis, Posthumous Jerome Robbins George C. Wolfe

1996

1997

1998

1999

2000

2001

2002

2003

2004

2006

2007

2008

2010

2012

2014

2015

2016 2017 2018

Wayne Calloway Diana Ross Anna-Maria and Stephen Kellen Marilyn Horne Joan and Sanford Weill Robert Rauschenberg Sylvia McNair Dave Brubeck Rudolf F. Crew Eugene M. Lang Susan Weber Soros Richard H. Jenrette James S. Polshek Paul Winter Jack Rudin Lewis Rudin Wynton Marsalis Rescue and Service Personnel of September 11, 2001 and of the Cathedral’s fire in December 2001 William J. McDonough Judy Collins Anthony L. Watson Sam Waterston Lauren Flanigan Vernon Hill Shirley Hill Regis Philbin Jessica M. Bibliowicz Katie Couric Avalon Bay Communities, Inc. Frederick S. Harris David W. Bellman Rachel L. Loeb The Honorable Michael R. Bloomberg Dick Wolf Drs. Wallace and Prema Mathai-Davis Ellen and James Marcus Zarin Mehta Peter Georgescu Xu Bing A Celebration of the Chapels of the Tongues, featuring Jason Robert Brown Patti LuPone The Very Reverend Dr. James A. Kowalski José V. Torres

225

American Poets Corner Inductees

1984

1992

2000

2014

Emily Dickinson, 1830–1886 Captivity is Consciousness – So’s Liberty

William Carlos Williams, 1883–1963 ...a reply to the Greek and Latin with the bare hands

Edna St. Vincent Millay, 1892–1950 Take up the song; forget the epitaph.

Mary Flannery O’Connor, 1925–1964 I can, with one eye squinted, take it all as a blessing.

Washington Irving, 1783–1859 Pioneering man of letters

Edith Wharton, 1862–1937 There is no end to life in its mercy as in its pain

2001

2015

Walt Whitman, 1819–1892 I stop somewhere waiting for you

1993

Gertrude Stein, 1874–1946 Let me recite what history teaches.

History teaches.

Zora Neale Hurston, 1891–1960 The dream is the truth.

1985

Herman Melville, 1819–1891 The running battle of the star and clod Edgar Allan Poe, 1809–1849 Out of Space – Out of Time 1986

Robert Frost, 1874–1963 I had a lover’s quarrel with the world Nathaniel Hawthorne, 1804–1864 On A Field, Sable. The Letter A. Gules.

1987

Ralph Waldo Emerson, 1803–1882 Give me Truths, For I am weary of the surfaces Mark Twain (Samuel Langhorne Clemens), 1835–1910 There was things which he stretched, but mainly he told the truth.

1988

Henry David Thoreau, 1817–1862 Be it life or death, we crave only reality Henry James, 1843–1916 Live all you can, it’s a mistake not to.

1989

Wallace Stevens, 1879–1955 Oh! Blessed rage for order.

William Faulkner, 1887–1962 Truth is one. It doesn’t change.

1990

Thomas Stearns (T. S.) Eliot, 1888–1965 And let my cry come unto thee Willa Cather, 1873–1947 Thy will be done in art as it is in heaven 1991

Marianne Moore, 1887–1972 Beauty is everlasting and dust is for a time Edwin Arlington Robinson, 1865–1935 Of his plain excellence and stubborn skill, There yet remains what fashion cannot kill.

226

Stephen Crane, 1871–1900 The nearer an artist gets to life the greater he becomes as an artist Henry Wadsworth Longfellow, 1807–1882 Dust now art, to dust returnest, Was not spoken of the soul.

2016 2003

Robert Lowell, 1917–1977 Stand and live, The dove has brought an olive branch to eat

2017 2004

1994

Hart Crane, 1899–1932 Permit Me Voyage, Love, Into Your Hands.

Anne Bradstreet, 1612–1672 Nor wit nor gold nor buildings ‘scape time’s rust.

But he whose name is graved in the white stone shall last and shine when all of these are gone.

1995

William Cullen Bryant, 1794–1878 All to the beautiful order of thy works learn to Conform the order of our lives.

Elizabeth Bishop, 1911–1979 All the untidy activity continues, awful but Cheerful 1996

Langston Hughes, 1902–1967 My Soul Has Grown Deep Like the Rivers Ernest Hemingway, 1899–1961 All you have to do is write one true sentence John Greenleaf Whittier, 1807–1892 Life is ever lord of Death And Love can never lose its own.

Eugene O’Neill, 1888 – 1953 For a second you see—and seeing the secret, are the secret.

Robert Hayden, 1913–1980 What did I know, what did I know of love’s austere and lonely offices?

Jean Toomer, 1894–1967 …My thoughts were like matches tossed into a dark window.

2018

2005

W. H. Auden, 1907–1973 If equal affection cannot be, Let the more loving one be me

Carl Sandburg, 1898–1902 I am the audience that witnesses history.

2019

2006

Emma Lazarus, 1849–1887 Born from blank darkness to this blaze of beauty, Where is thy faith, and where are thy thanksgivings?

2007

Robinson Jeffers, 1887–1962 Yet stones have stood for a thousand years, and pained thoughts found The honey of peace in old poems.

Ralph Ellison, 1914-1994 Who knows but that, on the lower frequencies, I speak for you?

Harriet Jacobs, 1813-1897 Slavery is terrible for men, but it is far more terrible for women

2008

Phillis Wheatley, 1753–1784 Enlarge the close contracted mind, And fill it withthy fire.

2009

1997

Louise Bogan, 1897–1970 Vision of Earth Heal and receive me.

E. E. Cummings, 1894–1962 A world of made is not a world of born— 1998

Theodore Roethke, 1908-1963 I learn by going where I have to go.

William Dean Howells, 1837–1920 Ah, poor Real Life, Which I love...

1999

F. Scott Fitzgerald, 1896–1940 So we beat on, boats against the current borne back ceaselessly into the past

Tennessee Williams, 1911–1983 Time is the longest distance between two places 2010

Sylvia Plath, 1932–1963 This is the light of the mind, cold and planetary 2011

James Arthur Baldwin, 1924–1987 Artists are here to disturb the peace.

2012

Katherine Anne Porter, 1890–1980 Love must be learned, and learned again and again; there is no end to it 2013

John Allyn Berryman, 1914–1972 Once in a sycamore I was glad all at the top, and I sang.

227

American Poets Corner Inductees

1984

1992

2000

2014

Emily Dickinson, 1830–1886 Captivity is Consciousness – So’s Liberty

William Carlos Williams, 1883–1963 ...a reply to the Greek and Latin with the bare hands

Edna St. Vincent Millay, 1892–1950 Take up the song; forget the epitaph.

Mary Flannery O’Connor, 1925–1964 I can, with one eye squinted, take it all as a blessing.

Washington Irving, 1783–1859 Pioneering man of letters

Edith Wharton, 1862–1937 There is no end to life in its mercy as in its pain

2001

2015

Walt Whitman, 1819–1892 I stop somewhere waiting for you

1993

Gertrude Stein, 1874–1946 Let me recite what history teaches.

History teaches.

Zora Neale Hurston, 1891–1960 The dream is the truth.

1985

Herman Melville, 1819–1891 The running battle of the star and clod Edgar Allan Poe, 1809–1849 Out of Space – Out of Time 1986

Robert Frost, 1874–1963 I had a lover’s quarrel with the world Nathaniel Hawthorne, 1804–1864 On A Field, Sable. The Letter A. Gules.

1987

Ralph Waldo Emerson, 1803–1882 Give me Truths, For I am weary of the surfaces Mark Twain (Samuel Langhorne Clemens), 1835–1910 There was things which he stretched, but mainly he told the truth.

1988

Henry David Thoreau, 1817–1862 Be it life or death, we crave only reality Henry James, 1843–1916 Live all you can, it’s a mistake not to.

1989

Wallace Stevens, 1879–1955 Oh! Blessed rage for order.

William Faulkner, 1887–1962 Truth is one. It doesn’t change.

1990

Thomas Stearns (T. S.) Eliot, 1888–1965 And let my cry come unto thee Willa Cather, 1873–1947 Thy will be done in art as it is in heaven 1991

Marianne Moore, 1887–1972 Beauty is everlasting and dust is for a time Edwin Arlington Robinson, 1865–1935 Of his plain excellence and stubborn skill, There yet remains what fashion cannot kill.

226

Stephen Crane, 1871–1900 The nearer an artist gets to life the greater he becomes as an artist Henry Wadsworth Longfellow, 1807–1882 Dust now art, to dust returnest, Was not spoken of the soul.

2016 2003

Robert Lowell, 1917–1977 Stand and live, The dove has brought an olive branch to eat

2017 2004

1994

Hart Crane, 1899–1932 Permit Me Voyage, Love, Into Your Hands.

Anne Bradstreet, 1612–1672 Nor wit nor gold nor buildings ‘scape time’s rust.

But he whose name is graved in the white stone shall last and shine when all of these are gone.

1995

William Cullen Bryant, 1794–1878 All to the beautiful order of thy works learn to Conform the order of our lives.

Elizabeth Bishop, 1911–1979 All the untidy activity continues, awful but Cheerful 1996

Langston Hughes, 1902–1967 My Soul Has Grown Deep Like the Rivers Ernest Hemingway, 1899–1961 All you have to do is write one true sentence John Greenleaf Whittier, 1807–1892 Life is ever lord of Death And Love can never lose its own.

Eugene O’Neill, 1888 – 1953 For a second you see—and seeing the secret, are the secret.

Robert Hayden, 1913–1980 What did I know, what did I know of love’s austere and lonely offices?

Jean Toomer, 1894–1967 …My thoughts were like matches tossed into a dark window.

2018

2005

W. H. Auden, 1907–1973 If equal affection cannot be, Let the more loving one be me

Carl Sandburg, 1898–1902 I am the audience that witnesses history.

2019

2006

Emma Lazarus, 1849–1887 Born from blank darkness to this blaze of beauty, Where is thy faith, and where are thy thanksgivings?

2007

Robinson Jeffers, 1887–1962 Yet stones have stood for a thousand years, and pained thoughts found The honey of peace in old poems.

Ralph Ellison, 1914-1994 Who knows but that, on the lower frequencies, I speak for you?

Harriet Jacobs, 1813-1897 Slavery is terrible for men, but it is far more terrible for women

2008

Phillis Wheatley, 1753–1784 Enlarge the close contracted mind, And fill it withthy fire.

2009

1997

Louise Bogan, 1897–1970 Vision of Earth Heal and receive me.

E. E. Cummings, 1894–1962 A world of made is not a world of born— 1998

Theodore Roethke, 1908-1963 I learn by going where I have to go.

William Dean Howells, 1837–1920 Ah, poor Real Life, Which I love...

1999

F. Scott Fitzgerald, 1896–1940 So we beat on, boats against the current borne back ceaselessly into the past

Tennessee Williams, 1911–1983 Time is the longest distance between two places 2010

Sylvia Plath, 1932–1963 This is the light of the mind, cold and planetary 2011

James Arthur Baldwin, 1924–1987 Artists are here to disturb the peace.

2012

Katherine Anne Porter, 1890–1980 Love must be learned, and learned again and again; there is no end to it 2013

John Allyn Berryman, 1914–1972 Once in a sycamore I was glad all at the top, and I sang.

227

Residencies

ARTISTS IN RESIDENCE

David Briggs Jason Robert Brown Alessandra Belloni Judy Collins Frederick Renz Paul Winter Philippe Petit Ralph Lee Abdel R. Salaam Eiko Otake Jean-Claude Marchionni Christopher Pellettieri Simon Verity Greg Wyatt Wayne Pearson Nicole Toutounji William Bryant Logan Susan Brind Morrow Elaine Pagels Elizabeth Howard

Organist Composer Musician (i Giullari di Piazza) Musician Musician Musician (The Paul Winter Consort) High Wire Artist, Juggler, Magician Puppeteer (Mettawee River Theatre Company) Choreographer (Forces of Nature Dance Theatre Company) Dancer, Choreographer Sculptor Stonecarver Sculptor Sculptor Photographer Beekeeper Arborist Scholar Scholar Madeleine L’Engle Fellow

POETS IN RESIDENCE

“Cathedrals are places of celebration, of experiment, of risk taking, of witness even at cost; they are always relating the place in which they exist back to the transformational work of Christ.” THE MOST REVEREND AND RIGHT HONOURABLE JUSTIN WELBY, ARCHBISHOP OF CANTERBURY

Affiliate Groups

Daniel Haberman (1933–1991) William Jay Smith (1918–2015) Daniel Hoffman (1923–2013) Molly Peacock Charles Martin Marilyn Nelson Marie Howe

1983–1986 1985–1987 (U.S. Poet Laureate 1968–1970) 1988–1999 (U.S. Poet Laureate 1973–1974) 2000–2004 2005–2009 2010–2019 2020–present

THE LAYMEN’S CLUB

THE CATHEDRAL REGENTS

Founded in 1908, The Laymen's Club—comprised of members of the laity of the diocese and the metropolitan region—is committed to the vital life of the Cathedral. The Club has contributed to the Cathedral through sponsoring programs related to the fabric of the building, to advocacy and to the arts. Members have been volunteers, builders, patrons and historians. The Club has aided the Cathedral on many projects, including creating the stunning Pilgrim’s Pavement in the Nave in 1934, contributing railings to the Great Choir in 2012, restoring the Great Bronze Doors in 2014 and supporting the American Poets Corner and the Madeleine L’Engle Library.

The Cathedral Regents are an association of men and women of all faiths who provide annual leadership gifts in support of the Cathedral and its programs.

FRIENDS OF MUSIC

The Cathedral Friends of Music partner to produce spectacular choral music concerts as a part of the Great Music in a Great Space program and are welcomed to special events such as pre-concert lectures, post-concert receptions, and intimate performances.

THE CATHEDRAL GARDENS CONSERVANCY

Members of the Cathedral Gardens Conservancy are committed to the conservation of the grounds of the Close. The Cathedral’s many gardens, including the Biblical Garden, renovated in 2001, reflect the Conservancy’s vast horticultural knowledge and its members’ dedication to insuring that the gardens—in this unparalleled setting— continue to flourish.

The Deanery, 2019.

228

229

Residencies

ARTISTS IN RESIDENCE

David Briggs Jason Robert Brown Alessandra Belloni Judy Collins Frederick Renz Paul Winter Philippe Petit Ralph Lee Abdel R. Salaam Eiko Otake Jean-Claude Marchionni Christopher Pellettieri Simon Verity Greg Wyatt Wayne Pearson Nicole Toutounji William Bryant Logan Susan Brind Morrow Elaine Pagels Elizabeth Howard

Organist Composer Musician (i Giullari di Piazza) Musician Musician Musician (The Paul Winter Consort) High Wire Artist, Juggler, Magician Puppeteer (Mettawee River Theatre Company) Choreographer (Forces of Nature Dance Theatre Company) Dancer, Choreographer Sculptor Stonecarver Sculptor Sculptor Photographer Beekeeper Arborist Scholar Scholar Madeleine L’Engle Fellow

POETS IN RESIDENCE

“Cathedrals are places of celebration, of experiment, of risk taking, of witness even at cost; they are always relating the place in which they exist back to the transformational work of Christ.” THE MOST REVEREND AND RIGHT HONOURABLE JUSTIN WELBY, ARCHBISHOP OF CANTERBURY

Affiliate Groups

Daniel Haberman (1933–1991) William Jay Smith (1918–2015) Daniel Hoffman (1923–2013) Molly Peacock Charles Martin Marilyn Nelson Marie Howe

1983–1986 1985–1987 (U.S. Poet Laureate 1968–1970) 1988–1999 (U.S. Poet Laureate 1973–1974) 2000–2004 2005–2009 2010–2019 2020–present

THE LAYMEN’S CLUB

THE CATHEDRAL REGENTS

Founded in 1908, The Laymen's Club—comprised of members of the laity of the diocese and the metropolitan region—is committed to the vital life of the Cathedral. The Club has contributed to the Cathedral through sponsoring programs related to the fabric of the building, to advocacy and to the arts. Members have been volunteers, builders, patrons and historians. The Club has aided the Cathedral on many projects, including creating the stunning Pilgrim’s Pavement in the Nave in 1934, contributing railings to the Great Choir in 2012, restoring the Great Bronze Doors in 2014 and supporting the American Poets Corner and the Madeleine L’Engle Library.

The Cathedral Regents are an association of men and women of all faiths who provide annual leadership gifts in support of the Cathedral and its programs.

FRIENDS OF MUSIC

The Cathedral Friends of Music partner to produce spectacular choral music concerts as a part of the Great Music in a Great Space program and are welcomed to special events such as pre-concert lectures, post-concert receptions, and intimate performances.

THE CATHEDRAL GARDENS CONSERVANCY

Members of the Cathedral Gardens Conservancy are committed to the conservation of the grounds of the Close. The Cathedral’s many gardens, including the Biblical Garden, renovated in 2001, reflect the Conservancy’s vast horticultural knowledge and its members’ dedication to insuring that the gardens—in this unparalleled setting— continue to flourish.

The Deanery, 2019.

228

229

Cathedral and Diocesan Staff

People jokingly refer to the Cathedral as St. John the Unfinished. However, we have an opportunity, as employees, to continue to build the Cathedral. For most of us, building the Cathedral won’t happen by carving stone; instead we build it by the relationships we create with each other, the relationships we create with the people who come here to worship, and the relationships we create with the people who come to see the Cathedral and take it in.

JOHN TIEBOUT

conservators were analyzing textiles, the facilities team was taking care of the grounds, security guards were manning their posts, teachers were engaging youth, accountants were processing invoices, musicians were rehearsing, carpenters were building staging, and peacocks were entertaining visitors. The faces here remind us of all the people who have come before and all those who will come after us whose work will guide this great building into the future.

The people in the image above represent a snapshot in time of those who work and live on the Cathedral Close. Even at the moment this photo was taken, priests inside were providing pastoral care, educators were leading workshops, 230

231

Cathedral and Diocesan Staff

People jokingly refer to the Cathedral as St. John the Unfinished. However, we have an opportunity, as employees, to continue to build the Cathedral. For most of us, building the Cathedral won’t happen by carving stone; instead we build it by the relationships we create with each other, the relationships we create with the people who come here to worship, and the relationships we create with the people who come to see the Cathedral and take it in.

JOHN TIEBOUT

conservators were analyzing textiles, the facilities team was taking care of the grounds, security guards were manning their posts, teachers were engaging youth, accountants were processing invoices, musicians were rehearsing, carpenters were building staging, and peacocks were entertaining visitors. The faces here remind us of all the people who have come before and all those who will come after us whose work will guide this great building into the future.

The people in the image above represent a snapshot in time of those who work and live on the Cathedral Close. Even at the moment this photo was taken, priests inside were providing pastoral care, educators were leading workshops, 230

231

Notes

THE BAYS

SOUTH SIDE

THE CHAPELS OF THE TONGUES​

HISTORICAL PARAPET

The 14 bays of the Nave, seven each along the north and south walls, recognize the contributions of lay people and workers: artists, athletes, lawyers, communicators, medical workers, soldiers, civil servants, social workers, and laborers.

All Souls Bay The All Souls Bay commemorates the faith and service of the departed. This bay also houses the Golden Book of Remembrance, listing the names those whose gifts made the building of our Cathedral possible.

The Chapel of St. James, 1916, depicts Spanish and Latinx history. Figures include the Virgin of Guadalupe, Christopher Columbus, Cervantes, and El Greco.

The Historical Parapet leading to the sanctuary contains statues of outstanding persons of the 20 centuries of Christian history.

NORTH SIDE

Sports Bay Sports and recreation may seem like unlikely choices for a cathedral to highlight. But as the Bishop of New York at the time the Sports Bay was created, the Right Reverend William T. Manning, said, “Our play and our work have as real a place in our lives as our prayers.”

Arts Bay The Arts Bay celebrates one of the three pillars of the Cathedral (liturgy, art, and discourse).

Art creates room for the human spirit in all its complexity.

Crusaders Bay Wars are ugly and religious wars can be the ugliest. Yet the Crusades shaped the world of the Renaissance, which has in turn shaped our era.

Beginning in the late 11th century and continuing into the 15th, these military campaigns resulted in massive change throughout the cultures of Europe and the eastern Mediterranean. The legacy of the Crusades is complex and still evolving.

Education Bay The Education Bay celebrates how we learn about the world, fulfill our potential, and participate in our world’s intellectual treasure. The Episcopal Church specifically enjoins its members to think for themselves on matters of faith beyond the central belief in the Father, the Son, and the Holy Ghost.

Law Bay The rule of law—imperfect as it is—is a crowning achievement of civilization. Law is the codified conversation about some of our essential questions: What rights do human beings have? What is the proper balance between the rights of the individual and of the community, the state, the planet?

Anglican History Bay The Anglican Church developed out of the Catholic Church in response to the English Reformation, when King Henry VIII severed the religious connection with the Roman pope.

The Episcopal Church is closely connected to the Anglican Church and was established when newly independent America broke away from Britain.

American History Bay The Cathedral was founded in 1873 as a specifically American cathedral.

232

Missionary Bay Christian missionaries were essential to the spread of Christianity since the earliest days of the church. Today, missionaries, lay and ordained, are active in over 25 countries around the Anglican Communion.

Labor Bay The Cathedral has always championed the rights of workers and the dignity of work.

Communications Bay When the Communications Bay was built in the 1920s, radio and telephone were new and bringing great changes.

Medicine Bay Medicine has been a part of church life since the earliest times. From the miraculous healings of Jesus to the modern recognition that mental factors and behaviors—including prayer and meditation as well as laughter and social contact— affect physical health, clergy and other religious leaders have been involved in the well-being of the body.

Earth Bay The Earth Bay celebrates our planet. Disappearing wild places, loss of species and their habitat, fouling of air and waters, changing climate—these events demand response from all human beings.

Armed Forces Bay The Armed Forces Bay honors those who have served in war, particularly those who have given their lives.

PILGRIMS’ PAVEMENT

The floor of the Cathedral’s Nave is called the Pilgrims’ Pavement­—so named for the original source of funds: the offerings of visitors (pilgrims) to the Cathedral. Seeking and devotion are the marks of a pilgrim, and every visit to the Cathedral, or any holy lace, can be a pilgrimage if your heart is open.

The three aisles of the Nave contain a series of medallions symbolizing exceptional places in the history of Christianity: in the center, places identified with the earthly life of Jesus; in the side aisles, major shrines, saints, and ecclesiastical landmarks of Great Britain, mainland Europe, and The Episcopal Church in the United States.

The Chapel of St. Ambrose, 1914, honors the Italian community, which in the early twentieth century was the largest immigrant group in the city. St. Ambrose is quoted as saying, “When in Rome, do as the Romans do.” The reredos depicts St. Francis of Assisi, St. Ambrose, St. Benedict, St. Agnes, Dante, Fra Angelico, Savonarola, and Galileo with a globe.

The Chapel of St. Martin of Tours, 1918, representing French speakers and is used for private devotions. Here the consecrated bread and wine and the healing oils are kept. WWI War Armistice was declared on St. Martin’s Day, November 11, 1918.

Above the altar is a stone from the Cathedral of Rheims bombarded during WWII. A statue of Joan of Arc rests on a stone from Rouen where she was imprisoned by the English.

The Chapel of St. Saviour, 1904, is dedicated to the Christian communities of the East. This chapel was the first to be finished and the first in which services took place. The entrance is flanked by 20 angels by Gutzon Borglum, later the sculptor of Mount Rushmore. A controversy arose when Borglum first represented the angels as female.

The Chapel of St. Columba, 1911, honors immigrants from Great Britain. There are ten sculptures on each side of the chapel representing key figures in British Christianity. On the altar is a gilt triptych created by Keith Haring. It is the last sculptural piece created by the artist before his death in 1990.

The Chapel of St. Boniface, 1916, is dedicated to the patron saint of Germany. The 11-foot bronze statue on the right side of the chapel is St. Michael the Archangel.

The Chapel of St. Ansgar, 1918, is double-sized and contains one of the Cathedral’s pipe organs.

The chapel tributes Scandinavian immigrants. The carved altar depicts the Madonna of the Chair with St. Michael on the left and St. Gabriel with lilies of the Annunciation on the right. In the south wall are statues of King Eric IX of Sweden and Canute the Great, King of England, Denmark, and Norway.

1. St. Paul the Apostle. The sword he holds symbolizes his martyrdom.

2. Justin, a martyr with the axe and block.

3. Clement of Alexandria, who combined classical reasoning with faith.

4. St. Anastasius, an early pope, with the baptismal shell and font.

5. St. Augustine, Bishop of Hippo in Africa, author of The Confessions of St. Augustine.

6. St. Benedict, the father of Western monasticism.

7. St. Gregory the Great, seventh-century pope, depicted freeing a child slave.

8. Charles Martel, prince and general represented by crown, axe, and pennant.

9. Charlemagne, King of the Franks, Emperor of the Romans, bearing crown, scepter, and orb.

10. Alfred the Great, English monarch.

11. Godfrey de Bouillon, leader of the First Crusade.

12. St. Bernard, abbot of Clairvaux in Burgundy, who preached for the Second Crusade.

13. St. Francis of Assisi, who is celebrated with a Blessing of the Animals in early October.

14. John Wycliffe, English advocate of the translation of the Bible.

15. Christopher Columbus, lifting a veil from an uncharted globe.

16. Archbishop Thomas Cranmer, leader of the English Reformation, represented by his hand thrust into flames.

17. William Shakespeare, with laurels symbolizing victory and fame.

18. George Washington, first president of the United States.

19. Abraham Lincoln, 16th president of the United States.

20. Dr. Martin Luther King Jr., Albert Einstein, Susan B. Anthony, and Mohandas Gandhi, who championed nonviolent social change, women’s rights. and respect for intellect.

The Cathedral’s cornerstone, laid on St. John’s Day, December 27, 1892, is beneath the Chapel of St. Ansgar. The stone contains a Bible, almanacs for 1893, church periodicals, a copy of the New York Times and other city dailies, and a copy of the address given by Bishop Potter at the laying of the stone.

233

Notes

THE BAYS

SOUTH SIDE

THE CHAPELS OF THE TONGUES​

HISTORICAL PARAPET

The 14 bays of the Nave, seven each along the north and south walls, recognize the contributions of lay people and workers: artists, athletes, lawyers, communicators, medical workers, soldiers, civil servants, social workers, and laborers.

All Souls Bay The All Souls Bay commemorates the faith and service of the departed. This bay also houses the Golden Book of Remembrance, listing the names those whose gifts made the building of our Cathedral possible.

The Chapel of St. James, 1916, depicts Spanish and Latinx history. Figures include the Virgin of Guadalupe, Christopher Columbus, Cervantes, and El Greco.

The Historical Parapet leading to the sanctuary contains statues of outstanding persons of the 20 centuries of Christian history.

NORTH SIDE

Sports Bay Sports and recreation may seem like unlikely choices for a cathedral to highlight. But as the Bishop of New York at the time the Sports Bay was created, the Right Reverend William T. Manning, said, “Our play and our work have as real a place in our lives as our prayers.”

Arts Bay The Arts Bay celebrates one of the three pillars of the Cathedral (liturgy, art, and discourse).

Art creates room for the human spirit in all its complexity.

Crusaders Bay Wars are ugly and religious wars can be the ugliest. Yet the Crusades shaped the world of the Renaissance, which has in turn shaped our era.

Beginning in the late 11th century and continuing into the 15th, these military campaigns resulted in massive change throughout the cultures of Europe and the eastern Mediterranean. The legacy of the Crusades is complex and still evolving.

Education Bay The Education Bay celebrates how we learn about the world, fulfill our potential, and participate in our world’s intellectual treasure. The Episcopal Church specifically enjoins its members to think for themselves on matters of faith beyond the central belief in the Father, the Son, and the Holy Ghost.

Law Bay The rule of law—imperfect as it is—is a crowning achievement of civilization. Law is the codified conversation about some of our essential questions: What rights do human beings have? What is the proper balance between the rights of the individual and of the community, the state, the planet?

Anglican History Bay The Anglican Church developed out of the Catholic Church in response to the English Reformation, when King Henry VIII severed the religious connection with the Roman pope.

The Episcopal Church is closely connected to the Anglican Church and was established when newly independent America broke away from Britain.

American History Bay The Cathedral was founded in 1873 as a specifically American cathedral.

232

Missionary Bay Christian missionaries were essential to the spread of Christianity since the earliest days of the church. Today, missionaries, lay and ordained, are active in over 25 countries around the Anglican Communion.

Labor Bay The Cathedral has always championed the rights of workers and the dignity of work.

Communications Bay When the Communications Bay was built in the 1920s, radio and telephone were new and bringing great changes.

Medicine Bay Medicine has been a part of church life since the earliest times. From the miraculous healings of Jesus to the modern recognition that mental factors and behaviors—including prayer and meditation as well as laughter and social contact— affect physical health, clergy and other religious leaders have been involved in the well-being of the body.

Earth Bay The Earth Bay celebrates our planet. Disappearing wild places, loss of species and their habitat, fouling of air and waters, changing climate—these events demand response from all human beings.

Armed Forces Bay The Armed Forces Bay honors those who have served in war, particularly those who have given their lives.

PILGRIMS’ PAVEMENT

The floor of the Cathedral’s Nave is called the Pilgrims’ Pavement­—so named for the original source of funds: the offerings of visitors (pilgrims) to the Cathedral. Seeking and devotion are the marks of a pilgrim, and every visit to the Cathedral, or any holy lace, can be a pilgrimage if your heart is open.

The three aisles of the Nave contain a series of medallions symbolizing exceptional places in the history of Christianity: in the center, places identified with the earthly life of Jesus; in the side aisles, major shrines, saints, and ecclesiastical landmarks of Great Britain, mainland Europe, and The Episcopal Church in the United States.

The Chapel of St. Ambrose, 1914, honors the Italian community, which in the early twentieth century was the largest immigrant group in the city. St. Ambrose is quoted as saying, “When in Rome, do as the Romans do.” The reredos depicts St. Francis of Assisi, St. Ambrose, St. Benedict, St. Agnes, Dante, Fra Angelico, Savonarola, and Galileo with a globe.

The Chapel of St. Martin of Tours, 1918, representing French speakers and is used for private devotions. Here the consecrated bread and wine and the healing oils are kept. WWI War Armistice was declared on St. Martin’s Day, November 11, 1918.

Above the altar is a stone from the Cathedral of Rheims bombarded during WWII. A statue of Joan of Arc rests on a stone from Rouen where she was imprisoned by the English.

The Chapel of St. Saviour, 1904, is dedicated to the Christian communities of the East. This chapel was the first to be finished and the first in which services took place. The entrance is flanked by 20 angels by Gutzon Borglum, later the sculptor of Mount Rushmore. A controversy arose when Borglum first represented the angels as female.

The Chapel of St. Columba, 1911, honors immigrants from Great Britain. There are ten sculptures on each side of the chapel representing key figures in British Christianity. On the altar is a gilt triptych created by Keith Haring. It is the last sculptural piece created by the artist before his death in 1990.

The Chapel of St. Boniface, 1916, is dedicated to the patron saint of Germany. The 11-foot bronze statue on the right side of the chapel is St. Michael the Archangel.

The Chapel of St. Ansgar, 1918, is double-sized and contains one of the Cathedral’s pipe organs.

The chapel tributes Scandinavian immigrants. The carved altar depicts the Madonna of the Chair with St. Michael on the left and St. Gabriel with lilies of the Annunciation on the right. In the south wall are statues of King Eric IX of Sweden and Canute the Great, King of England, Denmark, and Norway.

1. St. Paul the Apostle. The sword he holds symbolizes his martyrdom.

2. Justin, a martyr with the axe and block.

3. Clement of Alexandria, who combined classical reasoning with faith.

4. St. Anastasius, an early pope, with the baptismal shell and font.

5. St. Augustine, Bishop of Hippo in Africa, author of The Confessions of St. Augustine.

6. St. Benedict, the father of Western monasticism.

7. St. Gregory the Great, seventh-century pope, depicted freeing a child slave.

8. Charles Martel, prince and general represented by crown, axe, and pennant.

9. Charlemagne, King of the Franks, Emperor of the Romans, bearing crown, scepter, and orb.

10. Alfred the Great, English monarch.

11. Godfrey de Bouillon, leader of the First Crusade.

12. St. Bernard, abbot of Clairvaux in Burgundy, who preached for the Second Crusade.

13. St. Francis of Assisi, who is celebrated with a Blessing of the Animals in early October.

14. John Wycliffe, English advocate of the translation of the Bible.

15. Christopher Columbus, lifting a veil from an uncharted globe.

16. Archbishop Thomas Cranmer, leader of the English Reformation, represented by his hand thrust into flames.

17. William Shakespeare, with laurels symbolizing victory and fame.

18. George Washington, first president of the United States.

19. Abraham Lincoln, 16th president of the United States.

20. Dr. Martin Luther King Jr., Albert Einstein, Susan B. Anthony, and Mohandas Gandhi, who championed nonviolent social change, women’s rights. and respect for intellect.

The Cathedral’s cornerstone, laid on St. John’s Day, December 27, 1892, is beneath the Chapel of St. Ansgar. The stone contains a Bible, almanacs for 1893, church periodicals, a copy of the New York Times and other city dailies, and a copy of the address given by Bishop Potter at the laying of the stone.

233

Ennead

SUSAN T. RODRIGUEZ, FORMER PARTNER AT ENNEAD

Collaborating with the Cathedral’s leadership has been a great honor and incredible partnership over many decades. Ennead (formerly Polshek Partnership) has been the architect of the Cathedral since 1995, and together with teams of experts in preservation (Building Conservation Associates) and structural engineering (Silman), we have helped guide the Cathedral through the renewal, maintenance, and landmarking of the Close, including the Cathedral’s monumental place of worship and surrounding network of buildings.

ARCHITECTS

Our work at the Cathedral over the last few decades has been inspired by the majesty of this landmark, a rich collage of intentions, symbols and architectural virtuosity. In stewarding this architectural gem, Ennead has addressed a range of issues and aspirations from highly technical stabilization and restoration work to more speculative envisioning with a plan for renewing the “Cathedral for Our Time.”

While the question of completing the Cathedral still remains, Ennead's mission has focused on working within the historic framework of the Close to re-engage with and make it more open

234

and accessible to the congregation and community while securing it for the foreseeable future. Much of this work remains behind the scenes, but more visible results can be seen in the partial restoration of the Town Building, a new playground south of the Nave, the renovation of The Cathedral School with a new addition, and the vaulted roof enclosure of the North Transept, as well as longterm restoration of the interior of the Cathedral following the 2001 fire and numerous minor renovations in many buildings on the Close. Each of these projects has required a deep commitment to honoring the past, paired with a commitment to bringing the Cathedral forward to express its critical role as a 21st-century leader.

The Cathedral today is a dynamic symbol of vision and collaboration: unfinished, yet an ever-evolving masterpiece of spiritual strength, civic leadership, community engagement and architectural splendor.

Ennead's work and stewardship continue to ensure the future vitality of this great treasure of New York City and the world.

Pentagram

MICHAEL BIERUT, PARTNER, PENTAGRAM

Pentagram has worked with The Cathedral of St. John the Divine on its graphics for over 20 years. The challenge has been consistent: how to communicate to worshippers, community members, and visitors that this awe-inspiring Gothic structure is an indispensably vital participant in 21st-century life. Finding a graphic corollary to this unique combination of old stones and modern life led us to seek a way to replicate the surprise that visitors experience when they step through the Cathedral’s great west doors.

newsletters to digital communications, from the book you now hold in your hands to signage around the Cathedral Close (including what I am convinced is the most photographed keepyour-pet-off-the-grass sign in New York, if not the world).

Expressing the spirit of this extraordinary place over the last two decades has been one of the most rewarding professional experiences of my life.

I am grateful the team at the Cathedral has given us this opportunity.

We started with a frankly contemporary, even humorous, tone of voice. But then we took that voice and set it in a new version of an old typeface: Divine, a redrawn, digitized version of a 1928 blackletter by Frederic Goudy, who in turn had based his designs on the type in Gutenberg’s 42-line Bible. This contrast between historical form and contemporary content became our way to echo the contrasting but sympathetic relationship of the container and the thing it contains. We use this contrast to express the dynamic relationship between past, present, and future, in everything from print

235

Ennead

SUSAN T. RODRIGUEZ, FORMER PARTNER AT ENNEAD

Collaborating with the Cathedral’s leadership has been a great honor and incredible partnership over many decades. Ennead (formerly Polshek Partnership) has been the architect of the Cathedral since 1995, and together with teams of experts in preservation (Building Conservation Associates) and structural engineering (Silman), we have helped guide the Cathedral through the renewal, maintenance, and landmarking of the Close, including the Cathedral’s monumental place of worship and surrounding network of buildings.

ARCHITECTS

Our work at the Cathedral over the last few decades has been inspired by the majesty of this landmark, a rich collage of intentions, symbols and architectural virtuosity. In stewarding this architectural gem, Ennead has addressed a range of issues and aspirations from highly technical stabilization and restoration work to more speculative envisioning with a plan for renewing the “Cathedral for Our Time.”

While the question of completing the Cathedral still remains, Ennead's mission has focused on working within the historic framework of the Close to re-engage with and make it more open

234

and accessible to the congregation and community while securing it for the foreseeable future. Much of this work remains behind the scenes, but more visible results can be seen in the partial restoration of the Town Building, a new playground south of the Nave, the renovation of The Cathedral School with a new addition, and the vaulted roof enclosure of the North Transept, as well as longterm restoration of the interior of the Cathedral following the 2001 fire and numerous minor renovations in many buildings on the Close. Each of these projects has required a deep commitment to honoring the past, paired with a commitment to bringing the Cathedral forward to express its critical role as a 21st-century leader.

The Cathedral today is a dynamic symbol of vision and collaboration: unfinished, yet an ever-evolving masterpiece of spiritual strength, civic leadership, community engagement and architectural splendor.

Ennead's work and stewardship continue to ensure the future vitality of this great treasure of New York City and the world.

Pentagram

MICHAEL BIERUT, PARTNER, PENTAGRAM

Pentagram has worked with The Cathedral of St. John the Divine on its graphics for over 20 years. The challenge has been consistent: how to communicate to worshippers, community members, and visitors that this awe-inspiring Gothic structure is an indispensably vital participant in 21st-century life. Finding a graphic corollary to this unique combination of old stones and modern life led us to seek a way to replicate the surprise that visitors experience when they step through the Cathedral’s great west doors.

newsletters to digital communications, from the book you now hold in your hands to signage around the Cathedral Close (including what I am convinced is the most photographed keepyour-pet-off-the-grass sign in New York, if not the world).

Expressing the spirit of this extraordinary place over the last two decades has been one of the most rewarding professional experiences of my life.

I am grateful the team at the Cathedral has given us this opportunity.

We started with a frankly contemporary, even humorous, tone of voice. But then we took that voice and set it in a new version of an old typeface: Divine, a redrawn, digitized version of a 1928 blackletter by Frederic Goudy, who in turn had based his designs on the type in Gutenberg’s 42-line Bible. This contrast between historical form and contemporary content became our way to echo the contrasting but sympathetic relationship of the container and the thing it contains. We use this contrast to express the dynamic relationship between past, present, and future, in everything from print

235

Credits

EPIGRAPH PHOTO

Wayne Pearson

DEDICATION PHOTO

Helena Kubicka de Bragança

TEXT Reprinted from The Power of Love by arrangement with Avery Books, a member of Penguin Group (USA) LLC, A Penguin Random House Company. Copyright 2018.

SECTION 1 A CATHEDRAL FOR NEW YORK PHOTO

Cathedral Archives

SACRED SPACE

2 5 5

Wayne Pearson Cathedral archives, top Mary Bloom, bottom left Wayne Pearson, bottom right

TOP OF THE HEAP

7 8

11

Cathedral archives Getty Images, top Getty Images, bottom Cathedral archives, top left Cathedral archives, top right Cathedral archives, middle left Cathedral archives, middle right Cathedral archives, bottom

BETWEEN THE WARS

12 15

16

Getty Images Getty Images, top Getty Images, bottom left Cathedral archives, bottom right Cathedral archives, top left Antoinette B. Hervey, top right Cathedral archives, bottom

CHANGING CITY

19 20

23

Cathedral archives Getty Images, top Getty Images, bottom Cathedral archives

70’S, 80’S & THEN SOME

24 27

28

31

33 34

Mary Bloom Cathedral archives, top Mary Bloom, bottom Cathedral archives, top Mary Bloom, bottom Collection of Sandye Wilson, top Cathedral archives, bottom Getty Images Robert F. Rodriguez, top Cathedral archives, bottom left Robert F. Rodriguez, bottom middle Cathedral archives, bottom right

9/11 AND THE FIRE, 2001

37 38

236

Susan Meiselas New York Times, top Cathedral archives, bottom left Cathedral archives, bottom upper right Cathedral archives, bottom lower right

Cathedral archives, bottom Mary Bloom Mary Bloom, top

Mary Bloom, bottom 114 Mary Bloom 115 Mary Bloom 116 Cathedral archives 118 Mary Bloom 119 Mary Bloom 120 Mary Bloom, top

Mary Bloom, bottom 123 Mary Bloom 124 Bernie Nunez 127 Elspeth Leacock, top

Isadora Wilkenfeld, bottom left

Cathedral archives, bottom upper right

Tenzin Dharlo, bottom lower right 129 Isadora Wilkenfeld, top

Mary Bloom, bottom 130/131 Wayne Pearson 133 Inaki Vinaixa 134 Getty Images 135 Cathedral archives

SECTION 2 VISIT

44/45 47 48 49 50 51 52 53 54/55 56 57 59 60 62 63 64/65 66 69 70/71 72 74

112 113

75 76/77 78 80/81 82 83 84 85 86

Wayne Pearson Wayne Pearson Helena Kubica de Bragança Wayne Pearson Wayne Pearson Wayne Pearson Wayne Pearson Wayne Pearson Wayne Pearson Wayne Pearson Wayne Pearson Wayne Pearson, all 3 Wayne Pearson, all 3 Wayne Pearson Wayne Pearson Wayne Pearson Wayne Pearson, both John Bigelow Taylor Helena Kubica de Bragança Wayne Pearson Wayne Pearson, top Cathedral archives, bottom Wayne Pearson Wayne Pearson Wayne Pearson Wayne Pearson Helena Kubicka de Bragança, both Helena Kubicka de Bragança Helena Kubicka de Bragança, both Helena Kubicka de Bragança, both Cathedral archives

SECTION 3 PEOPLE & EVENTS

88 90 91

92 93

94

96

98/99 100 101

102 103 104 106

107

108 109 110

111

A. Hansen Cathedral archives Cathedral archives, top Cathedral archives, bottom Getty Images, top Cathedral archives, top Cathedral archives, bottom Cathedral archives, top Cathedral archives, bottom Cathedral archives, top Cathedral archives, bottom Getty Images Cathedral archives Getty Images, top Getty Images, bottom Mary Bloom Mary Bloom New York Times Mary Bloom, top Mary Bloom, middle left Mary Bloom, middle right Getty Images, bottom left Cathedral archives, bottom right Mary Bloom, left Mary Bloom, right Getty Images Mary Bloom Mary Bloom, top Mary Bloom, bottom Mary Bloom, left Cathedral archives, middle left Cathedral archives, top right

177

Cathedral archives, bottom right Isadora Wilkenfeld, top Chris Lee, middle Cathedral archives, bottom left Matthew Muise, bottom right

THE ARTS

178 180

Matthew Muise Bridgitte Lacombe, top Laura Donohue, bottom Wayne Pearson Matthew Muise, top Matt Miller, middle left Naoto Nakagawa, bottom left William Johnston, bottom right Cathedral archives, top Isadora Wilkenfeld, bottom

181 182

185

CONVENING AUTHORITY

186 189

Cathedral archives Getty Images, top Isadora Wilkenfeld, bottom Isadora Wilkenfeld, top Mary Bloom, bottom

190

SECTION 4 CATHEDRAL YEAR

136 Cathedral archives 138/139 Neal Slavin 140 Cathedral archives, top

Cathedral archives, bottom 142 Wayne Pearson 143 Cathedral archives 145 Valeria Jara, top

Bruce Gilbert, bottom 146 Kathryn Stewart 149 Cathedral archives, top

Cathedral archives, bottom right

Wayne Pearson, bottom left 151 Helena Kubicka de Bragança, top

Helena Kubicka de Bragança, bottom 152/153 Cathedral archives 154 Cathedral archives 155 Stan Honda 156 Helena Kubicka de Bragança, top

Cathedral archives, bottom 158/159 Rhonda Dorsett 160 Cliff Sobel, top left

Wayne Pearson, top right

Ken Yanagisawa, bottom 162/163 Ken Yanagisawa SECTION 5 MISSION

164

Chris Lee

FIRST A CHURCH

166 169

170

Ken Yanagisawa Mary Bloom, top left Cathedral archives, top right Isadora Wilkenfeld, middle right Cathedral archives, bottom left Mary Bloom, bottom right Cathedral archives

MUSIC

172 175

Helena Kubicka de Bragança Matthew Muise, top Getty Images, bottom left

UNFINISHED: A CATHEDRAL FOR THE 21ST CENTURY

192 195

Wayne Pearson Cathedral archives, top Kay Winter, bottom Cathedral archives, top Wayne Pearson, bottom

196

SECTION 6 CATHEDRAL COMMUNITY

198

Cathedral archives

CONGREGATION OF ST. SAVIOUR

200

Helena Kubicka de Bragança

CATHEDRAL COMMUNITY CARES

202 205

Hannah Eisner Wayne Pearson, top Cathedral archives, bottom left Cathedral archives, bottom right

ADVANCING THE COMMUNITY OF TOMORROW (ACT)

206

Cathedral archives

NIGHTWATCH CROSSROADS

209

Cathedral archives

TEXTILE CONSERVATION LAB

210

Cathedral archives

CATHEDRAL SCHOOL

213

Cathedral archives

APPENDIX

214 221

Mary Bloom Cathedral archives, top left

Vertical Access, LLC, right

Cathedral archives, upper middle

Cathedral archives, lower middle

Wayne Pearson, bottom 228 Wayne Pearson 230/231 Wayne Pearson 237

Credits

EPIGRAPH PHOTO

Wayne Pearson

DEDICATION PHOTO

Helena Kubicka de Bragança

TEXT Reprinted from The Power of Love by arrangement with Avery Books, a member of Penguin Group (USA) LLC, A Penguin Random House Company. Copyright 2018.

SECTION 1 A CATHEDRAL FOR NEW YORK PHOTO

Cathedral Archives

SACRED SPACE

2 5 5

Wayne Pearson Cathedral archives, top Mary Bloom, bottom left Wayne Pearson, bottom right

TOP OF THE HEAP

7 8

11

Cathedral archives Getty Images, top Getty Images, bottom Cathedral archives, top left Cathedral archives, top right Cathedral archives, middle left Cathedral archives, middle right Cathedral archives, bottom

BETWEEN THE WARS

12 15

16

Getty Images Getty Images, top Getty Images, bottom left Cathedral archives, bottom right Cathedral archives, top left Antoinette B. Hervey, top right Cathedral archives, bottom

CHANGING CITY

19 20

23

Cathedral archives Getty Images, top Getty Images, bottom Cathedral archives

70’S, 80’S & THEN SOME

24 27

28

31

33 34

Mary Bloom Cathedral archives, top Mary Bloom, bottom Cathedral archives, top Mary Bloom, bottom Collection of Sandye Wilson, top Cathedral archives, bottom Getty Images Robert F. Rodriguez, top Cathedral archives, bottom left Robert F. Rodriguez, bottom middle Cathedral archives, bottom right

9/11 AND THE FIRE, 2001

37 38

236

Susan Meiselas New York Times, top Cathedral archives, bottom left Cathedral archives, bottom upper right Cathedral archives, bottom lower right

Cathedral archives, bottom Mary Bloom Mary Bloom, top

Mary Bloom, bottom 114 Mary Bloom 115 Mary Bloom 116 Cathedral archives 118 Mary Bloom 119 Mary Bloom 120 Mary Bloom, top

Mary Bloom, bottom 123 Mary Bloom 124 Bernie Nunez 127 Elspeth Leacock, top

Isadora Wilkenfeld, bottom left

Cathedral archives, bottom upper right

Tenzin Dharlo, bottom lower right 129 Isadora Wilkenfeld, top

Mary Bloom, bottom 130/131 Wayne Pearson 133 Inaki Vinaixa 134 Getty Images 135 Cathedral archives

SECTION 2 VISIT

44/45 47 48 49 50 51 52 53 54/55 56 57 59 60 62 63 64/65 66 69 70/71 72 74

112 113

75 76/77 78 80/81 82 83 84 85 86

Wayne Pearson Wayne Pearson Helena Kubica de Bragança Wayne Pearson Wayne Pearson Wayne Pearson Wayne Pearson Wayne Pearson Wayne Pearson Wayne Pearson Wayne Pearson Wayne Pearson, all 3 Wayne Pearson, all 3 Wayne Pearson Wayne Pearson Wayne Pearson Wayne Pearson, both John Bigelow Taylor Helena Kubica de Bragança Wayne Pearson Wayne Pearson, top Cathedral archives, bottom Wayne Pearson Wayne Pearson Wayne Pearson Wayne Pearson Helena Kubicka de Bragança, both Helena Kubicka de Bragança Helena Kubicka de Bragança, both Helena Kubicka de Bragança, both Cathedral archives

SECTION 3 PEOPLE & EVENTS

88 90 91

92 93

94

96

98/99 100 101

102 103 104 106

107

108 109 110

111

A. Hansen Cathedral archives Cathedral archives, top Cathedral archives, bottom Getty Images, top Cathedral archives, top Cathedral archives, bottom Cathedral archives, top Cathedral archives, bottom Cathedral archives, top Cathedral archives, bottom Getty Images Cathedral archives Getty Images, top Getty Images, bottom Mary Bloom Mary Bloom New York Times Mary Bloom, top Mary Bloom, middle left Mary Bloom, middle right Getty Images, bottom left Cathedral archives, bottom right Mary Bloom, left Mary Bloom, right Getty Images Mary Bloom Mary Bloom, top Mary Bloom, bottom Mary Bloom, left Cathedral archives, middle left Cathedral archives, top right

177

Cathedral archives, bottom right Isadora Wilkenfeld, top Chris Lee, middle Cathedral archives, bottom left Matthew Muise, bottom right

THE ARTS

178 180

Matthew Muise Bridgitte Lacombe, top Laura Donohue, bottom Wayne Pearson Matthew Muise, top Matt Miller, middle left Naoto Nakagawa, bottom left William Johnston, bottom right Cathedral archives, top Isadora Wilkenfeld, bottom

181 182

185

CONVENING AUTHORITY

186 189

Cathedral archives Getty Images, top Isadora Wilkenfeld, bottom Isadora Wilkenfeld, top Mary Bloom, bottom

190

SECTION 4 CATHEDRAL YEAR

136 Cathedral archives 138/139 Neal Slavin 140 Cathedral archives, top

Cathedral archives, bottom 142 Wayne Pearson 143 Cathedral archives 145 Valeria Jara, top

Bruce Gilbert, bottom 146 Kathryn Stewart 149 Cathedral archives, top

Cathedral archives, bottom right

Wayne Pearson, bottom left 151 Helena Kubicka de Bragança, top

Helena Kubicka de Bragança, bottom 152/153 Cathedral archives 154 Cathedral archives 155 Stan Honda 156 Helena Kubicka de Bragança, top

Cathedral archives, bottom 158/159 Rhonda Dorsett 160 Cliff Sobel, top left

Wayne Pearson, top right

Ken Yanagisawa, bottom 162/163 Ken Yanagisawa SECTION 5 MISSION

164

Chris Lee

FIRST A CHURCH

166 169

170

Ken Yanagisawa Mary Bloom, top left Cathedral archives, top right Isadora Wilkenfeld, middle right Cathedral archives, bottom left Mary Bloom, bottom right Cathedral archives

MUSIC

172 175

Helena Kubicka de Bragança Matthew Muise, top Getty Images, bottom left

UNFINISHED: A CATHEDRAL FOR THE 21ST CENTURY

192 195

Wayne Pearson Cathedral archives, top Kay Winter, bottom Cathedral archives, top Wayne Pearson, bottom

196

SECTION 6 CATHEDRAL COMMUNITY

198

Cathedral archives

CONGREGATION OF ST. SAVIOUR

200

Helena Kubicka de Bragança

CATHEDRAL COMMUNITY CARES

202 205

Hannah Eisner Wayne Pearson, top Cathedral archives, bottom left Cathedral archives, bottom right

ADVANCING THE COMMUNITY OF TOMORROW (ACT)

206

Cathedral archives

NIGHTWATCH CROSSROADS

209

Cathedral archives

TEXTILE CONSERVATION LAB

210

Cathedral archives

CATHEDRAL SCHOOL

213

Cathedral archives

APPENDIX

214 221

Mary Bloom Cathedral archives, top left

Vertical Access, LLC, right

Cathedral archives, upper middle

Cathedral archives, lower middle

Wayne Pearson, bottom 228 Wayne Pearson 230/231 Wayne Pearson 237

Index

A

Adabanajo, Mary, 30 Adams, John Luther, 132 Advancing The Community of Tomorrow (ACT), 207: Summer Camp, 148. Photo 149, 206 Aeolian-Skinner, Organ Company, The, TIMELINE, 174. Photo 175 Afghan Institute of Learning, 187 AIDS Book of Remembrance, The, 35 AIDS, 35, TIMELINE, 67, 128, 174, 181, 187, 191, 203. Photo 34: AIDS Memorial Concert, 35 Ailey, Alvin Jr., TIMELINE Alexander, Jane, TIMELINE, Strange Cargo, 181.

Photo 180 Altar for Peace, 4, 36 Ambulatory, 49, 57. Photo 56, 72 American Italian Cancer Foundation, The, 204 American Poets Corner, The, 32, TIMELINE, 67, 71, 157, 226, 229. Photo 70 Andrea, Sister, 30. Photo 28, 31 Angelou, Maya, 113, 191. Photo 113, 190 Anthony, Susan B., 53, 233. Photo 53 Apartheid, 21, 181 Armstrong, Karen, TIMELINE, 107 Auden, W. H., 36 B

Baez, Joan, 32 Bagnacavallo, Bartolomeo Ramenghi The Elder, The Mystic Marriage of St. Catherine, 181. Photo 181 Baker, Bill, 49, 63, 150, 167, 179, 187, 188, 197, 203 Balanchine, George J., 113 Baldwin, James, 22, 107, 113, 184. Photo 106, 112 Baldwin, Trevor, 113 Baptistery, The, 39, TIMELINE, 61. Photo 60 Baraka, Amiri, 113. Photo 113 Barbedienne, Ferdinand, 46 Barnard College, 10 Barnwell, Michele, 148 Barrett, The Rev. Ellen, 30 Barry, The Rev. Gerald V., 18. Photo 19 Baryshnikov, Mikhail, 121 Bateson, Gregory, 26 Bateson, Mary Catherine, 26 Bayley, Priscilla, 144, 187 Beatles, The, 26. Photo 27 Belafonte, Harry, 114, 121. Photo 114, 120 Belloni, Alessandra, 150, 184, 228 Bellow, Saul, 121 Bergmann, Meredith, 36, 67: Memorial to September 11, 67. Photo 66 Bernstein, Leonard, 26, 32, TIMELINE, 110, 141.

Photo 27, 111 Bess, John, 29 Biblical Garden, The, 79, 229. Photo 80, Bierut, Michael, 181, 194, 235 Big Apple Circus, The, 32 Bing, Xu, TIMELINE, 184: The Phoenix, 184.

Photo 185 Bishop’s Chair, The, 54, 167 Blacklock, The Rt. Rev. Martha, 30. Photo 31 Blessing of the Bicycles, The, 144. Photo 145 Bloom, Mary, 110, 114, 118, 122 Book of Revelation, New Jerusalem, 197 Boots Project: Honoring Those Who Lost Their Lives in Combat, The, 194. Photo 195 238

Borglum, Gutzon, 10, 58, 232. Photo 11: Angels, 57. Photo 57; Mount Rushmore, 57 Bosley, Laura F., 193 Bourscheidt, Randy, 97, 144 Brandeis University, 30 Briggs, David, 174, 228 Broadway Cares/Equity Fights AIDS, 181. Photo 180 Brock, Mary Jane, 25, 61, 107, 125, 142, 181, 223 Bronx Zoo, The, 10 Brooklyn Museum, The, 10 Browne, Jackson, 32 Building Campaign, The Cathedral 1925, 13, 14.

Photo 15 Burch, The Rt. Rev. Charles Sumner, TIMELINE, 222 Burstyn, Ellen, 121 Butler, The Very Rev. John Vernon, TIMELINE, 222. Photo TIMELINE C

Calatrava, Santiago, TIMELINE Calloway, Cab, 113 Canterbury, Archbishop of, 194 Carnegie Hall, 10, 176 Carroll, James, 171, 188 Castle, The Rev. Bob, 25 Cathedral Artist in Residence Program, 32, 183 Cathedral Choir, TIMELINE, 113, 118, 150, 161, 176, 212 Cathedral Choristers, The, TIMELINE, 113, 161, 168, 176, 212. Photo 169, 177 Cathedral Community Cares (CCC), 29, TIMELINE, 144, 181, 203. Photo 202, 205: Clothing Closet, 204; Soup Kitchen, 29, TIMELINE, 203 Cathedral Craft Fair, The, TIMELINE, 201 Cathedral Gardens Conservancy, The, 229 Cathedral Great Choir Choral Series, The, 176 Cathedral Great Music in a Great Space, TIMELINE, 176, Cathedral Great Organ Recital Series, The, 176 Cathedral Honorary Canons, 109 Cathedral House, 84. Photo 85, TIMELINE Cathedral of Rheims, The 232 Cathedral Performance and Choral Groups, 176 Cathedral Regents, The, 229 Cathedral School, The, TIMELINE, 83, 148, 176, 212. Photo 82, 149, 213 Cathedral, St. Patrick’s Roman Catholic, 6 Centennial Medal of Honor, The 1973, 100 Central Park, 10, 17 Chambers Brothers, The, 187 Chaney, James Early, 116, 191. Photo 190 Chapels of the Tongues, The, 10, 49, 50, 57, 58, 181, 232. Photo 59: Chapel of St. Ambrose, TIMELINE, 58, 181, 232. Photo 59, 180: Chapel of St. Angsar, TIMELINE, 61 232; Chapel of St. Boniface, TIMELINE, 232; Chapel of St. Columba, 10, TIMELINE, 232; Chapel of St. James, TIMELINE, 79, 95, 232; Chapel of St. Martin of Tours, TIMELINE, 58, 232. Photo 59; Chapel of St. Saviour, 10, TIMELINE, 57, 58, 232.

Photo 56, 59 Chase, Lyn, 71 Chavez, Cesar, 26, 91, 103, 110. Photo 91, 103, 111 Chinmoy, Sri, 26

Christ Church Cathedral, Dublin, 176 Christmas, 39, 161, 176. Photo 160, 162 Church of The Holy Trinity, 18 City College, 10 Civil Rights Movement, The, 22 Civil War, The, 6 Clark, Alfred Corning, 9 Clement, Amorreena, 207 Clinton, Chelsea, 39 Clinton, Hillary, 38, TIMELINE. Photo 38 Clinton, President Bill, 38, TIMELINE. Photo 38 Coalition of Immokalee Workers, The, 188.

Photo 189 Cohn, Diana, 188 Cold War, The, 18, 32, TIMELINE, 121 Coles, Elizabeth Underhill, 68, 211 Collins, Judy, 141, 142, 173, 188, 225, 228.

Photo 140 Columbarium, The, 61. Photo 60 Columbia University, 10: The Midshipman’s School, 17. Photo 16 Compton, Casey, 154 Congregation of St. Saviour, The, TIMELINE, 168, 201 Cooke, Archbishop Terrence J., 141. Photo 140 Coolidge, President Calvin, 13 Cram, Ralph Adams, 13, 39, TIMELINE, 234 Critchlow, Keith, 3 Cuomo, Governor Mario, 35, 36, 225. Photo 34 Curry, The Most Rev. Michael Bruce, Introduction, TIMELINE. Photo introduction, TIMELINE Curtis, The Rev. Kent, 161. Photo 160 D

Dalai Lama, His Holiness the, 26, TIMELINE, 107, 118, 187, 188, 191, 197. Photo TIMELINE, 106, 109, 186 Damascus, The Grand Mufti of, 118 Daniel III, The Rt. Rev. Clifton, 4, 50, TIMELINE, 128, 167, 174, 188, 193, 194, 197, 222, 224. Photo TIMELINE, 129, 175, 189, 195 Davis, Angela, 124. Photo 125 Davis, Sammy Jr., 141. Photo 140 Day, Dorothy, 91, 109, 110, 124. Photo 91 de Cuellar, UN Secretary-General Perez, 118 Dee, Ruby, 21 Del Tejo, Marie, 39, 91, 207 DeLoria, Vine, 26 Dennin, Anne, 141 Dennis, The Rev. Canon Walter D., 107. Photo 106 Depression, The Great, 13, 17, TIMELINE, 124 desegregation, 89 Dewey, Governor Thomas L., 18. Photo 19 DeWolfe, The Very Rev. James P., TIMELINE, 222. Photo TIMELINE Diallo, Amadou, 124 Dickinson, Emily, 179 Didion, Joan, 63, 181: Blue Nights, 181. Photo 180 Diehl, Margaret, 71, 157, 183 Dietsche, The Rt. Rev. Andrew M.L., 4, 17, 18, TIMELINE, 54, 141, 142, 150, 161, 167, 168, 171, 176, 179, 184, 188, 191, 197, 199, 203, 222, 223. Photo 142, 143, 151, 160, 170 Dignity Initiative, The, 132, 183: The Value of Water, TIMELINE, 132, 183. The Value of Food,

TIMELINE, 132, 183. Photo 182, 204; The Christa Project: Manifesting Divine Bodies, TIMELINE, 183, 184; The Value of Sanctuary, TIMELINE, 132, 138 Dinkins, Mayor David, 110, 127, 187. Photo 110, 126 Diocesan House, The, 85. Photo 85 District of Columbia: Coalition of Conscience, 21, Home Rule, 21; 1963 Jobs and Freedom March in Washington, The, 22. Photo 20 Dolkart, Andrew, 6, 9, 10, 14, 17 Domingo, Plácido, TIMELINE, 121, 176 Donegan, The Rt. Rev. Horace W. B., 18, 21, 22, TIMELINE, 92, 95, 97, 141, 222. Photo 20, 23, 92, 93, 94, 96, 140 Dubler, Dianne, 26 Du Bois, W. E. B., 21 Dubos, Rene, 26 Dukakis, Olympia, 157. Photo 156 Dunham, Katherine, 21 Dunne, Griffin, 32, 61 Dunne, John Gregory, 61 Dunne, Quintana, 61, 181 Dylan, Bob, 32 Dzieci Theatre, Fools Mass, 183. Photo 182 E

Easter Sunday Sermon, 1976, 103 Easter, 17, 142, 173, 193, 194. Photo 142, 143, 195 Edelman, Marian Wright, 191, 194, Edmonds, Francis, 204 Edwards, Mike, 187 Egan, Cardinal Edward, TIMELINE Eidelheit, Marlene, 39, 68, 211 Einstein, Albert, 55, 233. Photo 55 Eisenhower, President Dwight, 92. Photo 93 Eisner, Hannah Wolfe, 9, 148, 187, 212 Eisner, Jake Mayer, 39, 212 Eisner, John Clinton, 83, 125, 173, 188, 212 Eliasson, Jan, 188 Ellington, Duke, The, 21, TIMELINE, 95, 113.

Photo 94 Ellis Island, 9, 181. Photo 8 Elton John AIDS Foundation, The, TIMELINE, 174. Photo 175 Emerson, Ralph Waldo, 3 Ernest M. Skinner Company, TIMELINE, 174 F

Facey, Stephen, 6, 10, 13, 17, 25, 26, 32, 36, 39, 91 Falco, Edie, 4, 150 Fauntroy, The Rev. Walter, 21. Photo 20 Fedorek, Tom, 3, 4, 21, 63, 71, 74, 161, 184, 203, 204 Fifer, Bruce, 173 Finn, Robert, 203. Photo 202 Fitzgerald, Ella, 95 Flack, Roberta, 121 Food & Water Watch, 124. Photo 125 Forces of Nature Dance Theatre, 161, 176, 179, 183, 228. Photo 160, 177, 178, 182 Foss, Lukas, 121 Franck, Frederic, 194 Franklin, Aretha, TIMELINE, 174. Photo 175 Friends of Music, 229 Fuller, Buckminster, 26, 109. Photo 27 Fulton, Sybrina, 191. Photo 190 239

Index

A

Adabanajo, Mary, 30 Adams, John Luther, 132 Advancing The Community of Tomorrow (ACT), 207: Summer Camp, 148. Photo 149, 206 Aeolian-Skinner, Organ Company, The, TIMELINE, 174. Photo 175 Afghan Institute of Learning, 187 AIDS Book of Remembrance, The, 35 AIDS, 35, TIMELINE, 67, 128, 174, 181, 187, 191, 203. Photo 34: AIDS Memorial Concert, 35 Ailey, Alvin Jr., TIMELINE Alexander, Jane, TIMELINE, Strange Cargo, 181.

Photo 180 Altar for Peace, 4, 36 Ambulatory, 49, 57. Photo 56, 72 American Italian Cancer Foundation, The, 204 American Poets Corner, The, 32, TIMELINE, 67, 71, 157, 226, 229. Photo 70 Andrea, Sister, 30. Photo 28, 31 Angelou, Maya, 113, 191. Photo 113, 190 Anthony, Susan B., 53, 233. Photo 53 Apartheid, 21, 181 Armstrong, Karen, TIMELINE, 107 Auden, W. H., 36 B

Baez, Joan, 32 Bagnacavallo, Bartolomeo Ramenghi The Elder, The Mystic Marriage of St. Catherine, 181. Photo 181 Baker, Bill, 49, 63, 150, 167, 179, 187, 188, 197, 203 Balanchine, George J., 113 Baldwin, James, 22, 107, 113, 184. Photo 106, 112 Baldwin, Trevor, 113 Baptistery, The, 39, TIMELINE, 61. Photo 60 Baraka, Amiri, 113. Photo 113 Barbedienne, Ferdinand, 46 Barnard College, 10 Barnwell, Michele, 148 Barrett, The Rev. Ellen, 30 Barry, The Rev. Gerald V., 18. Photo 19 Baryshnikov, Mikhail, 121 Bateson, Gregory, 26 Bateson, Mary Catherine, 26 Bayley, Priscilla, 144, 187 Beatles, The, 26. Photo 27 Belafonte, Harry, 114, 121. Photo 114, 120 Belloni, Alessandra, 150, 184, 228 Bellow, Saul, 121 Bergmann, Meredith, 36, 67: Memorial to September 11, 67. Photo 66 Bernstein, Leonard, 26, 32, TIMELINE, 110, 141.

Photo 27, 111 Bess, John, 29 Biblical Garden, The, 79, 229. Photo 80, Bierut, Michael, 181, 194, 235 Big Apple Circus, The, 32 Bing, Xu, TIMELINE, 184: The Phoenix, 184.

Photo 185 Bishop’s Chair, The, 54, 167 Blacklock, The Rt. Rev. Martha, 30. Photo 31 Blessing of the Bicycles, The, 144. Photo 145 Bloom, Mary, 110, 114, 118, 122 Book of Revelation, New Jerusalem, 197 Boots Project: Honoring Those Who Lost Their Lives in Combat, The, 194. Photo 195 238

Borglum, Gutzon, 10, 58, 232. Photo 11: Angels, 57. Photo 57; Mount Rushmore, 57 Bosley, Laura F., 193 Bourscheidt, Randy, 97, 144 Brandeis University, 30 Briggs, David, 174, 228 Broadway Cares/Equity Fights AIDS, 181. Photo 180 Brock, Mary Jane, 25, 61, 107, 125, 142, 181, 223 Bronx Zoo, The, 10 Brooklyn Museum, The, 10 Browne, Jackson, 32 Building Campaign, The Cathedral 1925, 13, 14.

Photo 15 Burch, The Rt. Rev. Charles Sumner, TIMELINE, 222 Burstyn, Ellen, 121 Butler, The Very Rev. John Vernon, TIMELINE, 222. Photo TIMELINE C

Calatrava, Santiago, TIMELINE Calloway, Cab, 113 Canterbury, Archbishop of, 194 Carnegie Hall, 10, 176 Carroll, James, 171, 188 Castle, The Rev. Bob, 25 Cathedral Artist in Residence Program, 32, 183 Cathedral Choir, TIMELINE, 113, 118, 150, 161, 176, 212 Cathedral Choristers, The, TIMELINE, 113, 161, 168, 176, 212. Photo 169, 177 Cathedral Community Cares (CCC), 29, TIMELINE, 144, 181, 203. Photo 202, 205: Clothing Closet, 204; Soup Kitchen, 29, TIMELINE, 203 Cathedral Craft Fair, The, TIMELINE, 201 Cathedral Gardens Conservancy, The, 229 Cathedral Great Choir Choral Series, The, 176 Cathedral Great Music in a Great Space, TIMELINE, 176, Cathedral Great Organ Recital Series, The, 176 Cathedral Honorary Canons, 109 Cathedral House, 84. Photo 85, TIMELINE Cathedral of Rheims, The 232 Cathedral Performance and Choral Groups, 176 Cathedral Regents, The, 229 Cathedral School, The, TIMELINE, 83, 148, 176, 212. Photo 82, 149, 213 Cathedral, St. Patrick’s Roman Catholic, 6 Centennial Medal of Honor, The 1973, 100 Central Park, 10, 17 Chambers Brothers, The, 187 Chaney, James Early, 116, 191. Photo 190 Chapels of the Tongues, The, 10, 49, 50, 57, 58, 181, 232. Photo 59: Chapel of St. Ambrose, TIMELINE, 58, 181, 232. Photo 59, 180: Chapel of St. Angsar, TIMELINE, 61 232; Chapel of St. Boniface, TIMELINE, 232; Chapel of St. Columba, 10, TIMELINE, 232; Chapel of St. James, TIMELINE, 79, 95, 232; Chapel of St. Martin of Tours, TIMELINE, 58, 232. Photo 59; Chapel of St. Saviour, 10, TIMELINE, 57, 58, 232.

Photo 56, 59 Chase, Lyn, 71 Chavez, Cesar, 26, 91, 103, 110. Photo 91, 103, 111 Chinmoy, Sri, 26

Christ Church Cathedral, Dublin, 176 Christmas, 39, 161, 176. Photo 160, 162 Church of The Holy Trinity, 18 City College, 10 Civil Rights Movement, The, 22 Civil War, The, 6 Clark, Alfred Corning, 9 Clement, Amorreena, 207 Clinton, Chelsea, 39 Clinton, Hillary, 38, TIMELINE. Photo 38 Clinton, President Bill, 38, TIMELINE. Photo 38 Coalition of Immokalee Workers, The, 188.

Photo 189 Cohn, Diana, 188 Cold War, The, 18, 32, TIMELINE, 121 Coles, Elizabeth Underhill, 68, 211 Collins, Judy, 141, 142, 173, 188, 225, 228.

Photo 140 Columbarium, The, 61. Photo 60 Columbia University, 10: The Midshipman’s School, 17. Photo 16 Compton, Casey, 154 Congregation of St. Saviour, The, TIMELINE, 168, 201 Cooke, Archbishop Terrence J., 141. Photo 140 Coolidge, President Calvin, 13 Cram, Ralph Adams, 13, 39, TIMELINE, 234 Critchlow, Keith, 3 Cuomo, Governor Mario, 35, 36, 225. Photo 34 Curry, The Most Rev. Michael Bruce, Introduction, TIMELINE. Photo introduction, TIMELINE Curtis, The Rev. Kent, 161. Photo 160 D

Dalai Lama, His Holiness the, 26, TIMELINE, 107, 118, 187, 188, 191, 197. Photo TIMELINE, 106, 109, 186 Damascus, The Grand Mufti of, 118 Daniel III, The Rt. Rev. Clifton, 4, 50, TIMELINE, 128, 167, 174, 188, 193, 194, 197, 222, 224. Photo TIMELINE, 129, 175, 189, 195 Davis, Angela, 124. Photo 125 Davis, Sammy Jr., 141. Photo 140 Day, Dorothy, 91, 109, 110, 124. Photo 91 de Cuellar, UN Secretary-General Perez, 118 Dee, Ruby, 21 Del Tejo, Marie, 39, 91, 207 DeLoria, Vine, 26 Dennin, Anne, 141 Dennis, The Rev. Canon Walter D., 107. Photo 106 Depression, The Great, 13, 17, TIMELINE, 124 desegregation, 89 Dewey, Governor Thomas L., 18. Photo 19 DeWolfe, The Very Rev. James P., TIMELINE, 222. Photo TIMELINE Diallo, Amadou, 124 Dickinson, Emily, 179 Didion, Joan, 63, 181: Blue Nights, 181. Photo 180 Diehl, Margaret, 71, 157, 183 Dietsche, The Rt. Rev. Andrew M.L., 4, 17, 18, TIMELINE, 54, 141, 142, 150, 161, 167, 168, 171, 176, 179, 184, 188, 191, 197, 199, 203, 222, 223. Photo 142, 143, 151, 160, 170 Dignity Initiative, The, 132, 183: The Value of Water, TIMELINE, 132, 183. The Value of Food,

TIMELINE, 132, 183. Photo 182, 204; The Christa Project: Manifesting Divine Bodies, TIMELINE, 183, 184; The Value of Sanctuary, TIMELINE, 132, 138 Dinkins, Mayor David, 110, 127, 187. Photo 110, 126 Diocesan House, The, 85. Photo 85 District of Columbia: Coalition of Conscience, 21, Home Rule, 21; 1963 Jobs and Freedom March in Washington, The, 22. Photo 20 Dolkart, Andrew, 6, 9, 10, 14, 17 Domingo, Plácido, TIMELINE, 121, 176 Donegan, The Rt. Rev. Horace W. B., 18, 21, 22, TIMELINE, 92, 95, 97, 141, 222. Photo 20, 23, 92, 93, 94, 96, 140 Dubler, Dianne, 26 Du Bois, W. E. B., 21 Dubos, Rene, 26 Dukakis, Olympia, 157. Photo 156 Dunham, Katherine, 21 Dunne, Griffin, 32, 61 Dunne, John Gregory, 61 Dunne, Quintana, 61, 181 Dylan, Bob, 32 Dzieci Theatre, Fools Mass, 183. Photo 182 E

Easter Sunday Sermon, 1976, 103 Easter, 17, 142, 173, 193, 194. Photo 142, 143, 195 Edelman, Marian Wright, 191, 194, Edmonds, Francis, 204 Edwards, Mike, 187 Egan, Cardinal Edward, TIMELINE Eidelheit, Marlene, 39, 68, 211 Einstein, Albert, 55, 233. Photo 55 Eisenhower, President Dwight, 92. Photo 93 Eisner, Hannah Wolfe, 9, 148, 187, 212 Eisner, Jake Mayer, 39, 212 Eisner, John Clinton, 83, 125, 173, 188, 212 Eliasson, Jan, 188 Ellington, Duke, The, 21, TIMELINE, 95, 113.

Photo 94 Ellis Island, 9, 181. Photo 8 Elton John AIDS Foundation, The, TIMELINE, 174. Photo 175 Emerson, Ralph Waldo, 3 Ernest M. Skinner Company, TIMELINE, 174 F

Facey, Stephen, 6, 10, 13, 17, 25, 26, 32, 36, 39, 91 Falco, Edie, 4, 150 Fauntroy, The Rev. Walter, 21. Photo 20 Fedorek, Tom, 3, 4, 21, 63, 71, 74, 161, 184, 203, 204 Fifer, Bruce, 173 Finn, Robert, 203. Photo 202 Fitzgerald, Ella, 95 Flack, Roberta, 121 Food & Water Watch, 124. Photo 125 Forces of Nature Dance Theatre, 161, 176, 179, 183, 228. Photo 160, 177, 178, 182 Foss, Lukas, 121 Franck, Frederic, 194 Franklin, Aretha, TIMELINE, 174. Photo 175 Friends of Music, 229 Fuller, Buckminster, 26, 109. Photo 27 Fulton, Sybrina, 191. Photo 190 239

G

Gandhi, Mahatma, 55, 223 Gates, The Very Rev. Milo Hudson, TIMELINE, 222 Gay Men’s Health Chorus, The, 35 Gibson, The Rev.Canon Joel, 128. Photo 129 Gilbert, Alan, 147. Photo 146 Gilbert, The Rt. Rev. Charles K., 18, 222, TIMELINE, Photo 19 Gilded Age, The, 9 Gillespie, Dizzy, 121. Photo 120 Gilliss, Sister Columba, 30 Ginsberg, Justice of The Supreme Court Ruth Bader, 30 Glass, Philip, 26 Glasspool, Bishop Mary, 30, 197, 222 Global Forum of Spiritual and Parliamentary Leaders for Human Survival, The, 116 Goldberg, Whoopi, 26 Goldman, Judith, 184 Gooch, Brad, 35, 97 Goodman, Andrew, 117, 191. Photo 116, 190 Goodman, Dr. Carolyn, 117. Photo 116 Gorbachev, Mikhail, 107. Photo 106 Gore, Vice President Albert, 26, 107. Photo 106 Gorman, Paul, 197 Gowers, Jen, 148, 207 Graham, Martha, 70, 100. Photo 101 Grand Canyon, The, 148 Grand Central Station, 13, 39 Grant, Christopher, TIMELINE Great Bronze Doors, The, 17, 21, 46, 141, 142, 229. Photo 47, 143 Great Migration, The, 21, 58 Green Belt Movement, The, 135 Greer, The Rt. Rev. David, TIMELINE, 222 Grein, The Rt. Rev. Richard, TIMELINE, 58, 110, 201, 222. Photo 110 Grosvenor, The Very Rev. William Mercer, TIMELINE, 222 Guare, John, 157. Photo 156 Guastavino, Rafael, 4, TIMELINE. Photo 5 H

Haberman, Daniel, 70, 228 Hair, Broadway Production, 97. Photo 96 Halley, Paul, TIMELINE, 150 Halloween, 154: Crypt Crawls 154; Halloween Extravaganza 154. Photo 155 Halsey, Simon, 132 Hammarskjöld, Dag, 113 Hanifa, Abu, 63 Haring, Keith, 128, 232: Life of Christ Altarpiece.

Photo 130 Harlem, 21, 22, 25, 29, 43, 103, 168 Harris, The Rt. Rev. Barbara, 30. Photo 31 Harris, The Rt. Rev. Gayle, 30. Photo 31 Harriss, The Rev. Canon Susan, 30, 201. Photo 31 Harrison, Anne, 171 Harrison, G. Donald, 174 Havel, President Vaclav of Czechoslovakia, TIMEINE, 121. Photo 120 Havlova, Olga, 121. Photo 120 Hefner, Keith, 207 240

Heins & LaFarge, 6, 13, TIMELINE Henderson, The Rev. Jane, 30. Photo 31 Henson, Jim, TIMELINE, 114: Big Bird, TIMELINE, 114. Photo 115; The Muppets, TIMELINE; Sesame Street, 114 Hewitt, Vivian, 21, 58, 63 Heyward, The Rev. Isabel Carter, 30 Hinkson, Keith, 36, 39, 118, 122. Photo 38 Historical Parapet, The, TIMELINE, 53, 233.

Photo TIMELINE, 53 Hobart, The Rt. Rev. John Henry, 6, TIMELINE, 222 Hodges, Johnny, 95 Holden, Julia, 207 Homes for The Homeless, 26, 29 Trailblazers Honors, 128 Honorary Canons, The, 109 Hughes, Langston, 21 Hulce, Tom, 121 Hurston, Zora Neale, 181, 194 Hurwitz, Tom, 3, 4, 26, 36, 103, 161. Photo 160 I

Ifill, Gwen, TIMELINE Integrity, 30 J

Jackson, Anne, 157. Photo 156 Jackson, The Rev. Jesse, 21, 29, 111, 126, 191, 197.

Photo 110 Japan, The Emperor of, 13: Cloisonné vases, 54 Jayawardane, M. Neelika, 181 Jim Crow, 18 Johnson, President Lyndon and Lady Bird, 92.

Photo 92 Johnson, The Rev. Canon William A., 110. Photo 111 Justinian, Emperor of Rome, 54 K

Kahan, Marion, 183 Kahn, Robin, 204: Who Cooked The Last Supper?

Photo 205 Kamara, Kalie, 43, 68, 124, 141, 168, 203, 204.

Photo 202 Kant, Immanuel, 63 Karna, Angie, 148, 212 Kellen, Anna-Maria and Stephen Foundation, 147, 225 Kelman, Rabbi Wolfe, 194 Kempton, Wayne, 3, 4, 6, 9, 10, 14, 17, 18, 22, 30, 32, 53, 100, 187, 197 Kendall, The Rev. Michael, 110, Photo 110 Kennedy, Joseph P., Jr., 117. Photo 116 Kennedy, Marva, 203. Photo 202 Kennedy, President John F. and Jacqueline, 92.

Photo 92 Kennedy, Robert F., Jr., 135. Photo 134 Kimmey, Jimmye, 30. Photo 31 King, Coretta Scott, 90, 103, 107, 124. Photo 91, 103 King, Dr. Martin Luther Jr., 21, 22, TIMELINE, 53, 89, 90, 141, 191, 233. Photo 20, TIMELINE, 88 Kirby, David, 193 Kirk, The Rev. Richard Rodney, 97, 107. Photo 106 Kissinger, Henry, 121 Klenk, Margaret, 161. Photo 160

Koch, Mayor Edward, 117. Photo 116 Koenig, Cardinal Franz, 118 Kowalski, The Very Rev. James, 4, 9, 13, 18, 22, 36, 39, TIMELINE, 50, 68, 124, 135, 168, 173, 184, 187, 188, 191, 194, 207, 222, 225. Photo TIMELINE, 135, 167, 186 L

L’Engle, Madeleine, 26, TIMELINE, 50, 97, 107, 171, 174, 179. Photo 96, 107 LaGuardia, Fiorello, Mayor, 18, 21. Photo 19 Lajčák, UN President H.E. Miroslav, 150 Larson, Anni-Ming, 212 Laymen’s Club, The, 50, 229 Leake and Watts Orphan Asylum, The, 87 Lee, Ralph, 103, 154. Photo 154 Lee, Spike, 121 Lee, The Rev. Steven, 197, 201 Lennon, John, 100. Photo 101 LGBT, 30, 128, 182 Lincoln Center, Mostly Mozart Festival, 132, Photo 133 Lindisfarne Association, 26 Lindsay, Mayor John, 22, 141. Photo 23, 140 Logan, William Bryant, 9, 13, 18, 20, 21, 26, 121, 194 Lovelock, James, 26, 118 Luce, The Rev. Canon John B., 168. Photo 169 Lyons, Chief Oren, 107, 118 M

Maathai, Wangari, TIMELINE, 134. Photo 135 MacLeod, Bruce, 137, 187, 193, 197, 223 Madison Square fire, 36 Madison Square Garden, 13, 14 Mailer, Norman, 110. Photo 111 Malloy, The Rev. Canon Patrick, 144, 161, 167, 188, 194 Mandela, Nelson, TIMELINE, 123. Photo 123 Manhattan Valley Youth Program, The, 26, 29.

Photo 28 Manning, The Rt. Rev. William T., 13, 14, 17, TIMELINE, 124, 167, 179, 222, 232 March for our Lives, 188 Marsalis, Wynton, 176, 194. Photo 177 Marshall, Thurgood, Associate Justice of The Supreme Court, 21, 91, 113. Photo 90 Martin, Tracy, 191. Photo 190 Martin, Trayvon, 124, 191 McCarthy, Senator Joseph, 21, TIMELINE Mead, Margaret, 26, 107. Photo 106 Meditation Walk, The, 78, Photo 80 Mehta, Zubin, 121 Memorial Day Concert with The New York Philharmonic, The, 147. Photo 146 Menorahs, TIMELINE, 55. Photo 54 Merrill, Rebecca, 30, 58, 67, 71, 193 Metropolitan Museum of Art, The, 10 Metropolitan Opera, The, 10 Miles, Sylvia, 157. Photo 156 Miller, Arthur, 121 Miller, The Rev. Canon Thomas, 22, 25, 29, 50, 67, 71, 125, 132, 157, 179 Missa Gaia, The Earth Mass, 3, TIMELINE, 150 Mississippi Freedom Caravan, The, 117, Photo 116 Moore Jr., The Rt. Rev. Paul, 21, 25, 30, 32,

TIMELINE, 100, 103, 168, 197, 211, 222. Photo 20, 34, 102, 169 Moore, Honor, 22, 25, 30, 103 Morgan, J. Pierpont, 9, 10. Photo 8 Morningside Heights, 4, 10, 21, 25, TIMELINE, 87, 148, 179 Morrison, Toni, 113. Photo 112 Morton, Pamela, 18, 21, 22, 25, 26, 35 Morton, The Very Rev. James Parks, 6, 14, 18, 21, 22, 25, 26, 29, 32, 35, TIMELINE, 54, 95, 97, 107, 110, 113, 114, 117, 118, 150, 167, 171, 179, 193, 194, 197, 201, 203, 211. Photo 27, 34, TIMELINE, 96, 106, 110, 118 Mother Teresa, 26, 118. Photo 118 Murray, The Rev. Pauli, 30. Photo 31 Museum of Natural History, The, 10 N

Nagem, Raymond, 95, 208 Nakagawa, Naoto, The Last Supper, 183. Photo 182 Nakashima, George, 4, 36: Altar for Peace, 5, 168 National Cathedral, The, 176 National Organization of Women, 30 Nelson, Marilyn, 3, 124, 128, 157, 168, 176, 179, 188, 193, 194, 228. Photo 156 Nelson, Marsha, 212 Neswick, Bruce, 173 New Amsterdam, Colony of, 61 New Year's Eve Concert for Peace, The, 32, TIMELINE, 110, 141, 173, 176. Photo 111, 140 New York Botanical Gardens, The, 10 New York City Fire Department, 39 New York City Landmarks Preservation Commission, TIMELINE New York Philharmonic, The, 147. Photo 146 New York Public Library, The, 10 New York State Charter of 1873, 6, 9, TIMELINE New York State’s Job Development Agency, 35.

Photo 34 New York Times, The, TIMELINE, 54, 105, 109 New York University, 10 Newman, Paul 121 Nightwatch, 208. Photo 209 Nipar, Maureen, 79 Nixon, Richard, 21 Norman, Jessye, 3, 10, 124, 165, 173, 204. Photo 125 Norris, Michelle, TIMELINE Nuclear Disarmament Rally 1982, The, 25, 32.

Photo 33 O

O’Dwyer, William, Mayor, 18. Photo 19 O’Hara, Eureka, 128. Photo 129 Ochs, Adolph S., 13, TIMELINE, 54 Odetta, 32 Ogilvie House, 83. Photo 83 Ono, Yoko, 100, 128. Photo 101, 129 Ordination of Women, 21, 30 Organ, 10, 26, TIMELINE, 61, 73, 74, 168, 174, 176, 193, 208. Photo 74, 175 Otake, Eiko, 135, 183 P

Panni, Marcello, 121 Papp, Joseph, 121. Photo 120 241

G

Gandhi, Mahatma, 55, 223 Gates, The Very Rev. Milo Hudson, TIMELINE, 222 Gay Men’s Health Chorus, The, 35 Gibson, The Rev.Canon Joel, 128. Photo 129 Gilbert, Alan, 147. Photo 146 Gilbert, The Rt. Rev. Charles K., 18, 222, TIMELINE, Photo 19 Gilded Age, The, 9 Gillespie, Dizzy, 121. Photo 120 Gilliss, Sister Columba, 30 Ginsberg, Justice of The Supreme Court Ruth Bader, 30 Glass, Philip, 26 Glasspool, Bishop Mary, 30, 197, 222 Global Forum of Spiritual and Parliamentary Leaders for Human Survival, The, 116 Goldberg, Whoopi, 26 Goldman, Judith, 184 Gooch, Brad, 35, 97 Goodman, Andrew, 117, 191. Photo 116, 190 Goodman, Dr. Carolyn, 117. Photo 116 Gorbachev, Mikhail, 107. Photo 106 Gore, Vice President Albert, 26, 107. Photo 106 Gorman, Paul, 197 Gowers, Jen, 148, 207 Graham, Martha, 70, 100. Photo 101 Grand Canyon, The, 148 Grand Central Station, 13, 39 Grant, Christopher, TIMELINE Great Bronze Doors, The, 17, 21, 46, 141, 142, 229. Photo 47, 143 Great Migration, The, 21, 58 Green Belt Movement, The, 135 Greer, The Rt. Rev. David, TIMELINE, 222 Grein, The Rt. Rev. Richard, TIMELINE, 58, 110, 201, 222. Photo 110 Grosvenor, The Very Rev. William Mercer, TIMELINE, 222 Guare, John, 157. Photo 156 Guastavino, Rafael, 4, TIMELINE. Photo 5 H

Haberman, Daniel, 70, 228 Hair, Broadway Production, 97. Photo 96 Halley, Paul, TIMELINE, 150 Halloween, 154: Crypt Crawls 154; Halloween Extravaganza 154. Photo 155 Halsey, Simon, 132 Hammarskjöld, Dag, 113 Hanifa, Abu, 63 Haring, Keith, 128, 232: Life of Christ Altarpiece.

Photo 130 Harlem, 21, 22, 25, 29, 43, 103, 168 Harris, The Rt. Rev. Barbara, 30. Photo 31 Harris, The Rt. Rev. Gayle, 30. Photo 31 Harriss, The Rev. Canon Susan, 30, 201. Photo 31 Harrison, Anne, 171 Harrison, G. Donald, 174 Havel, President Vaclav of Czechoslovakia, TIMEINE, 121. Photo 120 Havlova, Olga, 121. Photo 120 Hefner, Keith, 207 240

Heins & LaFarge, 6, 13, TIMELINE Henderson, The Rev. Jane, 30. Photo 31 Henson, Jim, TIMELINE, 114: Big Bird, TIMELINE, 114. Photo 115; The Muppets, TIMELINE; Sesame Street, 114 Hewitt, Vivian, 21, 58, 63 Heyward, The Rev. Isabel Carter, 30 Hinkson, Keith, 36, 39, 118, 122. Photo 38 Historical Parapet, The, TIMELINE, 53, 233.

Photo TIMELINE, 53 Hobart, The Rt. Rev. John Henry, 6, TIMELINE, 222 Hodges, Johnny, 95 Holden, Julia, 207 Homes for The Homeless, 26, 29 Trailblazers Honors, 128 Honorary Canons, The, 109 Hughes, Langston, 21 Hulce, Tom, 121 Hurston, Zora Neale, 181, 194 Hurwitz, Tom, 3, 4, 26, 36, 103, 161. Photo 160 I

Ifill, Gwen, TIMELINE Integrity, 30 J

Jackson, Anne, 157. Photo 156 Jackson, The Rev. Jesse, 21, 29, 111, 126, 191, 197.

Photo 110 Japan, The Emperor of, 13: Cloisonné vases, 54 Jayawardane, M. Neelika, 181 Jim Crow, 18 Johnson, President Lyndon and Lady Bird, 92.

Photo 92 Johnson, The Rev. Canon William A., 110. Photo 111 Justinian, Emperor of Rome, 54 K

Kahan, Marion, 183 Kahn, Robin, 204: Who Cooked The Last Supper?

Photo 205 Kamara, Kalie, 43, 68, 124, 141, 168, 203, 204.

Photo 202 Kant, Immanuel, 63 Karna, Angie, 148, 212 Kellen, Anna-Maria and Stephen Foundation, 147, 225 Kelman, Rabbi Wolfe, 194 Kempton, Wayne, 3, 4, 6, 9, 10, 14, 17, 18, 22, 30, 32, 53, 100, 187, 197 Kendall, The Rev. Michael, 110, Photo 110 Kennedy, Joseph P., Jr., 117. Photo 116 Kennedy, Marva, 203. Photo 202 Kennedy, President John F. and Jacqueline, 92.

Photo 92 Kennedy, Robert F., Jr., 135. Photo 134 Kimmey, Jimmye, 30. Photo 31 King, Coretta Scott, 90, 103, 107, 124. Photo 91, 103 King, Dr. Martin Luther Jr., 21, 22, TIMELINE, 53, 89, 90, 141, 191, 233. Photo 20, TIMELINE, 88 Kirby, David, 193 Kirk, The Rev. Richard Rodney, 97, 107. Photo 106 Kissinger, Henry, 121 Klenk, Margaret, 161. Photo 160

Koch, Mayor Edward, 117. Photo 116 Koenig, Cardinal Franz, 118 Kowalski, The Very Rev. James, 4, 9, 13, 18, 22, 36, 39, TIMELINE, 50, 68, 124, 135, 168, 173, 184, 187, 188, 191, 194, 207, 222, 225. Photo TIMELINE, 135, 167, 186 L

L’Engle, Madeleine, 26, TIMELINE, 50, 97, 107, 171, 174, 179. Photo 96, 107 LaGuardia, Fiorello, Mayor, 18, 21. Photo 19 Lajčák, UN President H.E. Miroslav, 150 Larson, Anni-Ming, 212 Laymen’s Club, The, 50, 229 Leake and Watts Orphan Asylum, The, 87 Lee, Ralph, 103, 154. Photo 154 Lee, Spike, 121 Lee, The Rev. Steven, 197, 201 Lennon, John, 100. Photo 101 LGBT, 30, 128, 182 Lincoln Center, Mostly Mozart Festival, 132, Photo 133 Lindisfarne Association, 26 Lindsay, Mayor John, 22, 141. Photo 23, 140 Logan, William Bryant, 9, 13, 18, 20, 21, 26, 121, 194 Lovelock, James, 26, 118 Luce, The Rev. Canon John B., 168. Photo 169 Lyons, Chief Oren, 107, 118 M

Maathai, Wangari, TIMELINE, 134. Photo 135 MacLeod, Bruce, 137, 187, 193, 197, 223 Madison Square fire, 36 Madison Square Garden, 13, 14 Mailer, Norman, 110. Photo 111 Malloy, The Rev. Canon Patrick, 144, 161, 167, 188, 194 Mandela, Nelson, TIMELINE, 123. Photo 123 Manhattan Valley Youth Program, The, 26, 29.

Photo 28 Manning, The Rt. Rev. William T., 13, 14, 17, TIMELINE, 124, 167, 179, 222, 232 March for our Lives, 188 Marsalis, Wynton, 176, 194. Photo 177 Marshall, Thurgood, Associate Justice of The Supreme Court, 21, 91, 113. Photo 90 Martin, Tracy, 191. Photo 190 Martin, Trayvon, 124, 191 McCarthy, Senator Joseph, 21, TIMELINE Mead, Margaret, 26, 107. Photo 106 Meditation Walk, The, 78, Photo 80 Mehta, Zubin, 121 Memorial Day Concert with The New York Philharmonic, The, 147. Photo 146 Menorahs, TIMELINE, 55. Photo 54 Merrill, Rebecca, 30, 58, 67, 71, 193 Metropolitan Museum of Art, The, 10 Metropolitan Opera, The, 10 Miles, Sylvia, 157. Photo 156 Miller, Arthur, 121 Miller, The Rev. Canon Thomas, 22, 25, 29, 50, 67, 71, 125, 132, 157, 179 Missa Gaia, The Earth Mass, 3, TIMELINE, 150 Mississippi Freedom Caravan, The, 117, Photo 116 Moore Jr., The Rt. Rev. Paul, 21, 25, 30, 32,

TIMELINE, 100, 103, 168, 197, 211, 222. Photo 20, 34, 102, 169 Moore, Honor, 22, 25, 30, 103 Morgan, J. Pierpont, 9, 10. Photo 8 Morningside Heights, 4, 10, 21, 25, TIMELINE, 87, 148, 179 Morrison, Toni, 113. Photo 112 Morton, Pamela, 18, 21, 22, 25, 26, 35 Morton, The Very Rev. James Parks, 6, 14, 18, 21, 22, 25, 26, 29, 32, 35, TIMELINE, 54, 95, 97, 107, 110, 113, 114, 117, 118, 150, 167, 171, 179, 193, 194, 197, 201, 203, 211. Photo 27, 34, TIMELINE, 96, 106, 110, 118 Mother Teresa, 26, 118. Photo 118 Murray, The Rev. Pauli, 30. Photo 31 Museum of Natural History, The, 10 N

Nagem, Raymond, 95, 208 Nakagawa, Naoto, The Last Supper, 183. Photo 182 Nakashima, George, 4, 36: Altar for Peace, 5, 168 National Cathedral, The, 176 National Organization of Women, 30 Nelson, Marilyn, 3, 124, 128, 157, 168, 176, 179, 188, 193, 194, 228. Photo 156 Nelson, Marsha, 212 Neswick, Bruce, 173 New Amsterdam, Colony of, 61 New Year's Eve Concert for Peace, The, 32, TIMELINE, 110, 141, 173, 176. Photo 111, 140 New York Botanical Gardens, The, 10 New York City Fire Department, 39 New York City Landmarks Preservation Commission, TIMELINE New York Philharmonic, The, 147. Photo 146 New York Public Library, The, 10 New York State Charter of 1873, 6, 9, TIMELINE New York State’s Job Development Agency, 35.

Photo 34 New York Times, The, TIMELINE, 54, 105, 109 New York University, 10 Newman, Paul 121 Nightwatch, 208. Photo 209 Nipar, Maureen, 79 Nixon, Richard, 21 Norman, Jessye, 3, 10, 124, 165, 173, 204. Photo 125 Norris, Michelle, TIMELINE Nuclear Disarmament Rally 1982, The, 25, 32.

Photo 33 O

O’Dwyer, William, Mayor, 18. Photo 19 O’Hara, Eureka, 128. Photo 129 Ochs, Adolph S., 13, TIMELINE, 54 Odetta, 32 Ogilvie House, 83. Photo 83 Ono, Yoko, 100, 128. Photo 101, 129 Ordination of Women, 21, 30 Organ, 10, 26, TIMELINE, 61, 73, 74, 168, 174, 176, 193, 208. Photo 74, 175 Otake, Eiko, 135, 183 P

Panni, Marcello, 121 Papp, Joseph, 121. Photo 120 241

Patterson, Jim, 193 Paul, Saint, 4, 184 Paulding Jr., Mayor William, 6 Peace Tree, The, 161, 212. Photo 160 Peck, Gregory, 121 Pennoyer, Bob, 9, 18, 32 Perry, Thomas, 203, 204. Photo 202 Peter, Paul and Mary, 32 Petit, Philippe, 3, 4, 26, 32, 35, TIMELINE, 61, 73, 105, 173, 176, 187. Photo 34, 104 Philadelphia 11, The, 30 Piano Guys, The, TIMELINE, 176 Pike, The Very Rev. James, 21, TIMELINE, 91.

Photo 20 Pike, The Rev. Thomas, 3, 4, 6, 10, 13, 18, 22, 25, 187, 197.

Pilgrims’ Pavement, The, 49, 50, 183, 233 Poetry Wall, The, 32, 70 Portal of Paradise, The, 46. Photo 47 Potter, The Rt. Rev. Henry Codman, 9, 14, TIMELINE, 68, 87, 222.

Potter, The Rt. Rev. Horatio, 6, 9 Potter, The Rev. Daniel M., Director of The New York Protestant Council, 141. Photo 140 Pritchett, The Very Rev. Harry, TIMELINE, 144, 193, 222 Public Broadcasting System (PBS), The, 150 Pulpit Green, 84, 201. Photo 84, 200 Q

Quimby Pipe Organs, 174 Quirk, Howard E., 25, 45, 63, 105 R

Ra, Marsha, 124, 168, 183, 201, 203 Raitt, Bonnie, 32 Redford, Robert, 107. Photo 106 Redgrave, Vanessa, 157, 181. Photo 156, 180 Reeb, The Rev. James, 22 Reed, Dennis, 168 Reeves, Christopher, 121 Revelation, The Book of, Introduction, 6, 197 Reynolds, Mark, 35 Rider, The Rev. Canon Blake, 161. Photo 160 Riverside Church, 14 Roaring Twenties, The, 13 Robbins, The Very Rev. Howard Chandler, TIMELINE, 222 Robeson, Paul, 21 Rockefeller, Governor Nelson, 141. Photo 140 Rockefeller, John D. Jr., 14. Photo 15 Rockefeller, Steven C., 25 Rodriguez, Susan, 4, 10, 49, 79, 125, 188, 193, 194, Rohatyn, Felix, 26, 225 Romanelli, Giovanni Francesco, 68 Roosevelt, Eleanor, 4, 30, 92, 113 Roosevelt, Franklin D., 1, 13, 14, 17, TIMELINE. Photo 15 Root, Elihu, 14 Ruark, The Rev. Isabel Annette, 30 Rubenstein, Howard, 35, 46, 105 Rukeyser, Muriel, 70 RuPaul, 128 Rutledge, The Rev. Fleming, 30 242

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Salaam, Abdel R., 3, 228 Sacred Geometry, Sacred Space, 3 Sagan, Carl, 26, 118 Saint Helena, The Order of, 29 Sandys, Edwina, TIMELINE, 184: Christa, 184.

Photo TIMELINE, 185 Sarandon, Susan, 32, 121. Photo 120 Satchidananda, Swami, 26. Photo 27 Savonarola, 232 Schaaf, Nora, 207 Schaeffer, The Rev. Susan, 30. Photo 31 Schell, Maximillian, 121 Schirokauer, Lore, 161 Schlachter, The Rev. Barbara, 30 Schmalz, Timothy P., 204 Schmidt, The Rev. Jackie, 30. Photo 31 Schubert, Lisa, 69, 87, 109, 157, 183, 184, 193 Schumer, Charles E., TIMELINE Schweitzer, The Albert Award, 107 Schwerner, Michael H., 117, 191, Photo 190 Selma, Alabama, 22 September 11, 36, TIMELINE, 67. Photo 37 Shepard, Matthew, 128 Siam, The King of, 13 Sibley, Julia, 30 Silver, Ron, 121. Photo 120 Simon, Paul, 121 Simpson, The Rev. Mary Michael, 29, 30. Photo 28, 31 Sisk, The Rt. Rev. Mark S., TIMELINE, 171, 222.

Photo, 170 Skinner, Ernst, TIMELINE Slahi, Mohamedou Ould, 181 Slate magazine, 181 Smith, Patti, 32 Soll, Valerie, 211 South Africa, TIMELINE, 181 Spirit of the City, The, 144, 225. Photo 143 Spring Fair, The, 148 St. Agnes, 232 St. Benedict, 232, 233 St. Francis of Assisi, 26, 67, 232, 233 St. John The Divine in Ephesus, 54 Stanton Street, 6 State Trumpets, The, TIMELINE, 74. Photo 74 Statue of Liberty, The, 46, 49 Stegelmann, Murry, 46, 49, 188, 203 Stern, Leonard, 29 Stevenson, Adlai, 92. Photo 93 Stoneyard/Stoneworkers, The, 35, TIMELINE, 211. Photo 34 Straub, Emma, 61 Stuyvesant, Peter, 61 Summer Solstice, The, 63, 148. Photo 149 Sutton, Manhattan Borough President Percy E., 141. Photo 140 Synod Hall, 26, 36, TIMELINE, 84. Photo 84 Sypher, Francis, 6, 9, 10, 21 T

Tapestries Barberini, The, TIMELINE, 68, 211.

Photo 69 Taylor, James, 32, 121 Taylor, The Rt. Rev. E. Don, 128, 222. Photo 129 Tebelak, John-Michael, 26, TIMELINE, 97:

Godspell, 97. Photo 96 Temple of Understanding, The, 26 Textile Conservation Laboratory, The, 39, 68, 83, 87, 211. Photo 210 Tiebout, John, 230 Tiffany & Company, 193 Time Magazine, 21, 26 Torres, José V., 29, 39, 207, 225 Toutounji, Nicole, 59, 228 Town Building, The, 10, 83. Photo 11, 83 Tritle, Kent, TIMELINE, 173, 174, 176. Photo 177 Truman, President Harry and Bess, 92. Photo 92 Tutu, Archbishop Desmond, TIMELINE, 118, 188, 191. Photo 119, 189

World War I, 10, 13, 232 World War II, 18, 21, TIMELINE Wounded Knee, 124 Wyatt, Greg, 35, TIMELINE, 83, 194: The Peace Fountain, TIMELINE, 79. Photo 78 XYZ

Yacoobi, Sakena, 187. Photo, 186 Zaros, Bryan, 176, 212

U

U.S. Patent Offices, The, 67 United Farm Workers, The, 91, 103, 110, 124, Photo 91, 102, 111 United Nations, The, 26, 150, 184, 188: Decade for Women, 184; United Nations Sunday, 26, 150 United States Supreme Court, 30 Urban Homesteading Assistance Board (UHAB), The, 26, 29 V

Vanderbilt, Cornelius, 9 Verity, Simon, 46, 228 Vietnam, 22, 25, TIMELINE von Godin, Baroness Wilhelmine, 211 Vonnegut, Kurt, 109. Photo 108 W

Waldheim, UN Secretary General Kurt, 26 Walker, The Rev.Wyatt Tee, 141. Photo 140 Wallach, Eli, 157. Photo 156 Walters, Barbara, 121 Warhol, Andy, 26 Washington Monument, The, 49 Waterkeepers Alliance, The, 135 Wegman, The Rev. Canon Jay, 25, 35, 36, 39, 46, 97, 124, 128, 144, 167 Weir, Marnie, 3, 13, 17, 46, 74, 187 Welch, The Rev. Canon Patti, 208, 212 Welty, Eudora, 110. Photo 111 West, The Rev. Canon Edward Nason, 4, 97.

Photo 5, 96 Westenberg, Richard, 26 Westminster Abbey, 70, 176 Wharff Quarry, Vinylhaven, Maine, 10, Photo 11 White, Jennifer Dorr, 36, 29, 87, 176, 212 Whitworth, The Rev. Canon Julia, 132 Wiesel, Elie, 35, 109, 121. Photo 108 Wilkenfeld, Isadora, 53, 183, 184, 203 William, Irwin Thompson, 26 Williams, Tennessee, 100, 157. Photo 101 Williams, Treat, 121 Wilson, The Rev. Sandye, 18, 29, 30, 197. Photo 31 Winter Solstice, The, 161, 174, 179. Photo 158, 160, 175, 178 Winter, Paul, 3, 26, TIMELINE, 95, 148, 150,161, 173, 174, 179, 288. Photo 149, 178 Woodstock, 26 World Book Encyclopedia, The, 46 World Trade Center, The, 67, Photo 66 243

Patterson, Jim, 193 Paul, Saint, 4, 184 Paulding Jr., Mayor William, 6 Peace Tree, The, 161, 212. Photo 160 Peck, Gregory, 121 Pennoyer, Bob, 9, 18, 32 Perry, Thomas, 203, 204. Photo 202 Peter, Paul and Mary, 32 Petit, Philippe, 3, 4, 26, 32, 35, TIMELINE, 61, 73, 105, 173, 176, 187. Photo 34, 104 Philadelphia 11, The, 30 Piano Guys, The, TIMELINE, 176 Pike, The Very Rev. James, 21, TIMELINE, 91.

Photo 20 Pike, The Rev. Thomas, 3, 4, 6, 10, 13, 18, 22, 25, 187, 197.

Pilgrims’ Pavement, The, 49, 50, 183, 233 Poetry Wall, The, 32, 70 Portal of Paradise, The, 46. Photo 47 Potter, The Rt. Rev. Henry Codman, 9, 14, TIMELINE, 68, 87, 222.

Potter, The Rt. Rev. Horatio, 6, 9 Potter, The Rev. Daniel M., Director of The New York Protestant Council, 141. Photo 140 Pritchett, The Very Rev. Harry, TIMELINE, 144, 193, 222 Public Broadcasting System (PBS), The, 150 Pulpit Green, 84, 201. Photo 84, 200 Q

Quimby Pipe Organs, 174 Quirk, Howard E., 25, 45, 63, 105 R

Ra, Marsha, 124, 168, 183, 201, 203 Raitt, Bonnie, 32 Redford, Robert, 107. Photo 106 Redgrave, Vanessa, 157, 181. Photo 156, 180 Reeb, The Rev. James, 22 Reed, Dennis, 168 Reeves, Christopher, 121 Revelation, The Book of, Introduction, 6, 197 Reynolds, Mark, 35 Rider, The Rev. Canon Blake, 161. Photo 160 Riverside Church, 14 Roaring Twenties, The, 13 Robbins, The Very Rev. Howard Chandler, TIMELINE, 222 Robeson, Paul, 21 Rockefeller, Governor Nelson, 141. Photo 140 Rockefeller, John D. Jr., 14. Photo 15 Rockefeller, Steven C., 25 Rodriguez, Susan, 4, 10, 49, 79, 125, 188, 193, 194, Rohatyn, Felix, 26, 225 Romanelli, Giovanni Francesco, 68 Roosevelt, Eleanor, 4, 30, 92, 113 Roosevelt, Franklin D., 1, 13, 14, 17, TIMELINE. Photo 15 Root, Elihu, 14 Ruark, The Rev. Isabel Annette, 30 Rubenstein, Howard, 35, 46, 105 Rukeyser, Muriel, 70 RuPaul, 128 Rutledge, The Rev. Fleming, 30 242

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Salaam, Abdel R., 3, 228 Sacred Geometry, Sacred Space, 3 Sagan, Carl, 26, 118 Saint Helena, The Order of, 29 Sandys, Edwina, TIMELINE, 184: Christa, 184.

Photo TIMELINE, 185 Sarandon, Susan, 32, 121. Photo 120 Satchidananda, Swami, 26. Photo 27 Savonarola, 232 Schaaf, Nora, 207 Schaeffer, The Rev. Susan, 30. Photo 31 Schell, Maximillian, 121 Schirokauer, Lore, 161 Schlachter, The Rev. Barbara, 30 Schmalz, Timothy P., 204 Schmidt, The Rev. Jackie, 30. Photo 31 Schubert, Lisa, 69, 87, 109, 157, 183, 184, 193 Schumer, Charles E., TIMELINE Schweitzer, The Albert Award, 107 Schwerner, Michael H., 117, 191, Photo 190 Selma, Alabama, 22 September 11, 36, TIMELINE, 67. Photo 37 Shepard, Matthew, 128 Siam, The King of, 13 Sibley, Julia, 30 Silver, Ron, 121. Photo 120 Simon, Paul, 121 Simpson, The Rev. Mary Michael, 29, 30. Photo 28, 31 Sisk, The Rt. Rev. Mark S., TIMELINE, 171, 222.

Photo, 170 Skinner, Ernst, TIMELINE Slahi, Mohamedou Ould, 181 Slate magazine, 181 Smith, Patti, 32 Soll, Valerie, 211 South Africa, TIMELINE, 181 Spirit of the City, The, 144, 225. Photo 143 Spring Fair, The, 148 St. Agnes, 232 St. Benedict, 232, 233 St. Francis of Assisi, 26, 67, 232, 233 St. John The Divine in Ephesus, 54 Stanton Street, 6 State Trumpets, The, TIMELINE, 74. Photo 74 Statue of Liberty, The, 46, 49 Stegelmann, Murry, 46, 49, 188, 203 Stern, Leonard, 29 Stevenson, Adlai, 92. Photo 93 Stoneyard/Stoneworkers, The, 35, TIMELINE, 211. Photo 34 Straub, Emma, 61 Stuyvesant, Peter, 61 Summer Solstice, The, 63, 148. Photo 149 Sutton, Manhattan Borough President Percy E., 141. Photo 140 Synod Hall, 26, 36, TIMELINE, 84. Photo 84 Sypher, Francis, 6, 9, 10, 21 T

Tapestries Barberini, The, TIMELINE, 68, 211.

Photo 69 Taylor, James, 32, 121 Taylor, The Rt. Rev. E. Don, 128, 222. Photo 129 Tebelak, John-Michael, 26, TIMELINE, 97:

Godspell, 97. Photo 96 Temple of Understanding, The, 26 Textile Conservation Laboratory, The, 39, 68, 83, 87, 211. Photo 210 Tiebout, John, 230 Tiffany & Company, 193 Time Magazine, 21, 26 Torres, José V., 29, 39, 207, 225 Toutounji, Nicole, 59, 228 Town Building, The, 10, 83. Photo 11, 83 Tritle, Kent, TIMELINE, 173, 174, 176. Photo 177 Truman, President Harry and Bess, 92. Photo 92 Tutu, Archbishop Desmond, TIMELINE, 118, 188, 191. Photo 119, 189

World War I, 10, 13, 232 World War II, 18, 21, TIMELINE Wounded Knee, 124 Wyatt, Greg, 35, TIMELINE, 83, 194: The Peace Fountain, TIMELINE, 79. Photo 78 XYZ

Yacoobi, Sakena, 187. Photo, 186 Zaros, Bryan, 176, 212

U

U.S. Patent Offices, The, 67 United Farm Workers, The, 91, 103, 110, 124, Photo 91, 102, 111 United Nations, The, 26, 150, 184, 188: Decade for Women, 184; United Nations Sunday, 26, 150 United States Supreme Court, 30 Urban Homesteading Assistance Board (UHAB), The, 26, 29 V

Vanderbilt, Cornelius, 9 Verity, Simon, 46, 228 Vietnam, 22, 25, TIMELINE von Godin, Baroness Wilhelmine, 211 Vonnegut, Kurt, 109. Photo 108 W

Waldheim, UN Secretary General Kurt, 26 Walker, The Rev.Wyatt Tee, 141. Photo 140 Wallach, Eli, 157. Photo 156 Walters, Barbara, 121 Warhol, Andy, 26 Washington Monument, The, 49 Waterkeepers Alliance, The, 135 Wegman, The Rev. Canon Jay, 25, 35, 36, 39, 46, 97, 124, 128, 144, 167 Weir, Marnie, 3, 13, 17, 46, 74, 187 Welch, The Rev. Canon Patti, 208, 212 Welty, Eudora, 110. Photo 111 West, The Rev. Canon Edward Nason, 4, 97.

Photo 5, 96 Westenberg, Richard, 26 Westminster Abbey, 70, 176 Wharff Quarry, Vinylhaven, Maine, 10, Photo 11 White, Jennifer Dorr, 36, 29, 87, 176, 212 Whitworth, The Rev. Canon Julia, 132 Wiesel, Elie, 35, 109, 121. Photo 108 Wilkenfeld, Isadora, 53, 183, 184, 203 William, Irwin Thompson, 26 Williams, Tennessee, 100, 157. Photo 101 Williams, Treat, 121 Wilson, The Rev. Sandye, 18, 29, 30, 197. Photo 31 Winter Solstice, The, 161, 174, 179. Photo 158, 160, 175, 178 Winter, Paul, 3, 26, TIMELINE, 95, 148, 150,161, 173, 174, 179, 288. Photo 149, 178 Woodstock, 26 World Book Encyclopedia, The, 46 World Trade Center, The, 67, Photo 66 243

It’s Your Cathedral

This book is meant to capture one set of stories about the Cathedral, but we know that there are countless others we didn’t have room to tell and many being made in the years following publication. Even as this book goes to press, the stories in these pages evolve.

People who have dedicated their time to the Cathedral move on. Construction projects are completed and others are begun.

New memories are made and new histories are written.

We invite you to share your own memories on the following pages as well as email them to editor@stjohndivine.org so that this book becomes an evolving testament that represents the life of this living Cathedral.

It’s Your Cathedral

This book is meant to capture one set of stories about the Cathedral, but we know that there are countless others we didn’t have room to tell and many being made in the years following publication. Even as this book goes to press, the stories in these pages evolve.

People who have dedicated their time to the Cathedral move on. Construction projects are completed and others are begun.

New memories are made and new histories are written.

We invite you to share your own memories on the following pages as well as email them to editor@stjohndivine.org so that this book becomes an evolving testament that represents the life of this living Cathedral.

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C

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