Cathedral

Tails of Two Cathedrals

The Cathedral of All Saints in Albany, NY

The Cathedral of All Saints in Albany, NY

Recently my prayers are most importantly that—prayers—while they often flow from a discombobulated mind and unsettled heart. For someone such as myself, sensitive and somewhat disorganized by nature, the Daily Offices of the Book of Common Prayer are effective means for steering myself toward God.

And so I am thankful that Thomas Cramner, Archbishop of Canterbury, pieced together that good English book from the Good Book and traditional prayers during his time of turmoil and reformation.

But I also have a creative mind that seeks itself to build a raft on which to float toward the uncertain future. Therefore I have an affinity for St. Ignatius, the day dreamer who discerned God’s action in his life and sought to teach others to do the same. Though I have not made a full retreat of his spiritual exercises, on most days I read a suggested passage of scripture for making the retreat. Then I revisit it, sometimes wrestle with it, sometimes draw it, throughout the day.

My first attempt at drawing an imaginative prayer—The angel’s visits to Mary and Joseph became conflated into one visit in my mind as the couple both accept the call to parent Jesus.

My first attempt at drawing an imaginative prayer—The angel’s visits to Mary and Joseph became conflated into one visit in my mind as the couple both accept the call to parent Jesus.

More on Ignatian prayer in the next blog post. Meanwhile, while I work on integrating his work, I enjoy our poetry workshops at our cathedral and listen to a variety of online podcasts and services.

A comfort to me during the pandemic has been my YouTube subscription to Canterbury Cathedral, where all prayers began to be said outside in its various gardens when it closed. All spring and summer, Dean Robert has read stories, such as The Little Prince, has begun prayers with quotes (this morning it was from Sylvia Plath’s journal), and gives homilies as the green around him becomes increasingly boisterous and shot through with blossoms.

I am no stranger to church mice and an occasional bat, but many animals live at Canterbury Cathedral. A cat is always somewhere in the frame at Morning Prayer, stealing the show. A few mornings ago, a black one ran as if chased. “It is a very windy day here,” the Dean said. “The cats don’t like it because it gets in their whiskers.”

He spoke with the same authority and inner knowledge in his voice that his homilies contain. I always listen to the liturgy rather than speak with him due to our different prayer book and lectionary. He seems aware of this as he invites me to say the Lord’s Prayer in whatever language I can muster. When I give thanks with him for anniversaries in the life of the world that he is careful to name, my private beast—my concern—jumps off the table as if to set about grooming itself straight.

A week or two ago, after Morning Prayer in a chicken coop had ended, a long series of grunts began. Hearing no prayer, I looked at my phone to see what had begun. It was a three-hour video of Clemmie the sow giving birth. Now, if I have already listened to Morning Prayer and I feel lost, I watch the videos of the growing piglets.

Grunts mean that life goes on even when cathedrals are closed and prayer has ended, even when pandemics rage. Jesus Christ is the same today, yesterday and forever. Clemmie and Winston are too busy in the piglet nursery to imagine that it could be otherwise. Dean Robert, always mindful of whiskers, the Cathedral looming above him and the sky above it, attest to the truth of these things.

Cathedral Artists' Talks I

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CATHEDRAL ARTS TALKS WITH ARTIST AND DESIGNER
Andy Jerabek

This story behind the new visual identity of The Cathedral of All Saints is told in the first of a series of interviews with artists influential in helping Cathedral Arts grow into its mission.

Cathedral Arts: What is a visual identity?

Andy: It is a visual system created by an organization used to communicate its message.

Cathedral Arts: Why, after 131 years without it, does the Cathedral need one now?

Andy: The Cathedral of All Saints began a new ministry this year, Cathedral Arts, which is charged with the Cathedral’s mission—Helping people fall in love with God—through the arts. Cathedral Arts will present programs and speakers, promote events and classes, partner with other organizations, and fundraise. Many of these will need visual materials—ads, programs, posters, appeals. It became evident that a consistent message was required—both so Cathedral Arts is easily recognized through its materials and so the people who produce the materials have visual guidelines to work with. Cathedral Arts is actually part of the “brand” of the Cathedral, so its visual identity should be informed by the Cathedral’s. And since the Cathedral had no formal visual identity, I started there.

Cathedral Arts: What was the process you went through?

Andy: I explored the Cathedral’s essence as distinct from the Anglo-Catholic form of worship, which has its own visual rules established over centuries that govern such things as Easter, Christmas, Pentecost, liturgical seasons, and other spiritual concepts. In creating a visual identity that is specific to the Cathedral, I had to acknowledge those established rules while focusing on the distinct elements of the Cathedral of All Saints itself. I interviewed the people in the Cathedral who had the greatest interest in its “brand,” asking, What is the Cathedral’s historical purpose? What is its current mission? Who is it trying to reach? What are the symbols that represent the Cathedral? I collected printed pieces from the Cathedral Archives from the early days to the present to discover what kinds of visual communications have been used. I took hundreds of photos of the Cathedral, from overall architectural elements to such small details as the cornerstone carving, windows, memorials, and sacred objects.

Cathedral Arts: What are the elements of the visual identity that you created?

Andy: A word-mark of the Cathedral’s entire name; a monogram of its initials; a font system; and a color palette.

Cathedral Arts: How will it be used?

Andy: It will inform the production of major visual materials associated with the Cathedral—signage, programs, brochures, posters, ads, etc.

So, in the future, when anyone sees something from The Cathedral of All Saints, they will recognize it without a second glance because their eye will have absorbed Andy’s designs based on the art of the Cathedral and its Christian history. See what was hidden in the Cathedral in plain sight revealed through Andy’s work on September 15, when The Cathedral of All Saints reveals its new visual identity.