Article
Awe and wonder
Community
Creed
4 min read

Cathedrals are making a comeback, here’s why

From soft toys to crisis moments, these flagships hold much more than our stories.

David was the Dean of St Paul's Cathedral for ten years until retiring in 2022.

A puppet donkey peaks over the edge of a cathedral pulpit
Family carol service, St Paul's Cathedral.

What is it about cathedrals?  Under a secular French government, €700 million has been spent on renewing Notre-Dame Cathedral after the 2019 fire disaster. The money hasn’t however come from French taxpayers, but from donations large and small by people in France and from across the world.  And the number of people entering cathedrals to visit, or pray, or meet with others keeps going up, even as church attendance declines and religion seems out of fashion – so what’s going on?  

Building a large church is a long and very costly process, and Christian communities could take a century or more to build or upgrade a cathedral as resources became available. In lands where Christian faith was embraced by those in power, governments would help to build and endow cathedrals. They were not only central points for worship and church life in their area, but were large covered meeting spaces which were also used by the state for synods, coronations, meetings or services which supported political life and enhanced social cohesion. Communities and rulers wanted to have the best and biggest building they could, to the glory of God (and also that of its builders): and cathedrals were a focus for the best that could be found in architecture and art, sermons in stone and stained glass, colourful high-rise marvels inspiring the inhabitants of an often ugly and dingy low-rise world. 

So what explains the enduring attraction of cathedrals, and the emotional bonds between these buildings and us which the rebuilding of Notre Dame has highlighted? 

For a start, these buildings are the holders of stories and identities. We humans love a good story.  We want to hear, see and tell stories; to make a story out of our own life; to be part of a bigger story which gives us identity and meaning. In cathedrals, I’ve met visitors and pilgrims eager to know the history, in other words the story of such an amazing place and all it contains. There are the visitors writing their own stories who take a picture of their cuddly toy at each tourist destination. And there are the men and women at a crisis point. in their own story who come in search of forgiveness or hope or love, and begin to find it in the great story of God, Jesus and the Christian faith to which a cathedral bears witness.  

That holding of identity isn’t only individual, of course. The tragedy of 2019 in Paris was felt across the world, because Notre Dame with its glorious architecture and its treasures is a part of the world’s story with which millions of people have become engaged through their visits and understanding; a tragedy felt of course most deeply in France, where the cathedral is entwined with French history and identity. Each cathedral, whatever its age or size, carries the story of its community and people, is part of our human story, of yours and mine. Their heritage is ours too. The story a cathedral tells about identity, faith and hope can enliven and inspire. 

Then again, cathedrals are witnesses. Cathedrals don’t only host state occasions: their role is to be a place for people from a wide geographical and social area to meet and celebrate, worship, mourn, listen and learn. They are places where we are both affirmed and challenged. Whether it’s a local charity concert to help those in need, a major company anniversary, a seminar or a protest venue for people concerned about a hot political, social or religious topic, the mourners of a significant public figure, or a homeless person seeking dignity as well as shelter – cathedrals witness to the value of human life before God. As a cathedral Dean I went from greeting the monarch to talking with Terry the Big Issue seller: for a cathedral, all are beloved by God, and there to be welcomed. 
While cathedrals hold story and identity, looking backwards, and witness to and focusing of a local or national community looking around them, you might imagine another axis of attraction as looking forward and upwards, ‘flagships of the Spirit’.  

Cathedrals, like all churches, are metaphorical footprints of God in the world: spiritual space set aside to step outside ourselves and our everyday lives, to reflect, to pray and worship, to seek an encounter with the presence of God. When I worked at St Paul’s Cathedral in London, our aim was to enable people in all their diversity to encounter the transforming presence of God in Jesus Christ, whatever that would mean for them; and sometimes we succeeded. A survey of visitors entering cathedrals found that only 10 per cent of them were intending to do something spiritual; but when they came out, 40 per cent of them had prayed, lit a candle, spoken with a priest or gone to worship.  

The authorities in Paris are expecting their visitor numbers to go up to 15 million a year after re-opening. Even Donald Trump and Elon Musk were in Notre Dame. Next time you're near a cathedral, why not go and explore the story?' 

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Column
Creed
Death & life
Suffering
4 min read

Dressing up in the dark: what Halloween reveals about our uneasy age

Why Halloween feels darker this year

George is a visiting fellow at the London School of Economics and an Anglican priest.

Skeleton figurines clothed in Victoria outfits.
Wallace Henry on Unsplash.

Something bothers me about the approach of this years’ All Hallows’ Eve on 31 October and its accompanying night-time Halloween parties, like an irksome background unease at an encroaching darkness behind the childlike cosplay of the event itself. 

God knows, there have been infinitely darker years, some of them within living memory. Two world wars, one of them containing the Holocaust and it doesn’t get darker than that. Genocides, such as Rwanda’s, and famines, from China to Russia to Ethiopia. Terrorist atrocities: Munich, Lockerbie, Madrid, 9/11.  

Mass murders of children: Dunblane, Peshawar, Sandy Hook, Southport, to name a few in such a grim litany. Harder to imagine, because they’re further away culturally in either time or place, are the great plagues, conflagrations and disasters of history: The Black Death, Indian Ocean tsunami, Hiroshima.  

So one wonders if it’s impertinent to feel uneasy about Halloween this year. I suspect it’s the discomfort of something bubbling under and as yet unseen, like unexploded magma or the unbearable tension of a faultline threatening to give way. 

To name it is to call out a most fragile world peace – the pretence of a peace in the Middle East that cannot hold; a peace process that hasn’t even started between Russia and neighbouring Ukraine. Both presided over by an American president who at best isn’t up to securing either and, at worst, has zip interest in democratic process and is only in it for himself. 

Then there’s apparently unstoppable mass migration, driven by climate change, to western economies already going to hell in policy-free handcarts. The creeping re-growth of nationalism and antisemitism, social media fuelled hatred of refugees, the collapse of trust in institutions of state in the UK’s unwritten constitution, such as the royal family, parliament, the police and the Church. Grooming gangs and trafficked sex-slaves; we’re not in the gloaming of dusk – it sometimes feels like night has fallen. 

At what price, then, do we dress our children (and ourselves) as ghouls and witches and demons and make jack o’lanterns to celebrate the dark side at Halloween? It’s the question at the heart of a debate that customarily divides between those of us who say it’s just a bit of fun and we shouldn’t be spoil-sports, against others who warn censoriously about conjuring up the devil, who once abroad will play havoc with those who so foolishly summoned him. 

That’s a fairly pointless argument, as the positions just get repeated and that doesn’t get us anywhere. More fruitful may be to examine what the dark side is, what it is we’re conjuring, if anything, and whether it plays any role in what we fear we may be facing, which ranges from the breakdown of the world order, to great wars and, not to put too fine a point on it, an apocalypse. 

Stumbling about in the dark, we’re bound to trip over what’s called theodicy – the theological study of how a supposedly all-loving God can tolerate human evil. One of the more recent and most accessible contributions to this school comes from the US journalist and academic Brandon Ambrosino, who imagines the pursuit of theodicy not to be climbing stairs of knowledge, but the descent to a dark basement: “If the living room is where we ask how exactly God moved Trump’s head out of the way of the shooter’s bullet, the basement is where we ask if God caused the bullet to end up in a fire-fighter’s body.” 

One of Amrosino’s conclusions is that “evil is not properly a thing… Evil is nothing, literally [his italics]. It is a void in the fabric of God’s creation.” This concept of evil – the dark, as any parent would comfort a child – as empty is appealing. In the dark of that basement, there is nothing there but hope.  

This idea of evil as a void, or moral vacuum, is told in the story of a student (not young Albert Einstein, as widely claimed) who demurs when taught that the problem of evil proves the non-existence of God. “Does cold exist?” asks the student. Of course, replies the teacher. But cold is only the absence of energy, which creates heat. Likewise, does darkness exist? Yes, but it has no wavelength, so it is only the absence of light. 

What brings the energy of light and heat, like why there is something rather than nothing, is too big a question for now. But it may go some way to addressing the darknesses listed in the first half of this column.  

And perhaps it’s a thought to carry into this Halloween. Children dressed as undead phantasms, with Mum’s lipstick tracing blood trickles from their mouths, aren’t joining the dark, but filling what is empty with laughter. And, in doing so, they’re mocking it, which must offer some sort of hope for the future.   

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