Readings – Wisdom 7:26 – 8:1; Mark 8:27–38
“She is more beautiful than the sun, and excels every constellation of the stars.”
In the name of the Father, and of the Son, and of the Holy Spirit. Amen.
On a bright weekday morning three summers ago, I began my day with Morning Prayer at Coventry Cathedral. Coventry was a convenient place for an overnight break on the long overland journey between Salisbury and Belfast, and I had long wanted to see the Cathedral. I was able to talk my way into spending the hour between the end of the service and the start of public visiting wandering an empty Cathedral on my own, with my camera and tripod.
If you haven’t yet been there, I recommend a visit, and also making the effort to visit in the morning, for that is the time when John Piper’s baptistery window is at its best, ablaze with sun from the east, all twenty-eight metres of it.
Just occasionally people tell me they don’t like Coventry Cathedral. I couldn’t disagree more; few church buildings on earth incarnate the reality of the Resurrection more powerfully.
The parish church Cathedral of St Michael, one of the finest medieval parish churches in Europe, was blown to bits during The Blitz on 14 November 1940. As he went into the ruined Cathedral the morning after the destruction, the then Provost, Richard Howard, was struck by what he called “the deep certainty that as the Cathedral had been crucified with Christ, so it would rise again with Him.”
Less than twenty years later, the very different modernist Cathedral was dedicated, also to St Michael, surrounded by the still imposing ruins of 14th Century building, and incomprehensible without their presence.
Coventry Cathedral also showcases two interconnected British revivals of the two decades after the end of the Second World War – a revival of Christian faith and a revival of high culture. Unquestionably it was the high point of British modernism in the visual arts and architecture: Basil Spence’s cathedral housing John Piper’s windows, Graham Sutherland’s tapestry, still in 2021 the largest in the world, and one of Jacob Epstein’s last and finest sculptures. Yet this indubitable gem of 20th Century Christianity could not have existed without the destruction of the magnificent medieval St Michael’s.
Resurrection follows death. Resurrection is not possible without death. Yet that does not make the death any less real, or any less painful, nor does it make the loss of physical presence that death entails any less final or less disturbing. That is the central paradox of the Christian faith. It is, in every sense of the word, disturbing.
