A Liturgical Plan for Coventry Cathedral Appendices

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A LITURGICAL PLAN FOR COVENTRY CATHEDRAL

APPENDICES

Approved by Chapter, February 27th 2018

APPENDIX 1: Canon Law

B 10 Of Morning and Evening Prayer in cathedral churches: In every cathedral church the Common Prayer shall be said or sung, distinctly, reverently, and in an audible voice, every morning and evening, and the Litany on the appointed days, the officiating ministers and others of the clergy present in choir being duly habited.

B 13 Of Holy Communion in cathedral churches: 1. In every cathedral church the Holy Communion shall be celebrated at least on all Sundays and other Feast Days, on Ash Wednesday, and on other days as often as may be convenient, according to the statutes and customs of each church. It shall be celebrated distinctly, reverently, and in an audible voice. 2. In every cathedral church the dean or provost, the canons residentiary, and the other ministers of the church, being in holy orders, shall all receive the Holy Communion every Sunday at the least, except they have a reasonable cause to the contrary.

Canon law also has a perspective on how worship is to be conducted in cathedrals:

C 21 Of deans or provosts, and canons residentiary of cathedral or collegiate churches: 4. The dean, or provost, and the canons residentiary of every cathedral or collegiate church, together with the minor canons, vicars choral, and other ministers of the same, shall provide, as far as in them lies, that during the time of divine service in the said church all things be done with such reverence, care, and solemnity as shall set forth the honour and glory of Almighty God.

APPENDIX 2: The Bishop and the Cathedral

The relevant provisions in the Cathedral’s Constitution and Statutes are as follows:

From the Constitution:

1.1 The Cathedral Church is the seat of the Bishop. It is the home of the community of Christian faith from which the Episcopal ministry and mission to the Diocese proceed. It is a centre of worship and outreach, which exists for the glory of God.

From the Statutes:

1.1 The Bishop shall have the principal seat and dignity in the Cathedral Church.

1.2 After consultation with the Chapter, the Bishop may officiate in the Cathedral Church and use it for teaching and mission, for ordinations and synods, and for other diocesan occasions and purposes. At any service which the Bishop holds, the Bishop may determine its ordering, preach or appoint the preacher and decide the object of the collection.

1.3 The Bishop may preside at the Holy Communion in the Cathedral Church on Christmas Day, Easter Day, Ascension Day and the Day of Pentecost and, if the Dean agrees, on any other day.

1.4 The Bishop may preach or appoint the preacher in the Cathedral Church once on Christmas Day, Easter Day, Ascension Day and the Day of Pentecost.

2.7 The Dean shall consult with the Bishop as to the arrangements for synods and visitations and the ordering of all services held by the Bishop, and shall see that such functions and services are conducted as the Bishop may determine.

APPENDIX 3: Back to our roots

What was it that guided our predecessors when, ten years after the bombing of Coventry in November 1940, they were ready to commission the building of the new Coventry Cathedral? What did they intend to achieve?

In introducing the conditions for the architectural competition announced in June 1950, the Bishop (Neville Gorton) and the Provost (Dick Howard) explained:

“The Cathedral is to speak to us and to generations to come of the Majesty, the Eternity and the Glory of God. God, therefore, direct you. It is a Cathedral of the Church of England. In terms of function, what should such a Cathedral express? It stands as a witness to the central dogmatic truths of the Christian Faith. Architecturally it should seize on those truths and thrust them upon the man who comes in from the street. The doctrine and worship of the Church of England is liturgically centred in the Eucharist. The Cathedral should be built to enshrine the altar. This should be the ideal of the architect, not to conceive a building and to place in it an altar, but to conceive an altar and to create a building. In the Anglican liturgy it is the people’s altar; the altar should gather the people, it should offer access for worship and invitation to Communion. With the altar – in the unity of worship – there is the preaching of the Gospel among our people of Coventry and the interpretation of the Word.

The theology of the Cathedral we put before you to direct your thought. Prayer will be with you from the Cathedral Crypt and from the Diocese of Coventry. May God be with you in this great matter. (Spence, 1962)

The anticipation of how the building would be used liturgically is reflected in the ‘Schedule of Requirements and Accommodation’ produced to guide those entering the competition. This indicates that provision would need to be made “for the following forms of worship which will take place in it: a) The Daily Service of the Cathedral Clergy and Choir within the main Cathedral. b) The Sunday Services of a regular congregation of, say, 500 people. c) Large Diocesan or Civic Services. d) Festivals of Music.”

It also states that “the altar should be placed towards the ‘East’ in such a position that as many as possible of the congregation may have a clear and uninterrupted view.” Furthermore, “the Cathedral should provide seating accommodation for 1,250, amply spaced, exclusive of the Cathedral clergy and choir, with adequate room for liturgical movement. The pulpit and lectern must each be given a position of importance and dignity in relation to the altar and congregation… There should be a Lady Chapel to seat approximately 75. There should be a Guild Chapel to seat 50, a Children’s Chapel to seat 30, and a Chapel of the Resurrection for private prayer to seat 30.”

In addition, an organ “of Cathedral dimensions” was required, together with a location “for the Charred Cross and Cross of Nails and also for the Altar of Rubble and the stones bearing the words ‘Father Forgive’”.

The vision for the Chapel of Unity is spelt out – it should be contiguous with the main building but divided from it “by a vertical boundary plane for the purpose of indicating the distinction of ownership”. The idea was that the chapel could be used independently of the Cathedral but also that worshippers in the chapel “may, if so desired, feel themselves to be part of a Service taking place in the Cathedral”. The Schedule includes some notes provided by what we now know as the Joint Council of the Chapel of Unity which specify its function as “a place of intercession for the World Church. It will have two aspects – a looking outward now onto the World Church, and secondly a looking forward to unity. Furthermore the building will embody the thought of the descent of the Holy Spirit upon the waiting Church. Liturgically it will have its centre in Pentecost, and will be the Chapel of Unity and of the Holy Spirit.”

Basil Spence’s report in response to this brief expresses the idea behind his design for the preservation of the Ruins and their relationship to the new Cathedral: ‘Through the ordeal of bombing, Coventry was given a beautiful ruin; the tower and spire reveal themselves for the first time in an arresting and new aspect from the ruined nave. As the Cathedral stands now, it is an eloquent memorial to the courage of the people of Coventry. It is felt that the ruin should be preserved as a garden of rest, embracing the open-air pulpit and stage, and the new Cathedral should grow from the old and be incomplete without it.’ (Spence, 1962)

Spence’s original proposal was that five clear glass screens would divide the porch from the nave. His idea was that, on great occasions and on warm summer evenings, these could “be lowered so that the Cathedral is open. There is no physical obstruction, on occasions such as these, between the whole population of Coventry and the altar.” (Spence, 1962)

For Spence, the first element of the Cathedral plan is the star-shaped Chapel of Unity – “as the life of Our Lord commenced with a star”. He goes on to explain that the Chapel “must express Unity, and is the Chapel of the Holy Spirit”. Its shape “represents Christian Unity; in elevation it is shaped like a Crusader’s tent, as Christian Unity is a modern Crusade…”

Spence explains his thinking about the stained-glass windows in these terms: “…with the exception of the Baptistry windows and the lights over the entrance to the Chapel of Unity, all windows shine towards the altar… As in life, the colour of the windows is revealed only as you reach each stage – the past is known, the future is not. Only when the altar is reached the whole range of colour is seen for the first time. The author of this design does not see this building as a planning problem, but the opportunity to create a Shrine to the Glory of God.”

It’s worth taking a number of Spence’s other observations into account. First, he draws attention to the Schedule’s resolve that “provision should be made inside the new Cathedral (possibly round the outer walls) for, say, eight ‘Hallowing Places’, each one symbolising the sacredness of one of the fields of activity which make up our human life (e.g. work, the arts, education, the home, commerce, healing, government, recreation). As Spence puts it, “The idea was that the men and women should worship through the various activities – as the Provost has put it to me on many occasions, ‘To sanctify the activities and works of Man.’ These days represent Work, Healing, Teaching etc and

5 though a theological controversy has always centred on these Hallowing Places they did have a purpose for the simple ordinary person who wandered around the old building.”

Spence’s description of how he came to the design of the Choir Stalls is revealing: “I wanted two avenues of thorns surmounting the stalls as a prelude to communion. People would pass between them before kneeling down at the communion rail…” And in the design of the Gethsemane Chapel, the screen of the Crown of Thorns is a reminder that “giving and sacrifice is a short cut to peace and tranquillity of mind”. He was clear that “Right from the beginning, craftsmanship was to have a place in the Cathedral, for Coventry is predominantly an industrial town where craftsmen hold an honourable place.” This is reflected in the plans for a Chapel of Industry (also known now as the Chapel of Christ the Servant) in which “we hope to set up all the old stained-glass saved from the bombed Cathedral.”

So began a journey which resulted in the consecration of the New Cathedral in May 1962. As Spence describes in his book ‘Phoenix at Coventry’, the intervening twelve years were not without incident – but the building that emerged in 1962 was substantially in keeping with the original vision.

APPENDIX 4: Learning from others

Critical friends 1: Susan Hill

‘Flagships of the Spirit: Cathedrals in Society’ was published in 1998 as a series of essays supporting the notion that cathedrals “have an essential part to play in nurturing the religious life of the nation”. Chapter 1 is by the author Susan Hill, who worked at Coventry Cathedral and was a member of the worshipping congregation for a time, shortly after its consecration in 1962.

She invites us to “Look at Coventry Cathedral and you look at a building that went out of date as soon as it was built. It is supremely of the 1950s. There is nothing at all ‘of today’ about it now. It has dated as the clothes and the furniture of its period have dated. That was inevitable. Much of its early pioneering work, many of its bold, brave attempts to break out of the mould of traditional Church and Christian thinking and action, seem dated too, just because they were so self-consciously ‘of their day’, ‘modern’, ‘relevant’, ‘contemporary’. In a sense, that does not matter. If it does not invalidate the cathedral’s existence, nor much of the work – the prayer, the purpose – nor detract from the importance of the attempts it was making to … well, to what? Probably it was to make people ask questions about the status quo, refuse to accept things on trust, just because they had always been said, done, thought, believed, that way. Coventry may have a particular importance as a pointer to the situation of our cathedrals now. And as something of a warning…

“Cathedrals feel insecure… They mind desperately what people think. They would not have done so once. They were supremely confident of their own validity, point and purpose when they were built…

“Most cathedrals are ‘old’, but the life that takes place within them is endlessly renewed, endlessly of the eternal present. And the words which can apply to them are timeless words, not words merely of today. Silence. Prayer. Stillness. Refuge. Holy. Sacred. Strength. Devotion. Sanctuary. Quietness. Assurance. Those are some of the words… What cathedrals have to offer the modern world are those things for which they were built, which they have always had to offer. Those are the point of their existence.

“The cathedral is its own justification, offering the words of the Bible, the services of the prayer book and prayer on behalf of the city in which it stands, and providing the prayer-filled silence and emptiness of its great spaces unchangingly…

“The pomp and ceremony are both off-putting and puzzling; those who do not belong, and many who do, feel as alienated from the pomp and pomposity, in the odd, theatrical garments, as they do from the displays and trappings of royalty. But the best of our offerings, the best music, the most magnificent words, do not alienate and are not seen as mere extravagance: such things are their own justification and are recognised as offerings of excellence – as are the buildings themselves.” (Hill, 1998)

Susan Hill’s challenges are worth reflecting on. Is the worship that takes place within Coventry Cathedral ‘endlessly renewed’? How do we know? Or has it perhaps gone a little stale – in which case, how might refreshment and renewal be encouraged? Is there a clear distinction to be made between ‘pomp’ and ‘pomposity’? Can ‘odd, theatrical garments’ be viewed as more than ‘mere

7 extravagance’? Could they not be seen alongside the music, the words and the building, and be ‘recognised as offerings of excellence’ in their own right?

Critical friends 2: Michael Sadgrove

Taking the opportunity offered by the Golden Jubilee celebrations to look back over the first fifty years of the new Cathedral’s life and work, ‘Reconciling People: Coventry Cathedral’s Story’ was published in 2012. Michael Sadgrove, Coventry’s Precentor from 1987 to 1985, contributes a chapter on ‘Theology, Worship and Spirituality’ in which he discusses a number of issues. “How far,” he asks “has the Cathedral as a religious space proved able to guard the sacred and to explore its connectedness to the whole of life? What does its architecture symbolise, consciously and unconsciously, for the citizens of Coventry, for its visitors, for those who work and pray in it? How has the building functioned as a holy place for worshippers, pilgrims and those who, even if not conventionally religious, look to it to nurture a more aware, reflective approach to life? Fifty years on, can we identify its strengths and weaknesses when it comes to celebrating the liturgy in and around the building?”

As noted earlier, the brief for the new Cathedral stipulated that it is “to speak to us and to generations to come of the Majesty, the Eternity and the Glory of God... It stands as a witness to the central dogmatic truths of the Christian Faith. Architecturally it should seize on those truths and thrust them upon the man who comes in from the street.”

Sadgrove notes that “One of the charges sometimes laid against Coventry Cathedral is that as an expression of this theological brief, its symbolism is both too ‘obvious’ and too self-conscious. It also seems strangely untroubled by the doubts and ambivalences that the painful history of Coventry’s destruction might have evoked.” But this is to ignore the “rich and surprisingly complex theological symbol-system with many layers of meaning attaching to the ‘sacred’” found in Coventry.

For example, take Basil Spence’s awareness of “the old Cathedral as standing clearly for the Sacrifice, one side of the Christian Faith, and I knew my task was to design a new one which should stand for the Triumph of the Resurrection”. In reality, the interplay between the Ruins and the new Cathedral is much more nuanced than this. The Ruins “are more like an empty cross than a crucifix bearing the body of a dead man... not so much a symbol of the death of Jesus as of his death-and-resurrection.” And if there is there is resurrection as well as passion in the Ruins, there is passion as well as resurrection in the new Cathedral – for example in the avenue of thorns created by the canopies of the canons’ stalls which accompany communicants as they approach the high altar.

Sadgrove concludes that “what Coventry is saying is that life lived out of faith in the death and resurrection of Jesus is experienced as a tension between death and resurrection now, as well as being a journey from death, judgement and hell into heaven as ultimate destiny. To walk from the Ruins into the new Cathedral is not simply to walk from Good Friday into Easter as is often said. It is to make the entire paschal journey of baptism and eucharist in which life is always present in death as well as death in life.”

As mentioned earlier, a second issue is the way in which the Cathedral, true to its brief, speaks powerfully of the transcendent majesty, eternity and glory of God – but is less clear about the immanence of God expressed in mystery, suffering and self-emptying love. Spence very deliberately chose not to create or suggest an intimate atmosphere. With the tapestry so dominant, “everything is exposed to the searching gaze of Christ in Glory”, not least the outside world: “We can see the tapestry from the east end of the Ruins. So Christ reigns in glory here too, not simply inside the new church. This makes an important statement about the relationship between sacred and secular: ‘the earth is the Lord’s’ and because all things belong to him, everything is rendered potentially sacred.”

But the world is a very different place from what it was in the middle of the last century. “We are more at home now with ideas about the vulnerability of God, his self-emptying for the sake of humanity, the belief that God suffers in and with broken human beings and does not preside serenely above the cosmos untouched by the pain of the world.” Sadgrove explains that “When I wrote my book on the tapestry, I argued that the wounded hands and feet of the risen Christ were to be understood as the eternal suffering of the Divine in and through his world. I believe that is theologically valid, but I doubt if the tapestry is read by most people in that way. Yet for most people the problem of suffering is the number one issue with which religious faith has to struggle. It is important that somehow contemporary religious architecture demonstrates how this (literally) crucial question is visibly and credibly presented to the world. In the 21st century we would be more likely to do this in ways that are in tune with our values of compassion, inclusiveness; perhaps too a certain postmodern reticence in recognition of the provisional, fragmented nature of human experience.”

The Christianity of the 1950s may have confidently been able to thrust its dogmatic truths “upon the man who comes in from the street” but such an approach is less effective today when we need a Saviour who can more easily ‘sympathize with our weaknesses’ (Hebrews 4.15).

In Coventry Cathedral the dominance of transcendence over immanence comes to the fore in the way the Eucharist is celebrated at the high altar. Through the interplay of the tapestry and the altar, Spence “was able to suggest that at the Eucharist, the true president is not the human priest but Christ in Glory, seen above with arms outstretched in welcome, celebration and blessing.”

We know from Basil Spence himself that Bishop Gorton “was a champion of the central altar or a plan that gave easy access to Holy Communion”. A proposed revision of the original plan brought the altar right to the edge of the choir steps. The new plans were presented to the Reconstruction Committee and the Cathedral Council. But, as Spence explains, “The caused a near riot... some members even threatened resignation” and he was asked to revert to his original scheme.

Liverpool’s Metropolitan Cathedral, opened five years after Coventry, has a central altar around which the congregation gathers. But even the best liturgical innovations have their drawbacks. As Sadgrove comments, “Liturgy in the round is an excellent concept, expressing as it does an ecclesiology of koinonia, shared participation in holy things, as well as a more immanent understanding of God. But it is difficult to manage effectively, especially in a large space. And it can foster an inward-looking attitude where not only physically but mentally and spiritually, a congregation can turn its back to the world and end up talking only to itself.”

Perhaps no-one has risen to the challenges of using Coventry Cathedral as a liturgical space as effectively as Joseph Poole, Precentor from 1958 to 1977. The focus of his contribution is the vital but often neglected point that liturgy needs to be so much more than words. What settings like Coventry Cathedral needed was “a clear grammar of movement and gesture that would be in the best sense balletic… The discipline was to create an alchemy that would transform text into drama, making the words real and concrete through the passionate commitment of those who performed them. The true text of liturgy was not the words at all but in the ceremony-as-performed, word- made-flesh.”

Joseph Poole sought to help those who came to worship to understand what they were doing and to participate as fully as possible. For example, his 1963 order of service for Evensong in Coventry Cathedral not only offers an explanation of the rite but also provides helpful devotional texts to enable the (perhaps unfamiliar) worshipper to make the most of the experience of Cathedral worship. The booklet explains what Evensong is: “…it is as if you were dropping in on a conversation already in progress – a conversation between God and men which began long before you were born, and will go on long after you are dead. So do not be surprised, or disturbed, if there are some things in the conversation which you do not at once understand.” This passion for helping worshippers to engage more fully in the Cathedral’s offering of worship is something that we have attempted to reflect in the most recent reprinting of the Evensong booklet in 2016 and there are plans to do something similar with the Eucharist booklets.

Poole’s comment about music is worth quoting in full, especially in a context where members of the congregation can sometimes be uneasy about the passivity of their role within a service: “Worship without music does not easily soar; and wherever the Church has been concerned to make worship really expressive of truth, music has been used: simple music for the untrained worshipper, more elaborate music for the trained choir. The music of a Cathedral choir is the counterpart of the architecture and the stained glass of the building: it is a finely wrought music, in which the musicians offer on behalf of the people what the people would wish to do themselves, if they had the ability.”

For Sadgrove, Coventry faces us with significant challenges as well as wonderful opportunities. “There is, to my mind, an uncomfortable tension in Coventry when it comes to the meaning assigned to the nave. It looks precisely like an auditorium; whichever way the seating is configured (and there have been experiments without end with different arrangements facing all points of the compass), sitting still and listening is what the nave looks as though it is primarily for. And this has the effect of making the space feel a static sitting-place, a destination in its own right, rather than a dynamic place of movement that impels the worshipper-as-pilgrim towards the building’s focal point. In this, the sense of liturgical climax intended by the high altar and tapestry is perhaps compromised by the nave, or at least, the sea of chairs that fills it.”

He concludes that “Probably, Coventry Cathedral is the most difficult Cathedral in England to re- order, since it is so clearly of one piece.”

How did Michael Sadgrove seek to solve some of the dilemmas he identified? “As part of our audit of Cathedral worship in the early 1990s, I invited a professor of theatre studies to attend the Sunday Eucharist and comment on it. He startled us by saying that we needed to exploit the high altar and tapestry properly, and that one way to do this would be for the three sacred ministers to face (liturgical) east. (I should point out here that in Spence’s building, with its axis set at right angles to

10 the traditional orientation of the old parish church, the high altar is at the geographical north end of the Cathedral.) The human faces of the ministers would not then compete with the face of Christ on the tapestry, and the John Piper vestments would be exposed in front of the altar to their full extent. This, he argued, was the liturgical equivalent of the theatrical use of the mask, and he believed it would enhance our worship.

“Of course this was precisely what Spence intended. The high altar was designed for eastward-facing liturgy, the norm at the time. We did not go down the road suggested by our consultant, but we did learn that the art of liturgy in large performing spaces is about understanding the possibilities and constraints inherent in a given space. We also learned that there is no substitute for working hard and constantly at the performance skills of those who participate in liturgy, both lay and ordained. To move well and stand well, to preside or assist at worship, to ‘hold’ the sacred in a way that confers dignity and nobility does not happen without thought and practice as to what it is we are doing in liturgy. Add to that the particular challenges that Coventry Cathedral poses because of its long echo. It calls for much rehearsal if liturgy is to rise to the challenge of a great building. In a large space, even a nave altar does not make it easier, nor does it automatically create a sense of genuine communitas if it speaks across the message of the building itself. This is what I believe to be a critical issue at Coventry.”

Sadgrove’s observations underline the fact that worship in Coventry Cathedral should be seen in a rather different light compared with how it might be seen in a more ordinary parish church. Much more thought and preparation needs to be given to the ‘performance’ of the liturgy in order to make the most of the magnificent ‘theatre’ that has been entrusted to us.

Finally, Sadgrove highlights “another design aspect that is relevant here, and that is the paucity of curves anywhere in the main part of the Cathedral. This is a building that is characterised by assertive, thrusting forms that are decidedly male in character. They are grasping and energising rather than restful and contemplative. Unlike the medieval gothic cathedrals to which Coventry is so much in debt, here there are almost no feminine groins or enclosed spaces to soften the straight lines and sharp edges that dominate the architecture.

“The Christian spiritual tradition follows classical Greek thought in recognising as the two complementary aspects of religious life the active and the contemplative. One way in which this has been symbolised is through the gospel story of Martha (active endeavour) and Mary (contemplative devotion). A more archetypal approach is to identify the active tendency with the male (phallic) principle, and the contemplative with the female. These archetypes function at an unconscious level, and it would be surprising if they did not influence behaviour. It is speculation to suggest a direct connection between the dominance of masculine forms in architecture and a preference for active as opposed to contemplative spirituality, though it seems to me that (and this is no doubt to over- simplify) an emphasis on doing rather than being has perhaps tended to characterise the Cathedral’s life since 1962. There is also anecdotal evidence about how people actually behave when they come into the building. Most walk around; not many choose to sit still or kneel in prayer or stand for long by the votive candles. And this despite the fact that the tapestry offers a visible, icon-like focus for contemplation that is unique in an English Cathedral.” (Sadgrove, 2012)

Critical friends 3: ‘Spiritual Capital’

In 2012, Theos and the Grubb Institute published ‘Spiritual Capital: The Present and Future of English Cathedrals’, a report which sets out the findings of research which demonstrates the significant role that cathedrals play in contemporary society. A number of the report’s findings are particularly helpful when it comes to thinking about the needs and aspirations of the actual and potential ‘audience’ we have for cathedral worship and seeking to shape what we offer to match them.

Cathedrals have a particular capacity to connect spiritually with those who are on or beyond the Christian ‘periphery’. For example, well over a half (59%) of church non-attenders within the local survey sample agreed that, “the cathedral gives me a greater sense of the sacred than I get elsewhere”. 92% also agreed or strongly agreed with the idea that the local cathedral is a “space where people can get in touch with the spiritual and the sacred”.

The national survey indicated that a third of people see cathedrals (in general) as “easy places to get in touch with the spiritual”, whereas only a sixth (17%) did not. When asked whether they personally find cathedrals particularly spiritual places, 37% said they did, but 24% said that cathedrals were “not particularly spiritual” spaces for them. Not surprisingly, 47% of those who see themselves as Christians said they found cathedrals spiritual places. More surprising is that 25% of those who were agnostics or atheists also agreed. In contrast, a remarkable 95% of those responding in the local survey felt that their Cathedral provided “a space where people can get in touch with the spiritual and the sacred”. What is more surprising is that 72% of those who were nonreligious also felt that this was true. This sense of their cathedral was reflected in the 88% who also saw it as “a place of sanctuary irrespective of what you believe”.

Many of those we interviewed talked either about personal experience of using the cathedral as “a place for personal reflection and prayer”, or of being aware of others doing so:

“Most people come to pray, have a quiet moment, light a candle.” (Verger)

“It’s a haven.” (Businessman)

“There’s a sense of peace and tranquillity, of belonging and being at home.” (Muslim)

“A lady aged around 25 came over this morning and sat in the side chapel. She checked her mobile and prayed on her own.” (Cathedral clergy)

“When I sit in the cathedral and see all that has been lavished by mankind in their worship of God down the centuries, the weight of history – it is a very spiritual moment.” (Diocesan lay staff member)

Something of the meaning of these experiences was captured in a reflection by a property developer, who did not see himself as religious: “What is important is the ability the cathedral has to make people slow down for a minute and ponder … It allows you to think about others, to think about yourself, about things like guilt and the welfare of others – all of which come back to having faith in something … It’s about faith, not religion – it doesn’t force you to believe in God or believe in the Bible … It instils faith in people – allowing people to make up their own minds.” (Local businessman)

These individual comments are backed up by the evidence that 76% in contact with a local cathedral reported, “experiencing God through the calm and quiet of the cathedral space”. Half (49%) of those who were church non-attenders, 33% of non-believers and 19% of self-designated non-religious agreed with this statement.

Others talked to us about the experience of worship in the cathedrals, whether as regular or occasional worshippers or as those attending civic or organisational services.

“Being in the cathedral is a very positive experience. I love this space and sit in the side chapel. It sends shivers through me when I see the cathedral full.” (Lay chapter member)

“What’s special is the quality of the music – and the preaching (mostly). There’s a warmth and simplicity. There is nothing like choral evensong in November when it’s dark and you feel you are in the holy of holies!” (Cathedral worshipper)

“I am a parish priest who deals with the day to day – and that is about prayer. You can walk into that [cathedral] building and you just feel it; not just feeling it now, but feeling the prayers over the centuries.” (Diocesan clergy)

“I feel it’s a huge privilege to be here, because this is a really special historic place. You feel humbled when you’re put in the front row because you are a civic leader. But it is also the fact that it’s prayerful, the beautiful music, that it’s a place of God. There’s a sense of reverence and sacredness.” (Civic leader)

“It is the intangible which makes the cathedral into a magnet. For me it has to do with the prayer and the liturgy which goes on within it. Because it is a ceaseless round of prayer, every day, at least four per day, and often more, and because that is the focus of the cathedral it goes on whether there is a congregation or not. Glorious sung evensong happens in winter with perhaps four people, but it is because it is for God and the whole place is humming all the time – like a power station.” (Cathedral worshipper) (Theos & Grubb, 2012)

Critical Friends 4: John Holmes & Ben Kautzer

Following the publication of the ‘Spiritual Capital’ report, ‘Cathedrals, Greater Churches and the Growth of the Church’ was written by Canon John Holmes & Ben Kautzer in October 2013 with the aim of complementing and supplementing its findings by exploring growth trends in greater depth.

They report Lynda Barley’s observation that “For adults, children and young people, attendance at services held between Mondays and Saturdays now adds 85% to Sunday attendance levels (nearly a doubling of attendance levels) and forms an increasingly medium sized tourist attraction. The availability of accessible worship in open cathedrals throughout the week is attracting spiritual pilgrims at times that are more convenient to contemporary lifestyles.” (Barley, 2012)

This ties in with Grace Davie’s recognition of “a gradual shift away from an understanding of religion as a form of obligation towards an increasing emphasis on consumption” personal choice. She also saw this reflected in the relative popularity of conservative evangelical churches on the one hand and cathedrals and some city centre churches on the other. (Davie, 2006)

The ‘Mission Shaped Church’ report of 2004 refers to “some evidence of an increase at cathedral and other churches offering traditional styles of worship” and then goes on to affirm “People now as always are looking for mystery, beauty, stability and a sense of God’s presence. For some this will be most easily found in contemporary styles and approaches. For others this will be discovered in forms and styles that reflect more strongly the Church’s heritage in liturgy and spirituality, and a sense of sacred stability in a fast-changing world”. (Cray, 2004)

When invited to identify main reasons contributing to growing Sunday services in particular, comments by cathedral deans clustered around several key themes:

Quality of worship – liturgy, tradition, symbolic action, user-friendly service sheets

Quality of music – choir, evensong, congregational music in worship

Quality of preaching – confidence in the gospel, teaching

Embodying Generous Hospitality – welcome, friendly atmosphere, personal feel

Cultivating a sense of community – fellowship, young families, students, dedicated leadership

Exploring new patterns – new services, different styles, valuing diversity, greater informality, convenient service times, improving publicity

Providing spiritual openness – inclusivity, intentionality, prayer, pastoral care, reflective space, anonymity

Growing cathedrals have tended to respond to this shift towards weekday attendance in at least three ways:

1. Introduction of new services and worship styles

The introduction of new services and diversifying the pattern of regular worship through incorporating new styles have been a growing feature of cathedral weekday worship in recent years. There has been a growth in midweek Eucharistic worship and Choral Evensong and the introduction of new services of healing, contemplative worship and some providing for the needs of young people and young families.

2. Altering service times

The second is through changing the times of services to more appropriately reflect the rhythms of the local communities in which they embedded. A cathedral in the Midlands reported how changing the times of daily worship had encouraged a growth in attendance and the same point was made at our cathedral qualitative consultations by others. Similarly, a cathedral in Yorkshire spoke of starting a new early midweek celebration of Holy Communion for people before going to work with significant success. A third cathedral began a daily lunchtime celebration (moving the time from early morning), adding an average of a dozen worshippers every day. The new provision of a daily lunchtime Eucharist has been a feature of several other cathedrals in recent years.

3. Emphasis on families and young people

Some cathedrals in recent years have increasingly come to recognise the importance of children for the growth of the church. Historically, cathedrals have typically engaged in with young people missionally through educational programmes. However, several cathedrals have reordered existing regular worship services and even launched new ones from scratch specifically designed for families with toddlers and young children. One southern cathedral commented, ‘There is probably a limitless demand for mothers and toddlers weekday worship/meetings.’

Peace and contemplation and the sense of cathedrals as a ‘spiritual space’ are recurrent themes that emerge throughout the worshipper surveys. Eight out of ten respondents identified a feeling of peace as an important reason for worshipping at their cathedral.

Worship and music are also important motivators with three quarters of worshippers from across all six cathedrals stating that the worship style, choir and music were significant for them.

The third highest motivating factor among the worshipper survey cathedrals was the friendly atmosphere. This is particularly evident in the parish church cathedrals: Birmingham (75%), Southwell (82%), and Wakefield (76%).

Holmes and Kautzer suggest that one of the important charisms of cathedrals is what one cathedral canon called the ‘ministry of cathedral pillars.’ When asked what he valued most about his cathedral, one senior clergy person at a large, international cathedral told us that it was the pillars. An unusual place to start, perhaps, but he was not referring to the finely hewn stone, nor slender Gothic vaults or sturdiness of Norman design. Rather ‘our pillars are really important in all this because cathedrals create a place where you can safely hide.’

The point this canon was suggesting is not that cathedrals enable people to permanently hide away. Rather, they make room for a kind of spacious hospitality, a persistent yet unobtrusive invitation to come and take part in the worship of the living God. As one dean put it, a key factor underlying the growth of Sunday services in his cathedral is ‘pastoral care including lack of pressure to have to carry responsibilities.’ The pillars enable someone in a struggling or wounded place to sit and be, avoiding eye contact, if necessary, with those leading the service. But this hiding place exists not as a final resting place but as the possibility of a first step of a new journey. The ministry of cathedral pillars is that they are not the destination, but a means of grace. ‘The number of people just over [the last] year that I’ve seen hiding behind the pillars and then gradually emerging […] I think that’s a quality of cathedral worship that’s really important.’

In our cathedrals qualitative consultations we sought to identify why so many described cathedral worship as rich and life-giving and had been drawn to participate and belong. A lay leader from a cathedral in East Anglia was clear in their experience: “I think the quality of sermons and the quality of the music is bringing people in…” Another lay voice spoke of the attraction of “worship being done properly”. There is a rhythm of worship and prayer in the daily life of the English cathedral and a regularity and reliability that gives confidence to the worshipper. This daily pattern of Matins and Evensong and Holy Communion in our cathedrals reminds us that worship is not just something you do for an hour on Sunday. As one dean said to us “Worship is that which is going on all around us all

15 the time and the cathedral worship is meant to be like a picture of heaven in order that you plug into it for a while but actually you are not doing it, you’re enjoying it”.

Yet in speaking of the attractive depth of cathedral worship it’s also important to affirm its increasing diversity. One southern cathedral warden with 40 years of experience of worshipping there spoke of the different services meeting the different needs of different people. Unsurprisingly her cathedral had an obvious mission mind-set, which led her to recommend ‘from outreach your congregation grows’. The significant endeavour of some cathedrals to involve more young families in their life of worship is an obvious example of this. The Sunday services at the four cathedrals we surveyed for the worshipper surveys which had the largest congregations were all those with the most provision for young families in Sunday schools and crèches and for some greater levels of participation.

Small is beautiful and the quality is seen there too in the informal and experimental as well as in the regular rhythm of cathedral daily worship which also has often smaller numbers of worshippers. A woman attending Tuesday Evensong at Wakefield Cathedral comments that she “attends for quiet reflection at the end of a busy day. Also to support and encourage the choir boys. Much nicer for them to have a congregation, however small, to sing to. They do very well indeed after a day at school”. Yet these small services carefully prepared for and presented not only form part of the daily offering of cathedral worship, but also as a lay leader from Coventry Cathedral with experience as a chorister reminds us enable the big regular, special and seasonal services to be as significant and effective as they can be. The time and effort and care and love put into the quality of cathedral worship – with of course resources to match – does bear fruit.

Critical Friends 5: Rowan Williams

In his sermon preached for the Golden Jubilee, in May 2012, Archbishop Rowan gave an interpretation of the building as follows:

Readings: 2 Chronicles 6.40–7.4; Revelation 1.12-18

“Enable with perpetual light the dullness of our blinded sight.”

So we sing when we pray for the gift of the Holy Spirit at Pentecost; at confirmations; at ordination services. We need to learn how to see, and we pray that the Holy Spirit will open our eyes.

Reconciliation does not happen unless we learn to see differently. We all know how pain, injury and humiliation affect our seeing – as if we were locked in darkness; as if we could only see ourselves and our past and our experiences in our own terms, in our own light, as we sometimes say. To be reconciled is to be able to see the other freshly and clearly - to see the person we thought a stranger or an enemy, and to see ourselves afresh. To see the past differently, and to see that there is a future. “Enable with perpetual light, the dullness of our blinded sight.” Teach us to see freshly; teach us to see the world anew – and then we shall be drawn into the ministry of reconciliation.

A sacred building ought to be one in which we are learning to see, a building that teaches us not only by the words spoken, the written Word of God, the preaching of that Word, the teaching that goes on. It should be a building that helps us see afresh. And I want to reflect for a moment on what, quite literally, we see in this particular cathedral. What is it that we are being taught to see? How are our eyes opened in this place?

We enter from that unforgettable West End. And at first, as always when we come into a building of this size, it feels – it seems – dark. And our eyes are led by a series of uncompromising grey slabs up towards the east, and the dimly perceived image that hangs behind the high altar. We walk towards it, our eyes on that image, watching its contours take shape before us.

“I saw one like the son of man, clothed with a long robe, with a golden sash across his chest.” The first thing this building teaches us is to see Jesus. Walking towards Him, gradually allowing our vision to be clarified as we look at that great image; one of the iconic images of the late twentieth century, surely. Our eyes on Him - but surely also our eyes on that elusive, mysterious figure that we finally see, between the feet of the throned Christ, that simple, naked, vulnerable human figure, clamped firmly between the feet of the Lord.

And perhaps, as we walk towards this image of Christ, we see there also the human being held in Jesus Christ, looking out with Him. Perhaps, as we walk towards the east, we begin to ask ourselves, what does that human figure see? What does a man or woman see, whose humanity is held like that, clamped between the feet of the glorified Lord?

We walk towards it, and inevitably, at some point, we turn around. And we see what that naked, vulnerable human figure sees. We see that those uncompromising grey slabs have been transformed into the light of the windows that lead us inexorably towards the light of Christ. We look back, and through the screen we see those ruins which speak so powerfully, so compellingly, of human evil and human destruction.

We look back, and we see the greyness of the walls transformed to light. And we see the memory of evil and destruction through that screen on which are the servants of God; the saints and the angels. The devastation, the slaughter, the humiliation and injury that those ruins speak of, we see now not as unreal, not as any less horrific than we ever thought, but in and through the presence of those who have loved and served their maker and redeemer. We see that the story of the past is never simply a story of horror and violence. God has not left Himself without witnesses – and there they

17 are, etched in the glass, around the memory of human evil; the memory of those who have served love; who have lived and died for reconciliation.

That’s what the eyes of Christ see. That’s what the eyes of that human being between his feet see. We walk here; we turn; we see the past transformed. We see the future laid open. We see from the place where Christ sees.

What an extraordinary claim to make. What an ambitious thing for a cathedral to try and tell us. But no more ambitious than St Paul, when he says “we have the mind of Christ”. (1 Corinthians 2:16) If we have the mind of Christ, we begin to see what Christ sees. That is where we stand, clamped between His feet, looking in the direction He is looking. Looking at the history of a world that has been scarred and wrecked by all manner of greed; all manner of evil and atrocity. Looking with His witnesses and His servants. Looking in His own light at the past of humanity, and drawing it together in a new light; in a new creation.

Give me a place to stand, said the ancient mathematician [Archimedes], and I will move the globe. Well, we have been given a place to stand. A place from which, in the power of the Spirit and the risen Lord, we can move the globe. And there is that place: between the feet of the glorified Christ, looking out at a world not instantly or magically healed, but held. Held; worked with in love and hope. That is what we are being taught in this building – and the ‘dullness of our blinded sight’ is being opened up in that gift of vision.

That is when reconciliation begins. Seeing the past of violence and conflict; surrounded by the presence of those who have still tried to serve the Lord, seeing the uncompromising grey of struggle and effort turned into light, into transparency, seeing the wreckage of the image of the cross held up before us on that table of the Lord; twisted, distorted, and still itself. All of that caught up, of course, in that image so central to the life of this place: the cross of nails. The cross which you see around the necks of all those who are part of this family. The cross which was given to all those ships of Her Majesty’s navy, carrying the name of Coventry. The cross recovered from the wreckage of HMS Coventry, and now in HMS Diamond; a tradition continuing, a presence still alive. The past brought alive: held, worked with, moved inch by inch and day by day towards reconciliation.

That is what this building teaches. And what this building asks of us, and challenges us about, is where we want to stand. Do we want to stand only among the ruins? Do we want to stand in a place where we cannot see anything except the memory of horror and offence?

Or do we want to walk? Do we want to begin the journey down this nave; to stand where Christ stands? To let ourselves be clamped between the great grey walls of this cathedral as if clamped between the feet of Jesus Christ, and to look, as if for the first time, at our world; at our past; at our own injuries and the injuries of others – and to know that it is held and transfigured in His presence, His love and His power. “Whose head and hair were white as wool; white as snow, His eyes like a flame of fire. Who was dead and is alive. Who has the keys of death and Hades.” Who makes us see. Who unlocks our prison. Who makes us live.

APPENDIX 5: Current Pattern of Services (detail)

The Cathedral’s current pattern of regular services is as follows:

Sundays

8 am Holy Communion (Book of Common Prayer), shared with Holy Trinity Church. Holy Trinity is the venue during odd-numbered months and the Cathedral Lady Chapel during even-numbered months. This said service is normally attended by about a dozen people.

10.30 am The Cathedral Eucharist (Common Worship Order One). This service takes place in the Nave, is attended by up to 200 people (including the choir) and is sung by the Choristers (alternating between Boys and Girls), Scholars and Clerks of the Cathedral Choir during term time and by visiting choirs on other occasions. Vestments are worn and incense is occasionally used. A service booklet is printed each week so that visitors and other members of the congregation can follow the liturgy more easily.

4 pm Choral Evensong (Book of Common Prayer). This service, attended by about 50 people (including the choir), is sung by the Choristers (alternating between Boys and Girls), Scholars and Clerks of the Cathedral Choir during term time and by visiting choirs on other occasions. An address is usually given.

6 pm OPEN – an informal service which takes a variety of forms. ‘Open’ began life as ‘Cathedral Praise’ in the mid 2000’s, a service characterised by contemporary Christian songs led by a worship band, an address and the opportunity for prayer ministry. Its current pattern cycles through a variety of different contemporary styles, including a) an informal Eucharist, b) ‘Open Table’ (an opportunity to join in worship and explore faith in the context of a simple shared meal, c) ‘Breathing Space’ (an informal service of prayer and meditation) as well as d) the inherited ‘Cathedral Praise’ format. It attracts up to 30 people each week.

Weekdays

The details of our service pattern are set out below. The Dean, Canons and members of the Reconciliation Ministry Team make a priority of attending Morning Prayer and are joined by a few other staff members and occasional visitors and passers-by. Wednesday morning’s service is usually attended by a few members of the diocesan staff, dating back to a time when staff numbers were significantly higher and the service included a brief address delivered by a member of the senior staff of the Cathedral or Diocese. Evening Prayer is led by the officiating minister (usually the Dean or one of the Canons) and attended by occasional visitors and passers-by. Numbers attending Morning and Evening Prayer are usually in single figures. The attendance at mid-week Choral Evensong is bolstered by between 15 and 20 choristers and a small number of choir parents, together with a handful of faithful regulars. We do not currently do a great deal to publicise these services and it might be productive to promote them more actively. In addition, one way of expanding the reach of our daily pattern of worship would be to broadcast some or all of these services on the internet. This sounds relatively straightforward but there are potential issues to

20 consider further, for example with sensitivities and confidentiality in the intercessions. And although much of the participation in this way would probably be anonymous, such a service could create pastoral expectations which are beyond our current capacity to meet effectively.

Mondays

8.30 am Morning Prayer (Common Worship Daily Prayer) and Holy Communion (Common Worship Order One).

12 noon The Litany of Reconciliation. This short prayer of confession, based on the seven cardinal sins, was written in 1958 by Canon Joseph Poole, the first Precentor of the new Cathedral. It includes as a response the words ‘Father forgive’, echoing the reaction of Provost Dick Howard to the destruction of his Cathedral in November 1940. Visitors present when it is introduced (either in the Nave or in the Ruins) are invited to pause and join in as it is said at 12 noon each week day.

5.15pm Evening Prayer (Common Worship Daily Prayer). With the needs of visitors in mind, the Church of England’s ‘Pillar’ lectionary is used for weekday evening services.

Tuesdays

8.30 am Morning Prayer (Common Worship Daily Prayer).

12 noon The Litany of Reconciliation.

12.10 pm Holy Communion (Common Worship Order One) (on the 1st Tuesday of the month).

1 pm Prayers for Healing, sometimes with Holy Communion (at Holy Trinity Church). In recent years, this service has developed to the point where it no longer always incorporates the Eucharist. It may therefore be appropriate to restore a service of Holy Communion to the Cathedral in order to maintain the pattern of a daily Eucharist on Hill Top.

1.05 pm Ecumenical Service in the Chapel of Unity. This act of worship, organised and led by members of the Chapel of Unity community, is open to all those visiting the Cathedral.

5.15 pm Evening Prayer (Common Worship Daily Prayer).

Wednesdays

8 am Ecumenical Service in the Chapel of Unity. This act of worship is organised by members of the Chapel of Unity community and led by a variety of visiting ministers.

8.30 am Morning Prayer (Common Worship Daily Prayer).

10.30 am Holy Communion (Book of Common Prayer) (at Holy Trinity Church). As with the Sunday 8.00 am service, Holy Trinity supplies the officiating minister during odd- numbered months and the Cathedral team during even-numbered months. This service is normally attended by about two dozen people.

12 noon The Litany of Reconciliation.

5.15 pm Choral Evensong (Book of Common Prayer) during school term time and Evening Prayer (Common Worship Daily Prayer) at other times.

Thursdays

8.30 am Morning Prayer (Common Worship Daily Prayer).

10.15 am Mothers’ Union Corporate Communion (Common Worship Order One) (on the 2nd Thursday of the month).

12 noon The Litany of Reconciliation.

12.10 pm Holy Communion (Common Worship Order One) (on all except the 2nd Thursday of the month).

5.15 pm Choral Evensong (Book of Common Prayer) during school term time and Evening Prayer (Common Worship Daily Prayer) at other times.

Fridays

8.30 am Morning Prayer (Common Worship Daily Prayer).

12 noon The Litany of Reconciliation. Weather and other circumstances permitting, the Litany is said in the Ruins on Fridays. Many members of the Community of the Cross of Nails across the world are known to say the Litany of Reconciliation at this time each week.

12.10 pm Holy Communion (Common Worship Order One). This is currently the one service in the week when we use what we call the ‘Reconciliation Eucharist’, in which the liturgy, readings, prayers reflect the theme of reconciliation.

5.15 pm Evening Prayer (Common Worship Daily Prayer).

Saturdays

12 noon The Litany of Reconciliation.

12.10 pm Holy Communion (Common Worship Order One).

4 pm Evening Prayer (Common Worship Daily Prayer) (or occasionally a visiting choir will sing Choral Evensong).

The life of the Cathedral benefits enormously from a team of voluntary ordained and lay chaplains who make themselves available to talk and pray with visitors as required. Many of the chaplains take the opportunity to lead a short act of public prayer on the hour from the front of the Nave.

Special Services

The following special services take place during the liturgical year:

Given the geographical spread of the Cathedral’s regular Sunday morning congregation, festivals such as Epiphany, the Patronal Festival of St Michael, and All Saints’ Day are usually transferred to the nearest Sunday.

Advent Sunday ‘Light in our Darkness’, a procession with music and readings.

Sunday before Christmas Carols by Candlelight.

December 21st A Service for the Longest Night, a special provision for those feeling a particular sense of grief and sorrow at Christmas.

Christmas Eve ‘Journey to Bethlehem’ – children are invited to dress up as characters from the Christmas story and take part in the journey to the stable with carols and readings.

Christmas Eve ‘Form of a Servant’ – Coventry’s unique liturgy for Christmas Eve, originally devised by Joseph Poole, which focuses on the theology of divine self-emptying which lies at the heart of the Christmas story.

Ash Wednesday Liturgy at 12 noon and at 7.30 pm.

Monday of Holy Week Eucharist at 12 noon and Compline with Address at 7.30 pm.

Tuesday of Holy Week Eucharist at 12 noon and Compline with Address at 7.30 pm.

Wednesday of Holy Week Eucharist at 12 noon and Compline with Address at 7.30 pm.

Maundy Thursday Chrism Eucharist with the Blessing of Oils at 10.30 am.

Liturgy for Maundy Thursday and Vigil at 7.30 pm.

Good Friday Liturgy for Good Friday at 9 am.

Stations of the Cross at 2 pm.

Performance of one of the Bach Passions by Saint Michael’s Singers (the Cathedral’s choral society) at 6 pm.

Easter Day Dawn Service of Light, the Liturgy of Initiation and the First Eucharist of Easter.

Ascension Day Eucharist at 12 noon and Liturgy of Ascension Day at 7.30 pm.

Pentecost Informal evening service of Baptism and Confirmation. late June/early July Ordination services for Deacons and Priests. early September Saturday afternoon Celebration of Reader Ministry.

23 early November Commemoration of Faithful Departed (on a Sunday afternoon, usually with a visiting choir singing the Fauré or Duruflé Requiem). late November Saturday afternoon Baptism and Confirmation.

The following table gives an indication of attendance figures at special services in recent years:

Service 2012 2013 2014 2015 2016

Light In Our Darkness 232 264 256 252 310

BBC Coventry & 432 2000 1004 948 - Warwickshire Carols

Carols by Candlelight 328 511 452 610 603

Longest Night Service - - - 78 48

Journey to Bethlehem 924 1159 1022 542 695

The Form of a Servant 887 786 692 603 537

Christmas Eucharist 515 379 404 397 396

Ash Wednesday 12 noon 44 62 67 71

Ash Wednesday 7.30 pm 122 109 88 108

Palm Sunday 10.30 am 235 295 210 191

Monday of Holy Week 6 32 17 5 5 Eucharist

Monday of Holy Week 51 49 48 31 38 Compline and Address

Tuesday of Holy Week 3 11 8 10 5 Eucharist

Tuesday of Holy Week 46 43 42 36 41 Compline and Address

Wednesday of Holy 12 14 13 10 8 Week Eucharist

Wednesday of Holy 45 50 43 30 45 Week Compline and Address

Chrism Eucharist 264 427 273 312

Maundy Liturgy and 168 130 191 143 156 Watch

Good Friday Liturgy 153 144 146 130 142

Stations of the Cross 39 43 41 48

Easter Dawn Liturgy 145 105 138 161 136

Easter Day 10.30 am 402 353 404 435 Eucharist

Ascension Day 7.30 pm 120 88 85 136

Remember Our Child 152 127 130 Annual Service

Pentecost Confirmation 161 288 1400

Ordination of Priests 635 (11 542 (9 379 (7 355 (6 500 (10 candidates) candidates) candidates) candidates) candidates)

Ordination of Deacons 511 (11 624 (7 674 (7 802 (10 621 (5 candidates) candidates) candidates) candidates) candidates)

Celebration of Reader 138 295 394 Ministry (January) (September) (September)

Patronal Festival 191 234 249

Commemoration of All 93 104 71 Souls

Confirmation 653 360 211 324 184

APPENDIX 6: Cathedral Plan