Red-&-white striped Victorian cathedral in Byzantine style with gold, mosaics & marble interior.

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Westminster Cathedral

Westminster Cathedral, the mother church of the Catholic Church in England and Wales, stands apart from its more famous Anglican namesake through its Byzantine architectural style, a deliberate choice by architect John Francis Bentley. Constructed primarily of brick, the exterior is dramatically striped with Portland stone, a visual contrast rarely seen in English cathedrals. The interior, a cavernous space, is renowned for its extensive use of marble, sourced from around the world, and its unfinished state. Bentley died before its completion, leaving the west front largely unadorned. A fascinating detail lies in the chapel of St. Gregory and St. Augustine, a jewel box of intricate mosaics and marble work, showcasing the cathedral's commitment to artistic excellence. The campanile, known as the Westminster Cathedral Tower, offers panoramic views of London, accessible by lift, providing a unique perspective on the city's skyline. The sheer scale of the building, particularly the vast expanse of the nave, is breathtaking, a testament to Bentley's vision of creating a truly awe-inspiring space for worship.

Introduction

Westminster Cathedral's liturgical music tradition, central to its foundation, began with Cardinal Herbert Vaughan's vision for a "perfect rendering of the liturgy." Despite initial plans for Benedictine monks, a traditional choir of men and boys was established, marking the opening of the Choir School in 1901. Richard Runciman Terry, the first director of music, revived Renaissance compositions, establishing the choir's reputation with works by Byrd, Tallis, and Victoria. This focus on Renaissance Masses and motets in their liturgical context remains a cornerstone of the choir's activity.

The choir's continental sound was further developed by George Malcolm, particularly through recordings of Victoria's Tenebrae responsories. The choir has premiered works by Vaughan Williams, Britten, and Tavener, including Tavener's "The Beautiful Names," a setting of the 99 names of Allah. The Choir is fully engaged in the liturgy, not an occasional contributor.

The Grand Organ, built by Henry Willis III, contributes to the cathedral's distinctive sound, complementing the apse organ. The strategic importance of the choir is underscored by its role in the cathedral's mission, fostering music to the highest standard. Financial support is crucial to sustaining the choir, ensuring the continuation of its tradition of sacred music. The choir's performances, both within the cathedral and internationally, enhance its reputation.

Liturgical Music Tradition

Westminster Cathedral's artistic identity is significantly defined by its mosaics, an integral part of its design from the outset. The cathedral's founder, Cardinal Vaughan, envisioned mosaics as a key element, even soliciting ideas for a nave scheme depicting the history of the Catholic Church in England. However, the early stages of mosaic implementation faced challenges. The original architect, John Bentley, passed away in 1902, leaving few finished mosaics or detailed designs. This led to a period of trial and error, with future architects, donors, and the Cathedral Art Committee shaping the mosaic program.

The absence of Bentley's clear vision meant that mosaic styles and subjects were heavily influenced by donors and designers, resulting in a diverse range of artistic interpretations, from traditional arts and crafts to more modern styles. In one instance, installed mosaics in the Sacred Heart shrine were even removed after the artist's death. Despite these initial setbacks, significant mosaic work was eventually realized. Notably, the mosaic above the north-west entrance, installed after Pope John Paul II's visit in 1982, features the inscription "Porta sis ostium pacificum per eum qui se ostium appellavit, Jesus Christum." Other key mosaics include Saint Patrick, holding a shamrock and trampling a snake, and Saint Alban, designed by Christopher Hobbs in an early Byzantine style. Hobbs's work was well-received, leading to commissions for mosaics in the Saint Joseph chapel, including depictions of the Holy Family and men working on the cathedral, as well as the Saint Thomas Becket chapel.

Art and Mosaics

Westminster Cathedral, the largest Catholic church in England and Wales, stands as an ambitious example of Neo-Byzantine architecture in England. Designed by John Francis Bentley, its construction, spanning from 1895 to 1903, marked a deliberate divergence from the Gothic style favored by Anglicans, rooting itself instead in the early Christian Byzantine aesthetic. This choice was a statement, suggesting a longer historical lineage for the Catholic Church by echoing architectural styles found in Rome, Ravenna, and Istanbul.

The cathedral's design covers approximately 5,017 square meters and can accommodate up to 2,000 people. The structure is primarily brick, eschewing steel reinforcements, a testament to Bentley's belief in the capabilities of skilled craftsmanship without modern materials. Its spacious nave, measuring 18 meters wide and 70 meters long, is covered with domical vaulting, supported by interior buttresses reminiscent of Gothic cathedrals but confined to the interior. The domes rest on arches 27 meters above the floor, reaching a total internal height of 34 meters.

The pendentive domes, constructed of concrete with an outer shell of impervious stone, minimize weight and pressure. The eastern end reflects a Romanesque or Lombardic style, while the projecting transepts, with their gables and turrets, offer a Norman contrast. Inside, a notable feature is the massive Baldacchino above the high altar, crafted from white and colored marble, lapis lazuli, pearl, and gold. The cathedral's interior also showcases colorful mosaic art, a hallmark of Byzantine architecture, added after Bentley's death.

Neo-Byzantine Architecture

Westminster Cathedral, officially the Metropolitan Cathedral of the Most Precious Blood, stands as the largest Roman Catholic church in England and Wales and the seat of the Archbishop of Westminster. Its dedication to the Most Precious Blood of Jesus Christ is commemorated annually on July 1st. The cathedral's history is intertwined with the restoration of the Catholic Church's hierarchy in England and Wales in the late 19th century, conceived in memory of Cardinal Wiseman. The Archdiocese of Westminster views itself in continuity with the pre-Reformation Church, symbolized by the coat of arms mirroring Canterbury's, asserting a historical lineage dating back to Augustine of Canterbury.

Designed in a neo-Byzantine style by John Francis Bentley, the cathedral's interior showcases rich marble decorations and mosaics. The building covers approximately 5,017 square meters and can accommodate up to 2,000 people. Westminster Cathedral has received Apostolic Visits from Pope John Paul II in 1982 and Pope Benedict XVI in 2010. In 2006, Cardinal Cormac Murphy-O'Connor instituted an annual Mass in Support of Migrant Workers at Westminster Cathedral. The cathedral was also the venue for the reception and later ordination of three former Anglican bishops into the Personal Ordinariate of Our Lady of Walsingham in 2011.

Westminster Cathedral

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