Appomattox in the Cathedral

So the word has come down that the Lee and Jackson windows are being removed, consigned to some undetermined fate. Those who have read my earlier responses here and here may anticipate, correctly, that I am not terribly happy about this, but the events in Charlottesville surely sealed their doom.

Mark Tooley's article in First Things is a bit of a mess, and the comments of course are mostly a cesspool of posturing, but he manages to convey some of the rather mixed message of the cathedral fabric. This report produced by the task force set up to advise the cathedral on the windows is not particularly illuminating in its own right and especially as to the motivations of anyone other than a UDC member (you knew the Daughters were going to figure in this), and her offering is a classic in Lost Cause thinking, but when it comes down to it either Bishop Freeman (who was an upper crust New Yorker from birth) was misrepresented in his stated desire for a Lee memorial, or there were a number of Yankees who helped push this thing along. My impression was that they found Lee and then Jackson, who was added fairly late in the development of the memorial, honorable and even admirable figures; they were also plainly having Westminster Abbey delusions, into which certain prominent southern figures dovetailed nicely. And at least it was Jackson, and not Leonidas Polk. But while the cathedral has managed to maintain its claim to national religious ceremony (as witnessed most recently by its dogged participation in the Trump inaugural in defiance of progressive pressure), its memorials are scattered and unsystematic. Nowhere is this more evident than in the windows, which, except for Rowan leCompte's clerestory series, vary widely in style and subject, with the only pattern dictated by age and taste, and, well, by donors.

Those images form part of a fabric that is at once anamnetic and forward-looking in hope. "A house of prayer for all people" was an objective from the start, and while one can of course feel a certain hubris in the Episcopal assumption that they were ordained to do the uniting, the cathedral as a building stands as a monument to the idea of a nation gathered together in prayer. But the Episcopal Church itself has abandoned any such vision. Our leadership still suffers from the notion that they, by virtue of their positions, ought to be heeded, but they in reality have come to speak for a narrowed position that is still caught in the old boomer progressive contradiction of being simultaneously rebellious against authorities and utterly captured by leftist academia's elitist notions.

The torch-bearing mob in Charlottesville tipped the balance, of course: with Lee and Jackson being shrouded and indeed any figure on the wrong side of modern judgement about the war being taken away in the night, it was inevitable that the windows would be secularized and taken away to ignominy. But with their removal comes another moment of national irreconciliation. The national battle is not between alt-right fascists and righteous leftists, for the vast bulk of the nation would have neither in control in the end, contrary to the alarmists who serve the major political interests. Too many people have defended taking down the statues by making anachronistic attacks on Lee's character; he was no saint, nor were any of the other generals on either side, but to reduce him to a mere traitor is to apply a judgement out of time and in denial of a genuine conflict of loyalty. This is rewriting history, and while I have laughed at the romanticism of the Southern cause ever since I was old enough to understand the antics of the North Carolinians who populate my father's family, the current angry certainty of the left trivializes the issues faced by southerners when the war began. And my sense is that we have still further into a national ethos where the constraining civic virtues-- honor, loyalty, duty, respect-- shrink further from public life and become merely weapons: increasingly ineffectual, as the last presidential election showed. It is often said on the left that these were always honored more in the breach than the observance, but I do not believe that; and at any rate, if we do not aspire to them, the alternative is, well, the increasing nastiness we have now instead.

I'm not writing nasty or sorrowful letters to the cathedral, if only because I do not believe they will value my opinion. I have to hope that Dean Hollerith and Bishop Budde, unlike their immediate predecessors, will be able to deal with the empty tracery with some sensitivity instead of a display of triumphalist self-righteousness. And I pray that they can find a way to include those outside the progressive circle in the future of our national cathedral.

Shoot, If You Must, This Old Gray Head

Trigger warning: bad poetic allusions

Well, Dean Hall is gone from the national cathedral, and while he may not be moldering in the grave or anyplace else for that matter, some small bit of his soul is marching on in the announcement that the two representations of the confederate battle flag are to be removed from the Lee-Jackson windows and replaced with clear glass. It's oh so tempting to suggest that they should be replaced with white glass, but at least they aren't going to efface the whole thing, and for whatever reason they're leaving in the two representations of the confederate national flag. And, well, perhaps the Corps of Engineers flag should removed for offending the sensibilities of environmentalists everywhere.

OK, OK: sorry for all the cheap shots. But there's a certain irony in the whole project in that the whole controversy is over a very small fragment of a fabric deeply woven with a symbolism towards which the committed leftist progressive must have an uneasy relationship. Jesus to the north, sitting in royal judgement over the world; Jesus to the south, sitting in triumph; Jesus to the east for a majestic two-fer: it's all so royal. But at the same time, the towering presence on Mount St. Alban, the highest hill around, symbolizes the influence the cathedral establishment feels it deserves. In the '50s, it was still plausible; when the cathedral was finally consecrated in 1990, it perhaps was still plausible. But by then, already, the fragmentation of American society into warring political tribes had become a feature of public life, and the church, any church, could no longer present itself as the moral voice of the nation.

And by then there were no longer a series of signs along US 40, one each mile, telling the traveller the distance to the Barbara Fritchie House in Frederick. Whittier's poem, it is widely agreed, is something of a political pious fiction, assembled from a mixture of tales which more likely than not had their origin in the defiance of another woman, and which probably didn't involve Jackson. I have never visited the attraction, though I understand it is still in business. It was so blatantly a tourist trap as to be avoided by my parents. In the end a more scenery-conscious age swept the signs away, and a more cynical age swept away such pure sentimentality as Whittier wrote. There is something if the same naive secular hagiography in the window, which forgives the two of being on the wrong side of the conflict in favor of recalling their piety (which was quite real).

Such noble sentiments were once not ridiculed. As the First Things article from last year recounts, Dean "I marched with MLK even though my granddaddy was that great segregationist Woodrow Wilson" Sayre, under whose helm the window was commissioned and installed, wrote that "Cathedrals do not belong to a single generation. They are churches of history. They gather up the faith of a whole people and proclaim the goodly Providence which has welded that people together as they have hoped and suffered and believed across the centuries." Washington National Cathedral certainly was built under that vision, in the haphazard course of such projects; interrupted over and over, steered by benefactors and the whims of current taste, it is perhaps a miracle that it holds together as well as it does, and surely that can be ascribed to the long presence of Philip Frohman as architect. In it are recorded the concerns of a century of American life, through two world wars and into outer space. Perhaps one of my favorite memorials is the spot in a transept where it is carved that then Archbishop of Canterbury Geoffrey Fisher laid his hand in blessing; another remembers that Martin Luther King Jr. preached his last sermon in its pulpit.

And now, apparently, two pieces of clear glass, each about the size of my hand, are going to testify through the ages to the contrived twitchiness of early 21st century progressives. I suppose I should be grateful that Dean Hall's original notion was not carried through; and yet the window, in the hands of the cathedral chapter, has been turned from its original purpose of reconciliation into a permanent sign of division. The day may yet come when the battle flag is just history, and perhaps then some crate in the cathedral archives may be opened, and two old pieces of red, white, and blue glass may be returned to their former places. But I do not hold out hope that I will live to see the day.

Deans, Apparently, Gotta Hate

Seeing as how so much idiocy these days is being promulgated by deans, I'm increasingly inclined to think we should go back to John Walker's model and not have any. Today's specimen is the dean of the national cathedral, who I am told wants to yank the Lee-Jackson window for the sin of displaying the confederate battle flag. His rationale? "Hall [the dean] says celebrating the lives of the Confederate generals and flag now does not promote healing or reconciliation, especially for African Americans. Hall says the Confederate flag has become the primary symbol of white supremacy."

This is so much self-righteous crap. Obviously this is (a) about hating on the white south, and (b) feeling good about doing so. Dean Hall is, from what I can tell, another aging boomer; he's a Californian with the most impeccable progressivist credentials (went to EDS and served at All Saints Pasadena). He seems to be utterly clueless about white supremacists other than what he reads on the Southern Poverty Law Center, failing to recognize that his Yankee interloper stance helps justify their cause.

Look, he as much as admits that the window is, in its way, about reconciliation. Lee and Jackson were once hugely admired figures even outside the south. I personally, being the son of a man who left Charlotte NC with every intent of never returning, and having survived the Dukes of Hazzard period, take the "Stars and Bars" as a useful indicator of people who aspire to be southern hicks. I have no love for the banner, and no great love for southern culture; I won't live south of the Potomac, and my Ohio-born mother frequently found Maryland too far south for her. But the current, abrupt reaction to treat the battle flag with the same hatred as is directed at the Nazi flag is contrived and repugnant. It is now, in this hatred, a symbol of progressive hubris, and a sign of rejection of the gospel.

The current battle flag animus is not really about blacks at all. It's about making progressives feel good about themselves in spite of the fact that they can't do squat about the problems of poor blacks, and don't care squat about poor whites (who, after all, are racists through and through and therefore deserve to be hated). Taking out a window (and sticking in something about slavery instead) perhaps makes the cathedral a better House of Prayer For All Upper Middle Class People, but it also acts out every crazy right wing theory about self-hating white liberals.

I'm presuming that there will be enough backlash from cathedral donors that this asinine effacement isn't going to be carried out; and perhaps the whole point is for the dean to curry favor from his fellow progressives for Speaking Truth to Power (and never mind that he is the power here). In any case, I utterly oppose this.