Time to Hope: Cathedral of St. John the Divine, New York Museo De San Francisco, Santiago De Chile

By Winter, Jacqueline B. | Anglican Theological Review, Winter 2004 | Go to article overview

Time to Hope: Cathedral of St. John the Divine, New York Museo De San Francisco, Santiago De Chile


Winter, Jacqueline B., Anglican Theological Review


Time to Hope: Cathedral of St. John the Divine, New York

Museo de San Francisco, Santiago de Chile

Every friendship has special places-comers of intimacy that are treasured and remembered. And so it is for me as I remember Jim Griffiss, as I reflect on the ten years we worked together: the daily phone calls-sometimes two or three or four-the lunches out, the visits to each others office and home. I call myself blessed for those years we worked together as editor and managing editor: always colleagues, always friends, and always dependent on each others gifts, judgment, and caring.

Jim and I shared an interest in art and a love of Spain and Latin America. After solving work problems, or even to avoid them, these were the topics we turned to for fun and for discovery of each other. Jim told me stories of traveling in Spain with Louis Weil, of the years in Puerto Rico at the Episcopal Theological Seminary of the Caribbean, and I spoke of my journeys in both Spain and Latin America. We bought each other art books or exhibition posters for birthdays and Christmas. And in our most exhausted moments, we planned an imaginary trip through Spain, revisiting places he had so loved and exploring towns that I longed to know. In Jim's memory, I write here of an exhibition and a museum, both of which he would have cherished.

In the Fall of 2002, the Foundation "Las Edades del Hombre" (The Ages of Mankind) in conjunction with the Government of Castile and Leon sent a gift to the city of New York: an exhibition of 101 works of art, entitled Time to Hope. As a symbol of solidarity in memory of 9/11 and in the spirit of Christ, these treasures Riled the ambulatory and five side chapels of the Cathedral of Saint John the Divine, drawing crowds of people from around the country to view works never shown in the United States and rarely seen even in Spain.

Directed by the Rev. Dr. Antonio-Ignacio Melendez Alonso, the Foundation has its headquarters in a former Cistercian monastery of Valladolid. There the artistic riches of Castile and Leon are researched, catalogued, and restored. The cathedrals, parish churches, convents, and monasteries of this artistically and historically rich region are the Foundations resources. Although they have now put together more than ten shows, the Foundation has displayed only a small fraction of the works available from the close to 11,000 locations they oversee.

I visited the exhibition in November 2002 and met there with Dr. Melendez and his sister, Srta. Maria Melendez Alonso, a Foundation staff member and editor of the exhibition catalogue. They described the Foundation s philosophy and the four principles underlying their art presentations. First, Dr. Melendez explained, the works must be approachable: pieces are never set at a distance nor are they cordoned off from the visitor. With the exception of manuscripts and some objects that are small and precious, the works are open and within reach. Within reach is the point. They are close. The space between viewer and object is intentionally reduced to create an intimacy which, in Melendez's words, "returns the voice to the icons." This sense is reinforced by the lighting of the objects, a second principle of the presentation. As far as possible, illumination is natural or "house" lighting. In the late afternoon at the Cathedral, as the choir practiced and the last of the day's light filtered through the windows, the works had a spiritual quiet no museum could ever match. Though some of the pieces were difficult to see, especially the small reliquary boxes in the ambulatory, the overall effect was well worth the loss of an occasional detail.

A third principle, which may have been disconcerting to many viewers, is to curtail written information within an exhibition. In the New York exhibit, although an excellent catalogue and audio guides were available, the objects had no labels. For the frequent museumgoer this is shocking-and yet, after speaking with Melendez, I found it both understandable and acceptable, even admirable. …

The rest of this article is only available to active members of Questia

Sign up now for a free, 1-day trial and receive full access to:

  • Questia's entire collection
  • Automatic bibliography creation
  • More helpful research tools like notes, citations, and highlights
  • Ad-free environment

Already a member? Log in now.

Notes for this article

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Default project is now your active project.
Project items

Items saved from this article

This article has been saved
Highlights (0)
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

Citations (0)
Some of your citations are legacy items.

Any citation created before July 30, 2012 will labeled as a “Cited page.” New citations will be saved as cited passages, pages or articles.

We also added the ability to view new citations from your projects or the book or article where you created them.

Notes (0)
Bookmarks (0)

You have no saved items from this article

Project items include:
  • Saved book/article
  • Highlights
  • Quotes/citations
  • Notes
  • Bookmarks
Notes
Cite this article

Cited article

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited article

Time to Hope: Cathedral of St. John the Divine, New York Museo De San Francisco, Santiago De Chile
Settings

Settings

Typeface
Text size Smaller Larger Reset View mode
Search within

Search within this article

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Full screen

matching results for page

Cited passage

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited passage

Welcome to the new Questia Reader

The Questia Reader has been updated to provide you with an even better online reading experience.  It is now 100% Responsive, which means you can read our books and articles on any sized device you wish.  All of your favorite tools like notes, highlights, and citations are still here, but the way you select text has been updated to be easier to use, especially on touchscreen devices.  Here's how:

1. Click or tap the first word you want to select.
2. Click or tap the last word you want to select.

OK, got it!

Thanks for trying Questia!

Please continue trying out our research tools, but please note, full functionality is available only to our active members.

Your work will be lost once you leave this Web page.

For full access in an ad-free environment, sign up now for a FREE, 1-day trial.

Already a member? Log in now.