FOR YEARS, the doors of the Cathedral of the Madeleine were open to anyone wishing to enter every day of the week. Catholic and non-Catholic alike could find respite from a troubled world by meditating, gazing at the brilliantly lit stained-glass windows or being inspired by the religious paintings.
However, on Feb. 12, 1991, the doors of the cathedral were locked, and would remain locked for two years. Parishioners were asked to move to Lowell Elementary School for worship services.Later, it was reported that the interior of the cathedral was an empty shell. The stained-glass windows had been taken down; the benches, confessionals and wood paneling had been removed; even the organ was gone. In their place was a network of scaffolding. Men moved gingerly on top of it as they stripped away the canvas ceiling.
Was this beautiful cathedral being razed?
Quite the contrary. The Cathedral of the Madeleine was experiencing a kind of metamorphosis - an extensive restoration that would continue for two years.
Several years before the restoration began, Beyer Blinder Belle, an architectural firm in New York, was asked to conduct a detailed reconnaissance study to determine what measures would be necessary to halt major deterioration and preserve the original stained-glass windows, murals, paintings and woodwork.
Over the years, the severe freeze-and-thaw weather cycles common to the region had taken their toll on the cathedral. In 1974, the Most Rev. Joseph Lennox Federal (bishop from 1960-80) undertook an exterior restoration program. It was completed in 1979 at a cost of a little over $1 million.
So, 10 years later, what was the projected cost for the renovation of the interior? $5.3 million - plus $1.8 million for a seismic retrofit and $1 million for the creation of an endowment to assist future conservation and preservation of the cathedral.
Since the Catholic community in Utah is relatively small, there was no way it could raise that kind of money by itself.
On April 9, 1989, the Most Rev. William K. Weigand, bishop of the Catholic Diocese of Salt Lake City and general chairman of fund raising, announced that three prominent Utahns had agreed to help in this multimillion-dollar restoration campaign. They were Ian M. Cumming, John W. Gallivan and Jon M. Huntsman. Later, Richard Keefer joined the committee.
Only one of these four men was Roman Catholic. But they all felt strongly that the Cathedral of the Madeleine was one of the most important architectural, historic and artistic treasures of both Salt Lake City and the state of Utah. They agreed it was the responsibility of everyone - Catholics andnon-Catholics alike - to cooperate in this major undertaking.
Committee members approached businesses, corporations, other denominations and the community at large for donations. Their efforts began to bear fruit. But it wasn't until two years after the group was organized that restoration began.
During an interview with the Rev. Monsignor M. Francis Mannion, rector of the cathedral, he listed the steps in this restoration process.
- The stained-glass windows were removed and shipped to the Rohlf Studios in New York, where they were disassembled and releaded. Then all of the original glass, except for broken and badly replaced pieces, was put back together like a jigsaw puzzle.
- Benches, paneling and other woodwork were taken to Granite Mill for cleaning and restoring.
- The canvas covering the ceiling was taken down, except for the sections occupied by eight painted angels. The exposed areas were then plastered. Then painters from Evergreene Studios, New York City, carefully hand-painted patterns along the borders of each section.
- The frescoes in the apse and murals in the sanctuary area were carefully cleaned, revealing original, vibrant colors. Therefore, touch up was not necessary.
Although many of the elements were restored, others had to be replaced. The paintings representing the 14 Stations of the Cross had deteriorated badly and new ones had to be created. The project was given to Roger Wilson, art department chairman at the University of Utah. To date, he has completed four of them.
In 1960, the chandeliers that originally hung in the cathedral were removed. Replicas were made by looking at old photographs. Although they look similar, the new ones are "high tech." The fixtures not only light up areas below, they also project light onto the ceiling.
Monsignor Mannion said that a number of new elements have been added to the cathedral.
- Two new stained-glass windows have been placed in the old baptistry.
- A new baptismal font, built with onyx from Italy and glass tesserae, is located in the nave close to the cathedral's entrance.
- The sanctuary is much larger now and has been placed where the nave and transepts cross. To accommodate it, about 80 benches had to be removed. But the new design allows for more participation in the liturgy.
In the center of the sanctuary's marble platform is a beautiful onyx altar. Monsignor Mannion calls it "the crown of the cathedral."
- A new chancel screen now separates the sanctuary from the apse. The screen as well as the tabernacle behind it were hand-carved by Ian Agrell and Thorpe, of Sausalito, Calif.
- A statue of Our Lady of Guadalupe by Patrick Fiore of Florida has been added. It is a high-quality reproduction of the original in Mexico City.
- Needlepoint on the chair backs and seats has been done by the Utah Needlepoint Guild.
- A new organ, built in Ireland by Kenneth Jones, has been installed and is still being tuned. Although it hides some of the lower portion of the rose window, Monsignor Mannion feels it's not a problem. "There are a number of church organs throughout the world that edge up into the rose window," he said. He pointed out that the old Kimball organ pipes that framed the rose window so beautifully were actually dum-mies.
When these new elements were being designed, care was taken to match the old with the new. Monsignor Mannion said, "We tried to take elements which are of modern character and integrate them with strong historic elements." He thinks the transition between one style and another is subtle enough to create a "seamless garment."
As Monsignor Mannion reflected on the cathedral's history, he said, "The cathedral was made possible by incredible heroism and self-sacrifice at the beginning of the century. Since that time, the whole Utah community has regarded it as part of Utah's architectural heritage."
He cited ways the cathedral helps the community. It provides:
- A place for prayer and reflection. Anytime of the day, anyone is welcome.
- An outreach program to the poor of the city, including sack lunches and food vouchers.
- A public education component, including a public lecture series.
- An arts program, including a yearly arts festival. "This is probably the best known and extensive way we serve the public," he said.
When you enter the restored cathedral and are attracted to the magnificent colors of the frescoes, murals and stained-glass windows, remember these words of Monsignor Mannion: "There is no way the present renovation could have taken place without the support of so many people of diverse and cultural backgrounds."
This visual feast is not due to light alone. Colors are brighter and iconography more meaningful because Catholics and other denominations have unselfishly joined hands. Working together, they have turned an impossible dream into a reality.