Anniversary of the Dedication, 2023

This sermon was preached on October 8, 2023. At St. Mark’s, we keep the second Sunday of October as the Anniversary of the Dedication of the Church. Today the Eucharist is offered in thanksgiving for all departed founders, architects, builders, pastors, and benefactors of the parish, whom we name aloud at the Offertory.
Collect: Almighty God, to whose glory we celebrate the dedication of this house of prayer: We give you thanks for the fellowship of those who have worshiped in this place, and we pray that all who seek you here may find you, and be filled with your joy and peace; through Jesus Christ our Lord, who lives and reigns with you, in the unity of the Holy Spirit, one God, now and for ever. Amen.
Readings: 1 Kings 8:22-30, 1 Peter 2:1-5,9-10, Matthew 21:12-16
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In the Name of God, Father, Son, and Holy Spirit, Amen:
This is always one of my favorite Sundays, because it means the preacher’s task aligns with one of my favorite subjects: the actual physical building of the church. Churches in general, and St. Mark’s in particular, are full of many successive layers of symbol, intention, and experience, making them unique among the buildings of any given city, region, or country.
Like all good art, celebrating churches as physical buildings is not merely for experts and technicians, but for everyone, and especially for the people who make our home here. This building preaches as well or better than any preacher, including myself, and I hope this morning merely to help us all hear a little better the sermon this building preaches continually.
For a framework, I’m going to draw more heavily than usual on an author beyond the scriptural text. Maybe you’ve heard of the famous American architect, Ralph Adams Cram. Roughly contemporary with Frank Lloyd Wright, Cram was just as prolific a builder — principally of church buildings, but of others too: much of Princeton University is his design, and the old campus of Rice University; also St. John the Divine in New York, and other cathedrals, schools, houses, and universities across the country, including a few skyscrapers too — and all this while also serving as a professor at MIT and writing extensively about art, history, society, and church building.
In one of his major books on the subject [Church Building, 1901], Cram suggests a church — any church, whether a tiny village chapel or a great cathedral — has four major qualities essential to its integrity as a church. He orders them from the first and most important to the least, but I’ll begin the other way around, from the last to the first. All are essential, but Cram was particular about the order, in order that first principles might remain first.
Fourth in his list of essential “qualities of a church” was, in his words, “The arrangement of a building where a congregation may conveniently listen to the instruction of its spiritual leaders.” Okay, that much may be obvious, but it’s worth noting nonetheless. “The arrangement of a building where a congregation may conveniently listen to the instruction of its spiritual leaders.” Practically speaking, that means the lectern and pulpit you see before you, in St. Mark’s marvelous acoustic. And what is it that the congregation hears at St. Mark’s? A sermon, lessons from Scripture; the prayers of intercession we offer, the words of the Eucharistic prayer; also the hymns we sing and the anthems offered by the choir. The organ speaks, too, and the piano, and the harpsichord, and when we gather in this church we hear all of these individuals, texts, instruments, and the resonating building itself, speaking in harmony.
There is no single message that these all give voice to. To borrow a musical image: like the Gospel itself, St. Mark’s speaks and listens in polyphony, not in melody, and certainly not in monotone. Still, there is an underlying harmonic structure, which speaks underneath it all. And what it speaks is the ancient hymn of the thankful church, Te Deum Ladaumus, “We praise thee, O God.”
Next in Cram’s essential qualities of a church is, in his words, “The creation of spiritual emotion through the ministry of all possible beauty of environment; the using of art to lift people’s minds from secular things to spiritual, that their souls may be brought into harmony with God.”
For Cram, listening, noting the underlying harmony of so many voices, was not enough; a church worth the name ought to evoke in each individual person, through “the ministry of all possible beauty,” their own desire, not just to enjoy the sound of harmony, but to be part of it, to be part especially of God’s harmony. Any barn, any auditorium, can be rigged so a congregation can hear readers, preachers, and musicians. But for Cram a church had to be more, had to, by its very beauty, evoke the desire to enter a larger world, to enter God’s world.
I can’t speak for anyone but myself here, but when I step into this church from off the street, I am always brought up short by the stillness of the space, by the way light from the skylight over the apse plays through the chancel; by the greens and reds and blues and golds of the creation windows bringing out the deep reds and browns of the pews and the floors; by the great chancel arch framing the space; and, though it’s still off being restored, by the dazzling kaleidoscope of the rose window ushering in the setting sun.
It’s clear to me this whole space is alive, even when it’s empty; that its heart beats to the same rhythm that drives the harmonies spoken here when it’s full. I’m sure you have your own favorite corner, or pew, or pillar, that inspires you in similar ways. I don’t think I’m alone when I say, what it evokes is not simple enjoyment, though it is that; there is a kind of deep gratitude, a peace larger than my own making that seems to well up within me, and I am drawn beyond myself into the mysterious depths the building begins to reveal.
Cram’s next essential quality of a church is, in his words again, “The providing of a place apart where may be solemnized the sublime mysteries of the Christian faith.” Now we get to the specific rites a building such as this hosts, and their purpose.
“The providing of a place apart where may be solemnized the sublime mysteries of the Christian faith.” You can be baptized in a bathtub, and the sacrament is no less valid or true. But there is something really significant about having a place, a specific place, where not just I am baptized, but where dozens and hundreds and thousands are; in old churches, where a hundred successive generations have been incorporated into the Body of Christ.
Behold the font, at the back of the church: a beautiful object, certainly, but more than that, the place where souls are hid with Christ in God. Look at the altar, the freestanding one we use most Sundays, or the high altar we’re using today. Not just so much beautiful stone and wood, though certainly that: here is an anchor from earth to heaven, its feet in Berkeley, California, but its head on the farther shore of that great crystal sea that flows around the throne of God.
St. Mark’s is a place apart, where in the name of God we solemnize the sublime mysteries of the Christian faith, mysteries in which we locate the salvation of our souls and the renewal, the redemption, the healing of the whole world. These are the solemn pageantries we offer day by day, week by week, year by year, in which life – our own lives first of all, but also creation more broadly – is offered, lifted before the throne of God, for God to do with according to his loving purposes.
So we come to Cram’s first and foremost of the essential qualities of a church. If the other three have been familiar to us, this first may be less so; it may be the most difficult for modern, 21st century residents of the Bay Area of California to imagine. But for Cram it was so important that without it everything else falls to pieces.
And that is, in his words, first and foremost, “A church is a house of God, a place of His earthly habitation, wrought in the fashion of heavenly things, a visible type of heaven itself.” He’s echoing here the patriarch Jacob at Bethel, in the book of Genesis, who says, “How dreadful is this place! This is none other but the house of God, and this is the gate of heaven.”
There are few ideas more core to Old Testament theology than the idea that the earthly temple is a mirror of the heavenly temple; and, by extension, that earth itself is a mirror of heaven. The two are connected. Temples, shrines, places of worship — official or unofficial, large or small, grand in Jerusalem, rustic on hilltops, or miniature in homes, are God’s dwelling first, and, if mine at all, then mine second.
I said a few moments ago, that the feet of St. Mark’s altar are in Berkeley, and its head in heaven. But under this first and most important of Cram’s qualities of a church, the reverse is true: its feet are firmly rooted in heaven, and here in Berkeley we simply witness the long extent of its reach. When I walk into the empty church and am struck by the heartbeat of so many voices in harmony, the voices are mine and yours, the readers, the scriptural and musical texts, the organ; but the heartbeat is God’s. When we come to the altar and kneel at the rail, it may be Blake Sawicky wearing a chasuble and distributing Hosts. But the priest is Christ, the fare is Christ, and the occasion is Christ’s — his last supper, his sacrifice on Calvary, and his wedding banquet at the completion of all things. We are guests at that table, guests whom God welcomes into the family of his only Son; whose acts of love on the cross we repeat, heavily stylized though they may be, in the Sacrament of the Eucharist.
Yes, it’s crucially important that this church be first and foremost God’s house, before it is any of our own. Why? Well, if for no other reason, there is the purely pragmatic one — this being God’s house saves us from the traps of egotism waiting to catch us unawares in the other three qualities. Listening, evoking emotion, solemnizing our faith, all of these can quickly make our religion about us and the marvelous thoughts and experiences we’re having, if we forget that first of all, when we enter St. Mark’s we enter a place that is God’s before it is ours.
But even more importantly than that, remembering that this is God’s house first makes it clear to whose honor and glory it exists, and who it is who receives the faithful service we offer, service we offer either here in this place itself, or as a result of having been here. This is God’s house, first and foremost, a mirror of the heavenly temple. Like creation itself, its work will not finally be complete until the mirror is burnished to such a polish, to such a clear, such a perfect reflection, that glass, silver, senses themselves pass away and we step wholly and completely into the image it reflects.
There’s an old painting I love, and I can’t remember the painter or the title, or else I’d find a print somewhere and hang it up in the narthex. It’s probably the saccharine sort of thing only a priest would love, but bear with me a moment — it shows the inside of the church, from the perspective of the very back wall, looking far forward in the misty distance towards some glorious liturgy being offered at the altar, which is bathed totally in light. We can’t really make out the specifics of what’s happening, it’s too far away, and anyway it’s much too bright.
What we can see is a woman in the dim foreground, on her knees in the last pew, many empty ones in front of her, suffering from some unknown grief, praying and leaning against a pillar for support. She is pointed towards the altar, but she’s so absorbed in her grief it’s not clear she’s even aware of what’s happening up front. But she doesn’t have to be aware, because just behind her, radiating the same golden glory as the altar, is Jesus himself — whatever is happening up front can take care of itself, but he’s there in the back for her; he holds her steady, ministers to her as the angels must have ministered to him in Gethsemane. It’s just a painting, but it’s truer than any treatise: this is God’s house, and all who seek him here, in whatever way they can, will find succor.
So we give thanks for this church. We give thanks for the founders, architects, builders, pastors, musicians, and benefactors who have done so much to leave us such a beautiful legacy. We give thanks for the sermon this legacy continually preaches: that this is none other than the house of God, and here is the gate of heaven; that there is traffic, concourse, love between heaven and earth; and that what is created will be brought to its fulfillment in the nearer presence of its Creator. And we give thanks for all whom this mystery has touched here, whose lives now bear the unmistakable imprint of heaven.
So may St. Mark’s be the place where what we seek we find, where what we ask is granted, where the door is opened onto another shore and a greater light; where we offer the solemn pageantry of the sublime mysteries of the Christian faith; where our hearts are lifted to beat in harmony with God’s, and where every voice joins the great polyphonic hymn of angels and saints, “Holy, Holy, Holy, Lord God of hosts; heaven and earth are full of thy glory; hosanna in the highest.”
Amen.

