Quotes about cathedral

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Mont Saint Michel and Chartres (1904)

Revolution (2014)
Context: For me, it’s standard. I don’t feel irresponsible for telling kids not to vote; I feel like I deserve a Blue Peter badge for not telling them to riot. For not telling them that they are entitled to destroy the cathedrals of tyranny erected to mock them in the heart of their community. That they should rise up and destroy the system that imprisons them, ignores them, condemns and maligns them. By any means necessary.' I might also note that I think it unlikely that people aren’t voting because I told them not to; it is more likely that they’re not voting because they are subject to the same conditions that led me not to vote.

Four Screenplays of Ingmar Bergman (1960).
Context: People ask what are my intentions with my films — my aims. It is a difficult and dangerous question, and I usually give an evasive answer: I try to tell the truth about the human condition, the truth as I see it. This answer seems to satisfy everyone, but it is not quite correct. I prefer to describe what I would like my aim to be. There is an old story of how the cathedral of Chartres was struck by lightning and burned to the ground. Then thousands of people came from all points of the compass, like a giant procession of ants, and together they began to rebuild the cathedral on its old site. They worked until the building was completed — master builders, artists, labourers, clowns, noblemen, priests, burghers. But they all remained anonymous, and no one knows to this day who built the cathedral of Chartres.
Regardless of my own beliefs and my own doubts, which are unimportant in this connection, it is my opinion that art lost its basic creative drive the moment it was separated from worship. It severed an umbilical cord and now lives its own sterile life, generating and degenerating itself. In former days the artist remained unknown and his work was to the glory of God. He lived and died without being more or less important than other artisans; 'eternal values,' 'immortality' and 'masterpiece' were terms not applicable in his case. The ability to create was a gift. In such a world flourished invulnerable assurance and natural humility. Today the individual has become the highest form and the greatest bane of artistic creation.
The smallest wound or pain of the ego is examined under a microscope as if it were of eternal importance. The artist considers his isolation, his subjectivity, his individualism almost holy. Thus we finally gather in one large pen, where we stand and bleat about our loneliness without listening to each other and without realizing that we are smothering each other to death. The individualists stare into each other's eyes and yet deny the existence of each other.
We walk in circles, so limited by our own anxieties that we can no longer distinguish between true and false, between the gangster's whim and the purest ideal. Thus if I am asked what I would like the general purpose of my films to be, I would reply that I want to be one of the artists in the cathedral on the great plain. I want to make a dragon's head, an angel, a devil — or perhaps a saint — out of stone. It does not matter which; it is the sense of satisfaction that counts.
Regardless of whether I believe or not, whether I am a Christian or not, I would play my part in the collective building of the cathedral.

The Mexican-American and the Church (1968)
Context: What do we want the Church to do? We don't ask for more cathedrals. We don't ask for bigger churches of fine gifts. We ask for its presence with us, beside us, as Christ among us. We ask the Church to sacrifice with the people for social change, for justice, and for love of brother. We don't ask for words. We ask for deeds. We don't ask for paternalism. We ask for servanthood.

From Critique of Everyday Life: Volume 1 (1947/1991)
Context: Everything great and splendid is founded on power and wealth. They are the basis of beauty. This is why the rebel and the anarchic protester who decries all of history and all the works of past centuries because he sees in them only the skills and the threat of domination is making a mistake. He sees alienated forms, but not the greatness within. The rebel can only see to the end of his own ‘private’ consciousness, which he levels against everything human, confusing the oppressors with the oppressed masses, who were nevertheless the basis and the meaning of history and past works. Castles, palaces, cathedrals, fortresses, all speak in their various ways of the greatness and the strength of the people who built them and against whom they were built. This real greatness shines through the fake grandeur of rulers and endows these buildings with a lasting ‘beauty’. The bourgeoisie is alone in having given its buildings a single, over-obvious meaning, impoverished, deprived of reality: that meaning is abstract wealth and brutal domination; that is why it has succeeded in producing perfect ugliness and perfect vulgarity. The man who denigrates the past, and who nearly always denigrates the present and the future as well, cannot understand this dialectic of art, this dual character of works and of history. He does not even sense it. Protesting against bourgeois stupidity and oppression, the anarchic individualist is enclosed in ‘private’ consciousness, itself a product of the bourgeois era, and no longer understands human power and the community upon which that power is founded. The historical forms of this community, from the village to the nation, escape him. He is, and only wants to be, a human atom (in the scientifically archaic sense of the word, where ‘atom’ meant the lowest isolatable reality). By following alienation to its very extremes he is merely playing into the hands of the bourgeoisie. Embryonic and unconscious, this kind of anarchism is very widespread. There is a kind of revolt, a kind of criticism of life, that implies and results in the acceptance of this life as the only one possible. As a direct consequence this attitude precludes any understanding of what is humanly possible.

St. IX
Ode on the Death of the Duke of Wellington (1852)

The Man With the Blue Guitar (1937)
Context: What is beyond the cathedral, outside,
Balances with nuptial song.
So it is to sit and to balance things
To and to and to the point of still,
To say of one mask it is like,
To say of another it is like,
To know that the balance does not quite rest,
That the mask is strange, however like.

Bewilderness (DVD, 2001)

Four Screenplays of Ingmar Bergman (1960).
Context: People ask what are my intentions with my films — my aims. It is a difficult and dangerous question, and I usually give an evasive answer: I try to tell the truth about the human condition, the truth as I see it. This answer seems to satisfy everyone, but it is not quite correct. I prefer to describe what I would like my aim to be. There is an old story of how the cathedral of Chartres was struck by lightning and burned to the ground. Then thousands of people came from all points of the compass, like a giant procession of ants, and together they began to rebuild the cathedral on its old site. They worked until the building was completed — master builders, artists, labourers, clowns, noblemen, priests, burghers. But they all remained anonymous, and no one knows to this day who built the cathedral of Chartres.
Regardless of my own beliefs and my own doubts, which are unimportant in this connection, it is my opinion that art lost its basic creative drive the moment it was separated from worship. It severed an umbilical cord and now lives its own sterile life, generating and degenerating itself. In former days the artist remained unknown and his work was to the glory of God. He lived and died without being more or less important than other artisans; 'eternal values,' 'immortality' and 'masterpiece' were terms not applicable in his case. The ability to create was a gift. In such a world flourished invulnerable assurance and natural humility. Today the individual has become the highest form and the greatest bane of artistic creation.
The smallest wound or pain of the ego is examined under a microscope as if it were of eternal importance. The artist considers his isolation, his subjectivity, his individualism almost holy. Thus we finally gather in one large pen, where we stand and bleat about our loneliness without listening to each other and without realizing that we are smothering each other to death. The individualists stare into each other's eyes and yet deny the existence of each other.
We walk in circles, so limited by our own anxieties that we can no longer distinguish between true and false, between the gangster's whim and the purest ideal. Thus if I am asked what I would like the general purpose of my films to be, I would reply that I want to be one of the artists in the cathedral on the great plain. I want to make a dragon's head, an angel, a devil — or perhaps a saint — out of stone. It does not matter which; it is the sense of satisfaction that counts.
Regardless of whether I believe or not, whether I am a Christian or not, I would play my part in the collective building of the cathedral.

“The Eloquence of Greta Thunberg”, Thomas Gaulkin, https://thebulletin.org/2019/04/greta-thunberg-climate-change-eloquence/ Bulletin of the Atomic Scientists (25 April 2019)
2019, "You did not act in time" (April 2019)

On working on a French-language dictionary as part his duties at the Académie française in “Dany Laferrière, The Art of Fiction No. 237” https://www.theparisreview.org/interviews/7040/dany-laferriere-the-art-of-fiction-no-237-dany-laferriere in The Paris Review (Fall 2017)

24 December 2018
Tom Peters Daily, Weekly Quote

Speech to the Congress of the People's Party in Jena (17 April 1919), quoted in W. W. Coole (ed.), Thus Spake Germany (London: George Routledge & Sons, 1941), p. 331
1910s

The Brothers Karamazov (1879–1880), The Grand Inquisitor

Genevieve Page, in p. 31
Christian Dior: The Man who Made the World Look New

Charitas (13 April 1791), quoted in Philip G. Dwyer and Peter McPhee (eds.), The French Revolution and Napoleon: A Sourcebook (Routledge, 2002), p. 50

The Strange Death of Europe: Immigration, Identity, Islam (2017)

Bk 2, Ch. 6. ii
The Good Companions (1929)

Source: Tom Van Grieken: The white person must be a dominant factor in our society." https://www.nieuws365.be/news/27302/tom-van-grieken-het-blanke-moet-een-dominante-factor-zijn-in-onze-samenleving.

Source: Pope sends message as new Cathedral blessed in Madagascar https://www.vaticannews.va/en/pope/news/2021-05/pope-francis-blesses-new-cathedral-saint-joseph-madagascar.html (1 May 2021)