Conservation & Heritage Issue 50 Winter 2025/Spring 2026 - Flipbook - Page 39
wooden frame – not to mention the financial constraints of
the Chapter’s planned maintenance budget – its undertaking
was nevertheless deeply rooted in the cathedral’s longterm aim to increase legibility in (and therefore access to)
its collections. Contributing these glass panels, as the star
exhibit, to the British Museum’s Murder and Making of a
Saint exhibition in 2021 was a tangible example of what the
cathedral has within its gift to offer twenty-first century life.
Us from poet Alex Vellis and curator Jaqueline Creswell –
that on the one hand offer stark contrast to the earnestness
of our architectural conservation work but are continually
broadening both audiences and representation within the
cathedral. As we head towards the Church of England’s
missional target of being carbon net zero by 2030, the
Chapter sees the actions they take as carrying prophetic
significance; the physical manifestations need to be tangible,
seen and felt equally towards that goal.
Chapters embracing challenges
Custodians of craft and conservation
The Miracle Windows contains one of the earliest known
depictions of pilgrims travelling to Canterbury, and for many
centuries the notoriety of Becket and the miracles associated
with his cult gave rise to flourishing income stream from
pilgrimage. Latterly, however, the £30,000-a-day upkeep of
the estate has brought the harsh realisation that cathedrals
are not immune from economics.
Achieving sustainability, in all meanings of the word, requires
partnership. Aligned thinking between those devising the
vision and those delivering it is crucial in meeting targets, be
they revenue, carbon reduction, or access based. Like many
custodians of historic buildings, the Chapter of Canterbury
Cathedral has sought to achieve this through the collective
concept of ‘stewardship’, whereby the responsibility for the
estate’s preservation and enhancement is shared and focused
on long-term impacts.
Whilst generous donations and grants from many
organisations and individuals connected with the cathedral,
in addition to those from the Chapter and NLHF, made this
latest phase of works possible, consensus was reached long
ago on the need for the cathedral to be self-sufficient and
sustainable. The creation of new exhibition spaces in underutilised areas to display previously unseen collection items
and incorporating facilities such as a new visitor centre,
shop, and community studio have been at the heart of a
drive to diversify new revenue streams. Unconventionally
juxtaposed with thought-provoking installations – such as
Arabella Dorman’s Suspended and the aforementioned Hear
I
Putting craftsmanship, traditional skills and bespoke trades
at the heart of each phase of works has been a distinctly
Christian and community-focused way of ensuring the
achievements of each project transcends the fabric of the
buildings. The Canterbury Journey included four local
apprentices – two stonemasons, a carpenter and a leadworker
– and integrated the cathedral’s own Stained Glass Studio in
order to fulfil the strategic ambition of putting education at
the forefront of the cathedral experience.
Conservation & Heritage Journal
37
I
