Worshippers attending the Cathedral of St. Thomas More will no doubt be eager to proceed directly to the nave to see the beautiful renovations and important additions that have transformed the “mother church” of the diocese.
But here’s some advice — immediately after entering the main doors, take a hard right and look for the small kiosk with an interactive touchscreen. It serves as an information booth, describing guidelines, architectural features, sacred art, liturgical furnishing and sacred spaces.
You can scroll through the entire easy-to-read presentation in minutes, and leave with a profound appreciation of what you’re about to encounter.
“Our cathedral’s transformation has been, literally, from the top down,” said Father Patrick L. Posey, rector. “There is so much to take in, and to learn about, the many aspects found within these walls. The interactive display gives visitors and pilgrims an up-close view of the changes. While they cannot sit in the cathedra, they can learn about its significance; they can learn about the purposeful design behind not just material choices, but why, for example, is the baptismal font eight-sided.”
The historical explanation for the baptismal font reads: “The eight-sided design — which dates back to the fourth century — evokes the reality that the sacrament of baptism is a new act of creation in the grace of Christ. This is also a reference to the resurrection and why we worship on Sunday, the eighth day, and not on the seventh day of the first creation (Saturday).”
Also in the category of liturgical furniture, we learn that the “cathedra,” Latin for “seat,” signifies the authority of the bishop. The word “cathedral” is derived from this and represents where the bishop’s seat is located. Hence, the Cathedral of St. Thomas More is the “seat of the Diocese of Arlington.”
Two dozen statues of saints are featured, representing the diversity of cultures in the diocese. They include St. Paul Chung, who was a leader of the church in Korea; St. Josephine Bakhita, the patron saint of Sudan and human-trafficking survivors; and St. Lorenzo Ruiz, the patron saint of the Philippines. Many cultural communities raised funds for the saint statues. Donor opportunities still exist for some statues and other sacred art and spaces.
Bishop Michael F. Burbidge is the donor for the statue of St. John Paul II. In his memorial inscription, Bishop Burbidge wrote, “With gratitude to St. John Paul II for naming me a bishop and in loving memory of my beloved parents, Francis and Shirley Burbidge.”
“The memorials are a way to honor those whose generosity brought these changes to fruition,” said Father Posey. “For them, and for all those who have made this journey with us, we are truly grateful.”
Major renovations took place in the sanctuary. Visitors are informed that the tabernacle, which was moved to the center of the sanctuary, represents the primacy of the Eucharist, and “Our Lord in the Eucharist rests centrally on the altar of repose.”
Towering above the altar, “The crucified Christ reigns. The new crucifix, as well as all the statuary, were designed, carved and crafted by artisans of the Stuflesser company, located in Ortisei, Italy.”
The crucifix, in front of the stained glass rose window, makes a powerful impact when first entering the nave. Massgoers will learn that “a Gothic rose window was emblematic of a well-ordered soul; its symmetry recalling the perfect unity found in our right relationship with God.”
All the information provided in the small kiosk is a feast for the soul, and will surely enhance the worship experience for anyone visiting the new “mother church.”
