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Finally we hit upon the old cathedral of Amsterdam, which belongs to the Reformed Church and which we remodeled. The owners gave us permission, on certain financial conditions, to shoot the film there. Before that, we had planned to use the cathedral of Cologne, but two days before we began our preparations, The Cook, the Thief, His Wife, and Her Lover was shown on German television and the archbishop immediately forbade us from entering the cathedral site!
--
From an interview in Positif, January 1994

 

Peter Greenaway

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In all the Romish [Catholic] countries of Europe, France, Italy, Germany, etc., the God Christ, as well as his mother, are described in their old pictures and statues to be black. The infant God in the arms of his black mother, his eyes and drapery white, is himself perfectly black. If the reader doubts my word he may go to the Cathedral at Moulins—to the famous Chapel of the Virgin at Loretto—to the Church of the Annunciata—the Church at St. Lazaro or the Church of St. Stephen at Genoa—to St. Francisco at Pisa—to the Church at Brixen in Tyrol and to that at Padua—to the Church of St. Theodore at Munich—to a church and to the Cathedral at Augsburg, where a black virgin and child as large as life—to Rome and the Borghese chapel of Maria Maggiore—to the Pantheon—to a small chapel of St. Peters on the right hand side on entering, near the door; and in fact, to almost innumerable other churches in countries professing the Romish religion.

 

Godfrey Higgins

 

The Rev. Septimus Harding was, a few years since, a beneficed clergyman residing in the cathedral town of _____; let us call it Barchester. Were we to name Wells or Salisbury, Exeter, Hereford, or Gloucester, it might be presumed that something personal was intended; and as this tale will refer mainly to the cathedral dignitaries of the of the town in question, we are anxious that no personality may be suspected.

 

Anthony Trollope

 

The Hindu religion appears ... as a cathedral temple, half in ruins, noble in the mass, often fantastic in detail but always fantastic with a significance — crumbling or badly outworn in places, but a cathedral temple in which service is still done to the Unseen and its real presence can be felt by those who enter with the right spirit.

 

Sri Aurobindo

 

For the first time since I had been in Barcelona I went to have a look at the cathedral--a modern cathedral, and one of the most hideous buildings in the world. It has four crenellated spires exactly the shape of hock bottles. Unlike most of the churches in Barcelona it was not damaged during the revolution--it was spared because of its 'artistic value', people said. I think the Anarchists showed bad taste in not blowing it up when they had the chance, though they did hang a red and black banner between its spires.

 

Antonio Gaudi

 

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.

 

Ingmar Bergman