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St Paul's Cathedral Trust in America Mission and 2024-2025 Priorities

Table of ContentsWords of Welcome and Support 4The American Connection to St Paul’s Cathedral 6The Remarkable Life of Sir Christopher Wren 14How we can help to make history 20

Letter from the Chairman of The St Paul’s Cathedral Trust in America St Paul’s Cathedral Trust in America was established in 1994 with a mission toexpand and enhance the relationship between the people of the US and UKthrough all that St Paul’s Cathedral represents.The current fundraising priority for the American Trust is twofold. The first is tosupport the Girls’ Voices Chorister Program which is introducing the first generationof girls into the chorister tradition. Our second priority is to assist with a largerCathedral fabric program which will begin with the restoration of the Ball & Cross onthe Dome of the Cathedral.As we share with you the history of the American connection with St Paul’s Cathedraland the fundraising priorities, we hope that you will consider joining our efforts tosupport these important and historically significant projects. We owe an immenseamount of gratitude to our donors and thank you all for your support.David R. FredianiChairman4

Dean Andrew Tremlett with the Honorary Co-ChairsAmbassador Robert Tuttle and Mrs. Maria Hummer-Tuttle in the American Memorial Chapel

The American Connection to St Paul’s Cathedral Early HistoryThe relationship between St Paul’s Cathedral and the American people goes backcenturies, beginning with the immediate aftermath of the Revolutionary War. It ispossible to view memorials both to Americans and British who served in theRevolutionary War and the War of 1812. In the crypt, one can find a bust of GeorgeWashington, commissioned by William Ordway Partridge. Upon the installation of thebust within the crypt, President Warren Harding is said to have expressed the desirethat the work would bring together the American and British peoples in the face ofthe common sacrifice they had made in the First World War. The first American to have been buried in the crypt is noted painter Benjamin West, apresident of the Royal Academy in the early nineteenth century. Artist Edwin AustinAbbey is also interred here. In the Trophy aisle of the triforium, one can find ondisplay a dedicatory plaque to Christopher Wren made by the Architectural Leagueof New York on the occasion of the bicentenary of his death. American generosity was responsible for some of the major improvements made tothe Cathedral within the last two centuries. After complaining about the limitednighttime visibility of the dome, American financier JP Morgan sponsored theinstallation of electric lighting in the cathedral. Morgan had been an early investor inThomas Edison’s lighting company and lavished the space with today’s equivalent ofmillions of dollars worth of lighting. The work took several years to execute, beingfinally completed in 1902. The first lighting of the Cathedral was celebrated thatEaster. Press reports from the ocasion marvel at the “cunning use of hidden lamps”that was able to evoke the “solemn grandeur” of the dome. That JP Morgan did nothave to squint anymore was to the benefit of all.The construction of Washington Cathedral at the turn of the last century markedanother chapter in transatlantic cooperation. Because the bishops of London hadlong enjoyed a special relationship with the churches in and around Virginia, it wasBishop Arthur Winnington Ingram who blessed the cornerstone of the AmericanCathedral. Moreover, Americans requested and received from St Paul’s a stone, so asto incorporate some token of Christopher Wren’s masterpiece into their own design.After the war, Bishop Wand of London would send pieces of St Paul’s to churchesacross America, in an effort to “remind future generations of the unity in faith of twogreat peoples.”6

World War IIDuring the second world war, St Paul’s became a beacon of hope for people on bothsides of the Atlantic. The bombardment of London during 1940 did not spare thecathedral: one bomb fell directly over the high altar, causing significant damage tothe ceiling, the space around the reredos, and the organ. The cathedral was hit againin the subsequent year, sustaining damage to the transept and the doors; fire fromneighboring structures was a constant threat. Around this time in the press therebegan to circulate images of the cathedral surrounded by smoke and flames. Thus itwas that the majestic cathedral dome became forever remembered as a symbol ofresilience during London’s darkest hour. During the war, the congregation of Washington Cathedral took a great interest inthe preservation and well-being of their sister congregation across the pond, as isattested by several fundraising drives and direct contributions made to St Paul’s byAmerican bishops.After the War: Commemoration and CooperationAs it had already served for several centuries as a site of commemoration, St Paul’swas perhaps a natural venue for remembering what had been lost in those fiveterrible years of the war. However, it is also true that several specific events werelikely to have precipitated the construction of a memorial specific to the Americanswho had died in Britain. The relationship between the two countries was very strong toward the end of thewar. In April 1945, St Paul’s held a memorial service for President Franklin DRoosevelt. In attendance was First Lady Eleanor Roosevelt, accompanied by KingGeorge VI, Elizabeth II, and Prime Minister Winston Churchill. Shortly thereafter, tocelebrate VE day General Eisenhower made a speech stressing the common causeand friendship that existed between the people of Britain and the USA. Beyond the geopolitics of the postwar period, the idea of a chapel emerged from apersonal relationship between two men who deeply cared about commemoratingthe sacrifices of American service members. In the months immediately following thewar, Dean Matthews of St Paul’s happened to be visiting with Lord Trenchard,marshal of the Royal Air Force, who expressed his wish for a site to memorialize theAmerican war dead who had perished while serving in Britain. Without hesitation,Dean Matthews offered St Paul’s as a suitable venue, with a plan to incorporate thememorial within the space behind the altar (formerly Jesus Chapel) that had beendestroyed by the bombing. 8

With the site provisionally secured, Lord Trenchard made plans with Sir Clive Baillieu(later Lord Baillieu), a British industrialist with strong ties to America, in order tosecure the necessary funds for the memorial. The pair were also contacted byGeneral Eisenhower himself, who offered American financial support. That offer,however, was resolutely declined. Trenchard and Baillieu desired the chapel to be agift from the British people, made in response to the incalculable sacrifices of somany Americans during the war. In lieu of a financial gift, General Eisenhower offeredto commission a Roll of Honour, which would contain the names of the Americansmemorialized by the chapel. This offer was graciously accepted.The Roll of Honour was designed by American sculptor Trygve A Rovelstad, whoseprior work included the engraving of the medals awarded to American servicemembers. Rovelstad’s team also included a number of British artisans who assisted inits production. The finished product is an exquisitely ornamented red leather volume,whose cover is embossed with gold and precious stones. The Roll contains 473 pagesof gilt vellum recording the names, rank, and service details of around 28000American service members who died in or en route to British territory. The Roll wasdigitized in 2007 and is available to view on the cathedral website.The fundraising campaign to build the chapel was marked by its grassroots character.At every bank across Britain collection sheets appeared, and in every cinema wereset out donation jars marked for the memorial. The Women’s Voluntary services wereinstrumental in organizing the fundraising effort. Appeals were made via short film,news media, print advertisements, and radio. Within three years, they had raised100,000 GBP, or the equivalent of 4.8 million USD in 2021. Even with the funding for the chapel secured, the Chapter of St Paul’s continued topromote the project of commemoration throughout the 1950s. The dedicationceremony for the Roll of Honour in 1951 saw the attendance of Churchill, Eisenhowerand the royal family, attesting to the importance of the project in the nationalconsciousness. An extensive choir tour was organized in 1953, which sent therenowned choristers of St Paul’s to travel across north america, performing in venueslarge and small in the US and Canada.The Chapter of St Paul’s designed the American Memorial Chapel as part of abroader renovation of the damaged reredos and high altar, which would nowcommemorate the overseas war dead of the commonwealth and Europe. As acenturies old masterpiece and the national Cathedral of Britain, it was essential thatany new designs maintain the artistic integrity of the space.10

The physical space of the chapel was designed to pay homage to Wren’s originalaesthetic. For example, the lime wood paneling is carved with scenes from thenatural world of plants and animals native to America. The work is meant to evokethe style of Grinling Gibbons, the master carver who executed Wren’s original vision.Likewise, the iron altar rails of the chapel recall the gates cast by Tijou, and theycontain a series of dates significant to the USA and Britain. One area where thechapel departs from Wren’s vision is the use of stained glass, the only use of thematerial in the entire cathedral.After a lengthy planning, approval, and construction process, the new chapel wasdedicated on November 26th, 1958 in a majestic full state service. Queen Elizabethunveiled the memorial inscription. The occasion was historical, as it marked the firsttime a reigning monarch had spoken in the Cathedral. St Paul’s TodaySt Paul’s American Memorial Chapel continues to be visited by the families ofAmerican service members as a kind of pilgrimage to this site of commemoration.The space is also incorporated into the daily worship services at the cathedral. Theintroit of most evensong services is sung within the space and resonates outward intothe surrounding Quire. The Cathedral continues to serve as a site of commemorationand cooperation between the two nations. Many notable Americans have visited theCathedral, including Martin Luther King Jr., who preached a sermon there in 1964. Amemorial service for President John F. Kennedy was held there, and likewise aremembrance service in the aftermath of September 11th, which was attended bymembers of the royal family and the American ambassador. In subsequent years, theCathedral has held annual services to continue to remember those who died onSeptember 11th.For many decades, the maintenance of the Memorial Chapel was the care of theCathedral. However, the St Paul’s Cathedral Trust in America, established in 1994under the leadership of William R. Miller began to assume a growing share of thenecessary maintenance and cleaning costs. In 2006, the Trust raised sufficient fundsto completely clean and restore the space. Miller himself donated the funds for thenew chandeliers in the nave. A special service in November of 2008 saw theattendance of American Ambassador Robert Tuttle, as well as American veterans andtheir families, who sat in the pews for the first time since 1958. Also in attendancewere the descendants of Lord Trenchard, as well as the choristers who had beenpresent at the original dedication.This history is based on the exceptional book by Peter Chapman, A History of St.Paul’s and the American People. We are honored to have Peter and his wifeStephanie, with us this evening.12

The Remarkable Life and Legacy ofSir Christopher Wren Sir Christopher Wren is one of history’s great polymaths. Though best rememberedas an architect, he was also a mathematician, a physician, an astronomer, an artist,and an inventor. He was born on October 20, 1632, the son of Christopher Wren, theDean of Windsor under King Charles I. But the Wren family’s position changeddrastically when parliament rose against Charles I and the English Civil Wars began. Charles I was driven out of London, and his supporters, including the Wrens, becamepariahs. For the young Wren, this social upheaval and removal from aristocratic lifewas a stepping stone to a series of apprenticeships where his many gifts becamerapidly apparent. Wren’s first apprenticeship was under a physician named Charles Scarburgh, whomWren first met as a patient. Dr. Scarbugh quickly recognized Wren’s intelligence andtook him under his wing. During this period Wren developed a great interest in theworking of the human body, which he kept throughout his life. By the age of fifteen,he was creating models of the human body that represented the workings of themuscular system. His work under Dr. Scarburgh attracted the attention of WadhamCollege in Oxford, where he began his studies in 1649. In Wren’s first year at Oxford he designed a sundial that was erected outside of thechapel. This sundial caught the notice of an entrepreneur named William Petty, whohad been trying to market two inventions: a machine to evenly distribute seeds intothe ground as it went along and a “double writing machine,” which would allowidentical copies of a piece of writing to be produced.Petty had the patents but was unable to make either machine work in a reproducibleway. Petty sought out the maker of Oxford’s sundial, and Wren was ultimately able toperfect both of Petty’s inventions so that they could be effectively reproduced andbrought to market. Petty gave Wren split ownership of the double writing machine, which would proveto be a most useful tool in his future architecture career. Endlessly curious, Wrentook an academic detour in his twenties and began to focus heavily on astronomy. He and his mentor, Dr. John Wilkins, were endeavoring to create a more accuratemap of the moon. The telescopes of the period were still quite simple and frequentlyinaccurate, so Wilkins and Wren built a twenty-four foot telescope, which was thebiggest and most accurate to date. Their success with the new telescope—and thelunar map that resulted—lead to Wren being named the chair of astronomy atGresham College. While at Gresham, he also worked closely with other scientists todetermine the physical nature of Saturn’s rings. 14

During this time at Gresham, Wren often found ways to merge the scientific with theartistic. After developing a new microscope to examine insects, he created accurateand beautiful drawings of wings and entomological specimens that were so impressiveKing Charles II, now restored to the throne, would show them off to his guests. Wrenalso made a model of the moon with sizes and scales that so impressed the RoyalSociety they commissioned him to build another model for their own scientificpurposes. To supplement his studies of Saturn, Wren made wax sculptures of theplanet and the remarkable rings he had a role in identifying. With such adept skill inboth art and science, it was only a matter of time before he found his true calling—architecture.There was a dearth of serious architectural study and discipline in England at that time,and this might have been one of the reasons why Wren was attracted to the field. Here was an opportunity to develop architecture into an art that could be combinedwith scientific inquiry. Wren’s first major project as an architect was Oxford’s Sheldonian Theatre. At the timeit was completed 1664, it was well-received for being both modern and grand,grounded with tributes to Rome and antiquity. From there, Wren continued to expandhis portfolio. When the Great Fire of 1666 ravaged London, Wren answered KingCharles II’s call for architects to help rebuild the city. His first project under this royalinitiative was to remodel rooms at Whitehall Palace. His biggest addition to the Palacewas the Privy Gallery, where the king’s art was displayed. Wren’s renovation earnedhim the title Royal Surveyor of Works in 1669, and he was put in charge of thereconstruction of all of London. Though he had an accomplished team working withhim, there was seldom a reconstructed street or church that didn’t have Wren’s handor say in its architecture. But his greatest work was still to follow—the reconstruction of St Paul’s Cathedral. The cathedral’s structure had been severely damaged during the Civil War byCromwellian cavalry troops who had used it as barracks, and it sustained furtherdamaged during the Great Fire. Undertaking a commission as complex as a cathedralrequired Wren to undertake copious planning and modeling before any constructioncould begin, all of which would eventually require the King’s approval. While thereconstruction of London continued, Wren began drafting his designs. The FirstModel of 1670 represents this initial stage and is now housed in the trophy room at StPaul’s. This plan quickly received the king’s approval and demolition of the oldcathedral began. 16

Yet three years into this process, criticism began to mount that Wren’s originaldesign was too modest. Acknowledging this critique, Wren produced a design ofspectacular grandeur, captured in the Great Model, which is also preserved at St.Paul’s. But Wren was forced to pivot once more and compromise this grander visionwith more traditional design elements favored by clerical opinion. This new directionis represented by the 1675 Classical-Gothic Warrant design. But art and architecture, design and construction are responsive and human craftsand the cathedral that Wren began to build in 1675 only bears a slight resemblanceto the Warrant design. A sophisticated and maturely detailed structure began to risethat combined Neoclassical, Gothic, and Baroque elements, which embodied Wren’ssynthesis of the ideals of both seventeenth century scientific philosophy and theEnglish Restoration. By 1694 the masonry of the choir was completed and in 1697 the first service wasconducted but the most iconic visual symbol of St. Paul’s—the dome—had not yetbegun. Saint Paul’s dome itself is composed of three shells: an outer dome, aconcealed brick cone for structural support, and an inner dome. The cross atop thedome, which still defines the London skyline today, stands three-hundred and sixty-six feet from ground level. Supporting the weight and thrust of the tremendousupper dome are buttresses and columns in a peristyle; below these, near the heightof the Whispering Gallery, is a circle of 32 buttresses Wren designed so as not to bevisible from the ground. Eight massive piers connect the buttresses of the dome areato the floor of the cathedral.Seventeen more years would pass before St. Paul’s would be deemed complete in1711. By this time, Wren was seventy-nine years old. Whereas many cathedralsoften span the professional lifetimes of multiple architects, St. Paul’s was completedin thirty-five years under the leadership of Wren alone. It was truly the embodimentof the lifelong passion, intellect, and creativity of this singular man. Though many titans of arts, letters, and history are now buried in St. Paul’s crypt,Wren himself was fittingly one of the first to be entombed here. Above his restingplace, one can read the epitaph composed by his son: Reader, if you seek amonument, look about you. 18

How We Can Help Make History As we experience the magnificence of St Paul’s Cathedral and contemplate thenumerous American connections, we have the unique opportunity to become part ofthis history.Detailed below are two initiatives for St Paul’s Cathedral. Please consider joining usin supporting these efforts and making your own mark on history.TWO FUNDRAISING PRIORITIESGirls’ Voices“This is the most exciting development in the musical life of St Paul’s for 150 years.”The Very Reverend Andrew Tremlett,Dean of St Paul’s Cathedral An exciting new chapter is beginning at St Paul’s Cathedral with the introduction ofgirl Choristers. From September 2025, up to 30 girls aged 8 to13 will have theopportunity to join our Chorister program. These girls will be of the same numberand have the same profile as the 900-year-old Boys’ chorister program. Upon the introduction of girl choristers to the Cathedral, St Paul’s will have thelargest Cathedral choir and chorister education program in the world, offering musicthat will enrich the lives of millions of people across the world both in person andthrough broadcasts on TV and radio. To realize our ambition to create the most widely recognized cathedral musicdepartment in the world which will enable a new gold standard of musical excellenceand equal opportunity, the Cathedral needs to raise $11,000,000. $3,500,000 for infrastructure investment to provide additional boardingaccommodation at the Cathedral school and to make changes to the ChoirPractice Room in the Cathedral.$7,500,000 to cover the full scholarship program, including the academiceducation for up to 30 girls Choristers until 2030. Please join St Paul’s Cathedral Trust in America in supporting this initiative bycontributing to the choral start-up to support the girls. Each gift breaks downinto an annual commitment of $55,000 for 5 years totaling a gift of $275,000. 20

1930 Renovation of the Ball and Cross

The Restoration of St Paul’s Cathedral Ball & CrossThe iconic Dome of St Paul’s Cathedral, including the Ball & Cross, has dominatedthe London skyline since the Cathedral’s completion in 1710. The silhouette isinstantly recognizable across the country, and indeed the world. However, thestructure has significantly deteriorated and is in urgent need of restoration.The first phase of this major project, already underway, is to fully understand thescope and costings of the repair work needed. The entire Cupola project isestimated to cost $12.5m. Funding is needed to enable us to begin this iconicrestoration in early 2025. The structure will be taken down from the top of theCathedral to be repaired in 2026. The last time this happened, in 1821, the ball wasrolled down Ludgate Hill, attracting thousands of onlookers. This exciting project willonce again undoubtedly attract significant attention including media interest andengagement from across the world. Please join St Paul’s Cathedral Trust in America in supporting this initiative bycontributing towards the restoration of this world-famous landmark. 22

A Personal Perspective from a Friend of St Paul’s Cathedral Trust in AmericaGiving to St Paul’s is unlike giving to most schools, universities, or public charities.Every ask as well as every answer is grounded in the same transcendent theology thatimbues Wren’s masterpiece. No matter where we are with God, when we stand inthe Cathedral’s nave, we are overwhelmed by the sublime beauty of the space. Andyet such beauty is but a vessel for a higher sublimity: the penetrating power ofmystical language which emanates from the choral music tradition. Transcendance iswhere the desire to give to St Paul’s both begins and ends. The fundamentals of Christian stewardship teach us that we are all part of God’screation and that we are called to give our lives, our gifts, and our time to honor thatcreation in thanksgiving for all God has given us. St Paul’s Cathedral is more thanstone and mortar. It is more than priests and liturgical excellence. It has endured asone of the world’s most powerful symbols of hope. And especially at this criticalpoint in human history, giving to St Paul’s is not simply about preserving a piece ofarchitectural history but ensuring that when a young stranger wanders into this placefor the first time, perhaps having never encountered a faith tradition, he or she ischanged, inspired, and drawn into the gift of this masterpiece.When individuals reflect on what St Paul’s means to them, inevitably they remarkupon an encounter with the chorister tradition. Much is demanded of the choristersand their lives are marked by rigor and faithfulness. They surrender pieces of theirlives that other children take for granted, including spending so much time awayfrom their families. Yet in turn, they give so much back to St Paul’s, the Church, thecountry, and the broader global community. In this rare moment, not only do wehave an opportunity to better care for them and aid them in transforming their livesso that they might continue transforming the lives of others, but we have a chance toexpand this central tradition by supporting girl choristers for the first time in St Paul’sstoried history. I am a “school” person at heart and was drawn to St Paul’s because of theexperience it offers young people. I believe that as people of faith, we aretransformed not by single moments of conversion but by deep and abidingrelationships, commitments beyond ourselves-- this is certainly true of the choristerexperience. What a thrill it is know that young girls will finally have their place in theCathedral’s story. What a privilege it is for all of us to play a small part in thisextraordinary tradition as generous and committed stewards of these children.Warmly and Faithfully,The Rev. Maryetta M. Anschutz24

How to Support the American Connection to St Paul’s CathedralThank you for considering a gift to St Paul’s Cathedral Trust in America, a US based501(c)(3) with the Employer Identification Number (EIN): 56-1852735. Donations canbe made as detailed below. US DonorsOnline Donations:www.stpaulstrust.org click on GIVEChecks:Make checks payable to: St Paul’s Cathedral Trust in AmericaMail To:St Paul’s Cathedral Trust in Americac/o Harris, Hardy & Johnstone, P.C.300 Arboretum Place, Suite 660North Chesterfield, VA 23236Wire Transfers:Routing No: 026009593Name: St. Paul’s Cathedral Trust in AmericaAccount No: 435049608245 Bank of America, NA1111 East Main StreetRichmond, VA 23219 Stock Transfers:Name: St. Paul’s Cathedral Trust in AmericaMerrill LynchAcct: 850-03907TIN: 56-1852735DTC: 8862 UK DonorsFor any questions or donations from the UK to St Paul’s Cathedral Trust in America;please contact us at hello@my-blueprint.com 26

The cover image is taken from the Grinling Gibbonscarvings above the choir stalls of St Paul’s Cathedral Board of TrusteesChairman, David R. Frediani Maxmillian Angerholzer IIIRichard S. BerzineJessica L. CaseChristina V. ComerJeffrey E. EldredgeJohn C. Harvey Susan HinrichsMichael J. MuellerVirginia Reynolds ParkerLydia R. W. PittsRobert L. PothierFrances SchultzJames A. Stidham, Jr. Stewart H. ThomasThe Very Rev’d Andrew Tremlett, Dean Wallace R. TurnerNicholas C. WalshCharles L. Wickham IIIHonorary Co-Chairs of the BoardAmbassador Robert H. Tuttle & Mrs. Maria Hummer-Tuttle