St. Patrick’s cathedral unveils largest permanent artwork

For generations, St. Patrick’s Cathedral in New York City has stood as America’s parish, a historic and architecturally stunning spiritual hub for the nation’s Catholics. Recently, the cathedral unveiled its largest-ever permanent artwork, a new piece by artist Adam Cvijanovic, commissioned by Cardinal Timothy Dolan, the archbishop of New York.

At a press conference for the unveiling, Dolan expressed his pride in continuing the church's tradition of supporting the arts. The artwork, titled What’s So Funny About Peace, Love, and Understanding—after a song made famous by Elvis Costello—stands 25 feet tall and covers three walls in the cathedral’s Fifth Avenue entrance vestibule, or narthex. Previously described by Dolan as “rather drab,” the space is now adorned with a scene that reflects the history of the parish, New York City, and the values of the Catholic faith.

This devotional image honors not only the Virgin Mary and other saints but also everyday people, including a panel dedicated to New York City’s first responders. It celebrates the contributions of immigrants throughout the generations, from the Irish who helped build the cathedral to those who continue to arrive in search of a better life, emphasizing the Catholic Church's role as a sanctuary for the persecuted.

The mural draws inspiration from the Apparition at Knock, a Catholic miracle that occurred on August 21, 1879, when the Virgin Mary, St. Joseph, and St. John the Evangelist reportedly appeared with the Lamb of God to 15 villagers in Knock, County Mayo, Ireland. Coincidentally, that same year saw the official opening of the New York archdiocese's new cathedral dedicated to St. Patrick, the patron saint of Irish Catholics.

Cardinal Dolan, whose roots trace back to Irish immigrants, has long had a devotion to Knock, having made a pilgrimage to the site in 2015. The creation of a mural dedicated to this miracle has been a dream of his for years, initially part of the cathedral’s renovation plans between 2004 and 2015. Delays in funding allowed the project to evolve in scope.

Dolan described the mural as not only an ode to Jesus, Mary, and Joseph but also a tribute to those who followed them, finding welcome in the city, the country, and the Catholic Church.

Cvijanovic’s work combines the depiction of the apparition with scenes of immigration, portraying the saintly vision above Irish immigrants arriving in New York in the 19th century, and the Lamb of God welcoming today’s diverse new arrivals. Among them are figures like St. Frances Xavier Cabrini, the first American saint and an Italian immigrant who founded the Missionary Sisters of the Sacred Heart of Jesus, and Venerable Félix Varela y Morales, a Cuban-born priest who served as vicar general of the Diocese of New York in the 19th century, both of whom dedicated their lives to helping the poor and immigrants.

This new artwork not only enriches the cathedral’s aesthetic but also reinforces its role as a beacon of hope and inclusivity in a diverse community.