Wednesday, 13 October 2021
‘The Laboratory’ is a free and contemporary installation artwork by the artist Peter Walker and features sound compositions by David Harper.
This is an opportunity to explore the fascinating world around us through the eyes of a scientist.
‘The Laboratory’ is an art installation by Peter Walker, a sculptor and artist in residence at Lichfield Cathedral. It is designed to invoke the sense of a space for exploration, examination and experimentation. Rather than a direct depiction of a scientific laboratory, it has been created to specifically to be viewed inside this sacred space of the South Transept of the cathedral to allow contemplation on the relationship between science and religion.
‘Creativity in the arts and the sciences comes from many places. But it is often in the studio for the artist, or the laboratory for the scientist, that those ideas come to life,’ Peter Walker says in a panel at the exhibition.
‘We draw inspiration from our experiences, our environment and the structure and behaviour of the physical and natural world and use that inspiration to direct our approaches towards depicting or dissecting, experimenting, and observing the existence of everything that surrounds us.
‘The installation is more than creating a space that reminds us of a laboratory. It is an artwork in itself that creates intrigue, bringing to together diverse elements and presenting them in a way that will make us ask questions. Having the installation in the Cathedral, brings in further depths and levels to the installation, allowing people to consider the links between science, creativity and spirituality,’ he says.
The Dean of Lichfield, the Very Revd Adrian Dorber, says: ‘In order to have a good look at things, or delve into the innermost workings of something, or see how things change or relate to other things, the place and conditions have be right. You might also need to search, aided by the right kind of apparatus and with dedicated time to observe. A laboratory is a place where all that investigation and exploring can happen. In a laboratory you learn by doing; spending time to look carefully and experimenting with different elements to see how they change or react.’
He continues: ‘Careful, disciplined observation and research, begun in laboratories, have unlocked the secrets of the natural world for us. It has led to invention, to new technologies, to medical advances and, sadly, to ways in which that knowledge can be put to destructive and malicious uses. What we discover drives us on to greater exploration: how do we live together with all forms of life, animal vegetable or mineral? How does our knowledge affect our emotional and ethical lives? Is there meaning and purpose in life?’
He concludes: ‘I like to think Cathedrals, Churches and all holy places are laboratories of the spirit. Here the conditions and routines help us uncover who we are in relation to one another and all other species; the effects our environment and history has on us. Above all standing on holy ground encourages us to bring all that we know into dialogue with human frailty, vulnerability and need, as well as those instincts for joy, delight, happiness, thanksgiving, praise, and love. The human race has been called “the world’s high priest” because we notice and can say what we experience. Think of this place as your very own Laboratory of the Spirit.’
I was amused by a quotation from Albert Einstein on one of the panels: ‘If a cluttered desk is a sign of a cluttered mind, of what, then, is an empty desk a sign?’
The installation is the centrepiece for a range of free family activities that continues through the October half term and every day until 1 November. ‘The Laboratory’ is supported by Scientists In Congregations.
At the same time, Lichfield Cathedral is hosting a Retrospective exhibition of Peter Walker’s work at the cathedral. Looking back over five years of this unique and rich partnership, the exhibition revisits the extensive projects, sculptures, installations, and other artworks that have been created and reflects on the impact and legacy of his extraordinary creations.
This was also my first opportunity see Peter Walker’s new statue of Saint Chad, which was dedicated four months by Bishop Michael Ipgrave of Lichfield on 26 June.
This major new sculpture of Lichfield’s patron saint was commissioned by Lichﬁeld Cathedral. Saint Chad now stands at the south-east corner of the cathedral, facing down Dam Street, with Stowe Pool to his left and Minster Pool to his right, his hand raised in blessing and welcoming all who visit Lichfield.
While the statue was in creation, a living artwork of ﬂowers was created around the plinth. The Hope Garden includes 50,000 spring ﬂowers, planted as a gift of hope for the city and for visitors to the cathedral. The ﬂowers will bloom around Saint Chad’s Day, 2 March, each year in readiness for Easter. This date also marks the anniversary of the lockdown at the start of the pandemic.
‘Hope springs from the ground even after the harshest of winters,’ says Dean Adrian Dorber.
I am in Lichfield for three days this week, staying at the Hedgehog Vintage Inn on Stafford Road, enjoying walks in the countryside, following the daily cycle of prayer in Lichfield Cathedral, meeting some old friends, and finding some ‘down time.’
Before the day begins, I am taking some time this morning for prayer, reflection and reading. Each morning in the time in the Church Calendar known as Ordinary Time, I am reflecting in these ways:
1, photographs of a church or place of worship;
2, the day’s Gospel reading;
3, a prayer from the USPG prayer diary.
My theme for these few weeks is churches in the Franciscan (and Capuchin) tradition. My photographs this morning (13 October 2021) are from the ruins of the mediaeval Franciscan Friary in Ennis, Co Clare.
Since the 13th century, the Franciscan Friary has been the focal point in Ennis, the country town of Clare. Over the years, it has been a Franciscan house, a royal seat of the Kings of Thomond, a courthouse, a jail, and a Church of Ireland parish church. The friary was probably established around 1240-1250 under O’Brien patronage in their mediaeval settlement.
Today the Friary is in the care of the Office of Public Works, and much of the friary building survives intact, including its very fine stone carvings, now exhibited in the recently refurbished nave of the church.
The Franciscans arrived in Ireland in the early 13th century. The friary in Ennis was built on an island in the River Fergus at a point where the river divides. The island is now incorporated into the streetscape of the town, but traces of the O’Brien mediaeval residence and late mediaeval houses are scattered throughout the town.
Ennis Friary was one of a series of Franciscan friaries that benefitted from O’Brien patronage between the 13th and 15th centuries. The original O’Brien founder of the friary is unknown: he may have been Donnchadh Ó Briain, King of Thomond, but no records survive.
Donnchadh Ó Briain became King of Thomond after a bloody feud with his brother, Muircheartach Finn Ó Briain. It is said that in order to do penance, he decided to build a friary on an island in the River Fergus.
Donnchadh submitted to King John and built a new royal residence at Clonroad or Ennis in 1210-1216. He rebuilt the Cistercian abbey at Inislounaght, Co Tipperary, built a Dominican house in Limerick, and is said to have offered shelter to the Franciscans in Ennis around 1241-1242. But when Donnchadh died in 1244, he was buried at the Dominican house at Limerick, suggesting that the friary at Ennis had not been built or completed by then.
King Edward I granted the Kingdom of Thomond to his grandson, Thomas de Clare, in 1276. However, Toirdealbhach Ó Briain (Turlough O’Brian) refused to relinquish control of his land. When Brian Ruadh Ó Briain of Bunratty was assassinated in 1277, Turlough became King of Thomond, and fought a war against de Clare, finally defeating him in 1287.
The earliest parts of Ennis Friary date from about 1285 or later, and the friary appears to have been endowed, rebuilt, extended and decorated in the late 13th century by a later King of Thomond, Toirdhealbhach Ó Briain.
The 14th-century heroic tale Caithréim Thoirdhealbhaigh, ‘The Triumphs of Toirdhealbhach,’ tells how Toirdhealbhach Ó Briain, King of Thomond, supplied the friary with sweet bells, holy crucifixes, a good library, embroidery, glass windows of blue glass, veils and cowls, before he died in 1306.
Turlough’s sons, Muircheartach Ó Briain (King of Thomond, 1311-1343) and Donnchadh mac Toirdhealbhach Ó Briain (Prince, 1306-1311) were both buried at the friary.
The blind MacCon Caech MacNamara rebuilt the sacristy and added a refectory or dining room to the friary in 1314. When he died of the plague in 1347, he was buried at the friary. It continued to prosper and in 1350 a Papal Indulgence was granted to Ennis for the feasts of Saint Francis and Saint Anthony.
Under the patronage of the O’Brien family, the friary flourished as a school for novices (stadium) and also attracted accomplished sculptors.
Richard of Windsor granted the friars permission in 1375 to travel beyond Thomond in search of funds. That year, the chronicles also mention a school at Ennis for the first time, and two friars from Ennis were sent to study in the Franciscan stadium in Strasbourg.
The cloister and transept were added in 1400. An Irish lector in theology, Thaddeus MacGillacunduin, was appointed in 1441.
Ennis Friary is said to have accepted the Observant reform in 1460. The late 15th century was a particularly active period of building, a bell tower was added in 1475, and the large south transept – the Lady Chapel or Michael Chapel – added to the church in the mid-15th century, was enlarged around 1500.
A beautifully executed series of carvings was added to the church in the 15th century as part of a devotional cycle that introduced the laity to the Passion and Resurrection of Christ. Saint Francis, displaying his stigmata or the marks of the wounds of Christ on the cross, was placed to the left of the great rood screen, while to the right was a carving of Ecce Homo, Christ as the Man of Sorrows surrounded by the Instruments of the Passions. A broken statue of a Pietà shows the sorrowful Virgin Mary with her dead son lying across her lap.
The MacMahon-Creagh tomb, said to have been commissioned by Máire O’Brien MacMahon around 1470, narrates the scenes of the Passion: the Arrest of Christ, his Flagellation, his Crucifixion, his Entombment and the Resurrection.
A woman in a panel beside the Resurrection holds a book and is dressed in contemporary clothing, including an impressive headdress. This may be a depiction of the donor, Máire O’Brien, holding a Book of Hours.
The sequence of images on the tomb suggests that this was an Easter sepulchre, a representation of Christ’s tomb that would have been placed to the left of the main altar and would have been a focus of the Easter ceremonies when the general laity were given the rare opportunity to pass through the rood screen from the nave to the chancel.
In 1491, the friars of Ennis friars lost their case against the friars of Askeaton, Co Limerick, in a dispute over the limits of each friary’s area for seeking alms.
Conor na Srón (‘The Nose’) O’Brien, who died in 1496, and his daughters were particularly associated with the Franciscans.
Conor led a violent life and was said to have fathered two sons with his daughter Renalda, abbess of the nearby Augustinian convent of Killone and who herself was buried in Ennis friary when she died in 1510.
On his deathbed, Conor feared his final judgment, but Fergal O’Trean, a saintly Franciscan preacher in Ennis, agreed to take on the burden of the chieftain’s sins. When Conor died he was buried in the friary and, according to a 17th century legend, his soul was seen entering heaven borne there by the friar’s prayers.
When the order’s Provincial Chapter met in Ennis in 1507, the Observant reform was accepted once again in the friary, indicating it may have been adopted half-heartedly in the past.
Despite the Dissolution of the monastic foundations at the Reformation, the Franciscans continued to be present in Ennis. Murrough O’Brien surrendered to the Lord Deputy, Anthony St Leger, in 1543. Renouncing the title of king, he became the first Earl of Thomond, and received the properties of Corcomroe Abbey and Clare Abbey, while his nephew, Donough O’Brien, received Quin Abbey.
Murrough O’Brien died in 1543 and that was also the last year the Provincial Chapter met at Ennis. Despite the official suppression, however, the Franciscans remained in Ennis. Although the O’Briens probably took possession of some of the friars’ lands, they also continued to support them.
During the Desmond Rebellions, Edward Fitton held the assizes in Ennis Friary in 1570, having been forbidden to do so a year earlier by Connor O’Brien.
The friars were still in Ennis in 1570, claiming to have restored Cornelius O’Brien to Catholicism that year. In 1577, the friary was granted to Conor O’Brien, 3rd Earl of Thomond, who died in 1581 and was buried in the friary.
The friary was leased in 1577 to Dr Daniel Neyland, Rector of Inniscattery in the Diocese of Killaloe, and later Bishop of Kildare, and in 1587 it was leased to James O’Neyland, when provision was made for courts, a jail and apartments for visiting Tudor officials.
Donogh O’Brien, 4th Earl of Thomond, was raised in the court of Elizabeth I. He returned to Clare as an Anglican, sat in the Irish Parliament, and in 1588 became a member of the Council of Connaught.
In the early 17th century, Donogh O’Brien asked the Church of Ireland to take over Ennis Friary as a place of worship. But the friary was in very good condition, thanks primarily to the care of O’Brien, who maintained the buildings, using part of the friary as a court and lodgings but not altering the fabric of the buildings.
He also held the gold and silver plate of to the Friary, although the Franciscan chronicler Donatus Mooney suggested that this was to ensure their safety on behalf of the friary.
When Daniel Neyland, who became Bishop of Kildare in 1583, died in 1604, he was buried in Ennis Friary. Although the friars were unhappy with his marble monument in the friary church, they could not prevent his burial. However, a few days later, a number of friars disinterred the bishop in the dead of night and buried him in a ‘foul and squalid hole outside the town.’
Individual friars remained at the friary, including ‘The Mad Friar’ Dermot O’Broduin, a member of the Broudin family who served as the biographers of the O’Briens and who had returned from Spain. He was captured but declared insane by Donogh O’Brien, who pleaded that only a madman would travel about in a friar’s habit, preaching openly, as he was. This allowed the ‘insane’ friar to continue living at the friary, wearing his habit and saying Mass in his room until he died in 1617.
The buildings were converted for use as a Church of Ireland parish church in 1621.
Donough O’Brien died in 1624. The friars soon returned to Ennis, the friary was re-established in 1628, and Thaddeus Gorman became the First Guardian of the friary in 1638. During that time, Mícheál Ó Cléirigh visited the friary in 1643.
During the Cromwellian era, the Friary was suppressed again in 1651, and the Guardian, Eugene O’Cahan, was executed in 1652. The building and land later became the property of John Gore, a former Cromwellian officer.
After the Penal Laws were introduced, Laurence Considine led the friars into exile in 1697, bringing the presence of the friars to an end at Ennis Friary.
The friary church continued in use as the Church of Ireland parish church for the parish of Doora and Drumcliffe until 1871. By the early 1800s, the nave had been re-roofed and a window inserted in the new east end within the arch of the tower, with an altar beneath.
The walls were plastered, covering numerous old memorials. Lightning strikes supplied the impetus for restoring the tower with the addition of its distinctive spike pinnacles and parapet. But the upkeep of the old building had become too expensive for the parish, and a new parish church was built on Bindon Street.
Once the church and the friary had been abandoned, they quickly fell into decay. The nave was covered by a roof until 1887, but by 1893 all the interior was fully exposed to rain and wind. The Commissioners of Public Works took control of the site in 1892, and the cemetery was closed to public use in 1893. Despite some repair, the friary remained closed until 1952, when the Office of Public Works did some major work.
Ennis Friary remained the property of the Church of Ireland until 1969, when, in an ecumenical gesture of goodwill, it was formally gifted by the Church of Ireland to the Franciscans.
Ennis Friary is now the property of the state, and it is open to the public on a daily basis.
Luke 11: 42-46 (NRSVA):
[Jesus said:] 42 ‘But woe to you Pharisees! For you tithe mint and rue and herbs of all kinds, and neglect justice and the love of God; it is these you ought to have practised, without neglecting the others. 43 Woe to you Pharisees! For you love to have the seat of honour in the synagogues and to be greeted with respect in the market-places. 44 Woe to you! For you are like unmarked graves, and people walk over them without realizing it.’
45 One of the lawyers answered him, ‘Teacher, when you say these things, you insult us too.’ 46 And he said, ‘Woe also to you lawyers! For you load people with burdens hard to bear, and you yourselves do not lift a finger to ease them.’
The Prayer in the USPG Prayer Diary today (13 October 2021) invites us to pray:
We pray for the Church of South India, comprised of 25 dioceses, 2,300 schools, 150 colleges and 104 hospitals across the southern region of India.
Scripture quotations are from the New Revised Standard Version Bible: Anglicised Edition copyright © 1989, 1995, National Council of the Churches of Christ in the United States of America. Used by permission. All rights reserved worldwide. http://nrsvbibles.org