Jesus College Chapel is the oldest in Cambridge and was once part of a Benedictine convent

Jesus College Chapel in Cambridge was originally a church that served the 12th century Benedictine Convent of Saint Mary and Saint Radegund (Photograph: Patrick Comerford, 2026)

Patrick Comerford

When I was introducing a friends from Ireland to the Cambridge I have known for almost 20 years, one of the places we received a warm welcome earlier this week was the chapel in Jesus College, where I found myself once again on what I have come to call the ‘Pugin Trail’.

Jesus College Chapel was restored by Pugin in the 1840s, and has a number of Pre-Raphaelite and Arts and Crafts treasures, including works by William Morris, Sir Edward Burne-Jones and Ford Madox Brown. It is the oldest college chapel in Cambridge, and its is unique in that it was not originally designed as a college chapel. It dates back to a time 350 years before the foundation of the college, and to half a century before the creation of the university.

The chapel was originally a large Norman church dedicated to Saint Mary and that served the 12th century Benedictine Convent of Saint Mary and Saint Radegund.

The church took about a century to build. It was begun in 1157 and was completed around 1245. At that time it was the largest church in Cambridge, about 58 metres in length and with proportions similar to those of a cathedral. It was built in the form of a cross, with aisles to the north and south of chancel and nave, and it had a high pitched roof with a belfry or steeple which was visible for miles around.

It served as the church of the parish of Saint Radegund which grew up around the convent, then a semi-rural area just outside the city of Cambridge. The belfry collapsed in 1277, and again in 1313. A fire destroyed much of the surrounding convent in 1376 but largely spared the church itself, causing only some light damage to the tower.

Jesus College, Cambridge, was founded by Bishop John Alcock in 1496 (Photograph: Patrick Comerford, 2026)

John Alcock, Bishop of Ely, founded Jesus College in 1496, with the formal name of the College of the Blessed Virgin Mary, Saint John the Evangelist and the glorious Virgin Saint Radegund, near Cambridge. He carried out extensive building work to adapt the former convent church. Parts of the church were demolished, the rest was drastically modified, and it was then reconsecrated in the Name of Jesus. The church was previously dedicated to Saint Mary, but there may have been an altar dedicated to the Name of Jesus in the people's part of the church.

Alcock was an architect as well as a bishop and he designed many of the alterations. The changes were intended to create a chapel that was a more suitable size for a small community of scholars.

The first stages were overseen by his friend and a fellow of the college, William Plombe, in 1497-1498. After Alcock died in 1500, his work was continued by Dr William Chubbes, the first master of Jesus College, and the architects Sir John Rysley and Sir Reginald Bray.

Inside the chapel at Jesus College, Cambridge, facing the chancel and the east end (Photograph: Patrick Comerford, 2026)

The chancel chapels and the aisles of the nave of the church were pulled down and the cloisters were enlarged. The new cloisters were enclosed by walls that had four windows in the Perpendicular Gothic style. The dilapidated belfry was taken down and the high pitched roof was replaced by a flat roof with an oak ceiling. The lancet windows in the east wall were replaced by a plain Perpendicular style window.

Two-thirds of what had been the nave of the church was replaced by college rooms that later became part of the Master’s Lodge. The chapels on the north and south sides of the choir were pulled down and the north aisles became part of the cloister, with the original columns still embedded in the wall. The screen that once divided the congregation at the west end of the crossing was replaced by a more open screen at the east side.

The 13th century arches that divided the aisles from the nave were pulled down to make way for college rooms or were blocked off with stone and hidden behind plaster. Four arches in the chancel and two in the north transept were all filled in and covered over, and Perpendicular windows were placed in the new walls. The east arch in the south transept was also filled in and covered over, two Perpendicular windows were inserted in the east and west walls, and a large Perpendicular window was inserted in the south wall.

The south transept of the chapel, with the marble and alabaster memorial to Thomas Cranmer beneath the great window (Photograph: Patrick Comerford, 2026)

Thomas Cranmer was the first of four members of Jesus College to become Archbishop of Canterbury. Jesus College was his home for more than a decade, from 1517 to 1528, and as Rysley Reader in Divinity he taught theology. His connection with Jesus College is marked by a white marble and alabaster memorial in the south transept, designed by the architects Richardson and Gill and sculpted by A Bruce-Joy in 1912.

During the reign of Edward VI, six altars in the chapel and some images in the Master’s Lodge were destroyed in 1549. During the Catholic restoration in the reign of Mary I, John Fuller was appointed Master of Jesus College in 1557 and he restored the old ritual and ornaments in the chapel.

Jesus College returned to a more Protestant ethos in the reign of Elizabeth I, and the chapel services were simplified, although the college did not become Puritan. When James I visited Cambridge frequently, he often worshipped in the chapel in Jesus College.

In the chancel of the chapel in Jesus College, looking towards the screen and the west end beyond (Photograph: Patrick Comerford, 2026)

When Dr Richard Sterne was the master, a new organ was bought in 1634. Two years later new furniture, plate, and candlesticks for the altar were bought in line with the High Church reforms of William Laud, Archbishop of Canterbury. At this time, the college was known as a High Church stronghold in Cambridge and chapel services were renowned for ‘good music, elaborate solemnity and attractive decency’.

During the Civil War, the Parliamentarians ordered all colleges in 1641 ‘to displace the Communion table from the east end of their chapels, to take away the rails and level the chancel, and to remove crucifixes, tapers, and basins from the Communion table’.

Charles I called on the fellows to raise a loan of £100 and to send pieces of the college plate to his camp in York. Part of the plate was seized by the Cromwellians before it could be sent from Cambridge, but most of it was taken to York. The Cromwellians arrested the master and the former master, Richard Sterne and William Beale, during a service in the chapel and they were taken to the Tower of London. The fellows took apart the organ and hid the pieces, and what was left of the plate is said to have been buried in the orchard.

The Puritan William Dowsing arrived at Jesus College at Christmas 1643 and ‘digg’d up the Steps there and brake down Superstitions of Saints and Angels, 120 at the least’. All but two of the fellows were ejected from Jesus College and Richard Sterne was deposed as master.

All the chapel windows were filled with stained glass in the first decades of the 16th century, but every one of them was smashed by the Parliamentarians on 23 December 1643. For the next 200 years there was nothing but clear glass, apart from a few coats of arms.

The choir, chancel and High Altar in the chapel of Jesus College, Cambridge (Photograph: Patrick Comerford, 2026)

At the Restoration, the chapel was repaired and restored in 1660-1663 by successive new masters, John Pearson and Joseph Beaumont, and the organ was rebuilt and reinstated. In the decades that followed, the chapel was paved with black and white marble, a gallery was built in the chancel, facing towards the altar, and a classical entrance was added in the south wall.

Between 1762 and 1765 the piers and arches of the cloisters were demolished and rebuilt to designs by James Essex, and the organ was dismantled and given to the parish of All Saints.

The Perpendicular east window in the chancel was rebuilt in the 1780s and a major restoration of the chapel was carried out in 1789-1792 to bring it into accord with the popular Classical ideal in architecture.

Major restoration work in the chapel in 1846-1849 was supervised by AWN Pugin (Photograph: Patrick Comerford, 2026)

Major restoration work in the chapel in 1846-1849 was inspired by the Gothic revival and largely reversed earlier repairs. The leaders of this new restoration were the Revd John Gibson, then dean of the college, and the Revd Osmond Fisher. Their aims were to restore the architecture and the ritual of the chapel, to restore music to chapel services and to reinstate the choir. A new organ was designed and bought in 1849 by John Sutton, who formed a choir.

These repairs were supervised by AWN Pugin, the towering figure in the Gothic revival in church architecture and a close friend of John Sutton. On Sutton’s recommendation, the college employed Pugin to direct the chapel restoration.

Under the direction of Anthony Salvin, an 18th century partition wall in the chancel arch was removed, along with the gallery on its east side, a new organ chamber and vestry were built on the east side of the north transept, two arches were unblocked, and two arches were opened unto the north transept below the gallery.

The nave and west end of the chapel in Jesus College, Cambridge (Photograph: Patrick Comerford, 2026)

Pugin removed both the 18th century plaster ceiling and Alcock’s low-pitched roof, which he replaced with a high pitched roof in a 13th century style. He rebuilt the choir stalls and the east wall. The reconstruction of the windows in 1846-1849 was based on good archaeological evidence and was guided by Robert Willis, working with Anthony Salvin and then with Pugin.

Pugin began in the lancets above the altar and replaced Alcock’s Perpendicular east window with three tall lancet windows in 1850 with scenes of Christ’s passion in the style of Chartres and Canterbury cathedrals, working with Hardman of Birmingham. The other windows were later glazed in the same style in 1850-1858.

The Norman windows in the north wall of the north transept were rediscovered and were preserved as recessed arches, and the whole wall was restored. New stalls and a new pavement were also supplied for the chancel, and a new organ was installed in the organ chamber. The chapel reopened with a full choral service on All Saints’ Day 1849.

Two windows by Edward Burne-Jones depicting the Incarnation (above) and Christ debating with the Doctors in the Temple (below) in the south wall of the choir (Photographs: Patrick Comerford, 2026)

Further repairs were carried out in 1864-1867 by George F Bodley, who was working at the time on All Saints’ Church in Jesus Lane, facing the entrance to the college, and the tower was refaced and restored.

William Morris designed decorations for the panelled ceilings of the nave and the tower and they were painted under his direction in 1867. The windows in the outer chapel were glazed in 1867-1878 with glass designed by William Morris, Edward Burne-Jones and Ford Madox Brown. The windows in the nave and transepts were glazed in 1873-1877 by Morris and Company to designs by Burne-Jones and Ford Madox Brown.

The glass in the two Perpendicular windows on the south wall of the chancel had weathered badly and were replaced in 1912 with designs by Sir Edward Burne-Jones, one depicting the Nativity and the other Christ debating with the Doctors in the Temple. Although their colour is brilliant, they broke a rule of both Pugin and Morris that the subject of each light should be complete in itself.

Two windows by Edward Burne-Jones depicting Faith (centre), Hope and Charity (above) and Patience, Obedience and Gentleness (below) in the north transept (Photographs: Patrick Comerford, 2026)

The windows in the north wall’s lancets depict scenes from the New Testament and Saint Radegund’s life, and those on the south show scenes from the life of Saint John.

Two windows in the north transept have figures representing the three theological virtues, Faith (standing on unbelief), Hope (standing on despair) and Charity (standing on envy); and the social virtues: Patience (standing on impatience); Obedience (standing on disobedience); and Gentleness (standing on ferocity).

The adjoining nave window symbolise the natural virtues and their corresponding vices. The other three nave windows have figures and scenes from the Old Testament.

In the four smaller south transept windows are the four evangelists and scenes from their Gospels, while the Great South window represents the Church in Heaven and on Earth.

The chapel has one of the finest collections of windows by Burne-Jones. But shortly after completing these windows he announced that he would no longer make stained glass for mediaeval churches.

The mid 19th century organ, given to Jesus College by Sir John Sutton, with panels designed by AWN Pugin (Photograph: Patrick Comerford, 2026)

A larger organ was bought in 1887 to complement Sutton’s organ and was installed in a new gallery at the west end of the nave. But the organ and gallery were removed from the west end in the early 20th century and the gallery may now be seen across the street at Westcott House.

Several restorations in the 20th century have revealed more of the building. A new organ by Orgelbau Kuhn of Switzerland was installed in 2006 to replace the organ by Noel Mander installed in 1971.

The chapel has a number of works of art and fine carvings. ‘The Presentation of the Christ child in the Temple’, by Jean Baptiste Jouvenet (ca 1700) in the North Transept was once used as the chapel altar-piece from 1796 to1846. In the inner chapel a large depiction of ‘The Last Supper’ is an example of the work of the Venetian School in the late 16th century and is attributed to Leandro Bassano.

The majority of the richly carved choir stalls and screen are 19th century reconstructions of the 16th century chapel furnishings, although three carved figures have survived from the 1500s. Another remnant of the chapel’s woodwork can be seen at the end of the master's stall in the inner chapel, showing Bishop Alcock at prayer.

The bronze Pietà in the north transept is by the sculptor Gillian Kaufman and was added to the chapel in 2014.

The bronze Pietà in the north transept is by Gillian Kaufman (Photograph: Patrick Comerford, 2026)

The chapel, Cloister Court, and the names of some rooms, such as the Prioress’s Room, are reminders of the links between Jesus College and the 12th century Benedictine Convent of Saint Mary and Saint Radegund.

As we emerged from Cloister Court to First Court it seemed like Barry Flangan’s ‘Bronze Horse’ was waiting in the late afternoon sunshine to greet us.

Some years ago, one of my photographs of the boathouse of Jesus College Boat Club was used in a funraising appeal brochure launched by the club in 2014. It was good to reacquaint myself with Jesus College once again on a summer afternoon.

Barry Flangan’s ‘Bronze Horse’ in First Court seen from Cloister Court (Photograph: Patrick Comerford, 2026)

• The Revd Dr James Crockford has been the Dean of Chapel since 2019. During term time the Sunday services are: 10 am, Choral Eucharist, 6 pm, Choral Evensong with address from a guest speaker; Saturday services, 6 pm, Choral Evensong; weekday services, 9 am, Morning Prayer, Monday to Friday, 6:30 pm, Choral Evensong, Tuesdays and Thursdays.

Cloister Court in Jesus College, Cambridge (Photograph: Patrick Comerford, 2026)

An exhibition in Saint Editha’s Church, Tamworth, displays a world-class collection of Pre-Raphaelite windows

The East Window in Saint George’s Chapel by Sir Edward Burne-Jones and William Morris is a highlight of the Stained Glass Exhibition in Saint Editha’s Church, Tamworth (Photograph: Patrick Comerford, 2026)

Patrick Comerford

I went to see the Stained Glass Exhibition in Saint Editha’s Church while I was in Tamworth last week. The special month-long exhibition is running throughout May and showcases the world-class stained glass collection in the church, including works by Pre-Raphaelite artists such as William Morris, Sir Edward Burne-Jones, Ford Madox Brown and Henry Holiday, along with paintings, original designs, sketches and archive materials that have never been seen before.

Saint Editha’s has a particularly fine collection of Pre-Raphaelite works, and much of it was manufactured by William Morris and Co and by William Wailes. The church also has windows by Henry Hughes, Florece Camm, Gerald ER Smith, AK Nicholson and two important modern works: the great west window designed by Alan Younger and George Pace, and the Aethelfled window in the south chancel, made by Robert Paddock in 2018.

The Great West Window by Alan Younger was installed in 1975 (Photograph: Patrick Comerford, 2026)

Visitors to the exhibition are invited to begin their tour admiring the Great West Window, ‘Revelation of the Holy City,’ by Alan Younger (1933-2004), one of the most important stained-glass artists in post-war Britain. The window was installed in 1975 and dedicated by Princess Margaret.

The three windows in the North Aisle are war memorial windows, two by Henry Holiday dating from World War I and one by Gerald ER Smith and AK Nicholson from World War II.

Henry Holiday was drawn to the Pre-Raphaelite movement at an early stage in his career and succeeded Burne-Jones as the chief designer at the studios of James Powell & Sons in Birmingham. His windows in the north aisle are in memory of the dead of World War I and the Revd Maurice Peel, Vicar of Tamworth in 1915-1917.

Smith and Nicholson, who made the World War II in the north aisle, were influenced by the Arts and Crafts movement.

The window by Henry Hughes in the Comberford Chapel, above the Comberford family memorial (Photograph: Patrick Comerford, 2026)

The window by Henry Hughes (1822-1883) in the Comberford Chapel (1871), above the Comberford family memorial, is in memory of a former Vicar of Tamworth, the Revd Francis Blik (1796-1842) and his wife Anne, and of Robert Watkin Lloyd and his wife Anne.

Another Vicar of Tamworth, Canon EH Rogers, is commemorated in Florence Camm’s window in Saint George’s Chapel. She also made the window in memory of Esther Dean in Saint George’s Chapel.

Between these two windows by Florence Camm, above the memorial to William Allport of Comberford Hall, is a Pre-Raphaelite window by Edward Burne-Jones and William Morris depicting Samuel, Ruth, Naomi and David, and in memory of Emma Pipe Cook.

There are two further windows by Morris and Burne-Jones in Saint George’s Chapel. The window at the east end of north wall of in memory of the Revd Brooke Lambert (1834-1901), a slum priest in the Anglo-Catholic tradition who had worked in Whitechapel and Greenwich and was strongly influenced by FD Maurice. He was the Vicar of Tamworth in 1872-1878 and he and his curate, the Revd William MacGregor, who later became Vicar of Tamworth, were enthusiastic campaigners for social reform. Lambert also became the proprietor of the Tamworth Herald, and Lambert and MacGregor were responsible for many of the 19th century restorations of Saint Editha’s.

The striking figures in this window were designed by Sir Edward Burne-Jones and the glazing is the work of Morris & Co. The figures represent (from left) Saint Martin, Saint Lambert, Saint Nicholas and Saint George.

Four New Testament scenes in the window by Florence Camm in Saint George’s Chapel in memory of Canon EH Rogers (Photograph: Patrick Comerford, 2026)

The East Window in Saint George’s Chapel is an artistic treasure in memory of John Peel (1804-1872), Liberal MP for Tamworth in 1863-1868 and again in 1871-1872. In the tracery are six panels known as the ‘Angles of Creation’ by Burne-Jones. This window was made in the 1874 in the workshops of William Morris and connects the story of the six days of Creation with the story of the redemption of humanity. The smaller lights surrounding these are filled with depictions of angels who are playing musical instruments, making melody in honour of the Creation, the Incarnation and the Redemption.

The Incarnation is shown in a painting of the Annunciation at the top of the arch which, through the Creation of Humanity, links with the impressive panel in the centre of the window, depicting the story of Saint Christopher, representing the Redemption of humanity. On either side are two rows of three images of Old Testament prophets and New Testament saints: (top left) Noah, Enoch and Saint John the Baptist; (bottom left) Abraham, Moses and Saint Peter; (top right) Saint John the Evangelist, Samuel and David; (bottom right) Saint Paul, Elijah and Saint Barnabas.

The inscription in a scroll beneath the feet of Saint Christopher reads: ‘To the glory of God and in memory of John Peel sometime representative of this borough in parliament. Born Feb 4 1804. Died April 2 1872.’

The great East Window dates from 1870 and was designed by William Wailes (Photograph: Patrick Comerford, 2026)

The great East Window in the chancel, above the high altar and the reredos, dates from 1870, and was designed by William Wailes (1808-1881), the proprietor of one of the largest and most prolific stained glass workshops in England. It is a tribute to the Revd James Ogilvy Millar (1828-1890), who was the Vicar of Tamworth in 1865-1869 and, who was instrumental in the restoration of the church.

Ford Madox Brown (1821-1893) also designed the three Marmion windows high up in the clerestory on the south side of the chancel telling the story of Saint Editha. These windows were made at the studios of William Morris.

The first of three window tells the story of the marriage of Editha of Mercia and Sigtrygg of Northumbria. The second window shows Saint Editha and her nuns witnessing a vision of the Virgin Mary. The third window tells the story of the Marmion family of Tamworth Castle and a vision of Saint Editha.

William Wailes also designed the three lower clerestory windows on the south side of the chancel. They commemorate, from left: Bishop Richard Rawle of Trinidad, former Vicar of Tamworth (1869-1872), showing Melchisedec, King of Salem, meeting Abraham; the middle window, in memory of Waldyve Henry Willington (1831-1850) of Tamworth, who died of fever in Saint John’s College, Cambridge, showing Abraham offering his son Isaac in sacrifice; and Joseph Gray of Maids Moreton, Buckinghamshire, who died in 1846 and is buried in the north porch of the church. This third window depicts Moses, has an inscription ‘As Moses lifted up the serpent in the wilderness, even so must the Son of Man be lifted up.’

The Æthelflæd window by Robert Paddock is a tribute to Norman and Mavis Biggs (Photograph: Patrick Comerford, 2026)

The Æthelflæd window portrays the warrior queen in front of a fortified burh, surrounded by English oak leaves, within a solid oak frame in an internal opening in the chancel. The hand-made glass was produced by Robert Paddock of the Art of Glass Ltd of Hatton, Warwickshire. The window is back-lit so that its rich colours change in appearance during the course of the day, and it is particularly striking in the evening.

The window is a tribute by their children to Norman and Mavis Biggs who both died in January 2017. For over half a century, they were involved in promoting, protecting and celebrating Tamworth’s heritage and history.

The window was blessed and dedicated by Bishop Michael Ipgrave of Lichfield, and a plaque was unveiled by Prince Edward in 2018 as part of service organised by the Tamworth and District Civic Society to mark the 1100th anniversary of the death of Æthelflæd.

The window by William Wailes in the Saint Nicholas Chapel in the South Transeptm behind the Lady Chapel (Photograph: Patrick Comerford, 2026)

The window in the Saint Nicholas Chapel or South Transept is easy to overlook, behind the Lady Chapel and half hidden by the organ. This window, also by William Wailes, depicts three Resurrection themes beautifully illustrated in glowing colours: the Supper at Emmaus (left), the Resurrection (centre) and the Miraculous Draught of Fishes (right).

This window is in memory of John Harding of Bonehill, who died on 9 July 1844, aged 82, and his wife, Margaret, who died on 14 November 1833, aged 66, who are buried with six of their children in a vault underneath the North Porch.

The three windows in the South Aisle have stained glass made by Powell & Son of London and designed by Henry Holiday. The colouring and drawing of the Biblical subjects in these windows are particularly fine.

The Biblical figures in the first window in the south aisle are Daniel (‘Bless ye the Lord’), Esther (‘What wilt thou Queen Esther?’) and Ezra (‘By the rivers of Babylon we wept’). The second window depicts David (‘The Battle is the Lord’s’, I Samuel 17: 17), Rizpah (‘She suffered neither the birds of the air to rest on them by day nor the beasts of the field by night’, II Samuel 21: 10) and Solomon (‘Blessed be the Lord which delighted in thee’, I Kings 10: 9). The third window depicts Samson (‘Let me die with the Philistines’), Ruth (’Whose damsel is this?’) and Samuel (‘Anoint him for this is he’).

The exhibition also includes paintings, original design sketches and archive materials, many of which have never seen before. Several artefacts on display are on loan from the Tamworth Castle Collection.

Some of the artefacts in the North Aisle include an original watercolour of the Saint Christopher window, attributed to Henry Holiday; original paintings of the three north aisle windows; design sketches; and a collection of other local stained glass, both sacred and secular.

The exhibition opened on 2 May and continues until 31 May. It is open daily from 10 am to 2 pm, with special guided tours and a ‘Behind-the-Scenes’ event, and is accompanied by a new windows guidebook.

The exhibition in Saint Editha’s Church, Tamworth, continues until 31 May (Photograph: Patrick Comerford, 2026)

Daily prayer in Easter 2026: 25, Wednesday 29 April 2026

‘I have come as light into the world, so that everyone who believes in me should not remain in the darkness’ (John 12: 46) … looking out into the village of Piskopiano in Crete from the Church of the Transfiguration (Photograph: Patrick Comerford)

Patrick Comerford

Easter is a 50-day season, beginning on Easter Day (5 April 2026) and continuing until the Day of Pentecost (24 May 2026), or Whit Sunday. This week began with the Fourth Sunday of Easter (Easter IV, 26 April 2026), sometimes known as ‘Good Shepherd Sunday’.

The calendar of the Church of England in Common Worship today remembers Saint Catherine of Siena (1347-1380), Teacher of the Faith. Today also marks the 75th anniversary of the death of the philsopher Ludwig Wittgenstein, and I hope to say more about that anniversary in a blog posting later today. Later this evening, I hope to take part choir rehearsals in Saint Mary and Saint Giles Church, Stony Stratford. But, before today begins, I am taking some quiet time this morning to give thanks, to reflect, to pray and to read in these ways:

1, reading today’s Gospel reading;

2, a short reflection;

3, a prayer from the USPG prayer diary;

4, the Collects and Post-Communion prayer of the day.

‘Whoever sees me sees him who sent me’ (John 12: 45) … the Ancient of Days depicted in a fresco in the Church of the Transfiguration in Piskopiano in Crete (Photograph: Patrick Comerford)

John 12: 44-50 (NRSVA):

44 Then Jesus cried aloud: ‘Whoever believes in me believes not in me but in him who sent me. 45 And whoever sees me sees him who sent me. 46 I have come as light into the world, so that everyone who believes in me should not remain in the darkness. 47 I do not judge anyone who hears my words and does not keep them, for I came not to judge the world, but to save the world. 48 The one who rejects me and does not receive my word has a judge; on the last day the word that I have spoken will serve as judge, 49 for I have not spoken on my own, but the Father who sent me has himself given me a commandment about what to say and what to speak. 50 And I know that his commandment is eternal life. What I speak, therefore, I speak just as the Father has told me.’

‘The Light of the World’ by William Holman Hunt (1827-1910) in a side chapel in Keble College, Oxford (Photograph: Patrick Comerford)

Today’s Reflections:

In the Gospel reading at the Eucharist today (John 12: 44-50), we come to the end of what is known as the ‘Book of Signs’ in Saint John’s Gospel (chapters 1 to 12). Through these seven signs, Christ clearly indicates who he is and what his mission is.

Today’s reading recapitulates all that Christ has said in the ‘Book of Signs’. We hear how Jesus ‘cried aloud’ and spoke. This gives extra emphasis to what he is proclaiming. It is once again a call to believe in Jesus where ‘believing in’ means much more than mere acceptance of the truth of his words. It implies too a personal commitment to Christ and to his mission.

To believe in Christ is also to believe in, to surrender oneself entirely to, the One who sent him, the Father. All through this Gospel, Jesus emphasises the inseparability of the Father and the Son.

The Father sends Christ as light into the world so that ‘whoever sees me sees him who sent me. I have come as light into the world, so that everyone who believes in me should not remain in the darkness’ (John 12: 45-46).

One of the first images of Christ that I remember being show as a child by my grandmother in her house in Cappoquin, Co Waterford, is Holman Hunt’s ‘The Light of the World’. It remains my favourite image of Christ and my favourite Pre-Raphaelite painting.

Saint Catherine of Siena, the Dominican doctor of the church remembered today, says, ‘It is only through shadows that one comes to know the light.’ Addressing Chrit in The Dialogue of Saint Catherine, where she touches topics on prayer, divine providence, and obedience, she writes, ‘You are the Fire that takes away the cold, illuminates the mind with its light, and causes me to know the truth’.

The ‘word’ of Christ is a challenge. It offers a way of living and of inter-relating with God, with others and with ourselves. Christ tells us that his Father’s commands – which he also observes – mean eternal life. Everything that Jesus did was the carrying out of his Father’s will. We are called to follow the same path, which is the way to total freedom.

But how do we follow that path, how do we walk that path?

During the week, I found myself re-reading the hymn ‘Attend and Keep this Happy Fast’ by the English Roman Catholic theologian and one-time Dominican priest, Roger Ruston. He has been strongly influential in Christian CND and similar movements. He is best known for both his careful critique of the ‘deterrence’ theory and the reliance on nuclear weapons and for his work on human rights, including his book Human Rights and the Image of God (SCM-Canterbury Press, 2004), and the conference with that name organised that year by the Dominican Justice and Peace Commission at Blackfriars, Oxford.

Roger Ruston’s insights have a pressing relevance in today’s dismal global political realities. He has also written a number of hymns that are informed by his theological priorities. His hymn ‘Attend and Keep this Happy Fast’ is based on Isaiah 58: 5-9 and expresses the idea that love is better than fasting, and looks to ‘the dawn your light will break’ and that time when ‘the glory of the Lord will shine’:

Attend and keep this happy fast
I preach to you this day.
Is this the fast that pleases me,
that takes your joy away?
Do I delight in sorrow’s dress,
says God, who reigns above,
the hanging head, the dismal look,
will they attract my love?

But is this not the fast I choose,
that shares the heavy load;
that seeks to bring the poor man in
who’s weary of the road;
that gives the hungry bread to eat,
to strangers gives a home;
that does not let you hide your face
from your own flesh and bone?

Then like the dawn your light will break,
to life you will be raised.
And all will praise the Lord for you;
be happy in your days.
The glory of the Lord will shine,
and in your steps his grace.
And when you call he’ll answer you;
He will not hide his face.

Christ is risen!
The Lord is risen indeed. Alleluia!

Rembering Mika Chrysaki who gave her name to Mika Villas in Piskopiano in Crete (Photograph: Patrick Comerford)

Today’s Prayers (Wednesday 29 April 2026):

I have been recalling my own grandmother in my reflections this morning. In my prayers, I am also remebering a family of dear friends in Crete who are burying a dear mother, mother-in-law and grandmother, in Iraklion this afternoon. Mika was a warm, welcoming member of the family, and her son proudly gave her name to the family hotel in Piskopiano in the hills above Hersonissos. I have stayed in or visited there countless times since the mid-1990s.

‘Prayer and Action in Pakistan’ provides the theme this week (26 April to 2 May 2026) in ‘Pray With the World Church’, the Prayer Diary of the Anglican mission agency USPG (United Society Partners in the Gospel), pp 50-51. This theme was introduced on Sunday with Reflections from the Revd Davidson Solanki, Senior Regional Manager for Asia and the Middle East.

The USPG Prayer Diary today (Wednesday 29 April 2026) invites us to pray:

Lord, bless the Church of Pakistan as they seek to serve all neighbours. Particularly after the devastation of the floods, may their acts of care demonstrate Christ’s love in action even across faiths.

The Collect:

God of compassion,
who gave your servant Catherine of Siena
a wondrous love of the passion of Christ:
grant that your people may be united to him in his majesty
and rejoice for ever in the revelation of his glory;
who is alive and reigns with you,
in the unity of the Holy Spirit,
one God, now and for ever.

The Post-Communion Prayer:

God of truth,
whose Wisdom set her table
and invited us to eat the bread and drink the wine
of the kingdom:
help us to lay aside all foolishness
and to live and walk in the way of insight,
that we may come with Catherine to the eternal feast of heaven;
through Jesus Christ our Lord.

Yesterday’s Reflections

Continued Tomorrow

‘It is only through shadows that one comes to know the light’ … Saint Catherine of Siena seen in a window in Saint Giles Church, Cambridge (Photograph: Patrick Comerford)

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

At the Chrism Eucharist in Christ Church, Oxford: both a cathedral and a college chapel

Christ Church Cathedral, Oxford, is unique in its dual role as a cathedral and a college chapel (Photograph: Patrick Comerford, 2026)

Patrick Comerford

I was at the Chrism Eucharist in Christ Church Cathedral, Oxford, this week, with the renewal of ordination vows by deacons, priests and bishops on Maundy Thursday (2 April 2026).

It was one of the last public services for Bishop Steve Croft before he retires as Bishop of Oxford, and he reminded as sharply of the words in the ordinal that ‘the trust that is now to be committed to your charge. Remember always with thanksgiving that the treasure now to be entrusted to you is Christ’s own flock, bought by the shedding of his blood on the cross. It is to him that you will render account for your stewardship of his people.’

The Diocese of Oxford has more church buildings than any other diocese in the Church of England and has more paid clergy than any other diocese except London. The diocese includes Berkshire, Buckinghamshire and Oxfordshire, with another five churches in nearby counties.

Inside Christ Church Cathedral, Oxford, looking east from the choir towards the High Altar and the Rose Window (Photograph: Patrick Comerford, 2026)

Christ Church Cathedral, Oxford, is both the college chapel of Christ Church and the cathedral church of the Diocese of Oxford. It was founded by Henry VIII with Cardinal Wolsey, and Christ Church is the largest Oxford college.

This was my second time as a priest living in the Diocese of Oxford since 2022 to take part in the Chrism Eucharist. Holy Week and Easter 2022 had been fraught times in the immediate aftermath of a stroke. I was at the Chrism Eucharist in Oxford in 2023, but missed it again in 2024 due to a hospital appointment in Milton Keynes, and in 2025, when I spent Holy Week and Easter in Crete.

I was a teenager when I first visited Christ Church more than 55 years ago. Despite the size of the diocese, this is one of the smallest cathedrals in the Church of England, and its dual role as cathedral and college chapel is unique.

Inside Christ Church Cathedral, Oxford, looking west from the choir towards the organ (Photograph: Patrick Comerford, 2026)

The cathedral was originally the church of Saint Frideswide’s Priory. The site is said to be the location of the nunnery founded by Saint Frideswide, the patron saint of Oxford, and her shrine is now in the Latin Chapel. It once held her relics, brought there in 1180, and it was the focus of pilgrimage from at least the 12th until the early 16th century.

Osney Abbey was surrendered in November 1539 and dissolved at the dissolution of the monastic houses. The last abbot was Robert King, who became the first Bishop of Oxford.

The Diocese of Oxford was formed out of part of the Diocese of Lincoln in 1542, and from September 1542 until June 1544, Osney Abbey was the seat of the bishop of the new diocese.

However, Osney was costly to run as a cathedral and in 1545 the bishop moved to the smaller and cheaper cathedral at Christ Church. Later, during the reign of Queen Mary, Bishop King was one of the judges at the trial of Thomas Cranmer.

Great Tom, described as the ‘loudest thing in Oxford’, now hangs in Tom Tower (Photograph: Patrick Comerford, 2026)

The abbey buildings soon fell into decay and were despoiled for the sake of the new foundation. Much of the stone found its way into local buildings, including Saint Frideswide’s as it was transformed into Christ Church. Osney Abey has been described as the greatest building that Oxford has lost.

Great Tom, the bell described as the ‘loudest thing in Oxford’ and now hanging in Tom Tower at Christ Church, was taken from the tower of Osney Abbey at the dissolution. Much of the monastic property was also transferred to Christ Church.

A statue of Cardinal Wolsey, founder of Christ Church, above the entrance to the Great Hall (Photograph: Patrick Comerford, 2026)

Saint Frideswide’s Priory was surrendered in 1522 to Cardinal Thomas Wolsey, who had selected it as the site for his proposed college. However, in 1529 the foundation was taken over by Henry VIII. Work stopped, but the college was refounded by the king in June 1532. Henry VIII transferred the recently-created See of Oxford from Osney to Christ Church in 1546.

There has been a choir at the cathedral since 1526, when John Taverner was the organist and master of the choristers. The statutes of Wolsey’s original college, initially called Cardinal College, mentioned 16 choristers and 30 singing priests.

The nave, choir, main tower and transepts are late Norman. There are architectural features ranging from Norman to the Perpendicular style and a large rose window of the ten-part or botanical type.

The monument to the Irish philosopher Bishop George Berkeley of Cloyne in Christ Church, Oxford (Photograph: Patrick Comerford)

Visitors to Oxford are often pointed to monuments such as those to the Wesley brothers, John and Charles Wesley, who were ordained in Christ Church, or the memorial to the poet WH Auden.

But this week I also noticed a number of monuments of Irish interest.

The philosopher George Berkeley (1685-1753), who was born in Co Kilkenny, was Bishop of Cloyne when he died in Oxford on 14 January 1753, and he was buried in Christ Church Cathedral.

The monument to William Brouncker, who was almost ruined when he bought an Irish peerage weeks before he died (Photograph: Patrick Comerford, 2026)

A monument in the south transept remembers Colonel William Villiers (1614 -1643), 2nd Viscount Grandison of Limerick, who was killed during the First English Civil War. His father Sir Edward Villiers (1585-1626) was the older half-brother of George Villiers, 1st Duke of Buckingham, a favourite of both James I and Charles I, and was the Lord President of Munster when he died in Cork in 1626.

William Villiers inherited the Irish peerage title of Viscount Grandison from his great-uncle Oliver St John (1559-1630). He fought as a royalist at the Battle of Edgehill and at the Storming of Bristol, where he was wounded in the right leg. He was taken to Oxford and died there he died on 29 September 1643. His daughter Barbara Villiers (1640-1709) was later a mistress of Charles II and Duchess of Cleveland.

Close by, another monument commemorates William Brouncker (1585-1645), 1st Viscount Brouncker of Castle Lyons and Baron Brouncker of Newcastle. His father, Sir Henry Brouncker, was Lord President of Munster (1603-1607). Malicious gossip said William Brouncker paid the then enormous sum of £1,200 for his titles in the Irish peerage, which he given on 12 September 1645, and was almost ruined as a result. He died a few months later.

The 17th century window by Abraham Van Linge shows the prophet Jonah looking over the city of Nineveh (Photograph: Patrick Comerford, 2026)

The cathedral has a fine collection of stained glass, the oldest being the 14th century Becket Window in the Lucy Chapel. It is one of very few images of Thomas Becket to survive the Reformation.

The glass at the west end of the north aisle is by the 17th century Dutch artist Abraham Van Linge. It dates from the period of Laudian Reform, around 1630, and shows the prophet Jonah looking over the city of Nineveh. A second window by Abraham van Linge is dedicated to Bishop King.

The window by Edward Burne-Jones and William Morris in the Latin Chapel is a tribute to Saint Frideswide (Photograph: Patrick Comerford, 2026)

The cathedral also has windows designed by Edward Burne-Jones, best known for his work with William Morris. The east window in the Latin Chapel was designed by Burne-Jones when he was still in his mid-20s and was made in 1859 by James Powell and Sons. It is a bold and colourful tribute to Saint Frideswide, and perhaps the finest of his early works, but also a dramatic contrast to his later work with Morris.

The Vyner window by Edward Burne-Jones (Photograph: Patrick Comerford, 2026)

The Vyner memorial window remembers two undergraduates who were murdered in the late 19th century. This Pre-Raphaelite window is a also pun on their family name, with vine leaves prominent in upper part of window.

The Saint Cecilia Window by Edward Burne-Jones in the North Choir aisle (Photograph: Patrick Comerford, 2026)

The Saint Cecilia Window by Burne-Jones depicting scenes from the life of Saint Cecilia and her martyrdom is the East Window in the North Choir aisle or Saint George’s Chapel. The angels in the tracery at top were designed by William Morris. Malcom Bell was of the opinion in 1895 that the source of the three panels showing the saint’s life was in Chaucer’s ‘Second Nun’s Tale’.

The Saint Michael Window by Clayton and Bell in the north transept (Photograph: Patrick Comerford, 2026)

Clayton and Bell created the dramatic Saint Michael Window in the north transept in 1870.

A window unveiled in 2023 as a memorial to EH Burn. It depicts Saint Francis of Assisi and is by John Reyntiens.

The newest stained-glass window in Christ Church Cathedral is the Prodigal Son Window by the British artist Thomas Denny. It was commissioned through the generosity of an anonymous donor and unveiled last September.

The chrism oils on a side altar in Christ Church Cathedral on Maundy Thursday (Photograph: Patrick Comerford, 2026)

The Dean of Christ Church is both the Dean of Christ Church Cathedral, Oxford, and the head of the governing body of Christ Church, a constituent college of the University of Oxford.

The chapter of canons of the cathedral has formed the governing body of the college since its foundation, with the dean as ex officio head of the chapter and ipso facto head of the college.

The Very Revd Dr Martyn Percy stepped down as the Dean of Christ Church in 2022 after a lengthy and acrimonious dispute. Previously, he had been the principal of Ripon College Cuddesdon (2004-2014). The governing body of Christ Church voted in 2023 to separate the ecclesiastical role of dean from the position of head of house of the college.

The Very Reverend Sarah Foot has been the Dean of Christ Church since 2023. She is also the Regius Professor of Ecclesiastical History at the University of Oxford since 2007, the first woman ever to hold that chair.

The other senior cathedral clergy include the Sub Dean, the Revd Canon Peter Moger, who introduced the Chrism Eucharist on Thursday and welcomed us to Christ Church, and the Archdeacon of Oxford, the Ven Jonathan Chaffey. The university’s four senior theology professors are also ex officio canons residentiary.

Looking towards the North Transept from the font and the pulpit (Photograph: Patrick Comerford, 2026)

In his poem ‘Thyrsis’, the Victorian poet Matthew Arnold called Oxford ‘the city of dreaming spires’, describing the architecture of the university buildings. WB Yeats refers to Christ Church in his poem ‘All Souls’ Night, Oxford’:

Midnight has come and the great Christ Church bell
And many a lesser bell sound through the room;
And it is All Souls’ Night …

The Communion vessels after the Chrism Eucharist on Maundy Thursday (Photograph: Patrick Comerford, 2026)

• The Easter Vigil with the Confirmations and the First Eucharist of Easter is at 8:05 in Christ Church Cathedral this evening. The Easter Day services tomorrow (Sunday 5 April 2026) are: 8:05 am, Holy Communion (1662 Book of Common Prayer); 9:35 am, Choral Matins for Easter Day; 11:05 am, Choral Eucharist for Easter Day; 6:05 pm, Festal Evensong for Easter Day. Choral Evensong takes place in the Cathedral each evening at 6pm and is open to the public.

Prayers for Peace in Christ Church Cathedral, Oxford, this week (Photograph: Patrick Comerford, 2026)

Daily prayer in Lent 2026: 30, Thursday 19 March 2026, Saint Joseph of Nazareth

A statue of Saint Joseph in the Shrine Church at the Anglican Shrine in Walsingham, Norfolk (Photograph: Patrick Comerford, 2026)

Patrick Comerford

This week began with the Fourth Sunday in Lent (Lent IV) and Mothering Sunday (15 March 2026), and the Calendar of the Church today celebrates Saint Joseph of Nazareth (19 March 2026).

Before today begins, I am taking some quiet time this morning to give thanks, to reflect, to pray and to read in these ways:

1, reading today’s Gospel reading;

2, a short reflection;

3, a prayer from the USPG prayer diary;

4, the Collects and Post-Communion prayer of the day.

A statue of Saint Joseph in the Church of Saint Mary and All Saints, the Church of England parish church in Little Walsingham, Norfolk (Photograph: Patrick Comerford, 2026)

Matthew 1: 18-25 (NRSVA):

18 Now the birth of Jesus the Messiah took place in this way. When his mother Mary had been engaged to Joseph, but before they lived together, she was found to be with child from the Holy Spirit. 19 Her husband Joseph, being a righteous man and unwilling to expose her to public disgrace, planned to dismiss her quietly. 20 But just when he had resolved to do this, an angel of the Lord appeared to him in a dream and said, ‘Joseph, son of David, do not be afraid to take Mary as your wife, for the child conceived in her is from the Holy Spirit. 21 She will bear a son, and you are to name him Jesus, for he will save his people from their sins.’ 22 All this took place to fulfil what had been spoken by the Lord through the prophet:

23 ‘Look, the virgin shall conceive and bear a son,
and they shall name him Emmanuel’,

which means, ‘God is with us.’ 24 When Joseph awoke from sleep, he did as the angel of the Lord commanded him; he took her as his wife, 25 but had no marital relations with her until she had borne a son; and he named him Jesus.

A window by Nathaniel Westlake (1833-1921) in Saint Mary and Saint Giles Church, Stony Stratford, inspired by ‘Christ in the House of His Parents’ by the Pre-Raphaelite artist Sir John Everett Millais (Patrick Comerford)

Today’s Reflections:

Saint Joseph often goes unnoticed in Ireland as people return work after the Saint Patrick’s Day celebrations and holiday in the middle of Lent.

We have very little information about Saint Joseph in the Gospels. He figures in the two Gospels with infancy narratives, Saint Matthew and Saint Luke, but even in those accounts, he never speaks. But he responds to God’s call – he is a man of action rather than words, a doer rather than a sayer.

He is described as a τέκτων (tekton), a word traditionally translated as ‘carpenter’, although the Greek word refers to someone who works in wood, iron or stone, including builders. Saint Joseph’s specific association with woodworking is a theme in Early Christian writings, and Justin Martyr, who died ca 165, wrote that Jesus made yokes and ploughs.

On the other hand, Geza Vermes says the terms ‘carpenter’ and ‘son of a carpenter’ are used in the Talmud for a very learned man, and he suggests that a description of Saint Joseph as naggar (‘a carpenter’) could indicate that he was considered wise and highly literate in the Torah.

Until about the 17th century, Saint Joseph is often depicted in art as a man of advanced years, with grey hair, usually bearded and balding, and occasionally frail. He is presented as a comparatively marginal figure alongside Mary and Jesus, often in the background except, perhaps, when he was leading them on the flight into Egypt. More recently, he has been portrayed as a younger or even youthful man, going about his work as a carpenter, or taking part in the daily life of his family.

This later emphasis is seen in ‘Christ in the House of His Parents’ (1849–1850), a painting by the Pre-Raphaelite artist, Sir John Everett Millais (1829-1896), depicting the Holy Family in Saint Joseph’s carpentry workshop. The painting, now in the Tate Britain in London, was controversial when it was first exhibited, prompting many negative reviews, most notably one by Charles Dickens, who accused Millais of portraying Mary as an alcoholic who looks ‘so hideous in her ugliness that … she would stand out from the rest of the company as a Monster, in the vilest cabaret in France, or the lowest gin-shop in England.’

Critics also objected to the portrayal of Christ, one complaining that it was ‘painful’ to see ‘the youthful Saviour’ depicted as ‘a red-headed Jew boy.’ Dickens described him as a ‘wry-necked boy in a nightgown who seems to have received a poke playing in an adjacent gutter.’ Other critics suggested that the characters displayed signs of rickets and other disease associated with slum conditions.

But this painting brought attention to the previously obscure Pre-Raphaelite Brotherhood, influenced many artists, was replicated in stained-glass windows throughout these islands, and was a major contributor to the debate about Realism in the arts.

Today’s Gospel reading reminds us that Saint Joseph says ‘Yes’, even if he says it silently. He has no scripted lines, he has no dramatic parts or roles; indeed, he is mute. But he is obedient. And, like Joseph, his namesake in the Old Testament, he too is the dreamer of dreams and the doer of deeds.

Saint Joseph and the Virgin Mary are engaged, but the marriage contract has not yet been signed, she has not yet entered into his house.

If the Mosaic law had been fully observed by Joseph, Mary could have faced ‘public disgrace,’ even been stoned to death.

Joseph is righteous and observes the Law. But he is also compassionate and plans to send her away quietly, without public shame.

The angel of the Lord tells Joseph of his role: through him, God’s promises will be fulfilled in the child to be born. And Joseph names the child Jesus.

The fear of sneers, of judgmental remarks and wagging fingers, must have been running through Joseph’s mind like a nightmare. Yet the angel in Joseph’s dream promises: ‘He will save his people from their sins.’

It is not a promise of immediate reward. Saint Joseph is not offered the promise that if he behaves like this he is going to earn some Brownie points towards the forgiveness of his own sins; that God will see him as a nice guy; or even that if he lives long enough, this child may grow up, be apprenticed to him, take over the family business, and act as a future pension plan.

Instead, the promised pay-off is for others as yet unknown. The forgiveness here is spoken of in apocalyptic terms. It is more than the self-acceptance offered in psychotherapy. Instead, it is the declaration of a new future. To be forgiven is to receive a future. Forgiveness breaks the simple link between cause and effect, action and reaction, failure and disaster, rebellion and recrimination.

This hope of all the ages, the beginning of the end of all the old tyrannies, the restoration of everything that is and will be, was always meant to take place in a virgin’s womb, in the manger, on the cross.

This is Lent – a time of expectation, repentance and forgiveness. It is a time of preparation, anticipation and hope. It is a time for dreaming dreams, and putting behind us all our nightmares. The dream in this Gospel reading is the dream of Saint Joseph, not the Virgin Mary’s dream.

The Very Revd Samuel G Candler, Dean of Saint Philip’s Episcopal Cathedral in Atlanta, Georgia, suggested in a sermon many years ago: ‘We need sleep because we need to dream.’

Saint Joseph dreamed something wonderful. God would enter the world; God would be born to his new, young wife, Mary. But to believe this, Saint Joseph had to trust not only his dream, but to trust Mary, to trust the future child, to trust God.

Do you love the people you trust and trust the people you love?

To trust the Virgin Mary, Saint Joseph must have truly loved her. But trust in this predicament must have gone beyond trust. Joseph must have truly glimpsed what it is to trust God, to have hope in God, to love God, to have faith in God.

Saint Joseph dreams a dream not of his own salvation, but of the salvation of the world.

Do you trust that God is working through the people you love? Do you trust that God is working through people you find it difficult not to love but merely to like … working through God’s people for their salvation?

Saint Joseph has no speaking part; he just has a walk-on part in the Gospel story. But his actions, his obedience to God’s call, speak louder than words.

Yes, God appears over and over again, to men, women, to ‘all sorts and conditions of people.’

But do we trust them?

Can you have faith in someone else?

Can you believe their dreams?

Can you believe the dreams of those you love?

And dream their dreams too?

As Dean Candler urged in his sermon: ‘Believe in the dreams of the person you love.’

Saint Joseph depicted in a stained-glass window in Saint Joseph’s Cathedral, Kuching (Photograph: Patrick Comerford)

Today’s Prayers (Thursday 19 March 2026, Saint Joseph):

The theme this week (15-21 March 2026) in ‘Pray With the World Church,’ the Prayer Diary of the Anglican mission agency USPG (United Society Partners in the Gospel), is ‘Lament and Hope’ (pp 38-39). This theme was introduced on Sunday with a programme update by Kennedy Jones, Church Engagement and Fundraising Officer, USPG.

The USPG Prayer Diary today (Thursday 19 March 2026, Saint Joseph) invites us to pray:

We give thanks for Saint Joseph, model of care, protection, and quiet service. May we follow his example in supporting and protecting the vulnerable in our communities.

The Collect:

God our Father,
who from the family of your servant David
raised up Joseph the carpenter
to be the guardian of your incarnate Son
and husband of the Blessed Virgin Mary:
give us grace to follow him
in faithful obedience to your commands;
through Jesus Christ your Son our Lord,
who is alive and reigns with you,
in the unity of the Holy Spirit,
one God, now and for ever.

The Post Communion Prayer:

Heavenly Father,
whose Son grew in wisdom and stature in the home of Joseph the carpenter of Nazareth
and on the wood of the cross
perfected the work of the world’s salvation:
help us, strengthened by this sacrament of his passion,
to count the wisdom of the world as foolishness,
and to walk with him in simplicity and trust;
through Jesus Christ our Lord.

Yesterday’s Reflections

Continued Tomorrow

Saint Joseph depicted on the façade of Saint Joseph’s Church in Terenure, Dublin (Photograph: Patrick Comerford)

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