31 October 2016

Why Wexford had no Gondolas
but there is a Cock on John Street

‘The Cock’ in John Street determines your place in Wexford (Photograph: Patrick Comerford, 2016)

Patrick Comerford

When I first met the late Father Sean Fortune I was deeply disturbed.

I was asked to be an external examiner on a PLC (Post-Leaving Certificate) course in journalism he was teaching in Dublin.

Initially, I was disturbed by the exam papers and assignments which indicated an inconsistent approach to designing and delivering the course and a less than professional approach to marking and assessing the examinations and assignments.

He protested when I decided to be more rigorous and more thorough than most external examiners. In a completely unprofessional way, he entered the room where I was working on my own, and engaged me in personal conversation.

I had never met him before and I had no reason to question his integrity and professionalism. But I was already uncomfortable.

By then I was a senior journalist with The Irish Times and I was not going to be challenged about my professional and academic judgment. But I caught the whiff of a Wexford accent, and with polite curiosity I casually asked which part of Wexford he was from.

He lied to me.

He had no reason to lie to me.

But that morning he told me was from Wexford Town.

At the time, I did not know he was from Gorey in north Co Wexford. I had lived in Wexford Town, on both School Street and High Street.

I asked him which part of Wexford Town he was from.

With a straight face, and looking me in the eyes, he answered immediately: ‘John Street.’

Generations of Comerfords lived on John Street. It is on the other side of the mediaeval walls of Wexford from High Street. They had moved there from Bunclody in the 19th century, and a large chunk of the old town wall separated the back garden of the house I had lived in on High Street from a short stretch of John Street between the Friary and Rowe Street Church. I had lived only a stone’s throw from houses in John Street where members of my own family had lived.

Without realising what I was doing, I quickly retorted, in an immediate and unguarded response: ‘John Street? Above or below the Cock?’

He stared at me blankly.

He had no idea what I was talking about. In retrospect and with the benefit of hindsight, he probably thought I was not only being rude but had some innate insights into his criminal behaviour.

But I knew from his stare he had lied to me. He was not from John Street.

Within a short space of time, the whole tragic tale of Father Sean Fortune would unfold, and he would bring about his own sad demise.

One of the true tests of whether you are from Wexford town is to know whether you from above or below the Cock. The others include whether you can properly pronounce the name of the Faythe, and whether you know about the Gondolas in the Crescent.

Because I had lived on School Street and on High Street, I was told that I was very definitely from below the Cock.

The Cock on John Street determines your identity and your place in Wexford. I had been involved in Wexford Wanderers, the town’s rugby and cricket club. But I knew the Cock decides who you supported in football and hurling – the John Street Volunteers or the Faythe Harriers.

It is a division that goes back more than two centuries to 1798, and the organisation of the John Street Volunteers during the Rising.

On Friday afternoon, I could not resist photographing the Cock in Upper John Street in Wexford. It is a disused wall-¬mounted cast¬-iron fountain, dated 1854, and designed on a half¬-octagonal plan.

The fountain was erected by John Greene, who was Mayor of Wexford in 1854. Long before town planning, streetscaping and public water systems, he had a vision for supplying clean water to the people of the town, raising the quality of life and the standards of living of Wexford’s growing population

He died in 1890, and today the Cock is easy to pass by without noticing.

An old, rusting Victorian post box embedded in the façade of house in John Street, Wexford, close to ‘The Cock’ (Photograph: Patrick Comerford, 2016)

Earlier in the day, as I walked along the Quay in Wexford under a bright blue autumnal sky, the tide was out at the Crescent, and there was more silt than water in this landmark part of the town.

It was the Wexford Festival Opera, and I recalled the apocryphal story of the Wexford town councillor who proposed during an early opera in the 1960s that because an Italian opera was being staged in the Theatre Royal in High Street it would be appropriate to put a gondola in the waters of the Crescent.

Not to be outdone, one of his political rivals got to his feet and asked why two gondolas could not be placed in the Crescent. Then, when the festival was over, they could breed, and we would have generations of gondolas for festivals for generations to come.

A third councillor was quick to ask why go to such expense? Everyone knows if we had two gondolas in the Crescent, he quipped, they would get very friendly and soon fly off to breed in Venice, never to return again.

Wexford still has no gondolas/. But true Wexford people know where to find the cock in John Street.

The Crescent in Wexford on Friday afternoon … and not a gondola in sight (Photograph: Patrick Comerford, 2016)

Walking on the beaches in Portrane and
Donabate as the evening closes in

Evening lights on the Burrow Beach in Portrane (Photograph; Patrick Comerford, 2016; click on image for full-screen view)

Patrick Comerford

These last few days have been beautiful, with clear blue skies and warm sunshine. The clocks went back last night, so the mornings are brighter but it was noticeable this evening how the darkness is going to close in so early from now on.

Tomorrow’s unusual bank holiday has added to the opportunities provided this weekend, and so there have been visits to Wexford on Friday [28 October 2016] to enjoy some of the programmes of the Wexford Festival Opera, and to Co Meath yesterday [29 October 2016], which included a walk along the banks of the River Boyne at Trim and through the vast ruins of Trim Castle.

I was in my stall in Christ Church Cathedral this morning for the Sung Eucharist, and later six of us went for lunch in Mykonos, the Greek taverna on Dame Street.

But the afternoon was still warm and bright, and rather than staying on in the city centre, two of us went out to Portrane and Donabate to walk on the beaches and to catch the sunset.

I had ideas too of photographing Stella’s Tower in Portrane. Next year marks the 350th anniversary of the birth of Jonathan Swift, and as I began to plan an essay on the best-known Dean of Saint Patrick’s Cathedral, I thought the story of Stella’s Tower or Portrane Castle and its associations with Swift would be worth taking another look at.

After a walk on the beach at Portrane, and a visit to cousins at the Quay, the early dusk caught me unawares, and I never found my way into the field where the ruins of the castle stand.

Instead, we went on to Donabate, where the tide was out and two of us enjoyed a long walk on the sandy beach, catching glimpses of the setting sun behind the sand dunes.

I was back in south Dublin in time to hear the History Show presented by Myles Dungan on RTÉ Radio 1, and my interviews with Louise Dervin about how the bodies of JJ Murphy and the ‘Pickled’ Earl of Mayo were brought back from Italy and India in unusual circumstances for burial in Ireland.

Sunset behind the sand dunes on the beach in Donabate this evening (Photograph; Patrick Comerford, 2016; click on image for full-screen view)

An architect and an artist brings his
work to the Wexford Festival Opera

‘Divine Teardrop’ by Peter Cassidy … part of his exhibition coinciding with the Wexford Festival Opera (Photograph: Patrick Comerford, 2016)

Patrick Comerford

One of the joys of the Wexford Festival Opera is the way it attracts so many other cultural events to the town and to Co Wexford, including readings, plays, exhibitions, recitals, lectures, poetry, drama, walking tours and music.

There are exhibitions in the most surprising locations, and artists and designers set up their stalls and display their work in sometimes the most unlikely places.

Peter Cassidy hardly needed the festival to attract him to exhibit his works in Wexford this year. Although his architectural practice is based in Dun Laoghaire, he has been living in Co Wexford for the best part of two decades.

Between the lecture by John Julius Norwich on Friday morning, and the staging of Vaughan Williams’s short opera, Riders to the Sea, on Friday afternoon, I visited some of the exhibitions that had been attracted to Wexford by the festival, and particularly enjoyed Peter Cassidy’s exhibition of his paintings in a corner of the foyer in the Clayton White Hotel.

Peter studied in Bolton Street College and qualified as an architect in the mid-1980s, and Peter Cassidy Architects was established in 1993 as a small niche practice in Dun Laoghaire, specialising in providing a high quality of professional architectural service delivered in a personal and focused way.

His projects completed to date include new residential and commercial developments, new medical centres and care homes, restoration work at residential and institutional buildings for public and religious organisations, alterations to clerical, health and other buildings and private houses.

Having lived most of his life in Dublin, he now lives in Co Wexford with his family at Rathmoon, which is both his home and his studio. His design of Rathmoon was inspired by Irish ring forts and crannogs, and was completed in 2002, although he says the garden has taken longer to complete.

Over the last 30 years, most of his time has been spent working as an architect. But painting has always been a big part of his life.

He studied Fine Art in Dun Laoghaire College of Art and Design, and has a number of commissions over the years, including large scale works for Saint Michael’s Church in Dun Laoghaire. He has work hanging in both public and private buildings.

It was on the strength of his crucifixion painting, completed in Saint Michael’s in 1991, that he was awarded a scholarship for a year in the Academy of Fine Arts in Florence, Italy.

His exhibition in the Clayton White Hotel is his third exhibition and continues until Tuesday [2 November 2016].

At Peter Cassidy’s exhibition in the Clayton White Hotel (Photograph: Patrick Comerford, 2016)

30 October 2016

Talking about the ‘Pickled Earl’ and bringing
the bodies home on ‘The History Show’

Palmerstown House, near Johnstown, the family home of the Earls of Mayo outside Naas, Co Kildare (Photograph: Patrick Comerford, 2016)

Patrick Comerford

I have contributed two essays to a new book on death and the Irish, which has been edited by my friend and colleague, Salvador Ryan, Professor of Church History in Maynooth. Death and the Irish: a miscellany is published by Wordwell, and is being launched next week [10 November 2016] in the Royal Irish Academy, Dublin. I was interviewed by Louise Dervin in Christ Church Cathedral and Saint Patrick's Cathedral, Dublin, yesterday about these chapters for The History Show, presented by Myles Dungan and which goes out on RTÉ Radio 1 at 6.05 p.m. this evening [30 October 2016].

In one chapter, ‘Bringing the bodies home,’ I tell the story of the difficulties faced by the families of Jeremiah James Murphy and the 6th Earl of Mayo when it came to bringing their bodies home after their tragic deaths abroad in the 1850s and the 1870s.

Air travel has reduced the stress when grieving Irish families have to arrange to bring home the bodies of loved ones, but it was not so easy in Victorian days. Families either had to accept someone was going to be buried overseas and or had to find innovative, sometimes even irreverent, ways to bring home the bodies for burial.

Jeremiah James Murphy (1795-1851), of Lota Park, outside Cork, was in his 50s when he went on the grand tour of Italy. He died in Pisa on 29 November 1851, but getting his body home to Ireland proved difficult for his family. The sailors at Naples feared taking the coffin on board would bring them bad luck at sea. The Murphy family, however, out-witted the sailors by putting his body in an upright piano which they then shipped back to Ireland. He was buried almost two months later on 18 January 1852 in Carrigrohane, Co Cork ... still in the upright piano.

Richard Southwell Bourke (1822-1872), of Palmerstown House, Co Kildare, was the 6th Earl of Mayo. He was murdered in India in 1872 and is buried in Johnstown Churchyard, near Naas, Co Kildare. He is known as the ‘Pickled Earl’ since his body was preserved in a vat of rum on the long journey back to Ireland following his assassination.

When he became the Viceroy and Governor-General of India in 1869, .he gave instructions that should anything happen to him his body was to be brought back for burial in Johnstown. He was visiting a convict settlement in the Andaman Islands when he was attacked by an Afghan convict, Sher Ali Afridi, who murdered him on 8 February 1872. His partially-embalmed body was shipped home to Ireland, but in order to delay decomposition, his body was placed in a rum-filled cask ... and so he became known as the ‘Pickled Earl.’

To add spice to the story, when the cask was opened the body was there but there was no rum. Had it leaked out? Had it evaporated? Had it been drained off by the crew?

The memorial window in Saint Patrick’s Cathedral, Dublin, commemorating Richard Burke, 6th Earl of Mayo, and his murder in India (Photograph: Patrick Comerford, 2016)

In my second contribution to the book, I tell the story of ‘Abide with Me,’ one of the most popular funeral hymns in the English-speaking world. It is said to have been a favourite of a wide range of people, from George V to Gandhi, it was played by the band on the deck as the Titanic was sinking, and Nurse Edith Cavell repeated its words as she faced her firing squad. Since 1927, this hymn has been sung at every FA Cup Final in Wembley.

This perennially popular funeral hymn was written as he was dying by a priest of the Church of Ireland, the Revd Henry Francis Lyte (1793-1847). Although born in Scotland, Lyte was brought to Ireland, and was educated in Portora and Trinity College Dublin.

After his ordination, Lyte’s first appointment was as curate of Saint Munn’s Church, Taghmon, Co Wexford. He described his 18 months in Taghmon as a ‘dreary curacy.’ Taghmon was too remote from town life, and he bemoaned the loss of ‘the comfort, the society and the carelessness’ of constant intrusions, the long dinner parties, and the time he had to give to neighbours and parishioners.

But the spiritual outlook and religious values of the unhappy curate were changed as he watched the death of a neighbouring rector, the Revd Abraham Swanne, and took over his duties in the parish of Killurin, on the banks of the Slaney, between Wexford and Enniscorthy.

Lyte’s health never recovered fully after his experiences in Taghmon and Killurin. In September 1847, he preached his farewell sermon, on the subject of the Eucharist, returned to his vicarage and that evening wrote ‘Abide with Me.’ The hymn is marked in part by Lyte’s experience of comforting the dying Abraham Swanne, who kept repeating the words ‘Lord, abide with me.’

Lyte died in Nice on 20 November 1847 and was buried in the English Cemetery there. He is commemorated by plaques in Saint Munn’s Church in Taghmon, Co Wexford, but ‘Abide with Me’ is his greatest memorial.

The History Show seeks to bring the past to life and to explain ourselves to ourselves, searching out fresh angles on familiar topics, with informative, reflective, stimulating and entertaining radio. It is broadcast on Sundays from 6.05 p.m. on RTÉ Radio 1.

Henry Francis Lyte’s first appointment was as curate of Saint Munn’s Church, Taghmon, Co Wexford (Photograph: Patrick Comerford, 2015)

Visiting Wexford’s new library for
the first time since it opened

Wexford County Library in Mallin Street in the afternoon autumn sunshine (Photograph: Patrick Comerford, 2016)

Patrick Comerford

It is almost four years since Brendan Howlin opened the new County Library in Wexford. I once lived just a few steps from this magnificent building when it was a humble car park. But my friend Celestine Murphy, editor of the Journal of the Wexford Historical Society, offered me my first guided tour of the Library while I was in Wexford yesterday [28 October 2016], and showed me the stunning views across the town and out into the Wexford countryside.

It is a striking steel and glass structure on a landmark site. But before it opened, the new library was the subject of some controversy, with critics pointing out that it stands immediately inside Wexford’s old town wall and one of its mediaeval square towers.

But looking down on the walls and its towers, the site of the former Saint John’s Gate and across the town to Selskar Abbey, I was convinced that this bright, light-filled complements the historic features of the townscape. To have left the vacant lot in Mallin Street (Back Street) behind Rowe Street Church would have been poor taste when it comes to urban planning and design.

Planners and local authority figures in Wexford hope the new library will stand at the epicentre of a linear ‘cultural spine’ parallel to Main Street, with the Opera House in High Street, where I lived in the mid-1970s, at one end and Selskar Abbey at the other end, and the new library and the neighbouring Art Centre in Cornmarket forming the core.

Looking across the roofs of Wexford Town from the Library to Selskar Abbey (Photograph: Patrick Comerford, 2016)

The library replaces temporary premises in McCauley’s car park off Redmond Square. Before that, the library spent some time in what is now the foyer and the Library Bar area in Clayton White’s Hotel, while the Archives and Local Studies section was based across Wexford Bridge in Ardcavan, on the other side of the River Slaney.

Indeed, since it was first established in 1926, the library has moved six times. Wexford Library was originally established as the Book Repository on North Main Street in 1923. In 1928, it moved to Custom House Quay; then in 1934 to the second floor of the then renovated County Hall.

In the 1960s, the facilities relocated to a prefab on the grounds of the County Hall at Hill Street, before moving again to Abbey Street in what is Clayton Whites Hotel and then to premises off Redmond Square.

The library is organised into three zones. The ground floor offers a meeting area, daily newspapers, a print point, express PCs and popular adult non-fiction materials. Family and leisure use is centred on the middle floor which carries the children’s library, teens stock, DVDs, CDs, graphic novels and adult fiction.

The more serious top floor has the e-learning suite, another print point, research services and borrowing stock in economics, enterprise, education, languages, literature, history, Wexford studies and geography. Throughout the building, there is Wi-Fi access.

Mythen Construction was appointed by the National Housing Agency to build this landmark 1,680 sq m public building project. The project was extremely challenging from a technical and logistical perspective as the building took up the entire curtilage of the town centre site. A patio area by the old town wall can be used for book launches and similar events.

This beautiful new library fits in with the narrow street and sits comfortably with the church spire of Rowe Street Church, while the site retains a portion of the old town wall. In 2013, it was shortlisted for the Irish Building and Design Awards.

The library is closed today for this bank holiday weekend [29 to 31 October 2016], but reopens on Tuesday [1 November 2016] as usual at 10.30 am.

Wexford Arts Centre in Cornmarket … first built as the town’s Market House (Photograph: Patrick Comerford, 2016)

Close to the new library, a little further along Wexford’s ‘cultural spine,’ the Arts Centre has its home in the Market House in Cornmarket, built by Wexford Corporation in 1772-1776.

The lower windows that can be seen originally today arched recesses for the traders, a reminder of its original use as the town’s market house days. Inside, there was a magnificent ballroom and supper room upstairs.

The founder of the Methodists, John Wesley, preached here when he visited and he recorded in his journal that it was one of the best public rooms he had ever spoken in. Later, the Brunswick Club was formed here in 1882.

Following renovation, the Assembly Rooms as they were also known were a popular venue for lectures and musical evenings well into the 20th century and people such as Percy French, composer of The Mountains of Mourne and other popular songs appeared on a number of occasions.

It became the headquarters of Wexford Corporation in the early 20th century and was known as the Town Hall. It opened its doors as the Wexford Arts Centre in 1974 and has been providing art and has been a cultural centre in the town ever since.

As we looked down on the Market House from the top floor of the library in the sunshine yesterday afternoon, Celestine pointed out that High Street, Mallin Street and Abbey Street provided the Main Street and artery of the old walled town, and offered the opinion that Cornmarket, and nor the neighbouring Bull Ring was the scene for Cromwell’s massacre in Wexford in the mid-17th century.

Ominously, the sign over Con Macken’s Bar, also known as the Cape Bar, includes the words ’Bar,’ ‘Undertaker’ and ‘Spirits’ – harkening back to the day when this pub, linking the Bull Ring and Cornmarket, was a place where many could truly sing, ‘Eat, drink and be merry, for tomorrow we shall die.’

The sign over Con Macken’s Bar in the Bull Ring in Wexford (Photograph: Patrick Comerford, 2016)

29 October 2016

A hidden church on Powerscourt Estate
has a story that goes back for centuries

The ruins of the old church of Stagonil, hidden behind a high wall in Powerscourt Estate (Photograph: Patrick Comerford, 2016)

Patrick Comerford

Behind a large wall on the Powercourt Estate, covered in ivy and hidden behind large trees, the ruins of Stagonil Church go unnoticed by the daily throng of visitors and tourists.

As I peered behind these walls last Saturday [22 October 2016], I could see the ruined church of Stagonil, a reminder of a church with a story that goes back long before the arrival of the Anglo-Normans for almost 1,000 years, and of a lost village that survived until the Wingfield family built Enniskerry as an estate village for their tenants and workers in the mid-19th century.

From the eighth century on, on the southerly edges of an area ruled by the family of Macgiolla Mocolmog, a Danish or Viking settlement developed where three rivers meet, the Dargle, Glencree and Annacrevy. Some say this settlement was named Stagonil or Tigh Chonaill, the House of Conall; others say its name is derived from Gunhild, a prominent Viking woman in the area.

The competing claims of a Viking and a Gaelic settlement are legacies that harken back to a time when the early priests in Stagonil were appointed by the Danish Bishops of Dublin, but the Irish Bishops of Glendalough continued to claim the church lands.

The Abbey of Saint Thomas à Becket was founded in Dublin after the arrival of the Anglo-Normans. In 1216, about 10 years after their marriage, Basilia and Richard de Cogan granted all their lands in the Bray area to the Abbey of Saint Thomas. Their lands adjoining the king’s manor of Obrun included the village of Stagonil. All traces of the village have disappeared, although the ruins of the early church dedicated to Saint Beccan are at Churchtown, above the north bank of the Dargle, near the Annacrevy gate.

As early as 1192, the first Anglo-Norman Archbishop of Dublin linked this church with Saint Patrick’s Cathedral, and from 1303 until 1874 one of the prebendaries or canons of Saint Patrick’s also served as the Rector of Stagonil, and later of Powerscourt.

There was a weekly fair in Stagonil on Saturdays, and Henry III granted the profits of the fair to the Archbishop of Dublin, as well as the village, which was surrounded by the archbishop’s farmlands. The Archbishop leased a farm to the Le Poer family of Balytenyth Castle, which became their demesne lands, which eventually became known as Powerscourt, although Stagonil retained in its name.

From 1303, the parish was served by the Prebendaries of Stagonil in Saint Patrick’s Cathedral, when Archbishop Richard de Feringes made Stagonil a distinct prebend, although few of the name of the prebendaries (nine in all) survive for the period leading up to the suppression of Saint Patrick’s Cathedral in 1547.

The connection with Saint Patrick’s Cathedral resumed in 1555 when the cathedral received a new charter. When Sir Richard Wingfield acquired the Powerscourt estate, he rebuilt the castle as his manor house at Powerscourt, and in 1603 he built a new church for the parish of Stagonil alongside the castle.

When Lancelot Bulkeley, Archbishop of Dublin (1619-1650), held a visitation of his diocese, his returns showed that the parish of Stagonil was flourishing.

Sir Richard Wingfield, to whom Viscount Powerscourt left his property in 1634, died only four years after his succession, and was followed by his son, another Richard, then aged 17. When Elizabeth Folliot, widow of Sir Richard Wingfield, was an elderly widow, she left a graceful flagon of Irish silver to the church in 1704 for use at the Holy Communion.

The minutes of the parish vestry for the period 1695-1807 almost coincide with the time between the Battle of the Boyne in 1690 and the Battle of Waterloo in 1815. They include churchwarden’s accounts, details of parish spending, the cost of recasting the bell in 1723, and of the arrangements for policing the two Constablewicks of Powerscourt and Kilmacanogue.

An early Prebendary and Rector of Stagonil at this time was Canon Theophilus Bolton, who was incumbent in 1707-1714. But he probably spent little time in Powerscourt, paying a curate in fill his responsibilities in the parish while he benefitted from the prebendal tithes. Like many of the rectors at the time, Stagonil was a stepping stone to higher ambitions, and he later became Bishop of Clonfert and then Bishop of Elphin before becoming Archbishop of Cashel (1730-1744). He gave his name to the Bolton Library in Cashel.

Edward Synge, who was Rector in 1715-1719, was later successively Bishop of Clonfert (1730-1732), Cloyne (1732-1734), Ferns (1734-1740), and Elphin (1740-1762). Francis Corbet (1723-1727) became Dean of of Saint Patrick’s Cathedral (1747-1775)

Richard Wingfield, 1st Viscount Powerscourt of the third creation, commissioned the German-born architect Richard Cassel to build Powerscourt House in 1729-1743. At the same time, Francis Corbet’s successor, Canon John Towers was the Prebendary of Stagonil (1727-1746), and he leased property at Cookstown until his death in 1751. Jonathan Swift, the Dean of Saint Patrick’s Cathedral, had a summer holiday with the Towers family at Cookstown.

The vestry minutes show that the old church was rebuilt considerably after Canon Michael Sandys was appointed Rector and Prebendary of Stagonil in 1775. He remained in the parish for almost 40 years until 1814.

Henry Grattan (1746-1820), the patriot constitutional politician who lived in Tinnehinch House, Enniskerry, was a churchwarden in the parish in 1793. The vestry records for 1796-1807 also show how the residents were obliged to raise money to fund the Wicklow Militia in the aftermath of the French Revolution in 1789 and the 1798 Rising in Ireland.

Sandys was succeeded by Robert Daly (1814-1842) a noted Irish scholar and later Bishop of Cashel (1843-1872). In Daly’s time, over £1,000 was spent on repairs to the old church, and the old glebe house, Annacrevy Schoolhouse and the parochial hall were also built.

The village of Enniskerry, built in the 1820s and 1830s, and the Town Clock erected in 1843 (Photograph: Patrick Comerford)

During Daly’s time too, Richard Wingfield, the fifth Viscount Powerscourt, welcomed King George IV to Powerscourt in 1821, and the present village of Enniskerry was built just before his death in 1823. His son erected the Town Clock in 1843 to commemorate the centenary of the third version of the Powerscourt titles given to the Wingfield family in 1743.

Until the mid-19th century, the church at Stagonil had congregations of up to 200. This probably included the Powerscourt tenants, but also tenants of the Earl of Meath, for Great and Little Kilruddery were part of the parish until Disestablishment. After the railway line between Dublin and Bray opened in 1851, new churches were needed in the neighbourhood, so Kilbride Church was consecrated in 1859 and Christ Church, Bray, was consecrated in 1863.

Meanwhile, with the building of the village of Enniskerry, many of the residents could only go to church in Stagonil in the grounds of the Powerscourt Demesne in the evening and with difficulty. In 1857 Elizabeth, Marchioness of Londonderry and widow of Richard Wingfield, the 6th Viscount Powerscourt, offered the parish the present of a new church as a parting gift as she handed the estate over to her son on his 21st birthday.

Mervyn Edward Wingfield, the 7th Viscount Powerscourt (1844-1904), laid the foundation stone of this new church with a mallet and trowel of Wicklow silver on the day he came of age in October 1857. The project for a new church coincided with an extensive renovation programme that also established the Italian gardens at Powerscourt.

The church cost £3,441 9s 2d to build, and was built to seat 350, although it was criticised for being too small. The consecration was delayed because the Ecclesiastical Commissioners were not satisfied with the slated spire. They refused to accept delivery from the architect, John Norton (1823-1904) of London, until a copper spire had been erected. This spire, in its turn, had to be renewed in 1929 at a cost of £1,300, because its wooden frame had perished.

The English architect John Norton (1823-1904) designed country houses, churches and commercial buildings. He was born in Bristol and became a pupil of Benjamin Ferrey (1810-1880), a close friend of Augustus Pugin (1812-1852), who was inspired by the Gothic mediaeval styles of the pre-Reformation era.

Ferrey’s friendship with Pugin had a profound effect on Norton, who adopted Pugin’s principles in his own church designs. Pugin died in 1852 when Norton was not yet 30. He embarked on a succession of Gothic revivalist designs for parish churches.

It was said that of Norton’s work that he ‘combined the Gothic beauty of holiness with a reverence for nature. He created domestic architecture based on the recent collegiate buildings in Oxford. Suddenly, too, the tenets of Ruskin and Pugin have become transfixed in stone.’

Despite the delay in consecration, the church was opened for evening worship in 1860 at a service at which the preacher was Francis Thomas McDougall (1817-1886), Bishop of Labuan and Sarawak, an SPG (USPG) missionary. When the day came for the consecration of the church three years later, Archbishop Whately was dying, and so the church was consecrated by his friend, William Fitzgerald (1814-1883), Bishop of Killaloe, on 15 September 1863.

The Pepperpot Tower was built in the Powerscourt Estate in 1911 with stones from the old church of Stagonil (Photogtpgraph: Patrick Comerford, 2016)

The old church of Stagonil fell out of use after 1863, but two large vaults, one in the church and one in churchyard, were provided for Lady Verner in 1867. When the Church of Ireland was disestablished two years later in 1869, Lord Powerscourt claimed the old church and the surrounding churchyard. Since then, only families with a traditional right to be buried next to the old church within the demesne could claim burial rights there. Some of the stones from the old church were purloined by the Powerscourt family and used in 1911 to build the Pepperpot Tower nearby to commemorate a visit by the Prince of Wales, later King Edward VIII, who abdicated and became the Duke of Windsor.

The Powerscourt family memorials were moved from the old church to Saint Patrick’s Church in 1918. Saint Patrick’s Church has since remained substantially unaltered, although the organ was moved to the north transept and the chancel was altered in 1919. Mervyn Richard Wingfield, the 8th Viscount Powerscourt, gave the lectern later donated the pulpit in 1932 in memory of his parents.

The copper spire, that had delayed the consecration of the church, was in turn replaced in 1929 at a cost of £1,300, after its wooden frame had perished. In 1946 Lord Powerscourt and Colonel Riall presented the choir stalls. The prayer desks were given in 1932 by Lord Monck in memory of his grandparents. In 1957, the parish of Kilbride, Bray, was united with Powercourt.

The rectors or curates-in-charge since 1874 have been Archdeacon Henry Galbraith (1874), the Revd John Newcombe (1905), who died in office, the Revd Henry Mecredy (1907), who also died in office, Canon James Alcock (1924), the Revd Mervyn Byrn (1934), Canon John Murray (1949), Canon Ivan Kirkpatrick (1953), Canon Albert Stokes (1956), Canon Raymond Smith (1987) and Archdeacon Ricky Rountree (1997), the present rector who is also Archdeacon of Glendalough.

As for the prebendal stall with the name of Stagonil in Saint Patrick’s Cathedral, this is now assigned to the Diocese of Cashel, Ferns and Ossory, and since 2013 has been held by Canon Patrick Harvey, Rector of Abbeyleix.

Saint Patrick's Church, Powerscourt, was built in 1857-1863 (Photograph: Patrick Comerford)

A morning with John Julius Norwich in Wexford
and an afternoon with Vaughan Williams

With John Julius Norwich at the Wexford Festival Opera

Patrick Comerford

For my leisure reading in recent weeks, one of the books I have enjoyed is In The Great Cities in Europe by John Julius Norwich, which I bought in Cambridge last month. This book paints a portrait of world civilisation by telling the stories of the world’s greatest cities from ancient times to the present.

John Julius Norwich (John Julius Cooper, 2nd Viscount Norwich) is one of the most distinguished and charismatic writers and broadcasters of our time and he is best-known for his works on the Byzantine empire, mediaeval Sicily and Venice. He has produced 30 historical documentaries for BBC television, and his portraits of cities in this book are vignettes about Constantinople, Palermo and Venice.

I was back in Wexford today [28 October 2016] to hear John Julius Norwich deliver the 2016 Dr Tom Walsh Lecture as part of the Wexford Festival Opera.

It was a self-deprecating hour on stage, as he tried to deny he is an original historian, saying instead he only tries to make what is already known to the general reader.

He became fascinated with Byzantium as an 18-year-old undergraduate at Oxford, and his first major work was a two-volume history of Sicily. After a career in the diplomatic service, he became a writer, particularly on history, art and travel subjects. His many books include acclaimed works on Venice, Byzantium, Mount Athos, Glyndebourne, the Normans, the Popes, Shakespeare and architecture, and his Christmas Crackers collections of trivia and witticisms.

He has edited the diaries of his father, Duff Cooper, 1st Viscount Norwich, and letters from his famously glamorous mother, Lady Diana Cooper (Darling Monster: The Letters of Lady Diana Cooper to Her Son John Julius Norwich).

A distinguished and popular broadcaster on television and radio he has written and presented some 30 television documentaries on art, architecture and history, and he is fondly remembered for his wit and erudition by listeners to the BBC radio programmes My Word! and Round Britain Quiz.

He has chaired or served on the committees of numerous charitable projects, including projects concerned with Venice, world monuments, fine arts, the disabled, the National Trust and English National Opera. He is a regular speaker at lunches and dinners and in 2006 and 2007 he gave one-man shows in two London theatres.

This morning, in an interview-style presentation on the stage at the Clayton White Hotel, he spoke fondly of Wexford, saying he has been here at least 50 times, coming to the opera festival for the first time in 1961. There were humorous recollections of staying with the Beits at Russborough House in Co Wicklow, late night festival parties in the Talbot Hotel.

John Julius Norwich on the stage in Wexford this morning (Photograph: Patrick Comerford, 2016)

At lunch in the Yard Restaurant in Lower George’s Street, it was good to meet some old friends, including Brendan Howlin and George Lawlor.

Later in the afternoon, two of us also attended Ralph Vaughan Williams’s Riders to the Sea, which is an interesting choice for the festival programme.

Although Vaughan Williams is not often remembered for his contributions to opera, the composer had a life-long interest in bringing music and theatre together. His magnum opus was The Pilgrim’s Progress, a project that occupied him for about 40 years. But many devotees of the composer feel strongly that Riders to the Sea is one of his greatest masterpieces.

It has often struggled to find a home in most opera house planning because of its brevity, but Wexford Festival Opera’s ShortWorks provided an ideal place to listen to this opera, not least because of its Irish roots.

The early 20th century play Riders to the Sea by John Millington Synge is one of Ireland’s few female-focused dramas. Vaughan Williams first composed his one-act opera in 1927, based almost verbatim on Synge’s text. But it was not heard until a decade later, receiving its first performance at the Royal College of Music in London on 1 December 1937.

Music with an eerie, elegiac beauty illuminates the theme of elemental and watery death as experienced by the Aran Islanders, off the Galway and Clare coats. The central role is that of Maurya, who by the end loses her husband and six sons to the sea, experiencing a kind of cathartic release when her last son’s death leaves her with nothing more to fear.

In her director’s notes in the programme, Catriona McLaughlin writes: ‘There is a powerlessness in the face of the sea’s omnivorous ferocity that is curiously embodied in the puny few drops of holy water administered over Bartley’s lifeless body, and yet there is grace and resilience in the faith that this action underwrites. I am repeatedly struck by the ravaged humanity in that gesture; the tiny drops that represent the might of Christ which will bring His hand to their rescue, set against the uncompromising force of nature, the wild sea in all its unknowable danger.’

Realising that the sea can hurt her no longer, Maurya (Lara Harvey) concludes, ‘No man at all can be living for ever, and we must be satisfied.’

All this was evoked by Vaughan Williams in music that captures the flinty harshness of the islands and fierce marine brutality. But the theme of humanity against nature – taken to extremes in his Sinfonia Antarctica – succeeded in bringing out the best in the composer.

The set for ‘Riders to the Sea’ in Wexford this afternoon (Photograph: Patrick Comerford, 2016)

28 October 2016

Saint Andrew’s Church, a former inner
city parish church, is on the market

Saint Andrew’s Church, Suffolk Street … the church had a history dating back to 1217, but closed as a church in 1993 (Photograph: Patrick Comerford, 2016)

Patrick Comerford

As I was walking through inner city Dublin earlier this week, I noticed that Saint Andrew’s Church, the former Church of Ireland parish church at the point where Saint Andrew Street and Suffolk Street meet, has been placed on the rental market, inviting new tenants.

Saint Andrew’s was an old parish in inner city Dublin, formed almost 800 years ago in 1218 from the corps of the Precentors of Saint Patrick’s Cathedral, Dublin. The original Saint Andrew’s Church stood on present-day Dame Street.

Until the Reformation, the Precentors of Saint Patrick’s Cathedral were the Rectors of Saint Andrew’s Church. At the Reformation, Saint Andrew’s was united to Saint Werburgh’s, together with Saint Mary le Dam.

It is said the church was destroyed in the mid-17th century during the Cromwellian era. However, under an Act of Parliament passed after the Caroline Restoration, Saint Andrew’s became a separate parish once again in 1665, and a new church was built by William Dodson in 1680.

This church was built a little further from the city walls, on an old bowling-green close to the Thingmote, the old assembly-place in the Norse city. It had an eliptical or oval shape with a cone-shaped roof and crenallations. Because of this shape, it was commonly known as the Round Church.

The patronage of the parish was vested in the Archbishop of Dublin, the Lord Chancellor, and other senior government officials. The church was the special chapel of the Irish Parliament, which met nearby in College Green, and had close links with the Dublin Stock Exchange.

Jonathan Swift’s friend, Esther Vanhomrigh (‘Vanessa’), was buried in here in June 1723. Alderman Thomas Pleasants, father of Thomas Pleasants, the developer and philanthropist, was buried in the churchyard in 1729. Thomas Dalton, Lord Chancellor of Ireland, was buried here in 1730, and Marmaduke Coghill, MP for Dublin University, judge of the Prerogative Court and Chancellor of the Exchequer, was buried in the family vault in Saint Andrew’s in 1738.

The church was rebuilt in 1793-1800 with a new round church designed by Francis Johnson. This was Johnson's first major commission in Dublin. Inside, the church was fitted out in what was described as an ‘Egyptian style,’ its windows were covered with oil-silk transparencies instead of being fitted with stained glass, and the gallery had beautiful Egyptian-inspired ornamentation that was much admired in Victorian Dublin.

This church was destroyed by fire on 8 January 1860.

The cloister-like walkway on the north side of Saint Andrew’s Church, Suffolk Street … the 1860s church was designed by William Henry Lynn (Photograph: Patrick Comerford, 2016)

The Belfast-based architectural practice of Lanyon & Lynn won first and second prizes in the competition for designs for a new church. The new church was designed was designed in the Gothic style by William Henry Lynn (1829-1915), and could seat 1,000 people. The builder was John Butler & Son, and the total coast was £12,735.

The foundation stone was laid on 11 August 1862 by the Lord Lieutenant of Ireland, the Marquess of Abercorn, and the church was consecrated by Archbishop Richard Chenevix Trench of Dublin on Saint Andrew’s Day, 30 November 1866.

Throughout this building or rebuilding project, the Vicar of Saint Andrew’s from 1862 to 1872 was the Ven Cadwallader Wolseley (1806-1872), who was also a canon of Saint Patrick’s Cathedral (1852-1862) and Archdeacon of Glendalough (1862-1872). He was a descendant of the Wolseley family of Mount Wolseley, Co Carlow, and Wolseley near Rugeley in Staffordshire.

The Belfast-based architect William Henry Lynn (1829-1915) was born on 27 December 1829, at St John’s Point, Co Down. His father, Henry Lynn, whose family came from Fethard, Co Wexford, was an officer in the coast guard service, while his mother, Margaretta Ferres, was a doctor’s daughter from Larne, Co Antrim.

Lynn went to school at Dr Newland’s private grammar school in Bannow, Co Wexford. He trained as an architect in the Belfast office of Sir Charles Lanyon (1813-1899). By the time he was 18 he was Lanyon’s clerk of works for the building of Queen’s College, Belfast, and he became Lanyon’s partner in 1854 in the partnership known as Lanyon & Lynn, later Lanyon Lynn and Lanyon.

After a contentious breakup of the partnership, Lynn practised on his own from 1872 until he died on 12 September 1915 at home, Ardavon, 250 Antrim Road, Belfast. He had also kept a house at Innyard, near Fethard, Co Wexford.

Lynn’s original vision was ambitious for a cramped site and included rebuilding the surrounding neighbourhood in the same Gothic style. But this vision never saw the light of the day, and the full beauty of his design, including tower and spire, is difficult to discern through the narrow surrounding streets. There is a cloister-like walkway beside Saint Andrew Street, but many of Lynn’s planned features were never completed because of cost-cutting measures. For example, the central buttress of the cloister has a large lump of unfinished stone, and the empty niche above has protrusions that were clearly meant to be carved.

Perhaps Lynn’s single failure was trying to fit a square peg into a round hole, or a cruciform church into a site marked by its curved street boundary. Inside, the church had short and tall four-bay nave, transept and chancel. His other buildings in Dublin included the Unitarian Church on Saint Stephen’s Green and banks on Grafton Street Street and College Green.

On 1 October 1957, a Chapel of Divine Healing was dedicated in Saint Andrew’s Church, as a centre for the work of the Ministry of Healing in Ireland.

In January 1977, the union of Saint Andrew’s with Saint Werburgh’s, Saint Mary’s, Saint Michan’s and Saint Paul’s took effect, and the new union was grouped with Christ Church Cathedral.

Saint Andrew’s Church was closed after Divine Service on Saint Andrew’s Day, 30 November 1993, and the church was sold.

The head of Saint Andrew over the west door was one of the interesting features of the church, but has been removed since the church closed. Inside, the former church still retains the height and airiness of the original nave. Outside, there is a fine vaulted arcade with ornate stonework and pinnacles. A memorial to soldiers of the Fourth Dublin Imperial Yeomanry killed during the Boer War still stands in the former churchyard in the form of a polished pink granite column topped by a crown.

The church was remodelled by Ashlin & Coleman, the architectural heirs to Pugin and Coleman, in 1996, and until recently the building housed the Dublin Tourism office. However, Fáilte Ireland moved about two years ago to a remodelled building next door on Suffolk Street and the church is on the market for letting through the estate agents Cushman & Wakefield. They told The Irish Times last month that they expect it to a wide range of businesses because of its key location, heavy footfall and spacious facilities.

The former church is being offered on a long lease at an expected rent of over €600,000 a year. The property includes almost 20,000 sq ft of space, spread over three levels, and a former parish hall dating from 1884 at the rear of the church.

‘Space to Think’ celebrates ten years
of the ‘Dublin Review of Books’

Maurice Earls speaking at the launch of ‘Space to Think, marking the tenth anniversary of the ‘Dublin Review of Books’ (Photograph: Patrikck Comerford, 2016)

Patrick Comerford

Recently I was at a reception in the Irish Architectural Archives in Merrion Square, Dublin, to celebrate the tenth anniversary of the Dublin Review of Books and the launch of new book to mark this milestone, Space to Think, Ten Years of the Dublin Review of Books.

I was an early contributor to the Dublin Review of Books when I wrote a review in Issue Number 8 (Winter 2008-2009) a book by the Cork-born biblical scholar, the late Jerome Murphy-O’Connor: St Paul’s Ephesus: Texts and Archaeology (Liturgical Press/Michael Glazier).

That review opened:

Strolling down the paved Priests’ Way, or Curetes Street, in Ephesus at the height of the summer, our guide happily pointed out the vista ahead of us, including – in his own words – the ‘Library of Celsius’. Well it was a scorching hot day – and given the decadent reputation of Ephesus at the height of its prosperity I have no doubt the library shelves once held some hot topics.

Like many of the early reviewers, I was one of Enda O’Doherty’s former colleagues at The Irish Times, and it was inevitable that the attendance at this launch [13 October 2016] should include so many old friends who have also contributed to this collection of reviews. Since then, I have enhjoyed dipping in and out of this collection.

Maurice Earls and Enda O’Doherty, have edited Space to Think, which brings together some 50 essays on Irish and international literature, history and culture. The contributors include Roy Foster, Terry Eagleton, Denis Donoghue, Lara Marlowe, Eiléan Ní Chuilleanáin, Catriona Crowe, Pádraig Yeates, Denis Donoghue, and Siobhán Parkinson, and the late Adrian Hardiman.

The shared focus on Irish and European culture is richly reflected in the selection of essays in Space to Think, which range from pieces on the life of Seamus Heaney, the foibles of Jonathan Swift to the letters of Samuel Beckett; a study of the Ulysses obscenity trials in the US; the contradictions in George Orwell’s politics; Lara Marlowe on Sartre and de Beauvoir’s existentialist theories and their tawdry lifestyles; Clive James’s marvellous feats of translation; the American crime novel; and the greatest famine the world has ever known, which occurred after Mao’s so-called ‘Great Leap Forward’ in the 1950s.

Other subjects include: Kevin Barry’s Beatlebone, courtship in Jane Austen’s England, Irish prisoners of war in World War II, and the Ryanair experience.

Almost all of the pieces in the anthology were originally published as book reviews or ‘review-essays.’

The Dublin Review of Books was started in order to publish informed and imaginative essays and commentary on Irish and international subjects. Maurice Earls recalled that the Dublin Review of Books was launched online in 2007 because of the digital possibilities offered by virtually free worldwide distribution. The digital edition liberated the publishers from print bills ‘which would surely have sunk us, since we don't have advertising and we don’t charge.’ He pointed out that in the digital age there is little point in publishing a book unless one goes to the trouble of making it a beautiful object.

Enda O’Doherty said that the review essay format can run from 2,500 to 4,500 words. He quoted the British literary critic Frank Kermode, who said that it is ‘a very satisfactory genre,’ occupying a comfortable middle ground between the brief notice of a newspaper review and the lengthy detail of an academic paper or lecture.

To date, the DRB has published over 1,000 essays, from 360 contributors. Many people are willing to write on a pro bono basis, and only those who make a living from writing are paid for their contributions. The DBR is still going after 10 years, and continues to be entirely free to the reader.Space to Think is a lavish production, and is available in bookshops for €25.

Enda O’Doherty speaking at the launch of Space to Think, marking the tenth anniversary of the ‘Dublin Review of Books’ (Photograph: Patrikck Comerford, 2016)

27 October 2016

Liturgy 2016-2017 (Full Time) 5.2:
Traditions of prayer (2) seminar,
readings on Reformation prayer

Key figures in the story of the Anglican Reformation in a window in the Chapel of Trinity College, Cambridge, from left (top row): Hugh Latimer, Edward VI, Nicholas Ridley, Elizabeth I; (second row): John Wycliffe, Erasmus, William Tyndale and Thomas Cranmer (Photograph: Patrick Comerford)

Patrick Comerford

TH 8824: Liturgy, Worship and Spirituality

Year II, 10 a.m. to 12.30 p.m., Thursdays, Hartin Room:

Liturgy 5: 27 October 2016

Liturgy 5.1:
The development of the Liturgical Year and the Daily Office.

Liturgy 5.2: Traditions of prayer (2) seminar, readings on Reformation prayer.

11.30 a.m.: Liturgy 5.2: Traditions of prayer (2) seminar, readings on Reformation prayer.

Readings on Reformation prayer, including Martin Luther, John Calvin, Thomas Cranmer, John Jewel, Richard Hooker and Lancelot Andrewes.

1, Martin Luther (1483-1546):

Martin Luther … weaves together four basic elements to provide his ‘garland of prayer’

Reading: David Tripp, ‘Martin Luther, Lutheran Spirituality,’ in Gordon Wakefield (ed), A Dictionary of Christian Spirituality (London: SCM, 1999) pp 253-256.

Martin Luther was a German Augustinian friar, priest and professor of theology who played a key role in initiating the European Reformations. Luther strongly disputed the claim that freedom from the punishment of sin could be bought with money. He challenged the sale of indulgence with his 95 Theses in 1517. His refusal to retract his writings at the demand of Pope Leo X in 1520 and the of the Emperor Charles V at the Diet of Worms in 1521 led to his excommunication by the Pope and condemnation as an outlaw by the Emperor.

Luther taught that salvation is not earned by good deeds but is received only as a free gift of God’s grace through faith in Christ. His theology challenged the authority of the Pope by teaching that the Bible is the only source of divinely revealed knowledge.

His translation of the Bible into German, instead of Latin, made it more accessible, and had a major impact on the church and on German culture. His hymns influenced the development of singing in churches.

Luther’s 1524 creedal hymn Wir glauben all an einen Gott (We All Believe in One True God) is a three-stanza confession of faith prefiguring his 1529 three-part explanation of the Apostles’ Creed in the Small Catechism. Luther’s hymn, adapted and expanded from an earlier German creedal hymn, gained widespread use in vernacular Lutheran liturgies as early as 1525.

Luther’s 1538 hymn version of the Lord’s Prayer, Vater unser im Himmelreich, corresponds exactly to Luther’s explanation of the prayer in the Small Catechism. The hymn served both as a liturgical setting of the Lord’s Prayer and as a means of examining candidates on specific catechism questions.

Luther wrote Aus tiefer Not schrei ich zu dir (From depths of woe I cry to you) in 1523 as a hymn version of Psalm 130 and sent it as a sample to encourage his colleagues to write psalm-hymns for use in worship. In collaboration with Paul Speratus, this and seven more hymns were published in the first Lutheran hymnal, the Achtliederbuch.

In 1524, Luther developed his original four-stanza psalm paraphrase into a five-stanza Reformation hymn that developed the theme of ‘grace alone’ more fully. Because it expressed essential Reformation doctrine, this expanded version of Aus tiefer Not was designated as a regular component of several regional Lutheran liturgies and was widely used at funerals, including Luther’s own.

In his short and simple work, A Simple Way to Pray (1535), Luther sets out an approach to prayer based on reading Biblical passages such as the Lord’s Prayer (Matthew 6: 9-13) and the Ten Commandments (Exodus 20: 1-17). He sets out aid to prayer based on a four-fold interaction with the Biblical text.

The four basic elements which he weaves together to provide his ‘garland of prayer’ are:

1, Instruction.
2, Thanksgiving.
3, Confession.
4, Prayer.

On the evening of 17 February 1546, Luther experienced chest pains. When he went to his bed, he prayed: ‘Into your hand I commit my spirit; you have redeemed me, O Lord, faithful God’ (Psalm 31: 5), the common prayer of the dying. At 1 a.m., he awoke with more chest pain, and thanked God for revealing his Son. His companions, Justus Jonas and Michael Coelius, shouted loudly: ‘Reverend father, are you ready to die trusting in your Lord Jesus Christ and to confess the doctrine which you have taught in his name?’ Luther’s reply was a distinct ‘Yes.’

A stroke then deprived him of his speech, and he died at 2.45 a.m. on 18 February 1546, aged 62, in Eisleben, the city of his birth.

2, John Calvin (1509-1564)

John Calvin ... pointed out that to know God is to be changed by God

Reading: Gordon Wakefield, ‘John Calvin,’ and ‘Calvinist Spirituality’ in Gordon Wakefield (ed), A Dictionary of Christian Spirituality (London: SCM, 1999) pp 63-68.

John Calvin was a French theologian and a principal figure in the development of the Reformed or Calvinist tradition. Calvin originally trained as a humanist lawyer, and his breach with the Church came around 1530. When religious tensions provoked a violent uprising against Protestants in France, Calvin fled to Basel in Switzerland, where he published the first edition of the Institutes of the Christian Religion (1539).

He went on to engage with Church reforms in Geneva and Strasbourg, where he became the minister of a church of French refugees. He continued to support the reform movement in Geneva, and was eventually invited back to lead the church there. In Geneva, he struggled unsuccessfully to have weekly celebrations of the Eucharist, and taught the notion of a ‘virtual presence’ by which the power of Christ was united to the communicant by the work of the Spirit.

Calvin pointed out that to know God is to be changed by God; true knowledge of God leads to worship, as the believer is caught up in a transforming and renewing encounter with the living God.

His spirituality has three principle characteristics. It is:

● mystical;
● corporate;
● social.

3, Thomas Cranmer (1489-1556)

Thomas Cranmer … his legacy includes the Book of Common Prayer, the Collects and the 39 Articles

Reading: Richard H Schmidt, Glorious Companions: Five Centuries of Anglican Spirituality (Grand Rapids: Eerdmans, 2002), pp 1-11.

Thomas Cranmer, the ‘Father of the Prayer Book,’ was a leader of the English Reformation and Archbishop of Canterbury during the reigns of Henry VIII, Edward VI and (briefly) Mary I. He built a favourable case for Henry VIII’s divorce and supported the principle of royal supremacy.

As Archbishop of Canterbury, he was responsible for establishing the first doctrinal and liturgical structures of the Church of England. He did not make many radical changes in the Church, but succeeded in publishing the first officially authorised vernacular service, the Exhortation and Litany.

During the reign of Edward VI, Cranmer wrote and compiled the first two editions of The Book of Common Prayer, a complete liturgy for the Church of England. With the help of Continental reformers, he developed new doctrinal standards in areas such as the Eucharist.

With the accession of Mary I to the throne, Cranmer was tried for treason and heresy, and was executed in Oxford in 1556. On the day of his execution, he dramatically withdrew his recantations. As the flames drew around him, he placed his right hand into the heart of the fire and his dying words were, ‘Lord Jesus, receive my spirit... I see the heavens open and Jesus standing at the right hand of God.’

His legacy lives on through The Book of Common Prayer, although It is difficult to ascertain how much of the Prayer Book is actually Cranmer’s personal composition, and through the 39 Articles, which are part of his legacy although not his composition. But we can agree that his chief concern was to design corporate worship to encourage a lively faith.

4, John Jewel (1522-1571)

John Jewel ... literary apologist of the Elizabethan settlement and the author of Apologia ecclesiae Anglicanae

Reading: Richard H Schmidt, Glorious Companions: Five Centuries of Anglican Spirituality (Grand Rapids: Eerdmans, 2002), pp 12-20.

John Jewel, Bishop of Salisbury, is seen as the First Anglican Apologist, and as the literary apologist of the Elizabethan Settlement. His Apologia ecclesiae Anglicanae (1562) is the first methodical statement of the position of the Church of England. It forms the groundwork for all subsequent controversy, and is his attempt to provide a statement of faith for the Church of England during the reign of Elizabeth I and to answer challenges and accusations of the day.

When Jewel discusses the sacraments, he emphasises that it is not the sacraments themselves but the faith of the individual that effects salvation. On this point, Jewel appeals to several Church Fathers:

‘The faith of the sacraments,’ saith St. Augustine, ‘justifies, and not the sacrament.’ And Origen saith, ‘He [Christ] is the priest and the propitiation, and the sacrifice; and that propitiation comes to every one by way of faith.’ And, therefore, agreeably hereunto, we say that the sacraments of Christ do not profit the living without faith (Apology, II.17).

But he also says:

In the Lord’s Supper, there is truly given unto the believing the body and blood of the Lord, the flesh of the Son of God, which quickeneth our souls, the meat that cometh from above, the food of immortality, grace, truth, and life; and the Supper to be the communion of the body and blood of Christ, by partaking whereof we be revived, we be strengthened, and be fed unto immortality, and whereby we are joined, united and incorporate unto Christ, that we may abide in him, and he in us. (Apology).

Similarly, Jewel says: ‘For, although we do not touch Christ with our teeth and mouth, yet we hold him fast, and eat him by faith, by understanding, and by the spirit’ (Apology, II.15).

5, Richard Hooker (1554-1600):

Richard Hooker’s statue at Exeter Cathedral ... ‘the most influential theologian in the Anglican reformation

Reading: Richard H Schmidt, Glorious Companions: Five Centuries of Anglican Spirituality (Grand Rapids: Eerdmans, 2002), pp 21-33.

Richard Hooker was such an influential Anglican theologian at the end of the Elizabethan era that he is often regarded as the Definitive Anglican. His emphases on reason, tolerance and the value of tradition have had a lasting influence on the development of Anglican theology, and alongside Thomas Cranmer and Matthew Parker he is regarded as a founder of Anglican theological method.

Throughout Of the Laws of Ecclesiastical Polity (1593), Hooker makes it clear that theology involves prayer and is concerned with ultimate issues, and that theology is relevant to the social mission of the Church.

Writing on Prayer, he says: ‘When we are not able to do any other thing for men’s behoof, when though maliciousness or unkindness they vouchsafe not to accept any other good at our hands, prayer is that which we always have in our power to bestow, and they never in theirs to refuse.’ – Of the Laws of Ecclesiastical Polity, V.23.1

When it comes to ritual disputes in liturgical matters, he writes: ‘Customs once established and confirmed by long use, being presently without harm, are not in regard of their corrupt original to be held scandalous’ – Of the Laws of Ecclesiastical Polity, IV.12.4

6, Lancelot Andrewes (1555-1626)

The tomb of Lancelot Andrewes in Southwark Cathedral ... his prayers and sermons were critical in TS Eliot’s conversion to Anglicanism and had an abiding influence on his writings (Photograph: Patrick Comerford)

Reading: Richard H Schmidt, Glorious Companions: Five Centuries of Anglican Spirituality (Grand Rapids: Eerdmans, 2002), pp 34-46.

Lancelot Andrewes held senior positions in the Church of England in the reigns of Elizabeth I and James I, and after two decades at Cambridge he was successively Bishop of Chichester, Ely and Winchester, and chaired the committee that had oversight of the translation of the King James Version or Authorised Version of the Bible.

TS Eliot, in his essay, For Lancelot Andrewes: an Essay on Style and Order (1928), argues that Andrewes’s sermons ‘rank with the finest English prose of their time, of any time.’ Eliot spoke of his indebtedness to the bishop’s writings: he is ‘the first great preacher of the English Catholic Church,’ and he had ‘the voice of a man who had a formed visible church behind him, who spoke with the old authority and the new culture.’

For Eliot, ‘The intellectual achievement and the prose style of Hooker and Andrewes came to complete the structure of the English Church as the philosophy of the thirteenth century crowns the Catholic Church … the achievement of Hooker and Andrewes was to make the English Church more worthy of intellectual assent. No religion can survive the judgment of history unless the best minds of its time have collaborated in its construction; if the Church of Elizabeth is worthy of the age of Shakespeare and Jonson, that is because of the work of Hooker and Andrewes.

‘The writings of both Hooker and Andrewes illustrate that determination to stick to essentials, that awareness of the needs of the time, the desire for clarity and precision on matters of importance, and the indifference to matters indifferent, which was the general policy of Elizabeth … Andrewes is the first great preacher of the English Catholic Church.’

Reading:

TS Eliot, For Lancelot Andrewes: an Essay on Style and Order (1928).
Alister McGrath, Christian Spirituality (Oxford: Blackwell, 1999).
Richard H Schmidt, Glorious Companions: Five Centuries of Anglican Spirituality (Grand Rapids: Eerdmans, 2002).
Philip Sheldrake, A Brief History of Spirituality (Oxford: Blackwell, 2007).
Gordon Wakefield (ed), A Dictionary of Christian Spirituality (London: SCM, 1999).

Next week (3 November 2016):

6.1: The nature and theology of sacraments;
6.2: Traditions of prayer (3): seminar, patterns of prayer today (including all-age worship, participation of children in worship, worship and youth).

(Revd Canon Professor) Patrick Comerford is Lecturer in Anglicanism, Liturgy and Church History, the Church of Ireland Theological Institute. These notes were prepared for a seminar on 27 October 2016 that was part of the Module TH 8824: Liturgy, Worship and Spirituality on the MTh course.

Liturgy 2016-2017 (Full Time) 5.1:
The development of the
Liturgical Year and the Daily Office

Candles light up the choir stalls in Great Saint Mary’s, the University Church, Cambridge ... this morning we look at the development of the Liturgical Year and the Daily Office (Photograph: Patrick Comerford)

Patrick Comerford

TH 8824: Liturgy, Worship and Spirituality

Year II, 10 a.m. to 12.30 p.m., Thursdays, Hartin Room:

Liturgy 5: 27 October 2016

Liturgy 5.1:
The development of the Liturgical Year and the Daily Office.

Liturgy 5.2: Traditions of prayer (2) seminar, readings on Reformation prayer.

10 a.m.: Liturgy 5.1: The development of the Liturgical Year and the Daily Office.

Introduction:

1, The Liturgical Year
2, The Daily Office (Morning Prayer and Evening Prayer)
3, The Collects and the Lectionary

The beach at Donabate bathed in sunshine … the church calendar, like other calendars, is marked by times and seasons (Photograph: Patrick Comerford)

(1) The Liturgical Year:

We all function on a secular calendar, beginning on 1 January and ending on 31 December. But we all work with other calendars too. Examples include:

● The Tax year once began and ended on 25 March.
● The Academic year (is it divided into terms or semesters?).
● The football season.
● There is a political year (the opening of parliament).
● A court year (the law year began a few weeks ago).
● A social year, or family year, marks special events, with anniversaries, birthdays. We remember births, marriages and deaths in our own many families, and many regularly take holidays at the same time.
● The working year: the shipyard holiday had an impact on life throughout East Belfast until very recently.

So, the Church Calendar is both important for the life of the Church so that we remember the main events in the story of salvation, so that we do not forget others, and so that we do not forget to prepare for some of these events, marked by days and seasons.

The sources for the Church Calendar

There are two specific calendars for the Church, both working in tandem: the Temporale and the Sanctorale.

The Temporale outlines the Christian Year, from Advent Sunday to the Sunday before Advent. The Sanctorale follows the secular year. This lists the saints’ days, and other key days that fall on the same date each year.

An outline of the Church Calendar:

[handout: Harold Miller, The Desire of our Soul (Dublin: Columba, 1984), p 16.]

For the Temporale, see The Book of Common Prayer (2004), pp 18-19.

All Sundays celebrate the death and resurrection of Christ. On no Sunday should that celebration of the death and resurrection of Christ be overshadowed by any other commemoration. Everything we do in Church on Sunday is done in the light of our Easter faith.

The principal Holy Days are:

● Christmas Day (25 December)
● Easter Day
● The Day of Pentecost

Of these, which are the most important?

1, Easter, which has 40 days of preparation, Lent, and is followed by a continuing Easter focus in the 50 days of Easter until Pentecost

2, Christmas, which also has season of preparation, the four weeks of Advent, followed by the 12 days of Christmas up to Epiphany.

3, Pentecost is the climax of the story of the Risen Christ as the Spirit is poured out on the Church, which is a continuing Pentecost.

Seven other principal days are marked in the Church of Ireland Calendar:

1, Epiphany (6 January)
2, The Presentation of Christ (2 February)
3, Maundy Thursday
4, Good Friday (most traditions say it is inappropriate to celebrate Holy Communion on this day)
5, Ascension Day (The Thursday 40 days after Easter Day)
6, Trinity Sunday
7, All Saints’ Day (1 November)

The Seasons

In a natural year, we have the four seasons of Spring, Summer, Autumn and Winter. There are five seasons in the Church year, named in The Book of Common Prayer (p 19):

1, Advent
2, Christmas
3, Epiphany
4, Lent
5, Easter

Note how we name them:

● the Sundays of Advent, and the Sundays of Christmas;
● the Sundays after the Epiphany, the Sundays after Trinity;
● the Sundays before Lent, the Sundays before Advent;
● the Sundays in Lent; and the Days in Holy Week.

Then, we have separately Ordinary Time, which varies in length – depending on how early or late Easter is, and on when Advent begins.

These seasons explore particular theological themes. They provide us with opportunities to recall, to relive, and to learn afresh from particular parts of the Christian story, the story of salvation, as they are read and reflected on.

These seasons set a special mood for us collectively as the Church.

Apart from the seasons we also have days of special observance (The Book of Common Prayer (2004), p 20), including Ash Wednesday, the Monday, Tuesday and Wednesday of Holy Week, and Easter Eve.

The Festivals are not all saints’ days. They include some commemorations of Gospel events, such as events in the life of the Virgin Mary:

1, The Birth of the Virgin Mary (8 September),
2, the Annunciation (25 March),
3, the Visitation (31 May),
4, but not her death (15 August), although this is observed in other parts of the Anglican Communion.

Some events in the life of Christ that are commemorated include:

● His naming or circumcision (1 January)
● His Baptism (Sunday after Epiphany)
● His Transfiguration (6 August)
● His kingship (The Sunday before Advent).

The Saints’ Days [The Sanctorale] are also important reminders of the continuity of the story of salvation. The saints (see pp 20-21) include Saint Michael and All Angels, the Virgin Mary and Saint Joseph, the Holy Innocents, Saint John the Baptist, Saint Mary Magdalene, the Apostles and Evangelists, and the three patron saints of Ireland. Normally we think of the saints’ days as the days on which they died, but we do not commemorate the Virgin Mary on that day, nor is this the case with Saint Michael and the Angels. And we remember two saints on other days too: Saint Paul (conversion, 25 January) and Saint John the Baptist (birthday, 24 June).

On pp 22-23, we have the commemoration of saints and other important figures in our story as the Church. The red letter days are to be observed, but the others follow local custom.

Rules for Festivals

When one of these days falls on a Sunday, in Holy Week or in Easter Week, it is transferred, even though there may be cultural difficulties in maintaining this rule: some years ago, Saint Patrick’s Day fell in Holy Week – how many observed it on the previous Saturday? Or in that year Saint Joseph (19 March) on 1 April?

There is no celebration of a festival in Easter Week either. So this year, e.g., the Annunciation on 25 March fell on Good Friday [2016], and it was transferred to Monday 4 April, the first open day after Easter Week.

Commemorations

These days are usually remembered in their own part of the country (e.g., Saint Laurence O’Toole in Dublin).

Some of the other days in the Church year include:

● Rogation days (asking God for …) are marked as days asking for God’s blessing on fruits of the earth and human labour.
● Ember Days are days set aside for prayers for ordination and ministry. They include the Wednesday, Friday and Saturday after the 1st Sunday in Lent, the Day of Pentecost, 14 September and 13 December.

These days are quarterly, so that four times a year we have these prayers before the whole church.

Days of Special Observance:

● Ash Wednesday (see p 338).
● Monday, Tuesday and Wednesday of Holy Week, Easter Eve.

Days of discipline and self-denial:

● Lent.
● Fridays.

Dates of Easter and other variables:

These are given up to 2030 in The Book of Common Prayer.

Other dates:

What do we do about other days in the Church year?

When is Harvest celebrated?

What about other dates such as 12 July, Watch Night services, Covenant services, Harvest services, Remembrance Sunday, National Days, &c.?

[Discussion:]

We always need to remind ourselves that we are incarnational.

A note on Liturgical Colours:

Since fabrics – banners, stoles, vestments &c – have some colour or other, the historic Church has used colour to set the theme of worship. Colour choices were more diverse in the past, for dyes were expensive and it was not as easy as it is today to get fabric in any colour.

In modern times, a consensus has developed about the colours in the western Church: green, purple, white, and red, with gold or ivory as alternatives to white. Some traditions sometimes use blue. Black, for the most part, is no longer used. The Orthodox Churches use colours differently.

Green: Green is the default colour. Green is the colour of vegetation, the colour of life. Green is the colour for the Season of Epiphany and the Season after Pentecost. These two seasons are also called ‘Ordinary Time’ because the Sundays have no names, just ordinal numbers.

Purple: In antiquity, purple dye was very expensive, so purple came to signify wealth, power, and royalty. Therefore purple is the colour for the seasons of Advent and Lent, which celebrate the coming of the King. Since as Christians we prepare for our King through reflection and repentance, purple has also become a penitential colour.

White: Angels announced Christ’s birth (Luke 2: 8-15) and his Resurrection (Luke 24:1-8). The New Testament consistently uses white to describe angels and the risen Lord (see Matthew 17: 2 and 28: 3, Mark 9: 3 and 16: 5, John 20: 12, Acts 1: 10, and throughout Revelation). In the early Church, people were given white robes as they emerged from the waters of baptism. And so, white is the colour for the seasons of Easter and Christmas. White is often the colour for funerals, as the colour of the Resurrection, usually for weddings, regardless of the season, and for secular holidays observed in the Church.

Red: Red is the colour of blood and martyrdom, and so the colour for commemorating the death of a martyr. It is also an alternative colour for the last week of Lent, Holy Week, and also the colour for the Day of Pentecost and for ordinations and installations as the colour of fire and of the Holy Spirit (see Acts 2: 3).

Gold: Gold or ivory are alternatives to white, and are designated especially for Christmas Day and Easter Day.

Blue: Blue is an alternative to purple during Advent. Some churches use blue during Advent to avoid the penitential connotation of purple.

Black: Black is the colour of clericals (cassocks are clericals, not vestments). Before modern dyes were invented, all dress clothes were black – look at 19th century formal photographs. Historically, black implied formality. Because we no longer wear black so often, it survives as a formal colour only at the most solemn occasions, such as funerals. For some people today, black immediately connotes a funeral. Black is sometimes, but rarely, the colour for funeral services, Good Friday, and All Souls’ Day (2 November).

Rose: Rose (a shade of pink) was sometimes used on the Third Sunday in Advent (Gaudete Sunday) to signify joy. The use of rose has a strange origin. Mediaeval Popes customarily gave someone a rose on the Fourth Sunday in Lent (Laetare Sunday). This led the Roman Catholic clergy to wear rose-coloured vestments that Sunday. As this gave some relief to the solemnity of Lent, it became a popular custom.

Originally, Advent was a solemn fast in preparation for Christmas, so the custom was extended to the third Sunday in Advent to liven it up a little too. And so the third candle in the Advent wreath became pink too. Now, Advent is no longer so solemn … and Popes probably no longer give out roses.

(2) The daily office, including Morning Prayer and Evening Prayer

The chapel in Sidney Sussex College, Cambridge ... the daily office dates back to the prayer life of the monasteries (Photograph: Patrick Comerford)

In The Book of Common Prayer (pp 78-153), there are two different orders of service, with different titles:

Morning Prayer 1 and Evening Prayer 1: “The Order …”

Morning Prayer 2 and Evening Prayer 2: “An Order …”

Other names for these services include: Mattins or Matins for Morning Prayer; or Evensong for Evening Prayer.

These names are used especially for choral or sung services.

Choral Evensong is a particularly beautiful piece of art. It was broadcast every Wednesday evening at 4 p.m. on BBC Radio 3, making it one of the longest-running radio programmes.

You can experience it in our cathedrals, including Christ Church Cathedral and Saint Patrick’s Cathedral, Dublin, and in the Chapel in TCD.

[Relate personal experience of Saint Paul’s Cathedral, London, and Lichfield Cathedral]

Matins and Evensong are ancient titles dating back to the monastic offices, which were used for the two services in the 1549 Book of Common Prayer. The titles were changed by Archbishop Thomas Cranmer (right) in the 1552 Book of Common Prayer.

Essentially these are offices of daily prayer, to be used daily throughout the year, but they were never designed as the principal Sunday service.

Their origins are found in the ancient monastic offices used by the monks at different times of the day:

1, Matins,
2, Lauds,
3, Prime,
4, Terce,
5, None,
6, Vespers,
7, Compline.

The monastic idea and ideal was that regular times of prayer lead to a life where prayer is a constant part of our relationship with God. Cranmer brought these monastic offices together, so that there was one simple office for the morning, and one simple office for the evening.

The offices were also planned and structured so people would be instructed by the word of God: the clergy were obliged to say both offices, openly or privately, and to toll the church bell before doing so.

Morning Prayer and Evening Prayer are part of the daily cycle of offices in cathedrals and churches throughout the Anglican Communion (Photograph: Patrick Comerford)

Morning Prayer and Evening Prayer 1:

Morning Prayer 1 and Evening Prayer 1: This is the 1662 rite in virtually every respect, with a history the goes back to Cranmer’s original ‘A …’ (1552).

Morning Prayer and Evening Prayer were formerly printed as separate rites. They have now been integrated as one office, with variations for morning and evening use.

They were first integrated in 1984 in the Alternative Prayer Book. In The Book of Common Prayer (2004), after the opening prayers and greetings, if we are not following Morning Prayer, we are invited to turn to page 93 for Evening Prayer.

Morning Prayer and Evening Prayer 2:

Morning Prayer 2 and Evening Prayer 2 have a common beginning. Then after the Confession and Absolution, if we are not following Morning Prayer, we are invited to turn to page 109 for Evening Prayer.

What is common to both services?

There is a common approach to both services or offices. Although called “Prayer,” they are centred upon the reading of Scripture, through the Psalms, the Canticles and the Readings. Even the versicles and responses are taken from Scripture.

The different parts:

There are no section headings in Morning Prayer 1 and Evening Prayer 1, unlike Morning Prayer 2 and Evening Prayer 2. But it is important to know and identify these sections, so that we can understand the movement taking place:

There are four essential ingredients:

1, The Gathering of God’s People
2, Proclaiming and Receiving the Word
3, The Prayers of the People
4, Going out as God’s People.

The Gathering of God’s People

Greeting:

The opening greeting is more obvious in Morning Prayer and Evening Prayer 2, because it is specified: “The Lord be with you …” (Ruth 2: 4).

Sentence of Scripture (pp 78-83 and at the beginning of Morning Prayer 1 and Evening Prayer 1).

The provisions of sentences of Scripture are in three different groupings:

● General, focusing on the nature of worship
● Seasonal, related to particular time.
● Penitential.

By getting to know the difference one can be much more appropriate in making choices. If choosing another sentence, one needs to avoid constantly using a favourite verse, carefully selecting one that sets the tone and theme. On the other hand, there is value in learning a variety of these verses off by heart.

Opening hymn:

Where is this placed: is it used as a processional? Is it announced first?

Morning Prayer 2 and Evening Prayer 2 get this right by placing the hymn after the opening greeting and sentences.

Choosing the hymn sensitively and carefully allows one to set the tone for the service and its theme, so it ought to be related to the readings, prayers and address.

Exhortation:

This is not a prayer, and it is not addressed to God. In Morning Prayer 1 and Evening Prayer 1 it opens: ‘Dearly beloved …’ In Morning Prayer 2 and Evening Prayer 2 it opens: ‘Beloved in Christ …’

It is like setting out an agenda before a meeting: it tells people why we are here and what we’re going to do, it prepares us for the task ahead.

Confession:

The invitation comes first.

Morning Prayer 1 and Evening Prayer 1: This confession was not in the earlier 1549 Prayer Book, and was introduced by Cranmer in 1552.

The general confession has resonances of Romans 7: 8-25, and of the parable of the Lost Sheep (Luke 15). It was probably written by Cranmer, and based on the confession in the Strasbourg liturgy.

In Morning Prayer 2 and Evening Prayer 2, the confession provides for a time of silence for reflection, personal confession.

Absolution:

In Morning Prayer 1 and Evening Prayer 1 (p 86), this is a vital step after confession. It is not just a declaration or affirmation of pardon and absolution, but it is assurance to a penitent heart of the power of the Holy Spirit, and the gift of the grace to live holy lives. It is a declaratory ‘prayer,’ pronounced by the priest in the name of God, but directed at the people.

The Lord’s Prayer:

Note the different place for the Lord’s Prayers:

In Morning Prayer 1 and Evening Prayer 1, the Lord’s Prayer follows the absolution. This was the original beginning of the office. But in a service that combined Morning Prayer, the Litany and Holy Communion, the Lord’s Prayer could have been used five times. Now there is provision for using it only twice.

It is an introduction to praise. So, as an introduction to praise, Cranmer added the doxology: ‘… for thine is the kingdom, the power and the glory, ...’ At other times, when the Lord’s Prayer is used as an introduction to prayer and penitence, the doxology is omitted.

Proclaiming and Receiving the Word:

Opening Canticles:

There are different canticles for use at Morning Prayer and at Evening Prayer. Most of the Canticles are from Scripture, but some are from the Apocrypha, and others, such as Te Deum, are hymns. They serve as preparation for hearing God’s word, as a response to hearing God’s word, and as a way of using God’s word to praise God.

The word Canticle is Latin and simply means a song. Most of the canticles are known to this day by their Latin names, although Morning Prayer 2 and Evening Prayer 2 attempt to give them simple English names: Venite, Psalm 95; Benedictus, Song of Zechariah.

The little red marks are pointed for Anglican chant. Are they distractions?

The canticles can be sung in a variety of ways, with versions in the hymn book, and other alternatives.

Traditionally, we have used different canticles for the two different offices:

Morning Prayer: Venite and Jubilate.

Evening Prayer: Magnificat, Nunc Dimittis, A Song of the Light, Deus Misereatur (Psalm 67) and Ecce Nunc.

The Easter Anthems are used during both Morning Prayer and Evening Prayer.

The canticles set the scene for hearing God’s word.

Look at Venite: [quote from page 87].

A Song of the Light has a new introduction, but this is an old Greek song, dating from the 3rd century, Phos Hilaron (Φῶς Ἱλαρόν): it is not about the rising sun, and is appropriate for lighting the evening lamps when the dark is closing in.

There are different versions. See: Hail Gladdening Light (Irish Church Hymnal, No 699).

The first reading:

The first reading is placed here in Morning Prayer. This is one of the changes introduced to the traditional language version. In the 1926 edition, the opening canticle was followed by the Psalm(s). Now the Psalm comes after first reading in both versions of Morning Prayer.

This change was introduced because the new lectionary uses the Psalm as a response to the first (normally Old Testament) reading.

Some feel that three readings are too much for a morning service.

The Psalms:

The psalms no longer follow the pattern of day numbers in Morning Prayer 1 and Evening Prayer 1 (c.f. the 1926 version).

Cranmer set a pattern of reading the Psalter through each month. Our Psalmody is a legacy of the monastic offices and tradition. Benedict wanted the psalms read through in a week. So, from an early stage the psalms have been at the heart of daily worship.

Readings after the Psalm:

At Morning Prayer, the second reading and the Gospel reading come after the Psalm. In Evening Prayer, both readings follow the Psalm.

Note how the readings are introduced: Order 2 suggests: ‘A reading from … chapter … beginning at verse …’

How do you conclude the readings? Which version of Scripture can we use?

The second and third canticles:

At Morning Prayer, the second canticle is Te Deum, Benedicite, Urbs Fortitudinis, Laudate Dominum (Psalm 148), or another canticle from pp 117-135, except the Benedictus. The third canticle is Benedictus, Jubilate, or any New Testament canticle on pp 117-135.

At Evening Prayer, the second canticle is Magnificat, Cantate Domino, or any New Testament Canticle on pp 117-135. And the third canticle is Nunc Dimitis, Deus Misereatur, or any New Testament canticle on pp 117-135.

Why are they here?

The major canticles are three from Saint Luke’s Gospel. They look back at and forward to the work of salvation. And they can be used thematically: there are provisions for harvest, for the Christian year (for example, did anyone think there was an opportunity for an appropriate choice of canticle to mark Saint Luke’s Day last week (18 October 2016)?

The sermon:

These were essentially daily services, so originally there was no place for a sermon. It was only over the course of history that these became regular Sunday services, and so the need arose to provide an appropriate place for the sermon. This office had normally ended with the grace. Now there was a need for another hymn before and after the sermon.

In other churches, including the Methodists and Presbyterians, the idea continues of the sermon coming at the end of the service. Morning Prayer 1 and Evening Prayer 1 retain this traditional place. But Morning Prayer 2 and Evening Prayer 2 place the sermon within the section of proclaiming and receiving God’s word, and before the Apostles’ Creed, a place that is similar to the place for the sermon in Holy Communion. This is the place where the Word of God is broken open.

The Apostles’ Creed:

The Apostles’ Creed is an integral part of the offices in the Anglican tradition, although, in the daily offices in the institute chapel it may be said at Morning Prayer 2 and omitted in the evening.

The Apostles’ Creed, historically, was not part of the offices of the Church until the Reformation. This creed was not written by the apostles, and its general adoption in the Western Church dates from about 1000 AD, when it was simply used as a baptismal confession of faith.

The Prayers of the People:

These take several different types:

● The Lesser Litany and Kyrie

● The Lord’s Prayer (with or without the doxology? At this place it is without the doxology in Morning Prayer 1/Evening Prayer 1, but with it in Morning Prayer 2/Evening Prayer 2, because this is the only place it is used). There are two versions. The modern version comes from the English Language Liturgical Commission (except for the clause ‘and lead us not into temptation,’ which is used instead of ‘Save us from the time of trial.’).

● The use of the Versicles and Responses has its roots in the Sarum Breviary. They are taken from Scripture (Psalm 85: 7; 1 Samuel 10: 24; Psalm 20: 9; Psalm 132: 9; Psalm 28: 9).

● The prayers for rulers, the clergy and people, the collect for peace, and the collect for grace then follow. In Morning Prayer 2/Evening Prayer 2, they are optional. They are best used when they are seen as a scaffolding or framework that allows one to build appropriate prayers.

The Collects:

There is a provision for three collects in Morning Prayer 1/Evening Prayer 1, and for at least two in Morning Prayer 2/Evening Prayer 2, beginning with the Collect of the Day.

Note that the phrase ‘Collect of …’ relates to a particular occasion, while the phrase ‘Collect for …’ relates to subject. So it is not the collect of purity, and is certainly not the collect for the conversion of Saint Paul or indeed, as has been heard, for the Circumcision of Christ. And they are the collects at Morning Prayer or Evening Prayer.

It is worth memorising some of these, and to know the value of being able to call on them as extempore opening and closing prayers.

Occasional prayers:

The occasional prayers are not for use occasionally but for use on particular occasions.

It is important to watch the movement in prayers one writes, who is addressed, and how they are concluded.

Concluding Prayers:

Morning Prayer 1 and Evening Prayer 1 always conclude with the grace. The Prayer of Saint John Chrysostom is seldom used in practice, but its roots are in praying in our dependence on God.

The rubric in Morning Prayer 2 and Evening Prayer for concluding the office is simpler.

Going out as God’s people:

How do you end it? This is a long-standing conundrum. In the 1662 version, it was always with the grace. But then the sermon on Sundays was added on, and other things were then added on to that too: the offertory hymn, the dismissal, the recessional hymn, and the blessing.

Going out needs to be thought through too.

Note that there is an abbreviated form of Morning Prayer and Evening Prayer on pp 136-138.

Saint Patrick’s Church, Donabate ... ‘The Book of Common Prayer’ provides a structure or guidelines for the Service of the Word, rather than a full service (Photograph: Patrick Comerford)

Service of the Word; Compline; LEO; the Litany.

(a) The Service of the Word:

The Book of Common Prayer provides a structure or guidelines, rather than a full service. The service can be put on one page, although the notes to explain how to use this structure take up three pages.

The influences on writing or the sources for the Service of the Word are:

1, The TEC Book of Common Prayer (pp 400-401), which provides an outline for an informal Eucharist.

2, The Church of England’s Lent, Holy Week and Easter (1984): Services and Prayers, which gives the bare-bones outline for Holy Communion and an agape meal.

3, The Church of Ireland, A Service of the Word (1993): this pale green booklet was an experimental form authorised by the House of Bishops. It included an outline form of service, material that could be used in different slots, and four outline services. But the built-in danger was that people could and did opt for four worked-out services and did not work them out for themselves.

In addition to those three influences, there was a growing realisation that many parishes and clergy were devising their own services outside the approved parameters of services within the Church of Ireland … helped by advances in the manufacture of photocopiers and then the discovery of the OHP.

The Book of Common Prayer (2004) provides an outline only, and demands a lot of hard work and preparation on the part by the worship leader. It was not intended to be used straight from the book.

Should we provide service sheets?

Should we use Power Point?

Should we use an Over-Head Projector?

The Structure:

* A Liturgical Greeting

An invitation to worship

A hymn may be sung

* Penitence may be at this part or in Response

* Acclamation and/or A Song of Praise

Metrical forms of Canticles may be used, or a hymn may be sung

* The Collect

Those parts marked * are considered essential to the structure of the service.

Because the service is so flexible, there is an even greater need for attention to detail.

The Preparation must include the following elements:

Some greeting of the congregation: And this should be liturgical. For example: “The Lord be with you …” But it could be a sign of peace.

Penitence: not necessarily in this place. This could be a perfect response to the Ministry of the Word. But it must be included somewhere. There is a variety of possibilities for the form of penitence, including confession and absolution, penitential kyries, and responsorial penitential prayers. But there is room to be imaginative and original.

Acclamation and/or a Song of Praise. Examples include Sursum Corda, Sanctus and Canticles, including Gloria. If a time of praise is being included, this is the place for it.

Then all are drawn together with the Collect, which is about collecting all our thoughts and intentions. That links the Preparation with the Ministry of the Word.

The Preparation is the starter, the Ministry of the Word is the main course – after all, it is the Service of the Word.

The main elements of the Ministry of the Word section are:

Readings from the Bible.

A Psalm or Scripture Song: this may precede or follow the readings. A Bible responsory may follow a reading.

The Sermon.

Then, a Hymn may be sung.

All this may sound very traditional, but it does not mean all must be done in a traditional sort of way … quite the opposite.

Scripture readings could be presented as drama, with many voices reading, with creative interpretations of Scripture (e.g. The Message). But the Word must come across with real power – and must never be omitted.

The place of the Psalm or Scripture Song – before or after a reading – is less important than its inclusion. But there is a variety of ways of singing or saying this: choruses, worship songs, responsorial psalms, solos, items by a music group, congregational parts …

The Sermon could be presented in different ways:

● Dialogue?
● Interview?
● Movie clip?
● Drama?

After the main course, desert is served. This is the Response.

The Response includes:

* An affirmation of faith: the Apostles’ Creed, the Nicene Creed, the renewal of baptismal vows, other creeds (e.g. a creed from Iona Community).

* The Prayers, including intercession, thanksgiving and (if not somewhere else) penitence.

A General Collect.

Then the whole section concludes with The Lord’s Prayer in one of its approved forms.

A Hymn may be sung.

Our response might also include our offering.

Then, after desert, there is the coffee:

*A Dismissal Prayer.

A Blessing.

A Salutation.

In organising and preparing, it is worth remembering:

1, There must be a recognisable structure for worship.

2, The emphasis is on the word: reading scripture, reflecting on it through the Psalms.

3, The use of liturgical words (e.g., responses known to the congregation) … it is not a coming together of individual Christians who happen to be in one place, it is ekklesia – the assembly or gathering of those who are called out.

When should we use the Service of the Word?

When the prescribed services of Morning Prayer, Evening Prayer and Holy Communion may not meet the needs of a particular congregation?

Family services?

All-age worship?

Where people are not book-learned?

When there is a need for a more praise-and-prayer approach?

When there is a need for a more reflective, quiet time of worship?

When there is a need a service with a specific focus, or one that is more innovative?

When it is a service aimed at people who are not regular church goers?

Where there might be a large number of non-Anglicans, or non-churchgoers, without the same liturgical tradition?

As the first part of the Holy Communion? If so, Holy Communion would then follow from the Peace.

But there are dangers.

There is the danger of producing service sheets and then losing flexibility.

There is the danger of using it all the time, and then stop realising that it depends on a liturgical tradition that must be recognised and that must live and grow.

There is the danger of not making full use of the resources available, including:

Service of the Word (Church of England).

New Patterns for Worship.

Times and Seasons.

Resources from the Iona Community, Taizé, Corrymeela … other traditions.

But you will need to look at these sensitively. For example, particular Eucharistic prayers in the Church of England are not authorised for use in the Church of Ireland. What about using the prayers for the departed in New Patterns of Worship? And there is the added problem of making multiple copies and compounding your copyright problems.

(b) Compline:

Compline was added to The Book of Common Prayer in the Church of Ireland in 1933 as an Appendix. By then, it was still not in the offices of the Church of England, although it was in the proposed 1928 revision of The Book of Common Prayer in England.

In 1933, an appendix was added to The Book of Common Prayer of the Church of Ireland, in which Compline was described as the “Second Alternative form of Evening Prayer.” The “First Alternative form of Evening Prayer” was sometimes called the “Irish Vigils” and has not been included in the 2004 book.

However, Compline should not be seen as a new service. Compline was one of the offices of the Church until the Reformation. The name comes from Latin completorium or the completion [of the day]. The Rule of Saint Benedict (42: 8), which we looked at last Monday and in chapel again this morning, has the oldest occurrence of the term Completorium.

This office was maintained after the Reformation in a series of private manuals of devotion, beginning with Bishop John Cosin’s Collection of Private Devotions (1627). It was restored to use in the 20th century, first in the US and Canada, in TEC’s Book of Offices (1914) and the Canadian Prayer Book (1918). So, the Church of Ireland was early in the restoration of Compline.

The service has an integral unity of its own, it can be used in small groups and in family groups, and Bishop Harold Miller even suggests ‘by married couples in bed’ [p 98]. It has become so popular that a proposal by the LAC for the revision of this service in the 1970s was rejected by the General Synod.

It is now well-loved, perhaps because of its beautiful imagery: ‘Brethren, be sober, be vigilant …’ ‘O Let no evil dreams be near …’ or asking God to keep me as the ‘apple of his eye’ to ‘guard us while sleeping’ and to ‘let thy holy angels dwell’ in our homes.

Late Evening Office:

This is a totally new office in the Alternative Prayer Book (1984). It did not receive a trial period of use before its introduction. Yet it too quickly became popular. It was written by Dean Gilbert Mayes of Lismore, and is based on an order in use in Taizé, published in French in 1971 and in English in 1975.

It has a simple structure:

● An opening blessing of God.
● A prayer for the work of the Holy Spirit in our lives.
Trisagion or Sanctus, Holy, Holy, Holy, and the Canticle Ecce Nunc (Psalm 134) or another suitable psalm.
● A New Testament reading.
Nunc Dimittis or a hymn.
● Prayer in short litany form, with responses: [note] Lord have mercy and Blessed are the dead who die in the Lord.

The introduction of LEO was innovative in a number of ways, including the rubric allowing open prayer and silent prayer. It is an important departure because of its recognitions. But there is a need when you are using it to make clear as leader whether the congregation is entering a time of open prayer or silent prayer.

It concludes with appropriate prayer (Collect, the Lord’s Prayer) and a Blessing.

LEO does not work well if it is stretched out with too many hymns or with a long sermon in the middle.

(c) The Litany:

A litany is a set of short biddings or petitions followed by fixed responses or a series of fixed responses.

There are two forms of the Litany in The Book of Common Prayer: the form found in the 1926 Book of Common Prayer (with revisions to remove political anachronisms) and the form from the 1984 Alternative Prayer Book. But litanies date right back to the early church. Think of: Kyrie Eleison, Christe Eleison …

The earliest litany in the West was translated from the Greek by Pope Gelasius I (492-496). Later forms included the litany of the saints, which became popular in the 7th century.

The following elements of litany are charted by Paul Bradshaw (Companion to Common Worship, 2001):

● An Introductory Kyrie, followed by invocations of the Holy Trinity, with the response ‘Lord have mercy upon us.’
● The invocation of the saints.
● The deprecations: supplications for deliverance through recalling various events in Christ’s life, with the response, ‘deliver us, Lord.’
● The obsecrations – supplications through various events in Christ’s life, with the response, ‘we beseech you to hear us.’
● Concluding devotions to the Cross and to Jesus Christ as the Lamb of God.

The litany was the very first service translated from Latin into English by Cranmer at the Reformation. It was first published in 1544, with a famous prayer for deliverance from the Bishop of Rome and his ‘detestable abnormities’; and with the invocations of the saints reduced in number to three in 1544 and then removed in 1549.

The contemporary language Litany is on p 175 ff, with the main headings and shape preserved in the same order today.

● Section 1: simple invocations to Father, Son and Holy Spirit, the response is “have mercy on us”
● Section 2: supplications for deliverance …

The use of the Litany:

The use of the Litany is suggested on Sundays, Wednesdays and Fridays. At one time it was often used once a month on Sundays with Matins or Evensong. But it seemed lengthy and tedious.

The Book of Common Prayer (2004) recommends its use on Sundays, Wednesdays and Fridays, particularly in Advent, Lent and Rogation Days. It is good to use when we take things seriously.

The Mystical Supper by Michael Damaskinos … over 100 pages in ‘The Book of Common Prayer’ are devoted to collects and post-communion prayers

(3a) The Collects:

Over 100 pages in The Book of Common Prayer (2004) (pp 241-337) are given over to the collects and post-communion prayers. They were first published in a small booklet a few years before The Book of Common Prayer was published in 2004.

Many of the collects in The Book of Common Prayer are popular, and well-loved. They are drawn from a wide range of sources, from Cranmer’s collects to modern collects, including some that were written specially for the Alternative Prayer Book (1984).

What is a collect? A collect is a short prayer, focussing our thoughts on a particular day or a particular theme.

The First Collect is a collect of a particular occasion (e.g. The Collect of the First Sunday of Advent).

The Second Collect usually has a particular focus (The Collect for Purity, the Collect for aid against all perils).

When a collect is described by its place in a service it is the collect at the particular service (e.g., the Second Collect at Morning Prayer).

What is the function of a collect? Most of our Collects frame our prayers in strong Biblical ways, sometimes in direct Biblical language. They can often remind us of the paucity of our own prayers.

If used properly, systematically and regularly, the collects provide memorable prayers. Some examples include: ‘Lighten our darkness, we beseech thee O Lord …’

Or: ‘O God who art the author of peace and lover of concord …’

Or again, the collect of last Sunday: ‘… read, mark, learn and inwardly digest …’ Or, ‘Prevent us O Lord …’

‘Go before us O Lord ...’

What is the structure of a collect?

A collect contains:

1, An address to God
2, A relative or particular clause referring to some attribute of God or to one of his saving acts
3, The petition
4, The reason for which we ask
5, The conclusion

Sometimes, part 2 and/or part 4 are dispensed with, simplifying the structure of a collect. But, whether or not they are omitted, a collect still needs to be well constructed.

An example, at the Collect for Purity at the beginning of the Holy Communion service (p 201):

1, Almighty God: How we address God is worth attending to; we might simply say ‘God,’ or ‘Father’ or ‘Lord.’ We might be more elaborate, addressing him as ‘Almighty God,’ or ‘Heavenly Father.’

Normally collects are addressed to first person of the Trinity, but there are exceptions: for example, the collect of the 3rd Sunday of Advent opens: ‘O Lord Jesus Christ …’ Sometimes the injunction precedes the address to God: ‘Stir up, we beseech thee …’

2, ‘to whom all hearts are open, all desires known, and from whom no secrets are hidden …’ The collect goes on, in this example, to express our dependency on God.

3, ‘cleanse the thoughts of our hearts by the inspiration of your Holy Spirit …’ This is the petition, the heart of the matter … what we are asking God to do.

4, ‘that we may perfectly love you and worthily magnify your holy name …’ This is the reason for asking God do the things we have mentioned in the petition.

5, ‘…through Christ our Lord, Amen.’ As we saw last week in our discussion of the Trinity and worship, Christian prayer is supposed to be addressed to the Father, in the power of the Spirit, and in name of Christ. Ideally, and generally, it should have a traceable Trinitarian movement.

Where do our collects come from?

At Holy Communion, Collects 1 and 2 are often a reworking of traditional language collects.

Advent 1: dates to 1549.

Advent 2: traditionally we had used the Collect associated with Bible Sunday on Advent 2. What we now use as the traditional-form collect on Advent 2 is a Collect once used on Advent 4, and that comes from the Sarum Missal. But the new collect comes from Celebrating Common Prayer (1992).

Advent 3: the collect was written for the 1662 Book of Common Prayer by John Cosin (1594-1672), Bishop of Durham.

Advent 4: the traditional-language collect for this Sunday was written in 1549, and was originally used on Advent 3. The contemporary language collect reflects a new focus on Virgin Mary in Advent. The collect comes from the Church of England’s Promise of his Glory (1990).

A page at the end of this section in The Book of Common Prayer gives the sources.

How are collects used in the liturgies?

We use collects in every Holy Communion service, in every service of Morning Prayer and Evening Prayer, and in every Service of the Word.

But they are used in different ways.

In Holy Communion 1, Holy Communion 2 and Service of the Word, the collect acts as a kind of hinge between the Gathering or Introductory material and the Proclaiming and Receiving of the Word. We are now focusing down into prayer and the congregation is preparing for the Ministry of the Word.

It often helps for the congregation to be quiet for a moment before the collect. And so, on occasion, the collect may be introduced with a few carefully chosen, short words.

During the Seasons, there is a general thematic connection between the readings and the collects, with the readings and collects chosen to fit the particular Sunday of the year. In Ordinary Time (Green), the collects and readings run on different tracks, and have no necessary connection with each other.

In Morning Prayer and Evening Prayer, the Collect of the Day is used as one of the two or three collects after the Lord’s Prayer and, when they are used, after the Versicles and Responses. The function of the collect here is to begin our prayers, which then widen out to more specific concerns.

In Daily Prayer (Weekdays) [see pp 136 ff], the Collect of the Day is used in a different way. Instead of leading into the intercessions, it becomes the prayer that rounds off the intercessions before the Lord’s Prayer.

Post-Communion Prayers:

Professor David Frost, speaking under a portrait of Archbishop John Bramhall of Armagh in Sidney Sussex College, Cambridge … the author of Post-Communion Prayers used by the Church of Ireland (Photograph: Patrick Comerford)

The provision of one Post-Communion Prayer for each occasion is relatively new. Previously, there was a very limited selection of Post-Communion Prayers. Then, in 1984, the Alternative Prayer Book provided some Post-Communion Prayers that became very popular. For example, ‘Father of all, we give you thanks and praise …’ This was written by Professor David Frost, until recently the Principal of the Institute for Orthodox Christian Studies, Cambridge, who also compiled the Psalter for the Alternative Prayer Book.

Another of these popular Post-Communion Prayers from the Alternative Prayer Book is: ‘Almighty God, we thank you for feeding us …’

These Post-Communion Prayers show a rich and varied way of addressing God, and they are drawn from the rich range of Biblical language:

● Light eternal,
● God of glory,
● Generous God,
● God of tender care,
● God our Creator,
● God of hope,
● God of our pilgrimage.

The sources for these Post-Communion Prayers are varied too. One comes from the liturgy of Malabar (Trinity 8): ‘Strengthen for Service, Lord, the hands that holy things have taken …’

The prayer for Maundy Thursday is associated in the Roman Catholic tradition with Corpus Christi, but its use in the Anglican tradition goes back to the Scottish Prayer Book (1929).

The Risen Christ and the Four Evangelists in John Piper’s window in Saint John’s, Lichfield … the Lectionary provides for readings from all four Gospels in different years and seasons (Photograph: Patrick Comerford)

(3b) The Lectionary:

[See Harold Miller, Chapter 2 (pp 35-46).]

Why do we use a lectionary? And what are the sources for the Lectionary?

Cranmer was anxious to provide Old Testament and New Testament readings for Morning Prayer and Evening Prayer every day.

The Revised Common Lectionary emphasises need to have Old Testament, New Testament and Gospel readings available, along with a Psalm. The roots of the RCL are in a rediscovery of the meaning of the Liturgy of the Word both in the Liturgical Movement of the last century and at Vatican II.

The lectionary is based on having three readings and a psalm, over a three-year period. This is the value of story-telling rather than a thematic approach. You could compare the impact of the lectionary readings with a soap opera. We can enter at any time, and catch on quickly to what the main characters are doing and how they interact with each other.

Year A: Saint Matthew
Year B: Saint Mark
Year C: Saint Luke

Saint John’s Gospel, then, is used for the high points.

In essence, it is a Eucharistic lectionary.

There are exceptions, so that sometimes there is a thematic approach:

● The Second Sunday before Lent: the creation theme is an alternative.
● Sunday before Lent: Transfiguration theme.
● Sunday between 23 and 29 October (last Sunday, 23 October 2016): Bible Sunday theme.
● Sunday between 20 and 16 November: the Kingship of Christ.

Other exceptions and variations include:

● The first reading during Eastertide is from the Acts of the Apostles.
● The major festivals of Christmas are provided with readings not according to Years A, B and C, but Series I, II and III.

Some questions:

How do you feel about readings from the Apocrypha?

Which versions of the Bible can we – and should we – use (p 26 gives a gentle hint that we should use the New Revised Standard Version)?

Why are weekday readings not provided?

The Book of Common Prayer (p 26) allows for occasional diversity from the lectionary during Ordinary Time, but is there a danger or a benefit in allowing variation from set readings?

What are the pitfalls in following the Church of Ireland Directory?

There is not complete ecumenical acceptance of the lectionary, and there are some variations among Roman Catholics, or even between Anglican churches.

Next:

5.2:
Traditions of Prayer (2): seminar, readings on Reformation prayer, including Martin Luther, John Calvin, Thomas Cranmer, John Jewell, Richard Hooker and Lancelot Andrewes.

Richard H Schmidt, Glorious Companions: Five Centuries of Anglican Spirituality (Grand Rapids: Eerdmans, 2002).

Philip Sheldrake, A Brief History of Spirituality (Oxford: Blackwell, 2007).

Gordon Wakefield (ed), A Dictionary of Christian Spirituality (London: SCM, 1999).

Next week (3 November 2016):

6.1: The nature and theology of sacraments;
6.2: Traditions of prayer (3): seminar, patterns of prayer today (including all-age worship, participation of children in worship, worship and youth).

(Revd Canon Professor) Patrick Comerford is Lecturer in Anglicanism, Liturgy and Church History, the Church of Ireland Theological Institute. This lecture on 27 October 2016 was part of the Module TH 8824: Liturgy, Worship and Spirituality on the MTh course.