The Brutus Babington memorial window in the north aisle of Saint Columb’s Cathedral, Derry … he remained a canon of Lichfield Cathedral while he was Bishop of Derry (Photograph: Patrick Comerford, 2019)
During the General Synod’s opening celebration of the Eucharist in Saint Columb’s Cathedral this week, I found myself sitting close to the window in the north aisle commemorating Bishop Brutus Babington (1558-1611).
This stained-glass window by William Wailes (1808-1881) of Newcastle-upon-Tyne was installed in 1862 and depicts Saint Paul at Athens. Wailes ran one of the largest and most prolific stained glass workshops in Victorian England. He had studied with Mayer of Munich and later worked closely with AWN Pugin. His famous works include the windows of Gloucester Cathedral, the East Window in Saint Editha’s Church, Tamworth, the Transfiguration East Window in Saint Saviour’s Dominican Church, Limerick, and many of the windows in Saint Mary’s Church, Killarney.
Wailes also designed the window in Saint Columb’s Cathedral erected in memory of Brutus or Brute Babington, who was Bishop of Derry for a few months from his consecration in 1610 until he died on 10 September 1611.
Brutus Babington was a canon of Lichfield Cathedral, and I wondered whether he was related to the Babington family who were closely related to the Comberford family. Members of that family included Anthony Babington who, at the age of 24, was hung drawn and quartered on Tower Hill in London in 1586 for his part in the plot to murder Queen Elizabeth and put Mary Queen of Scots on the throne of England, and his cousin, the Revd Canon Dr Zachary Babington (1549-1613), who was a Master of Saint John’s Hospital, Lichfield (1587-1613).
So, I returned to have a second look at two Babington windows in Derry yesterday morning [17 May 2019], and did a little more research on Brutus Babington and his links with Lichfield.
The stall of the Prebendary of Bishopshull in the chapter stalls of Lichfield Cathedral (Photograph: Patrick Comerford, 2018)
Brutus Babington was born in Cheshire, the son of Richard Babington and Anne Starkey. He was admitted to Christ’s College, Cambridge, where he matriculated in 1572. He graduated BA in 1576, was ordained priest by the Bishop of Chester in 1577, and was a Fellow of Christ’s College (1577-1584) and university preacher 1582. He received his MA through Saint John’s College, Cambridge, in 1579 and the degree BD in 1586.
He was the Rector of Thurcaston, Leicestershire, from 1583. He became the Prebendary of Bishopshull in Lichfield Cathedral on 18 September 1592, and was the Rector of Tatenhill, Staffordshire, from 1602, and Rector of Cossington, Leicestershire, in 1605.
When George Boleyn, Dean of Lichfield (1576-1603), died in 1603, Babington applied for the Deanery of Lichfield but was unsuccessful. Later that year, he complained to Gilbert Talbot, 7th Earl of Shrewsbury, that the Chancellor of the Diocese of Lichfield, Canon Zachary Babington, who was also Master of Saint John’s Hospital, Lichfield, had obstructed his suit and dispossessed him of his divinity lectureship.
But Babington’s ambitions were unquenched. George Montgomery, who was criticised for his record as Bishop of Derry, was moved to the Diocese of Meath in 1609. Within a few months, Babington was nominated as Bishop of Derry, despite some opposition from the supporters of the Dean of Derry, William Webb. Babington was seen as an advocate of a persuasive missionary approach to convert Irish Catholics, and his nomination had the support of King James and the Privy Council.
He was consecrated bishop at Drogheda, and resigned his parish at Thurcaston on 8 November1610. But he remained Prebendary of Bishopshull in Lichfield Cathedral and Rector of Tatenhill in Staffordshire while he was Bishop of Derry.
Babington tried a new approach with his clergy. In his own words, he ‘did not violently go to work with them nor urge them by authority, but endeavoured rather to persuade their consciences by arguments and reasons.’ He tried also to compromise by being content with an Oath of Allegiance instead of insisting on an Oath of Supremacy, and approving an Irish language translation of the liturgy.
However, Babington was in office for a mere few months when he died unexpectedly on 10 September 1611. Local Roman Catholics claimed his death was divine punishment after he suggested that his neighbour, Andrew Knox, Bishop of Raphoe, should destroy a wooden statue of the Virgin Mary at Agivey. The statue was believed to be miraculous and was destroyed by fire in the centre of Coleraine. The story says the statue was not consumed in the flames, but the perpetrators were either struck dead on the spot, or, like the bishop, died a lingering death.
It seems, however, that Brutus Babington was not related to the other Babingtons who were related to the Comberford family. But he was the ancestor of another Babington family that continued to live in Ireland. He married Joan le Bird (1562-1611), who was also from Cheshire and they were the parents of two sons. Their eldest son, Richard, took control of the Babington estate in Urney, while their younger son, Edwin (born 1585), arrived in Ireland earlier and was Sheriff of Derry in 1608 and eventually succeeded to the Urney estate.
Edwin Babington was taken prisoner during the Irish Rebellion of 1641. His son, Matthew Babington (1610-1689) of Urney and Doe Castle, was attainted by the Dublin Parliament of King James II in 1689.
Matthew Babington’s son, William Babington of Urney (1651-1702), was a Captain in the Derry Garrison during the Siege of Derry in 1689, while another son, Richard Babington, was a Captain of Dragoons in the Irish army of William III and fought at the Battle of the Boyne.
Later members of the family included Ralph Babington, High Sheriff of Donegal in 1715, and numerous clergymen and generals.
The priests included the Revd William Babington (1713-1777) of Donegal, the Revd Humphrey Babington (1715-1790), the Revd Richard Babington (1720-1800), the Revd Charles Maitland Babington (1775-1841), the Revd Richard Babington (1765-1813), the Revd Hume Babington (1804-1886), his son Canon Richard Babington (1837-1893), who is remembered in the second window in Derry Cathedral, his son the Very Revd Richard Babington (1869-1952), Dean of Cork (1914-1951), and his son, the Ven Richard Babington (1901-1984), Archdeacon of Exeter (1958-1970).
The generals included Lieutenant-General John Henry Melville Babington (1816-1887), Major-General Richard Clarke Babington (1827-1885) and Lieutenant-General Sir James Melville Babington, who fought in the Second Boer War and World War I. General Sir James Babington’s image was used by the Beatles as the fictional Sergeant Pepper for the album Sergeant Pepper’s Pepper’s Lonely Heart’s Club Band in (1967).
Political members of the family included David Babington of Foyle Park House, MP for Ballyshannon, Anthony Babington (1800-1869), twice High Sheriff of Co Derry (1833, 1835), Thomas Henderson Babington (1813-1869), Mayor of Derry, Sir Anthony Babington (1877-1972), MP for two Belfast constituencies (1925-1937) and Attorney General for Northern Ireland, and Robert Babington, MP for North Down in the Stormont (1969-1972).
Other family members included Air Marshal Sir John Tremayne Babington and Air Marshal Sir Philip Babington, and Anna Maria Babington, the founder with Isabel Cargill of Babington’s Tea Room in Rome in 1893.
Babington’s Tea Room has survived two world wars, the advent of fast food and many economic crises, and remains a favourite meeting place in Rome for writers, actors, artists and politicians.
The memorial window in the north aisle of Saint Columb’s Cathedral, Derry, in memory of Canon Richard Babington (1837-1893) of All Saints’ Church, Clooney, Derry (Photograph: Patrick Comerford, 2019)
18 May 2019
Bogside Murals tell
stories of a half
century of conflict
Free Derry Corner was repainted last month following the murder of Lyra McKeee (Photograph: Patrick Comerford, 2019)
Patrick Comerford
The General Synod of the Church of Ireland is taking place this week in the Millennium Forum in Derry. This is such a compact city that it is easy during breaks to take a walk from here to many interesting points, including the Guildhall, the City Walls, Saint Columb’s Cathedral, ‘Free Derry Corner’ and the Bogside Murals on Rossville Street.
‘Free Derry Corner’ is a well-known landmark in the Bogside area, standing at the junction of Lecky Road, Rossville Street and Fahan Street. This free-standing gable wall recalls Free Derry, an autonomous area that existed in 1969-1972.
In January 1969, a local activist, long believed to be John ‘Caker’ Casey, but who may have been Liam Hillen, painted graffiti on a gable wall at the end of a terrace of houses, declaring: ‘You are now entering Free Derry.’
When the then British Home Secretary and future Prime Minister Jim Callaghan visited Derry in August 1969, the ‘Free Derry’ wall was painted white and the sign proclaiming ‘You are now entering Free Derry’ was professionally repainted in black lettering by John ‘Caker’ Casey. The area in front of the wall became known as Free Derry Corner.
This part of Derry and the surrounding streets were the scene of the Battle of the Bogside in 1969 and Bloody Sunday in 1972. The houses on Lecky Road and Fahan Street were later demolished, but the ‘Free Derry Wall’ was retained.
Despite demolition, and new roads, the wall still stands and has been repainted at frequent intervals. It now stands in the central reservation of a dual carriageway on Lecky Road, and is constantly the focus for large numbers of tourists on walking tours of the Bogside.
Last month, following the murder of Lyra McKee late on Maundy Thursday [18 April 2019], Free Derry Corner was repainted to include the words ‘not in our name – RIP Lyra’ to reflect community revulsion at her murder.
The Bogside walking tours also introduce tourists to the Bogside Murals, a series of outdoor murals also known as the ‘People’s Gallery.’ They are the work of three mural painters from Derry, brothers Tom and William Kelly, and Kevin Hasson.
The Bogside Artists began working together in 1993. With supplies donated from local residents, they painted several murals on the walls of Rossville Street buildings commemorating the Battle of Bogside and Bloody Sunday.
From 1994 to 2008, they painted 12 murals on Rossville Street, which runs through the centre of the Bogside, and they named it the ‘People’s Gallery.’ Thousands of visitors come each day to see this unique visual display and an entire street devoted to the history in art form of over three decades of political conflict in Northern Ireland.
The murals were officially inaugurated in August 2007 and an additional mural dedicated to Nobel Peace Prize Laureate and retired leader of the Social Democratic and Labour Party, John Hume was completed in 2008.
The Bogside Artists see their work as humanitarian and human, as ‘men speaking to men,’ according to Tom Kelly, and say they have little time or interest in contemporary art. ‘All real art is contemporary as it has its origins in the truthful state of mind which is timeless,’ he has said.
The ‘Blood Sunday’ mural depicts events in Derry on ‘Bloody Sunday’ on 30 January 1972 (Photograph: Patrick Comerford, 2019)
The ‘Blood Sunday’ mural depicts events in Derry on ‘Bloody Sunday’ on 30 January 1972, when the army opened fire on a Civil Rights protest and killed 14 people. The mural shows a group of men, led by a local Catholic priest, later Bishop Edward Daly, carrying the body of Jackie Duddy from the scene of the shooting.
In the background, marchers are carrying a civil rights banner. This banner became bloodstained when it was used to cover the body of one of the victims. The mural was painted in 1997 to mark the 25th anniversary of ‘Bloody Sunday’ on 30 January 1972.
The ‘Operation Motorman’ mural on Rossville Street (Photograph: Patrick Comerford, 2019)
The ‘Operation Motorman’ mural on Rossville Street was completed in July 2001, depicting some of the events during ‘Operation Motorman’ on 31 July 1972.
The ‘Civil Rights’ Mural on Rossville Street was unveiled in 2004 (Photograph: Patrick Comerford, 2019)
The ‘Civil Rights’ Mural on Rossville Street, unveiled in 2004, marks the beginning of the Civil Rights movement in Derry. These early marches were inspired by the civil disobedience campaigns of Martin Luther King, but the march on 5 October 1968 ended in bloodshed in Duke Street when the RUC began beating up the protesters.
The events that day were filmed by television crews and were broadcast across the world.
The Peace Mural on Rossville Street was completed in 2004 (Photograph: Patrick Comerford, 2019)
The Peace Mural on Rossville Street was completed on 30 July 2004 and was unveiled by the then Mayor of Derry.
The ‘Saturday Matinee’ mural on Rossville Street (Photograph: Patrick Comerford, 2019)
The ‘Saturday Matinee’ mural on Rossville Street was started in August 2001. The scene depicted is typical of many riots in the Bogside from 1969 through the early 1970s. The riots were commonplace with many happening on Saturday afternoons, hence the title ‘The Saturday Matinee.’
The ‘blood on their hands’ protest has been wiped away in Chamberlain Street (Photograph: Patrick Comerford, 2019)
A very different type of mural was created nearby on Chamberlain Street by friends of Lyra McKee during their protest last month at the headquarters of the dissident republican group Saoradh, linked to the ‘New IRA.’
Lyra McKee’s friends gathered at ‘Junior McDaid House,’ placed their hands in red paint and imprinted them on the walls of the building.
One of Lyra’s friends, Sinead Quinn, said at the time: ‘We have used red paint because they have blood on their hands for what has happened.’
Another friend said: ‘We have had enough. There is a younger generation coming up in the town and they don’t need guns put in their hands. They need jobs, they need a better health service and education. They need a life, not a gun put in their hands.’
Since then, however, this latest act of political street art has been wiped off the walls by supporters of Saroadh and the ‘New IRA,’ and the walls of the house have been freshly painted in defiance of the community revulsion at this latest murder on the streets of Derry.
A very different type of mural in Derry offers a taste of Italy (Photograph: Patrick Comerford, 2019)
Patrick Comerford
The General Synod of the Church of Ireland is taking place this week in the Millennium Forum in Derry. This is such a compact city that it is easy during breaks to take a walk from here to many interesting points, including the Guildhall, the City Walls, Saint Columb’s Cathedral, ‘Free Derry Corner’ and the Bogside Murals on Rossville Street.
‘Free Derry Corner’ is a well-known landmark in the Bogside area, standing at the junction of Lecky Road, Rossville Street and Fahan Street. This free-standing gable wall recalls Free Derry, an autonomous area that existed in 1969-1972.
In January 1969, a local activist, long believed to be John ‘Caker’ Casey, but who may have been Liam Hillen, painted graffiti on a gable wall at the end of a terrace of houses, declaring: ‘You are now entering Free Derry.’
When the then British Home Secretary and future Prime Minister Jim Callaghan visited Derry in August 1969, the ‘Free Derry’ wall was painted white and the sign proclaiming ‘You are now entering Free Derry’ was professionally repainted in black lettering by John ‘Caker’ Casey. The area in front of the wall became known as Free Derry Corner.
This part of Derry and the surrounding streets were the scene of the Battle of the Bogside in 1969 and Bloody Sunday in 1972. The houses on Lecky Road and Fahan Street were later demolished, but the ‘Free Derry Wall’ was retained.
Despite demolition, and new roads, the wall still stands and has been repainted at frequent intervals. It now stands in the central reservation of a dual carriageway on Lecky Road, and is constantly the focus for large numbers of tourists on walking tours of the Bogside.
Last month, following the murder of Lyra McKee late on Maundy Thursday [18 April 2019], Free Derry Corner was repainted to include the words ‘not in our name – RIP Lyra’ to reflect community revulsion at her murder.
The Bogside walking tours also introduce tourists to the Bogside Murals, a series of outdoor murals also known as the ‘People’s Gallery.’ They are the work of three mural painters from Derry, brothers Tom and William Kelly, and Kevin Hasson.
The Bogside Artists began working together in 1993. With supplies donated from local residents, they painted several murals on the walls of Rossville Street buildings commemorating the Battle of Bogside and Bloody Sunday.
From 1994 to 2008, they painted 12 murals on Rossville Street, which runs through the centre of the Bogside, and they named it the ‘People’s Gallery.’ Thousands of visitors come each day to see this unique visual display and an entire street devoted to the history in art form of over three decades of political conflict in Northern Ireland.
The murals were officially inaugurated in August 2007 and an additional mural dedicated to Nobel Peace Prize Laureate and retired leader of the Social Democratic and Labour Party, John Hume was completed in 2008.
The Bogside Artists see their work as humanitarian and human, as ‘men speaking to men,’ according to Tom Kelly, and say they have little time or interest in contemporary art. ‘All real art is contemporary as it has its origins in the truthful state of mind which is timeless,’ he has said.
The ‘Blood Sunday’ mural depicts events in Derry on ‘Bloody Sunday’ on 30 January 1972 (Photograph: Patrick Comerford, 2019)
The ‘Blood Sunday’ mural depicts events in Derry on ‘Bloody Sunday’ on 30 January 1972, when the army opened fire on a Civil Rights protest and killed 14 people. The mural shows a group of men, led by a local Catholic priest, later Bishop Edward Daly, carrying the body of Jackie Duddy from the scene of the shooting.
In the background, marchers are carrying a civil rights banner. This banner became bloodstained when it was used to cover the body of one of the victims. The mural was painted in 1997 to mark the 25th anniversary of ‘Bloody Sunday’ on 30 January 1972.
The ‘Operation Motorman’ mural on Rossville Street (Photograph: Patrick Comerford, 2019)
The ‘Operation Motorman’ mural on Rossville Street was completed in July 2001, depicting some of the events during ‘Operation Motorman’ on 31 July 1972.
The ‘Civil Rights’ Mural on Rossville Street was unveiled in 2004 (Photograph: Patrick Comerford, 2019)
The ‘Civil Rights’ Mural on Rossville Street, unveiled in 2004, marks the beginning of the Civil Rights movement in Derry. These early marches were inspired by the civil disobedience campaigns of Martin Luther King, but the march on 5 October 1968 ended in bloodshed in Duke Street when the RUC began beating up the protesters.
The events that day were filmed by television crews and were broadcast across the world.
The Peace Mural on Rossville Street was completed in 2004 (Photograph: Patrick Comerford, 2019)
The Peace Mural on Rossville Street was completed on 30 July 2004 and was unveiled by the then Mayor of Derry.
The ‘Saturday Matinee’ mural on Rossville Street (Photograph: Patrick Comerford, 2019)
The ‘Saturday Matinee’ mural on Rossville Street was started in August 2001. The scene depicted is typical of many riots in the Bogside from 1969 through the early 1970s. The riots were commonplace with many happening on Saturday afternoons, hence the title ‘The Saturday Matinee.’
The ‘blood on their hands’ protest has been wiped away in Chamberlain Street (Photograph: Patrick Comerford, 2019)
A very different type of mural was created nearby on Chamberlain Street by friends of Lyra McKee during their protest last month at the headquarters of the dissident republican group Saoradh, linked to the ‘New IRA.’
Lyra McKee’s friends gathered at ‘Junior McDaid House,’ placed their hands in red paint and imprinted them on the walls of the building.
One of Lyra’s friends, Sinead Quinn, said at the time: ‘We have used red paint because they have blood on their hands for what has happened.’
Another friend said: ‘We have had enough. There is a younger generation coming up in the town and they don’t need guns put in their hands. They need jobs, they need a better health service and education. They need a life, not a gun put in their hands.’
Since then, however, this latest act of political street art has been wiped off the walls by supporters of Saroadh and the ‘New IRA,’ and the walls of the house have been freshly painted in defiance of the community revulsion at this latest murder on the streets of Derry.
A very different type of mural in Derry offers a taste of Italy (Photograph: Patrick Comerford, 2019)
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