The Castle Hotel in Tamworth dates from the early 18th century, with additions from the mid-19th century and the early 20th century (Photograph: Patrick Comerford, 2022)
Patrick Comerford
During our recent visit to Lichfield and Tamworth, two of us stayed in the Hedgehog Vintage Inn on Stafford Road, Lichfield, and in the Castle Hotel on the corner of Holloway Street and Ladybank with Market Street in Tamworth.
The Hedgehog has been a favourite place in Lichfield to stay in for many years, but this was my first time to stay in the Castle Hotel in Tamworth. While staying there, I was reminded there were connections between the owners of the Castle Hotel in the early 19th century and the owners of the Moat House, the former Comberford family home on Lichfield Street, which I had visited once again that afternoon.
The Holloway leads down from the town centre, past Tamworth Castle and over Lady Bridge. It is lined with some fine and interesting buildings, including the Castle Hotel, once owned by William Tempest, once Mayor of Tamworth.
The hotel building dates from the early 18th century, with additions from the mid-19th century and the early 20th century. The hotel itself dates back to at least 1814, when George Townshend (1778-1855), 3rd Marquis Townshend and the proprietor of Tamworth Castle, sold Tamworth Castle, the Castle Inn (now the Castle Hotel) and the castle gardens to John Robins.
Lord Townshend’s father had enthusiastically restored Tamworth Castle, and the Moat House had been the residence of his steward, John Willington and then of Lord Townshend until he died in 1811.
The family titles were inherited in 1811 by his son, George Townshend, who became the 3rd Marquis Townshend. The tenants at the Moat House included Sir John Sheal, from 1811 to 1815.
George Townshend had been disinherited by his father, and he lived in exile in Italy instead of living at Tamworth Castle, partly due to public scandal created by his wife, the former Sarah Dunn Gardner, her extramarital affairs and bigamous marriage and her children born outside the marriage.
As part of the efforts to clear the debts of the Townshend family, the Moat House and the Castle Inn were sold as part of the Tamworth Castle estate to John Robins, a London auctioneer, John Robins, a London auctioneer. He lived in the castle after seven years delay in legal proceedings to complete the purchase, after claiming the castle to settle debts owed him by the 2nd Marquis in 1814. From 1815 to 1821, Dr Robert Woody, a surgeon, was renting the Moat House, and he licensed the house as an asylum for the insane. He died in 1823 and his widow Alice died in 1863.
Visiting the Moat House on Lichfield Street last week … when John Robins died in 1833, Tamworth Castle, the Castle Inn and the Moat House were sold at public auction (Photograph: Patrick Comerford, 2022)
George Townshend’s younger brother, Lord Charles Vere Ferrers Townshend, twice sat as MP for Tamworth, in 1812-1818 and 1830-1835. He was watching Tamworth Castle, the family estates and the Townshend titles slipping from his grasp and passing out of the family to his sister-in-law’s illegitimate children.
When John Robins died in 1833, a family dispute ended up in the Court of Chancery. The court decided that his estates should be sold by public auction, including Tamworth Castle, the Castle Inn, the Moat House and his property near the river, described as ‘a garden with a terrace walk along the bank of the River Tame, a summer house and bowling green.’
Lord Charles Townshend was successful in buying back Tamworth Castle, and the estates came into the ownership of the Townshend family once again. He then petitioned the House of Lords in 1842 to have Sarah’s children declared illegitimate.
George Townshend died in Genoa on 31 December 1855; he was 77. His only brother, Lord Charles Townshend, who had succeeded in having Sarah’s children declared illegitimate, had died two years earlier, on 5 November 1853. He had no sons either, and the Townshend title passed to a cousin, John Townshend (1798-1863), who was MP for Tamworth (1847-1855).
Meanwhile, the Castle Hotel was the scene of a tragic fire in 1838, when the building was severely damaged and six maidservants were trapped in upper rooms and died. A monument was erected in Saint Editha’s churchyard to record the incident, and because of the fire, the town’s first fire brigade was formed.
Tamworth Castle and the Castle Hotel, including the Castle Bowling Green, were put up for sale again in 1897. The castle was bought by Tamworth Borough Council for £3,000, while the Castle Hotel was bought privately.
William Tempest (1830-1911), proprietor of the Castle Hotel, was born in Burley near Duffield, Derbyshire, and became a wealthy businessman, hotelier and wine merchant. He moved to the Lodge Farm in Drayton, Staffordshire, in 1858, before moving to Tamworth.
Tempest was involved public life in Tamworth. He was elected an alderman in 1874 and was elected Mayor in 1878. He served as Mayor of Tamworth three times, being re-elected in 1880 and again in 1900.
He was a Governor of the Queen Elizabeth’s Grammar School and a trustee of the Municipal Charities, Tamworth’s Permanent Benefit Building Society and Tamworth’s Friendly Institution. He was a director of Tamworth’s Savings Bank and Tamworth Gas Company, and a director of the Tamworth Herald from its formation in 1877.
He died on 8 August 1911 and was buried in Aldergate Cemetery.
The Castle Hotel at No 39 Holloway, the night club and the ‘Bow Street Runner’ on Market Street, form an interesting set of buildings on a prominent street corner.
The hotel is built of brick with ashlar dressings, with tile roofs with brick stacks. It is in an L-plan, with three storeys and a four-window range. The entrance to the right end has a Tuscan porch with a scrolled wrought-iron balcony, and a blind overlight to the paired half-glazed doors. Some of the windows have interesting stained glass, decorated with the fleur-de-lys, once the heraldic symbol of Tamworth.
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The left return to Market Street has a five-window range with four Ionic pilasters, a frieze and a cornice at the entrance with paired doors and flanking four-pane horned tripartite sash windows.
The mid-19th century additions at the right, including the Holloway façade, have additions dating from ca 1900. It is worth noting one large and two small shaped gables, and two elliptical-headed carriage entrances with banded arches and hoods, two elliptical-headed windows with keystones and hoods, and a large oriel window.
Inside, the hotel has chamfered beams and staircase with column-on-vase balusters. Two of us stayed above the Market Street façade, which dates from the 19th century, and could see the Town Hall and the statue of Sir Robert Peel on Market Street.
The Market Street frontage, with the hotel’s ‘Vodka Bar’, was once used as a grocer’s shop, and before that housed Ford and Rowley’s Castle Garage, with a petrol pump outside, an important early facility for motorists.
The Brewery House, at the end of Lady Bank opposite Holloway Lodge, is now an annex of the Caste Hotel. The Old Brewery House was donated to the town as a workhouse in 1750 by Thomas Thynne (1710–1751), 2nd Viscount Weymouth, High Steward of Tamworth, and by Francis Willoughby (1692-1758), Lord Middleton, a former MP for Tamworth (1722-1727).
There was another Comberford connection here, for Lord Weymouth’s geat-uncle had bought Comberford Hall from Cumberford Brooke in 1710. His son, Thomas Thynne (1734–1796), 1st Marquess of Bath, later sold Comberford Hall and the estate in 1790 to Arthur Chichester, Earl of Donegall.
The Brewery House gained its later name when it was later bought by a businessman, Edward Morgan, who owned a brewery behind the property. The house became his home and the brewery offices.
Facing the Castle Hotel, Bank House dates from 1845, and was used as the Tamworth Savings Bank, founded by Sir Robert Peel in 1823.
At the end of Lady Bank and opposite the Brewery House, Holloway Lodge was built as a gatehouse and is the most recent addition to the castle. The lodge was built by the 2nd Marquis Townshend in 1810 as an entrance to his castle. Originally it was a single-storey building, but a second storey was added ca 1897.
Lady Bridge, at the end of Lady Bank, crosses the point where the River Tame and the River Anker meet. The Lady Bridge was built in 1796, replacing an earlier, mediaeval bridge that was destroyed over time by ice and floods.
Documents dating back to 1294 name Lady Bridge as the Bridge of Saint Mary. It was probably given this name because it once had a pedestal supporting a figure of the Virgin Mary on a cross. The pedestal survives and has been placed on the approach to the Castle’s square tower.
When Thomas Comberford died in 1532, his estates included the Manor of Wigginton, the Manor of Comberford, the right to hold a fair in Tamworth twice a year, the rights of fishery for a 2½-mile stretch along the River Tame from Lady Bridge, marking the boundary between the Staffordshire and Warwickshire parts of Tamworth, to Hopwas Bridge, and the right to keep six swans in the river.
Lady Bridge was widened at each end in 1840. For many years, the bridge carried the main Birmingham to Nottingham trunk road, but it was closed to traffic in 1984. Today there are beautiful views from the bridge of the castle and west along the river towards the Moat House.
The Town Hall and the statue of Sir Robert Peel on Market Street, Tamworth (Photograph: Patrick Comerford, 2022)
30 June 2022
Praying with the Psalms in Ordinary Time:
30 June 2022 (Psalm 127)
‘Nisi Dominus’ … the inscription over the door of Rothenburg House on High Street, Stony Stratford, designed by Edward Swinfen Harris, quotes the opening words of Psalm 127 (Photograph: Patrick Comerford, 2022)
Patrick Comerford
In the Calendar of the Church, we are in Ordinary Time. Before today begins, I am taking some time this morning to continue my reflections drawing on the Psalms.
In my blog, I am reflecting each morning in this Prayer Diary in these ways:
1, Short reflections on a psalm or psalms;
2, reading the psalm or psalms;
3, a prayer from the USPG prayer diary.
Psalm 127:
Psalm 127 is the eighth in a series of 15 short psalms (Psalm 120-134) known as the ‘Songs of Ascents.’ These psalms begin with the Hebrew words שיר המעלות (Shir Hama’a lot). In the slightly different numbering system in the Greek Septuagint and the Latin Vulgate, this is counted as Psalm 126. It is sometimes known by its opening words in Latin, Nisi Dominus.
Many scholars say these psalms were sung by worshippers as they ascended the road to Jerusalem to attend the three pilgrim festivals. Others say they were sung by the Levite singers as they ascended the 15 steps to minister at the Temple in Jerusalem.
The Mishnah notes the correspondence between the 15 songs and the 15 steps between the men’s court and the women’s courtyards in the Temple. A Talmudic legend says King David composed or sang the 15 songs to calm the rising waters at the foundation of the Temple.
One view says the Levites first sang the Songs of Ascent at the dedication of Solomon’s Temple during the night of 15 Tishri 959 BCE. Another study suggests they were composed for a celebration after Nehemiah’s rebuilding of the walls of Jerusalem in 445 BCE. Others suggest they may originally have been songs sung by the exiles returning from Babylon, ascending to Jerusalem or individual poems later collected together and given the title linking them to pilgrimage after the Babylonian captivity.
These psalms are cheerful and hopeful, and they place an emphasis on Zion. They were suited for being sung because of their poetic style and the sentiments they express. They are brief, almost like epigrams, and they are marked by the use of a keyword or repeated phrase that serves as a rung on which the poem ascends to its final theme.
This the only one among the 15 ‘Songs of Ascents’ attributed to Solomon rather than David: ‘A Song of Ascents. Of Solomon.’
Psalm 127 says a safe home and a large family are the Lord’s gifts.
The text is divided into five verses, with two wise sayings (verses 1-2 and 3-5). The first two verses (verses 1-2) express the notion that ‘without God, all is in vain’, popularly summarised in Latin in the motto Nisi Dominus Frustra. They say anxiety has no place in the life of the faithful.
The second part (verses 3-5) describe children as God’s blessing, and say the gift of many stalwart sons makes a father feel secure.
In Jewish tradition, Psalm 127 is recited as a prayer for protection of a new-born infant. According to Jewish tradition, Psalm 127 was written by David and dedicated to his son Solomon, who would build the First Temple. According to the French mediaeval rabbi, David Kimhi (Radak), verses 3-5 express David’s feelings about his son Solomon. Another French mediaeval rabbi, Shlomo Yitzchaki, said these verses refer to the students of a Torah scholar, who are called his ‘sons.’
The Midrash Tehillim interprets the opening verses of the psalm as referring to teachers and students of Torah. On the watchmen of the city mentioned in verse 1, Rabbi Hiyya, Rabbi Yosi, and Rabbi Ammi said, ‘The [true] watchmen of the city are the teachers of Scripture and instructors of Oral Law.’
On ‘the Lord gives’ in verse 2, the Midrash explains that God ‘gives’ life in the world to come to the wives of Torah scholars because they deprive themselves of sleep to support their husbands.
The translation of the psalm presents some difficulties, especially in verses 2 and 4. Jerome, in a letter to Marcella in the year 384, laments that Origen’s notes on this psalm no longer exist, and discusses the various possible translations of לֶחֶם הָעֲצָבִים (‘bread of sorrows’ (KJV), ‘bread of anxious toil’ (NRSVA), after the panem doloris of Vulgata Clementina).
Jerome’s own translation is panem idolorum, ‘bread of idols,’ following the Septugiant (LXX). The phrase בְּנֵי הַנְּעוּרִֽים (‘children of the youth’ (KJV), ‘sons of one’s youth (NRSVA)), is translated in the Septuagint (LXX) as υἱοὶ τῶν ἐκτετιναγμένων, (‘children of the outcast’).
There are two possible interpretations of the phrase כֵּן יִתֵּן לִֽידִידֹו שֵׁנָֽא ‘for he gives sleep to his beloved’ (verse 2, NRSVA). The word ‘sleep’ may either be the direct object (LXX, Vulgate, KJV, NRSVA), or an accusative used adverbially, ‘in sleep,’ meaning ‘while they are asleep.’ The latter interpretation fits the context of the verse much better, contrasting the ‘beloved of the Lord’ who receive success without effort, as it were ‘while they sleep’ with the sorrowful and fruitless toil of those not so blessed.
This sentiment is paralleled in Proverbs 10: 22, ‘The blessing of the Lord makes rich, and he adds no sorrow with it’ (NRSVA).
English translations have been reluctant to emend the traditional translation, due to the long-standing association of this verse with sleep being the gift of God. And so it is that Elizabeth Barrett Browning uses the phrase ‘He giveth his beloved Sleep’ as the last line of each stanza in her poem ‘The Sleep.’
Psalm 127 is sometimes called ‘the builders’ psalm,’ because of the opening verse and because of the similarity between the Hebrew words for sons (banim) and builders (bonim).
The phrase Nisi Dominus Frustra (‘Without God, it is in vain’) is a popular motto often inscribed on buildings. It has been the motto of Edinburgh since 1647, it was the motto of the former Borough of Chelsea, and it is the motto of several schools, including Mount Temple School, Dublin.
The Vulgate text, Nisi Dominus, has been set to music by many Renaissance and Baroque composers, often as part of vespers, including Monteverdi, Charpentier, Handel and Vivaldi.
‘Unless the Lord builds the house, those who build it labour in vain’ (Psalm 127: 1) … scaffolding against the west wall inside the Basilica in Torcello, Venice (Photograph: Patrick Comerford)
Psalm 127 (NRSVA):
A Song of Ascents. Of Solomon.
1 Unless the Lord builds the house,
those who build it labour in vain.
Unless the Lord guards the city,
the guard keeps watch in vain.
2 It is in vain that you rise up early
and go late to rest,
eating the bread of anxious toil;
for he gives sleep to his beloved.
3 Sons are indeed a heritage from the Lord,
the fruit of the womb a reward.
4 Like arrows in the hand of a warrior
are the sons of one’s youth.
5 Happy is the man who has
his quiver full of them.
He shall not be put to shame
when he speaks with his enemies in the gate.
Today’s Prayer:
The theme this week in the prayer diary of the Anglican mission agency USPG (United Society Partners in the Gospel) is ‘Ethics and Leadership.’ It was introduced on Sunday by Andy Flannagan, Executive Director of Christians in Politics.
Thursday 30 June 2022:
The USPG Prayer invites us to pray today in these words:
We pray for greater accountability and transparency in the political sphere, with trust and dignity at the heart of political processes.
Yesterday’s reflection
Continued tomorrow
Scripture quotations are from the New Revised Standard Version Bible: Anglicised Edition copyright © 1989, 1995, National Council of the Churches of Christ in the United States of America. Used by permission. All rights reserved worldwide. http://nrsvbibles.org
Patrick Comerford
In the Calendar of the Church, we are in Ordinary Time. Before today begins, I am taking some time this morning to continue my reflections drawing on the Psalms.
In my blog, I am reflecting each morning in this Prayer Diary in these ways:
1, Short reflections on a psalm or psalms;
2, reading the psalm or psalms;
3, a prayer from the USPG prayer diary.
Psalm 127:
Psalm 127 is the eighth in a series of 15 short psalms (Psalm 120-134) known as the ‘Songs of Ascents.’ These psalms begin with the Hebrew words שיר המעלות (Shir Hama’a lot). In the slightly different numbering system in the Greek Septuagint and the Latin Vulgate, this is counted as Psalm 126. It is sometimes known by its opening words in Latin, Nisi Dominus.
Many scholars say these psalms were sung by worshippers as they ascended the road to Jerusalem to attend the three pilgrim festivals. Others say they were sung by the Levite singers as they ascended the 15 steps to minister at the Temple in Jerusalem.
The Mishnah notes the correspondence between the 15 songs and the 15 steps between the men’s court and the women’s courtyards in the Temple. A Talmudic legend says King David composed or sang the 15 songs to calm the rising waters at the foundation of the Temple.
One view says the Levites first sang the Songs of Ascent at the dedication of Solomon’s Temple during the night of 15 Tishri 959 BCE. Another study suggests they were composed for a celebration after Nehemiah’s rebuilding of the walls of Jerusalem in 445 BCE. Others suggest they may originally have been songs sung by the exiles returning from Babylon, ascending to Jerusalem or individual poems later collected together and given the title linking them to pilgrimage after the Babylonian captivity.
These psalms are cheerful and hopeful, and they place an emphasis on Zion. They were suited for being sung because of their poetic style and the sentiments they express. They are brief, almost like epigrams, and they are marked by the use of a keyword or repeated phrase that serves as a rung on which the poem ascends to its final theme.
This the only one among the 15 ‘Songs of Ascents’ attributed to Solomon rather than David: ‘A Song of Ascents. Of Solomon.’
Psalm 127 says a safe home and a large family are the Lord’s gifts.
The text is divided into five verses, with two wise sayings (verses 1-2 and 3-5). The first two verses (verses 1-2) express the notion that ‘without God, all is in vain’, popularly summarised in Latin in the motto Nisi Dominus Frustra. They say anxiety has no place in the life of the faithful.
The second part (verses 3-5) describe children as God’s blessing, and say the gift of many stalwart sons makes a father feel secure.
In Jewish tradition, Psalm 127 is recited as a prayer for protection of a new-born infant. According to Jewish tradition, Psalm 127 was written by David and dedicated to his son Solomon, who would build the First Temple. According to the French mediaeval rabbi, David Kimhi (Radak), verses 3-5 express David’s feelings about his son Solomon. Another French mediaeval rabbi, Shlomo Yitzchaki, said these verses refer to the students of a Torah scholar, who are called his ‘sons.’
The Midrash Tehillim interprets the opening verses of the psalm as referring to teachers and students of Torah. On the watchmen of the city mentioned in verse 1, Rabbi Hiyya, Rabbi Yosi, and Rabbi Ammi said, ‘The [true] watchmen of the city are the teachers of Scripture and instructors of Oral Law.’
On ‘the Lord gives’ in verse 2, the Midrash explains that God ‘gives’ life in the world to come to the wives of Torah scholars because they deprive themselves of sleep to support their husbands.
The translation of the psalm presents some difficulties, especially in verses 2 and 4. Jerome, in a letter to Marcella in the year 384, laments that Origen’s notes on this psalm no longer exist, and discusses the various possible translations of לֶחֶם הָעֲצָבִים (‘bread of sorrows’ (KJV), ‘bread of anxious toil’ (NRSVA), after the panem doloris of Vulgata Clementina).
Jerome’s own translation is panem idolorum, ‘bread of idols,’ following the Septugiant (LXX). The phrase בְּנֵי הַנְּעוּרִֽים (‘children of the youth’ (KJV), ‘sons of one’s youth (NRSVA)), is translated in the Septuagint (LXX) as υἱοὶ τῶν ἐκτετιναγμένων, (‘children of the outcast’).
There are two possible interpretations of the phrase כֵּן יִתֵּן לִֽידִידֹו שֵׁנָֽא ‘for he gives sleep to his beloved’ (verse 2, NRSVA). The word ‘sleep’ may either be the direct object (LXX, Vulgate, KJV, NRSVA), or an accusative used adverbially, ‘in sleep,’ meaning ‘while they are asleep.’ The latter interpretation fits the context of the verse much better, contrasting the ‘beloved of the Lord’ who receive success without effort, as it were ‘while they sleep’ with the sorrowful and fruitless toil of those not so blessed.
This sentiment is paralleled in Proverbs 10: 22, ‘The blessing of the Lord makes rich, and he adds no sorrow with it’ (NRSVA).
English translations have been reluctant to emend the traditional translation, due to the long-standing association of this verse with sleep being the gift of God. And so it is that Elizabeth Barrett Browning uses the phrase ‘He giveth his beloved Sleep’ as the last line of each stanza in her poem ‘The Sleep.’
Psalm 127 is sometimes called ‘the builders’ psalm,’ because of the opening verse and because of the similarity between the Hebrew words for sons (banim) and builders (bonim).
The phrase Nisi Dominus Frustra (‘Without God, it is in vain’) is a popular motto often inscribed on buildings. It has been the motto of Edinburgh since 1647, it was the motto of the former Borough of Chelsea, and it is the motto of several schools, including Mount Temple School, Dublin.
The Vulgate text, Nisi Dominus, has been set to music by many Renaissance and Baroque composers, often as part of vespers, including Monteverdi, Charpentier, Handel and Vivaldi.
‘Unless the Lord builds the house, those who build it labour in vain’ (Psalm 127: 1) … scaffolding against the west wall inside the Basilica in Torcello, Venice (Photograph: Patrick Comerford)
Psalm 127 (NRSVA):
A Song of Ascents. Of Solomon.
1 Unless the Lord builds the house,
those who build it labour in vain.
Unless the Lord guards the city,
the guard keeps watch in vain.
2 It is in vain that you rise up early
and go late to rest,
eating the bread of anxious toil;
for he gives sleep to his beloved.
3 Sons are indeed a heritage from the Lord,
the fruit of the womb a reward.
4 Like arrows in the hand of a warrior
are the sons of one’s youth.
5 Happy is the man who has
his quiver full of them.
He shall not be put to shame
when he speaks with his enemies in the gate.
Today’s Prayer:
The theme this week in the prayer diary of the Anglican mission agency USPG (United Society Partners in the Gospel) is ‘Ethics and Leadership.’ It was introduced on Sunday by Andy Flannagan, Executive Director of Christians in Politics.
Thursday 30 June 2022:
The USPG Prayer invites us to pray today in these words:
We pray for greater accountability and transparency in the political sphere, with trust and dignity at the heart of political processes.
Yesterday’s reflection
Continued tomorrow
Scripture quotations are from the New Revised Standard Version Bible: Anglicised Edition copyright © 1989, 1995, National Council of the Churches of Christ in the United States of America. Used by permission. All rights reserved worldwide. http://nrsvbibles.org
29 June 2022
How the Marquis of Bath
came to own Comberford
Hall for almost 30 years
Comberford Hall, seen from the train between Tamworth and Lichfield … owned for almost 30 years by the Thynne family (Photograph: Patrick Comerford)
Patrick Comerford
When two of us were visiting Tamworth and Lichfield earlier this month, including former homes of the Comberford family in the area, I was reminded of the interesting links between Comberford and the Thynne family.
The Thynne family owned Comberford Hall for almost 30 years (1761-1789), but the family’s connections with the Lichfield and Tamworth area begin with Thomas Thynne (1640-1714), 1st Viscount Weymouth, and his marriage in 1671 to Lady Frances Finch, a granddaughter of the Dowager Duchess of Somerset, a close friend of William Comberford of Comberford Hall, and who also held properties in Comberford, Wigginton and Tamworth.
Thomas Thynne was a descendant of Sir John Thynne (1515-1580), who bought Longleat, a former Augustinian priory, after the dissolution of the monastic houses. Thynne owed his political success and social advancement to the patronage of Edward Seymour (1500-1552), Duke of Somerset and uncle of King Edward VI, and who later provided interesting family connections through intermarriage between their descendants.
After studying at Christ Church, Oxford, Thomas Thynne entered public life as the English envoy to Sweden (1666-1669). After his return to England, Thynne married Lady Frances Finch, daughter of Heneage Finch, 3rd Earl of Winchilsea. Through this marriage in 1671, Thynne inherited large estates and political interests in the Tamworth area, including Draycott Bassett, and extensive Irish estates in Co Monaghan.
Lady Frances Finch’s mother, Lady Mary Seymour (1637-1673), was a daughter of William Seymour, 2nd Duke of Somerset and Lady Frances Devereux (1599-1674) – and there lies another connection with the Comberford family. In 1616, Lady Frances Devereux married William Seymour (1587-1660), later Duke of Somerset. As the Dowager Duchess of Somerset, she also held properties in Comberford, Wigginton and Tamworth.
When she died on 24 April 1674, she left her collection of 1,000 books to Lichfield Cathedral, including the Saint Chad’s Gospels and a book of pedigrees given to her by her close friend, Colonel William Comberford of Comberford Hall.
William Comberford had been the Royalist High Sheriff of Staffordshire and took an active role in the siege of Lichfield. When he died in 1656, he left a book of pedigrees of the Nevilles, Earls of Warwick to his friend, Frances, Marchioness of Hertford, later the Duchess of Somerset, saying: ‘The book of pedigrees of the Earles of Warwick, I give and devise to the Right Honorable and trulie virtuous ladie, the Marchioness of Hertford, for whose sake … I bought the same.’
His affectionate words and the terms of the bequest reveal a close and intimate friendship with the woman who restored the Lichfield Gospels to Lichfield Cathedral. Her donation of books to the cathedral also included this book William Comberford had bought for her.
After her death in 1674, Thynne inherited more estates through a division of land that came out of an agreement between the heirs of the two daughters of Robert Devereux, 2nd Earl of Essex. Earl Ferrers, who lived at Tamworth Castle, inherited the share of his grandmother, Lady Dorothy Devereux, while Thomas Thynne succeeded to the inheritance of Lady Frances Devereux, the earl’s elder daughter, later Marchioness of Hertford and Duchess of Somerset. This division was uneven, and in Lord Weymouth’s favour, but Lord Weymouth behaved generously to rectify this injustice to Ferrers.
Lady Frances Devereux ... the ‘trulie virtuous ladie’ named in the will of William Comberford, and ancestor of the Thynne family who bought Comberford Hall
Before he inherited Longleat, Thomas Thynne lived at Draycott Bassett near Tamworth, Lichfield and Sutton Coldfield. He was a royalist during the English Civil War. He was MP for Oxford University (1674-1679), but he was judged to stand little chance of re-election for the university. But his marriage had brought him a strong interest political in Lichfield and Tamworth, and he was elected for Tamworth to the Exclusion Parliaments (1679-1681).
He was also High Steward of Sutton Coldfield from 1679, High Steward of Tamworth from 1681, and High Steward of Lichfield from 1712, holding all three offices until he died in 1714, and he was a Justice of the Peace for Staffordshire (1680-1696).
In the 1681 election, he was involved in an unresolved double return at Tamworth, and never sat for Oxford. Instead, John Swinfen (1613-1694) of Swinfen Hall, near Freeford, a former parliamentarian, regained the seat in Tamworth. Swinfen’s descendant, Samuel Swinfen of Swinfen Hall, would later sell Comberford Hall to the Thynne family in 1761.
Thynne, who had succeeded his father as a baronet in 1680, entered the House of Lords a year after losing the Tamworth seat with the titles of Viscount Weymouth and Baron Thynne of Warminster (1682). A special provision allowed the titles to pass to the male heirs of his two brothers.
As Lord Weymouth, he was one of the four peers sent in late 1688 to ask William of Orange to summon a free Parliament. Although he took the oaths to the new regime, he protected non-jurors, ‘who cried him up for a very religious man, which pleased him extremely.’
When Thomas Ken, the saintly Bishop of Bath and Wells, was deprived of his see as a non-juror, Lord Weymouth, a friend since their days in Oxford, brought him to at Longleat and provided him with an annuity of £80. For 20 years, Ken lived on the top floor at Longleat and part of the West Wing was transformed into a chapel for daily worship.
Ken exerted a profound influence on his host, becoming what some describe as his conscience. Lord Weymouth acquired a reputation for good deeds inspired by the devout bishop. Thynne was a founding member of the Anglican mission agency the Society for the Propagation of the Gospel (SPG, now USPG, United Society Partners in the Gospel), and together Thynne and Ken founded the Lord Weymouth School, now Warminster School, in 1707.
While living in Longleat, Bishop Ken wrote many of his famous hymns, including ‘Awake my soul.’ When he died in 1711, he bequeathed his extensive library to Lord Weymouth.
As a Tory and a Jacobite suspect under William III, Lord Weymouth was excluded from political office until the reign of Queen Anne. His government offices included First Lord of Trade (1702-1707), and his royal appointments included Warden of the Forest of Dean (1712).
Thynne and his wife Lady Frances Finch were parents of four sons, including son Henry Thynne (1675-1708), who was MP Tamworth in 1701-1702 with Thomas Guy. However, none of the children outlived their parents. Family lore says Weymouth was twice offered an earldom, but declined the honours because he had no immediate male heir.
When he died in 1714, there was no immediate male heir, and his titles and estates passed to his great nephew, Thomas Thynne, 2nd Viscount Weymouth (1710-1751).
Thomas Thynne’s father died a month before Thomas was born, and at the age of four, on the death of his great uncle Thomas Thynne, 1st Viscount Weymouth, in 1714, he inherited the family titles and estates.
This Thomas Thynne maintained the family links with Tamworth, and in 1733 he became High Steward of Tamworth. His other offices included Keeper of Hyde Park, Keeper of the Mall, and Ranger of Saint James’s Park (1739-1751).
When his second wife, Lady Louisa Carteret, died in childbirth in her early 20s, her friend Mrs Delany wrote: ‘Her husband’s ... loss is irreparable.’ During her illness, Mrs Delany had written that ‘my Lord Weymouth is like a madman.’
Thomas Thynne (1734-1796), 1st Marquess of Bath, owned Comberford Hall from 1761 to 1789
When Lord Weymouth died in January 1751, he was succeeded in his titles and his vast estates by his elder son, Thomas Thynne (1734-1796), who became 3rd Viscount Weymouth and was given the additional title of Marquess of Bath in 1789. This Thomas Thynne bought Comberford Hall and the Comberford estate from Samuel Swinfen in 1761, and continued to hold them for almost 30 years.
Some local historians say Comberford Hall was rebuilt in the 1790s, after it was owned by Lord Bath, although Mrs Valerie Coltman, whose family lived there until the late 1950s, believes Comberford Hall was rebuilt at a much earlier date in 1720.
This Thomas Thynne held a number of political offices during the reign of King George III. He was Southern Secretary and Northern Secretary, during the American War of Independence. He was Lord Lieutenant of Ireland for a brief time in 1765, although he never visited Ireland. He is possibly best known for his role in the Falklands Crisis, a dispute with Spain in 1770 over the possession of the Falkland Islands.
Later, he was High Steward of Sutton Coldfield (1781-1796). But he was often accused of idleness and regular drunkenness, which depleted his great fortune, and it was said ‘his house was often full of bailiffs.’
On 1 August 1789, Lord Weymouth – who was about to become the 1st Marquis of Bath – and his son, the Hon Thomas Thynne, sold the Manors of Comberford and Wigginton, including lands in Hopwas and Coton, to Arthur Chichester (1739-1799), 5th Earl of Donegall.
Perhaps the sale of Comberford Hall provided much of the funds the Thynne family needed to meet the costs of recovering the Bath title. Within three weeks of the sale of Comberford, Lord Weymouth was given the additional title of Marquis of Bath on 18 August 1789. By then, his only public office was High Steward of Sutton Coldfield.
Lord Bath died in London on 19 November 1796 at the age of 62. He and his wife Lady Elizabeth Bentinck were the parents of three sons and four daughters, including Thomas Thynne (1765-1837), who succeeded as 2nd Marquess of Bath.
Earlier, Sir Robert Peel (1750-1830) was elected MP for Tamworth in 1790, having bought the borough along with many of Lord Bath’s estate in the area, including Drayton Bassett. Peel was the father of the later Prime Minister, Sir Robert Peel (1788-1850), and the Thynne family’s links with Comberford and with the Tamworth and Lichfield area had come to an end.
There was one later, though distant, connection between the Thynne family and Comberford Hall over a century later. Henry Allsopp (1811-1887), 1st Lord Hindlip, married Elizabeth Tongue in 1839. She was the second daughter and eventual heiress of William Tongue of Comberford Hall. Their grandson, Charles Allsopp (1877-1931), 3rd Lord Hindlip, married in 1904, Agatha Lillian Thynne, a great-granddaughter of the 2nd Marquess of Bath, who had sold Comberford Hall with his father.
The Town Hall and the statue of Sir Robert Peel on Market Street, Tamworth (Photograph: Patrick Comerford, 2022)
Patrick Comerford
When two of us were visiting Tamworth and Lichfield earlier this month, including former homes of the Comberford family in the area, I was reminded of the interesting links between Comberford and the Thynne family.
The Thynne family owned Comberford Hall for almost 30 years (1761-1789), but the family’s connections with the Lichfield and Tamworth area begin with Thomas Thynne (1640-1714), 1st Viscount Weymouth, and his marriage in 1671 to Lady Frances Finch, a granddaughter of the Dowager Duchess of Somerset, a close friend of William Comberford of Comberford Hall, and who also held properties in Comberford, Wigginton and Tamworth.
Thomas Thynne was a descendant of Sir John Thynne (1515-1580), who bought Longleat, a former Augustinian priory, after the dissolution of the monastic houses. Thynne owed his political success and social advancement to the patronage of Edward Seymour (1500-1552), Duke of Somerset and uncle of King Edward VI, and who later provided interesting family connections through intermarriage between their descendants.
After studying at Christ Church, Oxford, Thomas Thynne entered public life as the English envoy to Sweden (1666-1669). After his return to England, Thynne married Lady Frances Finch, daughter of Heneage Finch, 3rd Earl of Winchilsea. Through this marriage in 1671, Thynne inherited large estates and political interests in the Tamworth area, including Draycott Bassett, and extensive Irish estates in Co Monaghan.
Lady Frances Finch’s mother, Lady Mary Seymour (1637-1673), was a daughter of William Seymour, 2nd Duke of Somerset and Lady Frances Devereux (1599-1674) – and there lies another connection with the Comberford family. In 1616, Lady Frances Devereux married William Seymour (1587-1660), later Duke of Somerset. As the Dowager Duchess of Somerset, she also held properties in Comberford, Wigginton and Tamworth.
When she died on 24 April 1674, she left her collection of 1,000 books to Lichfield Cathedral, including the Saint Chad’s Gospels and a book of pedigrees given to her by her close friend, Colonel William Comberford of Comberford Hall.
William Comberford had been the Royalist High Sheriff of Staffordshire and took an active role in the siege of Lichfield. When he died in 1656, he left a book of pedigrees of the Nevilles, Earls of Warwick to his friend, Frances, Marchioness of Hertford, later the Duchess of Somerset, saying: ‘The book of pedigrees of the Earles of Warwick, I give and devise to the Right Honorable and trulie virtuous ladie, the Marchioness of Hertford, for whose sake … I bought the same.’
His affectionate words and the terms of the bequest reveal a close and intimate friendship with the woman who restored the Lichfield Gospels to Lichfield Cathedral. Her donation of books to the cathedral also included this book William Comberford had bought for her.
After her death in 1674, Thynne inherited more estates through a division of land that came out of an agreement between the heirs of the two daughters of Robert Devereux, 2nd Earl of Essex. Earl Ferrers, who lived at Tamworth Castle, inherited the share of his grandmother, Lady Dorothy Devereux, while Thomas Thynne succeeded to the inheritance of Lady Frances Devereux, the earl’s elder daughter, later Marchioness of Hertford and Duchess of Somerset. This division was uneven, and in Lord Weymouth’s favour, but Lord Weymouth behaved generously to rectify this injustice to Ferrers.
Lady Frances Devereux ... the ‘trulie virtuous ladie’ named in the will of William Comberford, and ancestor of the Thynne family who bought Comberford Hall
Before he inherited Longleat, Thomas Thynne lived at Draycott Bassett near Tamworth, Lichfield and Sutton Coldfield. He was a royalist during the English Civil War. He was MP for Oxford University (1674-1679), but he was judged to stand little chance of re-election for the university. But his marriage had brought him a strong interest political in Lichfield and Tamworth, and he was elected for Tamworth to the Exclusion Parliaments (1679-1681).
He was also High Steward of Sutton Coldfield from 1679, High Steward of Tamworth from 1681, and High Steward of Lichfield from 1712, holding all three offices until he died in 1714, and he was a Justice of the Peace for Staffordshire (1680-1696).
In the 1681 election, he was involved in an unresolved double return at Tamworth, and never sat for Oxford. Instead, John Swinfen (1613-1694) of Swinfen Hall, near Freeford, a former parliamentarian, regained the seat in Tamworth. Swinfen’s descendant, Samuel Swinfen of Swinfen Hall, would later sell Comberford Hall to the Thynne family in 1761.
Thynne, who had succeeded his father as a baronet in 1680, entered the House of Lords a year after losing the Tamworth seat with the titles of Viscount Weymouth and Baron Thynne of Warminster (1682). A special provision allowed the titles to pass to the male heirs of his two brothers.
As Lord Weymouth, he was one of the four peers sent in late 1688 to ask William of Orange to summon a free Parliament. Although he took the oaths to the new regime, he protected non-jurors, ‘who cried him up for a very religious man, which pleased him extremely.’
When Thomas Ken, the saintly Bishop of Bath and Wells, was deprived of his see as a non-juror, Lord Weymouth, a friend since their days in Oxford, brought him to at Longleat and provided him with an annuity of £80. For 20 years, Ken lived on the top floor at Longleat and part of the West Wing was transformed into a chapel for daily worship.
Ken exerted a profound influence on his host, becoming what some describe as his conscience. Lord Weymouth acquired a reputation for good deeds inspired by the devout bishop. Thynne was a founding member of the Anglican mission agency the Society for the Propagation of the Gospel (SPG, now USPG, United Society Partners in the Gospel), and together Thynne and Ken founded the Lord Weymouth School, now Warminster School, in 1707.
While living in Longleat, Bishop Ken wrote many of his famous hymns, including ‘Awake my soul.’ When he died in 1711, he bequeathed his extensive library to Lord Weymouth.
As a Tory and a Jacobite suspect under William III, Lord Weymouth was excluded from political office until the reign of Queen Anne. His government offices included First Lord of Trade (1702-1707), and his royal appointments included Warden of the Forest of Dean (1712).
Thynne and his wife Lady Frances Finch were parents of four sons, including son Henry Thynne (1675-1708), who was MP Tamworth in 1701-1702 with Thomas Guy. However, none of the children outlived their parents. Family lore says Weymouth was twice offered an earldom, but declined the honours because he had no immediate male heir.
When he died in 1714, there was no immediate male heir, and his titles and estates passed to his great nephew, Thomas Thynne, 2nd Viscount Weymouth (1710-1751).
Thomas Thynne’s father died a month before Thomas was born, and at the age of four, on the death of his great uncle Thomas Thynne, 1st Viscount Weymouth, in 1714, he inherited the family titles and estates.
This Thomas Thynne maintained the family links with Tamworth, and in 1733 he became High Steward of Tamworth. His other offices included Keeper of Hyde Park, Keeper of the Mall, and Ranger of Saint James’s Park (1739-1751).
When his second wife, Lady Louisa Carteret, died in childbirth in her early 20s, her friend Mrs Delany wrote: ‘Her husband’s ... loss is irreparable.’ During her illness, Mrs Delany had written that ‘my Lord Weymouth is like a madman.’
Thomas Thynne (1734-1796), 1st Marquess of Bath, owned Comberford Hall from 1761 to 1789
When Lord Weymouth died in January 1751, he was succeeded in his titles and his vast estates by his elder son, Thomas Thynne (1734-1796), who became 3rd Viscount Weymouth and was given the additional title of Marquess of Bath in 1789. This Thomas Thynne bought Comberford Hall and the Comberford estate from Samuel Swinfen in 1761, and continued to hold them for almost 30 years.
Some local historians say Comberford Hall was rebuilt in the 1790s, after it was owned by Lord Bath, although Mrs Valerie Coltman, whose family lived there until the late 1950s, believes Comberford Hall was rebuilt at a much earlier date in 1720.
This Thomas Thynne held a number of political offices during the reign of King George III. He was Southern Secretary and Northern Secretary, during the American War of Independence. He was Lord Lieutenant of Ireland for a brief time in 1765, although he never visited Ireland. He is possibly best known for his role in the Falklands Crisis, a dispute with Spain in 1770 over the possession of the Falkland Islands.
Later, he was High Steward of Sutton Coldfield (1781-1796). But he was often accused of idleness and regular drunkenness, which depleted his great fortune, and it was said ‘his house was often full of bailiffs.’
On 1 August 1789, Lord Weymouth – who was about to become the 1st Marquis of Bath – and his son, the Hon Thomas Thynne, sold the Manors of Comberford and Wigginton, including lands in Hopwas and Coton, to Arthur Chichester (1739-1799), 5th Earl of Donegall.
Perhaps the sale of Comberford Hall provided much of the funds the Thynne family needed to meet the costs of recovering the Bath title. Within three weeks of the sale of Comberford, Lord Weymouth was given the additional title of Marquis of Bath on 18 August 1789. By then, his only public office was High Steward of Sutton Coldfield.
Lord Bath died in London on 19 November 1796 at the age of 62. He and his wife Lady Elizabeth Bentinck were the parents of three sons and four daughters, including Thomas Thynne (1765-1837), who succeeded as 2nd Marquess of Bath.
Earlier, Sir Robert Peel (1750-1830) was elected MP for Tamworth in 1790, having bought the borough along with many of Lord Bath’s estate in the area, including Drayton Bassett. Peel was the father of the later Prime Minister, Sir Robert Peel (1788-1850), and the Thynne family’s links with Comberford and with the Tamworth and Lichfield area had come to an end.
There was one later, though distant, connection between the Thynne family and Comberford Hall over a century later. Henry Allsopp (1811-1887), 1st Lord Hindlip, married Elizabeth Tongue in 1839. She was the second daughter and eventual heiress of William Tongue of Comberford Hall. Their grandson, Charles Allsopp (1877-1931), 3rd Lord Hindlip, married in 1904, Agatha Lillian Thynne, a great-granddaughter of the 2nd Marquess of Bath, who had sold Comberford Hall with his father.
The Town Hall and the statue of Sir Robert Peel on Market Street, Tamworth (Photograph: Patrick Comerford, 2022)
Praying with the Psalms in Ordinary Time:
29 June 2022 (Psalm 126)
‘Then was our mouth filled with laughter and our tongue with songs of joy’ (Psalm 126: 2) … a sign in a café in Rathkeale, Co Limerick (Photograph: Patrick Comerford)
Patrick Comerford
In the Calendar of the Church, today commemorates Saint Peter and Saint Paul Apostles. This time of the year is known in Anglican tradition as Petertide, one of the two traditional periods for the ordination of new priests and deacons – the other being Michaelmas, around 29 September.
The Cambridge poet-priest Malcolm Guite says on his blog that Saint Peter’s Day and this season is appropriate for ordinations because Saint Peter is ‘the disciple who, for all his many mistakes, knew how to recover and hold on, who, for all his waverings was called by Jesus “the rock,” who learned the threefold lesson that every betrayal can ultimately be restored by love.’
Before today begins, I am taking some time this morning to continue my reflections drawing on the Psalms.
In my blog, I am reflecting each morning in this Prayer Diary in these ways:
1, Short reflections on a psalm or psalms;
2, reading the psalm or psalms;
3, a prayer from the USPG prayer diary.
Psalm 126:
Psalm 126 is the seventh in a series of 15 short psalms (Psalm 120-134) known as the ‘Songs of Ascents.’ These psalms begin with the Hebrew words שיר המעלות (Shir Hama’a lot). In the slightly different numbering system in the Greek Septuagint and the Latin Vulgate, this is counted as Psalm 125. It is sometimes known by its opening words in Latin, In convertendo Dominus.
Many scholars say these psalms were sung by worshippers as they ascended the road to Jerusalem to attend the three pilgrim festivals. Others say they were sung by the Levite singers as they ascended the 15 steps to minister at the Temple in Jerusalem.
The Mishnah notes the correspondence between the 15 songs and the 15 steps between the men’s court and the women’s courtyards in the Temple. A Talmudic legend says King David composed or sang the 15 songs to calm the rising waters at the foundation of the Temple.
One view says the Levites first sang the Songs of Ascent at the dedication of Solomon’s Temple during the night of 15 Tishri 959 BCE. Another study suggests they were composed for a celebration after Nehemiah’s rebuilding of the walls of Jerusalem in 445 BCE. Others suggest they may originally have been songs sung by the exiles returning from Babylon, ascending to Jerusalem or individual poems later collected together and given the title linking them to pilgrimage after the Babylonian captivity.
These psalms are cheerful and hopeful, and they place an emphasis on Zion. They were suited for being sung because of their poetic style and the sentiments they express. They are brief, almost like epigrams, and they are marked by the use of a keyword or repeated phrase that serves as a rung on which the poem ascends to its final theme.
Jewish scholarship pairs Psalm 126 with Psalm 137, with Psalm 137 commemorating the beginning of the Babylonian exile, and Psalm 126 describing the end of that exile.
The grammatical structure of the psalm, however, suggests that it is talking both about a past redemption (from Babylonian captivity, in verse 1) and a future redemption (the permanent return of the exiles at the end of days, in verse 4).
Alternately, modern Jewish commentators suggest that the second half of the psalm refers to the redemption of the land of Israel from agricultural drought.
Psalm 126 is a short psalm of seven verses. The Psalm is a liturgical song for use in public worship.
When the people first returned from exile in Babylon, they hardly believed their good fortune, and they were ‘like those who dream.’ So great was their success that other nations recognised God’s mighty works on their behalf, and the people rejoiced.
But, after the initial euphoria, they realise that ordinary, daily life is difficult. They ask God to restore our fortunes, and that the land be refreshed and be made fruitful with the waters of free-flowing rivers.
They may be sorrowful as they sow, but they still hope to gather the harvest in joyfulness, as God once more acts on our behalf.
All creation gives praise to God, and good times and bad times should both remind us not just of each season, but of the needs of others:
Those who sowed with tears
will reap with songs of joy.
Those who went out weeping, carrying the seed,
will come again with joy, shouldering their sheaves (Psalm 126: 6).
‘Those who go out weeping, bearing the seed, will come back with shouts of joy, bearing their sheaves with them ’ (Psalm 126: 7) … harvest themes in windows by Johnny Murphy and Reiltín Murphy (1982) in the Bishop O’Brien Memorial Chapel in Saint Saviour’s Dominican Church, Limerick (Photograph: Patrick Comerford, 2021)
Psalm 126 (NRSVA):
A Song of Ascents.
1 When the Lord restored the fortunes of Zion,
we were like those who dream.
2 Then our mouth was filled with laughter,
and our tongue with shouts of joy;
then it was said among the nations,
‘The Lord has done great things for them.’
3 The Lord has done great things for us,
and we rejoiced.
4 Restore our fortunes, O Lord,
like the watercourses in the Negeb.
5 May those who sow in tears
reap with shouts of joy.
6 Those who go out weeping,
bearing the seed for sowing,
shall come home with shouts of joy,
carrying their sheaves.
Today’s Prayer:
The theme this week in the prayer diary of the Anglican mission agency USPG (United Society Partners in the Gospel) is ‘Ethics and Leadership.’ It was introduced on Sunday by Andy Flannagan, Executive Director of Christians in Politics.
Wednesday 29 June 2022 (Saint Peter and Saint Paul, Apostles):
The USPG Prayer invites us to pray today in these words:
Lord, give us the courage to stand up for what is right. As the Church, may we let our voices be heard on political issues which affect us all.
Yesterday’s reflection
Continued tomorrow
Saint Peter and Saint Paul in a pair of stained glass windows in Saint John’s Church, Wall, near Lichfield (Photograph: Patrick Comerford)
Scripture quotations are from the New Revised Standard Version Bible: Anglicised Edition copyright © 1989, 1995, National Council of the Churches of Christ in the United States of America. Used by permission. All rights reserved worldwide. http://nrsvbibles.org
Patrick Comerford
In the Calendar of the Church, today commemorates Saint Peter and Saint Paul Apostles. This time of the year is known in Anglican tradition as Petertide, one of the two traditional periods for the ordination of new priests and deacons – the other being Michaelmas, around 29 September.
The Cambridge poet-priest Malcolm Guite says on his blog that Saint Peter’s Day and this season is appropriate for ordinations because Saint Peter is ‘the disciple who, for all his many mistakes, knew how to recover and hold on, who, for all his waverings was called by Jesus “the rock,” who learned the threefold lesson that every betrayal can ultimately be restored by love.’
Before today begins, I am taking some time this morning to continue my reflections drawing on the Psalms.
In my blog, I am reflecting each morning in this Prayer Diary in these ways:
1, Short reflections on a psalm or psalms;
2, reading the psalm or psalms;
3, a prayer from the USPG prayer diary.
Psalm 126:
Psalm 126 is the seventh in a series of 15 short psalms (Psalm 120-134) known as the ‘Songs of Ascents.’ These psalms begin with the Hebrew words שיר המעלות (Shir Hama’a lot). In the slightly different numbering system in the Greek Septuagint and the Latin Vulgate, this is counted as Psalm 125. It is sometimes known by its opening words in Latin, In convertendo Dominus.
Many scholars say these psalms were sung by worshippers as they ascended the road to Jerusalem to attend the three pilgrim festivals. Others say they were sung by the Levite singers as they ascended the 15 steps to minister at the Temple in Jerusalem.
The Mishnah notes the correspondence between the 15 songs and the 15 steps between the men’s court and the women’s courtyards in the Temple. A Talmudic legend says King David composed or sang the 15 songs to calm the rising waters at the foundation of the Temple.
One view says the Levites first sang the Songs of Ascent at the dedication of Solomon’s Temple during the night of 15 Tishri 959 BCE. Another study suggests they were composed for a celebration after Nehemiah’s rebuilding of the walls of Jerusalem in 445 BCE. Others suggest they may originally have been songs sung by the exiles returning from Babylon, ascending to Jerusalem or individual poems later collected together and given the title linking them to pilgrimage after the Babylonian captivity.
These psalms are cheerful and hopeful, and they place an emphasis on Zion. They were suited for being sung because of their poetic style and the sentiments they express. They are brief, almost like epigrams, and they are marked by the use of a keyword or repeated phrase that serves as a rung on which the poem ascends to its final theme.
Jewish scholarship pairs Psalm 126 with Psalm 137, with Psalm 137 commemorating the beginning of the Babylonian exile, and Psalm 126 describing the end of that exile.
The grammatical structure of the psalm, however, suggests that it is talking both about a past redemption (from Babylonian captivity, in verse 1) and a future redemption (the permanent return of the exiles at the end of days, in verse 4).
Alternately, modern Jewish commentators suggest that the second half of the psalm refers to the redemption of the land of Israel from agricultural drought.
Psalm 126 is a short psalm of seven verses. The Psalm is a liturgical song for use in public worship.
When the people first returned from exile in Babylon, they hardly believed their good fortune, and they were ‘like those who dream.’ So great was their success that other nations recognised God’s mighty works on their behalf, and the people rejoiced.
But, after the initial euphoria, they realise that ordinary, daily life is difficult. They ask God to restore our fortunes, and that the land be refreshed and be made fruitful with the waters of free-flowing rivers.
They may be sorrowful as they sow, but they still hope to gather the harvest in joyfulness, as God once more acts on our behalf.
All creation gives praise to God, and good times and bad times should both remind us not just of each season, but of the needs of others:
Those who sowed with tears
will reap with songs of joy.
Those who went out weeping, carrying the seed,
will come again with joy, shouldering their sheaves (Psalm 126: 6).
‘Those who go out weeping, bearing the seed, will come back with shouts of joy, bearing their sheaves with them ’ (Psalm 126: 7) … harvest themes in windows by Johnny Murphy and Reiltín Murphy (1982) in the Bishop O’Brien Memorial Chapel in Saint Saviour’s Dominican Church, Limerick (Photograph: Patrick Comerford, 2021)
Psalm 126 (NRSVA):
A Song of Ascents.
1 When the Lord restored the fortunes of Zion,
we were like those who dream.
2 Then our mouth was filled with laughter,
and our tongue with shouts of joy;
then it was said among the nations,
‘The Lord has done great things for them.’
3 The Lord has done great things for us,
and we rejoiced.
4 Restore our fortunes, O Lord,
like the watercourses in the Negeb.
5 May those who sow in tears
reap with shouts of joy.
6 Those who go out weeping,
bearing the seed for sowing,
shall come home with shouts of joy,
carrying their sheaves.
Today’s Prayer:
The theme this week in the prayer diary of the Anglican mission agency USPG (United Society Partners in the Gospel) is ‘Ethics and Leadership.’ It was introduced on Sunday by Andy Flannagan, Executive Director of Christians in Politics.
Wednesday 29 June 2022 (Saint Peter and Saint Paul, Apostles):
The USPG Prayer invites us to pray today in these words:
Lord, give us the courage to stand up for what is right. As the Church, may we let our voices be heard on political issues which affect us all.
Yesterday’s reflection
Continued tomorrow
Saint Peter and Saint Paul in a pair of stained glass windows in Saint John’s Church, Wall, near Lichfield (Photograph: Patrick Comerford)
Scripture quotations are from the New Revised Standard Version Bible: Anglicised Edition copyright © 1989, 1995, National Council of the Churches of Christ in the United States of America. Used by permission. All rights reserved worldwide. http://nrsvbibles.org
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28 June 2022
A summer visit to the Moat House and
the Comberford Chapel in Tamworth
The Moat House on Lichfield Street, Tamworth, in last week’s summer sunshine (Photograph: Patrick Comerford, 2022)
Patrick Comerford
During our recent two-day visit to Lichfield and Tamworth, two of us caught a glimpse of Comberford Hall from the train, and visited both the Comberford Chapel in Saint Editha’s Church, Tamworth, and the Moat House, the former Comberford family home on Lichfield Street in Tamworth.
Comberford Hall, the ancestral home, can be seen from the train between Tamworth and Lichfield. I spoke in the Comberford Chapel in 2019 on the myths, stories and history of the Comberford and Comerford families.
The monuments to the Comberford family of Comberford Hall and the Moat House in the chapel include one that is almost 300 years old and that perpetuates the age-old stories of the links between the Comberford family of Comberford and Tamworth and the Comerford family of Ireland.
The Moat House and its gardens are being carefully restored by its new owners who moved into the house in 2018 (Photograph: Patrick Comerford, 2022)
The Moat House and its gardens are being restored since the new owners moved into the house in 2018, showering it with tender, loving care in abundant measure.
The Moat House on Lichfield Street, which has Grade II* listed status, is a beautiful Tudor building that was built by the Comberford family in 1572, the site may have been owned by the Comberford family before 1391. The house has been described by one local historian as ‘Tamworth’s Elizabethan treasure’ and has recently been listed as a ‘stately home.’
The Moat House was visited in 1619 by the future King Charles I when he was a guest of the Comberford family as Prince of Wales. During that visit to Tamworth, his father, King James I, stayed at Tamworth Castle. Later visitors included the Beatles in 1963, I first visited the Moat House when I was in my teens.
The Moat House stands on the banks of the River Tame, and must have been of ancient foundation, for the name ‘Motehallzende’ appears in mediaeval records.
Walter Harcourt bought the site in Lichfield Street in 1572, and there he built a fine Tudor mansion with mullioned windows and fine chimneys. He married Mary Comberford, and when the couple died the property passed to her family. William Comberford made the Moat House his principal family home.
The oak panelling in the Moat House hid more than one ‘priest’s hole’ in the 16th century (Photograph: Patrick Comerford, 2022)
In those Tudor years, the Comberfords were Catholics and it was whispered that the oak panelling inside the house hid more than one ‘priest’s hole,’ allowing a furtive escape route down to the River Tame for visiting priests.
At the time, a rare family of black swans also lived in the grounds and in the River Tame, and the family claimed manorial rights in the Staffordshire half of Tamworth and exercised burial rights in the Comberford Chapel in Saint Editha’s Church.
When Charles I visited the Moat House as the Prince of Wales in 1619, the ceiling of the Long Gallery was decorated with heraldic cartouches telling the genealogical story of the Comberford family, illustrating how the Moat House and Wednesbury estates were inherited, and emphasising how the Comberfords were related to the royal family through the Beaumont family.
This decorated Long Gallery may have inspired Pugin’s decorations in Alton Towers over two centuries later, depicting the family tree of the Talbot family, Earls of Shrewsbury, in a similar style.
Within a generation, another William Comberford was a royalist and from the Moat House he declared for the king, who had been a guest at the Moat House in Lichfield Street. Charles I had fled London and in 1642 raised his standard at Nottingham, defying the parliamentarians at the beginning the Civil War.
The Comberfords pledged their support to the king, sent £10,000 to the royal cause and garrisoned Tamworth in the name of the king. But the people of Tamworth, it appears, favoured Cromwell and the family paid dearly for this loyalty to the crown. After only a year, Tamworth was captured by the Parliamentarian army.
The desecrated and defaced Comberford effigy in the Comberford Chapel in Saint Editha’s Church, Tamworth (Photograph: Patrick Comerford, 2022)
William Comberford escaped, but the Moat House was ransacked from its gabled roof down to its walled garden, and the Comberford effigy in the Comberford Chapel in Saint Editha’s Church was desecrated and defaced. Out in Comberford, the Comberford manor at Comberford Hall was ransacked.
When the royalists lost the civil war and the king was beheaded, the Comberford family was forced to sell the Moat House. Ironically, it was bought for £160 by Thomas Fox, a roundhead captain and one of the most bitter enemies of William Comberford.
The Comberford family never recovered from those times and a monument erected in the Comberford Chapel almost 300 years ago in 1725 says the family then moved in exile to Ireland and to its estates in the Champagne district of France.
The Comberford family monument erected in Saint Editha’s Church in 1725 (Photograph: Patrick Comerford, 2022)
For 300 years or so, the Moat House passed through the hands of a number of families, one after another, including the Boothby, Littleton, Wolferstan, and Abney families, and then to the Marquess of Townsend, who also owned Tamworth Castle.
When Lord Townsend died, Dr Robert Woody bought the Moat House and in 1863 he opened it for a local horticultural show. Over 2,000 people trooped down the avenue of lime trees to admire the display of flowers, fruit and vegetables. There was archery, dancing to the strains of the Warwickshire Militia Band and a fleet of pleasure boats on the waters of the River Tame at the foot of the gardens.
After that, the house became a Victorian private nursing home for people who had mental health issues. They people were often well-to-do or eccentric old ladies, who went out in the landau round the streets of Tamworth, shopping and bestowing their largesse on the shopkeepers and errand boys of the town.
The geraldic decorations of the ceiling in the Long Gallery tell the genealogical stories of the Comberford family (Photograph: Patrick Comerford, 2022)
In the 20th century, the Moat House passed to another well-known practitioner in Tamworth, Dr Lowson. When he retired, he offered his former nursing home as a free gift to Tamworth Corporation. But the council unwisely decided it could not afford to look after the Moat House and declined his offer.
A highly indignant doctor sold the stately home and since then days several restaurants have operated from the Moat House. In recent decades, the Moat House has been a Berni Inn and a Schooner Inn, and the house has occasionally been used for filming.
In the intervening years, I have inherited some of the family papers and correspondence about the ownership of the Moat House and the family rights in the Comberford Chapel in Saint Editha’s Church.
Some of the 19th centuries papers relating to the Comberford family Moat House (Photograph: Patrick Comerford, 2022)
The Moat House came into the hands of new owners and new management in Summer 2018, and since then they have been engaged in extensive restoration and refurbishment. The Moat House opened as an event and function venue for birthday parties, wedding receptions in 2019, and now describes itself as ‘Tamworth’s Stately Home.’
It was recognised in 2020 as a Real Ale Pub in 2020 and a gin bar, and the cocktail bar came last year (2021).
As two of us were brought around the Moat House in recent days, we heard how the house and the gardens are being restored, with careful attention to every little detail.
The Library is one of the many rooms in Moat House now available for functions (Photograph: Patrick Comerford, 2022)
The Moat House can be hired for corporate events, functions, parties and wdding receptions. The historic function rooms, including the Long Gallery and the Library, make it an ideal venue for events such as wedding receptions and birthday parties.
The Long Gallery is a function room ideal for 70-120 guests, with its own bar, buffet, DJ and dance floor. The Library Room is ideal for 12-45 people, with buffet, music and lighting. The gazebo or summer house in the beer garden behind the house is also a Grade II listed building.
Today, the Moat House is welcoming guests and visitors once again. The public bar is open on Fridays from 5 pm to midnight, on Saturdays from noon to midnight and on Sundays from noon to 8 pm. The Moat House is at Lichfield Street, Tamworth, Staffordshire, B79 7QQ.
The gazebo or summer house behind the Moat House is also a Grade II listed building (Photograph: Patrick Comerford, 2022)
Patrick Comerford
During our recent two-day visit to Lichfield and Tamworth, two of us caught a glimpse of Comberford Hall from the train, and visited both the Comberford Chapel in Saint Editha’s Church, Tamworth, and the Moat House, the former Comberford family home on Lichfield Street in Tamworth.
Comberford Hall, the ancestral home, can be seen from the train between Tamworth and Lichfield. I spoke in the Comberford Chapel in 2019 on the myths, stories and history of the Comberford and Comerford families.
The monuments to the Comberford family of Comberford Hall and the Moat House in the chapel include one that is almost 300 years old and that perpetuates the age-old stories of the links between the Comberford family of Comberford and Tamworth and the Comerford family of Ireland.
The Moat House and its gardens are being carefully restored by its new owners who moved into the house in 2018 (Photograph: Patrick Comerford, 2022)
The Moat House and its gardens are being restored since the new owners moved into the house in 2018, showering it with tender, loving care in abundant measure.
The Moat House on Lichfield Street, which has Grade II* listed status, is a beautiful Tudor building that was built by the Comberford family in 1572, the site may have been owned by the Comberford family before 1391. The house has been described by one local historian as ‘Tamworth’s Elizabethan treasure’ and has recently been listed as a ‘stately home.’
The Moat House was visited in 1619 by the future King Charles I when he was a guest of the Comberford family as Prince of Wales. During that visit to Tamworth, his father, King James I, stayed at Tamworth Castle. Later visitors included the Beatles in 1963, I first visited the Moat House when I was in my teens.
The Moat House stands on the banks of the River Tame, and must have been of ancient foundation, for the name ‘Motehallzende’ appears in mediaeval records.
Walter Harcourt bought the site in Lichfield Street in 1572, and there he built a fine Tudor mansion with mullioned windows and fine chimneys. He married Mary Comberford, and when the couple died the property passed to her family. William Comberford made the Moat House his principal family home.
The oak panelling in the Moat House hid more than one ‘priest’s hole’ in the 16th century (Photograph: Patrick Comerford, 2022)
In those Tudor years, the Comberfords were Catholics and it was whispered that the oak panelling inside the house hid more than one ‘priest’s hole,’ allowing a furtive escape route down to the River Tame for visiting priests.
At the time, a rare family of black swans also lived in the grounds and in the River Tame, and the family claimed manorial rights in the Staffordshire half of Tamworth and exercised burial rights in the Comberford Chapel in Saint Editha’s Church.
When Charles I visited the Moat House as the Prince of Wales in 1619, the ceiling of the Long Gallery was decorated with heraldic cartouches telling the genealogical story of the Comberford family, illustrating how the Moat House and Wednesbury estates were inherited, and emphasising how the Comberfords were related to the royal family through the Beaumont family.
This decorated Long Gallery may have inspired Pugin’s decorations in Alton Towers over two centuries later, depicting the family tree of the Talbot family, Earls of Shrewsbury, in a similar style.
Within a generation, another William Comberford was a royalist and from the Moat House he declared for the king, who had been a guest at the Moat House in Lichfield Street. Charles I had fled London and in 1642 raised his standard at Nottingham, defying the parliamentarians at the beginning the Civil War.
The Comberfords pledged their support to the king, sent £10,000 to the royal cause and garrisoned Tamworth in the name of the king. But the people of Tamworth, it appears, favoured Cromwell and the family paid dearly for this loyalty to the crown. After only a year, Tamworth was captured by the Parliamentarian army.
The desecrated and defaced Comberford effigy in the Comberford Chapel in Saint Editha’s Church, Tamworth (Photograph: Patrick Comerford, 2022)
William Comberford escaped, but the Moat House was ransacked from its gabled roof down to its walled garden, and the Comberford effigy in the Comberford Chapel in Saint Editha’s Church was desecrated and defaced. Out in Comberford, the Comberford manor at Comberford Hall was ransacked.
When the royalists lost the civil war and the king was beheaded, the Comberford family was forced to sell the Moat House. Ironically, it was bought for £160 by Thomas Fox, a roundhead captain and one of the most bitter enemies of William Comberford.
The Comberford family never recovered from those times and a monument erected in the Comberford Chapel almost 300 years ago in 1725 says the family then moved in exile to Ireland and to its estates in the Champagne district of France.
The Comberford family monument erected in Saint Editha’s Church in 1725 (Photograph: Patrick Comerford, 2022)
For 300 years or so, the Moat House passed through the hands of a number of families, one after another, including the Boothby, Littleton, Wolferstan, and Abney families, and then to the Marquess of Townsend, who also owned Tamworth Castle.
When Lord Townsend died, Dr Robert Woody bought the Moat House and in 1863 he opened it for a local horticultural show. Over 2,000 people trooped down the avenue of lime trees to admire the display of flowers, fruit and vegetables. There was archery, dancing to the strains of the Warwickshire Militia Band and a fleet of pleasure boats on the waters of the River Tame at the foot of the gardens.
After that, the house became a Victorian private nursing home for people who had mental health issues. They people were often well-to-do or eccentric old ladies, who went out in the landau round the streets of Tamworth, shopping and bestowing their largesse on the shopkeepers and errand boys of the town.
The geraldic decorations of the ceiling in the Long Gallery tell the genealogical stories of the Comberford family (Photograph: Patrick Comerford, 2022)
In the 20th century, the Moat House passed to another well-known practitioner in Tamworth, Dr Lowson. When he retired, he offered his former nursing home as a free gift to Tamworth Corporation. But the council unwisely decided it could not afford to look after the Moat House and declined his offer.
A highly indignant doctor sold the stately home and since then days several restaurants have operated from the Moat House. In recent decades, the Moat House has been a Berni Inn and a Schooner Inn, and the house has occasionally been used for filming.
In the intervening years, I have inherited some of the family papers and correspondence about the ownership of the Moat House and the family rights in the Comberford Chapel in Saint Editha’s Church.
Some of the 19th centuries papers relating to the Comberford family Moat House (Photograph: Patrick Comerford, 2022)
The Moat House came into the hands of new owners and new management in Summer 2018, and since then they have been engaged in extensive restoration and refurbishment. The Moat House opened as an event and function venue for birthday parties, wedding receptions in 2019, and now describes itself as ‘Tamworth’s Stately Home.’
It was recognised in 2020 as a Real Ale Pub in 2020 and a gin bar, and the cocktail bar came last year (2021).
As two of us were brought around the Moat House in recent days, we heard how the house and the gardens are being restored, with careful attention to every little detail.
The Library is one of the many rooms in Moat House now available for functions (Photograph: Patrick Comerford, 2022)
The Moat House can be hired for corporate events, functions, parties and wdding receptions. The historic function rooms, including the Long Gallery and the Library, make it an ideal venue for events such as wedding receptions and birthday parties.
The Long Gallery is a function room ideal for 70-120 guests, with its own bar, buffet, DJ and dance floor. The Library Room is ideal for 12-45 people, with buffet, music and lighting. The gazebo or summer house in the beer garden behind the house is also a Grade II listed building.
Today, the Moat House is welcoming guests and visitors once again. The public bar is open on Fridays from 5 pm to midnight, on Saturdays from noon to midnight and on Sundays from noon to 8 pm. The Moat House is at Lichfield Street, Tamworth, Staffordshire, B79 7QQ.
The gazebo or summer house behind the Moat House is also a Grade II listed building (Photograph: Patrick Comerford, 2022)
Praying with the Psalms in Ordinary Time:
28 June 2022 (Psalm 125)
‘The just shall not put their hands to evil’ (Psalm 125: 3) … the courthouse in Skibbereen, Co Cork (Photograph: Patrick Comerford, 2021)
Patrick Comerford
In the Calendar of the Church, we are in Ordinary Time. The Calendar of the Church today commemorates Saint Irenaeus, Bishop of Lyons and Teacher of the Faith. Before today begins, I am taking some time this morning to continue my reflections drawing on the Psalms.
In my blog, I am reflecting each morning in this Prayer Diary in these ways:
1, Short reflections on a psalm or psalms;
2, reading the psalm or psalms;
3, a prayer from the USPG prayer diary.
Psalm 125:
Psalm 125 is the sixth in a series of 15 short psalms (Psalm 120-134) known as the ‘Songs of Ascents.’ These psalms begin with the Hebrew words שיר המעלות (Shir Hama’a lot). In the slightly different numbering system in the Greek Septuagint and the Latin Vulgate, this is counted as Psalm 124. It is sometimes known by its opening words in Latin, Qui confidunt in Domino.
Many scholars say these psalms were sung by worshippers as they ascended the road to Jerusalem to attend the three pilgrim festivals. Others say they were sung by the Levite singers as they ascended the 15 steps to minister at the Temple in Jerusalem.
The Mishnah notes the correspondence between the 15 songs and the 15 steps between the men’s court and the women’s courtyards in the Temple. A Talmudic legend says King David composed or sang the 15 songs to calm the rising waters at the foundation of the Temple.
One view says the Levites first sang the Songs of Ascent at the dedication of Solomon’s Temple during the night of 15 Tishri 959 BCE. Another study suggests they were composed for a celebration after Nehemiah’s rebuilding of the walls of Jerusalem in 445 BCE. Others suggest they may originally have been songs sung by the exiles returning from Babylon, ascending to Jerusalem or individual poems later collected together and given the title linking them to pilgrimage after the Babylonian captivity.
These psalms are cheerful and hopeful, and they place an emphasis on Zion. They were suited for being sung because of their poetic style and the sentiments they express. They are brief, almost like epigrams, and they are marked by the use of a keyword or repeated phrase that serves as a rung on which the poem ascends to its final theme.
Psalm 125 is short psalm of five verses. This psalm is a prayer expressing trust in God, likening Divine protection to the hills that surround Jerusalem.
Power and wealth do not make someone strong and firm like a mountain, but trust in God or faith. Those who have power and privilege may be wicked, but we are called to be good and ‘true of heart.’
The concluding prayer for peace upon Israel is heard once again at the end of Psalm 128. This phrase, ‘Peace be on Israel,’ became popular in later times and is found as part of the mosaic in the Byzantine synagogue in Jericho, dating from the sixth century CE.
‘The righteous may not stretch out their hands to do wrong’ (Psalm 125: 3) … ‘Healing Hands,’ a sculpture by Shane Gilmore in grounds of the Cathedral of Saint Peter and Saint Paul in Ennis, Co Clare (Photograph: Patrick Comerford, 2021)
Psalm 125 (NRSVA):
A Song of Ascents.
1 Those who trust in the Lord are like Mount Zion,
which cannot be moved, but abides for ever.
2 As the mountains surround Jerusalem,
so the Lord surrounds his people,
from this time on and for evermore.
3 For the sceptre of wickedness shall not rest
on the land allotted to the righteous,
so that the righteous may not stretch out
their hands to do wrong.
4 Do good, O Lord, to those who are good,
and to those who are upright in their hearts.
5 But those who turn aside to their own crooked ways
the Lord will lead away with evildoers.
Peace be upon Israel!
Today’s Prayer:
The theme this week in the prayer diary of the Anglican mission agency USPG (United Society Partners in the Gospel) is ‘Ethics and Leadership.’ It was introduced on Sunday by Andy Flannagan, Executive Director of Christians in Politics.
Tuesday 28 June 2022:
The USPG Prayer invites us to pray today in these words:
We pray for good relationships between churches, local communities and Members of Parliament. May they work together for the common good.
Yesterday’s reflection
Continued tomorrow
Scripture quotations are from the New Revised Standard Version Bible: Anglicised Edition copyright © 1989, 1995, National Council of the Churches of Christ in the United States of America. Used by permission. All rights reserved worldwide. http://nrsvbibles.org
Patrick Comerford
In the Calendar of the Church, we are in Ordinary Time. The Calendar of the Church today commemorates Saint Irenaeus, Bishop of Lyons and Teacher of the Faith. Before today begins, I am taking some time this morning to continue my reflections drawing on the Psalms.
In my blog, I am reflecting each morning in this Prayer Diary in these ways:
1, Short reflections on a psalm or psalms;
2, reading the psalm or psalms;
3, a prayer from the USPG prayer diary.
Psalm 125:
Psalm 125 is the sixth in a series of 15 short psalms (Psalm 120-134) known as the ‘Songs of Ascents.’ These psalms begin with the Hebrew words שיר המעלות (Shir Hama’a lot). In the slightly different numbering system in the Greek Septuagint and the Latin Vulgate, this is counted as Psalm 124. It is sometimes known by its opening words in Latin, Qui confidunt in Domino.
Many scholars say these psalms were sung by worshippers as they ascended the road to Jerusalem to attend the three pilgrim festivals. Others say they were sung by the Levite singers as they ascended the 15 steps to minister at the Temple in Jerusalem.
The Mishnah notes the correspondence between the 15 songs and the 15 steps between the men’s court and the women’s courtyards in the Temple. A Talmudic legend says King David composed or sang the 15 songs to calm the rising waters at the foundation of the Temple.
One view says the Levites first sang the Songs of Ascent at the dedication of Solomon’s Temple during the night of 15 Tishri 959 BCE. Another study suggests they were composed for a celebration after Nehemiah’s rebuilding of the walls of Jerusalem in 445 BCE. Others suggest they may originally have been songs sung by the exiles returning from Babylon, ascending to Jerusalem or individual poems later collected together and given the title linking them to pilgrimage after the Babylonian captivity.
These psalms are cheerful and hopeful, and they place an emphasis on Zion. They were suited for being sung because of their poetic style and the sentiments they express. They are brief, almost like epigrams, and they are marked by the use of a keyword or repeated phrase that serves as a rung on which the poem ascends to its final theme.
Psalm 125 is short psalm of five verses. This psalm is a prayer expressing trust in God, likening Divine protection to the hills that surround Jerusalem.
Power and wealth do not make someone strong and firm like a mountain, but trust in God or faith. Those who have power and privilege may be wicked, but we are called to be good and ‘true of heart.’
The concluding prayer for peace upon Israel is heard once again at the end of Psalm 128. This phrase, ‘Peace be on Israel,’ became popular in later times and is found as part of the mosaic in the Byzantine synagogue in Jericho, dating from the sixth century CE.
‘The righteous may not stretch out their hands to do wrong’ (Psalm 125: 3) … ‘Healing Hands,’ a sculpture by Shane Gilmore in grounds of the Cathedral of Saint Peter and Saint Paul in Ennis, Co Clare (Photograph: Patrick Comerford, 2021)
Psalm 125 (NRSVA):
A Song of Ascents.
1 Those who trust in the Lord are like Mount Zion,
which cannot be moved, but abides for ever.
2 As the mountains surround Jerusalem,
so the Lord surrounds his people,
from this time on and for evermore.
3 For the sceptre of wickedness shall not rest
on the land allotted to the righteous,
so that the righteous may not stretch out
their hands to do wrong.
4 Do good, O Lord, to those who are good,
and to those who are upright in their hearts.
5 But those who turn aside to their own crooked ways
the Lord will lead away with evildoers.
Peace be upon Israel!
Today’s Prayer:
The theme this week in the prayer diary of the Anglican mission agency USPG (United Society Partners in the Gospel) is ‘Ethics and Leadership.’ It was introduced on Sunday by Andy Flannagan, Executive Director of Christians in Politics.
Tuesday 28 June 2022:
The USPG Prayer invites us to pray today in these words:
We pray for good relationships between churches, local communities and Members of Parliament. May they work together for the common good.
Yesterday’s reflection
Continued tomorrow
Scripture quotations are from the New Revised Standard Version Bible: Anglicised Edition copyright © 1989, 1995, National Council of the Churches of Christ in the United States of America. Used by permission. All rights reserved worldwide. http://nrsvbibles.org
27 June 2022
A summer evening visit to
the Roman villa in Bancroft
and the excavated site
The Roman Villa at Bancroft was discovered while Milton Keynes was being developed in 1971 (Photograph: Patrick Comerford, 2022)
Patrick Comerford
Milton Keynes may be a new city, having achieved that status last month (May 2022). But it is steeped in ancient history, and on a recent balmy summer’s evening, two of us cycled from Stony Stratford to visit the Roman Villa at Bancroft in North Loughton Valley Park.
The Roman villa at Bancroft was discovered while Milton Keynes was being developed by Milton Keynes Development Corporation in 1971 and the new estate of Bancroft was being built.
Clues about the significance of the area had already come after fragments of Roman pottery were noticed in the banks of nearby Loughton Brook in 1967. The villa was partially excavated in the 1970s, and then more fully in 1983-1987.
The area was carefully excavated over the next 15 years to reveal the villa’s underfloor heating system with a limestone open hearth, a bath suite, colonnaded verandas and porch and an ornamental walled garden with a fishpond and a summerhouse.
Bancroft was one of eight large farming estates created in the area 2,000 years ago, each centred around a Roman Villa – in Milton Keynes Village, Stantonbury, Wymbush, Walton, Dovecote Farm at Shenley Brook End, Sherwood Drive in Bletchley and Holne Chase.
The Romans arrived in England in the year 43 CE. Most of the country remained populated by the native Britons who adopted Roman culture and religion and mixed it with their own Iron Age traditions.
One of their early Roman settlements was along the old Roman road, now Watling Street, in Fenny Stratford. This was called Magnavinium and is thought to have included a small fort.
Queen Boudicca, leader of the Inceni tribe, challenged the Romans in the year 60 CE by marching her army through the country, burning towns and slaughtering thousands of people. She met the Romans south of Towcester and after being wounded, fled the scene and turned south down Watling Street towards Magnovinium at Fenny Stratford. But Boudicca died of her injuries near Newton Longville.
The Roman Villa at Bancroft included an ornamental walled garden with a fishpond and a summerhouse (Photograph: Patrick Comerford, 2022)
The villa at Bancroft is the most extensively excavated Roman settlement in Milton Keynes. The archaeological excavations revealed an underfloor heating system with a limestone open hearth, a bath suite, colonnaded verandas and porch, an ornamental walled garden with a fishpond and a summerhouse.
The villa at Bancroft was originally a winged-corridor house, and the villa eventually became a grand building with mosaics and a formal garden. The principal rooms have been marked out and the fishpond has been reconstructed.
Before the Roman era, the hill top at Blue Bridge had been the main focus of settlement in the Bancroft area. However, things changed and the river valley below became more inviting. The earlier hill top settlement was abandoned and the land was used by the new farmstead for agriculture and as a cremation cemetery.
A large farm was built further downhill towards Bradwell Brook in the late first century. A temple or mausoleum was built on the hilltop in the second century, after the year 150 CE, and the cremation cemetery went out of use. The farmstead flourished for nearly a century, but most of the buildings were destroyed by fire ca 170 CE.
A large Roman-style house or villa was built in the late third century. As there is no evidence of a farm, the people who lived in this villa must have earned a living some other way than by farming.
Major renovations were carried out on the villa and the surrounding grounds in the fouth century, turning it into a grand country estate. On the top of the hill at Blue Bridge, the Temple Mausoleum was demolished and a circular shrine was built nearby.
Geometric mosaics were added to many rooms and the main bath suite was rebuilt and enlarged. A formal garden was laid out In front of the villa, along with an ornamental fishpond. The mausoleum on top of the hill was demolished and a circular shrine was built nearby.
During the excavations, several Roman artefacts were uncovered, including Samian tableware, a board made from decorated limestone for a board game, silver-bronze brooches for fastening a toga, decorated hair combs and around 1,000 coins.
A mosaic floor excavated from the villa was pieced together, mounted on a wall and displayed in Queen’s Court Shopping Centre in Central Milton Keynes in September 1977. With the later redevelopment of Queen’s Court, the mosaic was remounted in the ‘guest services lounge’ of the centre.
The Roman villa at Bancroft has since been reburied to ensure its preservation, and the mosaics have been moved from the site. But the villa and its principal rooms have been marked out on the ground with modern stonework and the fishpond has been rebuilt. It remains one of the most extensively excavated Roman villas in Britain.
The Roman Villa at Bancroft is one of the most extensively excavated Roman villas in Britain (Photograph: Patrick Comerford, 2022)
Patrick Comerford
Milton Keynes may be a new city, having achieved that status last month (May 2022). But it is steeped in ancient history, and on a recent balmy summer’s evening, two of us cycled from Stony Stratford to visit the Roman Villa at Bancroft in North Loughton Valley Park.
The Roman villa at Bancroft was discovered while Milton Keynes was being developed by Milton Keynes Development Corporation in 1971 and the new estate of Bancroft was being built.
Clues about the significance of the area had already come after fragments of Roman pottery were noticed in the banks of nearby Loughton Brook in 1967. The villa was partially excavated in the 1970s, and then more fully in 1983-1987.
The area was carefully excavated over the next 15 years to reveal the villa’s underfloor heating system with a limestone open hearth, a bath suite, colonnaded verandas and porch and an ornamental walled garden with a fishpond and a summerhouse.
Bancroft was one of eight large farming estates created in the area 2,000 years ago, each centred around a Roman Villa – in Milton Keynes Village, Stantonbury, Wymbush, Walton, Dovecote Farm at Shenley Brook End, Sherwood Drive in Bletchley and Holne Chase.
The Romans arrived in England in the year 43 CE. Most of the country remained populated by the native Britons who adopted Roman culture and religion and mixed it with their own Iron Age traditions.
One of their early Roman settlements was along the old Roman road, now Watling Street, in Fenny Stratford. This was called Magnavinium and is thought to have included a small fort.
Queen Boudicca, leader of the Inceni tribe, challenged the Romans in the year 60 CE by marching her army through the country, burning towns and slaughtering thousands of people. She met the Romans south of Towcester and after being wounded, fled the scene and turned south down Watling Street towards Magnovinium at Fenny Stratford. But Boudicca died of her injuries near Newton Longville.
The Roman Villa at Bancroft included an ornamental walled garden with a fishpond and a summerhouse (Photograph: Patrick Comerford, 2022)
The villa at Bancroft is the most extensively excavated Roman settlement in Milton Keynes. The archaeological excavations revealed an underfloor heating system with a limestone open hearth, a bath suite, colonnaded verandas and porch, an ornamental walled garden with a fishpond and a summerhouse.
The villa at Bancroft was originally a winged-corridor house, and the villa eventually became a grand building with mosaics and a formal garden. The principal rooms have been marked out and the fishpond has been reconstructed.
Before the Roman era, the hill top at Blue Bridge had been the main focus of settlement in the Bancroft area. However, things changed and the river valley below became more inviting. The earlier hill top settlement was abandoned and the land was used by the new farmstead for agriculture and as a cremation cemetery.
A large farm was built further downhill towards Bradwell Brook in the late first century. A temple or mausoleum was built on the hilltop in the second century, after the year 150 CE, and the cremation cemetery went out of use. The farmstead flourished for nearly a century, but most of the buildings were destroyed by fire ca 170 CE.
A large Roman-style house or villa was built in the late third century. As there is no evidence of a farm, the people who lived in this villa must have earned a living some other way than by farming.
Major renovations were carried out on the villa and the surrounding grounds in the fouth century, turning it into a grand country estate. On the top of the hill at Blue Bridge, the Temple Mausoleum was demolished and a circular shrine was built nearby.
Geometric mosaics were added to many rooms and the main bath suite was rebuilt and enlarged. A formal garden was laid out In front of the villa, along with an ornamental fishpond. The mausoleum on top of the hill was demolished and a circular shrine was built nearby.
During the excavations, several Roman artefacts were uncovered, including Samian tableware, a board made from decorated limestone for a board game, silver-bronze brooches for fastening a toga, decorated hair combs and around 1,000 coins.
A mosaic floor excavated from the villa was pieced together, mounted on a wall and displayed in Queen’s Court Shopping Centre in Central Milton Keynes in September 1977. With the later redevelopment of Queen’s Court, the mosaic was remounted in the ‘guest services lounge’ of the centre.
The Roman villa at Bancroft has since been reburied to ensure its preservation, and the mosaics have been moved from the site. But the villa and its principal rooms have been marked out on the ground with modern stonework and the fishpond has been rebuilt. It remains one of the most extensively excavated Roman villas in Britain.
The Roman Villa at Bancroft is one of the most extensively excavated Roman villas in Britain (Photograph: Patrick Comerford, 2022)
Praying with the Psalms in Ordinary Time:
27 June 2022 (Psalm 124)
‘Then would the waters have overwhelmed us and the torrent gone over our soul; over our soul would have swept the raging waters’ (Psalm 124: 4) … ‘Why is this night different from all other nights?’ … the Four Questions (Ma Nishtanah) in a page from Arthur Szyk’s ‘Haggadah’ (Łódź, 1935)
Patrick Comerford
In the Calendar of the Church, we are in Ordinary Time. The Caleendar of the Church today commemorates Saint Cyril, Bishop of Alexandria and Teacher of the Faith. Before today begins, I am taking some time this morning to continue my reflections drawing on the Psalms.
In my blog, I am reflecting each morning in this Prayer Diary in these ways:
1, Short reflections on a psalm or psalms;
2, reading the psalm or psalms;
3, a prayer from the USPG prayer diary.
Psalm 124:
Psalm 124 is the fifth in a series of 15 short psalms (Psalm 120-134) known as the ‘Songs of Ascents.’ These psalms begin with the Hebrew words שיר המעלות (Shir Hama’a lot). In the slightly different numbering system in the Greek Septuagint and the Latin Vulgate, this is counted as Psalm 123. It is sometimes known by its Latin opening words, Ad te levavi oculos meos.
Many scholars say these psalms were sung by worshippers as they ascended the road to Jerusalem to attend the three pilgrim festivals. Others say they were sung by the Levite singers as they ascended the 15 steps to minister at the Temple in Jerusalem.
The Mishnah notes the correspondence between the 15 songs and the 15 steps between the men’s court and the women’s courtyards in the Temple. A Talmudic legend says King David composed or sang the 15 songs to calm the rising waters at the foundation of the Temple.
One view says the Levites first sang the Songs of Ascent at the dedication of Solomon’s Temple during the night of 15 Tishri 959 BCE. Another study suggests they were composed for a celebration after Nehemiah’s rebuilding of the walls of Jerusalem in 445 BCE. Others suggest they may originally have been songs sung by the exiles returning from Babylon, ascending to Jerusalem or individual poems later collected together and given the title linking them to pilgrimage after the Babylonian captivity.
These psalms are cheerful and hopeful, and they place an emphasis on Zion. They were suited for being sung because of their poetic style and the sentiments they express. They are brief, almost like epigrams, and they are marked by the use of a keyword or repeated phrase that serves as a rung on which the poem ascends to its final theme.
Psalm 124 is a short psalm of eight verses, and is sometimes known by its opening words in Latin, Nisi quia Dominus. In the slightly different numbering in the Greek Septuagint and the Latin Vulgate, this is Psalm 123.
This is a psalm of thanksgiving, using – as so often in the Psalms – a rapid succession of different images, recalling the Exodus and the escape from slavery in Egypt.
The people have been in danger of being swallowed up or swept away, as in a flood, a prey to the enemy’s teeth, captured in a hunter’s trap.
The images do not coalesce into one single metaphor. Rather, they combine to express a mood – in this case, the sense of sudden release from danger.
I often wonder how, during the horrors of the Holocaust, suffering Jews could possibly have sung the words of Psalm 124:
If it had not been the Lord who was on our side
– let Israel now say –
if it had not been the Lord who was on our side,
when our enemies attacked us,
then they would have swallowed us up alive,
when their anger was kindled against us … (Psalm 124: 1-3).
Yet they maintained the hope and the expectation that God can and would act through political decision-making to protect the rights of the vulnerable, the abused and the violated. For, as the Psalmist says, and as we – and all children – should be able to sing:
Our help is in the name of the Lord,
who made heaven and earth (Psalm 124: 8).
‘Our help is in the name of the Lord, who made heaven and earth’ (Psalm 124: 8) … sunset on the River Deel and the Shannon Estuary at Askeaton, Co Limerick (Photograph: Patrick Comerford)
Psalm 124 (NRSVA):
A Song of Ascents. Of David.
1 If it had not been the Lord who was on our side
—let Israel now say—
2 if it had not been the Lord who was on our side,
when our enemies attacked us,
3 then they would have swallowed us up alive,
when their anger was kindled against us;
4 then the flood would have swept us away,
the torrent would have gone over us;
5 then over us would have gone
the raging waters.
6 Blessed be the Lord,
who has not given us
as prey to their teeth.
7 We have escaped like a bird
from the snare of the fowlers;
the snare is broken,
and we have escaped.
8 Our help is in the name of the Lord,
who made heaven and earth.
Today’s Prayer:
The theme this week in the prayer diary of the Anglican mission agency USPG (United Society Partners in the Gospel) is ‘Ethics and Leadership.’ It was introduced yesterday by Andy Flannagan, Executive Director of Christians in Politics.
Monday 27 June 2022:
The USPG Prayer invites us to pray today in these words:
Let us give thanks for the work of Christians in Politics. May we encourage our fellow Christians to get involved in the decision making process.
Yesterday’s reflection
Continued tomorrow
Scripture quotations are from the New Revised Standard Version Bible: Anglicised Edition copyright © 1989, 1995, National Council of the Churches of Christ in the United States of America. Used by permission. All rights reserved worldwide. http://nrsvbibles.org
Patrick Comerford
In the Calendar of the Church, we are in Ordinary Time. The Caleendar of the Church today commemorates Saint Cyril, Bishop of Alexandria and Teacher of the Faith. Before today begins, I am taking some time this morning to continue my reflections drawing on the Psalms.
In my blog, I am reflecting each morning in this Prayer Diary in these ways:
1, Short reflections on a psalm or psalms;
2, reading the psalm or psalms;
3, a prayer from the USPG prayer diary.
Psalm 124:
Psalm 124 is the fifth in a series of 15 short psalms (Psalm 120-134) known as the ‘Songs of Ascents.’ These psalms begin with the Hebrew words שיר המעלות (Shir Hama’a lot). In the slightly different numbering system in the Greek Septuagint and the Latin Vulgate, this is counted as Psalm 123. It is sometimes known by its Latin opening words, Ad te levavi oculos meos.
Many scholars say these psalms were sung by worshippers as they ascended the road to Jerusalem to attend the three pilgrim festivals. Others say they were sung by the Levite singers as they ascended the 15 steps to minister at the Temple in Jerusalem.
The Mishnah notes the correspondence between the 15 songs and the 15 steps between the men’s court and the women’s courtyards in the Temple. A Talmudic legend says King David composed or sang the 15 songs to calm the rising waters at the foundation of the Temple.
One view says the Levites first sang the Songs of Ascent at the dedication of Solomon’s Temple during the night of 15 Tishri 959 BCE. Another study suggests they were composed for a celebration after Nehemiah’s rebuilding of the walls of Jerusalem in 445 BCE. Others suggest they may originally have been songs sung by the exiles returning from Babylon, ascending to Jerusalem or individual poems later collected together and given the title linking them to pilgrimage after the Babylonian captivity.
These psalms are cheerful and hopeful, and they place an emphasis on Zion. They were suited for being sung because of their poetic style and the sentiments they express. They are brief, almost like epigrams, and they are marked by the use of a keyword or repeated phrase that serves as a rung on which the poem ascends to its final theme.
Psalm 124 is a short psalm of eight verses, and is sometimes known by its opening words in Latin, Nisi quia Dominus. In the slightly different numbering in the Greek Septuagint and the Latin Vulgate, this is Psalm 123.
This is a psalm of thanksgiving, using – as so often in the Psalms – a rapid succession of different images, recalling the Exodus and the escape from slavery in Egypt.
The people have been in danger of being swallowed up or swept away, as in a flood, a prey to the enemy’s teeth, captured in a hunter’s trap.
The images do not coalesce into one single metaphor. Rather, they combine to express a mood – in this case, the sense of sudden release from danger.
I often wonder how, during the horrors of the Holocaust, suffering Jews could possibly have sung the words of Psalm 124:
If it had not been the Lord who was on our side
– let Israel now say –
if it had not been the Lord who was on our side,
when our enemies attacked us,
then they would have swallowed us up alive,
when their anger was kindled against us … (Psalm 124: 1-3).
Yet they maintained the hope and the expectation that God can and would act through political decision-making to protect the rights of the vulnerable, the abused and the violated. For, as the Psalmist says, and as we – and all children – should be able to sing:
Our help is in the name of the Lord,
who made heaven and earth (Psalm 124: 8).
‘Our help is in the name of the Lord, who made heaven and earth’ (Psalm 124: 8) … sunset on the River Deel and the Shannon Estuary at Askeaton, Co Limerick (Photograph: Patrick Comerford)
Psalm 124 (NRSVA):
A Song of Ascents. Of David.
1 If it had not been the Lord who was on our side
—let Israel now say—
2 if it had not been the Lord who was on our side,
when our enemies attacked us,
3 then they would have swallowed us up alive,
when their anger was kindled against us;
4 then the flood would have swept us away,
the torrent would have gone over us;
5 then over us would have gone
the raging waters.
6 Blessed be the Lord,
who has not given us
as prey to their teeth.
7 We have escaped like a bird
from the snare of the fowlers;
the snare is broken,
and we have escaped.
8 Our help is in the name of the Lord,
who made heaven and earth.
Today’s Prayer:
The theme this week in the prayer diary of the Anglican mission agency USPG (United Society Partners in the Gospel) is ‘Ethics and Leadership.’ It was introduced yesterday by Andy Flannagan, Executive Director of Christians in Politics.
Monday 27 June 2022:
The USPG Prayer invites us to pray today in these words:
Let us give thanks for the work of Christians in Politics. May we encourage our fellow Christians to get involved in the decision making process.
Yesterday’s reflection
Continued tomorrow
Scripture quotations are from the New Revised Standard Version Bible: Anglicised Edition copyright © 1989, 1995, National Council of the Churches of Christ in the United States of America. Used by permission. All rights reserved worldwide. http://nrsvbibles.org
26 June 2022
Sculptor Liliane Lijn has
chosen to ‘see the world in
terms of light and energy’
‘Light Pyramid’ by Liliane Lijn forms part of the view along Midsummer Avenue in Milton Keynes at sunset on Midsummer evening (Photograph: Patrick Comerford, 2022)
Patrick Comerford
During my mid-summer visit to Campbell Park in Milton Keynes at the end of last week, I stopped to admire the ‘Light Pyramid,’ a sculpture by Liliane Lijn, that forms part of the view along Midsummer Avenue at sunset on Midsummer evening.
The ‘Light Pyramid’ was commissioned by the Parks Trust in Milton Keynes in 2012 to replace the original basket beacon on the Belvedere that was removed after a lightning strike.
The ‘Light Pyramid’ is made of steel and painted white. It was first illuminated for Queen Elizabeth’s Diamond Jubilee ten years ago and is still lit to commemorate special local and national events.
The ‘Light Pyramid’ is by Dr Liliane Lijn, an American-born artist who has lived in London since 1966. She is known for her cone-shaped Koan series.
She was the first woman artist to work with kinetic text (‘Poem Machines’), exploring both light and text as early as 1962. She is also said to be the first woman artist to have exhibited a work incorporating an electric motor.
Utilising original combinations of industrial materials and artistic processes, Liliane Lijn is recognised for pioneering the interaction of art, science, technology, eastern philosophy and feminine mythology. In conversation with Fluxus artist and writer Charles Dreyfus, she said she primarily chose to ‘see the world in terms of light and energy.’
Liliane Lijn’s work covers a large spectrum of interests, from Light and its interaction with diverse new materials to the development of a fresh image for the feminine. She has taken inspiration from incidental details both human-made and natural, mythology and poetry, science and technology.
Lijn is interested in the development of language, collaborating across disciplines and making art that is interactive, in which the viewer can actively participate.
She was born in New York in 1939, and studied archaeology at the Sorbonne and art history at the Ecole du Louvre in Paris.
She lived in New York in 1961-1963, when she was the artist in residence at a plastics factory, experimenting with fire and acids. There she worked with light, poetry, movement and liquids, and many international exhibitions established her as a leading kinetic artist.
She returned to Paris to work in 1963-1964, when she exhibited her first kinetic light works and ‘Poem Machines.’ She then lived in Athens (1964-1966), making use of natural forces in her sculpture.
She moved to London in 1966, and in 1974 she staged the performance ‘The Power Game,’ a text-based gambling game and socio-political farce for the Festival for Chilean Liberation at the RCA.
She has been the artist in residence or has received fellowships at Northumberland, the University of Newcastle, and the University of California, Berkeley, in partnership with NASA and the Leonardo Network.
Her work has been displayed or exhibited across the world, from Gwangju in China to Leeds and London, from Paris to San Francisco. Her many awards include a doctorate (DLitt) from the University of Warwick (2005).
She worked with NASA to develop installations using aerogel, and has written a brief libretto, ‘The Descent of Inanna,’ with a score by Morgan Hayes.
Liliane Lijn has been invited to the 59th International Art Exhibition of the Biennale in Venice this year (23 April to 27 November 2022).
Patrick Comerford
During my mid-summer visit to Campbell Park in Milton Keynes at the end of last week, I stopped to admire the ‘Light Pyramid,’ a sculpture by Liliane Lijn, that forms part of the view along Midsummer Avenue at sunset on Midsummer evening.
The ‘Light Pyramid’ was commissioned by the Parks Trust in Milton Keynes in 2012 to replace the original basket beacon on the Belvedere that was removed after a lightning strike.
The ‘Light Pyramid’ is made of steel and painted white. It was first illuminated for Queen Elizabeth’s Diamond Jubilee ten years ago and is still lit to commemorate special local and national events.
The ‘Light Pyramid’ is by Dr Liliane Lijn, an American-born artist who has lived in London since 1966. She is known for her cone-shaped Koan series.
She was the first woman artist to work with kinetic text (‘Poem Machines’), exploring both light and text as early as 1962. She is also said to be the first woman artist to have exhibited a work incorporating an electric motor.
Utilising original combinations of industrial materials and artistic processes, Liliane Lijn is recognised for pioneering the interaction of art, science, technology, eastern philosophy and feminine mythology. In conversation with Fluxus artist and writer Charles Dreyfus, she said she primarily chose to ‘see the world in terms of light and energy.’
Liliane Lijn’s work covers a large spectrum of interests, from Light and its interaction with diverse new materials to the development of a fresh image for the feminine. She has taken inspiration from incidental details both human-made and natural, mythology and poetry, science and technology.
Lijn is interested in the development of language, collaborating across disciplines and making art that is interactive, in which the viewer can actively participate.
She was born in New York in 1939, and studied archaeology at the Sorbonne and art history at the Ecole du Louvre in Paris.
She lived in New York in 1961-1963, when she was the artist in residence at a plastics factory, experimenting with fire and acids. There she worked with light, poetry, movement and liquids, and many international exhibitions established her as a leading kinetic artist.
She returned to Paris to work in 1963-1964, when she exhibited her first kinetic light works and ‘Poem Machines.’ She then lived in Athens (1964-1966), making use of natural forces in her sculpture.
She moved to London in 1966, and in 1974 she staged the performance ‘The Power Game,’ a text-based gambling game and socio-political farce for the Festival for Chilean Liberation at the RCA.
She has been the artist in residence or has received fellowships at Northumberland, the University of Newcastle, and the University of California, Berkeley, in partnership with NASA and the Leonardo Network.
Her work has been displayed or exhibited across the world, from Gwangju in China to Leeds and London, from Paris to San Francisco. Her many awards include a doctorate (DLitt) from the University of Warwick (2005).
She worked with NASA to develop installations using aerogel, and has written a brief libretto, ‘The Descent of Inanna,’ with a score by Morgan Hayes.
Liliane Lijn has been invited to the 59th International Art Exhibition of the Biennale in Venice this year (23 April to 27 November 2022).
Praying with the Psalms in Ordinary Time:
26 June 2022 (Psalm 123)
‘To you I lift up my eyes’ (Psalm 123: 1) … the London Eye at night (Photograph: Patrick Comerford)
Patrick Comerford
In the Calendar of the Church, we are in Ordinary Time, and today is the Second Sunday after Trinity (26 June 2022). Later this morning, I hope to attend the Parish Eucharist in the Church of Saint Mary and Saint Giles in Stony Stratford.
Before today begins, I am taking some time this morning to continue my reflections drawing on the Psalms.
In my blog, I am reflecting each morning in this Prayer Diary in these ways:
1, Short reflections on a psalm or psalms;
2, reading the psalm or psalms;
3, a prayer from the USPG prayer diary.
Psalm 123:
Psalm 123 is the fourth in a series of 15 short psalms (Psalm 120-134) known as the ‘Songs of Ascents.’ These psalms begin with the Hebrew words שיר המעלות (Shir Hama’a lot). In the slightly different numbering system in the Greek Septuagint and the Latin Vulgate, this is counted as Psalm 122. It is sometimes known by its Latin opening words, Ad te levavi oculos meos.
Many scholars say these psalms were sung by worshippers as they ascended the road to Jerusalem to attend the three pilgrim festivals. Others say they were sung by the Levite singers as they ascended the 15 steps to minister at the Temple in Jerusalem.
The Mishnah notes the correspondence between the 15 songs and the 15 steps between the men’s court and the women’s courtyards in the Temple. A Talmudic legend says King David composed or sang the 15 songs to calm the rising waters at the foundation of the Temple.
One view says the Levites first sang the Songs of Ascent at the dedication of Solomon’s Temple during the night of 15 Tishri 959 BCE. Another study suggests they were composed for a celebration after Nehemiah’s rebuilding of the walls of Jerusalem in 445 BCE. Others suggest they may originally have been songs sung by the exiles returning from Babylon ascending to Jerusalem, or individual poems later collected together and given the title linking them to pilgrimage after the Babylonian captivity.
These psalms are cheerful and hopeful, and they place an emphasis on Zion. They were suited for being sung because of their poetic style and the sentiments they express. They are brief, almost like epigrams, and they are marked by the use of a keyword or repeated phrase that serves as a rung on which the poem ascends to its final theme.
Psalm 123 is a short psalm of four verses. This is a prayer for deliverance from enemies.
Verses 1-3 speak of humble submission to God’s will. We look with our eyes to God, seeking his mercy (verse 3). The speakers here are Israel or an oppressed group within Israel, and they seek God’s help and mercy, having had their fill of contempt, the scorn of the powerful, and derision.
Scorn and contempt have been laid upon the people, and they are either incapable or unwilling to fight against it alone. They turn to the Lord with confidence that they will receive mercy.
An important dimension of mercy, רַחֵ֖ם (see Isaiah 49: 15), is that it can be understood as the tender love a mother has for her children. The psalmist’s wish is for the Lord to show motherly care for the people.
If you feel that there is no place to turn, no one to help, will you turn to the Lord for mercy?
In fact, will you turn to the Lord first?
Consider the innocent of the world, those suffering oppression, hunger, disease, those living in war-torn regions, those who have been kidnapped, refugees, asylum seekers and migrants, children separated from their parents and families as they flee in search of freedom, yet are treated with contempt when they arrive on these shores.
Can you pray to the Lord for mercy for them?
‘Have mercy upon us, O Lord, have mercy upon us, for we have had more than enough of contempt’ (Psalm 123: 3) … ‘Humanity’s Contempt for Humanity’ by Peter Walker in the ‘Consequence of War’ exhibition in Lichfield Cathedral in 2018 (Photograph: Patrick Comerford)
Psalm 123 (NRSVA):
A Song of Ascents.
1 To you I lift up my eyes,
O you who are enthroned in the heavens!
2 As the eyes of servants
look to the hand of their master,
as the eyes of a maid
to the hand of her mistress,
so our eyes look to the Lord our God,
until he has mercy upon us.
3 Have mercy upon us, O Lord, have mercy upon us,
for we have had more than enough of contempt.
4 Our soul has had more than its fill
of the scorn of those who are at ease,
of the contempt of the proud.
Today’s Prayer:
The theme this week in the prayer diary of the Anglican mission agency USPG (United Society Partners in the Gospel) is ‘Ethics and Leadership,’ and is introduced today by Andy Flannagan, Executive Director of Christians in Politics. He writes:
‘We shouldn’t disconnect ethics from leadership. Politics isn’t just about getting things done, and when you study any organisation, you’ll discover they are built in the image of their leaders. Just like business leaders, political leaders establish the culture and are role models and influencers of the public square.
‘If, as Genesis says, we are created in the image of God (Imago Dei), then we are called to govern because He governs. And we are called to govern in a way that represents Him to the world. The link between governance and character shouldn’t be bypassed, as it often is in our current public square.
‘At Christians in Politics, we believe in the importance of developing character and being true to the ‘distinctive mark’ we’ve been given by God. Yes, we are made in the image of God, but our character develops over time only through accountable relationships and discipleship. Our hope is that the next generation of public leaders is better supported and nourished than the previous generation. Our hope is that they will have people alongside them holding up their arms and calling them back to the Imago Dei engraved in their lives.
Sunday 26 June 2022:
The USPG Prayer invites us to pray today in these words:
King of kings,
teach us how to be humble and caring leaders.
May we be wise in our decisions and
thoughtful in our actions.
Yesterday’s reflection
Continued tomorrow
Scripture quotations are from the New Revised Standard Version Bible: Anglicised Edition copyright © 1989, 1995, National Council of the Churches of Christ in the United States of America. Used by permission. All rights reserved worldwide. http://nrsvbibles.org
In the Calendar of the Church, we are in Ordinary Time, and today is the Second Sunday after Trinity (26 June 2022). Later this morning, I hope to attend the Parish Eucharist in the Church of Saint Mary and Saint Giles in Stony Stratford.
Before today begins, I am taking some time this morning to continue my reflections drawing on the Psalms.
In my blog, I am reflecting each morning in this Prayer Diary in these ways:
1, Short reflections on a psalm or psalms;
2, reading the psalm or psalms;
3, a prayer from the USPG prayer diary.
Psalm 123:
Psalm 123 is the fourth in a series of 15 short psalms (Psalm 120-134) known as the ‘Songs of Ascents.’ These psalms begin with the Hebrew words שיר המעלות (Shir Hama’a lot). In the slightly different numbering system in the Greek Septuagint and the Latin Vulgate, this is counted as Psalm 122. It is sometimes known by its Latin opening words, Ad te levavi oculos meos.
Many scholars say these psalms were sung by worshippers as they ascended the road to Jerusalem to attend the three pilgrim festivals. Others say they were sung by the Levite singers as they ascended the 15 steps to minister at the Temple in Jerusalem.
The Mishnah notes the correspondence between the 15 songs and the 15 steps between the men’s court and the women’s courtyards in the Temple. A Talmudic legend says King David composed or sang the 15 songs to calm the rising waters at the foundation of the Temple.
One view says the Levites first sang the Songs of Ascent at the dedication of Solomon’s Temple during the night of 15 Tishri 959 BCE. Another study suggests they were composed for a celebration after Nehemiah’s rebuilding of the walls of Jerusalem in 445 BCE. Others suggest they may originally have been songs sung by the exiles returning from Babylon ascending to Jerusalem, or individual poems later collected together and given the title linking them to pilgrimage after the Babylonian captivity.
These psalms are cheerful and hopeful, and they place an emphasis on Zion. They were suited for being sung because of their poetic style and the sentiments they express. They are brief, almost like epigrams, and they are marked by the use of a keyword or repeated phrase that serves as a rung on which the poem ascends to its final theme.
Psalm 123 is a short psalm of four verses. This is a prayer for deliverance from enemies.
Verses 1-3 speak of humble submission to God’s will. We look with our eyes to God, seeking his mercy (verse 3). The speakers here are Israel or an oppressed group within Israel, and they seek God’s help and mercy, having had their fill of contempt, the scorn of the powerful, and derision.
Scorn and contempt have been laid upon the people, and they are either incapable or unwilling to fight against it alone. They turn to the Lord with confidence that they will receive mercy.
An important dimension of mercy, רַחֵ֖ם (see Isaiah 49: 15), is that it can be understood as the tender love a mother has for her children. The psalmist’s wish is for the Lord to show motherly care for the people.
If you feel that there is no place to turn, no one to help, will you turn to the Lord for mercy?
In fact, will you turn to the Lord first?
Consider the innocent of the world, those suffering oppression, hunger, disease, those living in war-torn regions, those who have been kidnapped, refugees, asylum seekers and migrants, children separated from their parents and families as they flee in search of freedom, yet are treated with contempt when they arrive on these shores.
Can you pray to the Lord for mercy for them?
‘Have mercy upon us, O Lord, have mercy upon us, for we have had more than enough of contempt’ (Psalm 123: 3) … ‘Humanity’s Contempt for Humanity’ by Peter Walker in the ‘Consequence of War’ exhibition in Lichfield Cathedral in 2018 (Photograph: Patrick Comerford)
Psalm 123 (NRSVA):
A Song of Ascents.
1 To you I lift up my eyes,
O you who are enthroned in the heavens!
2 As the eyes of servants
look to the hand of their master,
as the eyes of a maid
to the hand of her mistress,
so our eyes look to the Lord our God,
until he has mercy upon us.
3 Have mercy upon us, O Lord, have mercy upon us,
for we have had more than enough of contempt.
4 Our soul has had more than its fill
of the scorn of those who are at ease,
of the contempt of the proud.
Today’s Prayer:
The theme this week in the prayer diary of the Anglican mission agency USPG (United Society Partners in the Gospel) is ‘Ethics and Leadership,’ and is introduced today by Andy Flannagan, Executive Director of Christians in Politics. He writes:
‘We shouldn’t disconnect ethics from leadership. Politics isn’t just about getting things done, and when you study any organisation, you’ll discover they are built in the image of their leaders. Just like business leaders, political leaders establish the culture and are role models and influencers of the public square.
‘If, as Genesis says, we are created in the image of God (Imago Dei), then we are called to govern because He governs. And we are called to govern in a way that represents Him to the world. The link between governance and character shouldn’t be bypassed, as it often is in our current public square.
‘At Christians in Politics, we believe in the importance of developing character and being true to the ‘distinctive mark’ we’ve been given by God. Yes, we are made in the image of God, but our character develops over time only through accountable relationships and discipleship. Our hope is that the next generation of public leaders is better supported and nourished than the previous generation. Our hope is that they will have people alongside them holding up their arms and calling them back to the Imago Dei engraved in their lives.
Sunday 26 June 2022:
The USPG Prayer invites us to pray today in these words:
King of kings,
teach us how to be humble and caring leaders.
May we be wise in our decisions and
thoughtful in our actions.
Yesterday’s reflection
Continued tomorrow
Scripture quotations are from the New Revised Standard Version Bible: Anglicised Edition copyright © 1989, 1995, National Council of the Churches of Christ in the United States of America. Used by permission. All rights reserved worldwide. http://nrsvbibles.org
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