Saint John’s Downshire Hill, Hampstead … a proprietary chapel that is not a parish church in the Diocese of London (Photograph: Patrick Comerford, 2024)
Patrick Comerford
There are two Church of England churches in Hampstead that are named Saint John: Saint John-at-Hampstead which is dedicated to Saint John the Evangelist, and Saint John’s Downshire Hill.
Saint John-at-Hampstead is the ancient parish church on Church Row, and I was writing about yesterday. Saint John’s Downshire Hill is not actually a parish church but a proprietary chapel.
The two Saint John’s in Hampstead have very different histories, styles of worship and values. To add to the confusion, but there is also a debate about the patronage of Saint John-at-Hampstead: was the saint in question Saint John the Baptist or Saint John the Evangelist?
I decided to visit both churches – or the church and the chapel – when I was in Hampstead last week.
>Saint John’s Downshire Hill, Hampstead … facing what should be the liturgical east (Photograph: Patrick Comerford, 2024)
Saint John’s Downshire Hill, Hampstead, is a proprietary chapel rather than a parish church in the Diocese of London. It is in the Parish of Saint Stephen with All Hallows, and, although most people refer to it as Saint John’s Church, it is legally and formally a chapel. Nor should it be confused with Saint John-at-Hampstead, on Church Row.
As much of the area was being developed in the early 19th century, a new church was considered an essential for the new houses and their residents. Downshire Hill was laid out at the beginning of the 19th century and the street was probably named after Wills Hill (1718-1793), 1st Marquess of Downshire. He was Secretary of State for the Colonies in 1768-1772, the period leading up to the American War of Independence, and his Irish estates included Hillsborough Castle, Co Down, now the official government residence in Northern Ireland, and Blessington House, Co Wicklow, which was burned down in 1798.
Later residents of Downshire Hill included the artist Dante Gabriel Rossetti, the actress Peggy Ashcroft and the Irish-born scientist John Desmond Bernal.
A site on Downshire Hill was bought from the Manor of Belsize in 1812 by a group who handed the site on in 1817 to a three people: the Revd James Curry, who financed the project; Edward Carlisle, a lawyer; and William Woods, a speculative builder who was involved in developments in Hampstead and other parts of London.
Curry offered to pay the cost of the building if he was appointed the minister. The new chapel was dedicated to Saint John, indicating, perhaps, that it was originally planned as a chapel of ease for the parish church of Saint John-at-Hampstead.
The building was completed in 1823, but Curry had fallen ill by the time the first service held on 26 October 1823. Instead, the first minister was the Revd William Harness (1790-1869), a classical scholar and a friend from school days of the poet Lord Byron.
Curry died soon after the opening, Woods gave up his interest in the building in January 1824, and Harness left in 1825 when his popularity as a preacher brought him an invitation to become the incumbent of Saint Peter’s Church, Regent Square (1826-1844). The four ministers who succeeded Harness each remained for only a short period.
The property was bought in 1832 by the Revd John Wilcox (1780-1835), who admired George Whitefield, a key figure in the revival in Britain and America in the 18th century. Wilcox saw Downshire Hill as the ideal place to carry on Whitefield’s evangelical legacy and put the evangelical tradition associated with the chapel on a firm footing.
Saint John’s Downshire Hill, Hampstead … facing what should be the liturgical west end (Photograph: Patrick Comerford, 2024)
Wilcox immediately met strong opposition from the Revd Samuel White, who had been the Vicar of Saint John-at-Hampstead since 1807 and who disagreed strongly with the Calvinist teachings of Wilcox. White’s permission was needed to hold services and to preach sermons in the parish, and Downshire Hill was in his parish.
White accused Wilcox of neglecting the two churches where he already ministered and charged him with illegally officiating in a private chapel without the consent of the local incumbent. Wilcox threatened that without White’s approval he would preach as a dissenter. But, when Wilcox ignored White’s demands, White began formal proceedings against him.
The consistory court ruled in favour of White, but local feeling was on the side of Wilcox. The poet John Keats, who was living nearby in what is now Keats House, referred to White as ‘the Person of Hampstead quarrelling with all the world.’ A petition was signed by influential local people including the then Lord of the Manor of Belsize, Lord Galloway, and the writer Sara Coleridge, a daughter of the poet Samuel Taylor Coleridge
The court ruling stood, and the chapel stayed closed until 1835. The chapel remained controversial in church circles in the years that followed, and Wilcox remained in the area, teaching local children at Saint John’s Church School, which he founded on Downshire Hill at his own expense.
The Bevington organ in the west gallery was built in 1873 and installed in 1880 (Photograph: Patrick Comerford, 2024)
When Wilcox died in December 1835, the trustees of Saint John’s Downshire Hill were able to appoint an alternative minister who had White’s approval. The Revd John Ayre was the minister for 20 years there, from 1835 and 1855, and was the longest-standing minister there for many years after. In 1851, 1,370 people attended a service at which the Archbishop of Canterbury preached.
Meanwhile, Samuel White had died in 1841, the area was growing rapidly, and there was a need for a new parish church. Saint John’s was proposed as the new parish church in 1863, but this was rejected on the grounds that the church was too small and the site too small to build a larger church.
Instead, a new parish church, Saint Stephen’s Church, was built nearby at Rosslyn Hill and the Revd Joshua Kirkman of Saint John’s Downshire Hill became the first Vicar of Saint Stephen’s.
Canon Henry Wright (1833-1880), was secretary of the Church Missionary Society (CMS) was the minister of Saint John’s from 1872 until he drowned in Coniston Lake. The Revd Robert Baker Girdlestone (1836-1922), the first Principal of Wycliffe Hall, Oxford (1877-1889), was at Downshire Hill in 1889-1903.
Saint John’s faced financial difficulties during World War I, and in 1916 the freehold was bought by Henry Wright’s son, Albert Leslie Wright, who then leased the church to the congregation at a nominal rent. When he died in 1938, he appointed the Church Pastoral Aid Society (CPAS) as trustees to ensure the church continued to maintain an evangelical traditions.
Later ministers included: the Revd Jakób Jocz (1947-1956), who was born in Tsarist Lithuania, became President of the International Hebrew Christian Alliance and then was Professor of Systematic Theology at Wycliffe College, Toronto; Canon Douglas Butcher (1957-1960), a canon of Cairo Cathedral; the Revd Douglas Paterson (1962-1965), who later joined the Rwanda Mission; and Bishop Kenneth Howell (1972-1979), a former Bishop of Chile, Bolivia and Peru.
Typical of its time … the distinctive black and gold clock below the bellcote was made by John Moore of Clerkenwell in 1823 (Photograph: Patrick Comerford, 2024)
The Grade I listed building, with its Regency stuccoed and cream painted façade, looks more like a church typical of its period in New England. It has a Doric porch, portico and cupola. The distinctive black and gold clock below the bellcote was made by John Moore of Clerkenwell in 1823, its simple bold design typical of that period.
Inside, the vestibule has a double staircase. The main part of the church has a five-bay nave with galleries on three sides and no chancel. During restoration work in the 1960s, a frieze of biblical texts that had been obliterated in 1923 was rediscovered decorating the gallery and reredos and repainted in the original gold lettering.
The original wooden box pews have been moved to the sides of the church, below the galleries, or to the church hall. The Bevington organ in the west gallery was built in 1873 and installed in 1880.
The East Window (1882) depicts the eagle of Saint John the Evangelist (Photograph: Patrick Comerford, 2024)
The East Window, dating from 1882, depicts the eagle of Saint John the Evangelist. Under it, the reredos frames the Ten Commandments, the Lord’s Prayer and the Apostles’ Creed, although these are obscured by a large drop-down screen. When I visited last week, there was no communion table and no pulpit. Perhaps they were moved during renovations in 2003-2004, and instead there is a raised stage with a small, fold-away table and two comfortable chairs.
During the 19th century, there were up to 50 proprietary chapels in London. Today, Saint John’s Downshire Hill is the only proprietary chapel remaining in the Diocese of London, one of only a handful in the whole of England. The running costs are met entirely by the congregation. It is financially separate from the Church of England, and does not contribute to or receive from funds in the Diocese of London.
The chapel is in the conservative evangelical tradition, and has passed resolutions rejecting both the leadership and the the ordination of women. Alongside Saint Luke’s Church, Hampstead, and churches such as All Souls’ Church, Langham Place, it looks for alternative episcopal oversight to the Bishop of Ebbsfleet, Rob Munro.
Looking out into the world? … a window below one of the galleries (Photograph: Patrick Comerford, 2024)
The church website refers to the church as the people ‘who have received forgiveness and new life through the death and resurrection of Jesus’ and says the building is ‘a place for God’s people to meet to pray, sing, encourage each other and hear teaching from His word, the Bible.’
Article 19 of the 39 Articles, ‘Of the Church’, says: ‘The visible Church of Christ is a congregation of faithful men, in which the pure Word of God is preached, and the Sacraments be duly ministered according to Christ's ordinance …’
It is difficult to see how this chapel fits in with this understanding of the Church, to see or find out where ‘the Sacraments be duly ministered’ or to see where the ‘Word of God is preached’ in a way that distinguishes a sermon from a television interview or a cosy fireside chat on a stage that gives priority to space for a performance with modern musical instruments.
Apart from a fold-away table and two comfortable chairs, there is no sign of a pulpit or altar, of word and sacrament in Saint John’s Downshire Hill, Hampstead (Photograph: Patrick Comerford, 2024)
The Revd Tom Watts has been the senior minister of Saint John’s since 2018. The ‘Church Staff’ include David Rue, Associate Minister for Families, Corinne Brixton, Associate Minister for Women, and Aaron Ku, Assistant Minister. But there is nothing on the noticeboards or the website to indicate whether they are ordained or lay ministers.
The congregation has owned the building since 2003, when it bought it from the Wright family trustees who had owned it and leased it since World War I. The present trustees, who have legal oversight of the governance of Saint John’s Downshire Hill, are Daniel Barlow, Gareth Burns, Abi Naidu and Christopher Onaka.
The website refers to meetings, and says members of the congregation ‘meet together twice on Sundays’, at 10:30 and 6 pm, with both ‘meetings’ involving ‘music, prayer and the reading and teaching of the Bible’ and with the ‘focus on learning more about the God of the Bible, His Son Jesus Christ and what His word has to say about Him and our lives in relation to Him.’
But I could not find out anywhere when the Holy Communion or the Eucharist is celebrated at Saint John’s Downshire Hill, Hampstead. I wondered whether it is a mere conincidence that the only was rediscovered decorating the gallery and reredos that have been partly obscured are those relating to the need to celebrate the Eucharist or the Holy Communion.
Stairway to heaven? … the vestibule in Saint John’s Downshire Hill has a double staircase (Photograph: Patrick Comerford, 2024)
30 September 2024
Two Saint Johns in Hampstead:
200 years of controversies at
Saint John’s, Downshire Hill
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Daily prayer in Ordinary Time 2024:
142, Monday 30 September 2024
Jesus … took a little child and put it by his side (Luke 9: 47) … a window in the chapel of Saint John’s Hospital, Lichfield (Photograph: Patrick Comerford, 2024)
Patrick Comerford
We have reached the end of September and are continuing in Ordinary Time in the Church Calendar. The week began with the Eighteenth Sunday after Trinity (Trinity XVIII). The Church Calendar today remembers Saint Jerome (420), translator of the scriptures and teacher of the faith, which makes today an appropriate day to mark as International Translation Day.
This is also Michaelmas time, and the Feast of Saint Michael and All Angels may be marked today if it was not observed yesterday (29 September).
Before today begins, I am taking some quiet time this morning to give thanks, and for reflection, prayer and reading in these ways:
1, today’s Gospel reading;
2, a reflection on the Gospel reading;
3, a prayer from the USPG prayer diary;
4, the Collects and Post-Communion prayer of the day.
The Preaching of the Kingdom of God … an icon in the Lady Chapel in Lichfield Cathedral (Photograph: Patrick Comerford, 2024)
Luke 9: 46-50 (NRSVA):
46 An argument arose among them as to which one of them was the greatest. 47 But Jesus, aware of their inner thoughts, took a little child and put it by his side, 48 and said to them, ‘Whoever welcomes this child in my name welcomes me, and whoever welcomes me welcomes the one who sent me; for the least among all of you is the greatest.’
49 John answered, ‘Master, we saw someone casting out demons in your name, and we tried to stop him, because he does not follow with us.’ 50 But Jesus said to him, ‘Do not stop him; for whoever is not against you is for you.’
‘Whoever welcomes this child in my name welcomes me’ (Luke 9: 48) … a window in Saint Mary’s, Lichfield (Photograph: Patrick Comerford)
Today’s Reflection:
Today’s lectionary reading for the Eucharist is Saint Luke’s account of the story we heard in our Gospel reading (Mark 9: 30-37) the Sunday before last (22 September 2024, Trinity XVII).
In Saint Matthew’s version of this story (Matthew 18: 1-14), Christ tells us: ‘Take care that you do not despise one of these little ones; for, I tell you, in heaven their angels continually see the face of my Father in heaven … it is not the will of your Father in heaven that one of these little ones should be lost’ (verses 10-14).
The disciples are arguing with one another about who is the greatest. Christ tells them not to seek position or prestige.
Then, one of the Twelve, John, complains that someone who is not part of their inner circle has been casting out demons in Christ’s name. But did the disciples welcome him? Did they praise him for bringing comfort to distressed people and for restoring them to a good quality of life?
Christ now rebukes the disciples for attempting to stop this exorcist who is curing in his name, a reminder that that God can work through those who are not followers of Christ.
Instead of being smug among themselves, arguing about who among them was the greatest, the disciples should have been like this man, bringing comfort to those who were in trouble, looking after those who were thirsty both physically and spiritually.
I worked for almost 30 years as a journalist with The Irish Times. The Revd Stephen Hilliard, a former colleague there who was ordained a priest in the Church of Ireland a few years before me, was visiting me one evening. I asked him what the difference was between the two – being a journalist and being a priest. With a wry grin, he told me: ‘Not much. I continue to afflict the comfortable and comfort the afflicted.’
Perhaps not in so many words, but in this Gospel reading Christ tells the disciples that they should be afflicting the comfortable and comforting the afflicted.
Between 2010 and 2023, the number of children displaced by conflict and violence increased from 18.8 million to 47.2 million. Between 2018 and 2023, more than 2 million children were born into refugee status. In figures calculated in April 2024, almost 7.5 million children in Syria needed humanitarian assistance, while the number of children in Sudan in need of humanitarian aid was put at about 14 million.
In the year ending September 2022, the UK received 5,152 applications for asylum from unaccompanied children. It is estimated that 1.5 million children are born into refugee status, meaning that their parents fled and became refugees before they were born.
All children in these situations and these dilemmas are innocent. There is no such thing as a child being the wrong person in the wrong place at the wrong time. All children should feel safe, in all places, at all times.
But we need to move from Victorian Sunday School images of the children being brought to Jesus, and ask how he would hear the voices of children today and how he would respond to those who plot to do them harm.
Would Christ challenge us to hear the cries of children in the refugee camps, the children needing humanitarian assistance, the children in the slums, in the sweat shops and in the brothels, to hear the cries of children suffering behind the bedroom doors of respectability?
‘Whoever welcomes this child in my name welcomes me’ (Luke 9: 48) … a window by Alfred Bell of Clayton and Bell in Saint John-at-Hampstead (Photograph: Patrick Comerford, 2024)
Today’s Prayers (Monday 30 September 2024):
The theme this week in ‘Pray With the World Church’, the Prayer Diary of the Anglican mission agency USPG (United Society Partners in the Gospel), is ‘One God: many languages.’ This theme was introduced yesterday in reflections by Rachel Weller, Communications Officer, USPG.
The USPG Prayer Diary today (Monday 30 September 2024, International Translation Day) invites us to pray in these words:
We lift in prayer all those who dedicate their skills and talents to the vital work of translation and interpretation, asking for God’s guidance and inspiration as they bridge linguistic gaps and foster communication among nations.
The Collect:
Almighty and everlasting God,
increase in us your gift of faith
that, forsaking what lies behind
and reaching out to that which is before,
we may run the way of your commandments
and win the crown of everlasting joy;
through Jesus Christ your Son our Lord,
who is alive and reigns with you,
in the unity of the Holy Spirit,
one God, now and for ever.
The Post Communion Prayer:
We praise and thank you, O Christ, for this sacred feast:
for here we receive you,
here the memory of your passion is renewed,
here our minds are filled with grace,
and here a pledge of future glory is given,
when we shall feast at that table where you reign
with all your saints for ever.
Additional Collect:
God, our judge and saviour,
teach us to be open to your truth
and to trust in your love,
that we may live each day
with confidence in the salvation which is given
through Jesus Christ our Lord.
Yesterday’s reflection
Continued tomorrow
Jesus … took a little child and put it by his side (Luke 9: 47) … a detail in the window in the Comberford Chapel in Saint Editha’s Church, Tamworth (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
We have reached the end of September and are continuing in Ordinary Time in the Church Calendar. The week began with the Eighteenth Sunday after Trinity (Trinity XVIII). The Church Calendar today remembers Saint Jerome (420), translator of the scriptures and teacher of the faith, which makes today an appropriate day to mark as International Translation Day.
This is also Michaelmas time, and the Feast of Saint Michael and All Angels may be marked today if it was not observed yesterday (29 September).
Before today begins, I am taking some quiet time this morning to give thanks, and for reflection, prayer and reading in these ways:
1, today’s Gospel reading;
2, a reflection on the Gospel reading;
3, a prayer from the USPG prayer diary;
4, the Collects and Post-Communion prayer of the day.
The Preaching of the Kingdom of God … an icon in the Lady Chapel in Lichfield Cathedral (Photograph: Patrick Comerford, 2024)
Luke 9: 46-50 (NRSVA):
46 An argument arose among them as to which one of them was the greatest. 47 But Jesus, aware of their inner thoughts, took a little child and put it by his side, 48 and said to them, ‘Whoever welcomes this child in my name welcomes me, and whoever welcomes me welcomes the one who sent me; for the least among all of you is the greatest.’
49 John answered, ‘Master, we saw someone casting out demons in your name, and we tried to stop him, because he does not follow with us.’ 50 But Jesus said to him, ‘Do not stop him; for whoever is not against you is for you.’
‘Whoever welcomes this child in my name welcomes me’ (Luke 9: 48) … a window in Saint Mary’s, Lichfield (Photograph: Patrick Comerford)
Today’s Reflection:
Today’s lectionary reading for the Eucharist is Saint Luke’s account of the story we heard in our Gospel reading (Mark 9: 30-37) the Sunday before last (22 September 2024, Trinity XVII).
In Saint Matthew’s version of this story (Matthew 18: 1-14), Christ tells us: ‘Take care that you do not despise one of these little ones; for, I tell you, in heaven their angels continually see the face of my Father in heaven … it is not the will of your Father in heaven that one of these little ones should be lost’ (verses 10-14).
The disciples are arguing with one another about who is the greatest. Christ tells them not to seek position or prestige.
Then, one of the Twelve, John, complains that someone who is not part of their inner circle has been casting out demons in Christ’s name. But did the disciples welcome him? Did they praise him for bringing comfort to distressed people and for restoring them to a good quality of life?
Christ now rebukes the disciples for attempting to stop this exorcist who is curing in his name, a reminder that that God can work through those who are not followers of Christ.
Instead of being smug among themselves, arguing about who among them was the greatest, the disciples should have been like this man, bringing comfort to those who were in trouble, looking after those who were thirsty both physically and spiritually.
I worked for almost 30 years as a journalist with The Irish Times. The Revd Stephen Hilliard, a former colleague there who was ordained a priest in the Church of Ireland a few years before me, was visiting me one evening. I asked him what the difference was between the two – being a journalist and being a priest. With a wry grin, he told me: ‘Not much. I continue to afflict the comfortable and comfort the afflicted.’
Perhaps not in so many words, but in this Gospel reading Christ tells the disciples that they should be afflicting the comfortable and comforting the afflicted.
Between 2010 and 2023, the number of children displaced by conflict and violence increased from 18.8 million to 47.2 million. Between 2018 and 2023, more than 2 million children were born into refugee status. In figures calculated in April 2024, almost 7.5 million children in Syria needed humanitarian assistance, while the number of children in Sudan in need of humanitarian aid was put at about 14 million.
In the year ending September 2022, the UK received 5,152 applications for asylum from unaccompanied children. It is estimated that 1.5 million children are born into refugee status, meaning that their parents fled and became refugees before they were born.
All children in these situations and these dilemmas are innocent. There is no such thing as a child being the wrong person in the wrong place at the wrong time. All children should feel safe, in all places, at all times.
But we need to move from Victorian Sunday School images of the children being brought to Jesus, and ask how he would hear the voices of children today and how he would respond to those who plot to do them harm.
Would Christ challenge us to hear the cries of children in the refugee camps, the children needing humanitarian assistance, the children in the slums, in the sweat shops and in the brothels, to hear the cries of children suffering behind the bedroom doors of respectability?
‘Whoever welcomes this child in my name welcomes me’ (Luke 9: 48) … a window by Alfred Bell of Clayton and Bell in Saint John-at-Hampstead (Photograph: Patrick Comerford, 2024)
Today’s Prayers (Monday 30 September 2024):
The theme this week in ‘Pray With the World Church’, the Prayer Diary of the Anglican mission agency USPG (United Society Partners in the Gospel), is ‘One God: many languages.’ This theme was introduced yesterday in reflections by Rachel Weller, Communications Officer, USPG.
The USPG Prayer Diary today (Monday 30 September 2024, International Translation Day) invites us to pray in these words:
We lift in prayer all those who dedicate their skills and talents to the vital work of translation and interpretation, asking for God’s guidance and inspiration as they bridge linguistic gaps and foster communication among nations.
The Collect:
Almighty and everlasting God,
increase in us your gift of faith
that, forsaking what lies behind
and reaching out to that which is before,
we may run the way of your commandments
and win the crown of everlasting joy;
through Jesus Christ your Son our Lord,
who is alive and reigns with you,
in the unity of the Holy Spirit,
one God, now and for ever.
The Post Communion Prayer:
We praise and thank you, O Christ, for this sacred feast:
for here we receive you,
here the memory of your passion is renewed,
here our minds are filled with grace,
and here a pledge of future glory is given,
when we shall feast at that table where you reign
with all your saints for ever.
Additional Collect:
God, our judge and saviour,
teach us to be open to your truth
and to trust in your love,
that we may live each day
with confidence in the salvation which is given
through Jesus Christ our Lord.
Yesterday’s reflection
Continued tomorrow
Jesus … took a little child and put it by his side (Luke 9: 47) … a detail in the window in the Comberford Chapel in Saint Editha’s Church, Tamworth (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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29 September 2024
Two Saint Johns in Hampstead:
Who was the patron saint?
Which is church or chapel?
Saint John-at-Hampstead claims to stand on a site used for worship since the year 986 (Photograph: Patrick Comerford, 2024)
Patrick Comerford
There are two Church of England churches in Hampstead that are named Saint John: Saint John-at-Hampstead which is dedicated to Saint John the Evangelist, and Saint John’s Downshire Hill.
Saint John-at-Hampstead, the ancient parish church on Church Row, is said to be dedicated to Saint John the Evangelist, although this was only clarified by the Bishop of London in 1917.
Saint John’s Downshire Hill is not actually a parish church but a proprietary chapel. It is the only proprietary chapel remaining in the Diocese of London, and one of only a handful of proprietary chapels in the Church of England.
The two Saint John’s in Hampstead have very different histories, styles of worship and values. To add to the confusion, but there is also a debate about the patronage of Saint John-at-Hampstead: was the saint in question Saint John the Baptist or Saint John the Evangelist?
I decided to visit both churches – or the church and the chapel – when I was in Hampstead last week.
Saint John-at-Hampstead celebrated 1,000 years of its history in 1986 (Photograph: Patrick Comerford, 2024)
Saint John-at-Hampstead traces its history back to the year 986, when Hampstead was granted by charter to the Benedictine monks of Westminster Abbey. The charter is of uncertain authenticity; nevertheless, Saint John-at-Hampstead celebrated 1,000 years of its history in 1986.
The Domesday Book makes no reference to monks, chapels or churches in Hampstead, although it acknowledges the link with Westminster Abbey.
Christopher Wade, in Hampstead Past suggests the old church in Hampstead illustrated in an engraving by John Goldar may have been built ca 1220-1240, with a surviving Romanesque two-light East Window.
The Benedictine monks may have built a church or chapel in Hampstead, but there is no record of one until 1312, when John de Neuport was the priest in Hampstead, and 1333, when there is a reference to a chapel dedicated to the Blessed Virgin Mary. Hampstead and the parish of Hendon were linked and sometimes only one priest served both.
Hampstead was on the pilgrim route to St Albans and the Knights Templar held land in Hampstead in the mid-13th century, while the Knights Hospitallers leased the manor for 100 years until 1535.
Inside Saint John-at-Hampstead facing west, the liturgical east (Photograph: Patrick Comerford, 2024)
At the dissolution of the monastic houses during the Tudor reformation, the Benedictine foundation of Westminster Abbey was replaced by the short-lived Diocese of Westminster, with Thomas Thirlby as the first and only Bishop of Westminster (1540-1550).
Thirlby was also the rector of Hampstead, and appointed Thomas Chapelyne as vicar in 1545. But Chapelyne only stayed a year; he was replaced in 1546 by Richard Gardener, who may have stayed in Hampstead until 1558.
Edward VI suppressed the Diocese of Westminster in 1551 and granted the manor and benefice of Hampstead to Sir Thomas Wrothe. The church at that time was partly stone and partly timber, with a wooden tower. Wrothe lived in exile during Queen Mary’s reign. The manor passed to his son in 1606.
Baptist Hickes, later Lord Campden, on his death in 1629, re-endowed the church ‘for a preacher not for a priest.’ During the late 17th century the manor changed hands several times. It was held by the Hickes family, who had the titles of Lord Campden and Earl of Gainsborough until it was sold in 1707 to Sir William Langhorne, a former Governor of Madras. His father-in-law, the Revd Robert Warren, later became the Vicar of Hampstead in 1735.
Saint John-at-Hampstead facing east … the church has been realigned on a west/east axis (Photograph: Patrick Comerford, 2024)
Hampstead expanded and grew in popularity in the 18th century, with people visiting for its clean air and fresh waters. The church became inadequate for the needs of the growing population. It was in such a dangerous condition that it was declared unusable by 1744.
A new church was designed by John Sanderson, with a steeple at the east end as part of a cheaper plan as the land fell away sharply to the west. The central door did not exist then, and the congregation used two doors on either side of the main altar, while the area under the tower served as the vestry. The west door was intended as the main entrance but was largely unused except by the Lords of the Manor.
The church was consecrated on 8 October 1747 by the Bishop of Llandaff, John Gilbert, as commissary of the Bishop of London, Edmund Gibson, with a dedication to Saint John. It seems no one at the time specified which Saint John, and the parish continues to celebrate its Dedication Festival on 8 October rather than celebrating a patronal festival.
The copper spire was added ca 1783. An additional burial ground was bought across the street on Church Row in 1811 and consecrated on 26 June 1812.
Saint John-at-Hampstead was consecrated in 1747 by Bishop John Gilbert of Llandaff (Photograph: Patrick Comerford, 2024)
Saint John’s Downshire Hill opened on 26 October 1823. William Harness was the first minister there, but he left in 1825 and was followed by four ministers in succession, each staying only a short time.
John Wilcox arrived in 1832 and established the evangelical traditions of the church. But he faced stern opposition from Samuel White, the Vicar of Saint John-at-Hampstead. The new chapel was in White’s parish and his permission was needed for services and sermons in the parish.
White strongly opposed Wilcox’s Calvinist positions and took legal action to stop Wilcox officiating without his permission. But local feeling was on the side of Wilcox and the poet John Keats, who was living in Hampstead, described White as ‘the Person of Hampstead quarrelling with all the world.’
The decision of the court prevailed, and the new chapel closed until 1835, when Wilcox died and an alternative minister was found who had White’s approval: John Ayre remained there for 20 years until 1855.
The choir and high altar in Saint John-at-Hampstead … the interior was realigned and the altar was moved to the geographical west end in 1877-1878 (Photograph: Patrick Comerford, 2024)
Meanwhile, Saint John-at-Hampstead had become too small for the growing population of a burgeoning suburb and the building also needed extensive repairs. A plan was drawn up by Robert Hesketh in 1843 to extend the church 30 ft westwards, adding transepts and providing 524 extra seats.
The first Willis organ was built in the church in 1853, with Henry Willis himself as the organist.
Plans in 1871 proposed ‘beautifying and improving’ the church and demolishing the tower. But the plans were shelved following protests from leading artistic and literary figures of the day, including William Morris, Edward Burne-Jones, Holman Hunt, Ford Madox Brown, Anthony Trollope, George du Maurier, Coventry Patmore, FT Palgrave, George Gilbert Scott jr and others.
The trustees conceded, and instead the church was extended westwards in 1877-1878 under plans drawn by FP Cockerell. The inside was realigned and the altar was moved to the geographical west end. It could be said the church had been saved by the Pre-Raphaelites and the leading writers and architects of the day. The rebuilt church was consecrated by the Bishop of London on 1 June 1878.
The morning chapel or the Sacrament Chapel, dedicated to Saint Mary and Saint John, was designed by Temple Moore (Photograph: Patrick Comerford, 2024)
The Irish-born architect Temple Lushington Moore, who was born in Tullamore, Co Offaly, and who also the architect of Pusey House, Oxford.
Temple Moore redesigned the vestries in 1911-1912 and added a morning chapel, now the Sacrament Chapel, dedicated to Saint Mary and Saint John.
Saint John-at-Hampstead is said to be dedicated to Saint John the Evangelist, although this was only clarified in 1917 by the Bishop of London, Arthur Foley Winnington-Ingram.
Saint John the Baptist and Saint John the Evangelist on either side of ‘Christ in Glory’ above the high altar (Photograph: Patrick Comerford, 2024)
The cast iron gates and railings around the church came from Canons Park, Edgware, the home of the Duke of Chandos home and where Handel was the organist.
Inside, the church is oriented west/east rather than the traditional east/west alignment. The dark Victorian interior scheme was removed in 1958 and the original lighter scheme was reinstated.
The stained-glass windows over the altar at the west end (liturgical east) indicate the church’s ambivalence about which Saint John is named in the dedication: the windows show ‘Christ in Glory’ flanked by Saint John the Baptist and Saint John the Evangelist. They were designed by Ellis Wooldridge in 1884 and executed by Powells at a time when Powells were associated with the architect TG Jackson, who designed the choir stalls and the organ case. Many of the altar frontals in use today are the work of Barbara Thomson.
The pulpit in Saint John-at-Hampstead is from the 1745 church and was relocated in 1878 (Photograph: Patrick Comerford, 2024)
The pulpit is from the 1745 church. It was relocated in 1878, when it was lowered and the sounding board removed, with its pillars used to form part of the reredos behind the high altar.
The font incorporates the bowl of the 1745 font. Part of it was being removed to form the piscina in the Sacrament Chapel as a dedication to George Augustus Selwyn, first Bishop of New Zealand and later Bishop of Lichfield.
The altar piece in the Sacrament Chapel was painted by Donald Towner of Church Row, in memory of his mother. Towner used a local resident as the model for Mary, his nephew for John and his own mirror image for Christ.
The piscina in the Sacrament Chapel is a memorial to George Augustus Selwyn, first Bishop of New Zealand and later Bishop of Lichfield (Photograph: Patrick Comerford, 2024)
Alfred Bell of Clayton and Bell was a parishioner and was a churchwarden for 16 years. He designed the windows in the north and south aisles, most of them in memory of his children, in the 1870s and 1880s. The Virgin and Child in the north transept was used by Clayton and Bell to illustrate their trade brochure.
The window over the entrance doors depicting the Road to Emmaus was designed by Mary Temple Moore and was installed by Reginald Bell in 1929.
The memorials in the church include a bust of the poet John Keats, who lived in Hampstead before going to Rome where he died. The painter John Constable and John Harrison, inventor of the marine chronometer, are buried in the old churchyard.
John Harrison, inventor of the marine chronometer, is buried in the old churchyard at Saint John-at-Hampstead (Photograph: Patrick Comerford, 2024)
The writers and literary figures buried in Hampstead include: Eliza Acton, George Atherton Aitken, Walter Besant, Elizabeth Rundle Charles, Eleanor Farjeon and Evelyn Underhill; Penelope Fitzgerald, her father EV Knox, editor of Punch, and her mother Mary Knox, illustrator of the Mary Poppins stories by PL Travers; the Llewelyn Davies family whose children Jack and Peter inspired JM Barrie’s Peter Pan stories; and members of the du Maurier family.
Architects buried there include Temple Moore, George Gilbert Scott jr and Richard Norman Shaw. From the world of theatre, television and film are Peter Cook, Kay Kendall and Herbert Beerbohm Tree.
Among the political figures buried there are Hugh Gaitskell, Labour Party leader from 1955 until 1963, and his wife Dora, and the Irish-born suffragist and pacifist Eva Gore-Booth, who was born at Lissadell House, Co Sligo, and a sister of Constance Gore-Booth, Countess Markievicz.
Many writers, literary figures, political activists and architects are buried in Hampstead (Photograph: Patrick Comerford, 2024)
The Revd Carol Barrett Ford is the Vicar of Hampstead and the Area Dean of Camden. She is a former chaplain and acting dean of Saint John’s College, Cambridge.
The Revd Graham Dunn, the assistant curate in Hampstead since 2021, has been appointed the chaplain of Saint John’s College, Cambridge, from next month (October 2024).
Saint John-in-Hampstead aims to be an active, inclusive and growing community which worships, welcomes, learns and serves. Its vision statement is ‘Building an inclusive community of Christian love, faith, witness and action.’ The church is open daily from 9 am to 5 pm.
• The Sunday services are: Holy Communion (BCP), 8 am; Choral Holy Communion, 10:30 am; Choral Evensong, 5 pm. There is a mid-week Holy Communion on Wednesdays at 10:15.
Saint John the Baptist baptises Christ … one of the windows by Alfred Bell of Clayton and Bell in Saint John-at-Hampstead (Photograph: Patrick Comerford, 2024)
Tomorrow: Saint John’s Downshire Hill
Patrick Comerford
There are two Church of England churches in Hampstead that are named Saint John: Saint John-at-Hampstead which is dedicated to Saint John the Evangelist, and Saint John’s Downshire Hill.
Saint John-at-Hampstead, the ancient parish church on Church Row, is said to be dedicated to Saint John the Evangelist, although this was only clarified by the Bishop of London in 1917.
Saint John’s Downshire Hill is not actually a parish church but a proprietary chapel. It is the only proprietary chapel remaining in the Diocese of London, and one of only a handful of proprietary chapels in the Church of England.
The two Saint John’s in Hampstead have very different histories, styles of worship and values. To add to the confusion, but there is also a debate about the patronage of Saint John-at-Hampstead: was the saint in question Saint John the Baptist or Saint John the Evangelist?
I decided to visit both churches – or the church and the chapel – when I was in Hampstead last week.
Saint John-at-Hampstead celebrated 1,000 years of its history in 1986 (Photograph: Patrick Comerford, 2024)
Saint John-at-Hampstead traces its history back to the year 986, when Hampstead was granted by charter to the Benedictine monks of Westminster Abbey. The charter is of uncertain authenticity; nevertheless, Saint John-at-Hampstead celebrated 1,000 years of its history in 1986.
The Domesday Book makes no reference to monks, chapels or churches in Hampstead, although it acknowledges the link with Westminster Abbey.
Christopher Wade, in Hampstead Past suggests the old church in Hampstead illustrated in an engraving by John Goldar may have been built ca 1220-1240, with a surviving Romanesque two-light East Window.
The Benedictine monks may have built a church or chapel in Hampstead, but there is no record of one until 1312, when John de Neuport was the priest in Hampstead, and 1333, when there is a reference to a chapel dedicated to the Blessed Virgin Mary. Hampstead and the parish of Hendon were linked and sometimes only one priest served both.
Hampstead was on the pilgrim route to St Albans and the Knights Templar held land in Hampstead in the mid-13th century, while the Knights Hospitallers leased the manor for 100 years until 1535.
Inside Saint John-at-Hampstead facing west, the liturgical east (Photograph: Patrick Comerford, 2024)
At the dissolution of the monastic houses during the Tudor reformation, the Benedictine foundation of Westminster Abbey was replaced by the short-lived Diocese of Westminster, with Thomas Thirlby as the first and only Bishop of Westminster (1540-1550).
Thirlby was also the rector of Hampstead, and appointed Thomas Chapelyne as vicar in 1545. But Chapelyne only stayed a year; he was replaced in 1546 by Richard Gardener, who may have stayed in Hampstead until 1558.
Edward VI suppressed the Diocese of Westminster in 1551 and granted the manor and benefice of Hampstead to Sir Thomas Wrothe. The church at that time was partly stone and partly timber, with a wooden tower. Wrothe lived in exile during Queen Mary’s reign. The manor passed to his son in 1606.
Baptist Hickes, later Lord Campden, on his death in 1629, re-endowed the church ‘for a preacher not for a priest.’ During the late 17th century the manor changed hands several times. It was held by the Hickes family, who had the titles of Lord Campden and Earl of Gainsborough until it was sold in 1707 to Sir William Langhorne, a former Governor of Madras. His father-in-law, the Revd Robert Warren, later became the Vicar of Hampstead in 1735.
Saint John-at-Hampstead facing east … the church has been realigned on a west/east axis (Photograph: Patrick Comerford, 2024)
Hampstead expanded and grew in popularity in the 18th century, with people visiting for its clean air and fresh waters. The church became inadequate for the needs of the growing population. It was in such a dangerous condition that it was declared unusable by 1744.
A new church was designed by John Sanderson, with a steeple at the east end as part of a cheaper plan as the land fell away sharply to the west. The central door did not exist then, and the congregation used two doors on either side of the main altar, while the area under the tower served as the vestry. The west door was intended as the main entrance but was largely unused except by the Lords of the Manor.
The church was consecrated on 8 October 1747 by the Bishop of Llandaff, John Gilbert, as commissary of the Bishop of London, Edmund Gibson, with a dedication to Saint John. It seems no one at the time specified which Saint John, and the parish continues to celebrate its Dedication Festival on 8 October rather than celebrating a patronal festival.
The copper spire was added ca 1783. An additional burial ground was bought across the street on Church Row in 1811 and consecrated on 26 June 1812.
Saint John-at-Hampstead was consecrated in 1747 by Bishop John Gilbert of Llandaff (Photograph: Patrick Comerford, 2024)
Saint John’s Downshire Hill opened on 26 October 1823. William Harness was the first minister there, but he left in 1825 and was followed by four ministers in succession, each staying only a short time.
John Wilcox arrived in 1832 and established the evangelical traditions of the church. But he faced stern opposition from Samuel White, the Vicar of Saint John-at-Hampstead. The new chapel was in White’s parish and his permission was needed for services and sermons in the parish.
White strongly opposed Wilcox’s Calvinist positions and took legal action to stop Wilcox officiating without his permission. But local feeling was on the side of Wilcox and the poet John Keats, who was living in Hampstead, described White as ‘the Person of Hampstead quarrelling with all the world.’
The decision of the court prevailed, and the new chapel closed until 1835, when Wilcox died and an alternative minister was found who had White’s approval: John Ayre remained there for 20 years until 1855.
The choir and high altar in Saint John-at-Hampstead … the interior was realigned and the altar was moved to the geographical west end in 1877-1878 (Photograph: Patrick Comerford, 2024)
Meanwhile, Saint John-at-Hampstead had become too small for the growing population of a burgeoning suburb and the building also needed extensive repairs. A plan was drawn up by Robert Hesketh in 1843 to extend the church 30 ft westwards, adding transepts and providing 524 extra seats.
The first Willis organ was built in the church in 1853, with Henry Willis himself as the organist.
Plans in 1871 proposed ‘beautifying and improving’ the church and demolishing the tower. But the plans were shelved following protests from leading artistic and literary figures of the day, including William Morris, Edward Burne-Jones, Holman Hunt, Ford Madox Brown, Anthony Trollope, George du Maurier, Coventry Patmore, FT Palgrave, George Gilbert Scott jr and others.
The trustees conceded, and instead the church was extended westwards in 1877-1878 under plans drawn by FP Cockerell. The inside was realigned and the altar was moved to the geographical west end. It could be said the church had been saved by the Pre-Raphaelites and the leading writers and architects of the day. The rebuilt church was consecrated by the Bishop of London on 1 June 1878.
The morning chapel or the Sacrament Chapel, dedicated to Saint Mary and Saint John, was designed by Temple Moore (Photograph: Patrick Comerford, 2024)
The Irish-born architect Temple Lushington Moore, who was born in Tullamore, Co Offaly, and who also the architect of Pusey House, Oxford.
Temple Moore redesigned the vestries in 1911-1912 and added a morning chapel, now the Sacrament Chapel, dedicated to Saint Mary and Saint John.
Saint John-at-Hampstead is said to be dedicated to Saint John the Evangelist, although this was only clarified in 1917 by the Bishop of London, Arthur Foley Winnington-Ingram.
Saint John the Baptist and Saint John the Evangelist on either side of ‘Christ in Glory’ above the high altar (Photograph: Patrick Comerford, 2024)
The cast iron gates and railings around the church came from Canons Park, Edgware, the home of the Duke of Chandos home and where Handel was the organist.
Inside, the church is oriented west/east rather than the traditional east/west alignment. The dark Victorian interior scheme was removed in 1958 and the original lighter scheme was reinstated.
The stained-glass windows over the altar at the west end (liturgical east) indicate the church’s ambivalence about which Saint John is named in the dedication: the windows show ‘Christ in Glory’ flanked by Saint John the Baptist and Saint John the Evangelist. They were designed by Ellis Wooldridge in 1884 and executed by Powells at a time when Powells were associated with the architect TG Jackson, who designed the choir stalls and the organ case. Many of the altar frontals in use today are the work of Barbara Thomson.
The pulpit in Saint John-at-Hampstead is from the 1745 church and was relocated in 1878 (Photograph: Patrick Comerford, 2024)
The pulpit is from the 1745 church. It was relocated in 1878, when it was lowered and the sounding board removed, with its pillars used to form part of the reredos behind the high altar.
The font incorporates the bowl of the 1745 font. Part of it was being removed to form the piscina in the Sacrament Chapel as a dedication to George Augustus Selwyn, first Bishop of New Zealand and later Bishop of Lichfield.
The altar piece in the Sacrament Chapel was painted by Donald Towner of Church Row, in memory of his mother. Towner used a local resident as the model for Mary, his nephew for John and his own mirror image for Christ.
The piscina in the Sacrament Chapel is a memorial to George Augustus Selwyn, first Bishop of New Zealand and later Bishop of Lichfield (Photograph: Patrick Comerford, 2024)
Alfred Bell of Clayton and Bell was a parishioner and was a churchwarden for 16 years. He designed the windows in the north and south aisles, most of them in memory of his children, in the 1870s and 1880s. The Virgin and Child in the north transept was used by Clayton and Bell to illustrate their trade brochure.
The window over the entrance doors depicting the Road to Emmaus was designed by Mary Temple Moore and was installed by Reginald Bell in 1929.
The memorials in the church include a bust of the poet John Keats, who lived in Hampstead before going to Rome where he died. The painter John Constable and John Harrison, inventor of the marine chronometer, are buried in the old churchyard.
John Harrison, inventor of the marine chronometer, is buried in the old churchyard at Saint John-at-Hampstead (Photograph: Patrick Comerford, 2024)
The writers and literary figures buried in Hampstead include: Eliza Acton, George Atherton Aitken, Walter Besant, Elizabeth Rundle Charles, Eleanor Farjeon and Evelyn Underhill; Penelope Fitzgerald, her father EV Knox, editor of Punch, and her mother Mary Knox, illustrator of the Mary Poppins stories by PL Travers; the Llewelyn Davies family whose children Jack and Peter inspired JM Barrie’s Peter Pan stories; and members of the du Maurier family.
Architects buried there include Temple Moore, George Gilbert Scott jr and Richard Norman Shaw. From the world of theatre, television and film are Peter Cook, Kay Kendall and Herbert Beerbohm Tree.
Among the political figures buried there are Hugh Gaitskell, Labour Party leader from 1955 until 1963, and his wife Dora, and the Irish-born suffragist and pacifist Eva Gore-Booth, who was born at Lissadell House, Co Sligo, and a sister of Constance Gore-Booth, Countess Markievicz.
Many writers, literary figures, political activists and architects are buried in Hampstead (Photograph: Patrick Comerford, 2024)
The Revd Carol Barrett Ford is the Vicar of Hampstead and the Area Dean of Camden. She is a former chaplain and acting dean of Saint John’s College, Cambridge.
The Revd Graham Dunn, the assistant curate in Hampstead since 2021, has been appointed the chaplain of Saint John’s College, Cambridge, from next month (October 2024).
Saint John-in-Hampstead aims to be an active, inclusive and growing community which worships, welcomes, learns and serves. Its vision statement is ‘Building an inclusive community of Christian love, faith, witness and action.’ The church is open daily from 9 am to 5 pm.
• The Sunday services are: Holy Communion (BCP), 8 am; Choral Holy Communion, 10:30 am; Choral Evensong, 5 pm. There is a mid-week Holy Communion on Wednesdays at 10:15.
Saint John the Baptist baptises Christ … one of the windows by Alfred Bell of Clayton and Bell in Saint John-at-Hampstead (Photograph: Patrick Comerford, 2024)
Tomorrow: Saint John’s Downshire Hill
Daily prayer in Ordinary Time 2024:
141, Sunday 29 September 2024
‘Archangel Michael The Protector’ by Emily Young at Saint Pancras Church, London … today is the Feast of Saint Michael and All Angels (Photograph: Patrick Comerford)
Patrick Comerford
We are continuing in Ordinary Time in the Church Calendar and today is the Eighteenth Sunday after Trinity (Trinity XVIII) and the Feast of Saint Michael and All Angels (29 September).
Later this morning, I hope to be present at the Parish Eucharist in the Church of Saint Mary and Saint Giles in Stony Stratford, which is also the Harvest Eucharist. But this morning, before today begins, I am taking some quiet time to give thanks, and for reflection, prayer and reading in these ways:
1, today’s Gospel reading;
2, a reflection on the Gospel reading;
3, a prayer from the USPG prayer diary;
4, the Collects and Post-Communion prayer of the day.
Sir Jacob Epstein’s Saint Michael and the Devil on the façade of Coventry Cathedral (Photograph: Patrick Comerford)
John 4: 47-51 (NRSVA):
47 When Jesus saw Nathanael coming towards him, he said of him, ‘Here is truly an Israelite in whom there is no deceit!’ 48 Nathanael asked him, ‘Where did you come to know me?’ Jesus answered, ‘I saw you under the fig tree before Philip called you.’ 49 Nathanael replied, ‘Rabbi, you are the Son of God! You are the King of Israel!’ 50 Jesus answered, ‘Do you believe because I told you that I saw you under the fig tree? You will see greater things than these.’ 51 And he said to him, ‘Very truly, I tell you, you will see heaven opened and the angels of God ascending and descending upon the Son of Man.’
A statue of Saint Michael on the wall of Saint Michael’s Church, Lichfield (Photograph: Patrick Comerford)
Today’s Reflection:
There are few references to Saint Michael in the Bible (Daniel 10: 13, 21, 12: 1; Jude 9; Revelation 12: 7-9; see also Revelation 20: 1-3). Yet he has inspired great works in our culture, from Milton’s Paradise Lost to Jacob Epstein’s powerful sculpture at Coventry Cathedral.
But culturally, this has been an important day for the Church: the beginning of terms, the end of the harvest season, the settling of accounts. It is the beginning of autumn, and we were told as children not to pick blackberries after this day.
In all our imagery, in all our poetry, Saint Michael is depicted and seen as crushing or slaying Satan, often Satan as a dragon.
Our ideas of dragons are also culturally conditioned. For the Chinese, dragons symbolise gift and blessing, and represent the majesty of the imperial household.
In most European languages, the word for a dragon is derived from the same Greek word used for a serpent. In European folklore and mythology, legendary dragons have symbolised danger and evil. We are warned in the Greek classics against sowing dragon’s teeth.
Most of us in life meet our own dragons and know how they are going to ensnare us if we do not face them and slay them.
Because of the Blitz during World War II, the poet Philip Larkin (1922-1985) spent some of his late teen and early adult years living with his father’s family, close to Saint Michael’s Church on Greenhill in Lichfield, where generations of the Larkin family are buried. On the north wall of the church, in a large, looming sculpted image, Saint Michael is crushing the dragon under his feet.
Memories of this image and this churchyard may have inspired the imagery in at least two poems written by Larkin some years later. In his poem ‘At the chiming of light upon sleep’, first drafted on this day 78 years ago [29 September 1946], Larkin links Michaelmas and a lost paradise with chances and opportunities he failed to take in his youth.
In his poem ‘To Failure,’ written a year before he moved to Belfast, Larkin realises that failure does not come ‘dramatically, with dragons / that rear up with my life between their paws.’ Failure comes with more subtlety in those wasted opportunities and lost chances.
Throughout life, we have your own dragons to slay. We must not mistake them for old friends. We have opportunities and chances to do that, and as the days pass quicker than we can count, we can find you have wasted those opportunities and lost those chances.
We must get to know our dragons. But we must also pay heed to the opportunities that pass far too quickly. And take the opportunities we are presented with, like Nathanael waiting beneath the fig tree, to prepare for the next stage in life and ministry.
Even when there appear to be few dramatic conflicts with our inner dragons, in the years to come we may regret not paying attention to the little opportunities, the minor details of life. We may not notice the changes, the days passing more quickly, and the years pass by.
Philip Larkin writes:
It is these sunless afternoons, I find,
Install you at my elbow like a bore.
The chestnut trees are caked with silence. I’m
Aware the days pass quicker than before,
Smell staler too. And once they fall behind
They look like ruin. (You have been here some time.)
Sitting under his tree, Nathanael was aware of the opportunities and did not allow them to pass him by. And when we seize these opportunities we may find ourselves ready to ‘see heaven opened and the angels of God ascending and descending upon the Son of Man’ (John 1: 51).
Dragons on Chinese silk ties … our ideas of dragons are also culturally conditioned (Photograph: Patrick Comerford)
Today’s Prayers (Sunday 29 September 2024):
The theme this week in ‘Pray With the World Church’, the Prayer Diary of the Anglican mission agency USPG (United Society Partners in the Gospel), is ‘One God: many languages.’ This theme is introduced today in reflections by Rachel Weller, Communications Officer, USPG:
Whenever we share the Eucharist together in the USPG office, staff are invited to say the Lord’s Prayer in a language of their choice. Together we pray to the God of all nations unlimited by language: ‘Our Father in heaven … laat u Naam geheilig word … venha o teu reino …’ I’m reminded at such times of God’s power to unite believers across the world, something USPG mirrors in its aim to make connections between the churches of the Anglican Communion.
Although the origins of Anglicanism are resoundingly British, being Anglican does not equate to being English. The Bible is God’s Word to us and is something that everyone should be able to understand for themselves. There is power in encountering Jesus through scripture in your own language. After all, how do the crowd react to the fluency of the apostles at Pentecost? In amazement and astonishment.
This prayer diary is now available in two languages, and we hope to continue to grow this portfolio. Find out more: uspg.org.uk/pray
The USPG Prayer Diary today (Sunday 29 September 2024) invites us to pray in these words:
Everlasting God, you have ordained and constituted the ministries of angels and mortals in a wonderful order. Grant that as your holy angels always serve you in heaven, so, at your command, they may help and defend us on earth. Through Jesus Christ your Son our Lord, Amen.
The Collect:
Everlasting God,
you have ordained and constituted
the ministries of angels and mortals in a wonderful order:
grant that as your holy angels always serve you in heaven,
so, at your command,
they may help and defend us on earth;
through Jesus Christ your Son our Lord,
who is alive and reigns with you,
in the unity of the Holy Spirit,
one God, now and for ever.
The Post Communion Prayer:
Lord of heaven,
in this eucharist you have brought us near
to an innumerable company of angels
and to the spirits of the saints made perfect:
as in this food of our earthly pilgrimage
we have shared their fellowship,
so may we come to share their joy in heaven;
through Jesus Christ our Lord.
Yesterday’s reflection
Continued tomorrow
Saint Michael depicted in the mosaic floor of Minton’s tesserae and tiles in the chancel of Saint Michael’s Church, Cornhill, London (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
Saint Michael (centre) with Saint Gabriel and Saint Raphael, in the west window in Saint Michael’s Church, St Albans (Photograph: Patrick Comerford, 2024)
Patrick Comerford
We are continuing in Ordinary Time in the Church Calendar and today is the Eighteenth Sunday after Trinity (Trinity XVIII) and the Feast of Saint Michael and All Angels (29 September).
Later this morning, I hope to be present at the Parish Eucharist in the Church of Saint Mary and Saint Giles in Stony Stratford, which is also the Harvest Eucharist. But this morning, before today begins, I am taking some quiet time to give thanks, and for reflection, prayer and reading in these ways:
1, today’s Gospel reading;
2, a reflection on the Gospel reading;
3, a prayer from the USPG prayer diary;
4, the Collects and Post-Communion prayer of the day.
Sir Jacob Epstein’s Saint Michael and the Devil on the façade of Coventry Cathedral (Photograph: Patrick Comerford)
John 4: 47-51 (NRSVA):
47 When Jesus saw Nathanael coming towards him, he said of him, ‘Here is truly an Israelite in whom there is no deceit!’ 48 Nathanael asked him, ‘Where did you come to know me?’ Jesus answered, ‘I saw you under the fig tree before Philip called you.’ 49 Nathanael replied, ‘Rabbi, you are the Son of God! You are the King of Israel!’ 50 Jesus answered, ‘Do you believe because I told you that I saw you under the fig tree? You will see greater things than these.’ 51 And he said to him, ‘Very truly, I tell you, you will see heaven opened and the angels of God ascending and descending upon the Son of Man.’
A statue of Saint Michael on the wall of Saint Michael’s Church, Lichfield (Photograph: Patrick Comerford)
Today’s Reflection:
There are few references to Saint Michael in the Bible (Daniel 10: 13, 21, 12: 1; Jude 9; Revelation 12: 7-9; see also Revelation 20: 1-3). Yet he has inspired great works in our culture, from Milton’s Paradise Lost to Jacob Epstein’s powerful sculpture at Coventry Cathedral.
But culturally, this has been an important day for the Church: the beginning of terms, the end of the harvest season, the settling of accounts. It is the beginning of autumn, and we were told as children not to pick blackberries after this day.
In all our imagery, in all our poetry, Saint Michael is depicted and seen as crushing or slaying Satan, often Satan as a dragon.
Our ideas of dragons are also culturally conditioned. For the Chinese, dragons symbolise gift and blessing, and represent the majesty of the imperial household.
In most European languages, the word for a dragon is derived from the same Greek word used for a serpent. In European folklore and mythology, legendary dragons have symbolised danger and evil. We are warned in the Greek classics against sowing dragon’s teeth.
Most of us in life meet our own dragons and know how they are going to ensnare us if we do not face them and slay them.
Because of the Blitz during World War II, the poet Philip Larkin (1922-1985) spent some of his late teen and early adult years living with his father’s family, close to Saint Michael’s Church on Greenhill in Lichfield, where generations of the Larkin family are buried. On the north wall of the church, in a large, looming sculpted image, Saint Michael is crushing the dragon under his feet.
Memories of this image and this churchyard may have inspired the imagery in at least two poems written by Larkin some years later. In his poem ‘At the chiming of light upon sleep’, first drafted on this day 78 years ago [29 September 1946], Larkin links Michaelmas and a lost paradise with chances and opportunities he failed to take in his youth.
In his poem ‘To Failure,’ written a year before he moved to Belfast, Larkin realises that failure does not come ‘dramatically, with dragons / that rear up with my life between their paws.’ Failure comes with more subtlety in those wasted opportunities and lost chances.
Throughout life, we have your own dragons to slay. We must not mistake them for old friends. We have opportunities and chances to do that, and as the days pass quicker than we can count, we can find you have wasted those opportunities and lost those chances.
We must get to know our dragons. But we must also pay heed to the opportunities that pass far too quickly. And take the opportunities we are presented with, like Nathanael waiting beneath the fig tree, to prepare for the next stage in life and ministry.
Even when there appear to be few dramatic conflicts with our inner dragons, in the years to come we may regret not paying attention to the little opportunities, the minor details of life. We may not notice the changes, the days passing more quickly, and the years pass by.
Philip Larkin writes:
It is these sunless afternoons, I find,
Install you at my elbow like a bore.
The chestnut trees are caked with silence. I’m
Aware the days pass quicker than before,
Smell staler too. And once they fall behind
They look like ruin. (You have been here some time.)
Sitting under his tree, Nathanael was aware of the opportunities and did not allow them to pass him by. And when we seize these opportunities we may find ourselves ready to ‘see heaven opened and the angels of God ascending and descending upon the Son of Man’ (John 1: 51).
Dragons on Chinese silk ties … our ideas of dragons are also culturally conditioned (Photograph: Patrick Comerford)
Today’s Prayers (Sunday 29 September 2024):
The theme this week in ‘Pray With the World Church’, the Prayer Diary of the Anglican mission agency USPG (United Society Partners in the Gospel), is ‘One God: many languages.’ This theme is introduced today in reflections by Rachel Weller, Communications Officer, USPG:
Whenever we share the Eucharist together in the USPG office, staff are invited to say the Lord’s Prayer in a language of their choice. Together we pray to the God of all nations unlimited by language: ‘Our Father in heaven … laat u Naam geheilig word … venha o teu reino …’ I’m reminded at such times of God’s power to unite believers across the world, something USPG mirrors in its aim to make connections between the churches of the Anglican Communion.
Although the origins of Anglicanism are resoundingly British, being Anglican does not equate to being English. The Bible is God’s Word to us and is something that everyone should be able to understand for themselves. There is power in encountering Jesus through scripture in your own language. After all, how do the crowd react to the fluency of the apostles at Pentecost? In amazement and astonishment.
This prayer diary is now available in two languages, and we hope to continue to grow this portfolio. Find out more: uspg.org.uk/pray
The USPG Prayer Diary today (Sunday 29 September 2024) invites us to pray in these words:
Everlasting God, you have ordained and constituted the ministries of angels and mortals in a wonderful order. Grant that as your holy angels always serve you in heaven, so, at your command, they may help and defend us on earth. Through Jesus Christ your Son our Lord, Amen.
The Collect:
Everlasting God,
you have ordained and constituted
the ministries of angels and mortals in a wonderful order:
grant that as your holy angels always serve you in heaven,
so, at your command,
they may help and defend us on earth;
through Jesus Christ your Son our Lord,
who is alive and reigns with you,
in the unity of the Holy Spirit,
one God, now and for ever.
The Post Communion Prayer:
Lord of heaven,
in this eucharist you have brought us near
to an innumerable company of angels
and to the spirits of the saints made perfect:
as in this food of our earthly pilgrimage
we have shared their fellowship,
so may we come to share their joy in heaven;
through Jesus Christ our Lord.
Yesterday’s reflection
Continued tomorrow
Saint Michael depicted in the mosaic floor of Minton’s tesserae and tiles in the chancel of Saint Michael’s Church, Cornhill, London (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
Saint Michael (centre) with Saint Gabriel and Saint Raphael, in the west window in Saint Michael’s Church, St Albans (Photograph: Patrick Comerford, 2024)
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28 September 2024
The ‘Mystery Head of
Hampstead’: a landmark
sculpture that continues
to puzzle classical experts
The ‘Mystery Head of Hampstead’ in a front garden in Ellerdale Road (Photograph: Patrick Comerford, 2024)
Patrick Comerford
I was wandering around Hampstead and Finchley in north London earlier this week, in search of the London Jewish Mural, synagogues, churches, street art and the places where TS Eliot was married and lived for a few short years during World War I.
To my surprise, in a front garden in Ellerdale Road, I unexpectedly came across what has become known as the ‘Mystery Head of Hampstead’, a sculpture that become something of niche landmark in Hampstead.
When I photographed the sculpture and posted it on social media, there was a curious response, with many friends and contacts asking about the head, where it had come from and who was the artist or sculptor. It truly was the ‘Mystery Head of Hampstead’, and I had to dig deeper and find out more about it.
The imposing three-metre-high head has been in Ellerdale Road for more than 25 years and seems to be a former stage prop.
The story of the ‘Mystery Head of Hampstead’ goes about 25 years, when the then owner of the house Ellerdale Road was driving past a scrapyard and saw the enormous head. When he asked the proprietor of the scrapyard about it, he was told it was a prop from a production of Shakespeare at the Lyric Hammersmith Theatre and had been thrown out.
He bought the head for about £100 and brought back to his home in Hampstead, although it is not quite clear how it fitted into his car or how he fitted it up in his front garden.
The head soon became something of a landmark as passers-by noticed it in his front garden.
Most people seem to think it is made of stone, but a closer look shows that it made of fibreglass.
The head in Ellerdale Road toppled over in high winds five years ago (2019), and the nose was dented or broken and needed repairs. It remained wrapped in blue tarpaulin for weeks awaiting repairs, sparking concerns from neighbours who were worried that they might lose what has become a beloved landmark.
The landmark head remains in its front garden setting – and it remains a mystery. Nobody knows which Shakespeare play it was used for, and when the Lyric Theatre was approached by the Camden New Journal, it was unable to identify it.
Shakespeare’s plays with classical Roman settings plays include Julius Caesar, Coriolanus and Antony and Cleopatra. But when Camden New Journal spoke to academicss at University College London, they admitted they were baffled over who the head is based on.
Dr Mairéad McAuley, a lecturer in Classics at UCL, told the Camden New Journal: ‘The hair and the fillet (head band) look vaguely Greek. It doesn’t look like it’s a Roman emperor to me.’
Professor Jeremy Tanner, Professor of the Institute of Archaeology was even more uncertain: ‘This is a fascinating specimen, if a little horrible – it is not closely after any ancient statue type. There is no specific iconography here that would suggest an identity, and the face broadening as one goes down onto a very heavy chin is not at all classical looking.’
Professor Gesine Manuwald of UCL told the Camden New Journal: ‘If it is indeed a prop from a Shakespeare play, it could have been used in one of his plays with a classical theme, like Julius Caesar. To me it looks as if the size and shape of the head is meant to look like the Colossus of Constantine, yet applied to another individual, maybe reminiscent of portraits of empresses of the Roman imperial period.’
So, although the ‘Mystery Head of Hampstead’ remains a niche landmark in Hampstead, it also remains a dramatic mystery too and continues to confound and baffle the experts.
The imposing three-metre-high head has been in Ellerdale Road for more than 25 years and may have been a stage prop (Photograph: Patrick Comerford, 2024)
Patrick Comerford
I was wandering around Hampstead and Finchley in north London earlier this week, in search of the London Jewish Mural, synagogues, churches, street art and the places where TS Eliot was married and lived for a few short years during World War I.
To my surprise, in a front garden in Ellerdale Road, I unexpectedly came across what has become known as the ‘Mystery Head of Hampstead’, a sculpture that become something of niche landmark in Hampstead.
When I photographed the sculpture and posted it on social media, there was a curious response, with many friends and contacts asking about the head, where it had come from and who was the artist or sculptor. It truly was the ‘Mystery Head of Hampstead’, and I had to dig deeper and find out more about it.
The imposing three-metre-high head has been in Ellerdale Road for more than 25 years and seems to be a former stage prop.
The story of the ‘Mystery Head of Hampstead’ goes about 25 years, when the then owner of the house Ellerdale Road was driving past a scrapyard and saw the enormous head. When he asked the proprietor of the scrapyard about it, he was told it was a prop from a production of Shakespeare at the Lyric Hammersmith Theatre and had been thrown out.
He bought the head for about £100 and brought back to his home in Hampstead, although it is not quite clear how it fitted into his car or how he fitted it up in his front garden.
The head soon became something of a landmark as passers-by noticed it in his front garden.
Most people seem to think it is made of stone, but a closer look shows that it made of fibreglass.
The head in Ellerdale Road toppled over in high winds five years ago (2019), and the nose was dented or broken and needed repairs. It remained wrapped in blue tarpaulin for weeks awaiting repairs, sparking concerns from neighbours who were worried that they might lose what has become a beloved landmark.
The landmark head remains in its front garden setting – and it remains a mystery. Nobody knows which Shakespeare play it was used for, and when the Lyric Theatre was approached by the Camden New Journal, it was unable to identify it.
Shakespeare’s plays with classical Roman settings plays include Julius Caesar, Coriolanus and Antony and Cleopatra. But when Camden New Journal spoke to academicss at University College London, they admitted they were baffled over who the head is based on.
Dr Mairéad McAuley, a lecturer in Classics at UCL, told the Camden New Journal: ‘The hair and the fillet (head band) look vaguely Greek. It doesn’t look like it’s a Roman emperor to me.’
Professor Jeremy Tanner, Professor of the Institute of Archaeology was even more uncertain: ‘This is a fascinating specimen, if a little horrible – it is not closely after any ancient statue type. There is no specific iconography here that would suggest an identity, and the face broadening as one goes down onto a very heavy chin is not at all classical looking.’
Professor Gesine Manuwald of UCL told the Camden New Journal: ‘If it is indeed a prop from a Shakespeare play, it could have been used in one of his plays with a classical theme, like Julius Caesar. To me it looks as if the size and shape of the head is meant to look like the Colossus of Constantine, yet applied to another individual, maybe reminiscent of portraits of empresses of the Roman imperial period.’
So, although the ‘Mystery Head of Hampstead’ remains a niche landmark in Hampstead, it also remains a dramatic mystery too and continues to confound and baffle the experts.
The imposing three-metre-high head has been in Ellerdale Road for more than 25 years and may have been a stage prop (Photograph: Patrick Comerford, 2024)
Daily prayer in Ordinary Time 2024:
140, Saturday 28 September 2024
A mask for the Carnival in Venice … do we hide our personae behind masks before other people … before God? (Photograph: Patrick Comerford)
Patrick Comerford
We are continuing in Ordinary Time in the Church Calendar and tomorrow is the Eighteenth Sunday after Trinity (Trinity XVIII) and the Feast of Saint Michael and All Angels. Today is one of the Ember Days in September.
I am back in Stony Stratford this morning, having caught a late-night flight from Dublin to Birmingham after yesterday’s reunion lunch for my school year, the Sixth Year in Gormanston College, Co Meath, in 1969.
Before today begins, I am taking some quiet time this morning to give thanks, and for reflection, prayer and reading in these ways:
1, today’s Gospel reading;
2, a reflection on the Gospel reading;
3, a prayer from the USPG prayer diary;
4, the Collects and Post-Communion prayer of the day.
Souvenir masks from a stall in Venice … do we hide our personae behind masks before other people … before God? (Photograph: Patrick Comerford)
Luke 9: 43b-45 (NRSVA):
43b While everyone was amazed at all that he was doing, he said to his disciples, 44 ‘Let these words sink into your ears: The Son of Man is going to be betrayed into human hands.’ 45 But they did not understand this saying; its meaning was concealed from them, so that they could not perceive it. And they were afraid to ask him about this saying.
Masks made of olive wood in a shop in Rethymnon … do we hide our personae behind masks before other people … before God? (Photograph: Patrick Comerford)
Today’s Reflection:
In today’s Gospel reading Luke 9: 43b-45), after Saint Peter’s profound confession of faith following the Transfiguration, and the stern order and command to the disciples not to tell anyone what has been seen and said, we hear how the disciples hear Jesus but do understand what he is saying, nor can they perceive what he means, and they are afraid to ask him to explain what he is saying.
When the disciples find that the meaning of what Jesus says is concealed from them, the word that is used, παρακαλύπτω (parakalýptō) is a rare word in the Bible. It does not refer to some sacred or religious mystery but to something that is hidden, covered alongside or front of someone, something that has a veil pulled over it, to cover it up, to cover over, to hide or conceal it, perhaps even to disguise it. In its use in classical Greek literature it can mean to cover by hanging, to disguise, to set aside, to ignore, or it can be used when talking about covering one’s face.
A similar word παρακάλυμμα (parakálymma) is used for anything that is hung up beside or hung up before something to cover it, a covering or curtain.
The Carnival of Venice (Carnevale di Venezia), which takes place in the days before Lent, is known everywhere for its elaborate masks. It grew in prestige and developed in its revelry in the 17th and 18th centuries, to the point that it became a symbol of licence and pleasure.
Mask-makers (mascherari) had a special position in Venetian society, with their own laws and their own guild. But the masks allowed many people to spend a large part of the year in disguise, hiding their secret lifestyles. When the Emperor Francis II occupied Venice, he outlawed the festival in 1797 and masks were strictly forbidden.
It was not until 1979 that the Carnival was revived in Venice. With it came the revival of the tradition of making carnival masks, and one of the most important events at the Carnival is the contest for la maschera più bella (‘the most beautiful mask’).
So often, we all have our own masks. We are afraid that others might see us or get to know us as we really are. We hide behind a persona, which is the Latin word for a theatrical mask. We are worried, ‘What if someone saw me for who I truly am?’ ‘What if they came face-to-face with what I am really like?’
But the Transfiguration invites us to a mutual face-to-face encounter with the living God. The inner circle of disciples, Peter, James and John, have ascended the mountain with Christ, and in the clouds they saw who he truly is: he is the God of Moses and Elijah, and the vision is so dazzling that they are dazzled and overshadowed by the cloud.
When they come back down the mountain, like Moses, there is a great crowd waiting for the healing that restores them to their place in the covenant with God.
The original Greek word for Transfiguration in the Gospels is μεταμόρφωσις (metamorphosis), which means ‘to progress from one state of being to another.’ Consider the metamorphosis of the chrysalis into the butterfly. Saint Paul uses this same word (μεταμόρφωσις) when he describes how the Christian is to be transfigured, transformed, into the image of Christ (II Corinthians 3: 18), he uses the word ‘icon’ of Christ.
The Transfiguration reveals not just who Christ should truly be in our eyes, but who we should be truly in God’s eyes. It is a reminder of our ultimate destiny, the ultimate destiny of all people and all creation – to be transformed and glorified by the majestic splendour of God himself. The Transfiguration points to the fulfilment of the Kingdom of God, when all of creation shall be transfigured and filled with light.
The Transfiguration is not just an Epiphany or Theophany moment for Christ, with Peter, James and John as onlookers. The Transfiguration is a story too of a miracle that reminds us of how God sees us in God’s own image and likeness, and how God sees us for who we are and who we are going to be, no matter how others see us, no matter how others dismiss us, not matter how others fail to understand us.
Throughout life, there is a temptation to accept our human nature as it appears now. But the Transfiguration of Christ offers the opportunity to look at ourselves not only as we are now, but take stock of what happened in the past that made us so, and to grasp the promise of what we can be in the future.
In the present and in the future, can we take ownership of who we have been as a child. Do we remember always that we are made in the image and likeness of God? As Saint Paul reminds us, we are icons of Christ.
We need no masks, no personae, in God’s presence. God sees us as we are: made in his own image and likeness, sees us for who we were, who we are and who we are going to be, no matter how others see us, no matter how others dismiss us.
No matter what others say about you, how others judge you, how others gossip or talk about you, how others treat you, God sees your potential, God sees in you God’s own image and likeness. God sees through all our masks and sees an icon of Christ. God knows you are beautiful inside and loves you, loves you for ever, as though you are God’s only child.
We are his beloved children in whom he is well pleased.
The Transfiguration depicted in the Church of the Transfiguration in Piskopianó, in the hills above Hersonissos in Crete (Photograph: Patrick Comerford, 2024; click on image for full-screen viewing)
Today’s Prayers (Saturday 28 September 2024):
The theme this week in ‘Pray With the World Church’, the Prayer Diary of the Anglican mission agency USPG (United Society Partners in the Gospel), has been ‘Our God is Able.’ This theme was introduced last Sunday in reflections by the Revd Thanduxolo Noketshe, priest in charge at Saint Mary and Christ Church, Diocese of North East Caribbean and Aruba, Province of the West Indies.
The USPG Prayer Diary today (Saturday 28 September 2024) invites us to reflect on these words:
So Ananias went and entered the house. He laid his hands on Saul and said, ‘Brother Saul, the Lord Jesus, who appeared to you on your way here, has sent me so that you may regain your sight and be filled with the Holy Spirit’ (Acts 9: 17).
The Collect:
Almighty God,
you have made us for yourself,
and our hearts are restless till they find their rest in you:
pour your love into our hearts and draw us to yourself,
and so bring us at last to your heavenly city
where we shall see you face to face;
through Jesus Christ your Son our Lord,
who is alive and reigns with you,
in the unity of the Holy Spirit,
one God, now and for ever.
The Post Communion Prayer:
Lord, we pray that your grace
may always precede and follow us,
and make us continually to be given to all good works;
through Jesus Christ our Lord.
Additional Collect:
Gracious God,
you call us to fullness of life:
deliver us from unbelief
and banish our anxieties
with the liberating love of Jesus Christ our Lord.
Collect on the Eve of Trinity XVIII:
Almighty and everlasting God,
increase in us your gift of faith
that, forsaking what lies behind
and reaching out to that which is before,
we may run the way of your commandments
and win the crown of everlasting joy;
through Jesus Christ your Son our Lord,
who is alive and reigns with you,
in the unity of the Holy Spirit,
one God, now and for ever.
Collect on the Eve of Saint Michael and All Angels:
Everlasting God,
you have ordained and constituted
the ministries of angels and mortals in a wonderful order:
grant that as your holy angels always serve you in heaven,
so, at your command,
they may help and defend us on earth;
through Jesus Christ your Son our Lord,
who is alive and reigns with you,
in the unity of the Holy Spirit,
one God, now and for ever.
Yesterday’s reflection
Continued tomorrow
Masks in a shop window in Venice … do we hide our personae behind masks before other people … before God? (Photograph: Patrick Comerford 2018)
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
We are continuing in Ordinary Time in the Church Calendar and tomorrow is the Eighteenth Sunday after Trinity (Trinity XVIII) and the Feast of Saint Michael and All Angels. Today is one of the Ember Days in September.
I am back in Stony Stratford this morning, having caught a late-night flight from Dublin to Birmingham after yesterday’s reunion lunch for my school year, the Sixth Year in Gormanston College, Co Meath, in 1969.
Before today begins, I am taking some quiet time this morning to give thanks, and for reflection, prayer and reading in these ways:
1, today’s Gospel reading;
2, a reflection on the Gospel reading;
3, a prayer from the USPG prayer diary;
4, the Collects and Post-Communion prayer of the day.
Souvenir masks from a stall in Venice … do we hide our personae behind masks before other people … before God? (Photograph: Patrick Comerford)
Luke 9: 43b-45 (NRSVA):
43b While everyone was amazed at all that he was doing, he said to his disciples, 44 ‘Let these words sink into your ears: The Son of Man is going to be betrayed into human hands.’ 45 But they did not understand this saying; its meaning was concealed from them, so that they could not perceive it. And they were afraid to ask him about this saying.
Masks made of olive wood in a shop in Rethymnon … do we hide our personae behind masks before other people … before God? (Photograph: Patrick Comerford)
Today’s Reflection:
In today’s Gospel reading Luke 9: 43b-45), after Saint Peter’s profound confession of faith following the Transfiguration, and the stern order and command to the disciples not to tell anyone what has been seen and said, we hear how the disciples hear Jesus but do understand what he is saying, nor can they perceive what he means, and they are afraid to ask him to explain what he is saying.
When the disciples find that the meaning of what Jesus says is concealed from them, the word that is used, παρακαλύπτω (parakalýptō) is a rare word in the Bible. It does not refer to some sacred or religious mystery but to something that is hidden, covered alongside or front of someone, something that has a veil pulled over it, to cover it up, to cover over, to hide or conceal it, perhaps even to disguise it. In its use in classical Greek literature it can mean to cover by hanging, to disguise, to set aside, to ignore, or it can be used when talking about covering one’s face.
A similar word παρακάλυμμα (parakálymma) is used for anything that is hung up beside or hung up before something to cover it, a covering or curtain.
The Carnival of Venice (Carnevale di Venezia), which takes place in the days before Lent, is known everywhere for its elaborate masks. It grew in prestige and developed in its revelry in the 17th and 18th centuries, to the point that it became a symbol of licence and pleasure.
Mask-makers (mascherari) had a special position in Venetian society, with their own laws and their own guild. But the masks allowed many people to spend a large part of the year in disguise, hiding their secret lifestyles. When the Emperor Francis II occupied Venice, he outlawed the festival in 1797 and masks were strictly forbidden.
It was not until 1979 that the Carnival was revived in Venice. With it came the revival of the tradition of making carnival masks, and one of the most important events at the Carnival is the contest for la maschera più bella (‘the most beautiful mask’).
So often, we all have our own masks. We are afraid that others might see us or get to know us as we really are. We hide behind a persona, which is the Latin word for a theatrical mask. We are worried, ‘What if someone saw me for who I truly am?’ ‘What if they came face-to-face with what I am really like?’
But the Transfiguration invites us to a mutual face-to-face encounter with the living God. The inner circle of disciples, Peter, James and John, have ascended the mountain with Christ, and in the clouds they saw who he truly is: he is the God of Moses and Elijah, and the vision is so dazzling that they are dazzled and overshadowed by the cloud.
When they come back down the mountain, like Moses, there is a great crowd waiting for the healing that restores them to their place in the covenant with God.
The original Greek word for Transfiguration in the Gospels is μεταμόρφωσις (metamorphosis), which means ‘to progress from one state of being to another.’ Consider the metamorphosis of the chrysalis into the butterfly. Saint Paul uses this same word (μεταμόρφωσις) when he describes how the Christian is to be transfigured, transformed, into the image of Christ (II Corinthians 3: 18), he uses the word ‘icon’ of Christ.
The Transfiguration reveals not just who Christ should truly be in our eyes, but who we should be truly in God’s eyes. It is a reminder of our ultimate destiny, the ultimate destiny of all people and all creation – to be transformed and glorified by the majestic splendour of God himself. The Transfiguration points to the fulfilment of the Kingdom of God, when all of creation shall be transfigured and filled with light.
The Transfiguration is not just an Epiphany or Theophany moment for Christ, with Peter, James and John as onlookers. The Transfiguration is a story too of a miracle that reminds us of how God sees us in God’s own image and likeness, and how God sees us for who we are and who we are going to be, no matter how others see us, no matter how others dismiss us, not matter how others fail to understand us.
Throughout life, there is a temptation to accept our human nature as it appears now. But the Transfiguration of Christ offers the opportunity to look at ourselves not only as we are now, but take stock of what happened in the past that made us so, and to grasp the promise of what we can be in the future.
In the present and in the future, can we take ownership of who we have been as a child. Do we remember always that we are made in the image and likeness of God? As Saint Paul reminds us, we are icons of Christ.
We need no masks, no personae, in God’s presence. God sees us as we are: made in his own image and likeness, sees us for who we were, who we are and who we are going to be, no matter how others see us, no matter how others dismiss us.
No matter what others say about you, how others judge you, how others gossip or talk about you, how others treat you, God sees your potential, God sees in you God’s own image and likeness. God sees through all our masks and sees an icon of Christ. God knows you are beautiful inside and loves you, loves you for ever, as though you are God’s only child.
We are his beloved children in whom he is well pleased.
The Transfiguration depicted in the Church of the Transfiguration in Piskopianó, in the hills above Hersonissos in Crete (Photograph: Patrick Comerford, 2024; click on image for full-screen viewing)
Today’s Prayers (Saturday 28 September 2024):
The theme this week in ‘Pray With the World Church’, the Prayer Diary of the Anglican mission agency USPG (United Society Partners in the Gospel), has been ‘Our God is Able.’ This theme was introduced last Sunday in reflections by the Revd Thanduxolo Noketshe, priest in charge at Saint Mary and Christ Church, Diocese of North East Caribbean and Aruba, Province of the West Indies.
The USPG Prayer Diary today (Saturday 28 September 2024) invites us to reflect on these words:
So Ananias went and entered the house. He laid his hands on Saul and said, ‘Brother Saul, the Lord Jesus, who appeared to you on your way here, has sent me so that you may regain your sight and be filled with the Holy Spirit’ (Acts 9: 17).
The Collect:
Almighty God,
you have made us for yourself,
and our hearts are restless till they find their rest in you:
pour your love into our hearts and draw us to yourself,
and so bring us at last to your heavenly city
where we shall see you face to face;
through Jesus Christ your Son our Lord,
who is alive and reigns with you,
in the unity of the Holy Spirit,
one God, now and for ever.
The Post Communion Prayer:
Lord, we pray that your grace
may always precede and follow us,
and make us continually to be given to all good works;
through Jesus Christ our Lord.
Additional Collect:
Gracious God,
you call us to fullness of life:
deliver us from unbelief
and banish our anxieties
with the liberating love of Jesus Christ our Lord.
Collect on the Eve of Trinity XVIII:
Almighty and everlasting God,
increase in us your gift of faith
that, forsaking what lies behind
and reaching out to that which is before,
we may run the way of your commandments
and win the crown of everlasting joy;
through Jesus Christ your Son our Lord,
who is alive and reigns with you,
in the unity of the Holy Spirit,
one God, now and for ever.
Collect on the Eve of Saint Michael and All Angels:
Everlasting God,
you have ordained and constituted
the ministries of angels and mortals in a wonderful order:
grant that as your holy angels always serve you in heaven,
so, at your command,
they may help and defend us on earth;
through Jesus Christ your Son our Lord,
who is alive and reigns with you,
in the unity of the Holy Spirit,
one God, now and for ever.
Yesterday’s reflection
Continued tomorrow
Masks in a shop window in Venice … do we hide our personae behind masks before other people … before God? (Photograph: Patrick Comerford 2018)
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 September 2024
The lost synagogue on
Great Victoria Street
Is remembered as part
of Belfast’s diversity
The site of Belfast’s first synagogue on Great Victoria Street … now the Hope International Christian Fellowship (Photograph: Patrick Comerford, 2024)
Patrick Comerford
During our recent weekend visit to Belfast, I tried to renew my acquaintances with the Jewish history and heritage of the city, looking again at the stories of the Jaffe Memorial Fountain and Sir Otto Jaffé, and visiting the sites of a number of former synagogues in Belfast, including those that stood on Great Victoria Street, Annesley Street and Regent Strret.
The present synagogue at 49 Somerton Road, Belfast, was built in 1964, replacing an earlier synagogue at Annesley Street, off the Antrim Road and near Carlisle Circus, that was built in 1904. The synagogue on Annesley Street replaced an earlier synagogue built on Great Victoria Street in 1871-1872.
It was the first purpose-built synagogue in Belfast and the cost of building it was funded largely by the linen merchant Daniel Joseph Jaffé, who is commemorated in the Jaffe Memorial Fountain.
There has only ever been a single Jewish congregation in the city except for two short periods at end of 19th century and in the early 20th century, when rival congregations existed. The only other Jewish communities in Northern Ireland were small communities in Derry (1894-1947) and in Lurgan (1911-1926, and 1941 briefly).
There has been a Jewish presence in Belfast from the 17th century and the Jewish traders in Belfast in the 18th century included Israel Woolf, who was selling ‘gold and silver plate and ornaments and picture frames’ from 1754, and a kosher butcher in 1771.
A Swedish-born rabbi, Morris Jacob Raphall of Birmingham Synagogue, visited Belfast in 1845. But a riotous rabble made so much noise that his planned lecture was cancelled.
But the community began to grow in the 1850s and 1860s, and my task of finding the sites of the early synagogues in Belfast on a grey Saturday morning was enriched by the research of my Facebook friend, the Belfast historian Steven Jaffe, the work of the Belfast Jewish Heritage project and its interactive map, and the detailed research on Jewish Communities & Records (JCR-UK).
The Jaffe Memorial Fountain on Victoria Street was erected in 1874 in memory of Daniel Joseph Jaffé (Photograph: Patrick Comerford, 2024)
In all, 52 Jews were living in the province of Ulster by 1861. Most were living in Belfast, and many had come from Germany to engage in the linen trade, including Jacob Mautner and Daniel Joseph Jaffé (1809-1874).
Jaffé was a frequent visitor to Belfast, trading in linen goods, before settling there to work in a business partnership with his brother Isaac Jaffé. Several of his nine sons and daughters took a prominent part in public life, especially Martin Jaffé and Sir Otto Jaffé, later Lord Mayor of Belfast.
The present Jewish community in Belfast dates from 1864, when regular services were first held in private homes, including Martin Jaffé’s house in Holywood, Co Down. Five years later, the Jewish congregation in Belfast was formally organised in 1869, mainly through Jaffé’s efforts.
At first, the congregation in Belfast met in a small room at Inkerman Terrace, a short terrace of houses on Dublin Road, near the junction with Shaftesbury Square and Great Victoria Street, where the small room was fitted as a synagogue in 1869. Meanwhile an advertisement was published in a German-Jewish newspaper in 1869 calling for ‘a minister of the non-orthodox cult’ in Belfast.
The synagogue at 113 Great Victoria Street designed by Nathan Samuel Joseph and Francis Stirrat (Archive Photograph: Belfast Jewish Heritage Project)
The site for a new synagogue at 113 Great Victoria Street was bought in 1869. The foundation stone was laid on 7 July 1871, and it was built in 1871-1872. It was designed by the London-based architect Nathan Solomon Joseph (1834-1909) and the Scottish architect Francis Stirrat (1833-1895).
The architect Nathan Samuel Joseph is also remembered as a philanthropist, social reformer, architect, author and community leader. He was a brother-in-law of the Chief Rabbi, Dr Hermann Adler, the father of Ernest M Joseph (1877-1960) who was a founding member of the Liberal Jewish Synagogue and honorary architect to the Union of Liberal and Progressive Synagogues, and the uncle of Nathaniel Delissa Joseph (1859-1927), the architect of Hampstead Synagogue, which I visited earlier this week.
Nathan Samuel Joseph studied architecture at University College London. His Jewish architectural works included Bayswater Synagogue (1862-1864), Central Synagogue, Great Portland Street (1866-1870), Sandys Row Synagogue, Bishopsgate, which he remodelled (1867-1870), and New West End Synagogue, Bayswater (1877-1879).
The synagogue at 113 Great Victoria Street was a polychrome Gothic building with red and black brick and stone decoration. Francis Stirrat was probably responsible for its design in a Ruskinian Gothic style.
The cost of building the synagogue was funded largely by Daniel Jaffé who died in 1874 shortly after it was consecrated. The synagogue opened in 1872, and it continued in use until 1904.
Elizabeth Jane Caulfeild, Countess of Charlemont, in 1877 (© The Trustees of the British Museum, released as CC BY-NC-SA 4.0)
An early member of the Jewish community in Belfast was Elizabeth Jane Somerville (1834-1882), Countess of Charlemont, wife of James Molyneux Caulfeild (1820-1892), 3rd Earl of Charlemont. Soon after their marriage in 1863, she converted to Judaism.
She frequently attended the synagogue in Belfast, and while she was in London she worshipped at the Central Synagogue on Great Portland Street, built in 1870, and at the New West End Synagogue in Bayswater, which was consecrated in 1879 and whose founding members included Martin Jaffe from Belfast.
The first minister in the synagogue was the Revd Dr Joseph Chotzner (1844-1914), who served the Belfast congregation on two separate occasions. He was born in Krakow and was educated in Breslau Rabbinical Seminary and the University of Breslau, and moved to the Belfast Hebrew Congregation in 1869. He left Belfast in 1880 to become a Hebrew tutor and to run a house for Jewish pupils at Harrow School, known as Beeleigh House.
The Belfast Hebrew Congregation was then served by the Revd Edwin Hyman Simeon (Henry) Collins (1858-1936), who was in Belfast from 1882 to ca 1887. He then spent about a year in Dublin, where he served the Adelaide Road Synagogue of the Dublin Hebrew Congregation in 1887-1888. He was a literary collaborator with Sun Yat-sen, later first president of the Republic of China, in the late 1890s, and was the headmaster of Annandale House School, Bedford (1911-1913). His successor, the Revd BH Rosengard, was in Belfast ca 1888 to ca 1891.
Chotzner returned to Belfast in 1893 for a second term (1893-1897). The congregation acquired additional premises with a mikveh in 1892, and another house was bought in 1897 for the Hebrew National School, which provided both secular and religious education.
The Jewish population in Belfast grew rapidly in the 1890s with the influx of East European Jews, mainly refugee families fleeing pogroms in the Russian empire. Soon, relations were tense between the Russian-Jewish immigrants and the established English-speaking community with mainly German origins.
Chotzner often criticised the newer immigrants, accusing them of bigotry in petty religious matters. He left Belfast in 1897 to become the senior scholar in residence at the Judith Montefiore College, Ramsgate. He retired in 1905 and died in Harrogate in 1914.
Meanwhile, the differences between the older families and the newer arrivals came to a head with the decision to set up a new independent synagogue. The short-lived Belfast New Synagogue was established in 1893, and was composed mainly of recent arrivals from Lithuania and Poland.
Services were held at 2 Jackson Street, with up to 40 families attending. Two corner house in the Peter’s Hill and Shankill Road area were joined together to form the synagogue, known in Yiddish as a shtiebel, meaning a small place of worship and study.
Belfast New Synagogue was led by a series of ‘foreign’ rabbanim, including Rabbi Harris (Zvi Hirsch) Levin (1871-1933). He was born in Goniądz in Poland (now part of Belarus) and came to Belfast in 1891. He later moved to Cork, and by 1897 he was in Manchester, where he became a leading figure in a very Orthodox community. He died in Southport in 1933 while he was on holiday.
The other ministers in Jackson Street included the Revd E Freedman, around 1893-1894, and the Revd Abraham Rosenberg (1852-1913), around 1894. The house on Jackson Street was used as a meeting place for the Belfast Chevra Gemorrah, a men’s Talmudic study group.
Belfast New Synagogue on Jackson Street continued until at least 1895, but had ceased hosting regular services by 1898, when Chotzner had left Belfast. The corner house was finally demolished in 1968 or 1969.
Chotzner left Belfast in 1897 and he was succeeded in 1898 by the Revd Joseph Emanuel Myers (1836-1910), who had served previously in New Zealand and Australia. Myers returned to England in 1874 and first moved to Ireland in 1890 as minister of the Cork Hebrew Congregation (1890-1898).
During his 14 years in Ireland, Myers often acted as visiting minister to the smaller Jewish communities in Limerick, Derry and Waterford, and was instrumental in opening schools under Jewish management in Cork and in Belfast. He was the scholar-in-residence at the Judith Montefiore College in Ramsgate when he died in 1910.
The United Hebrew Congregation used the school at 5 Regent Street, at the back of the Orange Hall on Clifton Street, in 1890s … the site is now vacant (Photograph: Patrick Comerford, 2024)
A new Jewish schoolroom opened in 1898 at 5 Regent Street, at the back of the Orange Hall on Clifton Street.
For a short period at the end of the 19th century and into the early 20th century, the school on Regent Street was used by another rival congregation in Belfast, the United Hebrew Congregation, also known as the Regent Street Congregation. The Revd Abraham Weinberg (1869-1938) was its minister in 1902-1903. He returned to South Africa and died at Bulawayo, South Rhodesia (Zimbabwe).
But the need for co-operation on issues such as education and the supply of kosher meat led the two congregations to consider amalgamating in 1902. Harmony was restored in the community, a new united body was formed in 1903, a new synagogue was built on Annesley Road in 1904, and a new school paid for by Sir Otto Jaffé opened in 1907.
Jaffe, who president of the congregation from 1896 to 1924, presided over the remarkable growth of the Belfast community. At one time, briefly, he was also the treasurer (1904-1905).
Sir Otto Jaffe (1846-1929) was twice Lord Mayor of Belfast, in 1899 and 1904
After the congregation moved to the new synagogue on Annesley Street, the former synagogue on Great Victoria Street became an Orange hall, and was then acquired by the Apostolic Church.
It had fallen into disrepair by the late 1980s, and an application was made to build a new church building behind the façade. It looked like Francis Stirrat’s decorative façade would be retained.
Despite the erection of a massive piece of structural steelwork for a different building, however, the façade of the former synagogue collapsed in 1993. The material from the façade could have been collected, but to the consternation of conservations this never happened, and the façade of the former synagogue was never rebuilt.
The site is now occupied by the Hope International Christian Fellowship, a multicultural evangelical church.
The former synagogue on Great Victoria Street became an Orange hall and was then acquired by the Apostolic Church (Photograph: Patrick Comerford, 2024)
‘Flying High’, a large 295 sq metre mural on the south gable of the church building, is by Annatomix, a self-trained Birmingham artist. Her installation was completed earlier this year (February 2024).
Her birds represent a mix of species in the area and celebrate the inclusivity and diversity of the Great Victoria Street district. They The birds include a Godwit, a Dunlin, an Arctic Tern and a Lapwing. The Lapwing is semi-native and the unofficial national bird of Ireland. The other birds are all migratory and represent the diversity of the church congregation.
All four birds are sea waders, representing the geography of this part of Belfast before it was developed. The lands between Sandy Row and the River Lagan were marshlands along the lower course of the River Blackstaff. All the birds depicted are either red or amber for their conservation status, raising awareness of the fragility of local wildlife.
As for the synagogues on Annesley Street and Somerton Road, their stories are for other Friday evenings.
Shabbat Shalom, שבת שלום
‘Flying High’, a large 295 sq metre mural by Annatomix on the synagogue site, was completed in February 2024 (Photograph: Patrick Comerford, 2024)
Patrick Comerford
During our recent weekend visit to Belfast, I tried to renew my acquaintances with the Jewish history and heritage of the city, looking again at the stories of the Jaffe Memorial Fountain and Sir Otto Jaffé, and visiting the sites of a number of former synagogues in Belfast, including those that stood on Great Victoria Street, Annesley Street and Regent Strret.
The present synagogue at 49 Somerton Road, Belfast, was built in 1964, replacing an earlier synagogue at Annesley Street, off the Antrim Road and near Carlisle Circus, that was built in 1904. The synagogue on Annesley Street replaced an earlier synagogue built on Great Victoria Street in 1871-1872.
It was the first purpose-built synagogue in Belfast and the cost of building it was funded largely by the linen merchant Daniel Joseph Jaffé, who is commemorated in the Jaffe Memorial Fountain.
There has only ever been a single Jewish congregation in the city except for two short periods at end of 19th century and in the early 20th century, when rival congregations existed. The only other Jewish communities in Northern Ireland were small communities in Derry (1894-1947) and in Lurgan (1911-1926, and 1941 briefly).
There has been a Jewish presence in Belfast from the 17th century and the Jewish traders in Belfast in the 18th century included Israel Woolf, who was selling ‘gold and silver plate and ornaments and picture frames’ from 1754, and a kosher butcher in 1771.
A Swedish-born rabbi, Morris Jacob Raphall of Birmingham Synagogue, visited Belfast in 1845. But a riotous rabble made so much noise that his planned lecture was cancelled.
But the community began to grow in the 1850s and 1860s, and my task of finding the sites of the early synagogues in Belfast on a grey Saturday morning was enriched by the research of my Facebook friend, the Belfast historian Steven Jaffe, the work of the Belfast Jewish Heritage project and its interactive map, and the detailed research on Jewish Communities & Records (JCR-UK).
The Jaffe Memorial Fountain on Victoria Street was erected in 1874 in memory of Daniel Joseph Jaffé (Photograph: Patrick Comerford, 2024)
In all, 52 Jews were living in the province of Ulster by 1861. Most were living in Belfast, and many had come from Germany to engage in the linen trade, including Jacob Mautner and Daniel Joseph Jaffé (1809-1874).
Jaffé was a frequent visitor to Belfast, trading in linen goods, before settling there to work in a business partnership with his brother Isaac Jaffé. Several of his nine sons and daughters took a prominent part in public life, especially Martin Jaffé and Sir Otto Jaffé, later Lord Mayor of Belfast.
The present Jewish community in Belfast dates from 1864, when regular services were first held in private homes, including Martin Jaffé’s house in Holywood, Co Down. Five years later, the Jewish congregation in Belfast was formally organised in 1869, mainly through Jaffé’s efforts.
At first, the congregation in Belfast met in a small room at Inkerman Terrace, a short terrace of houses on Dublin Road, near the junction with Shaftesbury Square and Great Victoria Street, where the small room was fitted as a synagogue in 1869. Meanwhile an advertisement was published in a German-Jewish newspaper in 1869 calling for ‘a minister of the non-orthodox cult’ in Belfast.
The synagogue at 113 Great Victoria Street designed by Nathan Samuel Joseph and Francis Stirrat (Archive Photograph: Belfast Jewish Heritage Project)
The site for a new synagogue at 113 Great Victoria Street was bought in 1869. The foundation stone was laid on 7 July 1871, and it was built in 1871-1872. It was designed by the London-based architect Nathan Solomon Joseph (1834-1909) and the Scottish architect Francis Stirrat (1833-1895).
The architect Nathan Samuel Joseph is also remembered as a philanthropist, social reformer, architect, author and community leader. He was a brother-in-law of the Chief Rabbi, Dr Hermann Adler, the father of Ernest M Joseph (1877-1960) who was a founding member of the Liberal Jewish Synagogue and honorary architect to the Union of Liberal and Progressive Synagogues, and the uncle of Nathaniel Delissa Joseph (1859-1927), the architect of Hampstead Synagogue, which I visited earlier this week.
Nathan Samuel Joseph studied architecture at University College London. His Jewish architectural works included Bayswater Synagogue (1862-1864), Central Synagogue, Great Portland Street (1866-1870), Sandys Row Synagogue, Bishopsgate, which he remodelled (1867-1870), and New West End Synagogue, Bayswater (1877-1879).
The synagogue at 113 Great Victoria Street was a polychrome Gothic building with red and black brick and stone decoration. Francis Stirrat was probably responsible for its design in a Ruskinian Gothic style.
The cost of building the synagogue was funded largely by Daniel Jaffé who died in 1874 shortly after it was consecrated. The synagogue opened in 1872, and it continued in use until 1904.
Elizabeth Jane Caulfeild, Countess of Charlemont, in 1877 (© The Trustees of the British Museum, released as CC BY-NC-SA 4.0)
An early member of the Jewish community in Belfast was Elizabeth Jane Somerville (1834-1882), Countess of Charlemont, wife of James Molyneux Caulfeild (1820-1892), 3rd Earl of Charlemont. Soon after their marriage in 1863, she converted to Judaism.
She frequently attended the synagogue in Belfast, and while she was in London she worshipped at the Central Synagogue on Great Portland Street, built in 1870, and at the New West End Synagogue in Bayswater, which was consecrated in 1879 and whose founding members included Martin Jaffe from Belfast.
The first minister in the synagogue was the Revd Dr Joseph Chotzner (1844-1914), who served the Belfast congregation on two separate occasions. He was born in Krakow and was educated in Breslau Rabbinical Seminary and the University of Breslau, and moved to the Belfast Hebrew Congregation in 1869. He left Belfast in 1880 to become a Hebrew tutor and to run a house for Jewish pupils at Harrow School, known as Beeleigh House.
The Belfast Hebrew Congregation was then served by the Revd Edwin Hyman Simeon (Henry) Collins (1858-1936), who was in Belfast from 1882 to ca 1887. He then spent about a year in Dublin, where he served the Adelaide Road Synagogue of the Dublin Hebrew Congregation in 1887-1888. He was a literary collaborator with Sun Yat-sen, later first president of the Republic of China, in the late 1890s, and was the headmaster of Annandale House School, Bedford (1911-1913). His successor, the Revd BH Rosengard, was in Belfast ca 1888 to ca 1891.
Chotzner returned to Belfast in 1893 for a second term (1893-1897). The congregation acquired additional premises with a mikveh in 1892, and another house was bought in 1897 for the Hebrew National School, which provided both secular and religious education.
The Jewish population in Belfast grew rapidly in the 1890s with the influx of East European Jews, mainly refugee families fleeing pogroms in the Russian empire. Soon, relations were tense between the Russian-Jewish immigrants and the established English-speaking community with mainly German origins.
Chotzner often criticised the newer immigrants, accusing them of bigotry in petty religious matters. He left Belfast in 1897 to become the senior scholar in residence at the Judith Montefiore College, Ramsgate. He retired in 1905 and died in Harrogate in 1914.
Meanwhile, the differences between the older families and the newer arrivals came to a head with the decision to set up a new independent synagogue. The short-lived Belfast New Synagogue was established in 1893, and was composed mainly of recent arrivals from Lithuania and Poland.
Services were held at 2 Jackson Street, with up to 40 families attending. Two corner house in the Peter’s Hill and Shankill Road area were joined together to form the synagogue, known in Yiddish as a shtiebel, meaning a small place of worship and study.
Belfast New Synagogue was led by a series of ‘foreign’ rabbanim, including Rabbi Harris (Zvi Hirsch) Levin (1871-1933). He was born in Goniądz in Poland (now part of Belarus) and came to Belfast in 1891. He later moved to Cork, and by 1897 he was in Manchester, where he became a leading figure in a very Orthodox community. He died in Southport in 1933 while he was on holiday.
The other ministers in Jackson Street included the Revd E Freedman, around 1893-1894, and the Revd Abraham Rosenberg (1852-1913), around 1894. The house on Jackson Street was used as a meeting place for the Belfast Chevra Gemorrah, a men’s Talmudic study group.
Belfast New Synagogue on Jackson Street continued until at least 1895, but had ceased hosting regular services by 1898, when Chotzner had left Belfast. The corner house was finally demolished in 1968 or 1969.
Chotzner left Belfast in 1897 and he was succeeded in 1898 by the Revd Joseph Emanuel Myers (1836-1910), who had served previously in New Zealand and Australia. Myers returned to England in 1874 and first moved to Ireland in 1890 as minister of the Cork Hebrew Congregation (1890-1898).
During his 14 years in Ireland, Myers often acted as visiting minister to the smaller Jewish communities in Limerick, Derry and Waterford, and was instrumental in opening schools under Jewish management in Cork and in Belfast. He was the scholar-in-residence at the Judith Montefiore College in Ramsgate when he died in 1910.
The United Hebrew Congregation used the school at 5 Regent Street, at the back of the Orange Hall on Clifton Street, in 1890s … the site is now vacant (Photograph: Patrick Comerford, 2024)
A new Jewish schoolroom opened in 1898 at 5 Regent Street, at the back of the Orange Hall on Clifton Street.
For a short period at the end of the 19th century and into the early 20th century, the school on Regent Street was used by another rival congregation in Belfast, the United Hebrew Congregation, also known as the Regent Street Congregation. The Revd Abraham Weinberg (1869-1938) was its minister in 1902-1903. He returned to South Africa and died at Bulawayo, South Rhodesia (Zimbabwe).
But the need for co-operation on issues such as education and the supply of kosher meat led the two congregations to consider amalgamating in 1902. Harmony was restored in the community, a new united body was formed in 1903, a new synagogue was built on Annesley Road in 1904, and a new school paid for by Sir Otto Jaffé opened in 1907.
Jaffe, who president of the congregation from 1896 to 1924, presided over the remarkable growth of the Belfast community. At one time, briefly, he was also the treasurer (1904-1905).
Sir Otto Jaffe (1846-1929) was twice Lord Mayor of Belfast, in 1899 and 1904
After the congregation moved to the new synagogue on Annesley Street, the former synagogue on Great Victoria Street became an Orange hall, and was then acquired by the Apostolic Church.
It had fallen into disrepair by the late 1980s, and an application was made to build a new church building behind the façade. It looked like Francis Stirrat’s decorative façade would be retained.
Despite the erection of a massive piece of structural steelwork for a different building, however, the façade of the former synagogue collapsed in 1993. The material from the façade could have been collected, but to the consternation of conservations this never happened, and the façade of the former synagogue was never rebuilt.
The site is now occupied by the Hope International Christian Fellowship, a multicultural evangelical church.
The former synagogue on Great Victoria Street became an Orange hall and was then acquired by the Apostolic Church (Photograph: Patrick Comerford, 2024)
‘Flying High’, a large 295 sq metre mural on the south gable of the church building, is by Annatomix, a self-trained Birmingham artist. Her installation was completed earlier this year (February 2024).
Her birds represent a mix of species in the area and celebrate the inclusivity and diversity of the Great Victoria Street district. They The birds include a Godwit, a Dunlin, an Arctic Tern and a Lapwing. The Lapwing is semi-native and the unofficial national bird of Ireland. The other birds are all migratory and represent the diversity of the church congregation.
All four birds are sea waders, representing the geography of this part of Belfast before it was developed. The lands between Sandy Row and the River Lagan were marshlands along the lower course of the River Blackstaff. All the birds depicted are either red or amber for their conservation status, raising awareness of the fragility of local wildlife.
As for the synagogues on Annesley Street and Somerton Road, their stories are for other Friday evenings.
Shabbat Shalom, שבת שלום
‘Flying High’, a large 295 sq metre mural by Annatomix on the synagogue site, was completed in February 2024 (Photograph: Patrick Comerford, 2024)
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