26 January 2024

The Fragility of Freedom
is the theme of this year’s
Holocaust Memorial Day

‘One of the most precious monuments of Jewish culture in Poland is dead’ … the Izaak Jakubowicz Synagogue in Kazimierz, the historic Jewish district of Kraków (Photograph: Patrick Comerford)

Patrick Comerford

Tomorrow marks Holocaust Memorial Day (HMD), which takes place each year on 27 January. The theme for Holocaust Memorial Day this year (2024) is Fragility of Freedom.

The Holocaust Memorial Day Trust encourages remembrance in a world scarred by genocide. The day remembers the 6 million Jews murdered during the Holocaust, alongside the millions of people murdered under Nazi persecution of other groups and during more recent genocides in Cambodia, Rwanda, Bosnia and Darfur.

The date 27 January was chosen because it marks the anniversary of the liberation of Auschwitz-Birkenau, the largest Nazi death camp, on 27 January 1945.

This year, 27 January is also Shabbat Shirah, the Sabbath of Singing, in the Jewish calendar. Many congregations highlight this Shabbat by creating services brimming with extraordinary music to celebrate Moses and Miriam leading the people out of Egypt and across the Red Sea of Reeds into liberation and freedom. Shabbat Shirah we celebrates a very special moment in the Torah, a very musical moment in Jewish biblical history.

Each year on Holocaust Memorial Day, thousands of people come together to learn about the past and to take action to create a safer future. The Holocaust threatened the fabric of civilisation, and genocide must still be resisted every day. This world often feels fragile and vulnerable and we cannot be complacent. Even in Britain, prejudice and the language of hatred must be challenged by all.

This year’s theme, ‘Fragility of Freedom’, was inspired by words written by Anne Frank in her diary after the Germans invaded the Netherlands: ‘That is when the trouble started for the Jews. Our freedom was severely restricted by a series of anti-Jewish decrees.’

Anne Frank and her family went into hiding. But they were betrayed and Anne died in Bergen-Belsen Concentration Camp, three months short of her 16th birthday. Her comment concludes: ‘You couldn’t do this and you couldn’t do that, but life went on’. But of course, for Anne Frank, and millions of others, life did not go on. Building on the multiple restrictions on their freedoms, their freedom of life was destroyed, and they were deliberately murdered.

Inside the Izaak Jakubowicz Synagogue … seriously threatened by large cracks in its high barrel vault (Photograph: Patrick Comerford)

Like many people who have visited Auschwitz, I have stayed in Kazimierz, the historic Jewish district of Kraków, where I have visited many of the surviving synagogues and Jewish sites. They include seven of the most prominent synagogues in Kazimierz: the Old Synagogue, the High Synagogue, Remu'h Synagogue, Wolf Popper Synagogue, the Tempel Synagogue, Kupa Synagogue and the Izaak Jakubowicz Synagogue.

The synagogues of Kraków represent virtually all the European styles of architecture, including the Gothic, Renaissance, Baroque, Neoclassical, and the Modernist. They were built between the end of the 15th century and the end of the 19th century, and are on the UNESCO World Heritage List.

Three of these synagogues are still active, some also serve as houses of prayer, and the district also has two Jewish cemeteries. The architectural historian Carol Herselle Krinsky regards the Izaac Synagogue as ‘the most architecturally important’ of all the old synagogues of Kraków.

So, I was saddened to learn through Jewish Heritage Europe earlier this week that the structural integrity of the 17th century Izaak Jakubowicz Synagogue, a jewel of Kazimierz, is seriously threatened by large cracks that have appeared in its high barrel vault.

In an announcement on Facebook earlier this month, the Social Committee for the Restoration of Kraków Monuments (SKOZK) pledged support to save the Baroque building, which dates from 1644.

The Izaak Synagogue is knowm for its colourful wall paintings of prayers and ritual imagery and the elaborate stucco work on the vault (Photograph: Patrick Comerford)

The announcement on Facebook declared dramatically: ‘One of the most precious monuments of Jewish culture in Poland is dead.’

The Izaak Jakubowicz Synagogue is the largest synagogue in Kazimirz. It is believed to have designed by either the Italian-born architect Francesco Olivierri or Giovanni Trevano, an Italian royal architect working in Kraków in the mid-17th century, and its construction was completed in 1644.

The Izaak Synagogue is noted for its colourful wall paintings of prayers and ritual imagery, as well as the elaborate stucco work on the vault, which soars to a height of 14 metres.

After cracks appeared on the vault above the prayer hall in the synagogue in 2018, investigations showed large and wide cracks that were spreading and that the surface of the vault is decaying and can no longer bear the load.

Last year, with the support of SKOZK, a technical project began in an effort to secure the vault and its beautiful stucco decorations, using carbon fibre tapes that fasten the vault from the roof.

The report concluded that the ‘the basic cause of the damage’ appeared to be ‘the faulty geometry of the vault structure … compounded by other problems, including, above all, deformation of the roof structure.’

Less serious cracks had already been detected in the vault in 1988, it said, and renovation in the late 1980s and early 1990s had seemed to have resolved the problem. But, ‘as it turned out, this was a wrong assumption.’

Maciej Wilamowski, director of the SKOZK office, was quoted in local media as describing the situation as ‘truly one of the most serious failures in a monument of this class in Kraków in recent decades. It covers the entire vault above the nave.’

Reports estimate the repairs will involve considerable costs, because the technology involving the installation of carbon fibres from the top is expensive. Other proposals would have involved removing and replacing a very large part of the 17th-century stucco work.

The Izaak Synagogue once had a widely-admired, wooden, baroque Aron haKodesh or holy ark, destroyed by the Nazis in 1939 (Photograph: Patrick Comerford)

The Izaak Synagogue (Synagoga Izaaka), formally known as the Isaak Jakubowicz Synagogue, dates from 1644 and is named for its donor, Izaak Jakubowicz, who died in 1673. He was also known as Isaac the Rich, a banker to King Ladislaus IV of Poland. The founding legend of the synagogue was first told in the early 19th century by the Polish rabbi, Simcha Bunim of Peshischa.

The interior walls of the synagogue are decorated with painted prayers, visible once again after conservation removed covering layers of paint. The vaulted ceiling is decorated with baroque plasterwork wreaths and garlands.

Before the Nazi occupation of Poland, the synagogue boasted a widely-admired, wooden, baroque Aron haKodesh or holy ark. On 5 December 1939 the Gestapo came to the Kraków Judenrat building and ordered Maximilian Redlich, the Jewish official on duty that day, to burn the scrolls of the Torah. When Redlich refused he was shot dead. The Nazis then destroyed the interior and furnishings, including the bimah and Aron haKodesh.

After the war, the synagogue was used as a sculpture and conservation workshop and then by a theatre company as a studio and for storing props. Until recently it was an exhibition space. A fire in 1981 damaged the interior. Renovation work began in 1983 and the building was returned to the Jewish community in 1989. It is a practicing Orthodox synagogue once again, and houses Kraków’s Chabad Lubavitch community and the Jewish Education Centre.

Holocaust Memorial Day this year is an opportunity to reflect on how freedom is fragile and vulnerable to abuse. It is an invitation to pledge not to take our freedoms for granted, and to consider what we can do to strengthen freedoms around the world.

• Holocaust Memorial Day is being marked in Milton Keynes tomorrow (27 January 2024) with a short service at 2 pm at the Milton Keynes Rose, including readings and a performance by a local choir.

Shabbat Shalom

‘Arbeit macht frei’ … the gate at Auschwitz … this weekend marks Holocaust Memorial Day (Photograph: Patrick Comerford)

Daily prayers during
Christmas and Epiphany:
33, 26 January 2024

A copy of Lorna May Wadsworth’s monumental altarpiece, ‘A Last Supper’, in St Albans Cathedral (Photograph: Patrick Comerford, 2024)

Patrick Comerford

The celebrations of Epiphany-tide continue today. This week began with the Third Sunday of Epiphany (21 January 2024), and the Calendar of the Church of England in Common Worship today recalls Saint Timothy and Saint Titus, Companions of Saint Paul (26 January).

Because I was born a day after the feast of Saint Paul, my mother wanted to call me Paul. Although my uncle, Arthur Comerford, had me baptised with the name Patrick, my mother continued to call me Paul throughout my life – the only person to do so. I might have been fine with the name Timothy too, but I wonder how I would have gone through life calling me Titus.

Before this day begins, I am taking some time for reading, reflection and prayer. Christmas is a season that lasts for 40 days that continues from Christmas Day (25 December) to Candlemas or the Feast of the Presentation next Friday (2 February). The Gospel reading on Sunday (John 2: 1-11) told of the Wedding at Cana, one of the traditional Epiphany stories.

In keeping with the theme of Sunday’s Gospel reading, my reflections each morning throughout the seven days of this week include:

1, A reflection on one of seven meals Jesus has with family, friends or disciples;

2, the Gospel reading of the day;

3, a prayer from the USPG prayer diary.

An icon of the Mystical Supper or the Last Supper in a shop window in Rethymnon (Photograph: Patrick Comerford)

6, The Last Supper:

The Last Supper has always been a popular subject for artists, from early icon writers through the great artists of Renaissance, to today.

Some of the earliest depictions can be seen in frescoes in the Catacombs in Rome, where Christ and the disciples are depicted reclining around semi-circular tables.

The three major themes depicted in paintings of the Last Supper: the washing of the disciples’ feet by Christ, the betrayal by Judas, and the Eucharist meal.

Byzantine artists sometimes used semi-circular tables in their depictions, but more frequently they focused on the Communion of the Apostles, rather than the reclining figures having a meal.

By the Renaissance, the Last Supper was a favourite subject in Italian art, especially in monastic refectories. These paintings often show the reactions of the disciples to the announcement of the betrayal of Christ.

The depictions of the Eucharist meal are generally solemn and mystical. They may show either Christ while he speaks the dominical words or words of institution over the bread and wine, with all still seated, or show the disciples moving forward to receive from Christ, with Christ standing and delivering the bread and wine of the Communion to each apostle, like a priest giving the sacrament of Holy Communion.

Leonardo da Vinci’s ‘Last Supper’ (1498) is considered the first work of High Renaissance art. He balances the varying emotions of the individual apostles when Christ states that one of the 12 would betray him. He shows a variety of attitudes, from anger and surprise to shock.

Most Italian Renaissance paintings present an oblong table rather that a semi-circular one, and sometimes Judas is shown by himself clutching his money bag. With an oblong table, the artist had to decide whether to show the apostles on both sides, so that some of the 12 are seen from behind, or all on one side of the table facing the viewer.

Sometimes, only Judas is on the side nearest the viewer, allowing his bag of money to be seen.

Placing the Disciples on both sides is further complicated when haloes are needed, so that some haloes are placed either in front of the faces of other apostles, or obscure the view. Duccio was the first artist to omit haloes, albeit the haloes of those apostles nearest the viewer. Giotto, in his fresco in the Scrovegni Chapel in Padua (1305), uses flat haloes, but the view from behind causes difficulties, and Saint John’s halo has to be reduced in size.

As artists became more interested in realism and the depiction of space, a three-sided interior setting became clearer and more elaborate, sometimes with a landscape view behind, as in the wall-paintings by Leonardo da Vinci and Perugino.

Some of the apostles are identifiable in some works; Judas often has his bag with 30 pieces of silver visible; Saint John the Evangelist is normally placed on Christy’s right side, usually ‘reclining in Jesus’ bosom’ as his Gospel says, or even asleep; Saint Peter is generally on Christ’s left.

The food on the table often includes a paschal lamb. In Byzantine versions, fish is the main dish. In later works, the bread may look more like a Communion host. Later still, we see more food, eating, and even waiters and servers, including women.

In some paintings, Judas may only be identifiable because he is stretching out his hand for the food, as the other apostles sit with their hands out of sight, or because he has no halo. In the West, he often has red hair. Sometimes Judas takes the sop in his mouth directly from Christ’s hand, and when he is shown eating it a small devil may be shown next to or on it.

Domenico Ghirlandaio, in his ‘Last Supper’ (1480), depicts Judas separately. The painting in Old Saint Peter’s Church, Strasbourg, dating from1485, shows Saint John leaning across, and Judas in yellow carries his 30 pieces of silver in a bag. Pietro Perugino’s paining in Florence (ca 1493-1496), which is regarded as one of his best pieces, also shows Judas sitting separately.

Tintoretto’s ‘Last Supper’ (1590-1592) in the Basilica di San Giorgio Maggiore in Venice, depicts the announcement of the betrayal, and includes an array of additional people carrying in food or taking out dishes from the table.

Tintoretto painted the Last Supper several times during his career. His earlier paintings for the Chiesa di San Marcuola (1547) and for the Chiesa di San Felice (1559) from the scene from a frontal perspective, following a convention observed in most paintings at the time, including Leonardo da Vinci’s mural in Milan.

This scene by Tintoretto, painted in his final years, departs drastically from this style of composition. The setting is similar to a Venetian inn, in which the centre is occupied not by the apostles but by secondary characters, including a woman carrying a dish and servants taking the dishes from the table.

This is a complex and radically asymmetrical composition. The apostles sit at table that recedes into space on a steep diagonal. His use of light is also worth noting – see how it appears to come from the light on the ceiling and from Christ’s aureola.

The Last Supper was one of the few subjects that continued in Lutheran altarpieces after the Reformation, sometimes portraying leading Reformers as the apostles. For example, the painting by Lucas Cranach the Younger (1565) portrays leading Reformers as the Apostles, and also show the Elector of Saxony kneeling.

The betrayal scene may also be combined with the other episodes of the meal, sometimes with a second figure of Christ washing Peter’s feet. The ‘Last Supper’ by Rubens (1630/1631) introduces a dog near Judas, perhaps representing Satan (see John 13: 27).

In the 20th century, Salvador Dalí’s depiction combines the typical Christian themes with modern approaches of Surrealism and also includes geometric elements of symmetry and polygonal proportion.

During my visits to St Albans Cathedral earlier this month, I admired a fine print of ‘A Last Supper’ (2009), by the Sheffield artist Lorna May Wadsworth in the north transept. Recently I also saw a charcoal cartoon of the painting in the Chapel of the Holy Spirit in Sheffield Cathedral.

The Jamaican-born fashion model Tafari Hinds was her model for Christ. The original, monumental 12 ft painting is behind the altar in Saint George’s Church in Nailsworth, Gloucestershire. There it was shot at in 2020, and the painting was damaged on Christ’s right side, the same place a Roman solider pierced his body with a spear as he hung dead on the Cross.

Lorna May Wadsworth’s charcoal cartoon for her monumental altarpiece, ‘A Last Supper’, in Sheffield Cathedral (Photograph: Patrick Comerford)

Luke 10: 1-9 (NRSVA):

1 After this the Lord appointed seventy [other ancient authorities read seventy-two] others and sent them on ahead of him in pairs to every town and place where he himself intended to go. 2 He said to them, ‘The harvest is plentiful, but the labourers are few; therefore ask the Lord of the harvest to send out labourers into his harvest. 3 Go on your way. See, I am sending you out like lambs into the midst of wolves. 4 Carry no purse, no bag, no sandals; and greet no one on the road. 5 Whatever house you enter, first say, “Peace to this house!” 6 And if anyone is there who shares in peace, your peace will rest on that person; but if not, it will return to you. 7 Remain in the same house, eating and drinking whatever they provide, for the labourer deserves to be paid. Do not move about from house to house. 8 Whenever you enter a town and its people welcome you, eat what is set before you; 9 cure the sick who are there, and say to them, “The kingdom of God has come near to you”.’

The Last Supper … an icon in the Lady Chapel in Lichfield Cathedral (Photograph: Patrick Comerford, 2023)

Today’s Prayers (Friday 26 January 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: ‘Provincial Programme on Capacity Building in Paraná.’ This theme was introduced on Sunday by Christina Takatsu Winnischofer, Igreja Episcopal Anglicana do Brasil.

The USPG Prayer Diary today (26 January 2024, Saint Timothy and Saint Paul) invites us to pray in these words:

Today is the feast of both Saint Timothy and Saint Titus. May we discern our roles in the Church and commit to them, whether in positions of leadership or as faithful members of the laity.

The Collect:

Heavenly Father,
who sent your apostle Paul to preach the gospel,
and gave him Timothy and Titus
to be his companions in faith:
grant that our fellowship in the Holy Spirit
may bear witness to the name of Jesus,
who is alive and reigns with you,
in the unity of the Holy Spirit,
one God, now and for ever.

The Post-Communion Prayer:

Holy Father,
who gathered us here around the table of your Son
to share this meal with the whole household of God:
in that new world where you reveal
the fullness of your peace,
gather people of every race and language
to share with Timothy and Titus and all your saints
in the eternal banquet of Jesus Christ our Lord.

Yesterday’s reflection (The meal with Simon the Pharisee)

Continued tomorrow (The meal at Emmaus)

The Last Supper … a painting in the Chapel of the Holy Grail in Valencia Cathedral (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

The Last Supper, by Mikhail Damaskinos, ca 1585-1591, in the Museum of Christian Art in the Church of Saint Catherine of Sinai, Iraklion (Photograph: Patrick Comerford)