10 June 2024

Saint Joseph’s Church
in Terenure and its
unique collection of
Harry Clarke windows

Saint Joseph’s Church, Terenure … James Joyce was baptised in the first church on the site, and the church has some of the finest windows by Harry Clarke (Photograph: Patrick Comerford, 2024)

Patrick Comerford

During my short visit to Dublin at the end of last week, I was working on some research on James Joyce’s childhood for a proposed contribution to a new book being planned and commissioned by my friend and colleague Professor Salvador Ryan of Maynooth.

On Friday afternoon, I visited Saint Joseph’s Church, Terenure, where Joyce was baptised in the first church on the site. The church has also been associated with a number of events in my own family, including some baptisms, weddings and funerals. But the church is also the location of some of the finest windows by Harry Clarke, and it was good to have time on Friday afternoon to appreciate them.

Saint Joseph’s Church is a large neo-Romanesque cruciform church with two naves at opposite ends, a High Altar at the crossing at the centre of the church, and a great crucifix hanging at the heart of the church with a figure on each side. The vista along the full length of the church is breathtaking, with stately columns and arches that reach to the vaulted ceiling. The church is oriented on a south-north axis rather than the traditional liturgical east-west axis.

Terenure had no church of any denomination until the second half of the 19th century. In the Church of Ireland, Terenure is still divided between the parishes of Rathfarnham and Rathgar (Zion Church), and Terenure did not become a separate parish in the Roman Catholic Church until 1894.

The main entrance to Saint Joseph’s Church, Terenure, facing onto Terenure Road East (Photograph: Patrick Comerford, 2024)

When Canon Daniel Byrne came to Rathfarnham, he began planning a church and schools for Terenure. He bought a large field near the crossroads as a site and called a public meeting in the village early in 1856 to raise funds to build two schools, a boys’ school and a girls’ school. £150 was subscribed at the meeting.

A temporary church was erected, and this is where James Joyce was baptised. His mother, Mary Jane (May) Murray, was born in Terenure in 1859 in the pub owned by her father, John Murray, and then called the Eagle Tavern. She met her future husband, John Joyce, in the choir at the Church of the Three Patrons in Rathgar. James Joyce was born a short walk away at 41 Brighton Square, Rathgar, on 2 February 1882, and was baptised at Saint Joseph’s by Father John O’Mulloy on 5 February.

The original phase of the church was designed by the Dublin architect William Geraty Clayton (1872-1946) while he was working for WH Byrne & Son, the architectural practice founded by William Henry Byrne. The builders were Michael Meade & Sons of Great Brunswick Street, Dublin.

Inside Saint Joseph’s Church, Terenure, facing the High Altar from the liturgical west end (Photograph: Patrick Comerford, 2024)

Clayton’s neo-Romanesque church was designed with a nave, side aisles, transepts, side chapels, sanctuaries and two sacristies. The foundation stone was laid on 1 May 1898, a fundraising meeting for the completion of the church was held on 16 March 1902, and it was dedicated in early 1904.

The architect, William Geraty Clayton, was the second son of the London-born Dublin architect William James Clayton (1844-1910) and his wife Ida Mary (née Lee). He was born in Dublin on 25 September 1872. His father’s teacher and friend, William Geraty, was his godfather.

Clayton was a pupil in the office of William Mansfield Mitchell and then worked in the office of William Henry Byrne & Son for 15 years before setting up his own practice. In 1917 with William Sedgwick Keatinge he won the competition for designing premises for the National University of Ireland in Upper Mount Street, Dublin.

Clayton worked from 12 Leinster Street, and was a member of the Royal Institute of Architects of Ireland from 1895 until he retired. Before retiring he lived at Beverston, Rathmines (1895-1897), Kimmage Manor, Terenure (1900, 1904-1911), Kilmacud House, Stillorgan (1901-1903), Cheeverstown House, Clondalkin, Co Dublin (1911), and Oswestry, Westfield Road, Harold’s Cross (1915-1918).

But, with fears for his eyesight and business falling away after World War I, Clayton gave up architecture around 1919. He bought a farm at Rathbane, Kilteel, Co Kildare, and died in 1946. After Clayton retired, Ashlin and Coleman designed the church railings and gates in 1922.

The Crucifixion (1920) by Harry Clarke in Saint Joseph’s Church, Terenure (Photograph: Patrick Comerford, 2024)

Saint Joseph’s Church holds three of the most important windows by Harry Clarke (1889-1931), Ireland’s best-known stained glass artist – the Crucifixion (1920), and his paired, two-light windows depicting the Annunciation (1922), and the Coronation of the Blessed Virgin Mary (1923) – along with several later works by the Harry Clarke Studios.

Harry Clarke is known for his windows in Bewley’s Café in Grafton Street, Dublin. But there are several contenders for recognition as his greatest masterpiece, including his Geneva Window, a gift of the Irish Free State to the League of Nations in 1926, and his windows in Terenure.

The Crucifixion for the (liturgical) east window was a major commission for Clarke from Father John Healy, parish priest of Terenure from 1916 to 1954. The window, depicting the Adoration of the Cross by Irish saints, is memory of Major Laurence Gorman of Brighton Road, Rathgar, and of Edward and Jeannie de Verdon Corcoran. It was dedicated and unveiled on 23 May 1920.

Harry Clarke was his own model for the central figure of Christ on the Cross in the Crucifixion window in Saint Joseph’s Church, Terenure (Photograph: Patrick Comerford, 2024)

The Crucifixion window was originally above the High Altar. The background for each of the lights is a spectacular red and gold sunset, offset with evergreen trees. The top panels of the first light depict six golden-haired angels praying in profile. The middle and lower panels depict a large collection of Irish saints.

Saint Patrick is depicted at the front of the saints, attired in traditional green robes. The top panels of the central light depict five angels with gowns of gold and white and elaborate wings of blue and red. The Holy Spirit, denoted by a dove, is in the centre of the group.

The main panels show Christ on the cross. Harry Clarke himself was the model for the central figure of Christ on the Cross.

The lower panel of the central light shows the Virgin Mary, Saint John the Evangelist and Saint Mary Magdalene at the foot of the cross. The top panels of the third light depict six angels, dressed in decorated robes of white, blue, green, gold and red. The main and lower panels of the third light depicts more Irish saints kneeling in prayer. Saint Brigid of Kildare is in the foreground in blue robes.

The lower panels show the Virgin Mary, Saint John the Evangelist and Saint Mary Magdalene at the foot of the cross and up to 20 Irish saints kneeling on either side of them (Photograph: Patrick Comerford, 2024)

Clarke received a further commission from the parish priest of Terenure, Father John Healy, for a two-light window for the Lady Chapel in February 1922 and now in the south choir aisle. The two windows in this pair were completed several months apart, and each window has a different mood and character.

Before the left-hand light, depicting the Annunciation, was completed, Clarke exhibited it at the Aonach Tailteann or Tailteann Games art exhibition and the Gaelic Revival festival and received the Gold Medal and first prize in the stained glass section.

Nicole Gordon Bowe in Harry Clarke: The Life and Work describes the Annunciation window as ‘a subtle work with shimmering pale colours, gossamer lines and finely laid on tones.’

The two-light window by Harry Clarke depicting the Annunciation (left) and the Coronation of the Blessed Virgin Mary (Photograph: Patrick Comerford, 2024)

In the Annunciation window, the Archangel Gabriel hovers above the Virgin Mary, held in suspense by long scarlet wings. Depicted as female, she wears a complex headdress and long multi-layered garment tied at the waist with a broad blue sash. Her feet are suspended over a scene of a hill town. The Holy Spirit in the form of a dove is to her right, shedding silver rays down on the Virgin Mary.

The Virgin Mary is depicted as young, with huge innocent eyes and a gentle expression. Her colour has traditionally been blue and Clarke uses his deep royal blue for her gown. Across her shoulders is a large shawl.

The composition is balanced and harmonious. The scarlet wings are mirrored by green fronds cascading from the right border. Mary’s outstretched hand provides a counterpoint to Gabriel’s, while both have large and complex haloes. The eye is drawn to two pairs of dainty slippers. The angel’s predominant red hues are laced and leavened with blues, while Mary’s blues are warmed by the reds and pinks of the shawl.

Clarke’s typical ‘floral ornamentation’ (known to his assistants as FOs or even as Fried Onions) fill much of the rest of the lower half of the window, an endlessly various and imaginative garden of blooms. Despite the inclusion of the floral elements and highly-figured details on the garments, the impression is of a serene and uncluttered scene.

The Archangel Gabriel and the Virgin Mary in the Annunciation window (Photograph: Patrick Comerford, 2024)

The right hand window, depicting the Coronation of the Blessed Virgin Mary, was completed in 1923. This window exudes an energy that is forceful and complex. Clarke depicts the Virgin Mary, triumphant and queenly, holding a sceptre and orb, with the moon and snake under her feet – inspired by the woman clothed in the sun with the moon under her feet in Revelation 12: 1, and the verse in Genesis in which the serpent is told ‘I will put enmity between you and the woman and between your offspring and hers; he will strike your head, and you will strike his heel’ (Genesis 3: 15).

Christ is seen above her, his hands raised in blessing, and both have fiery aureoles. The Virgin Mary carries a scroll with the invocation in Latin, ‘Blessed are you among women, and blessed is the fruit of your womb’ (Luke 1: 42).

The Virgin Mary and the Archangel Gabriel are the two main figures in this window, and the border is patterned in deep blue, punctuated by tiny scenes from the life of Mary. But much of the interest is provided by the host of other Biblical women whose stories are illustrated in the side panels and the predella.

Four Biblical women, Rachel, Rebecca, Esther and Judith, surround the Virgin Mary in the Coronation window (Photograph: Patrick Comerford, 2024)

Christ is surrounded by four female figures. The flowing clothing of the lower two provide a triangular link to Mary’s crown, an effective technique that divides the space and provides a frame for the first two Biblical women, Ruth and Deborah. They are both rendered in green glass above and blue below, and both images protrude beyond the border, a technique Clarke used to give depth. Ruth is known for her goodness and kindness, and Deborah for her wisdom and gift of prophecy, symbolised by the owl on her hand.

To the left of Mary’s crown is Rachel and to the right, Rebecca. Rachel may have been chosen as the mother of Joseph. She was watching her sheep when Isaac first saw her, and the story of Rebecca at the Well is a familiar motif in Renaissance painting. Rebecca comes to draw water at the well and becomes the wife of Isaac, the mother of Jacob and the ancestor of the nation of Israel.

There are scenes too from two other Biblical stories. To the left is the story of Esther, with images of King Xerxes, the harem, and Esther becoming the queen. To the right is the story of Judith, who beheads Holofernes in his sleep. She is seen in scarlet robes, with her hand tangled in bright red hair of Holofernes and escaping with her maid carrying the head of Holofernes in a basket.

In the predella, Adam and Eve are cowering in fear and shame in the Garden of Eden, while the golden apples hang from a purple tree.

Adam and Eve are depicted cowering in fear and shame in the Garden of Eden, while the golden apples hang from a purple tree (Photograph: Patrick Comerford, 2024)

The church has other windows from the Harry Clarke Studio, including the Resurrection (1935-1936) by Richard King, and the Baptism of Christ in the Baptistry at the west end of the north aisle. In the lower panels in the baptistry window, Christ is seen in the workshop of Saint Jesus with the Virgin Mary and Saint John the Baptist.

The west rose window is partly obscured by organ. The outer part, which cherubic heads in medallions, is a work by the Harry Clarke Studios in the 1930s, but the central part appears to have been replaced at a later date with a much simpler design by another workshop.

Other later works by the Harry Clarke Studios include smaller sexfoil rose windows at the east end of the choir aisle showing Christ the King placing a crown on the head of the Virgin Mary, the Sacred Heart and other scenes.

The west rose window is partly the work of the Harry Clarke Studios in the 1930s (Photograph: Patrick Comerford, 2024)

A decade or two after the Harry Clarke windows were installed in the church, my aunt, Mary (May) Josephine Comerford (1902-1973), of Ashdale Park, Terenure, married John Leonard (Sean O Lionnain) (1876-1959), of 52 Orwell Road, Rathgar, in Saint Joseph’s Church on 11 October 1939.

Then, in 1952, the Dublin architect Simon Aloysius Leonard (1903-1976) was commissioned to design the extension of the church, doubling it in length in 1952. Leonard was born in Dublin in 1903 and educated at Mount Saint Benedict’s, Gorey, Co Wexford. He graduated from Trinity College Dublin with a degree in agriculture in 1925 and farmed in Co Meath until 1927, when he decided to follow his original interest in architecture. He studied architecture in Liverpool University (1931-1935) and University College Dublin (BSc 1936), and then joined the architectural firm of his uncle, Ralph Henry Byrne, in 1936.

When Byrne died on 15 April 1946, Leonard continued to the run the practice, retaining the original name of WH Byrne & Son. Leonard was President of the AAI in 1940-1941, and a member of the council of the RIAI, and a fellow of the RIBA. He died on 23 August 1976. Two of his sons, Brian and Mark, followed him into the firm of WH Byrne & Son.

The Baptism and Resurrection windows are the work of the Harry Clarke Studios in the 1930s (Photographs: Patrick Comerford, 2024)

When Leonard doubled the church in length in 1952, Harry Clarke’s Crucifixion window was moved to the end of the new extended part of the church, above a new, second entrance, while the High Altar was in the centre of the long nave. Within the altar is a sculpture of the buried Christ in his tomb.

Outside, the church has impressive stone work, a fine rose window, and a steeple. The design features include a semicircle of bas-reliefs over the main, liturgical west entrance with a background of golden mosaics. Clayton’s intended spire was never completed.

The High Altar in the altar in Saint Joseph’s Church, with a sculpture of the buried Christ in his tomb (Photograph: Patrick Comerford, 2024)

Daily prayer in Ordinary Time 2024:
32, 10 June 2024

Holy Trinity Church, Inishbiggle, off Achill Island, Co Mayo, was dedicated in 1896 (Photograph: Patrick Comerford)

Patrick Comerford

This week began with the Second Sunday after Trinity (Trinity II, 9 June 2024).

In the two weeks after Trinity Sunday, I illustrated my prayers and reflections with images and memories of cathedrals, churches, chapels and monasteries in Greece and England dedicated to the Holy Trinity. I am continuing this theme this week, with images and memories of churches I know in Ireland that are dedicated to the Holy Trinity.

Before today begins, I am taking some quiet time this morning to give thanks, for reflection, prayer and reading in these ways:

1, today’s Gospel reading;

2, a prayer from the USPG prayer diary;

3, the Collects and Post-Communion prayer of the day.

Inside Holy Trinity Church, Inishbiggle … crowded for a history lecture and poetry reading (Photograph: Patrick Comerford)

Matthew 5: 1-12 (NRSVUE):

5 When Jesus saw the crowds, he went up the mountain, and after he sat down, his disciples came to him. 2 And he began to speak and taught them, saying:

3 “Blessed are the poor in spirit, for theirs is the kingdom of heaven.
4 “Blessed are those who mourn, for they will be comforted.
5 “Blessed are the meek, for they will inherit the earth.
6 “Blessed are those who hunger and thirst for righteousness, for they will be filled.
7 “Blessed are the merciful, for they will receive mercy.
8 “Blessed are the pure in heart, for they will see God.
9 “Blessed are the peacemakers, for they will be called children of God.
10 “Blessed are those who are persecuted for the sake of righteousness, for theirs is the kingdom of heaven.
11 “Blessed are you when people revile you and persecute you and utter all kinds of evil against you falsely on my account. 12 Rejoice and be glad, for your reward is great in heaven, for in the same way they persecuted the prophets who were before you.”

Looking from Bullsmouth across to Inishbiggle … Frederick MacNeice left his family at Bullsmouth watching the sunset while he took the Sunday afternoon service in Holy Trinity Church, Inishbiggle (Photograph: Patrick Comerford)

Holy Trinity Church, Inishbiggle, Co Mayo:

It is some years since I was invited to take part in leading a guided tour of the tiny island of Inishbiggle as part of the Annual Heinrich Böll Memorial Weekend on Achill Island, and to speak in Holy Trinity Church.

The channel between Bullsmouth, on the eastern shores of Achill Island, and Inishbiggle has one of the strongest and most treacherous currents in Europe. Those currents are unpredictable, often making Inishbiggle inaccessible. Yet, against all expectations, 80 or more people made the morning crossing that morning in 2013 in relays on currachs and with Coast Guard volunteers.

Tiny Inishbiggle is squeezed between Achill and the Mayo mainland. It measures only 2.5 km by 1.5 km, with a land area of 2.6 sq km. In recent years, the population has dwindled to about 20, and the school and post office have been closed for some years. The only church on the island, Holy Trinity Church, belongs to the Church of Ireland.

Sheila McHugh led the guided walk, and we were offered morning coffee and tea in the island school, now used for Sunday Mass and as a doctor’s clinic. From there, it was a short walk to Holy Trinity Church, where I spoke on the history of the Church of Ireland on Inishbiggle.

Both the church and the island are unique, for Inishbiggle is the only island with only a Church of Ireland church. Inishbiggle is also a new island, for it has been inhabited continuously for less than two centuries.

The island was once part of the Mayo estates of the Ormond Butlers, whose claims were confirmed to Thomas Butler, Earl of Ormond, in 1585, and again by King James I in 1612. The Butler lordship, including Achill and Inishbiggle, continued until 1696, when they leased their Mayo estates first to Sir Thomas Bingham and then to Thomas Medlycott.

At the end of the 18th century, the estate, including Achill and Inishbiggle, was bought by John Browne, 1st Earl of Altamont, and then in 1785 by Sir Neal O’Donel of Newport House – for £33,598 19s 4d.

But Inishbiggle remained uninhabited until 1834. In 1837, there was no church on either Achill Island or Inishbiggle, and the Rector, Canon Charles Wilson, reported that Sunday services were held in a private house. By 1838, a few buildings had started to appear on Inishbiggle, and in 1839 the Revd Caesar Otway visited Inishbiggle. He suggested it was an ideal island for growing wheat and for a mill, but his proposals came to nothing.

The Revd Edward Nangle saw Inishbiggle as an opportunity to extend the work of his Achill Mission, and by 1841 Inishbiggle had a population of 67. During the Famine, Inishbiggle developed slowly, with the arrival of both Protestant and Catholic tenants from Achill and from mainland Co Mayo, attracted by lower rents and hoping for better living conditions.

In March 1848, hundreds of people from Dooniver, Bullsmouth and Ballycroy approved a declaration thanking Nangle for supplying them with potatoes and turnips from a mission farm on Inishbiggle. Without the food, they said, they would have starved.

The first schoolhouse was built on Inishbiggle that year. But by 1851, the population had dropped to 61. A year later, Nangle and the trustees of the Achill Mission bought Inishbiggle from Sir Richard O’Donel. The other trustees were the Hon Somerset Richard Maxwell, the Right Hon Joseph Napier and George Alexander Hamilton.

Somerset Maxwell, who had briefly been the Tory MP for Co Cavan (1839-1840), was a grandson of Henry Maxwell, Bishop of Meath, who built Saint Mary’s Church, Newtownbarry (Bunclody), Co Wexford, and a son of the Revd Henry Maxwell, 6th Lord Farnham. Somerset Maxwell eventually succeeded as the 8th Lord Farnham. His influence may have brought a number of Cavan Protestant families to Achill, including the Sherridan family. George Alexander Hamilton MP was a son of the Revd George Hamilton of Hampton Hall, Balbriggan, Co Dublin. But, despite the trustees’ strong Church links, Inishbiggle remained without a church until the end of the 19th century.

There were 18 families living on Inishbiggle in 1855: their family names were Cafferky, Campbell, Cooney, Fallon, Henery (Henry), Landrum, McDermott, McManmon, Mealley (Malley or O’Malley), Molly (Molloy), Nevin, Reaf and Sweeny. By 1861, Inishbiggle had a population of 145. By 1871, there were 154 people, and by 1881, 171 people.

But by the 1880s, emigration was taking its toll on the Church of Ireland community. The Rector of Achill, the Revd Michael Fitzgerald, wrote: ‘During the months of April and May 1883, and within the last ten days, I have lost by the rapid tide of free emigration to Canada, the United States of America, and Australia, forty-two members of my flock, thirty-six of whom belong to Achill Sound, and six to the island of Inishbiggle.’

It was a steep decline. By 1891, the population of Inishbiggle had fallen to 135. In 1901, it was still 135. Of these, 39 (29 per cent) were members of the Church of Ireland. Their family names were Brice, Calvey, Gallagher, Henry, McManmon, Malley, Miller, McManmon and Sheerin,

Ten years later, in 1911, the Church of Ireland islanders on Inishbiggle had dropped in number to 36, while the general population of the island had risen to 149. The Church of Ireland population was now 24 per cent – the island’s population was rising, but the Church of Ireland population was dropping, and that decline would have been greater but for the arrival of John Tydd Freer, a school teacher, and his family.

The family names of the Church of Ireland islanders were: Bryce, Calvey, Freer, Gallagher, Henry, McManmon, O’Malley and Sheerin. These names indicate that the members of the Church of Ireland on the island shared the social backgrounds of their neighbours, and there was an interesting degree of inter-marriage between Church of Ireland and Roman Catholic families.

By the beginning of the second decade of the 20th century, the community was in decline. A higher standard of literacy and education made it easier for their children to emigrate, because they had higher job prospects.

By 1971, Charles Crawford Freer, by then Press Officer for the Church of Ireland, reported that the Church of Ireland population of Inishbiggle had fallen from 15 to five. The Church of Ireland community on Inishbiggle was never large enough to give hope to a sustainable parish developing on the island. When I visited in 2013, the number had fallen to one. Now there are none.

Although one diocesan history states Holy Trinity Church was built by the Achill Mission, the Achill Mission had long closed by the time the church was built in the 1890s with a generous bequest from Miss Ellen Blair of Sandymount, Dublin.

In 1893, Bishop James O’Sullivan of Tuam, the Rector of Achill, the Revd Michael Fitzgerald, and the diocesan architect, John G Skipton, came to Inishbiggle by boat on a five-mile journey from Achill Sound to select a site for the new church. In 1895, Bishop O’Sullivan, his wife and the rector returned to lay the foundation stone for Holy Trinity Church.

The building work was carried out by local labour. It is told that during this building work a heavy piece of wood crashed to the ground, just missing Patrick O’Malley, who was rescued thanks to the hasty intervention of Patrick Nevin. The building was completed by 1896, and Bishop O’Sullivan came to Inishbiggle on ‘a sunny day,’ with a large number of people in rowing boats, for the consecration of the new church.

Holy Trinity Church is built of stone with a natural pebble-dash finish, a small tower with a bell and cross. In summer, the church is even prettier as pink rhododendrons surrounding come into bloom, forming an archway. The simple, plain, white-painted interior has a small organ, five rows of wooden pews, a small pulpit, a chancel arch, a sanctuary area and a tall, three-light East Window, with a small vestry off the sanctuary area.

As a mark of gratitude, Patrick O’Malley later built a stone wall around the small churchyard or cemetery. However, the cemetery has not been used for burials for 80 or 90 years.

A school was built in 1870, replacing the first school dating from the 1840s. The teacher’s cottage beyond the church on the edge of the island is now roofless and is falling into ruins.

Successive Bishops of Tuam, including Bishop John Neill and Bishop Richard Henderson, had a generous ecumenical vision for the future of the church, and in 2003 the church was rededicated to serve the Church of Ireland and Roman Catholic islanders. But the church was later returned to the Church of Ireland.

Last year, I asked in July whether there was was a future for Holy Trinity Church, Inishbiggle. Then, four months later, on 12 November 2023, Bishop Michael Burrows and the Rector of the Westport Group of Parishes, the Revd Suzanne Cousins visited the church and Inishbiggle, as the very beginning of the bishop’s programme to visit every church in the diocese.

The pulpit in Holy Trinity Church, Inishbiggle (Photograph: Patrick Comerford)

Today’s Prayers (Monday 10 June 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 ‘Estate Community Development Mission, Diocese of Colombo, Church of Ceylon.’ This theme was introduced yesterday with a programme update. The Church of Ceylon is one of USPG’s Partners in Mission (PIM).

The USPG Prayer Diary today (10 June 2024) invites us to pray:

Lord God, we praise you for the work of the Diocese of Colombo, Church of Ceylon with the tea plantation communities. Thank you that your Spirit drives us to care for those on the margins.

An open door and a welcome in Holy Trinity Church, Inishbiggle (Photograph: Patrick Comerford)

The Collect:

Lord, you have taught us
that all our doings without love are nothing worth:
send your Holy Spirit
and pour into our hearts that most excellent gift of love,
the true bond of peace and of all virtues,
without which whoever lives is counted dead before you.
Grant this for your only Son Jesus Christ’s sake,
who is alive and reigns with you,
in the unity of the Holy Spirit,
one God, now and for ever.

Post Communion Prayer:

Loving Father,
we thank you for feeding us at the supper of your Son:
sustain us with your Spirit,
that we may serve you here on earth
until our joy is complete in heaven,
and we share in the eternal banquet
with Jesus Christ our Lord.

Additional Collect:

Faithful Creator,
whose mercy never fails:
deepen our faithfulness to you
and to your living Word,
Jesus Christ our Lord.

Collect on the Eve of Saint Barnabas:

Bountiful God, giver of all gifts,
who poured your Spirit upon your servant Barnabas
and gave him grace to encourage others:
help us, by his example,
to be generous in our judgements
and unselfish in our service;
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.

Is there a future for Holy Trinity Church, Inishbiggle? (Photograph: Patrick Comerford)

Yesterday’s reflection

Continued tomorrow

A plaque in Holy Trinity Church, Inishbiggle, recalling the generosity of Ellen Blair from Sandymount (Photograph: Patrick Comerford)

Scripture quotations are from the New Revised Standard Version, Updated Edition copyright © 2021, National Council of the Churches of Christ in the United States of America. Used by permission. All rights reserved worldwide.

The cemetery wall was built by Patrick Malley as a thank offering after surviving an accident when the church was being built (Photograph: Patrick Comerford)