Charlotte Street was first laid out in the 1760s and has become the ‘spine of Fitzrovia’ (Photograph: Patrick Comerford, 2025)
Patrick Comerford
During one of my recent strolls through Fitzrovia in London, I found myself on Charlotte Street, where the Fitzroy Tavern gives its name to the area of Fitzrovia.
Charlotte Street has been described as the ‘spine of Fitzrovia’. Fitzrovia is known for its bohemian and artistic history, known as a meeting place for artists and intellectuals, and the Fitzroy Tavern, on the corner of Charlotte Street and Windmill Street, became a celebrated meeting place for intellectuals, writers, artists, craft workers and immigrants.
I am well-acquainted with Charlotte Street in Wexford, Charlotte Street and Charlotte Way in Dublin, Charlotte Quay in both Limerick and Dublin, and I have walked along Charlotte Street or Charlottenstrasse in Berlin, and I have gone in search of Charlotte Street in Prague, Franz Kafka’s location for Metamorphosis.
The Fitzroy Tavern, on the corner of Charlotte Street and Windmill Street, has given Fitzrovia its name (Photograph: Patrick Comerford, 2025)
Charlotte Street in Fitzrovia was first laid out in 1763 and was named after Queen Charlotte, who married King George III in 1761. She was Britain’s longest serving queen consort, serving for 57 years and 70 days.
The street was originally residential but it later attracted a literary and artistic community, and became popular with craftsmen. The area has been home to many prominent figures, including writers like Dylan Thomas and George Orwell, and artists such as Augustus John.
Charlotte Street is historically part of the parish and borough of Saint Pancras, in central London. The street’s northern and southern extensions are Fitzroy Street and Rathbone Place.
The southern half of the street has many restaurants and cafés, and a lively nightlife; the northern part is more mixed in character, and includes the former offices of the advertising agency Saatchi & Saatchi, and a University College London student hall of residence, Astor College. The street also has its own residential population, living above the ground floors.
The Queen Charlotte on the corner of Goodge Street (Photograph: Patrick Comerford, 2025)
Charlotte Street, together with Charlotte Place, previously Little Charlotte Street, was one of four streets in and around Fitzrovia that took Queen Charlotte’s name. The other two have since been renamed Hallam Street and Bloomsbury Street.
From the 19th century on, the parish and borough of Saint Pancras was home to a large, mostly middle-class, German population. Charlotte Street and the surrounding locality was a thriving centre of this community, and the street acquired the nickname Charlottenstrasse, after its famous namesake in Berlin.
The parish and borough boundaries of Saint Pancras is now part of the London Borough of Camden and the parish and borough of Marylebone ran through the area, mostly along Cleveland Street. These ancient boundaries are many centuries old, and they have been inherited by the modern boroughs in London.
Charlotte Street and Charlotte Place were wholly in Saint Pancras, but a minor adjustment to that boundary around 1900 now means that a small part of the boundary separating the London Borough of Camden and the City of Westminster runs along a short section of Charlotte Street.
The Charlotte Street Hotel opened at 15 Charlotte Street in 2000 (Photograph: Patrick Comerford, 2025)
The nearest tube station is Goodge Street to the east. Goodge Street itself crosses Charlotte Street halfway up. To the east and parallel with Charlotte Street is Tottenham Court Road, to the south is Oxford Street.
The street has a mixture of 18th-, 19th- and 20th-century buildings and is known for its many restaurants with a wide range of cuisine. At the height of the Jewish West End, there were numerous Jewish businesses in Charlotte Street, including Rudin, the trimming merchants, Resnick the butcher, Kahn’s salt beef bar, drapers, dairies, hosiers and tobacconists. French restaurants included l’Etoille, which opened in 1904, and Italians opened Bertorellis in 1912.
The Scala Theatre, opened in 1905, was located on Charlotte Street. A theatre first stood on the site in 1772. From 1865 to 1882, the theatre was known as the Prince of Wales’s Theatre. It was rebuilt in 1904 and was famous for Christmas productions of Peter Pan. The Jewish community once used the theatre for High Holy Day services, fundraising events for the West Central Clubs and Yiddish film shows. It was destroyed by a fire and demolished in 1969.
The Charlotte Street Hotel is a boutique hotel that opened at 15 Charlotte Street in 2000, its interiors decorated with modern British art, including works by such artists as Duncan Grant, Vanessa Bell, and Roger Fry.
It was once the location of Schmidt’s Restaurant, which opened as a deli in 1901 and it became a restaurant after World War I. The spy Donald Maclean, a key figure in the Cambridge Five, is said to have spent his last night in England there before fleeing in 1951, and it remained one if the ‘in places’ until it closed in the 1970s.
The Fitzroy Tavern was known to Dylan Thomas, Lawrence Durrell, Augustus John and George Orwell (Photograph: Patrick Comerford, 2025)
The Queen Charlotte is a pub on the corner of Goodge Street. It was first licensed in 1767, and was once known as the Northumberland Arms. The present building dates from 1897 and the name was changed to the Queen Charlotte in 2018.
The Fitzroy Tavern at 16 Charlotte Street was built as a coffee house in 1883, and became a pub in 1887. Judah Kleinfeld, a Polish-Jewish immigrant became the landlord. Kleinfeld had a novel way of encouraging chariry: customers threw money to the ceiling on darts, it was taken down annually, counted and the ‘pennies from heaven’ were used to give local children a fun day out.
His daughter and son-in-law took over the pub in the 1930s, and continued running the pub into the 1950s. While they were there it became famous from the 1920s until the mid-1950s as a meeting place for artists, writers, intellectuals and bohemians, including Dylan Thomas, Lawrence Durrell, Augustus John and George Orwell.
Later, Donovan’s Sunny ‘Goodge Street’ was a moving romantic song depicting Fitzrovia and the area around Charlotte Street in London in the mid-1960s.
Happy Birthday Charlotte!
Charlotte Street was one of four streets in and around Fitzrovia that took Queen Charlotte’s name (Photograph: Patrick Comerford, 2025)
13 April 2025
Saint Peter and Saint Paul
Church, John Newton’s
church in Olney, is
celebrating 700 years
Inside Saint Peter and Saint Paul Church, Olney, which is celebrating its 700th anniversary this year (Photograph: Patrick Comerford, 2025)
Patrick Comerford
The Church of Saint Peter and Saint Paul, the parish church of Olney in Buckinghamshire, is celebrating its 700th anniversary this year [2025]. The 14th century church, with its tall spire and its unusual setting at the end of the town, is the first thing most visitors notice as they approach Olney from Newport Pagnell and the south.
The church stands on the bank of the River Great Ouse and, with its fine spire, dominates the southern approach to the town, making the steeple a distinctive landmark in its setting beside the bridge over the river.
The church is an integral part of the world famous Olney Pancake Race, run every Shrove Tuesday, and followed by the Shriving Service. The town sign depicts the church and the pancake race, which dates back to 1445.
The church also has strong connections with John Newton, the slave trader and clergyman, who became an abolitionist and who was a curate there, and with William Cowper, the poet and abolitionist.
Saint Peter and Saint Paul Church, Olney … the tall spire is the first thing most visitors notice in Olney (Photograph: Patrick Comerford, 2025)
Saint Peter and Saint Paul is a Grade I listed church. Local traditions say an earlier church was located at a different site in Olney, and this is supported by the apparent lack of earlier architecture in the current building.
It is thought an earlier parish church stood at the north end of Olney. There is a suggestion that the earlier church was founded in 1018, and it is likely to have been on a modest scale.
The greater part of the present church was built in the 14th century between ca 1330 and 1400 in the Decorated Gothic style. The rest of the church is of the same period, with tall windows and 14th century tracery, though these windows have been restored and the glass is Victorian or modern.
The north aisle was partly rebuilt in the 16th and 17th centuries.
Inside Saint Peter and Saint Paul Church, Olney, facing west … the roof of the nave is lower than the roof of the chancel (Photograph: Patrick Comerford, 2025)
The church has a slightly unusual appearance because the roof of the nave is lower than the roof of the chancel, and of slate rather than tile. This is because the nave was altered in 1807, when the clerestory was demolished, internal roof carvings were removed, and the old roof timbers and lead were sold. It was said in 1825 that several carved figures and heads from the church where found throughout the buildings and gardens of the town. The south aisle was largely rebuilt in 1831.
The architect Sir George Gilbert Scott (1811-1878), who was brought up in Olney, was a son of the Revd Thomas Scott (1780-1835) and a grandson of Newton’s friend, the biblical commentator, the Revd Thomas Scott (1747-1821) of Olney. Sir George Gilbert Scott rebuilt and restored the church in 1870-1885, including the restoration of the chancel (1874), the nave (1876-1877) and the south aisle and a new east window was installed a cost of nearly £2,000.
The chancel, high altar and east window in Saint Peter and Saint Paul Church, Olney (Photograph: Patrick Comerford, 2025)
The windows in the south and north aisles display the flowing tracery characteristic of 14th century church architecture, although they were much restored, and in some cases replaced, in the 19th century. The fine, stained glass windows in the church date from the late 19th and 20th centuries.
The five-light East Window (1870) by W Holland & Sons is in memory of Ann Ravis and depicts the Crucifixion, the Ascension, the Resurrection, the Annunciation, the Last Supper and the Nativity.
A window at the west end of the chancel commemorates the abolitionist, hymnwriter and former curate John Newton (Photograph: Patrick Comerford, 2025)
A three-light window on the south side at the west end of the chancel commemorates the abolitionist, hymnwriter and former curate John Newton (1725-1807) and was erected in 1973 by Archibald & Emily Maud Allen in memory of their daughter Evelyn Garrard Allen. It was made by James A Crombie (1913-2000) the stained glass designer and watercolourist during a brief spell when he was working for Wippell of Exeter.
The upper images show Christ and figurative representations of the abolition of slavery; the lower images show Newton in the pulpit in Olney, with depictions on either side of the life-changing storm in Lough Swilly off the coast of Co Donegal that brought about his conversion.
The window commemorating the poet William Cowper is half-hidden by the pulpit (Photograph: Patrick Comerford, 2025)
Half-hidden by the pulpit, a three-light window (1946) at the east end of the north nave by George Bryan Cooper-Abbs (1901-1966), chief designer of J Wippell and Co in Exeter, shows Christ in Majesty, with Saint Peter and Saint Paul, patrons of the church, on either side. Below his feet are the church, with the William Cowper and the hymnwriter John Newton on either side. Quotations from some of Cowper’s hymns also appear in the window.
The church spire, which is unusual for Buckinghamshire, is set on a tall tower and reaches a height of 56.5 metres (185 ft). The tower originally housed a peal of six bells, the oldest of which is dated 1599. The church bells were refurbished and added to a few years ago, making it one of the finest peals of ten bells in the country.
The window commemorating John Newton depicts him in the pulpit in Olney and scenes from the life-chamging storm in Lough Swilly (Photograph: Patrick Comerford, 2025)
John Newton wrote the hymn ‘Amazing Grace’ while he was at Olney for a New Year’s Day service on 1 January 1773. Newton had once been the captain of several slave ships and an investor in the slave trade. Newton experienced a conversion during a severe storm in Lough Swill off the coast of Co Donegal in 1748. Many years later, he renounced the slave trade and became a prominent abolitionist.
Newtown was ordained deacon and priest in Church of England in 1764 and served in Olney until 1779, when he became the Rector of Saint Mary Woolnoth, London.
The churchyard in Olney has been closed for some years and is under the care of Milton Keynes Council. Among the graves in the south-east corner is the grave of John Newton and his wife Mary, re-interred from Saint Mary Woolnoth, London, in 1893 when the burial ground was being cleared.
A plaque in the north porch outlines many of the church’s connections (Photograph: Patrick Comerford, 2025)
Newton was a contemporary in Olney of the poet and hymn writer William Cowper (1731-1800), and together they co-wrote the Olney Hymns (1779), which included ‘Amazing Grace’.
Cowper’s poems and hymns have given the English language phrases such as ‘God moves in a mysterious way his wonders to perform’; ‘Variety’s the very spice of life, that gives it all its flavour’; ‘I am monarch of all I survey’; ‘Oh! for a closer walk with God’; ‘God made the country, and man made the town’; and ‘There is a pleasure in poetic pains which only poets know.’
Other figures associated with the church include the organist and composer Henry Gauntlett and the biblical commentator Thomas Scott. A plaque in the north porch in memory of Kate Hollingshead (1886-1969) outlines many of these connections.
The pulpit in Saint Peter and Saint Paul Church, Olney (Photograph: Patrick Comerford, 2025)
The church marks the 700th anniversary of its founding this year, which coincides with the tercentenary of John Newton’s birth. A week of celebration is planned between Saturday 28 June and Sunday 6 July 2025, with other special services and events through the year.
A History Day on Saturday 5 July includes speakers and exhibitions. Olney Archaeological Society is presenting a talk by Professor Stephen Upex of Madingley Hall, Cambridge, on the church in the Olney landscape.
The church has a Priest-in-Charge rather than a rector because the Newport Deanery in the Diocese of Oxford is being reorganised and the parish is to become part of a new Benefice of Ouse Valley North. At the moment there is a vacancy for the Priest-in-Charge; the Revd Hugh Reid is the curate.
The baptismal font at the west end of Saint Peter and Saint Paul Church, Olney (Photograph: Patrick Comerford, 2025)
• The Sunday morning services at 10 am in Saint Peter and Saint Paul are: Holy Communion, Common Worship (first, third and fifth Sunday), Informal Worship (second Sunday), and Informal Communion (fourth Sunday). There is a variety of evening services at 6 pm on Sundays, including a Said Communion on the second Sunday and there is a midweek celebration of Holy Communion at 10 am on Wednesdays.
The east end of Saint Peter and Saint Paul Church, Olney (Photograph: Patrick Comerford, 2025)
Patrick Comerford
The Church of Saint Peter and Saint Paul, the parish church of Olney in Buckinghamshire, is celebrating its 700th anniversary this year [2025]. The 14th century church, with its tall spire and its unusual setting at the end of the town, is the first thing most visitors notice as they approach Olney from Newport Pagnell and the south.
The church stands on the bank of the River Great Ouse and, with its fine spire, dominates the southern approach to the town, making the steeple a distinctive landmark in its setting beside the bridge over the river.
The church is an integral part of the world famous Olney Pancake Race, run every Shrove Tuesday, and followed by the Shriving Service. The town sign depicts the church and the pancake race, which dates back to 1445.
The church also has strong connections with John Newton, the slave trader and clergyman, who became an abolitionist and who was a curate there, and with William Cowper, the poet and abolitionist.
Saint Peter and Saint Paul Church, Olney … the tall spire is the first thing most visitors notice in Olney (Photograph: Patrick Comerford, 2025)
Saint Peter and Saint Paul is a Grade I listed church. Local traditions say an earlier church was located at a different site in Olney, and this is supported by the apparent lack of earlier architecture in the current building.
It is thought an earlier parish church stood at the north end of Olney. There is a suggestion that the earlier church was founded in 1018, and it is likely to have been on a modest scale.
The greater part of the present church was built in the 14th century between ca 1330 and 1400 in the Decorated Gothic style. The rest of the church is of the same period, with tall windows and 14th century tracery, though these windows have been restored and the glass is Victorian or modern.
The north aisle was partly rebuilt in the 16th and 17th centuries.
Inside Saint Peter and Saint Paul Church, Olney, facing west … the roof of the nave is lower than the roof of the chancel (Photograph: Patrick Comerford, 2025)
The church has a slightly unusual appearance because the roof of the nave is lower than the roof of the chancel, and of slate rather than tile. This is because the nave was altered in 1807, when the clerestory was demolished, internal roof carvings were removed, and the old roof timbers and lead were sold. It was said in 1825 that several carved figures and heads from the church where found throughout the buildings and gardens of the town. The south aisle was largely rebuilt in 1831.
The architect Sir George Gilbert Scott (1811-1878), who was brought up in Olney, was a son of the Revd Thomas Scott (1780-1835) and a grandson of Newton’s friend, the biblical commentator, the Revd Thomas Scott (1747-1821) of Olney. Sir George Gilbert Scott rebuilt and restored the church in 1870-1885, including the restoration of the chancel (1874), the nave (1876-1877) and the south aisle and a new east window was installed a cost of nearly £2,000.
The chancel, high altar and east window in Saint Peter and Saint Paul Church, Olney (Photograph: Patrick Comerford, 2025)
The windows in the south and north aisles display the flowing tracery characteristic of 14th century church architecture, although they were much restored, and in some cases replaced, in the 19th century. The fine, stained glass windows in the church date from the late 19th and 20th centuries.
The five-light East Window (1870) by W Holland & Sons is in memory of Ann Ravis and depicts the Crucifixion, the Ascension, the Resurrection, the Annunciation, the Last Supper and the Nativity.
A window at the west end of the chancel commemorates the abolitionist, hymnwriter and former curate John Newton (Photograph: Patrick Comerford, 2025)
A three-light window on the south side at the west end of the chancel commemorates the abolitionist, hymnwriter and former curate John Newton (1725-1807) and was erected in 1973 by Archibald & Emily Maud Allen in memory of their daughter Evelyn Garrard Allen. It was made by James A Crombie (1913-2000) the stained glass designer and watercolourist during a brief spell when he was working for Wippell of Exeter.
The upper images show Christ and figurative representations of the abolition of slavery; the lower images show Newton in the pulpit in Olney, with depictions on either side of the life-changing storm in Lough Swilly off the coast of Co Donegal that brought about his conversion.
The window commemorating the poet William Cowper is half-hidden by the pulpit (Photograph: Patrick Comerford, 2025)
Half-hidden by the pulpit, a three-light window (1946) at the east end of the north nave by George Bryan Cooper-Abbs (1901-1966), chief designer of J Wippell and Co in Exeter, shows Christ in Majesty, with Saint Peter and Saint Paul, patrons of the church, on either side. Below his feet are the church, with the William Cowper and the hymnwriter John Newton on either side. Quotations from some of Cowper’s hymns also appear in the window.
The church spire, which is unusual for Buckinghamshire, is set on a tall tower and reaches a height of 56.5 metres (185 ft). The tower originally housed a peal of six bells, the oldest of which is dated 1599. The church bells were refurbished and added to a few years ago, making it one of the finest peals of ten bells in the country.
The window commemorating John Newton depicts him in the pulpit in Olney and scenes from the life-chamging storm in Lough Swilly (Photograph: Patrick Comerford, 2025)
John Newton wrote the hymn ‘Amazing Grace’ while he was at Olney for a New Year’s Day service on 1 January 1773. Newton had once been the captain of several slave ships and an investor in the slave trade. Newton experienced a conversion during a severe storm in Lough Swill off the coast of Co Donegal in 1748. Many years later, he renounced the slave trade and became a prominent abolitionist.
Newtown was ordained deacon and priest in Church of England in 1764 and served in Olney until 1779, when he became the Rector of Saint Mary Woolnoth, London.
The churchyard in Olney has been closed for some years and is under the care of Milton Keynes Council. Among the graves in the south-east corner is the grave of John Newton and his wife Mary, re-interred from Saint Mary Woolnoth, London, in 1893 when the burial ground was being cleared.
A plaque in the north porch outlines many of the church’s connections (Photograph: Patrick Comerford, 2025)
Newton was a contemporary in Olney of the poet and hymn writer William Cowper (1731-1800), and together they co-wrote the Olney Hymns (1779), which included ‘Amazing Grace’.
Cowper’s poems and hymns have given the English language phrases such as ‘God moves in a mysterious way his wonders to perform’; ‘Variety’s the very spice of life, that gives it all its flavour’; ‘I am monarch of all I survey’; ‘Oh! for a closer walk with God’; ‘God made the country, and man made the town’; and ‘There is a pleasure in poetic pains which only poets know.’
Other figures associated with the church include the organist and composer Henry Gauntlett and the biblical commentator Thomas Scott. A plaque in the north porch in memory of Kate Hollingshead (1886-1969) outlines many of these connections.
The pulpit in Saint Peter and Saint Paul Church, Olney (Photograph: Patrick Comerford, 2025)
The church marks the 700th anniversary of its founding this year, which coincides with the tercentenary of John Newton’s birth. A week of celebration is planned between Saturday 28 June and Sunday 6 July 2025, with other special services and events through the year.
A History Day on Saturday 5 July includes speakers and exhibitions. Olney Archaeological Society is presenting a talk by Professor Stephen Upex of Madingley Hall, Cambridge, on the church in the Olney landscape.
The church has a Priest-in-Charge rather than a rector because the Newport Deanery in the Diocese of Oxford is being reorganised and the parish is to become part of a new Benefice of Ouse Valley North. At the moment there is a vacancy for the Priest-in-Charge; the Revd Hugh Reid is the curate.
The baptismal font at the west end of Saint Peter and Saint Paul Church, Olney (Photograph: Patrick Comerford, 2025)
• The Sunday morning services at 10 am in Saint Peter and Saint Paul are: Holy Communion, Common Worship (first, third and fifth Sunday), Informal Worship (second Sunday), and Informal Communion (fourth Sunday). There is a variety of evening services at 6 pm on Sundays, including a Said Communion on the second Sunday and there is a midweek celebration of Holy Communion at 10 am on Wednesdays.
The east end of Saint Peter and Saint Paul Church, Olney (Photograph: Patrick Comerford, 2025)
Daily prayer in Lent 2025:
40, Sunday 13 April 2025,
Palm Sunday (the Sixth Sunday in Lent)
The Entry into Jerusalem (Palm Sunday) … a Hardman window (1869) in the north aisle of Saint Mary’s Church, St Neots, Cambridgeshire, the ‘cathedral of Huntingdonshire’ (Photograph: Patrick Comerford)
Patrick Comerford
We have come to the last week in Lent, and Holy Week begins today with Palm Sunday or the Sixth Sunday in Lent (13 April 2025). Last night was also the first night of Passover, which began at sunset and continues until next Sunday evening (20 April 2025), which is also Easter Day.
Later this morning, I hope to sing with the Choir at the Palm Sunday Eucharist in Saint Mary and Saint Giles Church, Stony Stratford, beginning with a procession from the Market Square. Later this afternoon, I hope to find an appropriate place the watch the Cambridge and Oxford boat race, and then there is a small family celebration in the evening.
But, before today begins, I am taking some quiet time this morning to give thanks, to reflect, to pray and to read in these ways:
1, reading today’s Gospel reading;
2, a short reflection;
3, a prayer from the USPG prayer diary;
4, the Collects and Post-Communion prayer of the day.
The entry into Jerusalem on Palm Sunday … an icon by Theodoros Papadopoulos of Larissa
Luke 19: 28-40 (NRSVA):
28 After he had said this, he went on ahead, going up to Jerusalem.
29 When he had come near Bethphage and Bethany, at the place called the Mount of Olives, he sent two of the disciples, 30 saying, ‘Go into the village ahead of you, and as you enter it you will find tied there a colt that has never been ridden. Untie it and bring it here. 31 If anyone asks you, “Why are you untying it?” just say this: “The Lord needs it”.’ 32 So those who were sent departed and found it as he had told them. 33 As they were untying the colt, its owners asked them, ‘Why are you untying the colt?’ 34 They said, ‘The Lord needs it.’ 35 Then they brought it to Jesus; and after throwing their cloaks on the colt, they set Jesus on it. 36 As he rode along, people kept spreading their cloaks on the road. 37 As he was now approaching the path down from the Mount of Olives, the whole multitude of the disciples began to praise God joyfully with a loud voice for all the deeds of power that they had seen, 38 saying,
‘Blessed is the king
who comes in the name of the Lord!
Peace in heaven,
and glory in the highest heaven!’
39 Some of the Pharisees in the crowd said to him, ‘Teacher, order your disciples to stop.’ 40 He answered, ‘I tell you, if these were silent, the stones would shout out.’
‘Buro Taxi’ … riding on a donkey in Mijas in south-east Spain (Photograph: Patrick Comerford)
Today’s Reflection:
Today, there are three different options in the Lectionary for Gospel readings this morning: the account in Saint Luke’s Gospel of Christ’s entry into Jerusalem on Palm Sunday (Luke 19: 28-40) for the Liturgy of the Palms; Luke 22: 14 to 23: 56 or Luke 23: 1-49, for the Liturgy of the Passion, telling of Christ’s Passion during Holy Week, how he carried his cross to Calvary, his Crucifixion; and the passion narrative in Saint Matthew's Gpospel, Matthew 27: 1-54, or Matthew 26: 1 to 27: 61, or Matthew 21: 1-13. A sung version of the Passion narrative in Saint Matthew’s Gospel is being sung by the choir in Stony Stratford this morning.
Traditionally, the Gospel reading for the Liturgy of the Passion on Palm Sunday was so long that this was known as the ‘Long Gospel’.
As a Gospel reflection for Palm Sunday this morning, I have chosen the poem ‘The Donkey’ by Gilbert Keith Chesterton (1874-1936), an English writer, journalist, critic and poet who was well-known for his reasoned apologetics.
Chesterton’s biographers have identified him as a successor to Victorian writers such as Matthew Arnold, Thomas Carlyle, John Henry Newman and John Ruskin. In his life, he moved eventually from High Church Anglicanism to becoming a Roman Catholic in 1922.
Chesterton was born in Campden Hill in London, and was educated at Saint Paul’s School, the Slade School of Art and University College London.
At first, he hoped to become an artist but eventually became a journalist, writer, critic and poet. One of his memorable fictional characters is Father Brown.
His circle of friends included the Dublin-born playwright George Bernard Shaw, PG Wodehouse, HG Wells and Bertrand Russell. In the middle of his epic poem, ‘The Ballad of the White Horse,’ he famously states:
For the great Gaels of Ireland
Are the men that God made mad,
For all their wars are merry,
And all their songs are sad.
He died in 1936 in Beaconsfield, Buckinghamshire, and his Requiem Mass took place in Westminster Cathedral.
In this poem, Chesterton uses the donkey as a literary device to link birth and death, Christmas and Easter. We often think of the donkey as the lowly, humble, unattractive, even stupid, beast of burden who carries Christ into Jerusalem on Palm Sunday. But, tradition says, the Christ Child also rode on a donkey when he was carried in the womb by his mother, the Virgin Mary, to Bethlehem before his birth, and on a donkey when his family fled to Egypt.
However, this poem points us, not so much to the donkey, but to our ‘Beast of Burden,’ Christ, who carried the burden that no one else could bear – the sins of the world. Like the Suffering Servant in our reading from the Prophet Isaiah, Christ looked even more ‘monstrous’ than the donkey (see Isaiah 50: 4-9a), he was ‘starved, scourged, derided,’ four times in the Gospels he was ‘dumb,’ but his hour of glory came on the cross.
Is the donkey too hard on himself? But then, most us may be too hard on ourselves. If the lowly beast of burden becomes a bearer of the King, then surely Christ can see through the ways our perceptions of our own worth and understanding are at times awry and distorted.
It might be too easy to think of the donkey as foolish. The donkey may be derided as a stupid animal, yet he is used by God for the most triumphal journey in history, highlighting the difference between God’s wisdom and ours. No matter how humble or crushed in spirit we may feel, we are all God’s beloved children and we are all capable of being raised in glory.
Nobody is truly worthless, no matter what others may think. Just as the donkey is an unsung, unloved and unattractive creature who becomes the hero in Chesterton’s poem, so too the most humble and unattractive people, even though they are without social connections or the appearance of being important, are seen by Christ as who they truly are, made in God’s image and likeness.
The donkey remains dumb and does not declare his moment of greatness to those who deride him. Instead, his experience is an internal knowledge of his true value.
The image of the donkey in his moment of glory carrying Christ speaks of the intrinsic worth of every human, and the glory of every human soul in God’s love. In God’s eyes, we all deserve palms before our feet.
The Donkey, by GK Chesterton
When fishes flew and forests walked,
And figs grew upon thorn,
Some moment when the moon was blood,
Then surely I was born.
With monstrous head and sickening cry,
And ears like errant wings,
The devil’s walking parody
Of all four-footed things.
The tattered outlaw of the earth,
Of ancient, crooked will;
Starve, scourge, deride me: I am dumb,
I keep my secret still.
Fools! For I also had my hour;
One far fierce hour and sweet:
There was a shout about my ears,
And palms before my feet.
The entry into Jerusalem on Palm Sunday … a fresco in Analipsi Church in Georgioupoli in Crete (Photograph: Patrick Comerford)
Today’s Prayers (Sunday 13 April 2025, Palm Sunday):
A ‘Holy Week Reflection’ provides 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).’ This theme is introduced today with reflections by the Right Revd Dr David Walker, Bishop of Manchester and Chair of Trustees, USPG:
Read Luke 23: 34
‘The telegram arrived early on Good Friday 1980. It informed me that my bishop had decided to sponsor me to train to be a priest. The very next thing in my diary that morning was to carry the processional cross for the sung liturgy, as all around me the choir of King’s College, Cambridge, where I was researching in mathematics, sang Allegri’s setting of the Miserere. It struck me then, that the message I had just received was my calling to hold up the cross of Jesus before God’s people not just for an hour one Spring Friday morning but for the rest of my life.
‘What had drawn me first to the Christian faith, and then on to seeking ordination, was the powerful sense I had of the God who, in Jesus Christ, knew me better than any earthly person, and at the same time loved me more deeply than any human being ever could. Jesus showed that limitless love throughout his ministry. He healed the sick, freed those held captive by evil, listened to the voices of outcasts, confronted the perpetrators of injustice. Above all, he forgave sinners, often even before they had plucked up the courage to repent. This was a Jesus I wanted both to follow and to hold up so that others like me could come to know him, or to know him better.
This was the forgiveness and love he showed supremely that first Holy Week, when on what Christians now call Good Friday, he allowed himself to be murdered for love of you and me. Nailed to the cross, Jesus proved conclusively that his love and forgiveness had no limits, not even death itself.
The USPG Prayer Diary today (Sunday 13 April 2025, Palm Sunday) invites us to pray reflecting on these words:
‘This is the gate of the Lord; the righteous shall enter through it. I thank you that you have answered me and have become my salvation’ (Psalm 118: 20-21).
The Collect:
Almighty and everlasting God,
who in your tender love towards the human race
sent your Son our Saviour Jesus Christ
to take upon him our flesh
and to suffer death upon the cross:
grant that we may follow the example of his patience and humility,
and also be made partakers of his resurrection;
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 Jesus Christ,
you humbled yourself in taking the form of a servant,
and in obedience died on the cross for our salvation:
give us the mind to follow you
and to proclaim you as Lord and King,
to the glory of God the Father.
Additional Collect:
True and humble king,
hailed by the crowd as Messiah:
grant us the faith to know you and love you,
that we may be found beside you
on the way of the cross,
which is the path of glory.
Yesterday’s Reflection
Continued Tomorrow
The entry into Jerusalem on Palm Sunday … an image from Gaudí’s Basilica de Sagrada Familia in Barcelona (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 come to the last week in Lent, and Holy Week begins today with Palm Sunday or the Sixth Sunday in Lent (13 April 2025). Last night was also the first night of Passover, which began at sunset and continues until next Sunday evening (20 April 2025), which is also Easter Day.
Later this morning, I hope to sing with the Choir at the Palm Sunday Eucharist in Saint Mary and Saint Giles Church, Stony Stratford, beginning with a procession from the Market Square. Later this afternoon, I hope to find an appropriate place the watch the Cambridge and Oxford boat race, and then there is a small family celebration in the evening.
But, before today begins, I am taking some quiet time this morning to give thanks, to reflect, to pray and to read in these ways:
1, reading today’s Gospel reading;
2, a short reflection;
3, a prayer from the USPG prayer diary;
4, the Collects and Post-Communion prayer of the day.
The entry into Jerusalem on Palm Sunday … an icon by Theodoros Papadopoulos of Larissa
Luke 19: 28-40 (NRSVA):
28 After he had said this, he went on ahead, going up to Jerusalem.
29 When he had come near Bethphage and Bethany, at the place called the Mount of Olives, he sent two of the disciples, 30 saying, ‘Go into the village ahead of you, and as you enter it you will find tied there a colt that has never been ridden. Untie it and bring it here. 31 If anyone asks you, “Why are you untying it?” just say this: “The Lord needs it”.’ 32 So those who were sent departed and found it as he had told them. 33 As they were untying the colt, its owners asked them, ‘Why are you untying the colt?’ 34 They said, ‘The Lord needs it.’ 35 Then they brought it to Jesus; and after throwing their cloaks on the colt, they set Jesus on it. 36 As he rode along, people kept spreading their cloaks on the road. 37 As he was now approaching the path down from the Mount of Olives, the whole multitude of the disciples began to praise God joyfully with a loud voice for all the deeds of power that they had seen, 38 saying,
‘Blessed is the king
who comes in the name of the Lord!
Peace in heaven,
and glory in the highest heaven!’
39 Some of the Pharisees in the crowd said to him, ‘Teacher, order your disciples to stop.’ 40 He answered, ‘I tell you, if these were silent, the stones would shout out.’
‘Buro Taxi’ … riding on a donkey in Mijas in south-east Spain (Photograph: Patrick Comerford)
Today’s Reflection:
Today, there are three different options in the Lectionary for Gospel readings this morning: the account in Saint Luke’s Gospel of Christ’s entry into Jerusalem on Palm Sunday (Luke 19: 28-40) for the Liturgy of the Palms; Luke 22: 14 to 23: 56 or Luke 23: 1-49, for the Liturgy of the Passion, telling of Christ’s Passion during Holy Week, how he carried his cross to Calvary, his Crucifixion; and the passion narrative in Saint Matthew's Gpospel, Matthew 27: 1-54, or Matthew 26: 1 to 27: 61, or Matthew 21: 1-13. A sung version of the Passion narrative in Saint Matthew’s Gospel is being sung by the choir in Stony Stratford this morning.
Traditionally, the Gospel reading for the Liturgy of the Passion on Palm Sunday was so long that this was known as the ‘Long Gospel’.
As a Gospel reflection for Palm Sunday this morning, I have chosen the poem ‘The Donkey’ by Gilbert Keith Chesterton (1874-1936), an English writer, journalist, critic and poet who was well-known for his reasoned apologetics.
Chesterton’s biographers have identified him as a successor to Victorian writers such as Matthew Arnold, Thomas Carlyle, John Henry Newman and John Ruskin. In his life, he moved eventually from High Church Anglicanism to becoming a Roman Catholic in 1922.
Chesterton was born in Campden Hill in London, and was educated at Saint Paul’s School, the Slade School of Art and University College London.
At first, he hoped to become an artist but eventually became a journalist, writer, critic and poet. One of his memorable fictional characters is Father Brown.
His circle of friends included the Dublin-born playwright George Bernard Shaw, PG Wodehouse, HG Wells and Bertrand Russell. In the middle of his epic poem, ‘The Ballad of the White Horse,’ he famously states:
For the great Gaels of Ireland
Are the men that God made mad,
For all their wars are merry,
And all their songs are sad.
He died in 1936 in Beaconsfield, Buckinghamshire, and his Requiem Mass took place in Westminster Cathedral.
In this poem, Chesterton uses the donkey as a literary device to link birth and death, Christmas and Easter. We often think of the donkey as the lowly, humble, unattractive, even stupid, beast of burden who carries Christ into Jerusalem on Palm Sunday. But, tradition says, the Christ Child also rode on a donkey when he was carried in the womb by his mother, the Virgin Mary, to Bethlehem before his birth, and on a donkey when his family fled to Egypt.
However, this poem points us, not so much to the donkey, but to our ‘Beast of Burden,’ Christ, who carried the burden that no one else could bear – the sins of the world. Like the Suffering Servant in our reading from the Prophet Isaiah, Christ looked even more ‘monstrous’ than the donkey (see Isaiah 50: 4-9a), he was ‘starved, scourged, derided,’ four times in the Gospels he was ‘dumb,’ but his hour of glory came on the cross.
Is the donkey too hard on himself? But then, most us may be too hard on ourselves. If the lowly beast of burden becomes a bearer of the King, then surely Christ can see through the ways our perceptions of our own worth and understanding are at times awry and distorted.
It might be too easy to think of the donkey as foolish. The donkey may be derided as a stupid animal, yet he is used by God for the most triumphal journey in history, highlighting the difference between God’s wisdom and ours. No matter how humble or crushed in spirit we may feel, we are all God’s beloved children and we are all capable of being raised in glory.
Nobody is truly worthless, no matter what others may think. Just as the donkey is an unsung, unloved and unattractive creature who becomes the hero in Chesterton’s poem, so too the most humble and unattractive people, even though they are without social connections or the appearance of being important, are seen by Christ as who they truly are, made in God’s image and likeness.
The donkey remains dumb and does not declare his moment of greatness to those who deride him. Instead, his experience is an internal knowledge of his true value.
The image of the donkey in his moment of glory carrying Christ speaks of the intrinsic worth of every human, and the glory of every human soul in God’s love. In God’s eyes, we all deserve palms before our feet.
The Donkey, by GK Chesterton
When fishes flew and forests walked,
And figs grew upon thorn,
Some moment when the moon was blood,
Then surely I was born.
With monstrous head and sickening cry,
And ears like errant wings,
The devil’s walking parody
Of all four-footed things.
The tattered outlaw of the earth,
Of ancient, crooked will;
Starve, scourge, deride me: I am dumb,
I keep my secret still.
Fools! For I also had my hour;
One far fierce hour and sweet:
There was a shout about my ears,
And palms before my feet.
The entry into Jerusalem on Palm Sunday … a fresco in Analipsi Church in Georgioupoli in Crete (Photograph: Patrick Comerford)
Today’s Prayers (Sunday 13 April 2025, Palm Sunday):
A ‘Holy Week Reflection’ provides 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).’ This theme is introduced today with reflections by the Right Revd Dr David Walker, Bishop of Manchester and Chair of Trustees, USPG:
Read Luke 23: 34
‘The telegram arrived early on Good Friday 1980. It informed me that my bishop had decided to sponsor me to train to be a priest. The very next thing in my diary that morning was to carry the processional cross for the sung liturgy, as all around me the choir of King’s College, Cambridge, where I was researching in mathematics, sang Allegri’s setting of the Miserere. It struck me then, that the message I had just received was my calling to hold up the cross of Jesus before God’s people not just for an hour one Spring Friday morning but for the rest of my life.
‘What had drawn me first to the Christian faith, and then on to seeking ordination, was the powerful sense I had of the God who, in Jesus Christ, knew me better than any earthly person, and at the same time loved me more deeply than any human being ever could. Jesus showed that limitless love throughout his ministry. He healed the sick, freed those held captive by evil, listened to the voices of outcasts, confronted the perpetrators of injustice. Above all, he forgave sinners, often even before they had plucked up the courage to repent. This was a Jesus I wanted both to follow and to hold up so that others like me could come to know him, or to know him better.
This was the forgiveness and love he showed supremely that first Holy Week, when on what Christians now call Good Friday, he allowed himself to be murdered for love of you and me. Nailed to the cross, Jesus proved conclusively that his love and forgiveness had no limits, not even death itself.
The USPG Prayer Diary today (Sunday 13 April 2025, Palm Sunday) invites us to pray reflecting on these words:
‘This is the gate of the Lord; the righteous shall enter through it. I thank you that you have answered me and have become my salvation’ (Psalm 118: 20-21).
The Collect:
Almighty and everlasting God,
who in your tender love towards the human race
sent your Son our Saviour Jesus Christ
to take upon him our flesh
and to suffer death upon the cross:
grant that we may follow the example of his patience and humility,
and also be made partakers of his resurrection;
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 Jesus Christ,
you humbled yourself in taking the form of a servant,
and in obedience died on the cross for our salvation:
give us the mind to follow you
and to proclaim you as Lord and King,
to the glory of God the Father.
Additional Collect:
True and humble king,
hailed by the crowd as Messiah:
grant us the faith to know you and love you,
that we may be found beside you
on the way of the cross,
which is the path of glory.
Yesterday’s Reflection
Continued Tomorrow
The entry into Jerusalem on Palm Sunday … an image from Gaudí’s Basilica de Sagrada Familia in Barcelona (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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