Christ Church Cathedral, Oxford, is unique in its dual role as a cathedral and a college chapel (Photograph: Patrick Comerford, 2026)
Patrick Comerford
I was at the Chrism Eucharist in Christ Church Cathedral, Oxford, this week, with the renewal of ordination vows by deacons, priests and bishops on Maundy Thursday (2 April 2026).
It was one of the last public services for Bishop Steve Croft before he retires as Bishop of Oxford, and he reminded as sharply of the words in the ordinal that ‘the trust that is now to be committed to your charge. Remember always with thanksgiving that the treasure now to be entrusted to you is Christ’s own flock, bought by the shedding of his blood on the cross. It is to him that you will render account for your stewardship of his people.’
The Diocese of Oxford has more church buildings than any other diocese in the Church of England and has more paid clergy than any other diocese except London. The diocese includes Berkshire, Buckinghamshire and Oxfordshire, with another five churches in nearby counties.
Inside Christ Church Cathedral, Oxford, looking east from the choir towards the High Altar and the Rose Window (Photograph: Patrick Comerford, 2026)
Christ Church Cathedral, Oxford, is both the college chapel of Christ Church and the cathedral church of the Diocese of Oxford. It was founded by Henry VIII with Cardinal Wolsey, and Christ Church is the largest Oxford college.
This was my second time as a priest living in the Diocese of Oxford since 2022 to take part in the Chrism Eucharist. Holy Week and Easter 2022 had been fraught times in the immediate aftermath of a stroke. I was at the Chrism Eucharist in Oxford in 2023, but missed it again in 2024 due to a hospital appointment in Milton Keynes, and in 2025, when I spent Holy Week and Easter in Crete.
I was a teenager when I first visited Christ Church more than 55 years ago. Despite the size of the diocese, this is one of the smallest cathedrals in the Church of England, and its dual role as cathedral and college chapel is unique.
Inside Christ Church Cathedral, Oxford, looking west from the choir towards the organ (Photograph: Patrick Comerford, 2026)
The cathedral was originally the church of Saint Frideswide’s Priory. The site is said to be the location of the nunnery founded by Saint Frideswide, the patron saint of Oxford, and her shrine is now in the Latin Chapel. It once held her relics, brought there in 1180, and it was the focus of pilgrimage from at least the 12th until the early 16th century.
Osney Abbey was surrendered in November 1539 and dissolved at the dissolution of the monastic houses. The last abbot was Robert King, who became the first Bishop of Oxford.
The Diocese of Oxford was formed out of part of the Diocese of Lincoln in 1542, and from September 1542 until June 1544, Osney Abbey was the seat of the bishop of the new diocese.
However, Osney was costly to run as a cathedral and in 1545 the bishop moved to the smaller and cheaper cathedral at Christ Church. Later, during the reign of Queen Mary, Bishop King was one of the judges at the trial of Thomas Cranmer.
Great Tom, described as the ‘loudest thing in Oxford’, now hangs in Tom Tower (Photograph: Patrick Comerford, 2026)
The abbey buildings soon fell into decay and were despoiled for the sake of the new foundation. Much of the stone found its way into local buildings, including Saint Frideswide’s as it was transformed into Christ Church. Osney Abey has been described as the greatest building that Oxford has lost.
Great Tom, the bell described as the ‘loudest thing in Oxford’ and now hanging in Tom Tower at Christ Church, was taken from the tower of Osney Abbey at the dissolution. Much of the monastic property was also transferred to Christ Church.
A statue of Cardinal Wolsey, founder of Christ Church, above the entrance to the Great Hall (Photograph: Patrick Comerford, 2026)
Saint Frideswide’s Priory was surrendered in 1522 to Cardinal Thomas Wolsey, who had selected it as the site for his proposed college. However, in 1529 the foundation was taken over by Henry VIII. Work stopped, but the college was refounded by the king in June 1532. Henry VIII transferred the recently-created See of Oxford from Osney to Christ Church in 1546.
There has been a choir at the cathedral since 1526, when John Taverner was the organist and master of the choristers. The statutes of Wolsey’s original college, initially called Cardinal College, mentioned 16 choristers and 30 singing priests.
The nave, choir, main tower and transepts are late Norman. There are architectural features ranging from Norman to the Perpendicular style and a large rose window of the ten-part or botanical type.
The monument to the Irish philosopher Bishop George Berkeley of Cloyne in Christ Church, Oxford (Photograph: Patrick Comerford)
Visitors to Oxford are often pointed to monuments such as those to the Wesley brothers, John and Charles Wesley, who were ordained in Christ Church, or the memorial to the poet WH Auden.
But this week I also noticed a number of monuments of Irish interest.
The philosopher George Berkeley (1685-1753), who was born in Co Kilkenny, was Bishop of Cloyne when he died in Oxford on 14 January 1753, and he was buried in Christ Church Cathedral.
The monument to William Brouncker, who was almost ruined when he bought an Irish peerage weeks before he died (Photograph: Patrick Comerford, 2026)
A monument in the south transept remembers Colonel William Villiers (1614 -1643), 2nd Viscount Grandison of Limerick, who was killed during the First English Civil War. His father Sir Edward Villiers (1585-1626) was the older half-brother of George Villiers, 1st Duke of Buckingham, a favourite of both James I and Charles I, and was the Lord President of Munster when he died in Cork in 1626.
William Villiers inherited the Irish peerage title of Viscount Grandison from his great-uncle Oliver St John (1559-1630). He fought as a royalist at the Battle of Edgehill and at the Storming of Bristol, where he was wounded in the right leg. He was taken to Oxford and died there he died on 29 September 1643. His daughter Barbara Villiers (1640-1709) was later a mistress of Charles II and Duchess of Cleveland.
Close by, another monument commemorates William Brouncker (1585-1645), 1st Viscount Brouncker of Castle Lyons and Baron Brouncker of Newcastle. His father, Sir Henry Brouncker, was Lord President of Munster (1603-1607). Malicious gossip said William Brouncker paid the then enormous sum of £1,200 for his titles in the Irish peerage, which he given on 12 September 1645, and was almost ruined as a result. He died a few months later.
The 17th century window by Abraham Van Linge shows the prophet Jonah looking over the city of Nineveh (Photograph: Patrick Comerford, 2026)
The cathedral has a fine collection of stained glass, the oldest being the 14th century Becket Window in the Lucy Chapel. It is one of very few images of Thomas Becket to survive the Reformation.
The glass at the west end of the north aisle is by the 17th century Dutch artist Abraham Van Linge. It dates from the period of Laudian Reform, around 1630, and shows the prophet Jonah looking over the city of Nineveh. A second window by Abraham van Linge is dedicated to Bishop King.
The window by Edward Burne-Jones and William Morris in the Latin Chapel is a tribute to Saint Frideswide (Photograph: Patrick Comerford, 2026)
The cathedral also has windows designed by Edward Burne-Jones, best known for his work with William Morris. The east window in the Latin Chapel was designed by Burne-Jones when he was still in his mid-20s and was made in 1859 by James Powell and Sons. It is a bold and colourful tribute to Saint Frideswide, and perhaps the finest of his early works, but also a dramatic contrast to his later work with Morris.
The Vyner window by Edward Burne-Jones (Photograph: Patrick Comerford, 2026)
The Vyner memorial window remembers two undergraduates who were murdered in the late 19th century. This Pre-Raphaelite window is a also pun on their family name, with vine leaves prominent in upper part of window.
The Saint Cecilia Window by Edward Burne-Jones in the North Choir aisle (Photograph: Patrick Comerford, 2026)
The Saint Cecilia Window by Burne-Jones depicting scenes from the life of Saint Cecilia and her martyrdom is the East Window in the North Choir aisle or Saint George’s Chapel. The angels in the tracery at top were designed by William Morris. Malcom Bell was of the opinion in 1895 that the source of the three panels showing the saint’s life was in Chaucer’s ‘Second Nun’s Tale’.
The Saint Michael Window by Clayton and Bell in the north transept (Photograph: Patrick Comerford, 2026)
Clayton and Bell created the dramatic Saint Michael Window in the north transept in 1870.
A window unveiled in 2023 as a memorial to EH Burn. It depicts Saint Francis of Assisi and is by John Reyntiens.
The newest stained-glass window in Christ Church Cathedral is the Prodigal Son Window by the British artist Thomas Denny. It was commissioned through the generosity of an anonymous donor and unveiled last September.
The chrism oils on a side altar in Christ Church Cathedral on Maundy Thursday (Photograph: Patrick Comerford, 2026)
The Dean of Christ Church is both the Dean of Christ Church Cathedral, Oxford, and the head of the governing body of Christ Church, a constituent college of the University of Oxford.
The chapter of canons of the cathedral has formed the governing body of the college since its foundation, with the dean as ex officio head of the chapter and ipso facto head of the college.
The Very Revd Dr Martyn Percy stepped down as the Dean of Christ Church in 2022 after a lengthy and acrimonious dispute. Previously, he had been the principal of Ripon College Cuddesdon (2004-2014). The governing body of Christ Church voted in 2023 to separate the ecclesiastical role of dean from the position of head of house of the college.
The Very Reverend Sarah Foot has been the Dean of Christ Church since 2023. She is also the Regius Professor of Ecclesiastical History at the University of Oxford since 2007, the first woman ever to hold that chair.
The other senior cathedral clergy include the Sub Dean, the Revd Canon Peter Moger, who introduced the Chrism Eucharist on Thursday and welcomed us to Christ Church, and the Archdeacon of Oxford, the Ven Jonathan Chaffey. The university’s four senior theology professors are also ex officio canons residentiary.
Looking towards the North Transept from the font and the pulpit (Photograph: Patrick Comerford, 2026)
In his poem ‘Thyrsis’, the Victorian poet Matthew Arnold called Oxford ‘the city of dreaming spires’, describing the architecture of the university buildings. WB Yeats refers to Christ Church in his poem ‘All Souls’ Night, Oxford’:
Midnight has come and the great Christ Church bell
And many a lesser bell sound through the room;
And it is All Souls’ Night …
The Communion vessels after the Chrism Eucharist on Maundy Thrsday (Photograph: Patrick Comerford, 2026)
• The Easter Vigil with the Confirmations and the First Eucharist of Easter is at 8:05 in Christ Church Cathedral this evening. The Easter Day services tomorrow (Sunday 5 April 2026) are: 8:05 am, Holy Communion (1662 Book of Common Prayer); 9:35 am, Choral Matins for Easter Day; 11:05 am, Choral Eucharist for Easter Day; 6:05 pm, Festal Evensong for Easter Day. Choral Evensong takes place in the Cathedral each evening at 6pm and is open to the public.
Prayers for Peace in Christ Church Cathedral, Oxford, this week (Photograph: Patrick Comerford, 2026)
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04 April 2026
Daily prayer in Lent 2026:
46, Saturday 4 April 2026,
Easter Eve
The Deposition of Christ from the Cross by Giotto in the Scrovegni Chapel in Padua (Photograph: Patrick Comerford)
Patrick Comerford
We have reached the end of Holy Week and the end of Lent. Today is Easter Eve (4 April 2026), known in the Greek Orthodox Church as Great Holy Saturday. However, Easter comes a week later in the Orthodox calendar this year. Later this morning, I hope to drop in to Το Στεκι Μας, Our Place, the pop-up Greek café which opens every first Saturday of the month at the Swinfen Harris Church Hall beside the Greek Orthodox Church on London Road, Stony Stratford, between 10:30 am and 3 pm.. Today there is an Easter Special ‘Steki’, with a taste of Greek Easter delicacies, with Easter crafts for cildren, including decorating Easter candle, as well as Greek olive oil and honey and, of course, authentic Greek coffee, pastries and cakes.
Later, I hope to find somewhere appropriate to watch the Cambridge v Oxford boat races, although this is the first time in many years that they are not being broadcast by the BBC; the 80th Women’s Boat Race starts at 2:21 pm, the 171st Men’s Boat Race starts at 3:21 pm.
Easter begins in Saint Mary and Saint Giles Church, Stony Stratford, this evening with the Lighting of the New Fire, the Easter Vigil and the Eucharist in Saint Mary and Saint Giles Church at 8 pm, and I hope to sing with the choir and to read one of the lessons.
But, before this day 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 of the day.
The Harrowing of Hell, depicted in a fresco on a chancel arch in the Church of the Four Martyrs in Rethymnon (Photograph: Patrick Comerford)
Matthew 27: 57-66 (NRSVA):
57 When it was evening, there came a rich man from Arimathea, named Joseph, who was also a disciple of Jesus. 58 He went to Pilate and asked for the body of Jesus; then Pilate ordered it to be given to him. 59 So Joseph took the body and wrapped it in a clean linen cloth 60 and laid it in his own new tomb, which he had hewn in the rock. He then rolled a great stone to the door of the tomb and went away. 61 Mary Magdalene and the other Mary were there, sitting opposite the tomb.
62 The next day, that is, after the day of Preparation, the chief priests and the Pharisees gathered before Pilate 63 and said, ‘Sir, we remember what that impostor said while he was still alive, “After three days I will rise again.” 64 Therefore command that the tomb be made secure until the third day; otherwise his disciples may go and steal him away, and tell the people, “He has been raised from the dead”, and the last deception would be worse than the first.’ 65 Pilate said to them, ‘You have a guard of soldiers; go, make it as secure as you can.’ 66 So they went with the guard and made the tomb secure by sealing the stone.
‘So Joseph took the body and wrapped it in a clean linen cloth and laid it in his own new tomb’ (Matthew 27: 59-60) … inside the Sarcophagus at the end of the Stations of the Cross in the Garden in Walsingham (Photograph: Patrick Comerford, 2026)
Today’s Reflections:
George Koros (1923-2014) was one of the finest Greek solo violinists of our time. He was born on the island of Evia in 1923, and he started playing the violin at the age of eight, when his father – who was a church cantor and a teacher of Byzantine music – decided to replace the mandolin with a violin and a bow without strings. His professional career began a year later, when he began playing at weddings and feasts with his father.
His mother spurned an opportunity for him to have a classical musical education. But Koros later revolutionised Greek folk music through the introduction of the fiddle as an accepted instrument. He became an acclaimed, self-made musician, who composed about 2,000 songs. But despite his reputation in Greek folk music, for me he stands out for his Byzantine hymns, particularly during this Easter weekend in Crete. In these hymns, Koros returned to his roots in Byzantine music and with his violin he recreates the tradition of the early hymns he learned from his father in church as a boy.
George Koros died in 2014, and was buried in Kiffisia in Athens.
On this Saturday – between Good Friday and Easter Day – many years ago (2008), during a series of Holy Saturday reflections in Whitechurch Parish in Dublin, I invited people to listen to George Koros using his violin to plaintively recall the sorrow of the tomb in two pieces: I see thy resting place (Τον Νυμφωνα Σου Βλεπω) and Life in the Holy Sepulchre (Η Ζωη εν Ταφω).
In the Western tradition of the Church, we seem to have contemplated the cross, and then moved to the empty tomb. At times, the deep joys of the Resurrection have often been overshadowed in the Western Church by the way of the Cross, as though the Cross leads only to death. But we have also neglected Christ’s resting place, his tomb, and given little thought to what was happening in the Holy Sepulchre on this day.
In Greece, Holy and Great Saturday, which falls next Saturday (11 April 2026) is observed solemnly by the Orthodox Church, with hymns and readings that truly explore the theme of the Harrowing of Hell in depth. For this is the day on which Christ’s body lay in the tomb, this is the day on which he visited those who were dead.
The icon of the Harrowing of Hell reminds us that God reaches into the deepest depths to pull forth souls into the kingdom of light. It reminds us how much we are unable to comprehend – let alone take to heart as our own – the creedal statement about Christ’s descent into Hell – ‘He descended into Hell.’
Christ’s descent into Hell is captured in Saint Peter’s Pentecost sermon in Acts 2. In the Petrine letters, we are told that when Christ died he went and preached to the spirits in prison ‘who in former times did not obey … For this is the reason the Gospel was proclaimed even to the dead, so that … they might live in the spirit as God does’ (see I Peter 3: 15b to 4: 8).
In the NRSV, I Peter 4: 6 reads the gospel was ‘proclaimed even to the dead …’, reflecting the original Greek: ‘εἰς τοῦτο γὰρ καὶ νεκροῖς εὐηγγελίσθη …’ The New International Version, however, says the Gospel ‘was preached even to those who are now dead …’ But the word ‘now’ is not in the Greek text. It was inserted to rule out the idea that Christ preached to those who were dead at the time when Christ descended into Hell and preached to them there. Instead, the NIV interpolates and rewrites the text so that it says that Christ brought his good news to people who were dead at the time I Peter was written. If you remove the word ‘now,’ the English becomes ambiguous on that point, just like the Greek is ambiguous there.
The Early Church taught that after his death Christ descended into hell and rescued all the souls, starting with Adam and Eve, who had died under the Fall.
The Harrowing of Hell is intimately bound up with the Resurrection, the Raising from the Dead, for as Christ is raised from the dead he also plummets the depths to bring up, to raise up, those who are dead. The Harrowing of Hell carries us into the gap in time between Christ’s death and resurrection.
In Orthodox icons of the Harrowing of Hell, Christ stands on the shattered doors of Hell. Sometimes, two angels are shown in the pit binding Satan. And we see Christ pulling out of Hell Adam and Eve, imprisoned there since their deaths, imprisoned along with all humanity because of sin. Christ breaks down the doors of Hell and leads the souls of the lost into Heaven.
It is the most radical reversal we can imagine. Death does not have the last word, we need not live our lives entombed in fear. If Adam and Eve are forgiven, and the Sin of Adam is annulled and destroyed, who is beyond forgiveness?
In discussing the ‘Descent into Hell,’ the Swiss theologian Hans Urs von Balthasar (1905-1988) argues that if Christ’s mission did not result in the successful application of God’s love to every intended soul, how then can we think of it as a success. He emphasises Christ’s descent into the fullness of death, so as to be ‘Lord of both the dead and the living’ (Romans 5).
However, in her award-winning book Light in Darkness, Alyssa Lyra Pitstick says that Christ did not descend into the lowest depths of hell, and only stayed in the top levels. She finds untenable his view that Christ’s descent into hell entails experiencing the fullness of alienation, sin and death, which he then absorbs, transfigures, and defeats through the Resurrection. Instead, she claims, Christ descends only to the ‘limbo of the Fathers’ in which the righteous, justified dead of the Old Testament awaited the coming of the Messiah.
Her argument robs the Harrowing of Hell of its soteriological significance. For her, Christ does not descend into hell and experience the depths of alienation between God and humanity opened up by sin. She leaves Christ visiting an already-redeemed and justified collection of Old Testament saints to let them know that he has defeated death.
Archbishop Rowan Williams has written beautifully in The Indwelling of Light on the Harrowing of Hell. Christ is the new Adam who rescues humanity from its past, and who starts history anew. ‘The resurrection … is an introduction – to our buried selves, to our alienated neighbours, to our physical world.’ He says: ‘Adam and Eve stand for wherever it is in the human story that fear and refusal began … (This) icon declares that wherever that lost moment was or is – Christ (is) there to implant the possibility … of another future.’ (Rowan Williams, The Dwelling of the Light: Praying with Icons of Christ, p 38.)
I ask myself once again this morning: what is the difference between the top levels and bottom levels of hell?
Is my hell in my heart of my own creation?
In my mind, in my home, where I live and work, in my society, in this world?
Is hell the nightmares from the past I cannot shake off, or the fears for the future when it looks gloomy and desolate for this planet?
But is anything too hard for Christ?
On this day, the icon of the Harrowing of Hell tells us that there are no limits to God’s ability to search us out and to know us. Where are the depths of your heart and your soul – where darkness prevails, and where you feel even Christ can find no welcome? Those crevices even I am afraid to think about, let alone contemplate, may be beyond my reach. I cannot produce or manufacture my own salvation from that deep, interior hell, hidden from others, and often hidden from myself.
Christ breaks down the gates of Hell, and as the icon powerfully shows, he rips all of sinful humanity from the clutches of death. He descends into the depths of our sin and alienation from God; and by plumbing the depths of hell he suffuses all that is lost and sinful with the radiance of divine goodness, joy and light. If hell is where God is not, and Jesus is God, then his decent into hell pushes back hell’s boundaries. In his descent into hell, Christ reclaims this zone for life, pushing back the gates of death, where God is not, to the farthest limits possible.
The music associated with this day in the Orthodox tradition, the icons and the readings, remind me that Christ plummets even those deepest depths, and that his love and mercy can raise us again to new life.
On this Saturday, as I prepare to take part in this evening’s Easter celebrations of the Resurrection, I have been thinking of Christ lying in the grave, and thinking of how we can ask him to take away all that denies life in us, whether it is a hell of our own making, a hell that has been forced on us, or a hell that surrounds us. Christ reaches down, and lifts us up with him in his Risen Glory.
George Koros used his violin to plaintively recall the sorrow of the tomb in two pieces: ‘I see thy resting place’ (Τον Νυμφωνα Σου Βλεπω) and ‘Life in the Holy Sepulchre’ (Η Ζωη εν Ταφω)
Today’s Prayers (Saturday 4 April 2026, Easter Eve, Great Holy Saturday):
The theme this week (29 March-4 April 2026) in ‘Pray With the World Church’, the Prayer Diary of the Anglican mission agency USPG (United Society Partners in the Gospel), is a ‘Holy Week’ reflection’ (pp 42-43). This theme was introduced on Sunday with reflections by the Revd Kenson Li, Assistant Curate of Manchester Cathedral and a Trustee of USPG.
The USPG Prayer Diary today (Saturday 4 April 2026, Easter Eve, Great Holy Saturday) invites us to pray:
Loving Father, we pray for those to whom Easter brings no joy or hope. Make us a Resurrection People, sensitive to others’ suffering, so that we may spread Easter joy to the glory of your name, not our own.
The Collect:
Grant, Lord,
that we who are baptized into the death
of your Son our Saviour Jesus Christ
may continually put to death our evil desires
and be buried with him;
and that through the grave and gate of death
we may pass to our joyful resurrection;
through his merits,
who died and was buried and rose again for us,
your Son Jesus Christ our Lord.
Additional Collect:
In the depths of our isolation
we cry to you, Lord God:
give light in our darkness
and bring us out of the prison of our despair;
through Jesus Christ our Lord.
Yesterday’s Reflections
Continued Tomorrow
The Sarcophagus at the end of the Stations of the Cross in the Garden in Walsingham (Patrick Comerford, 2026)
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 Epitaphios in the Church of the Four Martyrs, Rethymnon, decorated with flowers symbolising the tomb of Christ (Photograph: Patrick Comerford, 2025)
Patrick Comerford
We have reached the end of Holy Week and the end of Lent. Today is Easter Eve (4 April 2026), known in the Greek Orthodox Church as Great Holy Saturday. However, Easter comes a week later in the Orthodox calendar this year. Later this morning, I hope to drop in to Το Στεκι Μας, Our Place, the pop-up Greek café which opens every first Saturday of the month at the Swinfen Harris Church Hall beside the Greek Orthodox Church on London Road, Stony Stratford, between 10:30 am and 3 pm.. Today there is an Easter Special ‘Steki’, with a taste of Greek Easter delicacies, with Easter crafts for cildren, including decorating Easter candle, as well as Greek olive oil and honey and, of course, authentic Greek coffee, pastries and cakes.
Later, I hope to find somewhere appropriate to watch the Cambridge v Oxford boat races, although this is the first time in many years that they are not being broadcast by the BBC; the 80th Women’s Boat Race starts at 2:21 pm, the 171st Men’s Boat Race starts at 3:21 pm.
Easter begins in Saint Mary and Saint Giles Church, Stony Stratford, this evening with the Lighting of the New Fire, the Easter Vigil and the Eucharist in Saint Mary and Saint Giles Church at 8 pm, and I hope to sing with the choir and to read one of the lessons.
But, before this day 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 of the day.
The Harrowing of Hell, depicted in a fresco on a chancel arch in the Church of the Four Martyrs in Rethymnon (Photograph: Patrick Comerford)
Matthew 27: 57-66 (NRSVA):
57 When it was evening, there came a rich man from Arimathea, named Joseph, who was also a disciple of Jesus. 58 He went to Pilate and asked for the body of Jesus; then Pilate ordered it to be given to him. 59 So Joseph took the body and wrapped it in a clean linen cloth 60 and laid it in his own new tomb, which he had hewn in the rock. He then rolled a great stone to the door of the tomb and went away. 61 Mary Magdalene and the other Mary were there, sitting opposite the tomb.
62 The next day, that is, after the day of Preparation, the chief priests and the Pharisees gathered before Pilate 63 and said, ‘Sir, we remember what that impostor said while he was still alive, “After three days I will rise again.” 64 Therefore command that the tomb be made secure until the third day; otherwise his disciples may go and steal him away, and tell the people, “He has been raised from the dead”, and the last deception would be worse than the first.’ 65 Pilate said to them, ‘You have a guard of soldiers; go, make it as secure as you can.’ 66 So they went with the guard and made the tomb secure by sealing the stone.
‘So Joseph took the body and wrapped it in a clean linen cloth and laid it in his own new tomb’ (Matthew 27: 59-60) … inside the Sarcophagus at the end of the Stations of the Cross in the Garden in Walsingham (Photograph: Patrick Comerford, 2026)
Today’s Reflections:
George Koros (1923-2014) was one of the finest Greek solo violinists of our time. He was born on the island of Evia in 1923, and he started playing the violin at the age of eight, when his father – who was a church cantor and a teacher of Byzantine music – decided to replace the mandolin with a violin and a bow without strings. His professional career began a year later, when he began playing at weddings and feasts with his father.
His mother spurned an opportunity for him to have a classical musical education. But Koros later revolutionised Greek folk music through the introduction of the fiddle as an accepted instrument. He became an acclaimed, self-made musician, who composed about 2,000 songs. But despite his reputation in Greek folk music, for me he stands out for his Byzantine hymns, particularly during this Easter weekend in Crete. In these hymns, Koros returned to his roots in Byzantine music and with his violin he recreates the tradition of the early hymns he learned from his father in church as a boy.
George Koros died in 2014, and was buried in Kiffisia in Athens.
On this Saturday – between Good Friday and Easter Day – many years ago (2008), during a series of Holy Saturday reflections in Whitechurch Parish in Dublin, I invited people to listen to George Koros using his violin to plaintively recall the sorrow of the tomb in two pieces: I see thy resting place (Τον Νυμφωνα Σου Βλεπω) and Life in the Holy Sepulchre (Η Ζωη εν Ταφω).
In the Western tradition of the Church, we seem to have contemplated the cross, and then moved to the empty tomb. At times, the deep joys of the Resurrection have often been overshadowed in the Western Church by the way of the Cross, as though the Cross leads only to death. But we have also neglected Christ’s resting place, his tomb, and given little thought to what was happening in the Holy Sepulchre on this day.
In Greece, Holy and Great Saturday, which falls next Saturday (11 April 2026) is observed solemnly by the Orthodox Church, with hymns and readings that truly explore the theme of the Harrowing of Hell in depth. For this is the day on which Christ’s body lay in the tomb, this is the day on which he visited those who were dead.
The icon of the Harrowing of Hell reminds us that God reaches into the deepest depths to pull forth souls into the kingdom of light. It reminds us how much we are unable to comprehend – let alone take to heart as our own – the creedal statement about Christ’s descent into Hell – ‘He descended into Hell.’
Christ’s descent into Hell is captured in Saint Peter’s Pentecost sermon in Acts 2. In the Petrine letters, we are told that when Christ died he went and preached to the spirits in prison ‘who in former times did not obey … For this is the reason the Gospel was proclaimed even to the dead, so that … they might live in the spirit as God does’ (see I Peter 3: 15b to 4: 8).
In the NRSV, I Peter 4: 6 reads the gospel was ‘proclaimed even to the dead …’, reflecting the original Greek: ‘εἰς τοῦτο γὰρ καὶ νεκροῖς εὐηγγελίσθη …’ The New International Version, however, says the Gospel ‘was preached even to those who are now dead …’ But the word ‘now’ is not in the Greek text. It was inserted to rule out the idea that Christ preached to those who were dead at the time when Christ descended into Hell and preached to them there. Instead, the NIV interpolates and rewrites the text so that it says that Christ brought his good news to people who were dead at the time I Peter was written. If you remove the word ‘now,’ the English becomes ambiguous on that point, just like the Greek is ambiguous there.
The Early Church taught that after his death Christ descended into hell and rescued all the souls, starting with Adam and Eve, who had died under the Fall.
The Harrowing of Hell is intimately bound up with the Resurrection, the Raising from the Dead, for as Christ is raised from the dead he also plummets the depths to bring up, to raise up, those who are dead. The Harrowing of Hell carries us into the gap in time between Christ’s death and resurrection.
In Orthodox icons of the Harrowing of Hell, Christ stands on the shattered doors of Hell. Sometimes, two angels are shown in the pit binding Satan. And we see Christ pulling out of Hell Adam and Eve, imprisoned there since their deaths, imprisoned along with all humanity because of sin. Christ breaks down the doors of Hell and leads the souls of the lost into Heaven.
It is the most radical reversal we can imagine. Death does not have the last word, we need not live our lives entombed in fear. If Adam and Eve are forgiven, and the Sin of Adam is annulled and destroyed, who is beyond forgiveness?
In discussing the ‘Descent into Hell,’ the Swiss theologian Hans Urs von Balthasar (1905-1988) argues that if Christ’s mission did not result in the successful application of God’s love to every intended soul, how then can we think of it as a success. He emphasises Christ’s descent into the fullness of death, so as to be ‘Lord of both the dead and the living’ (Romans 5).
However, in her award-winning book Light in Darkness, Alyssa Lyra Pitstick says that Christ did not descend into the lowest depths of hell, and only stayed in the top levels. She finds untenable his view that Christ’s descent into hell entails experiencing the fullness of alienation, sin and death, which he then absorbs, transfigures, and defeats through the Resurrection. Instead, she claims, Christ descends only to the ‘limbo of the Fathers’ in which the righteous, justified dead of the Old Testament awaited the coming of the Messiah.
Her argument robs the Harrowing of Hell of its soteriological significance. For her, Christ does not descend into hell and experience the depths of alienation between God and humanity opened up by sin. She leaves Christ visiting an already-redeemed and justified collection of Old Testament saints to let them know that he has defeated death.
Archbishop Rowan Williams has written beautifully in The Indwelling of Light on the Harrowing of Hell. Christ is the new Adam who rescues humanity from its past, and who starts history anew. ‘The resurrection … is an introduction – to our buried selves, to our alienated neighbours, to our physical world.’ He says: ‘Adam and Eve stand for wherever it is in the human story that fear and refusal began … (This) icon declares that wherever that lost moment was or is – Christ (is) there to implant the possibility … of another future.’ (Rowan Williams, The Dwelling of the Light: Praying with Icons of Christ, p 38.)
I ask myself once again this morning: what is the difference between the top levels and bottom levels of hell?
Is my hell in my heart of my own creation?
In my mind, in my home, where I live and work, in my society, in this world?
Is hell the nightmares from the past I cannot shake off, or the fears for the future when it looks gloomy and desolate for this planet?
But is anything too hard for Christ?
On this day, the icon of the Harrowing of Hell tells us that there are no limits to God’s ability to search us out and to know us. Where are the depths of your heart and your soul – where darkness prevails, and where you feel even Christ can find no welcome? Those crevices even I am afraid to think about, let alone contemplate, may be beyond my reach. I cannot produce or manufacture my own salvation from that deep, interior hell, hidden from others, and often hidden from myself.
Christ breaks down the gates of Hell, and as the icon powerfully shows, he rips all of sinful humanity from the clutches of death. He descends into the depths of our sin and alienation from God; and by plumbing the depths of hell he suffuses all that is lost and sinful with the radiance of divine goodness, joy and light. If hell is where God is not, and Jesus is God, then his decent into hell pushes back hell’s boundaries. In his descent into hell, Christ reclaims this zone for life, pushing back the gates of death, where God is not, to the farthest limits possible.
The music associated with this day in the Orthodox tradition, the icons and the readings, remind me that Christ plummets even those deepest depths, and that his love and mercy can raise us again to new life.
On this Saturday, as I prepare to take part in this evening’s Easter celebrations of the Resurrection, I have been thinking of Christ lying in the grave, and thinking of how we can ask him to take away all that denies life in us, whether it is a hell of our own making, a hell that has been forced on us, or a hell that surrounds us. Christ reaches down, and lifts us up with him in his Risen Glory.
George Koros used his violin to plaintively recall the sorrow of the tomb in two pieces: ‘I see thy resting place’ (Τον Νυμφωνα Σου Βλεπω) and ‘Life in the Holy Sepulchre’ (Η Ζωη εν Ταφω)
Today’s Prayers (Saturday 4 April 2026, Easter Eve, Great Holy Saturday):
The theme this week (29 March-4 April 2026) in ‘Pray With the World Church’, the Prayer Diary of the Anglican mission agency USPG (United Society Partners in the Gospel), is a ‘Holy Week’ reflection’ (pp 42-43). This theme was introduced on Sunday with reflections by the Revd Kenson Li, Assistant Curate of Manchester Cathedral and a Trustee of USPG.
The USPG Prayer Diary today (Saturday 4 April 2026, Easter Eve, Great Holy Saturday) invites us to pray:
Loving Father, we pray for those to whom Easter brings no joy or hope. Make us a Resurrection People, sensitive to others’ suffering, so that we may spread Easter joy to the glory of your name, not our own.
The Collect:
Grant, Lord,
that we who are baptized into the death
of your Son our Saviour Jesus Christ
may continually put to death our evil desires
and be buried with him;
and that through the grave and gate of death
we may pass to our joyful resurrection;
through his merits,
who died and was buried and rose again for us,
your Son Jesus Christ our Lord.
Additional Collect:
In the depths of our isolation
we cry to you, Lord God:
give light in our darkness
and bring us out of the prison of our despair;
through Jesus Christ our Lord.
Yesterday’s Reflections
Continued Tomorrow
The Sarcophagus at the end of the Stations of the Cross in the Garden in Walsingham (Patrick Comerford, 2026)
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 Epitaphios in the Church of the Four Martyrs, Rethymnon, decorated with flowers symbolising the tomb of Christ (Photograph: Patrick Comerford, 2025)


















