COMERFORD WAY: Patrick Comerford’s online journal on Anglicanism, theology, spirituality, history, architecture, travel, poetry, beach walks ... and more
The poster for Jacky Scott’s talk on Willen Church in Stony Library next Monday afternoon (Photograph: Patrick Comerford, 2026)
Patrick Comerford
There is something satisfying about one of my photographs being used for a poster for an event next week that brings together church history, local history, architecture and my local library.
Jacky Scott is going to talk to the Friends of Stony Stratford Library (FoSSL) in the library next Monday (14 September 2026) at lunchtime as part of the National Heritage Open Days, and one of my photographs has been used for the poster.
She will be celebrating Saint Mary Magdalene Church, Willen, when she speaks on ‘Robert Hooke and his Willen Church – As if he didn’t have enough to do!’
Jacky Scott is known to many from her time as CEO of The Stables. She is now immersed in the history and potential of her local church, Saint Mary Magdalene in Willen, which was designed by the great scientist Robert Hooke – hence the talk’s title!
The Church of Saint Mary Magdalene, Willen, is the only surviving church designed by Robert Hooke (Photograph: Patrick Comerford)
The Church of Saint Mary Magdalene is the only surviving church among the buildings designed by the scientist, inventor, and architect Robert Hooke (1635-1703). The church is a classic of early English baroque architecture and one of the finest churches in Milton Keynes, in a beautiful setting close to Willen Lake and beside the Hospice in Willen.
Sir Simon Jenkins lists the church as one of the ‘1,000 Best Churches in England.’ It was designated a Grade I listed building in 1966.
Jacky Scott is offering an inquisitive exploration of Robert Hooke’s life and science, and on Monday she will ask whether genius, timing and context may have converged to create Willen church, one of the most significant historic gems in Milton Keynes.
The baroque interior of Saint Mary Magdalene Church, Willen, facing east (Photograph: Patrick Comerford)
Willen is a small village on the north edge of Milton Keynes, on the west bank of the River Ouze. It appears there was a Romano-British industrial settlement just to the north of the village, near Caldecote Farm. The settlement was abandoned in the late Roman period, and the area seems to have remained largely unsettled until the 11th century.
By 1292, Willen was large enough to have a church served by a vicar.Between 1150 and 1524, the advowson was held by Tickford Priory, near Newport Pagnell. It then formed part of the foundation of Cardinal College, Oxford, and its refoundation as Henry VIII’s College. The advowson reverted to the crown in 1545.
The advowson was granted in 1676 to the Revd Dr Richard Busby (1606-1695), the long-serving headmaster of Westminster School (1638-1695). He bought the manor in 1672, and as lord of the manor oversaw rebuilding the parish church.
When Busby died in 1695, he left the manor and the advowson to the trustees of Dr Richard Busby’s Charity. The trustees were to use the annual income from the manor for the relief and support of poor clergy in Lincolnshire, Oxfordshire, Middlesex, and Buckinghamshire. The Vicar of Willen was to deliver 30 lectures a year by the vicar of Willen in the parish church, and Busby stipulated that the vicar was always to be a student of Westminster and Christ Church, Oxford.
Inside Saint Mary Magdalene Church, facing the west end (Photograph: Patrick Comerford)
Busby commissioned and paid for building Saint Mary Magdalene Church, designed and built in 1678-1680 by his former pupil, Robert Hooke. The project cost almost £5,000, not including the materials taken from the former church on the site. George Lipscomb observes that ‘with good management the church might have been built for a third part of the money.’
Busby is said to have funded the cost of the church by asking for a silver spoon from each of his pupils. Among his more illustrious pupils were Sir Christopher Wren, Robert South, John Dryden, John Locke, Matthew Prior, Henry Purcell, Thomas Millington, Francis Atterbury and Robert Hooke, who designed the church and supervised its construction.
While Hooke was studying at Christ Church College, Oxford, he worked as an assistant to Robert Boyle. He met Wren at Oxford ca 1655 at a meeting of the club that later formed the core of the Royal Society. He was the Gresham Professor of Geometry, and the secretary and curator of Experiments at the Royal Society.
As the City Surveyor after the Great Fire of London in 1666, Hooke helped Wren rebuild London. Their collaboration included Saint Paul’s Cathedral, where the dome uses a method of construction that Hooke had conceived.
Details in the plaster work on the ceiling of Saint Mary Magdalene Church, Willen (Photograph: Patrick Comerford)
When London was being rebuilt after the Great Fire, Hooke proposed redesigning the streets on a grid pattern with wide boulevards and arteries, a pattern later used in the renovation of Paris, Liverpool, and many cities in the US. However, his proposal was thwarted by arguments over property.
Hooke also worked on the design of London’s Monument to the fire, the Royal Greenwich Observatory, Montagu House in Bloomsbury, and the Bethlem Royal Hospital (‘Bedlam’). He was also involved in designing the Pepys Library in Magdalene College, Cambridge, where the diaries of Samuel Pepys offer the most frequently cited eyewitness account of the Great Fire of London.
Other buildings designed by Hooke include the Royal College of Physicians (1679), Ragley Hall, Warwickshire, and Ramsbury Manor, Wiltshire.
Saint Mary Magdalene Church has a three-stage west tower topped with four pineapple finials (Photograph: Patrick Comerford)
Saint Mary Magdalene is the only known church entirely of Hooke’s design. The building replaced a mediaeval church, and demolition rubble from the old church may be present on the north side of the churchyard. The church is similar in style to several of the 52 churches rebuilt by Wren after the Great Fire of London.
This unique restoration church retains an almost complete interior of 1680. It is a plain structure in the Italian style, built of brick with stone dressings, and it consists of a simple rectangular nave with a chancel, a west tower, and an apse added in 1862.
The church is entered through a three-stage west tower topped with four pineapple finials. It originally had a cupola, but this was removed in 1814. There is a vestry on the north side of the tower, and on the south side is a room erected for a library, chiefly for theology, founded by Busby for the use of the vicar.
The architectural historian Sir Nikolaus Pevsner notes how the west door, set in a limestone apsidal recess, matches the south doorway by Wren at Saint Mary-le-Bow in London. The oak door is in oak in a classical style, with a gilded beading and fixed tympanum.
The inside two-leaf oak door also dates from 1680. At eye height is a pierced ornamental ironwork panel, in a fretwork style, with a glass panel fitted at a later date.
The original box pews from 1680 … an extremely rare survival in an English church (Photograph: Patrick Comerford)
Inside the church, the original features from 1680 include an elaborate baroque plaster ceiling, box pews, a pulpit and clerk’s desk, and a fine font. The addition of an apse at the east end in 1862 reversed Hooke’s original plan for a simple nave and a decorative tower.
The nave has three bays, and the eastern-most bay is functionally the choir. The trusses and bands of foliate plasterwork create a barrelled and coffered ceiling, and the motifs include gilded foliate bosses, plaster cherubs, gilded scallop shells and open books. The date 1680 also is divided across two gilded shields.
The ornamental baroque font with cherub heads, swags and foliate detail, and a cover with cherub heads and swags of fruits and flowers (Photograph: Patrick Comerford)
The ornamental baroque font has a white marble bowl on a black marble stem and base, and an oak cover. The marble bowl has cherub heads, swags and foliate detail, the cover has characterful cherub heads and swags of fruits and flowers and is topped by an urn shaped finial. The carved oak cover has been attributed to Bates, one of the carpenters identified in Hooke’s diary as working for him in Willen.
The pulpit against the south wall of the nave, between the choir and nave seating, dates from 1680. It was originally a three-decker pulpit, but alterations mean it has lost its sounding board and the whole structure has been lowered.
The two western-most bays of the nave retain the majority of the 1680 seating, though with some alterations in the form of the pew platforms and the replacement of seat boards. The seats are box pews of oak with scrolly tops to the ends. This largely complete set of seats from the 17th century is an extremely rare survival in an English church.
The small apse was added in 1862 (Photograph: Patrick Comerford)
The small apse was added in 1862, possibly by TH Lewis. It has three slender round-headed windows, in which the glass is plain and leaded. The floor is of diamond set limestone flags with darts of black quarry tiles, probably dating from 1862.
The baroque plaster ceiling in the apse roughly follows the precedent of the coffered ceiling over the nave, although the foliate plaster detail and cherubs are less well executed.
The open framed oak altar has baluster legs and a tacked on moulding. Some sources date the altar to the late 17th century. A small credence table fixed to the north face of the chancel arch may have been made from the sounding board of the pulpit.
The easternmost bay of the nave has fixed collegiate-style stalls from 1680 that were altered ca1862. Two rows of benches on each side of the choir give seating for 20-24 people. The Communion rail may have formed part of a semicircular railed enclosure around the altar and was relocated in 1862 when the apse was formed.
The pulpit dates from 1680 and was originally a three-decker pulpit (Photograph: Patrick Comerford)
A new organ was installed in 1985. The original organ dated from 1680, and the case and the original low gates were adapted to house the new organ in the 20th century.
A plaque east of the doorway refers to a Benthall family vault. It is unlikely that this is in its original position, but it proves there is burial vault somewhere in the church.
The tower has three bells, each inscribed: ‘Richard Chandler made me 1683’. The ring of three bells was converted from full circle to level chiming in 1991. The bells were hung dead in 2023 and provided with electromagnetic hammers.
Restoration work began in 1956 and continued until 1970. During that time, copper roofs were replaced with lead, electric heating was installed under the pews, and stonework repairs were carried out. The interior was redecorated in 1970 and 1988, the plasterwork was repaired and in 1972 the 19th century stained glass was replaced with clear modern glass.
To the west of the church, a long avenue lined with lime trees leads to the west gate. To the east of the church is the former village school, now a private house, and a small green with the village war memorial and a carriage circle.
The east apse, added to the church in 1862, faces a small green with the village war memorial (Photograph: Patrick Comerford)
The Manor Farm, formerly the manor house, was bought in 1978 to establish a hospice, and Willen Hospice continues there today.
The 18th century vicarage was rebuilt in 1930. It was part of Saint Michael’s Priory when the Society of the Sacred Mission or the ‘Kelham Fathers’ were responsible for the parish from 1974 to 1985.
A new ecumenical lay community, the Well, was established in the priory in 1997 and the SSM brothers moved to a smaller house nearby. The name refers to the story of Christ meeting the Samaritan woman at the well (see John 4: 5-30). The Well ran a conference and retreat centre, and worked with homeless and distressed people.
The SSM priory and the Well merged in 2007, and was known again as Saint Michael’s Priory from 2016. The priory closed in 2019, and the remaining members moved to Saint Antony’s Priory, Durham.
The former village school is now a private house (Photograph: Patrick Comerford)
Saint Margaret of Antioch Church overlooking the harbour of Vernazza in Cinque Terre on the Italian Riviera … she is remembered on 20 July (Photograph: Patrick Comerford)
Patrick Comerford
The Church Calendar today (20 July) remembers Saint Margaret of Antioch, a martyr in the fourth century, and Saint Bartolomé de las Casas (1566), Apostle to the Indies.
I have written about Saint Bartolomé de las Casas and in his role as a founding figure of our modern concepts of human rights, an important figure to remember as international law and agreed principles of human rights come under growing threats, particularly from the US, which once saw itself as a defender of international law and human rights.
But as I was searching for images of Saint Margaret of Antioch to illustrate my prayer diary on my blog this morning, I came across memories of a visit back in 2012 to Vernazza in Cinque Terre on the Italian Riviera and the church that is said to hold a relic of her finger.
Saint Margaret of Antioch Church at the harbour of Vernazza in Cinque Terre on the Italian Riviera is said to hold a relic of the saint’s finger (Photograph: Patrick Comerford)
Saint Margaret of Antioch, also called Marina, was martyred during the Diocletian persecutions at the beginning of the fourth century. Her preaching before her death is said to have converted many to the Christian faith.
According to the legend, she was the daughter of a third or fourth century pagan priest in Antioch. She was either thrown out of the house by her father when she converted to Christianity or was converted by her nursemaid. She was noticed by the local prefect who wanted to marry her, but she spurned him and vowed to keep her virginity for Christ.
He handed her over to the Roman authorities. In prison she was swallowed by Satan in the form of a dragon. But the cross she was carrying irritated his throat, and he spat her out unharmed.
Her persecutors tried to kill her by fire and by drowning, but each time she survived, converting the growing crowd of onlookers. Finally, she was beheaded, along with her many converts, by Emperor Diocletian (245-313 AD). She was buried at Antioch, but her remains were taken later to Italy where they were divided between shrines in Montefiascone and Venice.
Vernazza is one of the five towns that make up the Cinque Terre region in north-west Italy (Photograph: Patrick Comerford)
Vernazza, in the province of La Spezia in Liguria, in north-west Italy, is one of the five towns that make up the Cinque Terre region. Vernazza is the fourth town heading north, has no car traffic, and remains one of the truest ‘fishing villages’ on the Italian Riviera. It is the only natural port of Cinque Terre and is famous for its elegant houses.
Legend has it that in ancient times, a small wooden box was found along the coast of Vernazza, containing the bones of a finger of Santa Margaret’s hand. After finding the relic, the residents decided to build a church in her honour in the area of the town known as Isolotto.
However, the relic was lost sight of during a strong storm and it appeared only some time later, precisely where it was first found. The people of Vernazza then built a church there, overlooking the sea, where it stands to this day.
Inside the church of Santa Margherita d’Antiochia in Vernazza (Photograph: Patrick Comerford)
The church of Santa Margherita d’Antiochia was built in the 13th century in the Gothic-Ligurian style by the Antelami masters on a pre-existing Romanesque building. The church is mentioned for the first time in 1318. It stands next to the main square of Vernazza on a rock overlooking the sea. The octagonal tower, 40 meters high, is crowned by small arches and ends with a dome.
The church was enlarged and extended in 1500-1600, when the original mediaeval façade which was destroyed. During new works in 1750, the Romanesque interior was covered with Baroque-style decoration, the wooden roof was replaced with vaults, and the bell tower was raised.
The church was partially restored in 1964-1970, when the original internal structure was recovered, including the wooden roof. The church has two entrances: the main one is more hidden and less easy to reach, and a more comfortable one, in one of the apses overlooking the tree-lined square in front of the marina, opened in the 19th century. The interior with three naves is raised above the level of the square. The church has two 17th century canvases, the Baroque high altar dates from 1750, and there is an 18th century processional chest and a wooden crucifix attributed to Anton Maria Maragliano.
The people of Vernazza celebrate Saint Margaret of Antioch as their patron every year on 20 July.
Saint Margaret’s, Westminster Abbey … the parish church of the House of Commons (Photograph: Patrick Comerford)
The Council of Oxford added her to the list of feast days in 1222, and so her cult grew in popularity in England. More than 250 churches in England are dedicated to Saint Margaret of Antioch, including Saint Margaret’s, Westminster, the parish church of the House of Commons.
Saint Margaret’s was built in the late 11th century, and a grant from Pope Clement III to the Abbot and Convent of Westminster in 1189 confirmed that Saint Margaret’s was outside the jurisdiction of the Bishop of London. In 1222, the abbey and its properties, including Saint Margaret’s, were declared to be outside the Diocese of London and also exempt from the authority of the Archbishop of Canterbury.
Robert Stowell began to rebuild the church in 1482, and it was consecrated on 9 April 1523. Until the dissolution of the monasteries in 1540, the church was served by the monks of the abbey, and the close relationship between Saint Margaret’s and Westminster Abbey has continued ever since.
When Queen Elizabeth I re-founded Westminster Abbey as a collegiate church in 1560, she maintained its exemption from episcopal authority and made the new foundation a royal peculiar, subject only to the authority of the monarch as Visitor.
Saint Margaret’s became the parish church of the Palace of Westminster in 1614. The north-west tower of the church was rebuilt by John James in 1734-1738 and the interior was restored in 1877 by Sir George Gilbert Scott, who retained many of its Tudor features.
In 1972, the church and its churchyard were placed once more under the governance of the Dean and Chapter of Westminster Abbey, with one of the canons of Westminster Abbey serving as Rector of Saint Margaret’s. MPs and staff members of the House of Lords and House of Commons are permitted to marry in the church, and those who were married there include the diarist Samuel Pepys, and prime ministers Sir Winston Churchill and Harold Macmillan.
Saint Margaret Pattens, a guild church on Eastcheap, seen from Saint Mary-at-Hill (Photograph: Patrick Comerford)
Saint Margaret Pattens, a guild church on Eastcheap, is dedicated to Saint Margaret of Antioch. The first church on the site dedicated to Saint Margaret of Antioch was recorded in 1067, when the church was probably built from wood.
The church was rebuilt in stone at a later date but fell into disrepair and was demolished in 1530 and rebuilt in 1538. The church was destroyed in the Great Fire of London in 1666. The present church was built by Sir Christopher Wren between 1684 and 1687.
The church exterior is notable for its 200-ft high spire, Wren’s third highest and the only one that he designed in a mediaeval style. It is sometimes referred to as Wren’s only ‘true spire.’
Saint Margaret Pattens is one of only a few City churches to have escaped significant damage in World War II. It ceased to be a parish church in 1953 and became one of the City’s guild churches. The church is the Guild Church of the Worshipful Company of Pattenmakers and the Worshipful Company of Basketmakers, two of the City livery companies.
Saint Margaret Lothbury, known as the Bankers’ Church, is one of the 51 Wren churches in the City of London (Photograph: Patrick Comerford)
Saint Margaret Lothbury is also dedicated to Saint Margaret of Antioch. It is known as the Bankers’ Church, because of its proximity to the back door of the Bank of England. Lothbury is a short street that runs east-west with traffic flow in both directions, from the junction of Gresham Street with Moorgate to the west, and the junction of Bartholomew Lane with Throgmorton Street to the east.
There has been a church on the site since the 12th century, and the earliest mention of Saint Margaret Lothbury is in 1185. It was rebuilt over the Walbrook in 1440, when a stone arch was erected over the brook in 1440 so that the church could be extended. The work was completed mostly at the expense of Robert Large, then the Lord Mayor of London. He is remembered as the Master to whom William Caxton, the printer, served his apprenticeship.
Like so many London churches, the church was destroyed in the Great Fire of London in 1666 and was rebuilt by Sir Christopher Wren between 1686 and 1690. It is one of the 51 churches in London rebuilt by Wren after the fire. However, the tower may be the work of Robert Hooke.
The church has exceptionally fine 17th-century woodwork from other now-demolished Wren churches. This woodwork includes the reredos, the Communion rails and the baptismal font, which are thought to be by Wren’s carver, Grinling Gibbons. The pulpit is the original pulpit of the Wren church and the Baptismal Font is thought to come from the workshop of Grinling Gibbons.
Saint Margaret Lothbury still serves as a parish church in the Square Mile. It is also the official church of five Livery Companies, two Ward Clubs and two professional institutes. It also has connections with many local finance houses, all of which hold special services there each year.
The west end of Saint Margaret of Antioch Church, with Durham Castle (left) and Durham Cathedral (right) in the background (Photograph: Patrick Comerford)
In Durham, Saint Margaret of Antioch Church at the bottom of Crossgate is a parish church in the Liberal Catholic tradition, with a diversity inherited from recent history – charismatic, catholic, contemplative – that is reflected in the congregations.
Crossgate is the ancient route west from the city, on a bluff overlooking Framwellgate Bridge. It connects the city centre with Neville’s Cross, where the remains of a stone cross are a reminder that Crossgate was once a pilgrim route for those travelling to Durham and the relics of Saint Cuthbert.
Saint Margaret’s was established in the 12th century as a chapel of ease in the Parish of Saint Oswald to serve the people of the Borough of Crossgate or the ‘Old Borough’. Saint Margaret’s was under the jurisdiction of the Priors of Durham, and their successors, the Dean and Chapter of Durham, remain the patrons of the living to this day.
The earliest surviving parts of the church date from ca 1150. After their own chapel was built, the people of Crossgate resented still having to attend the parish church at certain times and to pay certain dues. During one dispute, the prior removed the font from Saint Margaret’s in 1343. It was returned by the bishop, but he insisted, however, that the parishioners had no right to use it.
Eventually, the residents of Crossgate won the right to be baptised and married in Saint Margaret’s, and burials were allowed there from 1431. The church was restored in the second half of the 19th century, when the north aisle was largely rebuilt, and a full set of stained glass windows was added. The organ dates from 1917 and is by Harrison & Harrison. Their factory until recently was within the parish, and Arthur Harrison was the churchwarden of Saint Margaret’s at the time.
Saint Margaret of Antioch depicted in a statue above the north porch of Saint Margaret of Antioch Church, Crossgate, Durham (Photograph: Patrick Comerford)
Saint Etheldreda’s Church on Ely Place, once the chapel of the Bishops of Ely, is one of the oldest churches in England in use by the Catholic Church (Photograph: Patrick Comerford, 2026)
Patrick Comerford
On previous visits to the Holborn area in London, I have visited Hatton Garden and Ye Olde Mitre, which is one of the oldest, most hidden and discrete pubs in London. I found it down a narrow alleyway off Hatton Garden that is easy to walk by without noticing, yet it has a fascinating history.
Ye Olde Mitre was originally built in 1546 for the servants of nearby Ely Palace, although it was rebuilt in 1773. It is known for a cherry tree that Elizabeth I and Sir Christopher Hatton – who gave his name to Hatton Garden – are said to have danced around. A stone bishop’s mitre on one wall may be from either the old palace or the gatehouse.
But each time I visited Hatton Garden and Ye Olde Mitre in the past, I had neglected to continue on down the narrow alley to Ely Place. When I did so on my most recent visit to Holborn, I was rewarded not only with finding myself on Ely Place but also with a visit to Saint Etheldreda’s Church, once the chapel of the Bishops of Ely, who had their London residence at Ely Palace or Ely House. Today, it is one of the oldest churches in England in use by the Catholic Church.
Ye Olde Mitre in a hidden alley between Hatton Garden and Ely Place, is a reminder of the presence of the Bishops of Ely (Photograph: Patrick Comerford, 2026)
Ely Place is a gated cul-de-sac of terraced houses near Holborn Circus in the London Borough of Camden. The street is just a minute’s walk from the bustle of Holborn and the busy diamond and jewellery shops of Hatton Garden. The street is a quiet enclave and is privately managed by its own body of commissioners and beadles.
Ely Place sits on the site of Ely Palace or Ely House, the London residence of the Bishops of Ely from 1290 and 1772. The bishop’s palace and surrounding land was later sold and redeveloped into Ely Place, and only the bishop’s mediaeval chapel was preserved, which today is Saint Etheldreda’s Church.
John de Kirkby bought the land in this part of Holborn in 1280. He became Bishop of Ely in 1286 and he left the estate to the Diocese of Ely when he died in 1290. The mediaeval Bishops of Ely often held high offices of state requiring them to live in London and Ely Palace was their official residence.
The cloister steps leading to the upper chapel in Saint Etheldreda’s Church (Photograph: Patrick Comerford, 2026)
Shakespeare refers to Ely Palace or its grounds in two plays, Richard II and Richard III. John of Gaunt moved to the palace in 1381 after the Savoy Palace was destroyed during the Peasants’ Revolt. In King Richard II, this where he delivers the speech in which he refers to England as ‘this royal throne of Kings, this sceptre’d isle’.
Henry VIII and Catherine of Aragon attended a feast given in 1531 by the Bishop of Ely, Nicholas West, which is said to have lasted for five days. The sumptuous feast is rumoured to have been one of the first public signs of trouble in their marriage as Henry VIII and Queen Catherine dined in separate rooms.
James Butler (1496-1546), 9th Earl of Ormond, was visiting London with his household on 17 October 1546, when they were invited to dine at Ely Palace as guests of the Bishop of Ely. Butler, who had served in the household of Cardinal Wolsey in his youth, had crossed Sir Anthony St Leger, the Lord Deputy of Ireland, and was poisoned along with his steward, James Whyte, and 16 of his household, probably on St Leger’s instructions.
John Lesley, Bishop of Ross, was acting on behalf of Mary Queen of Scots when he was held at Ely House under house arrest from 14 May until 17 August 1571.
The crypt or lower chapel in Saint Etheldreda’s Church (Photograph: Patrick Comerford, 2026)
The estate was granted to Sir Christopher Hatton in 1577 and a new lease gave Hatton control of the freehold. He gave his name to Hatton Garden which now occupies part of the site.
The estate was sold to the Crown in 1772, and the cul-de-sac that is now Ely Place was built by Robert Taylor. Edmund Keene, Bishop of Ely, commissioned a new Ely House, built by Taylor on Dover Street, Mayfair.
Ely Place retained its anomalous status into 1920s, supposedly remaining under the jurisdiction of Ely in Cambridgeshire and not part of London. Beadles guarded the entrance and closed the gates to all strangers. Even the police had to ask permission to enter, and beadles’ voices could be heard calling out throughout the night.
Saint Etheldreda’s Church is dedicated to Æthelthryth or Etheldreda, the Anglo-Saxon saint who founded the monastery at Ely in 673 (Photograph: Patrick Comerford, 2026)
Saint Etheldreda’s Church was the chapel of Ely Palace or Ely House, the London residence of the Bishops of Ely. It is dedicated to Æthelthryth or Etheldreda, the Anglo-Saxon saint who founded the monastery at Ely in 673. The building dates from between 1250 and 1290 and is one of only two surviving in London from the reign of Edward I.
After the Tudor Reformations, the Bishops of Ely continued to oversee the chapel. Richard Cox, Bishop of Ely, leased part of the house and lands surrounding the chapel to Sir Christopher Hatton, a favourite of Elizabeth I, in 1576. Hatton borrowed extensively from the crown to pay for the refurbishment and upkeep of the property, and while he was the tenant the crypt was used as a tavern.
In the early 17th century, the chapel briefly became a haven for English Catholics when the upper church was granted to the Spanish ambassador, Diego Sarmiento de Acuña (1567-1626), Count of Gondomar, in 1620 to use as his private chapel. It was regarded as Spanish soil and so Catholics were allowed to use the church. But in the midst a diplomatic dispute between England and Spain, Gondomar was recalled to Spain two years later and his successor was not given use of the chapel.
Inside Saint Etheldreda’s Church, restored by Sir George Gilbert Scott (1811-1878) to its 13th century designs (Photograph: Patrick Comerford, 2026)
In an incident known as the ‘Fatal Vespers’, 95 people were killed on 26 October 1623 when the upper floor of Hunsdon House, the residence of the French ambassador in Blackfriars, collapsed when 300 people were gathered to hear a clandestine Catholic sermon; 19 of the victims were buried in the crypt of Saint Etheldreda’s.
Matthew Wren (1585-1667), Bishop of Ely (1638-1646, 1660-1667) and uncle of the architect Sir Christopher Wren, worshipped at Saint Etheldreda’s before he was imprisoned in 1641. The palace and the church were requisitioned by Parliament in 1642 for use as a prison and hospital during the English Civil War. During the Cromwellian era (1649-1660), most of the palace was demolished and the gardens were destroyed.
Legislation in 1772 allowed the Bishops of Ely to sell the property to the Crown. The site, including the chapel, was sold on to Charles Cole, a surveyor and architect. He demolished all the buildings on the site apart from the chapel and built Ely Place. The chapel was extensively refurbished in the Georgian style and was reopened in 1786. It was taken over in 1836 by the National Society for the Education of the Poor, which hoped to convert the Irish Catholic immigrants then moving into the area, but the church closed again a short time later.
The East Window by JE ‘Eddie’ Nuttgens is generally regarded as his finest work (Photograph: Patrick Comerford, 2026)
The Revd Alexander D’Arblay of Camden Town Chapel, a son of the novelist and diarist Fanny Burney, reopened Ely Chapel as a place of Anglican worship in 1836, but died within a year on 19 January 1837. The church was leased in 1843 to Welsh Anglicans, who held services there in the Welsh language.
When the chapel was put up for sale by auction in 1874, it was bought by Father William Lockhart, a former Anglican and a priest in the Rosminian order. The Institute of Charity or Rosminians had worked in Nottingham and Leicester and later in North London, and Cardinal Henry Manning wanted them to work in the slum areas of Holborn.
Lockhart, who was the Rector of the North London Mission, was chosen for the task. He had been a friend in Oxford of Cardinal John Henry Newman, and it is said that Lockhart’s decision had finally convinced Newman that he too should become a Roman Catholic.
Lockhart learned in December 1873 that Saint Etheldreda’s was about to be sold at auction. He faced competition from the Welsh Episcopalians, who had the backing of a Welsh steel magnate. But at the sale, the Welsh made a mistake: they thought Lockhart’s agent was theirs, they stopped bidding, and Saint Etheldreda’s was sold to the Rosminians for £5,400.
John Francis Bentley, the architect of Westminster Cathedral, designed the choir screen (Photograph: Patrick Comerford, 2026)
Under Lockhart’s direction, the crypt and upper church were restored by the prolific Gothic Revival architect Sir George Gilbert Scott (1811-1878) to their original 13th century designs. John Francis Bentley (1839-1902), the architect of Westminster Cathedral, designed a choir screen incorporating a confessional, an organ and a choir gallery; his other works include Holy Rood Church, Watford. The royal coat of arms, added during the reign of Charles I, was moved to the cloister. A relic donated by the Duke of Norfolk was said to be a piece of Saint Etheldreda’s hand, and is kept in a jewel cask to the right of the high altar.
The restoration was completed in 1878, the year Scott died, and a Catholic Mass was celebrated in Saint Ethelreda’s for the first time in over 200 years. The upper church was reopened on the Feast of Saint Etheldreda, 23 June 1879.
Saint Etheldreda’s includes a chapel or upper church, and a crypt or undercroft, and is used for Masses, Baptisms, weddings and funerals. Because Saint Etheldreda was traditionally invoked for help with throat infections, the Blessing of the Throats is held annually in the chapel.
The Royal Commission on Historical Monuments scheduled the chapel as an ancient monument in 1925. But during the Blitz, the church was hit in May 1941 by a bomb that tore a hole in the roof and destroyed the Victorian stained glass windows. It took seven years to repair the structural damage.
The West Window by Charles Blakeman (1964) depicts Catholic martyrs during the Reformation era (Photograph: Patrick Comerford, 2026)
The interior of Saint Etheldreda’s is said to have the largest expanse of stained glass in London. The east window by JE ‘Eddie’ Nuttgens, generally regarded as his finest work, one of the few in which he ‘let his imagination take command and soar’, was installed in 1952. It depicts the Trinity (centre), the four evangelists Matthew, Mark, Luke and John (top row), as well as the Virgin Mary (left) and Saint Joseph (right), with Saint Etheldreda of Ely (far left) and Saint Bridget of Kildare (far right). At the base, Nuttgens has placed a sturdy version of the Last Supper mostly in bright golds and reds whose clearly articulated composition surely reveals the influence of his friend and neighbour Eric Gill.
Later, his pupil and friend Charles Blakeman created stained glass for the nave, west window and crypt. The West Window by Blakeman was added in 1964, depicting Catholic suffering during the Reformation. Three Carthusian monks and two other priests were put to death for refusing to acknowledge Henry Vlll as head of the Church are shown in the centre of the window, while Christ triumphant hangs on the Cross above the Tyburn Gallows.
The windows in the south wall depict scenes from the Old Testament, and the windows in the north wall show scenes from the New Testament.
Two groups of four statues of English Catholic martyrs from the reign of Henry VIII and Elizabeth I were installed along the north and south walls In the 1960s. They include Saint Edmund Gennings, Saint Swithun Wells, Saint Margaret Ward, Blessed John Forest, Blessed Edward Jones, Blessed John Roche, Saint Anne Line and Saint John Houghton.
For many years, Saint Etheldreda’s was the oldest Catholic church building in England, but since 1971 that place has been taken by the 12th-century church of Saint Leonard and Saint Mary in Malton, North Yorkshire. Saint Etheldreda’s has been fully restored and is an active church today. The crypt, also used as a chapel, is a popular, atmospheric venue for baptisms.
The steps leading down to the crypt in Saint Etheldreda’s Church (Photograph: Patrick Comerford, 2026)
Pilgrims visit the church as a stopping point on the London Martyrs’ Way, a pilgrimage route developed by the British Pilgrimage Trust and to venerate the hand relic of Saint Etheldreda.
Saint Etheldreda’s Church is open Monday to Saturday, 8 am to 5 pm, and Sunday 8 am to 12:30 pm. The nearest tube stations are Chancery Lane (Central Line) and Farringdon (Circle, Hammersmith and City and Metropolitan Lines). Ye Old Mitre is only open Monday to Friday.
Sunday Masses in Saint Etheldreda’s Church are at 9 am (English) and 11 am (Sung Latin); Weekday Masses are at 1 pm, Monday to Friday; Masses on holy days are at 1 pm and 6 pm.
Ely Court, a narrow alley running between Ely Place and Hatton Garden (Photograph: Patrick Comerford, 2026)
Saint Paul’s Cathedral, London, rebuilt by Sir Christopher Wren … 25 January is the Feast of the Conversion of Saint Paul (Photograph: Patrick Comerford)
Patrick Comerford
Today is the Third Sunday of Epiphany (Epiphany III, 25 January 2026), and is also the Festival of the Conversion of Saint Paul, which also marks the last day of the Week of Prayer for Christian Unity.
Because this feast falls on a Sunday this year, the calendar of the Church of England in Common Worship recommends transferring its celebration to the tomorrow (Monday 26 January). But I still thought it would be worth marking this day in the Church Calendar this afternoon with a ‘virtual tour’ of a dozen churches dedicated to Saint Paul.
Many churches with Saint Paul’s name have double dedications to Saint Peter and Saint Paul, from Athlone and Ennis in Ireland, to Buckingham, Newport Pagnell and Olney in this part of England, to Aston in Birmingham and to churches I know in Iraklion in Crete and in Singapore. The little chapel of Saint Peter and Saint Paul in Vlatádon Monastery stands on the very spot where the Apostle Paul preached when he visited Thessaloniki in the year 50.
I know too of one peculiar double dedication, to Saint Catherine and Saint Paul, in Hoddesdon, Hertfordshire, originally built as Saint Paul’s and close to the High Leigh Conference Centre.
Churches with Saint Paul’s name alone are still many in number, though. In Ireland, for example, I have visited churches named after Saint Paul in Ardmore, Co Waterford, Glin, Co Limerick, Cahir, Co Tipperary, Emo, Co Laois, and Glenageary, Co Dublin, although Saint Paul’s at Mount Argus in Dublin is probably named after the Passionist monk and preacher Saint Paul of the Cross.
The chapel at the former Saint Paul’s School in Stony Stratford is now an Indian restaurant.
The churches I am looking at this afternoon are in England, Scotland, France, Greece, Malta and Scotland, and are a small selection of many churches I know, so this is a very limited selection indeed.
1, Saint Paul’s Cathedral, London:
Saint Paul’s Cathedral, London … rebuilt by Sir Christopher Wren after the Great Fire (Photograph: Patrick Comerford)
For many years, I strolled through London, from Liverpool Street Station to the USPG offices on my way to meetings of trustees. These walks offered opportunities for early morning or late afternoon visits to Wren churches, the sites of former Wren churches, churches designed by Nicholas Hawksmoor, or guild and city churches. They gave me views of buildings such as Saint Paul’s Cathedral, the Bank of England, the Royal Exchange, the Mansion House, the Globe Theatre and the Tate Modern, and allowed me to enjoy the cafés, buskers and bookshops, with new opportunities on each walk to discover parts of London I had not known before.
After the Great Fire of London in 1666, Sir Christopher Wren (1632-1723) restored 51 churches in the city, concluding with Saint Andrew-by-the-Wardrobe, which he rebuilt in 1695.
The vista from the south side of the Millennium Bridge across to Saint Paul’s Cathedral (Photograph: Patrick Comerford)
Saint Paul’s Cathedral, the cathedral of the Diocese of London, sits on Ludgate Hill at the highest point of the City. Its dedication to Saint Paul the Apostle dates back to the original church on the site, founded in the year 604.
The present cathedral, dating from the late 17th century, was designed in the English Baroque style by Wren; it was built in 1669-1711 and was completed in Wren’s own lifetime.
The earlier Gothic cathedral, Old Saint Paul’s Cathedral, largely destroyed in the Great Fire, was a central focus for mediaeval and early modern London, including Paul’s Walk and Saint Paul’s Churchyard being the site of Saint Paul’s Cross.
The dome of Saint Paul’s, framed by the spires of Wren’s City churches, has dominated London’s skyline for over 300 years. At a height of 111 metres (365 ft), it was the tallest building in London from 1710 until 1963. The dome remains among the highest in the world, and Saint Paul’s is the second-largest church building in area in the United Kingdom after Liverpool Cathedral.
2, Saint Paul’s Church, Bedford:
Saint Paul’s Church on Saint Paul’s Square is the largest Church of England parish church in Bedford (Photograph: Patrick Comerford)
Saint Paul’s Church on Saint Paul’s Square, Bedford, is the largest Church of England parish church in Bedfordshire. The former mediaeval collegiate church is a grade I listed building of cathedral proportions. With its size and tall spire, Saint Paul’s dominates Bedford.
During World War II, Saint Paul’s was the home for the BBC’s daily worship and hosted the Service for the National Day of Prayer in 1941.
Today, it is the Civic Church of the Borough of Bedford and of the County of Bedfordshire. It works closely with three other churches in Bedford – Saint Peter de Merton, Saint Martin’s and Saint Andrew’s – and welcomes thousands of visitors and pilgrims throughout the year.
Saint Paul’s is in the Diocese of St Albans. It has a cathedral-style choral tradition with a modern catholic liturgy, and it is a member of the Major Churches Network and of the Cathedrals Plus network.
Inside Saint Paul’s Church, Bedford, facing east (Photograph: Patrick Comerford)
Evidence suggests that Saint Paul’s Church was founded as a new minster by King Offa, who died in 796 CE, to serve the inhabitants of his new fortified urban burgh. Offa is said to have been buried in Bedford, and his minster church of Saint Paul has been identified as a probable site of his grave.
Most of the present church – the fifth on the site – was built or rebuilt in the 15th century in the Perpendicular style. The roofs were raised, clerestories added, windows enlarged, a second storey was added to south porch, as were the north and south windows, the oak roofs, the parclose screen, the priest’s two-storey vestry, misericords in the quire or chancel and the Trinity Chapel.
John Bunyan, the author of The Pilgrim’s Progress, preached in Saint Paul’s on 23 May 1656. In the 19th century Saint Paul’s became part of the Anglo-Catholic tradition, in which it remains. The architectural work in the church in the 19th century includes the tower and spire, transepts, choir stalls, quire and quire roof.
Late 19th and early 20th century work in the church includes the rood screen designed by the Gothic Revival architect George Frederick Bodley (1827-1907), who also reordered the chancel and restored the choir stalls. The Trinity Chapel was restored by the Bedford-based architect Charles Edward Mallows (1864-1915), who was part of the Arts and Craft movement. The English Altar and altar rails were designed by the Bromsgrove Guild, a company of artists and designers associated with the Arts and Crafts Movement and founded by Walter Gilbert (1871-1946).
Later in the 20th century, from the mid-1970s to 1982, the church was restored and improved. Further work was completed on a narthex at the west end of the church in 2014.
3, Saint Paul’s Church, Lisson Street, Marylebone:
Saint Paul’s Church on Lisson Street and Rossmore Road replaced the former Bentinck Chapel on Lisson Street (Photograph: Patrick Comerford)
Saint Paul’s Church, on Lisson Street and Rossmore Road in North Marylebone, was designed by JW Higgins and was built by voluntary contributions as Saint Paul’s Chapel in 1837-1838, soon after the closure of the Bentinck Chapel on Lisson Street. It was consecrated in 1838 and was assigned a district.
After World War II, Saint Paul’s parish was united with Emmanuel, Maida Hill, and Saint Matthew, Maida Hill, to form the parish of Saint Paul with Saint Matthew and Emmanuel. The parish was united with Christ Church, Cosway Street, in 1971. Saint Paul’s Church became one of the parish churches of the parish of Christ Church and Saint Paul, St Marylebone, until Christ Church was closed in September 1977.
The interior of Saint Paul’s has been subdivided and refurbished, but the reredos remains in place (Photograph: Patrick Comerford)
In recent years, the interior of Saint Paul’s has been subdivided and refurbished, the galleries have been removed, and the worship space is in part of the nave and the sanctuary area. The reredos and the windows remain in place.
Canon Clare Dowding is the Rector of Saint Paul’s, Priest in Charge of Saint Cyprian’s and Area Dean of Marylebone; the Revd Rachel Sheppard is the Assistant Curate; and the Revd Michele Lee is the Associate Priest.
The Parish Eucharist is celebrated in Saint Paul’s on Sunday sat 10 am, Morning Prayer is said on Mondays, Tuesdays and Wednesdays at 9:15, Evening Prayer is said on Mondays at 4:30, and Holy Communion is celebrated on Friday at 8:30 am. Through a partnership with West London Synagogue and Foodcycle, Saint Paul’s offers a free community meal every Wednesday night to over 70 people at the church.
4, (former) Saint Paul’s Church, Walton Street, Oxford:
The former Saint Paul’s Church on Walton Street, Oxford, looks like a Greek temple (Photograph: Patrick Comerford)
The former Saint Paul’s Church is a distinctive building that looks like a Greek temple on Walton Street, Oxford, facing onto Great Clarendon Street. It stands opposite the Oxford University Press and beside the Blavatnik School of Government. It is surrounded by the Radcliffe Observatory Quarter of the University of Oxford, formerly the Radcliffe Infirmary site, and in recent years it has been a café and arts venue.
Saint Paul’s was the first new parish to be created in Oxford and the first new church to be built in Oxford since the Reformation. The church and the parish came as responses to the first outbreak of cholera in this part of Oxford in 1831, and to serve both the growing new suburb of Jericho and the new industrial area growing up round the University Press.
Saint Paul’s Parish was carved out of the parishes of Saint Thomas and Saint Giles. It covered an area from Saint Giles Road West (now the south end of Woodstock Road) to the canal, and from Workhouse Lane (now Little Clarendon Street) to the end of Walton Street, which then turned west to end outside Carter’s Ironworks.
Saint Paul’s was the first new church built in Oxford since the Reformation (Photograph: Patrick Comerford)
When it was formed, the parish included the University Press the Radcliffe Infirmary and the Radcliffe Observatory with Observatory Street. The Radcliffe Trustees made a gift of part of the old burial ground of the Radcliffe Infirmary as a site for the new church. The church was built in 1834 at a cost of about £3,500, and the money was raised by public subscription.
Saint Paul’s is a rectangular stone building in the Greek Classic style with a west portico of the Ionic order and a bell turret. The church was designed by the Oxford-based architect Henry Jones Underwood (1804-1852), best known for his Gothic Revival architecture, and his church at Littlemore for John Henry Newman became a model for other churches. The church was enlarged in 1853 with the addition of an apsidal chancel at the east end designed by the Oxford architect Edward George Bruton (1826-1899).
The parish was committed to the liturgical and social values and ideals of the Oxford Movement, emphasising the importance of personal responsibility in promoting education, health reform and social justice, and raising awareness of the living conditions of many people.
The Pre-Raphaelite stained glass windows in were installed in 1888-1889. Six of the windows are by Charles Eamer Kempe (1837-1907), three depicting the Nativity, two the Resurrection and one the Ascension. As more people moved out of Jericho in the post-war decades, the congregation dwindled to a handful. The decline was hastened in the 1950s by the rise of the neighbouring church of Saint Mary Magdalen as the centre of Anglo-Catholicism in Oxford.
The parishes of Saint Paul and Saint Barnabas were united in 1963, and Saint Paul’s was closed in 1969. The building was acquired in 1988 by Secession Ltd to prevent its demolition, and it opened that year as Freud’s Arts Café, a café bar created by David Freud that offered live music, including jazz, punk, post-punk and blues. The name is written in Roman-style capital letters as ‘FREVD’ above the main entrance door.
5, Église Saint-Paul-Saint-Louis, Marais, Paris:
The Église Saint-Paul-Saint-Louis on rue Saint-Antoine is the parish church in the Marais in Paris (Photograph: Patrick Comerford)
the Église Saint-Paul-Saint-Louis on rue Saint-Antoine, the Catholic parish church in the Marais. The church gives its name to Rue Saint-Paul Place Saint-Paul and the nearest Metro station, Saint-Paul.
A shrine dedicated to Saint Paul in the Fields, Saint-Paul-des-Champs, was built on this site in 632-642, and served as a chapel for the cemetery of a convent founded by Saint Eloi and Saint Aure on Ile de la Cité during the reign of King Dagobert. Prominent figures buried in the old cemetery included François Rabelais and the architect François Mansart. The monastic cemetery disappeared and the old church was demolished in 1799.
The chapel was replaced by the first church on the site, Saint-Paul-des-Champs, built ca 1125, when the neighbourhood became a parish, and the dedication of the church was changed from Saint Paul the Hermit, a monk in Egypt in the third-fourth century, to Saint Paul the Apostle.
Charles V designated the Hôtel Saint-Pol on Rue Saint-Paul as his royal palace in 1358. Charles VI and Charles VII were baptised at Saint-Paul. The church was rebuilt in the Gothic style in 1431, and remained as the king’s parish up to 1559, when Henry II was mortally wounded in a jousting tournament on rue Saint-Antoine.
Cardinal Charles de Bourbon, uncle of Henry IV, bought the Hôtel de La Rochepot in 1580 and donated it to the Jesuits, who established their first house in Paris there and built a chapel dedicated to King Louis IX (Saint Louis) close to the present church.
The first stone of a new building was laid by Louis XIII in 1627. The new church was given the name of the king’s ancestor, Louis IX, and became the église Saint-Louis de la maison professe des Jésuites, a reference to the Maison Professe des Jésuites beside it. The first Mass in the new church was celebrated in 1641 by Cardinal Richelieu in the presence of Louis XIII.
Inside the Église Saint-Paul-Saint-Louis, the first church in Paris built in the Baroque style (Photograph: Patrick Comerford)
The new church was designed by the Jesuit architects Étienne Martellange, who drew the initial plans, and François Derand, who was responsible for the design of the façade. The plan is inspired by the Chiesa del Gesù in Rome.
The dome which is 55 meters high was an unusual feature for a Jesuit building and was one of the first domes built in Paris. Both the dome and the bell tower are largely hidden from view from the street by the very high façade. The dome served as a model for other domes, including those of Les Invalides and Val-de-Grace.
During the French Revolution, the church was closed and used to store works of art and books plundered from other churches in the area. Five priests were killed in the church during the September Massacres on 2 September 1792. They are commemorated with a plaque.
The church was then used as a temple of the Cult of Reason and the Supreme Being. In 1793, Robespierre preached the cult of the goddess Reason in the church against the atheism promoted by Hébert. The chemist Antoine Lavoisier, who was an important patron of the church, was guillotined in 1794. The old Saint Paul’s Church was demolished in 1798, but a section of the wall of the square tower is still visible on rue Saint-Paul.
Under the Concordat of 1801, the church was restored as a Catholic parish church in 1802, with a new dedication to Saint Paul and Saint Louis, recalling the older church that had been demolished in 1798. A bell from old Saint Paul’s was salvaged as well as the great clock on the façade.
The church was restored by the architect Victor Baltard in 1850, and the white marble high altar was moved and rebuilt under Louis-Philippe I with fragments from Napoleon’s tomb at Les Invalides. On the right side of the nave, one pillar has an inscription that is almost erased, République française ou la mort (‘French Republic or death’), scrawled during the Paris Commune in 1871.
The two clam-shell holy water vessels or stoups at the entrance were donated by Victor Hugo (1802-1885), author of The Hunchback of Notre-Dame (1831) and Les Misérables(1862). They mark the baptism of his daughter Adele in 1830 and in memory of his daughter Léopoldine. She was 18 when she secretly married Charles Vacquerie, then 25, in the church on 15 February 1843. Seven months later, Léopoldine was pregnant when she drowned after their boat capsized on the Seine . Her wet, heavy skirts pulled her down, and Charles drowned as he made six attempts to save her. They were buried in the same coffin. The tragedy had a significant and measurable impact on the work and personality of Victor Hugo, and he dedicated numerous poems and a book to the memory of his drowned daughter.
6, Saint Paul’s Monastery, Mount Athos:
Saint Paul’s Monastery on Mount Athos was endowed by the Serbian-born wife of the Sultan Murat II, who brought the gifts of the Three Wise Men (Photograph: Patrick Comerford)
Saint Paul or Aghiou Pavlou is one of the working monasteries on Mount Athos in Greece, and has a community of 30 monks. It was founded by Saint Paul of Xeropotamou, who also founded Xeropotamou. The monastery was deserted in the 14th century, but was restored by Serbian nobles, Byzantine emperors, Danubian princes and Romanian and Greek benefactors. Catastrophes in 20th century included a fire in 1902 and a flood in 1911.
The monastery’s oldest building, the chapel of Saint George, has frescoes painted by members of the Cretan School. The monastery treasures are said to include the gifts of the Three Wise Men, donated by the Serbian-born wife of the Sultan Murat II. She is said to be the only woman to have set foot on the shore at the monastery harbour. Other relics include the foot of Saint Gregory the Theologian, and a piece of the True Cross.
One of the spiritual writers associated with Saint Paul’s is Saint Sophrony (1896-1993), was the disciple and biographer of Saint Silouan the Athonite. He was born Sergei Symeonovich Sakharov in Russia in 1896, and it is said that as a child he experienced the Uncreated Light. He was ordained a deacon in 1930 and became a disciple of Saint Silouan.
After Saint Silouan died in 1938, Saint Sophrony left the monastery at Saint Panteleimon and went to live in the wilderness on Mount Athos, first at Karoulia and then at a cave near Saint Paul’s Monastery. He was ordained priest in 1941 and became the spiritual father of many monks on Mount Athos. He was a founding figure in the Monastery of Saint John the Baptist at Tolleshunt Knights in 1959, and died there in 1993. He was proclaimed a saint in 2019.
7, Saint Paul’s Church (Anglican), Athens:
Saint Paul’s Church on the corner of Philellenon Street and Queen Amalia Avenue in Athens (Photograph: Patrick Comerford)
Saint Paul’s Church Anglican Church in Athens is an early Victorian Gothic church on the corner of Philellenon Street and Queen Amalia Avenue, opposite the National Gardens. The early story of Saint Paul’s is intimately associated with the life of a Cork-born hero of the Greek War of independence, Sir Richard Church.
For decades, the congregation has included a considerable number of Irish, Americans, Canadians, Australians and South Africans, and in recent years they have been enriched by new arrivals. In recent years, Saint Paul’s has provides 800 meals a day for homeless people on the streets of Athens, and raised huge sums to help victims of the Greek crisis and refugees.
The church was built on land bought from the Turks before the Greek War of independence, and the foundation stone was laid on Easter Monday, 1838, by the British Minister in Athens, Sir Edmund Lyons, later Lord Lyons (1790-1838), whose family had emigrated from Ireland to Antigua in the previous century. Saint Paul’s stands within sight of Hadrian’s Gate, which marked the end of the old Hellenistic and classical city of Athens and the new city built by the Emperor Hadrian.
Philellenon Street was only laid out in 1855, so the church once had an unimpeded view of the Acropolis rising over the old city. Today, Saint Paul’s is within easy walking of many of the main tourist attractions in Athens, including the Plaka and the Acropolis, and is only a block away from the Greek Parliament and Syndagma Square.
Philelleon Street is an appropriate location for an English-speaking church – the street was named after those English-speaking lovers of Hellenic civilisation and culture, including Palmerston, Codrington and the poet Byron, who actively supported the Greek struggle for independence.
Sir Richard Church’s image on his grave in Athens (Photograph: Patrick Comerford)
Two windows in Saint Paul’s commemorate one of those Philhellenes, the Irish adventurer, Richard Church (1784-1875). Sir Richard Church was born in Cork, the second son of Massey Church, a prosperous Quaker butter merchant and exporter.
Church ran away from his Quaker school to join the army, and served under Abercrombie in Egypt in 1801. Later that year, he accompanied the expedition to the Ionian Islands, where he raised a Greek regiment that included Theodoros Kolokotronis and other future Greek leaders.
In vain, Church pleaded the Greek cause in London and at the Congress of Vienna in 1814-1815. He lived in Naples and Sicily until his expulsion in 1820, and in 1822 he was knighted by King George IV. But he soon returned to Greece, to join the War of Independence, and in April 1827 he was appointed commander in chief of the Greek forces.
Church insisted on Greek unity before accepting his command, and his pressure resulted in the election of Kapodistrias as president in 1827 and the adoption of a new, liberal constitution. Church played a conspicuous part in the revolt of 1843 and lived on in Greece becoming a Greek citizen, a senator and member of the council of state, inspector general of the Greek Army, and a pillar of the Anglican church in Athens. When he died in Athens on 20 March 1873, he was buried in the First Cemetery, alongside great Greek heroes and leaders.
Two windows in Saint Paul’s Church, the north window and the south window, are dedicated to his memory.
The two-light north window, presented by the British Government in 1875, depicts the figures of Caleb and Joshua. It is said that the inscription on the brass tablet beneath was written in honour of Church by the British Prime Minister, Gladstone, a personal friend of his nephew, the Very Rev Richard William Church, Dean of Saint Paul’s Cathedral, London, from 1871 to 1890.
Dean Church (1815-1890) and other members of Sir Richard’s family presented the south window in 1875. The window depicts Gideon and David, the story of the dew and the fleece, and David slaying Goliath.
Dean Church, who became the leader of the High Church party in the Church of England after Pusey’s death, was a reforming force in Saint Paul’s Cathedral along with Liddon and Lightfoot, who were two of his canons.
A previous treasurer of Saint Paul’s has been Dr David Green, an Irishman working in Athens for the University of Glamorgan and married to a Greek woman. Recent Irish members of the congregation included John O’Carroll, general manager of the Inter-Continental Hotel, and his Esther, and Geoffrey Mayes, who was a lay assistant in Saint Paul’s. When I first visited the church, the organist, Dr Richard Witt, a classicist working with the Open University, greeted me with the news that he was a great fan of Myles na Gopaleen and The Irish Times.
8, The Church of Saint Paul’s Shipwreck, Valletta, Malta:
The Church of Saint Paul’s Shipwreck is one of the oldest churches in Valletta (Photograph: Patrick Comerford)
Saint Paul the Apostle is the patron saint of Malta, the country with the most holidays in the European Union, and 10 February is the Feast of Saint Paul’s Shipwreck in Malta (‘Nawfraġju ta' San Pawl’).
The Collegiate Parish Church of Saint Paul’s Shipwreck, Valletta, also known as simply the Church of Saint Paul’s Shipwreck, is a parish church in Valletta and one of the oldest churches in the Maltese capital. Saint Paul’s shipwreck on Malta is described in the Acts of the Apostles, where Saint Luke writes: ‘After we had reached safety, we then learned that the island was called Malta’ (see Acts 28: 1).
The Church of Saint Paul’s Shipwreck traces its origins to 1570s. It was designed by the Maltese architect Girolamo Cassar, and completed in December 1582. The church was handed over to the Jesuits and a new church was started in 1639.
The statue of Saint Paul above the door into the Church of Saint Paul’s Shipwreck (Photograph: Patrick Comerford)
The church hosts fine artistic works, including a magnificent altarpiece by Matteo Perez d’Aleccio and paintings by Attilio Palombi, and Giuseppe Calì. A wooden statue of Saint Paul was carved in 1659 by Melchiorre Cafà, a brother of Lorenzo Gafà, who designed the dome. The statue is paraded through the streets of Valletta on the feast day of Saint Paul’s Shipwreck (10 February), sometimes during heavy rain.
The church also claims to hold the relic of the right wrist-bone of Saint Paul, and part of the column from San Paolo alle Tre Fontane, on which the saint was beheaded in Rome. The façade of the church was rebuilt in 1885 to a design by Nicholas Zammit. The church building is listed on the National Inventory of the Cultural Property of the Maltese Islands.
9, Saint Paul’s Cathedral, Mdina:
Saint Paul’s Cathedral, Mdina, in central Malta, facing onto Saint Paul’s Square (Photograph: Patrick Comerford)
The Metropolitan Cathedral of Saint Paul (Il-Katidral Metropolitan ta’ San Pawl), commonly known as Saint Paul’s Cathedral or the Mdina Cathedral, is the Roman Catholic cathedral in Mdina, in central Malta. The cathedral was founded in the 12th century. It is the seat of the Roman Catholic Archdiocese of Malta, although since the 19th century it has shared this function with Saint John’s Co-Cathedral in Valletta.
According to tradition, the site of Mdina cathedral was originally occupied by a palace belonging to Saint Publius, the Roman governor of Melite who greeted the Apostle Paul after he was shipwrecked in Malta. According to the Acts of the Apostles, Saint Paul cured Publius’ father and many other sick people on the island (see Acts 28: 1-10).
The first cathedral on the site is said to have been dedicated to the Blessed Virgin Mary. But it fell into disrepair during the Arab period, when the churches in Melite were looted after the Aghlabid invasion in 870. In Arab times, the site was used as a mosque.
After the Norman invasion in 1091, Christianity was re-established on the Maltese Islands, and a cathedral dedicated to Saint Paul was built in the 12th and 13th centuries. The cathedral was built in the Gothic and Romanesque styles, and was enlarged and modified a number of times.
Inside Saint Paul’s Cathedral in Mdina (Photograph: Patrick Comerford)
Bishop Miguel Jerónimo de Molina and the cathedral chapter decided in 1679 to replace the mediaeval choir with one built in the Baroque style. The architect Lorenzo Gafà was designed and oversaw the new building.
The cathedral was severely damaged a few years later in the 1693 Sicily earthquake. Although parts of the building were not damaged, it was decided to dismantle the old cathedral and rebuild it in the Baroque style to a design of Lorenzo Gafà, incorporating the choir and sacristy, which had survived the earthquake, into the new cathedral. Work began in 1696, and it was consecrated on 8 October 1702. The cathedral was fully completed on 24 October 1705, when work on the dome was finished. The building is regarded as Gafà's masterpiece.
Saint Paul’s Cathedral is built in the Baroque style, with some influences from native Maltese architecture. The main façade faces Saint Paul’s Square and it is set on a low parvis approached by three steps.
The frescoes in the ceiling depict the life of Saint Paul and were painted by the Sicilian painters Vincenzo, Antonio and Francesco Manno in 1794. The altarpiece by Mattia Preti depicts the Conversion of Saint Paul on the Road to Damascus.
10, Saint Paul’s Cathedral, Valletta, Malta:
Saint Paul’s Cathedral, Valletta … a landmark building above the harbour in Malta’s capital (Photograph: Patrick Comerford)
Saint Paul's Pro-Cathedral (Il-Pro-Katridral ta’ San Pawl) in Independence Square, Valletta, is officially the Pro-Cathedral and Collegiate Church of Saint Paul. It is an Anglican pro-cathedral of the Diocese in Europe situated in Independence Square, Valletta.
Saint Paul’s is a pro-cathedral in the Anglican Diocese in Europe, and one of three cathedrals of the Anglican Diocese of Gibraltar in Europe. The main cathedral of the diocese is Holy Trinity Cathedral, Gibraltar, and there is a second pro-cathedral, Holy Trinity Cathedral, in Brussels.
The cathedral was commissioned by the Dowager Queen Adelaide during a visit to Malta in the 19th century, when she learned there was no place of Anglican worship on the island. Before her visit, Anglican services were held in a room in the Grand Master’s Palace.
Saint Paul’s was built on the site of the Auberge d’Allemagne, or the conventual home of the German Knights Hospitaller. The cathedral was designed by William Scamp and was built in 1839-1844.
Queen Adelaide laid the foundation stone on 20 March 1839 and her banner hangs above the choir stalls. The original plans were designed by Richard Lankasheer. However, when the building proved unstable, work had to resume on plans by William Scamp in 1841. Scamp's designs located the altar on the west side of the church, but the Bishop of Gibraltar had a more conservative view. The designs were altered, and Scamp designed an apse inside the great doors to hold the sanctuary on the east side.
The cathedral is built with Maltese limestone in a neo-classical style. The cathedral has columns with capitals of the Corinthian order while the capitals of the six columns of the portico are of the Ionic order. The internal dimensions of the building are 33.5 metres x 20.4 metres.
The cathedral is a landmark in Valletta, thanks to its spire rising to a height of over 60 metres, and is clearly visible in the Marsamxett Harbour.
Saint Paul’s Cathedral, Valletta … Queen Adelaide laid the foundation stone on 20 March 1839 (Photograph: Patrick Comerford)
During World War II, the cathedral suffered minor damage and the roof collapsed, but most of the structure remained intact. During restoration works, the original designs by Scump started to take shape. A quire and rood screen were built on the west side of the cathedral. A pulpit was also incorporated with the screen dedicated to Sir Winston Churchill.
The organ came from Chester Cathedral, where there is a long-held tradition that it was played by George Frederick Handel when he was on his way to Dublin for the first public performance of his Messiah.
The painting behind the High Altar, Ecce Homo, is the work of AE Chalon and was donated in 2014. The oak panels around the High Altar are a memorial to the Allied units that took part in the defence of Malta in 1940-1943. Twelve flags in the aisles represent, among others, the Royal Air Force, the British Merchant Navy, and the Royal Navy.
The new chancery was dedicated by Archbishop Geoffrey Fisher of Canterbury on 2 December 1949 in the presence of Princess Elizabeth, later Queen Elizabeth II.
The undercroft was built from the remains of the basement of the Auberge d’Allemagne, and was used as a gas-proof air raid shelter during days War II.
11, Saint Paul’s Church, Saint Paul’s Bay, Malta:
Saint Paul’s Church, Saint Paul’s Bay, Malta (Photograph: Patrick Comerford)
The town of Saint Paul’s Bay (San Pawl il-Baħar) is about 16 km north-west of Valletta. This is the largest town in the Northern Region and the seat of the Northern Regional Committee, along with being the most populous town in Malta.
The name of the town refers to the shipwreck of Saint Paul as recounted in the Acts of the Apostles on Saint Paul’s Islands near St Paul's Bay, on his voyage from Caesarea to Rome. Saint Paul’s stay is said to have laid the foundations of Christianity on the island.
Saint Luke recounts in Acts 27 to 28 how Saint Paul’s ship was lost at sea for two weeks during winter storms. Eventually, the ship ran aground on the island of Malta and was dashed to pieces by the surf, but all of the occupants survived and made it to shore.
Saint Paul’s Island, an uninhabited, rocky islet at the entrance to Saint Paul’s Bay, is thought to be the site where the ship wrecked. Acts 27: 41 states the ship ran aground on a piece of land ‘with sea on both sides.’
Saint Paul’s Church above the Menqa or boat shelter at the harbour in Saint Paul’s Bay (Photograph: Patrick Comerford)
Saint Paul’s Church stands on the water’s edge in the town of Saint Paul’s Bay. The church is also known as St. Paul’s Bonfire Church and commemorates the traditional site where the shipwreck survivors, including Saint Paul, swam ashore and a bonfire was built for them.
The church was first built in the 14th century, but was rebuilt after a bomb destroyed the original building during World War II. The parish is run by the Franciscan Conventuals.
12, Old Saint Paul’s Church, Edinburgh
Old Saint Paul’s Church traces its story back to 1689, when Bishop Alexander Rose left Saint Giles’ Cathedral with much of the congregation (Photograph: Patrick Comerford)
The Diocese of Edinburgh is one of seven in the Scottish Episcopal Church (SEC),, although Edinburgh was originally part of the Archdiocese of St Andrews. When Charles I formed the Diocese of Edinburgh in 1633, William Forbes became the first bishop and Knox’s former church, Saint Giles’, became the cathedral.
When episcopacy was abolished yet again in 1637, Saint Giles’ lost its status as a cathedral, but it was restored as a cathedral when episcopacy was reintroduced in 1661. When the Church of Scotland reverted to Presbyterianism in 1688, Saint Giles’ became the ‘High Kirk’ once again.
The last bishop at Saint Giles’, Bishop Alexander Rose of Edinburgh, left the cathedral in 1689 accompanied by much of his congregation, finding a new place of worship in an old wool store in Carrubber’s Close, close to the present site of Old Saint Paul’s Church.
Later Bishops of Edinburgh included Daniel Sandford (1806-1830), who was born in Dublin in 1766, and John Dowden (1886-1910), who was born in Cork in 1840.
For centuries, the SEC had no cathedrals and many churches, including Old Saint Paul’s and Saint Paul’s in York Place, served as the ‘pro-cathedral’ in Edinburgh until Saint Mary’s Cathedral was built in Palmerston Place in the 1870s.
The sisters Barbara and Mary Walker left all their property for building a new cathedral, and Sir George Gilbert Scott was chosen as the architect. Scott’s design was inspired by the early Gothic churches and abbeys of Scotland. The foundation stone was laid in 1874 and the cathedral was consecrated in 1879. The Chapter House was added in 1890 and the west spires in 1913-1917.
With the Revd Dr Alan McCormack (then Dean of Residence, Trinity College Dublin), and Archbishop Nikitas of Thyateira and Great Britain (then Archbishop of Hong Kong) at Saint Paul Outside the Walls in Rome in 2005
There were so many other churches named after Saint Paul that I could have looked at this afternoon. I have often passed by Saint Paul’s Church in Cambridge on my way from the railway station to Sidney Sussex, and its story includes an interesting Irish connection that I must write about at some stage. I have memories of visiting Saint Paul Outside the Walls in Rome in 2005 when I was chair of the Dublin University Far Eastern Mission (DUFEM) and took part in a conference on the Church in China.
There are memories too of visiting Saint Paul’s, Cordoba, and of Saint Paul’s Cathedral, Nicosia, where they named me in the intercessions on the mornings of my ordination as deacon in 2000 and priest in 2001.
The small Church of Saint Paul (Agios Pavlos) in the Rethymnon region in Crete is near a secluded bay and beach associated with the Apostle Paul’s journey to Rome. But my closing image this afternoon is of sunset at Pavlos Beach in Platanias, east of Rethymnon, on the north coast of Crete.
30 seconds at sunset at Pavlos Beach in Platanias, east of Rethymnon on the north coast of Crete (Patrick Comerford)
