Saint Anne’s Church, Soho, and Saint Anne’s Gardens, a public park that opens onto the Shaftesbury Avenue end of Wardour Street, London (Photograph: Patrick Comerford, 2025)
Patrick Comerford
In my recent self-guided ‘church crawling’ tour of half a dozen or so churches and chapels in Bloomsbury, Fitzrovia, Soho and Mayfair, one of the churches I visited was Saint Anne’s Church in Soho, including the remaining tower of the original church facing onto Wardour Street and the modern church facing onto Dean Street.
Saint Anne’s was known in the past for its musical traditions and its literary associations with writers and poets, including Dorothy L Sayers, Rose Macaulay, Iris Murdoch, TS Eliot and John Betjeman. The church is also associated with the homeless charity Centrepoint and was known in the past for its radical and innovative priests, exemplified in the life and ministry of the late Kenneth Leech.
Although the church was destroyed during the Blitz in 1940, the church community survived through the post-war decades and the church was rebuilt in the 1990s. Parts of the churchyard around the west end with the surviving tower are Saint Anne’s Gardens, a public park that opens onto the Shaftesbury Avenue end of Wardour Street.
The first certain reference to the church is in the minutes of a meeting of the vestry of Saint Martin in the Fields, in August 1676. A few months earlier, in April, the foundation stone had been laid of a new church in the parish, which was in 1685 to become the church of the parish of Saint James, Westminster.
No grant of the site by the Crown to an individual or corporate body seems to be recorded and its appropriation to church use seems to have been effected simply by an Act of Parliament in 1678 that authorised the establishment of the parish and stated the boundaries of the church and churchyard site. Later, the parish would give rise to two new churches, dedicated to Saint Thomas and Saint Peter, but they became part of the same parish again in 1945.
Saint Anne’s Church, Soho, was consecrated by Bishop Henry Compton of London in 1686 (Photograph: Patrick Comerford, 2025)
Saint Anne’s Church in Soho was consecrated on 21 March 1686, the Sunday before Lady Day, by Henry Compton, Bishop of London, as the parish church of the parish of Saint Anne Within the Liberty of Westminster, created from part of the parish of Saint Martin in the Fields. The ceremony was interrupted by dinner and was followed by the consecration of an additional cemetery for the parish of Saint Martin’s on the site of a former Greek church.
The parish was dedicated to Saint Anne because Compton had been tutor to Princess Anne, who later became Queen Anne. Construction began in 1677 on a plot that was then in the countryside and known as Soho Fields.
It seems the original church was designed by William Talman, an architect who worked under Sir Christopher Wren. Saint Anne’s was a basilica, having a nave of five bays terminated by an eastern apse, serving as a chancel, and flanked by north and south aisles containing galleries that were linked by a gallery across the west end of the nave.
The interior was 64 ft wide, the nave was 31 ft clear, and 78 ft long, excluding the chancel apse which added a further 18 ft. The chancel apse was flanked by vestibules with staircases to the galleries, that were also reached by open staircases at the west end of each aisle.
A square tower projected centrally from the west front, but the church remained without a spire for 32 years. The church tower was only completed in 1718, with the addition of a timber spire.
Saint Anne’s House at 57 Dean Street was first occupied ca 1705 by the parish watch-house, and later also by the parish fire-engine-house and vestry-room.
Inside the present modern chapel at Saint Anne’s Church in Soho (Photograph: Patrick Comerford, 2025)
In its early years, the church had a fashionable congregation, including the Prince of Wales, later George II, and the actress Hester Davenport, who was buried in the churchyard in 1717.
The tower had become unstable by 1800 and the new tower was completed by 1801, its bell chamber’s Portland stonework by March 1803, and its copper cupola by May 1803. The tower’s ground floor room of the tower became the parish vestry room, and was later used as a robing room for the clergy.
Canon Nugent Wade (1809-1893), who was the Rector of Saint Anne’s in 1845-1891, was born in Dublin and educated at Trinity College Dublin and at Oxford, and was ordained deacon (1832) and priest (1833) in Saint Fethlimidh’s Cathedral, Kilmore, Co Cavan. Before coming to Soho, Wade was the Anglican chaplain in Elsinore.
AW Blomfield rearranged the interior for Wade in 1866. Although Wade faced opposition in Saint Anne’s for his ‘Puseyite’ sympathies, he made Saint Anne’s a gathering place for the new generation of Anglo-Catholics in central London. He founded the Saint Barnabas House of Charity in Soho, which ministered to prostitutes, and Saint Mary’s Crown Street, an Anglo-Catholic centre in a slum district within the parish of Soho.
The Revd Basil Graham Bourchier (1881-1934) was the Rector of Saint Anne’s in 1930-1933. During World War I, while he was a chaplain with the Red Cross in Belgium, he was arrested by the Germans as a spy. But his death sentence was commuted, he escaped, and became an army chaplain.
Bourchier was a flamboyant preacher and was satirised as the Revd Cyril Boom Bagshaw in ASM Hutchinson’s If winter comes (1921) and as a ‘totally preposterous parson in Evelyn Waugh’s A little learning (1964). He resigned before being enfolded in a major scandal about his sexuality and his inappropriate relationships with choirboys. Little Dean Street in Soho was renamed Bourchier Street in 1937.
The complex at Saint Anne’s has survived the Blitz and proposals for demolition (Photograph: Patrick Comerford, 2025)
The Revd Gilbert Shuldham Shaw (1886-1967), who was the Vicar of Saint Anne’s from 1940, was another Dublin-born priest at Saint Anne’s. He had been baptised by his mother’s uncle, William Conyngham Plunket, Archbishop of Dublin. With his successor Patrick McLaughlin, he is thought to be part of the inspiration for Rose Macaulay’s character of Father Hugh Chantry-Pigg in The Towers of Trebizond (1956).
During World War II, the whole church, apart from the tower, was burned out in the Blitz on the night of 24 September 1940, and the tower was left derelict. Saint Thomas’s, Regent Street, and the adjoining Saint Anne’s House in the Upper Room, later known as the ‘Allen Room’, were used for worship from then on, although Saint Thomas’s has since been demolished.
After the war, Jacques Groag proposed in 1945 keeping the ruins as a war memorial, but by 1949 it was assumed that the church would not be rebuilt. The remains of the east wall were the only significant parts left standing, and they were demolished in 1953. The site was deconsecrated and prepared for sale, and the parish was amalgamated with those of Saint Thomas’s Church, Regent Street, and Saint Peter’s Church, Great Windmill Street, creating the Parish of Saint Anne with Saint Thomas and Saint Peter, centred on Saint Thomas’s.
Dorothy L Sayers was a longtime churchwarden of the parish … her ashes were buried at the base of the tower in 1957 (Photograph: Patrick Comerford, 2025)
Despite having no building, from 1941 to 1958, the Saint Anne Society under Patrick McLaughlin encouraged links with the literary world, and the members included Father Gilbert Shaw, JC Winnington-Ingram, Charles Williams, Agatha Christie, TS Eliot, Father Max Petitpierre, Dom Gregory Dix, Arnold Bennett, CS Lewis, Rose Macaulay and Dorothy L Sayers. Others who contributed from time to time included John Betjeman, Iris Murdoch, Lord David Cecil, Rebecca West and Christopher Dawson.
Even when there was no church building, the church community remained active in those post-war years, and the tower was used as a chapel for a time in the 1950s. The novelist Dorothy L Sayers was a longtime churchwarden of the parish and member of the Saint Anne’s Society. Her ashes were buried in the base of the tower in 1957.
Father Patrick McLaughlin (1909-1988) was the Rector Saint Anne’s in 1953-1962. He introduced the ‘basilican mode’, in which the priest faces the congregation instead of facing the altar with his back to the congregation. This liturgical innovation was widely adopted in the Church of England some 20 years later. Patrick McLaughlin became a Roman Catholic in 1962.
Saint Anne’s has a long history of being socially inclusive and engaged, exemplified in the life and ministry of Kenneth Leech (Photograph: Patrick Comerford, 2025)
Saint Anne’s has a long history of being socially inclusive and engaged with its diverse and ever-changing community. The Revd Dr Kenneth Leech (1939-2015), who was a curate at Saint Anne’s in 1967-1971, was a priest in the Anglo-Catholic tradition and a socialist, and a leading advocate of contextual theology.
At the heart of his faith was what he called ‘subversive orthodoxy’: the indissoluble union of contemplative spirituality, sacramental worship, orthodox doctrine and social action. He argued that this conjunction of faith and the quest for justice, which points to the coming of the Kingdom of God on earth, is the essential mark of the Christian life and underlies scripture, the teachings of the Church Fathers and the Christian mystical tradition.
He founded the homeless charity Centrepoint in the basement of Saint Anne’s House in December 1969, and it was based at the church until 2023.
The entrance to Saint Anne’s on Dean Street (Photograph: Patrick Comerford, 2025)
After many years as a bomb site and car park, the present building was created in 1991 thanks to the tenacity of members of local community. By selling part of the site to build social housing and provide commercial properties, funds were raised to create the community hall and the simple but attractive chapel that extends into the hall on Sundays.
Princess Anne laid the foundation stone of the new complex on 12 March 1990, and it was opened and rededicated on Saint Anne’s Day, 26 July 1991. The new church complex is not an actual reconstruction of the old church and can be varied from a large to a small space. It is set within a community centre and is a community focus.
The tower, which had been partly restored in 1979 by the Soho Society, was fully restored when the whole church was rebuilt in 1990-1991 and is now a Grade II* listed building.
The prize-winning entrance was designed by Lina Viluma and Sherief al Rifa’i and was dedicated in 1996 (Photograph: Patrick Comerford, 2025)
To celebrate the 25th anniversary of the rebuilding of the church, a redesigned entrance on Dean Street, featuring the name of Saint Anne’s in neon lights, was dedicated by the Bishop of London in December 2016 and it ensures the church remains a visible presence in the community.
The new entrance was designed by two UAL London students, Lina Viluma and Sherief al Rifa’i. Their redesign of the entrance won the President’s Award for alterations to a church building in the 2017 Church Architecture Awards. The judges said their design made ‘a dynamic and inviting entrance to the church’.
Saint Anne’s is a thriving church community today and a venue for many local community and charitable events. It also houses the Soho Society, and the anti-homophobic bullying charity Diversity Role Models.
Saint Anne’s also has had its own community coffee shop, Sacred Grounds, since January 2024, on the very site where Centrepoint was founded in 1969.
A double espresso in Sacred Grounds, where Centrepoint was founded in 1969 (Photograph: Patrick Comerford, 2025)
Saint Anne’s was once famous for its high musical standards. The church received an organ in 1699 from the Dowager-Queen’s Chapel in Saint James’s Palace. The first organist Dr William Croft wrote the tune ‘Saint Anne’ in 1708, a tune still used for the hymn ‘O God Our Help in Ages Past’.
During Wade’s half century at Saint Anne’s, the choir under Sir Joseph Barnby revived the interest in Bach in England, starting with the Christmas Oratorio and Crescendo to the Mathew Passion. Barnby, who was the organist in 1871-1888, introduced the first performance in Britain of Bach’s ‘Saint John Passion’. The first religious service with music broadcast by radio came from Saint Anne’s in the 1920s.
The churchyard, Saint Anne’s Gardens, was leased to Westminster City Council in 1894, having been closed to burials 40 years earlier. It is believed that up to 60,000 bodies are still buried there, and this explains why the ground is so high above the entrance on Wardour Street.
The curious monument to King Theodore of Corsica, who reigned for eight months in 1766 (Photograph: Patrick Comerford, 2025)
One of the few surviving monuments in the churchyard is a curious tablet to King Theodore of Corsica, who reigned briefly from March to November in 1766. It includes a crown in an oval panel above an inscription composed by Horace Walpole. The biography of the soi-disanting was published by Percy Fitzgerald in 1890.
King Theodore’s wife Catalina Sarsfield was the daughter of David Sarsfield of Kilmallock, Co Limerick, a younger brother of Dominick Sarsfield, 4th Viscount Sarsfield, and his French-born wife, Marie d’Athboy. She is sometimes mistakenly said to have been the daughter of Patrick Sarsfield, 1st Earl of Lucan, and Lady Honora Burke, but she was part of a different branch of the Sarsfield family.
Below this monument is a stone commemorating the burial in the churchyard of William Hazlitt (1830).
The Revd Simon Buckley has been the Rector of Saint Anne’s, Soho, since 2013, and is a former assistant priest. Previously, he was a professional puppeteer, and worked with the Muppets and the original Spitting Image. The Revd Martha Pennel has been the curate of Saint Anne’s since 2023
• The main service in Saint Anne’s is the Sunday Eucharist at 11am, celebrated with ‘a relaxed dignity’. The regular weekday services include Holy Communion on Tuesday at 1:05 pm and Morning Prayer on Tuesdays, Wednesday and Thursday at 8:30 am and Evening Prayer at 4:30 pm on Wednesdays. Other services range from Christmas Carol Services and the liturgies of Holy Week, to Prayers at Pride and Soho Parish Sundays.
‘Lord Have Mercy’ … time for prayer in Saint Anne’s (Photograph: Patrick Comerford, 2025)
Showing posts with label Saint Anne's. Show all posts
Showing posts with label Saint Anne's. Show all posts
13 July 2025
Saint Anne’s, Soho, the London
church that rose from the ashes
after the Blitz and lengthy closure
Labels:
Architecture,
Bach,
Christopher Wren,
Church History,
Coffee,
Corsica,
Evelyn Waugh,
Gardens,
John Betjeman,
Justice,
Kilmallock,
Liturgy,
Local History,
London churches,
Mission,
Music,
Saint Anne's,
Soho,
Theology and Culture,
TS Eliot
Daily prayer in Ordinary Time 2025:
65, Sunday 13 July 2025,
Fourth Sunday after Trinity (Trinity IV)
‘You shall love … your neighbour as yourself’ (Luke 10: 26). But who is my neighbour? (Photograph: Patrick Comerford)
Patrick Comerford
We are in Ordinary Time in the Church Calendar and today is the Fourth Sunday after Trinity (Trinity IV, 13 July 2025). In the Calendar of the Orthodox Church today is also the Sunday of the Holy Fathers of the Fourth Ecumenical Council. The Council of Chalcedon in 451 CE defined the doctrine of the hypostatic union, clarifying the relationship between the divine and human natures of Christ.
I am still feeling sore and very sorry for myself after Friday’s surgical procedure in Oxford, but I am hoping to attend the Parish Eucharist in Saint Mary and Saint Giles Church, Stony Stratford, later this morning. But, before I make any decisions about what to do, I am taking some quiet time this morning to give thanks, to reflect, to pray and to read in these ways:
1, reading today’s Gospel reading;
2, a short reflection;
3, a prayer from the USPG prayer diary;
4, the Collects and Post-Communion prayer of the day.
The Good Samaritan … a stained glass window in Saint Michael’s Church, Limerick (Photograph: Patrick Comerford)
Luke 10: 25-37 (NRSVA):
25 Just then a lawyer stood up to test Jesus. ‘Teacher,’ he said, ‘what must I do to inherit eternal life?’ 26 He said to him, ‘What is written in the law? What do you read there?’ 27 He answered, ‘You shall love the Lord your God with all your heart, and with all your soul, and with all your strength, and with all your mind; and your neighbour as yourself.’
28 And he said to him, ‘You have given the right answer; do this, and you will live.’
29 But wanting to justify himself, he asked Jesus, ‘And who is my neighbour?’ 30 Jesus replied, ‘A man was going down from Jerusalem to Jericho, and fell into the hands of robbers, who stripped him, beat him, and went away, leaving him half dead. 31 Now by chance a priest was going down that road; and when he saw him, he passed by on the other side. 32 So likewise a Levite, when he came to the place and saw him, passed by on the other side. 33 But a Samaritan while travelling came near him; and when he saw him, he was moved with pity. 34 He went to him and bandaged his wounds, having poured oil and wine on them. Then he put him on his own animal, brought him to an inn, and took care of him. 35 The next day he took out two denarii, gave them to the innkeeper, and said, “Take care of him; and when I come back, I will repay you whatever more you spend.” 36 Which of these three, do you think, was a neighbour to the man who fell into the hands of the robbers?’ 37 He said, ‘The one who showed him mercy.’ Jesus said to him, ‘Go and do likewise.’
An Orthodox icon of the Parable of the Good Samaritan, interpreting the parable according to the Patristic and Orthodox tradition (click on image for full-screen viewing)
Today’s Reflection:
The Lectionary readings this year [2025 Year C] are inviting us to work our way through Saint Luke’s Gospel, which is full of healing stories and parables.
Most of us are familiar – or think we are familiar with – these great parables:
• the rich man with his barns who wants to ‘eat, drink and be merry’ (Luke 12: 13-21, 3 August 2025)
• the thief in the night (Luke 12: 32-40, 10 August 2025)
• the guests at the wedding banquet (Luke 14: 1, 7-14, 31 August 2025)
• the lost sheep and the lost coin (Luke 15: 1-10, 14 September 2025)
• the Prodigal Son (Luke 15: 11-32, 30 March 2025)
• the unjust steward (Luke 16: 1-13, 21 September 2025)
• Dives and Lazarus (Luke 16: 19-31, 28 September 2025)
• the widow who nags and nags at the judge (Luke 18: 1-8, 19 October 2025)
• the Pharisee and the tax-collector (Luke 18: 9-14, 26 October 2019).
Regular churchgoers are so familiar with these parables, we know who to identify with, who is being chided, what the lesson is, and what to expect in the sermon.
Or do we?
The story of the Parable of the Good Samaritan, which we read this morning, is so familiar to all of us that we all know how to use the term Samaritan … well, don’t we?
A Good Samaritan is someone who comes to our aid in time of need, who goes over and beyond the demands of duty, a good listener, a good neighbour, a giver, a helping hand …
In conversations, I sometimes identify my own Good Samaritans in the world today. I think of Francesca Albanese, the UN Rapporteur for the West Bank and Gaza, who is vocal about the plight of people in Gaza. The Trump regime has imposed sanctions on her for investigating abuses of human rights in the Palestinian Territories, but nominations for her to receive the Nobel Peace Prize are gaining momentum. There is Carola Rackete, the German sea captain who defied Italy’s ban on migrant rescue ships some years ago by forcing her way into the port of Lampedusa with 42 migrants rescued at sea. Or the ordinary, everday people everyday people throughout the US every day who try to masked and unnamed ICE and Homeland Security agents from breaking up families in their homes, in the courtrooms and on the streets.
There are countless Good Samaritans across the US today, trying to stop ICE and Homeland Security from breaking up families and taking away migrants, immigrants, students, tourists … neighbours.
In an extraordinary move, the Bishop of San Bernardino has dispensed or freed a person from the obligation to attend Masses on Sunday and Holy Days of Obligation if the person fears ICE. Bishop Alberto Rojas says that he is guided by the desire to extend pastoral care to all in his diocese, particularly those who ‘face fear and hardship’. It is a vivid reminder that even churches are no longer considered safe places.
The one who shows mercy is the good neighbour.
But there are other characters, other dramatis personæ, in this parable too … who would identify with the man who has been beaten up and left by the road?
We all pretend we have not but probably have met characters who might easily be in that band of robbers.
I should worry that people might compare me less with the Good Samaritan and more with the priest and the Levite hurrying and scurrying to the Temple, two men who might well have made very good and upright deans and canons today.
How many of us would identify with the innkeeper, worried about somebody who is going to make a mess of one of the last rooms left available at a busy time of holidays and pilgrimages?
How many of us, instead, would identify with the man who has been beaten up and left half dead on the side of the road?
How often have I been beaten up on the pathway through life?
Beaten up by family rows and divisions?
Beaten up by depression, anxiety and low self-esteem?
Beaten up by job loss or finding it difficult to find meaning in life?
Beaten up by rejection in love, in friendship, by bullies, in employment?
Beaten up by ill-health, physical and psychological, when people pass by and think I ought to pull myself up by own bootstraps?
Beaten up by addictions that other people think are my own fault, so they pass me by on the other side of the road?
Well that man brought it all on himself, didn’t he, straying off the straight and narrow, instead of keeping focussed on the holy city, the Jerusalem of this parable, turning his face towards Jericho, the oldest city in the world, representing every city with its fleshpots and decadence?
There is another way of reading this parable, however. It is the way it was read by the early Fathers of the Church, a way of reading it for almost 1,500 years, a way that it is still read in the Orthodox Church.
The man who goes down from Jerusalem to Jericho is Adam, or humanity, each and every one of us.
Jerusalem is the holy city of God, but also symbolises God’s future plans for us.
Jericho, the oldest city the world, symbolises the oldest earthly pleasures.
On the way, the man loses his freedom, becomes captive to his passions, wounded by sin, so incapable of prayer and worship that on the road of life he has become spiritually half-dead, stripped of his virtues, left without the cover of God’s grace and protection.
The man wounded by robbers represents fallen humanity before the coming of Christ.
The Priest and the Levite, ministers of God, represent the saints and prophets sent by God from the beginning of time, before Christ’s coming.
They saw the plight of humanity, lying on the road. Moses came by, Elijah came by, other prophets came by, but the illness of humanity remained without being healed.
Only God who has created us can recreate us. God humbles himself and becomes human, takes on our human flesh, in the incarnation. It sounds so unlikely, so impossible, it is like imagining a Jew becoming a Samaritan, one of those in the territory between Judea and Galilee, between Jericho and Jerusalem.
Indeed, the Pharisees mockingly labelled Christ a Samaritan, saying, ‘Are we not right in saying that you are a Samaritan and have a demon?’ (John 8: 48).
Christ humbly attributes to himself the name given to him by his detractors.
The Samaritan binds up the wounds of wounded humanity, pours oil and wine on them: oil symbolises mercy and wine the true teaching of God. He then brings us to an inn where we can be taken care of.
The Gospel says that the Good Samaritan ‘put him on his own animal, brought him to an inn, and took care of him.’ However, in traditional icons, Christ carries the man on his own back. Christ in the incarnation takes on our human nature, our soul and body. That is why in the parable he ‘set him on his own beast,’ interpreted by the Early Fathers that Christ makes us members of his own body.
There is a similar image in the parable of the Lost Sheep (see Luke 15). When the Good Shepherd finds the lost sheep, he puts him on his shoulders, rejoicing.
The inn represents the Church, the innkeeper the bishops and priests. Christ establishes his Church which, like an inn, accepts and provides shelter for all. The wounded man should stay here to be taken care of. The Samaritan has to leave, however. He takes out two silver coins and gives them to the innkeeper, saying: ‘Take care of him; and when I come back, I will repay you whatever more you spend.’
Christ indicates his second coming, he will return.
The silver given to the innkeeper is the divine grace Christ gives to the Church; it heals and saves souls through the sacraments. Bishops and priests, the ministers of the sacraments of the Church, are the distributors of God’s gifts and freely-given grace for the lost and the outcast and those of us who have fallen by the way.
In this reading of the parable of the Good Samaritan, Christ offers himself as the prime example of mercy and compassion. Through his compassion, he takes on our sufferings and becomes the true neighbour of all fallen humanity.
We are not being challenged in this morning’s reading to be Good Samaritans. We don’t all have that opportunity, that encounter, that wealth to spend.
We are not even being challenged to be a good neighbour.
We are being challenged to ‘love the Lord your God with all your heart, and with all your soul, and with all your strength, and with all your mind; and your neighbour as yourself’ (Luke 10: 27).
The Jewish theologian, Professor Michael Fishbane, says this great exhortation is at the heart of the Hebrew Bible, and adds: ‘These words are also at the heart of Judaism and constitute its religious idea.’
Christ then echoes a verse in the Law: ‘You have given the right answer; do this and you will live’ (verse 28). ‘You shall keep my statutes and my ordinances; by doing this one shall live: I am the Lord’ (Leviticus 18: 5).
The one who shows mercy is the good neighbour.
The Good Samaritan window in Saint Anne’s Cathedral, Belfast (Photograph: Patrick Comerford, 2024)
Today’s Prayers (Sunday 13 July 2025, Trinity IV):
The theme this week (13 to 19 July) in Pray with the World Church, the prayer diary of the Anglican mission agency USPG (United Society Partners in the Gospel), is ‘Shaping the Future: Africa Six.’ This theme is introduced today with a programme update from Fran Mate, Senior Regional Manager: Africa, USPG:
Earlier this year I arranged a meeting with the Advisory Council of the Africa 6 – the Centre for Anglican Women’s Leadership and Research in Africa (CAWLRA). We gathered at the Thaba Bosiu Cultural Village in Lesotho for an inspiring week of strategic thinking and reflection. The retreat, which brought together some of the most influential Anglican women leaders in Africa, focused on empowering senior women bishops to lead with strength and vision in the years to come. It was a pleasure to be alongside the Right Revd Dr Dalcy Dlamini (Bishop of Eswatini), the Right Revd Filomena Teta das Neves Estevão (Bishop of Bom Pastor, Angola), the Right Revd Dr Vicentia Kgabe (Bishop of Lesotho) and the Right Revd Dr Emily Onyango (Assistant Bishop of the Diocese of Bondo, Kenya).
Although unable to attend, the Africa 6 also includes the Right Revd Elizabeth Awut (Diocese of Rumbek, South Sudan) and the Right Revd Rose Okeno (Diocese of Butere, Kenya).
The Africa 6’s inspirational mission is clear: to ensure that Anglican women leaders across the continent are equipped and empowered to make a lasting impact, not just for today, but for future generations.
USPG are proud to walk alongside the Africa 6 Women Anglican Bishops as they lead the way in establishing and shaping the future of the Centre for Anglican Women’s Leadership and Research in Africa. Together, we continue to support the growth of women’s leadership within the Anglican Church, ensuring that these remarkable leaders are ready to guide the Church into the future.
The USPG prayer diary today (Sunday 13 July 2025, Trinity IV) invites us to pray by reading and meditating on Luke 10: 25-27.
The Collect:
O God, the protector of all who trust in you,
without whom nothing is strong, nothing is holy:
increase and multiply upon us your mercy;
that with you as our ruler and guide
we may so pass through things temporal
that we lose not our hold on things eternal;
grant this, heavenly Father,
for our Lord Jesus Christ’s sake,
who is alive and reigns with you,
in the unity of the Holy Spirit,
one God, now and for ever.
The Post-Communion Prayer:
Eternal God,
comfort of the afflicted and healer of the broken,
you have fed us at the table of life and hope:
teach us the ways of gentleness and peace,
that all the world may acknowledge
the kingdom of your Son Jesus Christ our Lord.
Additional Collect:
Gracious Father,
by the obedience of Jesus
you brought salvation to our wayward world:
draw us into harmony with your will,
that we may find all things restored in him,
our Saviour Jesus Christ.
Yesterday’s reflections
Continued tomorrow
The Good Samaritan … a stained glass window in Saint Mary’s Cathedral, Limerick (Photograph: Patrick Comerford)
Scripture quotations are from the New Revised Standard Version Bible: Anglicised Edition copyright © 1989, 1995, National Council of the Churches of Christ in the United States of America. Used by permission. All rights reserved worldwide. http://nrsvbibles.org
Patrick Comerford
We are in Ordinary Time in the Church Calendar and today is the Fourth Sunday after Trinity (Trinity IV, 13 July 2025). In the Calendar of the Orthodox Church today is also the Sunday of the Holy Fathers of the Fourth Ecumenical Council. The Council of Chalcedon in 451 CE defined the doctrine of the hypostatic union, clarifying the relationship between the divine and human natures of Christ.
I am still feeling sore and very sorry for myself after Friday’s surgical procedure in Oxford, but I am hoping to attend the Parish Eucharist in Saint Mary and Saint Giles Church, Stony Stratford, later this morning. But, before I make any decisions about what to do, I am taking some quiet time this morning to give thanks, to reflect, to pray and to read in these ways:
1, reading today’s Gospel reading;
2, a short reflection;
3, a prayer from the USPG prayer diary;
4, the Collects and Post-Communion prayer of the day.
The Good Samaritan … a stained glass window in Saint Michael’s Church, Limerick (Photograph: Patrick Comerford)
Luke 10: 25-37 (NRSVA):
25 Just then a lawyer stood up to test Jesus. ‘Teacher,’ he said, ‘what must I do to inherit eternal life?’ 26 He said to him, ‘What is written in the law? What do you read there?’ 27 He answered, ‘You shall love the Lord your God with all your heart, and with all your soul, and with all your strength, and with all your mind; and your neighbour as yourself.’
28 And he said to him, ‘You have given the right answer; do this, and you will live.’
29 But wanting to justify himself, he asked Jesus, ‘And who is my neighbour?’ 30 Jesus replied, ‘A man was going down from Jerusalem to Jericho, and fell into the hands of robbers, who stripped him, beat him, and went away, leaving him half dead. 31 Now by chance a priest was going down that road; and when he saw him, he passed by on the other side. 32 So likewise a Levite, when he came to the place and saw him, passed by on the other side. 33 But a Samaritan while travelling came near him; and when he saw him, he was moved with pity. 34 He went to him and bandaged his wounds, having poured oil and wine on them. Then he put him on his own animal, brought him to an inn, and took care of him. 35 The next day he took out two denarii, gave them to the innkeeper, and said, “Take care of him; and when I come back, I will repay you whatever more you spend.” 36 Which of these three, do you think, was a neighbour to the man who fell into the hands of the robbers?’ 37 He said, ‘The one who showed him mercy.’ Jesus said to him, ‘Go and do likewise.’
An Orthodox icon of the Parable of the Good Samaritan, interpreting the parable according to the Patristic and Orthodox tradition (click on image for full-screen viewing)
Today’s Reflection:
The Lectionary readings this year [2025 Year C] are inviting us to work our way through Saint Luke’s Gospel, which is full of healing stories and parables.
Most of us are familiar – or think we are familiar with – these great parables:
• the rich man with his barns who wants to ‘eat, drink and be merry’ (Luke 12: 13-21, 3 August 2025)
• the thief in the night (Luke 12: 32-40, 10 August 2025)
• the guests at the wedding banquet (Luke 14: 1, 7-14, 31 August 2025)
• the lost sheep and the lost coin (Luke 15: 1-10, 14 September 2025)
• the Prodigal Son (Luke 15: 11-32, 30 March 2025)
• the unjust steward (Luke 16: 1-13, 21 September 2025)
• Dives and Lazarus (Luke 16: 19-31, 28 September 2025)
• the widow who nags and nags at the judge (Luke 18: 1-8, 19 October 2025)
• the Pharisee and the tax-collector (Luke 18: 9-14, 26 October 2019).
Regular churchgoers are so familiar with these parables, we know who to identify with, who is being chided, what the lesson is, and what to expect in the sermon.
Or do we?
The story of the Parable of the Good Samaritan, which we read this morning, is so familiar to all of us that we all know how to use the term Samaritan … well, don’t we?
A Good Samaritan is someone who comes to our aid in time of need, who goes over and beyond the demands of duty, a good listener, a good neighbour, a giver, a helping hand …
In conversations, I sometimes identify my own Good Samaritans in the world today. I think of Francesca Albanese, the UN Rapporteur for the West Bank and Gaza, who is vocal about the plight of people in Gaza. The Trump regime has imposed sanctions on her for investigating abuses of human rights in the Palestinian Territories, but nominations for her to receive the Nobel Peace Prize are gaining momentum. There is Carola Rackete, the German sea captain who defied Italy’s ban on migrant rescue ships some years ago by forcing her way into the port of Lampedusa with 42 migrants rescued at sea. Or the ordinary, everday people everyday people throughout the US every day who try to masked and unnamed ICE and Homeland Security agents from breaking up families in their homes, in the courtrooms and on the streets.
There are countless Good Samaritans across the US today, trying to stop ICE and Homeland Security from breaking up families and taking away migrants, immigrants, students, tourists … neighbours.
In an extraordinary move, the Bishop of San Bernardino has dispensed or freed a person from the obligation to attend Masses on Sunday and Holy Days of Obligation if the person fears ICE. Bishop Alberto Rojas says that he is guided by the desire to extend pastoral care to all in his diocese, particularly those who ‘face fear and hardship’. It is a vivid reminder that even churches are no longer considered safe places.
The one who shows mercy is the good neighbour.
But there are other characters, other dramatis personæ, in this parable too … who would identify with the man who has been beaten up and left by the road?
We all pretend we have not but probably have met characters who might easily be in that band of robbers.
I should worry that people might compare me less with the Good Samaritan and more with the priest and the Levite hurrying and scurrying to the Temple, two men who might well have made very good and upright deans and canons today.
How many of us would identify with the innkeeper, worried about somebody who is going to make a mess of one of the last rooms left available at a busy time of holidays and pilgrimages?
How many of us, instead, would identify with the man who has been beaten up and left half dead on the side of the road?
How often have I been beaten up on the pathway through life?
Beaten up by family rows and divisions?
Beaten up by depression, anxiety and low self-esteem?
Beaten up by job loss or finding it difficult to find meaning in life?
Beaten up by rejection in love, in friendship, by bullies, in employment?
Beaten up by ill-health, physical and psychological, when people pass by and think I ought to pull myself up by own bootstraps?
Beaten up by addictions that other people think are my own fault, so they pass me by on the other side of the road?
Well that man brought it all on himself, didn’t he, straying off the straight and narrow, instead of keeping focussed on the holy city, the Jerusalem of this parable, turning his face towards Jericho, the oldest city in the world, representing every city with its fleshpots and decadence?
There is another way of reading this parable, however. It is the way it was read by the early Fathers of the Church, a way of reading it for almost 1,500 years, a way that it is still read in the Orthodox Church.
The man who goes down from Jerusalem to Jericho is Adam, or humanity, each and every one of us.
Jerusalem is the holy city of God, but also symbolises God’s future plans for us.
Jericho, the oldest city the world, symbolises the oldest earthly pleasures.
On the way, the man loses his freedom, becomes captive to his passions, wounded by sin, so incapable of prayer and worship that on the road of life he has become spiritually half-dead, stripped of his virtues, left without the cover of God’s grace and protection.
The man wounded by robbers represents fallen humanity before the coming of Christ.
The Priest and the Levite, ministers of God, represent the saints and prophets sent by God from the beginning of time, before Christ’s coming.
They saw the plight of humanity, lying on the road. Moses came by, Elijah came by, other prophets came by, but the illness of humanity remained without being healed.
Only God who has created us can recreate us. God humbles himself and becomes human, takes on our human flesh, in the incarnation. It sounds so unlikely, so impossible, it is like imagining a Jew becoming a Samaritan, one of those in the territory between Judea and Galilee, between Jericho and Jerusalem.
Indeed, the Pharisees mockingly labelled Christ a Samaritan, saying, ‘Are we not right in saying that you are a Samaritan and have a demon?’ (John 8: 48).
Christ humbly attributes to himself the name given to him by his detractors.
The Samaritan binds up the wounds of wounded humanity, pours oil and wine on them: oil symbolises mercy and wine the true teaching of God. He then brings us to an inn where we can be taken care of.
The Gospel says that the Good Samaritan ‘put him on his own animal, brought him to an inn, and took care of him.’ However, in traditional icons, Christ carries the man on his own back. Christ in the incarnation takes on our human nature, our soul and body. That is why in the parable he ‘set him on his own beast,’ interpreted by the Early Fathers that Christ makes us members of his own body.
There is a similar image in the parable of the Lost Sheep (see Luke 15). When the Good Shepherd finds the lost sheep, he puts him on his shoulders, rejoicing.
The inn represents the Church, the innkeeper the bishops and priests. Christ establishes his Church which, like an inn, accepts and provides shelter for all. The wounded man should stay here to be taken care of. The Samaritan has to leave, however. He takes out two silver coins and gives them to the innkeeper, saying: ‘Take care of him; and when I come back, I will repay you whatever more you spend.’
Christ indicates his second coming, he will return.
The silver given to the innkeeper is the divine grace Christ gives to the Church; it heals and saves souls through the sacraments. Bishops and priests, the ministers of the sacraments of the Church, are the distributors of God’s gifts and freely-given grace for the lost and the outcast and those of us who have fallen by the way.
In this reading of the parable of the Good Samaritan, Christ offers himself as the prime example of mercy and compassion. Through his compassion, he takes on our sufferings and becomes the true neighbour of all fallen humanity.
We are not being challenged in this morning’s reading to be Good Samaritans. We don’t all have that opportunity, that encounter, that wealth to spend.
We are not even being challenged to be a good neighbour.
We are being challenged to ‘love the Lord your God with all your heart, and with all your soul, and with all your strength, and with all your mind; and your neighbour as yourself’ (Luke 10: 27).
The Jewish theologian, Professor Michael Fishbane, says this great exhortation is at the heart of the Hebrew Bible, and adds: ‘These words are also at the heart of Judaism and constitute its religious idea.’
Christ then echoes a verse in the Law: ‘You have given the right answer; do this and you will live’ (verse 28). ‘You shall keep my statutes and my ordinances; by doing this one shall live: I am the Lord’ (Leviticus 18: 5).
The one who shows mercy is the good neighbour.
The Good Samaritan window in Saint Anne’s Cathedral, Belfast (Photograph: Patrick Comerford, 2024)
Today’s Prayers (Sunday 13 July 2025, Trinity IV):
The theme this week (13 to 19 July) in Pray with the World Church, the prayer diary of the Anglican mission agency USPG (United Society Partners in the Gospel), is ‘Shaping the Future: Africa Six.’ This theme is introduced today with a programme update from Fran Mate, Senior Regional Manager: Africa, USPG:
Earlier this year I arranged a meeting with the Advisory Council of the Africa 6 – the Centre for Anglican Women’s Leadership and Research in Africa (CAWLRA). We gathered at the Thaba Bosiu Cultural Village in Lesotho for an inspiring week of strategic thinking and reflection. The retreat, which brought together some of the most influential Anglican women leaders in Africa, focused on empowering senior women bishops to lead with strength and vision in the years to come. It was a pleasure to be alongside the Right Revd Dr Dalcy Dlamini (Bishop of Eswatini), the Right Revd Filomena Teta das Neves Estevão (Bishop of Bom Pastor, Angola), the Right Revd Dr Vicentia Kgabe (Bishop of Lesotho) and the Right Revd Dr Emily Onyango (Assistant Bishop of the Diocese of Bondo, Kenya).
Although unable to attend, the Africa 6 also includes the Right Revd Elizabeth Awut (Diocese of Rumbek, South Sudan) and the Right Revd Rose Okeno (Diocese of Butere, Kenya).
The Africa 6’s inspirational mission is clear: to ensure that Anglican women leaders across the continent are equipped and empowered to make a lasting impact, not just for today, but for future generations.
USPG are proud to walk alongside the Africa 6 Women Anglican Bishops as they lead the way in establishing and shaping the future of the Centre for Anglican Women’s Leadership and Research in Africa. Together, we continue to support the growth of women’s leadership within the Anglican Church, ensuring that these remarkable leaders are ready to guide the Church into the future.
The USPG prayer diary today (Sunday 13 July 2025, Trinity IV) invites us to pray by reading and meditating on Luke 10: 25-27.
The Collect:
O God, the protector of all who trust in you,
without whom nothing is strong, nothing is holy:
increase and multiply upon us your mercy;
that with you as our ruler and guide
we may so pass through things temporal
that we lose not our hold on things eternal;
grant this, heavenly Father,
for our Lord Jesus Christ’s sake,
who is alive and reigns with you,
in the unity of the Holy Spirit,
one God, now and for ever.
The Post-Communion Prayer:
Eternal God,
comfort of the afflicted and healer of the broken,
you have fed us at the table of life and hope:
teach us the ways of gentleness and peace,
that all the world may acknowledge
the kingdom of your Son Jesus Christ our Lord.
Additional Collect:
Gracious Father,
by the obedience of Jesus
you brought salvation to our wayward world:
draw us into harmony with your will,
that we may find all things restored in him,
our Saviour Jesus Christ.
Yesterday’s reflections
Continued tomorrow
The Good Samaritan … a stained glass window in Saint Mary’s Cathedral, Limerick (Photograph: Patrick Comerford)
Scripture quotations are from the New Revised Standard Version Bible: Anglicised Edition copyright © 1989, 1995, National Council of the Churches of Christ in the United States of America. Used by permission. All rights reserved worldwide. http://nrsvbibles.org
05 June 2025
From Karl Marx to Groucho Marx,
the ‘Spirit of Soho’ is a mural with
a tour of Soho’s streets and people
The ‘Spirit of Soho’ mural on the corner of Broadwick Street and Carnaby Street in London (Photograph: Patrick Comerford, 2025)
Patrick Comerford
I was recalling yesterday the benefits of having my head in the air while I am walking on the streets of London, and contrasting the benefits of seeing art above on the walls and buildings with the risks of tripping and falling on the street below.
It had been many years since I had walked through Carnaby Street, but Charlotte and I were there last week and we took time to enjoy the ‘Spirit of Soho’, a mural on the corner of Broadwick Street and Carnaby Street.
Towering over the whole scene is a woman in an outstretched skirt that becomes all that makes Soho so full of life. This bright, colourful mural shows Soho, bordered by the shops of Oxford Street and Regent Street with the theatres of Shaftesbury Avenue bisecting it, and China Town in the bottom south-east corner.
There are tributes to the Soho of yesterday and today with a mixture the old and the new, from Ronnie Scott’s and the Gay Hussar to chain restaurants and coffee shops.
Soho was a green hunting ground favoured by royalty and the aristocracy in the 16th and 17th centuries – Soho either gave its name to or took its name from the hunting cry ‘Soho’. The hunting grounds gave way in the 18th century to grand houses that hosted parties for the fashionable and the elite in London society.
As migrants moved in, Soho was transformed with workshops and restaurants and becoming a creative hub for poets, writers, artists, designers, jewellers, and musicians – and the mural pays tribute to all of them.
The mural is on a gable end at on a street corner and faces onto Broadwick Street, a narrow street. It is filled with activity but because of its location, I had to look at it from close range and from a number of angles in an effort to see everything crowded into this creative composition.
Saint Anne holds out her skirt to give shape to a map of Soho, with its streets and lanes and their landmarks spreading out beneath her (Photograph: Patrick Comerford, 2025)
Crowning the mural is Saint Anne, who gives her name to Saint Anne’s Church in Dean Street, Soho. The Spirit of Soho has a distracted expression on her face, with a dragon entangled in her tresses and a street parade dancing down her arm, and her skirts are open, as if to let a bustle of activity tumble onto the street below.
The flame-haired Saint Anne holds out her skirt to give shape to a map of Soho, with its streets and lanes and their landmarks spreading out beneath her. Crowded together under the fruit-laden hem of her skirt is an eclectic collection of some of the musicians, craftsmen, writers and other creative people who have lived or worked in the area.
Shaftesbury Avenue and the theatres along it can be seen on her skirt, there too is Oxford Street, and one whole corner contains China Town, including the pagoda and Lee Fung supermarket. At the west fringe stands Liberty’s department store with its Tudor-style timber frame.
There is a host of pubs, restaurants and coffee shops and an overflowing abundance of fruit and vegetables. The books and magazines woven into her skirt pay tribute to the writing and publishing industries in Soho. Here too are film makers, clothes traders, recording studios and the makers of musical instrument. Dotted around are dogs and hares, harking back to the time when Soho was a royal hunting ground in the 16th and 17th centuries.
The huddled residents of Soho include Karl Marx reading Das Kapital behind Mozart’s shoulder (Photograph: Patrick Comerford, 2025)
At the bottom of the mural, a huddle of notable Soho residents and clientele includes Karl Marx (1818-1883), reading Das Kapital, behind Mozart’s shoulder, and the artist William Blake (1757-1827).
Marx lived in Dean Street in the 1850s with his family, above what became the Quo Vadis restaurant. During his time in Soho, Marx and his wife suffered the death of three of their infant children. He wrote his proposal for the Communist Manifesto in a room above the Red Lion on Great Windmill Street.
The actress and opera singer Teresa Cornelys (1723-1797) is depicted winking at her former lover, the Italian playboy Casanova (1725-1798), who in turn blows her a kiss. Her parties in the mid-1700s at her home, Carlisle House in Soho Square, were legendary, and she had a daughter Sophia during her affair with Casanova.
To the left and right are six scenes depicting cultural life in Soho. The three panels on the left feature a film animator in his studio, believed to be the late Bob Godfrey, the fashion trade, and international restaurants. The three on the right show the Palladium, Carnaby Street and Ronnie Scott’s, replete with Ronnie Scott, jazz musician George Melly (1926-2007), the poet Welsh Dylan Thomas (1914-1953) and the Irish writer Brendan Behan (1923-1964).
A green border at the bottom carries small images of Soho parish school, a dog and hare standing on a Union Jack, a Willow Pattern dish, and Soho Street Theatre. Blue plaques name the sponsors and some of the traditional trades of Soho.
A night at Ronnie Scott’s with Ronnie Scott, George Melly, Dylan Thomas and Brendan Behan (Photograph: Patrick Comerford, 2025)
The mural was created by the Soho community in 1991 and was co-ordinated by the Free Form Arts Trust, who designed and executed the work, and Alternative Arts, who co-ordinated the workshops and public programme that were part of the project.
The mural was restored in 2006 by Shaftesbury PLC and the Soho Society, and the clock was reactivated by the Lord Mayor of Westminster. Now, when the clock strikes the hour, it looks as though Karl Marx is sipping a can of Coca-Cola while Theresa Cornelys winks at Casanova and he blows kisses back to her.
In among the streets of Soho I also spotted Groucho Marx of the Marx brothers, an allusion to the Groucho Club on Dean Street … so this is a work of street art that brings us through the streets of Soho, not only from Casanova to Brendan Behan but also from Karl Marx to Groucho Mark.
• The Spirit of Soho is on the Berwick Street side of 9 Carnaby Street, Soho, London W1F 9PB. The nearest stations are Oxford Circus and Piccadilly Circus.
The Spirit of Soho is on the Berwick Street side of 9 Carnaby Street, Soho (Photograph: Patrick Comerford, 2025)
Patrick Comerford
I was recalling yesterday the benefits of having my head in the air while I am walking on the streets of London, and contrasting the benefits of seeing art above on the walls and buildings with the risks of tripping and falling on the street below.
It had been many years since I had walked through Carnaby Street, but Charlotte and I were there last week and we took time to enjoy the ‘Spirit of Soho’, a mural on the corner of Broadwick Street and Carnaby Street.
Towering over the whole scene is a woman in an outstretched skirt that becomes all that makes Soho so full of life. This bright, colourful mural shows Soho, bordered by the shops of Oxford Street and Regent Street with the theatres of Shaftesbury Avenue bisecting it, and China Town in the bottom south-east corner.
There are tributes to the Soho of yesterday and today with a mixture the old and the new, from Ronnie Scott’s and the Gay Hussar to chain restaurants and coffee shops.
Soho was a green hunting ground favoured by royalty and the aristocracy in the 16th and 17th centuries – Soho either gave its name to or took its name from the hunting cry ‘Soho’. The hunting grounds gave way in the 18th century to grand houses that hosted parties for the fashionable and the elite in London society.
As migrants moved in, Soho was transformed with workshops and restaurants and becoming a creative hub for poets, writers, artists, designers, jewellers, and musicians – and the mural pays tribute to all of them.
The mural is on a gable end at on a street corner and faces onto Broadwick Street, a narrow street. It is filled with activity but because of its location, I had to look at it from close range and from a number of angles in an effort to see everything crowded into this creative composition.
Saint Anne holds out her skirt to give shape to a map of Soho, with its streets and lanes and their landmarks spreading out beneath her (Photograph: Patrick Comerford, 2025)
Crowning the mural is Saint Anne, who gives her name to Saint Anne’s Church in Dean Street, Soho. The Spirit of Soho has a distracted expression on her face, with a dragon entangled in her tresses and a street parade dancing down her arm, and her skirts are open, as if to let a bustle of activity tumble onto the street below.
The flame-haired Saint Anne holds out her skirt to give shape to a map of Soho, with its streets and lanes and their landmarks spreading out beneath her. Crowded together under the fruit-laden hem of her skirt is an eclectic collection of some of the musicians, craftsmen, writers and other creative people who have lived or worked in the area.
Shaftesbury Avenue and the theatres along it can be seen on her skirt, there too is Oxford Street, and one whole corner contains China Town, including the pagoda and Lee Fung supermarket. At the west fringe stands Liberty’s department store with its Tudor-style timber frame.
There is a host of pubs, restaurants and coffee shops and an overflowing abundance of fruit and vegetables. The books and magazines woven into her skirt pay tribute to the writing and publishing industries in Soho. Here too are film makers, clothes traders, recording studios and the makers of musical instrument. Dotted around are dogs and hares, harking back to the time when Soho was a royal hunting ground in the 16th and 17th centuries.
The huddled residents of Soho include Karl Marx reading Das Kapital behind Mozart’s shoulder (Photograph: Patrick Comerford, 2025)
At the bottom of the mural, a huddle of notable Soho residents and clientele includes Karl Marx (1818-1883), reading Das Kapital, behind Mozart’s shoulder, and the artist William Blake (1757-1827).
Marx lived in Dean Street in the 1850s with his family, above what became the Quo Vadis restaurant. During his time in Soho, Marx and his wife suffered the death of three of their infant children. He wrote his proposal for the Communist Manifesto in a room above the Red Lion on Great Windmill Street.
The actress and opera singer Teresa Cornelys (1723-1797) is depicted winking at her former lover, the Italian playboy Casanova (1725-1798), who in turn blows her a kiss. Her parties in the mid-1700s at her home, Carlisle House in Soho Square, were legendary, and she had a daughter Sophia during her affair with Casanova.
To the left and right are six scenes depicting cultural life in Soho. The three panels on the left feature a film animator in his studio, believed to be the late Bob Godfrey, the fashion trade, and international restaurants. The three on the right show the Palladium, Carnaby Street and Ronnie Scott’s, replete with Ronnie Scott, jazz musician George Melly (1926-2007), the poet Welsh Dylan Thomas (1914-1953) and the Irish writer Brendan Behan (1923-1964).
A green border at the bottom carries small images of Soho parish school, a dog and hare standing on a Union Jack, a Willow Pattern dish, and Soho Street Theatre. Blue plaques name the sponsors and some of the traditional trades of Soho.
A night at Ronnie Scott’s with Ronnie Scott, George Melly, Dylan Thomas and Brendan Behan (Photograph: Patrick Comerford, 2025)
The mural was created by the Soho community in 1991 and was co-ordinated by the Free Form Arts Trust, who designed and executed the work, and Alternative Arts, who co-ordinated the workshops and public programme that were part of the project.
The mural was restored in 2006 by Shaftesbury PLC and the Soho Society, and the clock was reactivated by the Lord Mayor of Westminster. Now, when the clock strikes the hour, it looks as though Karl Marx is sipping a can of Coca-Cola while Theresa Cornelys winks at Casanova and he blows kisses back to her.
In among the streets of Soho I also spotted Groucho Marx of the Marx brothers, an allusion to the Groucho Club on Dean Street … so this is a work of street art that brings us through the streets of Soho, not only from Casanova to Brendan Behan but also from Karl Marx to Groucho Mark.
• The Spirit of Soho is on the Berwick Street side of 9 Carnaby Street, Soho, London W1F 9PB. The nearest stations are Oxford Circus and Piccadilly Circus.
The Spirit of Soho is on the Berwick Street side of 9 Carnaby Street, Soho (Photograph: Patrick Comerford, 2025)
17 September 2024
Saint Anne’s Cathedral, Belfast,
serves one city and two dioceses,
and took over a century to complete
Saint Anne’s Cathedral, Belfast … a cathedral for one city and two dioceses (Photograph: Patrick Comerford, 2024)
Patrick Comerford
During our short weekend visit to Belfast, I visited or revisited a number of places of interest in the city, including Saint George’s Church on High Street and Saint Anne’s Cathedral on Donegall Street.
I have been in Saint Anne’s many times in the past, as a student in the 1980s, during General Synods, at ordinations in 2013, 2015 and 2016, and taking part in special services, and in advance of my ordination I had some of my papers signed on the cathedral steps in May 2000.
There has always been a warm welcome from the Deans of Belfast, including Samuel Crooks, Jack Shearer, Houston McKelvey, and John Mann, who brought me around the cathedral on a personal tour on one occasion.
Inside Saint Anne’s Cathedral, Belfast, looking towards the choir and the east end (Photograph: Patrick Comerford, 2024)
Saint Anne’s is an unusual cathedral in the Church of Ireland, for it serves one city and two separate dioceses (Connor and Down and Dromore) which have their own cathedrals (in Lisburn, Downpatrick and Dromore), yet it is the seat of neither bishop, although they both have seats in the chancel.
Belfast received its first charter in 1613, but it remained a city without a cathedral for centuries. The Corporation Church, on the site of Saint George’s Church on High Street, was the main church until the 1770s, when it had fallen into disrepair.
The old church on High Street was demolished in 1774. The patron of the parish, Arthur Chichester (1739-1799), 5th Earl of Donegall and later Marquess of Donegall, was the dominant local landowner in Belfast. But, instead of rebuilding the church, he gave an expansive site for a new church on Donegall Street, a few hundred metres from Saint George’s. Building work began on 9 May 1774 and the church was completed 2½ years later. Lord Donegall’s wish to install bells was unfulfilled because the tower-cupola, the major feature of the west front, was unable to support their weight.
The only remaining links with Lord Donegall in the cathedral today is the Sovereign’s Chair and now in the south aisle (Photograph: Patrick Comerford, 2024)
The new church was named Saint Anne’s after Lord Donegall’s first wife, Lady Anne Hamilton (1738-1780), daughter of James Hamilton, 5th Duke of Hamilton. Much of the ancient records, silver and other treasures of Saint George’s were moved to Saint Anne’s, while the bell and charity boards went to Clifton House, which opened in 1774. Saint Anne’s Church would later become Saint Anne’s Cathedral.
The Chichester pew was in a west gallery beneath the Snetzler organ presented by Lord Donegall in 1781. The organ was brought down into the redundant Chichester pew in 1886. A window in the east apse displayed the Chichester coat of arms until it was replaced by the Good Samaritan window in 1887.
The only remaining links with Lord Donegall in the cathedral today are the Sovereign’s Chair and Desk, presented in 1787, and now on display in the south aisle.
Inside Saint Anne’s Cathedral, Belfast, looking from the choir towards the west end (Photograph: Patrick Comerford, 2024)
Saint Anne’s Church was designed in the classical style by the architect Francis Hiorne (1744-1789), who also designed Saint Mary and Saint Giles Church, Stony Stratford, in 1777. Saint Anne’s Church was consecrated in 1776, and became the parish church of Belfast.
The first proposal for a cathedral in Belfast came from the Dean and Chapter of Connor in 1860. At the time, Connor and Down and Dromore were united as dioceses, ever since the saintly Jeremy Taylor was bishop after the Caroline Restoration in the 1660s. So the scheme was not as geographically difficult as it now appears.
After the proposal for a cathedral in Belfast was presented to the Diocesan Council by Bishop Thomas Welland, the project was taken up enthusiastically by Henry Stewart O’Hara when he became Rector of Belfast in 1894.
Sir Thomas Drew (1838-1910) was chosen as architect, and he was assisted by WH Lynn. The style chosen was Romanesque – characterised by semi-circular arches – and the building as designed in form of a basilica. The foundation stone was laid on 6 September 1899 by the Countess of Shaftesbury in the presence of the Archbishops of Armagh and Dublin.
The choir, high altar and east end of Saint Anne’s Cathedral, Belfast (Photograph: Patrick Comerford, 2024)
The old parish church of Saint Anne continued in use while the new cathedral was being built around it. By 1903, the tower of Saint Anne’s Church had been dismantled and the church was no longer visible from the street.
The old church was not demolished until the end of 1903. Today, the only remaining feature from the old church is the Good Samaritan window in the anmbulatory.
For five months, the congregation of Saint Anne’s worshipped in the Clarence Place Hall in May Street. The nave of the cathedral was completed in 1904 and was consecrated by Bishop Welland on 2 June 1904.
The Good Samaritan window in the anmbulatory is the only remaining feature from Saint Anne’s Church (Photograph: Patrick Comerford, 2024)
On the north side of the nave, moving from the west doors to the choir, the following corbels are set above each column or respond: the Archangel Gabriel, Bishop George Berkeley, Dean Henry Stewart O’Hara, Archbishop William King, Provost George Salmon, Bishop Jeremy Taylor, and the Archangel Michael.
On the south side of the nave, moving from the choir to the west doors, the figures in the corbels above each column or respond are: the Archangel Raphael, Archbishop James Ussher, Bishop Thomas Percy, Bishop William Bedell, Archbishop William Alexander, Cecil Frances Alexander and the Archangel Uriel.
Each of the pillars represents an aspect of life in Northern Ireland: science, linen industry, healing, agriculture, music, theology, shipbuilding, freemasonry, the arts, womanhood. The half columns or responds represent the cardinal virtues: courage, justice, temperance and wisdom.
The High Altar in Saint Anne’s Cathedral, Belfast (Photograph: Patrick Comerford, 2024)
The nave windows depict major figures from the Old Testament figures, the west windows depict temple-building, and the windows in the ambulatory represent five of Saint Paul’s fruits of the spirit.
The west front of the cathedral was built in the 1920s as a memorial to the men and women of Ulster who died in World War I, and was designed by the architect Sir Charles Archibald Nicholson.
The central crossing, where the chapter and choir are seated, was built in 1922-1924.
Mosaics depicting the life of Saint Patrick in the Chapel of the Holy Spirit (Photograph: Patrick Comerford, 2024)
The Baptistry was built to plans drawn up by WH Lynn, who had assisted Sir Thomas Drew, and was dedicated in 1928.
The Chapel of the Holy Spirit, with mosaics depicting Saint Patrick, was dedicated on 5 July 1932, the 1,500th anniversary of the arrival of Saint Patrick in Ireland. It is open daily for private prayer and reflection.
The only tomb in the cathedral is that of the Dublin-born Unionist leader Edward Carson (1854-1935), who was given a state funeral in 1935 and is buried in the south aisle.
Edward Carson was given a state funeral in 1935 and buried in the south aisle (Photograph: Patrick Comerford, 2024)
The cathedral was almost destroyed in 1941 by a German bomb that caused extensive damage to surrounding properties.
Work began on building the ambulatory, at the east end of the cathedral, in 1955. This work was dedicated in 1959, but it was not for another 10 years before work began on the north and south transepts. The Troubles and inflation led to long delays and major problems with financing this work.
The south transept, containing the Chapel of Unity and with the organ loft above, was dedicated in 1974.
The Chapel of Unity in the south transept was dedicated in 1974 (Photograph: Patrick Comerford, 2024)
The north transept, with a large Celtic cross designed by John MacGeagh on the exterior, houses the Chapel of the Royal Irish Rifles and was completed in 1981.
When Bishop Jeremy Taylor’s old church at Lower Ballinderry was restored some years ago, portions of its ancient oak furniture were made into a chair. The chair is now placed beneath his portrait on the north side of the ambulatory, providing a link with the great Bishop of Down and Connor and Dromore who is commemorated in the corbel above the Pillar of Music on the north side of the nave.
Work on the north and south transepts began in the 1960s. The south transept, with the Chapel of Unity and the organ loft, was dedicated in 1974; the north transept, with the Chapel of the Royal Irish Rifles, was completed in 1981.
The cathedral organ, with four manuals, is the second largest pipe-organ in Northern Ireland. It was built by Harrison and Harrison in 1907 and rebuilt in 1969-1975.
A mosaic in the Chapel of the Holy Spirit depicting Isaiah’s vision in the Temple (Photograph: Patrick Comerford, 2024)
A 40-metre stainless steel spire, known as the ‘Spire of Hope,’ was installed on top of the cathedral in 2007. The base of the spire protrudes through a glass platform in the roof directly above the choir stalls, allowing it to be viewed from the nave. The steel spire is lit up at night and is part of a wider redevelopment plan for the Cathedral Quarter.
Belfast Cathedral is probably best known for the ‘Black Santa’ sit-outs at Christmas each year, first organised over 40 years ago by Dean Samuel Crooks. The tradition has been continued by successive deans, including the Very Stephen Forde, who has been dean since 2018, and the chapter members.
Today, Belfast Cathedral is also the focal point of Belfast’s Cathedral Quarter.
The Dean of Belfast is the Very Stephen Forde, and the Revd Cameron Mack is the cathedral curate. The Diocese of Connor and the Diocese of Down and Dromore each has four chapter members or canons.
Looking out onto the Cathedral Quarter from the west doors of Saint Anne’s Cathedral (Photograph: Patrick Comerford, 2024)
• Said or Sung Eucharist is celebrated in Saint Anne’s Cathedral on Sundays at 11 am, with Evening Prayer or Evensong at 3:30. The weekday daily services include lunchtime prayers (1 pm, Monday, Tuesday and Thursday), Holy Communion (1 pm, Wednesday, saints’ days and other holy days), a Service of Healing (Friday, 1 pm) and Choral Evensong (5:30 pm every Friday).
The ‘Spire of Hope’ and John MacGeagh’s large Celtic cross on the north transept of Saint Anne’s Cathedral (Photograph: Patrick Comerford, 2024)
Patrick Comerford
During our short weekend visit to Belfast, I visited or revisited a number of places of interest in the city, including Saint George’s Church on High Street and Saint Anne’s Cathedral on Donegall Street.
I have been in Saint Anne’s many times in the past, as a student in the 1980s, during General Synods, at ordinations in 2013, 2015 and 2016, and taking part in special services, and in advance of my ordination I had some of my papers signed on the cathedral steps in May 2000.
There has always been a warm welcome from the Deans of Belfast, including Samuel Crooks, Jack Shearer, Houston McKelvey, and John Mann, who brought me around the cathedral on a personal tour on one occasion.
Inside Saint Anne’s Cathedral, Belfast, looking towards the choir and the east end (Photograph: Patrick Comerford, 2024)
Saint Anne’s is an unusual cathedral in the Church of Ireland, for it serves one city and two separate dioceses (Connor and Down and Dromore) which have their own cathedrals (in Lisburn, Downpatrick and Dromore), yet it is the seat of neither bishop, although they both have seats in the chancel.
Belfast received its first charter in 1613, but it remained a city without a cathedral for centuries. The Corporation Church, on the site of Saint George’s Church on High Street, was the main church until the 1770s, when it had fallen into disrepair.
The old church on High Street was demolished in 1774. The patron of the parish, Arthur Chichester (1739-1799), 5th Earl of Donegall and later Marquess of Donegall, was the dominant local landowner in Belfast. But, instead of rebuilding the church, he gave an expansive site for a new church on Donegall Street, a few hundred metres from Saint George’s. Building work began on 9 May 1774 and the church was completed 2½ years later. Lord Donegall’s wish to install bells was unfulfilled because the tower-cupola, the major feature of the west front, was unable to support their weight.
The only remaining links with Lord Donegall in the cathedral today is the Sovereign’s Chair and now in the south aisle (Photograph: Patrick Comerford, 2024)
The new church was named Saint Anne’s after Lord Donegall’s first wife, Lady Anne Hamilton (1738-1780), daughter of James Hamilton, 5th Duke of Hamilton. Much of the ancient records, silver and other treasures of Saint George’s were moved to Saint Anne’s, while the bell and charity boards went to Clifton House, which opened in 1774. Saint Anne’s Church would later become Saint Anne’s Cathedral.
The Chichester pew was in a west gallery beneath the Snetzler organ presented by Lord Donegall in 1781. The organ was brought down into the redundant Chichester pew in 1886. A window in the east apse displayed the Chichester coat of arms until it was replaced by the Good Samaritan window in 1887.
The only remaining links with Lord Donegall in the cathedral today are the Sovereign’s Chair and Desk, presented in 1787, and now on display in the south aisle.
Inside Saint Anne’s Cathedral, Belfast, looking from the choir towards the west end (Photograph: Patrick Comerford, 2024)
Saint Anne’s Church was designed in the classical style by the architect Francis Hiorne (1744-1789), who also designed Saint Mary and Saint Giles Church, Stony Stratford, in 1777. Saint Anne’s Church was consecrated in 1776, and became the parish church of Belfast.
The first proposal for a cathedral in Belfast came from the Dean and Chapter of Connor in 1860. At the time, Connor and Down and Dromore were united as dioceses, ever since the saintly Jeremy Taylor was bishop after the Caroline Restoration in the 1660s. So the scheme was not as geographically difficult as it now appears.
After the proposal for a cathedral in Belfast was presented to the Diocesan Council by Bishop Thomas Welland, the project was taken up enthusiastically by Henry Stewart O’Hara when he became Rector of Belfast in 1894.
Sir Thomas Drew (1838-1910) was chosen as architect, and he was assisted by WH Lynn. The style chosen was Romanesque – characterised by semi-circular arches – and the building as designed in form of a basilica. The foundation stone was laid on 6 September 1899 by the Countess of Shaftesbury in the presence of the Archbishops of Armagh and Dublin.
The choir, high altar and east end of Saint Anne’s Cathedral, Belfast (Photograph: Patrick Comerford, 2024)
The old parish church of Saint Anne continued in use while the new cathedral was being built around it. By 1903, the tower of Saint Anne’s Church had been dismantled and the church was no longer visible from the street.
The old church was not demolished until the end of 1903. Today, the only remaining feature from the old church is the Good Samaritan window in the anmbulatory.
For five months, the congregation of Saint Anne’s worshipped in the Clarence Place Hall in May Street. The nave of the cathedral was completed in 1904 and was consecrated by Bishop Welland on 2 June 1904.
The Good Samaritan window in the anmbulatory is the only remaining feature from Saint Anne’s Church (Photograph: Patrick Comerford, 2024)
On the north side of the nave, moving from the west doors to the choir, the following corbels are set above each column or respond: the Archangel Gabriel, Bishop George Berkeley, Dean Henry Stewart O’Hara, Archbishop William King, Provost George Salmon, Bishop Jeremy Taylor, and the Archangel Michael.
On the south side of the nave, moving from the choir to the west doors, the figures in the corbels above each column or respond are: the Archangel Raphael, Archbishop James Ussher, Bishop Thomas Percy, Bishop William Bedell, Archbishop William Alexander, Cecil Frances Alexander and the Archangel Uriel.
Each of the pillars represents an aspect of life in Northern Ireland: science, linen industry, healing, agriculture, music, theology, shipbuilding, freemasonry, the arts, womanhood. The half columns or responds represent the cardinal virtues: courage, justice, temperance and wisdom.
The High Altar in Saint Anne’s Cathedral, Belfast (Photograph: Patrick Comerford, 2024)
The nave windows depict major figures from the Old Testament figures, the west windows depict temple-building, and the windows in the ambulatory represent five of Saint Paul’s fruits of the spirit.
The west front of the cathedral was built in the 1920s as a memorial to the men and women of Ulster who died in World War I, and was designed by the architect Sir Charles Archibald Nicholson.
The central crossing, where the chapter and choir are seated, was built in 1922-1924.
Mosaics depicting the life of Saint Patrick in the Chapel of the Holy Spirit (Photograph: Patrick Comerford, 2024)
The Baptistry was built to plans drawn up by WH Lynn, who had assisted Sir Thomas Drew, and was dedicated in 1928.
The Chapel of the Holy Spirit, with mosaics depicting Saint Patrick, was dedicated on 5 July 1932, the 1,500th anniversary of the arrival of Saint Patrick in Ireland. It is open daily for private prayer and reflection.
The only tomb in the cathedral is that of the Dublin-born Unionist leader Edward Carson (1854-1935), who was given a state funeral in 1935 and is buried in the south aisle.
Edward Carson was given a state funeral in 1935 and buried in the south aisle (Photograph: Patrick Comerford, 2024)
The cathedral was almost destroyed in 1941 by a German bomb that caused extensive damage to surrounding properties.
Work began on building the ambulatory, at the east end of the cathedral, in 1955. This work was dedicated in 1959, but it was not for another 10 years before work began on the north and south transepts. The Troubles and inflation led to long delays and major problems with financing this work.
The south transept, containing the Chapel of Unity and with the organ loft above, was dedicated in 1974.
The Chapel of Unity in the south transept was dedicated in 1974 (Photograph: Patrick Comerford, 2024)
The north transept, with a large Celtic cross designed by John MacGeagh on the exterior, houses the Chapel of the Royal Irish Rifles and was completed in 1981.
When Bishop Jeremy Taylor’s old church at Lower Ballinderry was restored some years ago, portions of its ancient oak furniture were made into a chair. The chair is now placed beneath his portrait on the north side of the ambulatory, providing a link with the great Bishop of Down and Connor and Dromore who is commemorated in the corbel above the Pillar of Music on the north side of the nave.
Work on the north and south transepts began in the 1960s. The south transept, with the Chapel of Unity and the organ loft, was dedicated in 1974; the north transept, with the Chapel of the Royal Irish Rifles, was completed in 1981.
The cathedral organ, with four manuals, is the second largest pipe-organ in Northern Ireland. It was built by Harrison and Harrison in 1907 and rebuilt in 1969-1975.
A mosaic in the Chapel of the Holy Spirit depicting Isaiah’s vision in the Temple (Photograph: Patrick Comerford, 2024)
A 40-metre stainless steel spire, known as the ‘Spire of Hope,’ was installed on top of the cathedral in 2007. The base of the spire protrudes through a glass platform in the roof directly above the choir stalls, allowing it to be viewed from the nave. The steel spire is lit up at night and is part of a wider redevelopment plan for the Cathedral Quarter.
Belfast Cathedral is probably best known for the ‘Black Santa’ sit-outs at Christmas each year, first organised over 40 years ago by Dean Samuel Crooks. The tradition has been continued by successive deans, including the Very Stephen Forde, who has been dean since 2018, and the chapter members.
Today, Belfast Cathedral is also the focal point of Belfast’s Cathedral Quarter.
The Dean of Belfast is the Very Stephen Forde, and the Revd Cameron Mack is the cathedral curate. The Diocese of Connor and the Diocese of Down and Dromore each has four chapter members or canons.
Looking out onto the Cathedral Quarter from the west doors of Saint Anne’s Cathedral (Photograph: Patrick Comerford, 2024)
• Said or Sung Eucharist is celebrated in Saint Anne’s Cathedral on Sundays at 11 am, with Evening Prayer or Evensong at 3:30. The weekday daily services include lunchtime prayers (1 pm, Monday, Tuesday and Thursday), Holy Communion (1 pm, Wednesday, saints’ days and other holy days), a Service of Healing (Friday, 1 pm) and Choral Evensong (5:30 pm every Friday).
The ‘Spire of Hope’ and John MacGeagh’s large Celtic cross on the north transept of Saint Anne’s Cathedral (Photograph: Patrick Comerford, 2024)
21 August 2019
Half a century later,
Centre Point is still
‘coarse in the extreme’
Centre Point … still a landmark building in London after half a century (Photograph: Patrick Comerford, 2019)
Patrick Comerford
When I began training as a chartered surveyor after I left school, one of the modern wonders of the property developers’ world was Centre Point, a large, multi-storey office block that stood empty for years.
It was controversial even then, when it was seen as being brash and crude. It featured on television programme and on the cover of book, and half a century ago it was at the heart of many protests that were closer to my heart then than the training I was going through with a large property company and the College of Estate Management at Reading University.
Yet Centre Point was held up as an object lesson to my generation of the ‘build-em-high’ approach in the property world at the end of the 1960s and in the early 1970s, and Harry Hyams, its developer, was held up as an innovative, entrepreneurial developer who managed to build up his portfolio and amass his wealth with a minimal staff.
Harry Hyams (1928-2015) made much of his fortune developing office space in London in the 1960s and 1970s when rents there were rising significantly. He preferred to find single, blue-chip tenants for his properties, having them fully repair and insure the buildings they occupied.
This approach allowed him to manage a valuable and sizable property business with a staff of just six. He also used that as justification for keeping Centre Point empty for years after it was completed, claiming he could find no tenant willing to lease all the space.
The negative reactions created by Centre Point were in sharp contrast to the positive acceptance of the nearby Post Office Tower (now the BT Tower), with its revolving restaurant.
All these memories came back in London last week as I walked back to the St Giles Hotel in Bloomsbury from Westminster, along Whitehall and Charing Cross Road, and found myself in front of Centre Point at 101-103 New Oxford Street and 5-24 St Giles High Street. It also has a frontage to Charing Cross Road, close to St Giles Circus and is almost directly above Tottenham Court Road Underground station.
Centre Point was built between 1963 and 1966 as speculative office space by the property tycoon Harry Hyams, who leased the site at £18,500 a year for 150 years.
This was one of the first skyscrapers in London. It is a 33-storey tower, with 27,180 sq metres of floor space. A nine-storey block beside it has shops, offices, retail units and maisonettes, and there is a linking block between the two at first-floor level.
The building was designed by George Marsh of the architects R Seifert and Partners, and was built by Wimpey Construction for £5.5 million.
Hyams wanted one single tenant for the whole building. Because he was a tough negotiator, the building remained vacant for many years after its completion in 1966.
Property prices were rising at the time, and most business tenancies involved leases for set periods of 10 or 15 years. Hyams could afford to keep Centre Point empty and wait for his single tenant at his asking price of £1.25 million. He was challenged to allow tenants to rent single floors, but consistently refused.
Because it was vacant for so long, it became known as ‘London’s Empty Skyscraper.’ Skyscrapers were rare in London, and Centre Point became a focus for protests in London.
The homeless charity Centrepoint was founded in 1969 as a homeless shelter in nearby Saint Anne’s, Soho, by the Revd Kenneth Leech, who typified the Anglo-Catholic ‘slum priest’. He named Centrepoint in response to Centre Point being seen as an affront to the homeless because it had been left empty as Harry Hyams saw the value of his property portfolio increase.
An umbrella group of Direct Action housing campaigners, including Jim Radford, Ron Bailey and Jack Dromey, organised a weekend occupation of Centre Point from 18 to 20 January 1974 to draw to the housing crisis in London as Centre Point remained vacant.
Eventually tenants were found in 1975. From 1980 to 2014, Centre Point was the headquarters of the Confederation of British Industry (CBI).
Centre Point was bought in 2005 by the commercial property firm Targetfollow for £85 million, and was extensively refurbished. The tenants included the US talent agency William Morris, the Saudi state-owned national oil company Aramco, the Chinese oil company Petrochina, and electronic gaming company EA Games.
Although Centre Point became a Grade II listed building in 1995, and won the Concrete Society’s Mature Structures Award in 2009, it was never really a pretty site. Perhaps the iron is not lost that the site was once occupied by a gallows.
A promised transport link never materialised, the pedestrian subway attracted anti-social activities, the building was cited as an example of bad design, badly-designed pavements were forcing the pedestrians into the bus lane and reports pointed to the highest level of pedestrian injuries in Central London.
Recently, it was bought by Almacantar, and was converted from office space to luxury flats in 2015 by Conran and Partners.
As I looked up at Centre Point that grey and wet afternoon last week, I had to agree with England’s greatest architectural historian and critic, Sir Nikolaus Pevsner, who once described Centre Point as ‘coarse in the extreme.’
Patrick Comerford
When I began training as a chartered surveyor after I left school, one of the modern wonders of the property developers’ world was Centre Point, a large, multi-storey office block that stood empty for years.
It was controversial even then, when it was seen as being brash and crude. It featured on television programme and on the cover of book, and half a century ago it was at the heart of many protests that were closer to my heart then than the training I was going through with a large property company and the College of Estate Management at Reading University.
Yet Centre Point was held up as an object lesson to my generation of the ‘build-em-high’ approach in the property world at the end of the 1960s and in the early 1970s, and Harry Hyams, its developer, was held up as an innovative, entrepreneurial developer who managed to build up his portfolio and amass his wealth with a minimal staff.
Harry Hyams (1928-2015) made much of his fortune developing office space in London in the 1960s and 1970s when rents there were rising significantly. He preferred to find single, blue-chip tenants for his properties, having them fully repair and insure the buildings they occupied.
This approach allowed him to manage a valuable and sizable property business with a staff of just six. He also used that as justification for keeping Centre Point empty for years after it was completed, claiming he could find no tenant willing to lease all the space.
The negative reactions created by Centre Point were in sharp contrast to the positive acceptance of the nearby Post Office Tower (now the BT Tower), with its revolving restaurant.
All these memories came back in London last week as I walked back to the St Giles Hotel in Bloomsbury from Westminster, along Whitehall and Charing Cross Road, and found myself in front of Centre Point at 101-103 New Oxford Street and 5-24 St Giles High Street. It also has a frontage to Charing Cross Road, close to St Giles Circus and is almost directly above Tottenham Court Road Underground station.
Centre Point was built between 1963 and 1966 as speculative office space by the property tycoon Harry Hyams, who leased the site at £18,500 a year for 150 years.
This was one of the first skyscrapers in London. It is a 33-storey tower, with 27,180 sq metres of floor space. A nine-storey block beside it has shops, offices, retail units and maisonettes, and there is a linking block between the two at first-floor level.
The building was designed by George Marsh of the architects R Seifert and Partners, and was built by Wimpey Construction for £5.5 million.
Hyams wanted one single tenant for the whole building. Because he was a tough negotiator, the building remained vacant for many years after its completion in 1966.
Property prices were rising at the time, and most business tenancies involved leases for set periods of 10 or 15 years. Hyams could afford to keep Centre Point empty and wait for his single tenant at his asking price of £1.25 million. He was challenged to allow tenants to rent single floors, but consistently refused.
Because it was vacant for so long, it became known as ‘London’s Empty Skyscraper.’ Skyscrapers were rare in London, and Centre Point became a focus for protests in London.
The homeless charity Centrepoint was founded in 1969 as a homeless shelter in nearby Saint Anne’s, Soho, by the Revd Kenneth Leech, who typified the Anglo-Catholic ‘slum priest’. He named Centrepoint in response to Centre Point being seen as an affront to the homeless because it had been left empty as Harry Hyams saw the value of his property portfolio increase.
An umbrella group of Direct Action housing campaigners, including Jim Radford, Ron Bailey and Jack Dromey, organised a weekend occupation of Centre Point from 18 to 20 January 1974 to draw to the housing crisis in London as Centre Point remained vacant.
Eventually tenants were found in 1975. From 1980 to 2014, Centre Point was the headquarters of the Confederation of British Industry (CBI).
Centre Point was bought in 2005 by the commercial property firm Targetfollow for £85 million, and was extensively refurbished. The tenants included the US talent agency William Morris, the Saudi state-owned national oil company Aramco, the Chinese oil company Petrochina, and electronic gaming company EA Games.
Although Centre Point became a Grade II listed building in 1995, and won the Concrete Society’s Mature Structures Award in 2009, it was never really a pretty site. Perhaps the iron is not lost that the site was once occupied by a gallows.
A promised transport link never materialised, the pedestrian subway attracted anti-social activities, the building was cited as an example of bad design, badly-designed pavements were forcing the pedestrians into the bus lane and reports pointed to the highest level of pedestrian injuries in Central London.
Recently, it was bought by Almacantar, and was converted from office space to luxury flats in 2015 by Conran and Partners.
As I looked up at Centre Point that grey and wet afternoon last week, I had to agree with England’s greatest architectural historian and critic, Sir Nikolaus Pevsner, who once described Centre Point as ‘coarse in the extreme.’
16 September 2013
An afternoon filled with light in
Saint Anne’s Cathedral, Belfast
Saint Anne’s Cathedral, Belfast … a cathedral for one city and two dioceses (Photograph: Patrick Comerford, 2013)
Patrick Comerford
I was in Saint Anne’s Cathedral in Donegall Street, Belfast, yesterday afternoon [Sunday 15 September 2013] for the ordination of the Revd Roderick Smyth as deacon to serve in the parish of Saint John the Evangelist, Malone Road.
There was a very warm welcome from the Dean of Belfast, the Very Revd John Mann, and he walked around the cathedral with mefor some time before the Ordination Service.
Saint Anne’s is an unusual cathedral for it serves two separate dioceses (Connor and Down and Dromore) which have their own cathedrals (in Lisburn, Downpatrick and Dromore), yet it is the seat of neither bishop, although they both have seats in the chancel.
Belfast received its first charter in 1613, but remained a city without a cathedral for centuries.
Bishop Jeremy Taylor’s ‘chair’ in the north ambulatory (Photograph: Patrick Comerford, 2013)
The first proposal for a cathedral in Belfast came from the Dean and Chapter of Connor in 1860. At the time Connor and Down and Dromore were united as dioceses, ever since the saintly Jeremy Taylor was bishop after the Caroline Restoration in the 1660s. So the scheme was not as geographically difficult as it now appears.
After the proposal for a cathedral in Belfast was presented to the Diocesan Council by Bishop Thomas Welland, the project was taken up enthusiastically by Henry Stewart O’Hara when he became Rector of Belfast in 1894.
Sir Thomas Drew (1838-1910) was chosen as architect, and the foundation stone was laid in 1899 by the Countess of Shaftesbury in the presence of the Archbishops of Armagh and Dublin.
The Good Samaritan window survives from old Saint Anne’s (Photograph: Patrick Comerford, 2013)
The old parish church of Saint Anne continued in use while the new cathedral was being built around it and the old church was not demolished until the end of 1903. Today, the the only remaining feature from the old church is the Good Samaritan window in the sanctuary.
The nave of the cathedral was completed in 1904 and was consecrated by Bishop Welland that June.
On the north side of the nave, running from the West Doors to the Choir, the following corbels are set above each column or respond: the Archangel Gabriel, Bishop George Berkeley, Dean Henry Stewart O’Hara, Archbishop William King, Provost George Salmon, Bishop Jeremy Taylor, and the Archangel Michael.
On the south side of the nave, running from the Choir to the West Doors, the figures in the corbels above each column or respond are: the Archangel Raphael, Archbishop James Ussher, Bishop Thomas Percy, Bishop William Bedell, Archbishop William Alexander, Cecil Frances Alexander and the Archangel Uriel.
The West Front of the cathedral was built in the 1920s (Photograph: Patrick Comerford, 2013)
The west front of the cathedral was built in the 1920s as a memorial to the men and women of Ulster who died in World War I. The central crossing was built in the early 1920s. The Baptistery was dedicated in 1928. The Chapel of the Holy Spirit, with mosaics depicting Saint Patrick, was dedicated on 5 July 1932, the 1,500th anniversary of the arrival of Saint Patrick in Ireland.
Mosaics depicting Saint Patrick’s missionary journey to Ireland (Photograph: Patrick Comerford, 2013)
The only tomb in the cathedral is that of the Unionist leader Edward Carson, who was given a state funeral in 1935 and buried in the south aisle.
The ambulatory, at the east end of the cathedral, was built in the 1950s. When Bishop Jeremy Taylor’s old church at Lower Ballinderry was restored some years ago, portions of its ancient oak furniture were made into a chair. The chair is now placed beneath his portrait on the north side of the ambulatory, providing a link with the great Bishop of Down and Connor and Dromore who is commemorated in the corbel above the Pillar of Music on the north side of the nave.
Work on the north and south transepts began in the 1960s. The south transept, with the Chapel of Unity and the organ loft, was dedicated in 1974; the north transept, with the Chapel of the Royal Irish Rifles, was completed in 1981.
A 40-metre stainless steel spire, the “Spire of Hope,” was installed on top of the cathedral in 2007.
Belfast Cathedral is probably best known for the “Black Santa” sit-outs at Christmas, first organised over 30 years ago by Dean Samuel Crooks. The tradition has been continued by successive deans, including the present dean, the Very Revd John Mann, and the chapter members.
During coffee in the side aisles after the ordination service, Dean Mann pointed out a number of features in the cathedral that I had missed earlier in the afternoon. By then, the sun was lowering in the west, and its rays were shining brightly through the West Door, filling this modern cathedral with light.
Light fills Saint Anne’s Cathedral, Belfast, through the West Door (Photograph: Patrick Comerford, 2013)
Patrick Comerford
I was in Saint Anne’s Cathedral in Donegall Street, Belfast, yesterday afternoon [Sunday 15 September 2013] for the ordination of the Revd Roderick Smyth as deacon to serve in the parish of Saint John the Evangelist, Malone Road.
There was a very warm welcome from the Dean of Belfast, the Very Revd John Mann, and he walked around the cathedral with mefor some time before the Ordination Service.
Saint Anne’s is an unusual cathedral for it serves two separate dioceses (Connor and Down and Dromore) which have their own cathedrals (in Lisburn, Downpatrick and Dromore), yet it is the seat of neither bishop, although they both have seats in the chancel.
Belfast received its first charter in 1613, but remained a city without a cathedral for centuries.
Bishop Jeremy Taylor’s ‘chair’ in the north ambulatory (Photograph: Patrick Comerford, 2013)
The first proposal for a cathedral in Belfast came from the Dean and Chapter of Connor in 1860. At the time Connor and Down and Dromore were united as dioceses, ever since the saintly Jeremy Taylor was bishop after the Caroline Restoration in the 1660s. So the scheme was not as geographically difficult as it now appears.
After the proposal for a cathedral in Belfast was presented to the Diocesan Council by Bishop Thomas Welland, the project was taken up enthusiastically by Henry Stewart O’Hara when he became Rector of Belfast in 1894.
Sir Thomas Drew (1838-1910) was chosen as architect, and the foundation stone was laid in 1899 by the Countess of Shaftesbury in the presence of the Archbishops of Armagh and Dublin.
The Good Samaritan window survives from old Saint Anne’s (Photograph: Patrick Comerford, 2013)
The old parish church of Saint Anne continued in use while the new cathedral was being built around it and the old church was not demolished until the end of 1903. Today, the the only remaining feature from the old church is the Good Samaritan window in the sanctuary.
The nave of the cathedral was completed in 1904 and was consecrated by Bishop Welland that June.
On the north side of the nave, running from the West Doors to the Choir, the following corbels are set above each column or respond: the Archangel Gabriel, Bishop George Berkeley, Dean Henry Stewart O’Hara, Archbishop William King, Provost George Salmon, Bishop Jeremy Taylor, and the Archangel Michael.
On the south side of the nave, running from the Choir to the West Doors, the figures in the corbels above each column or respond are: the Archangel Raphael, Archbishop James Ussher, Bishop Thomas Percy, Bishop William Bedell, Archbishop William Alexander, Cecil Frances Alexander and the Archangel Uriel.
The West Front of the cathedral was built in the 1920s (Photograph: Patrick Comerford, 2013)
The west front of the cathedral was built in the 1920s as a memorial to the men and women of Ulster who died in World War I. The central crossing was built in the early 1920s. The Baptistery was dedicated in 1928. The Chapel of the Holy Spirit, with mosaics depicting Saint Patrick, was dedicated on 5 July 1932, the 1,500th anniversary of the arrival of Saint Patrick in Ireland.
Mosaics depicting Saint Patrick’s missionary journey to Ireland (Photograph: Patrick Comerford, 2013)
The only tomb in the cathedral is that of the Unionist leader Edward Carson, who was given a state funeral in 1935 and buried in the south aisle.
The ambulatory, at the east end of the cathedral, was built in the 1950s. When Bishop Jeremy Taylor’s old church at Lower Ballinderry was restored some years ago, portions of its ancient oak furniture were made into a chair. The chair is now placed beneath his portrait on the north side of the ambulatory, providing a link with the great Bishop of Down and Connor and Dromore who is commemorated in the corbel above the Pillar of Music on the north side of the nave.
Work on the north and south transepts began in the 1960s. The south transept, with the Chapel of Unity and the organ loft, was dedicated in 1974; the north transept, with the Chapel of the Royal Irish Rifles, was completed in 1981.
A 40-metre stainless steel spire, the “Spire of Hope,” was installed on top of the cathedral in 2007.
Belfast Cathedral is probably best known for the “Black Santa” sit-outs at Christmas, first organised over 30 years ago by Dean Samuel Crooks. The tradition has been continued by successive deans, including the present dean, the Very Revd John Mann, and the chapter members.
During coffee in the side aisles after the ordination service, Dean Mann pointed out a number of features in the cathedral that I had missed earlier in the afternoon. By then, the sun was lowering in the west, and its rays were shining brightly through the West Door, filling this modern cathedral with light.
Light fills Saint Anne’s Cathedral, Belfast, through the West Door (Photograph: Patrick Comerford, 2013)
Subscribe to:
Posts (Atom)
































