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Showing posts with label chadwick. Show all posts
Showing posts with label chadwick. Show all posts

Monday, 22 July 2024

Artworks in the Diocese of Chelmsford

My latest article for Church Times is about the artist Enid Chadwick, whose painting 'The Baptism of Christ' hangs in St Mary's Runwell. There are many interesting artworks to be found in the Diocese of Chelmsford; a fact I have been involved in highlighting previously through art trails in the Barking Episcopal Area - see here, hereherehere, here, here, here, here, here, and here. Most recently, I have included a listing of artworks to be found in the Basildon Deanery here and the Wickford and Runwell Team Ministry here and here. See also my post about artists in Broomfield - here.

On the back of these and other sources of information, here is a partial listing of artists with work which can be found in churches within the Diocese of Chelmsford:

  • Mark Angus: St Mary the Virgin Maldon.
  • G.F.Bodley: St John the Baptist Epping.
  • John Bridgeman: St Bartholomew East Ham.
  • Sarah Burgess: St Edmund Chingford.
  • Edward Burne-Jones: Ilford Hospital Chapel, St Lawrence Bradfield.
  • William Butterfield: St Catherine Wickford.
  • W.D. Caroe: St Barnabas Walthamstow.
  • Sir Hugh Casson: St Andrew Greensted-Juxta-Ongar.
  • Mark Cazalet: Chelmsford Cathedral; St Alban Romford.
  • Enid Chadwick: St Mary Runwell.
  • Fyffe Christie: St Margaret Stanford Rivers.
  • Margaret Chilton: St Andrew Leytonstone.
  • Clayton & Bell: St Barnabas Walthamstow.
  • Stanley Clifford-Smith, St John the Baptist with Our Lady and St Laurence Thaxted
  • John Coleman: St Andrew Romford.
  • Ninian Comper: St Barnabas Little Ilford.
  • John Constable: St Mary Dedham.
  • Samuel Cooper: St Augustine of Canterbury Birdbrook
  • Anne Creasey: Christ Church Thamsview.
  • Robert Crutchley: St Michael and All Angels Manor Park.
  • Hilary Davies: St Andrew Leytonstone.
  • Lewis Davies: St Andrew Leytonstone.
  • Louis B. Davis: St John Seven Kings.
  • Georg Ehrlich: Chelmsford Cathedral.
  • Peter Eugene-Ball: Chelmsford Cathedral; St Alban Romford.
  • Leonard Evetts: St Paul Goodmayes.
  • Faith-Craft Works: St Barnabas Walthamstow; St Paul Goodmayes.
  • Eric Gill: St Barnabas Walthamstow.
  • Angela Godfrey: St Peter-Ad-Vincula Royden.
  • David Griffiths: St Andrew Ilford.
  • Hans Feibusch: St Martin Dagenham.
  • David Folley: St Andrew Wickford.
  • Anthony Foster: St Peter Aldborough Hatch.
  • Peter Foster: St Martin of Tours Basildon.
  • Wilfrid Gabriel de Glehn: St Michael Theydon Mount.
  • Charles Gurrey: St Alban Romford; St Barnabas Walthamstow.
  • John Hardman: St Lawrence Bradfield.
  • Charles Hare: St John the Baptist Epping.
  • John Hayward: St Peter-Ad-Vincula Royden.
  • Henningham Family Press: St Peter Harold Wood.
  • Gwynneth Holt: All Saints Stock; St Andrew Hornchurch; St Margaret of Antioch Downham; St Mary Broomfield.
  • Derek Hunt: St John Seven Kings, St Peter and St Thomas Stambourne.
  • John Hutton: Chelmsford Cathedral; St Erkenwald Barking; St George Gants Hill.
  • Thomas Bayliss Huxley-Jones: Chelmsford Cathedral; St Martin of Tours Basildon; St Peter Aldborough Hatch.
  • George Jack: St Margaret Barking.
  • C.E. Kempe & Co. Ltd: St James Nayland; St John the Baptist Epping; St John Seven Kings.
  • Mark Lewis: St Margaret of Antioch Ilford.
  • Alison McCaffrey: St Edward Romford.
  • Morris & Co.: Holy Cross Hornchurch; St Paul Goodmayes.
  • Nicholas Mynheer: St Bartholomew East Ham.
  • Kjellaug Nordsjö: Diocesan Retreat House Pleshey; St Margaret Barking.
  • Joseph Nuttgens: St Martin of Tour Basildon.
  • John Piper: St Paul Harlow.
  • John Pitt: St Alban Romford.
  • Hugh Powell: Little Horkesley, Essex
  • Jane Quail: St Paul East Ham; St Paul Goodmayes.
  • Patrick Reyntiens: St Alban Romford.
  • Caroline Richardson: Church of the Good Shepherd Collier Row; St Luke’s Chapel Queen’s Hospital Romford; St Peter Harold Wood.
  • Richard Richardson: St Peter-Ad-Vincula Royden.
  • Zdzislaw Ruszkowski: St Peter Harlow.
  • Rosemary Rutherford: St Edmund Tendring; St Lawrence Bradfield; St Mary Broomfield; St Paul Clacton-on-Sea; St Peter Nevenden.
  • Jamie Sargeant: St Alban Romford.
  • Henry Shelton: All Saints Goodmayes; All Saints Hutton; St Barnabas Walthamstow; St Luke’s Chapel Queen’s Hospital Romford; St Paul Goodmayes.
  • F.W. Skeat: St Margaret Stanford Rivers.
  • Charles Smith: St Barnabas Walthamstow.
  • Peter S. Smith: St John Leytonstone.
  • Francis Stephens: Church of the Holy Innocents, High Beach; St Martin Chipping Ongar; St Peter-on-the-Wall Bradwell.
  • Alan Stewart: St Margaret Barking.
  • Steven Sykes: Holy Trinity & St Augustine of Hippo Leytonstone.
  • Josephina de Vasconcellos: St John the Baptist Epping.
  • Leonard Walker: St Martin Chipping Ongar.
  • Peter Webb: St Mary Woodford.
  • A.Wyatt: St Peter Aldborough Hatch.
  • Alan Younger: St Andrew Leytonstone; St Mary Woodford; St Paul Woodford Bridge.

I'm looking to extend the list in order to make it more comprehensive, so do let me know of any artists or locations that are missing. 

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Joy Williams - One Day I Will.

Friday, 19 July 2024

Church Times: Enid Chadwick brought colour to the Shrine

My latest article for Church Times is about the artist Enid Chadwick, whose painting 'The Baptism of Christ' hangs in St Mary's Runwell:

'ST MARY’s, Runwell, is the most historic and Anglo-Catholic of the three churches in the Wickford and Runwell Team Ministry, where I minister. The unusual but beautiful interior of St Mary’s — principally the result of decisions made by a collection of interesting former incumbents — is enhanced by a large painting, The Baptism of Our Lord, behind the font.

With its flat, outlined style and use of gold leaf, this image has the feel of an icon. Christ is seen in the waters of the Jordan, depicted as a cleft in the rock, a reminder of God’s provision of water to the Israelites in the wilderness. Christ is framed by John the Baptist on the left, angels on the right, and, above, the hand of God the Father and the dove of the Spirit.'

For more about artworks in the Parish of Wickford and Runwell click here and for more about artworks in the Basildon Deanery here.

Other of my pieces for Church Times can be found here. My writing for ArtWay can be found here. My pieces for Artlyst are here, those for Seen & Unseen are here, and those for Art+Christianity are here.





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Sunday, 15 January 2023

Come and See






Here's the Sermon I shared in the All-age Eucharist at St Mary’s Runwell this morning:

Andrew says to Jesus, ‘Teacher, where are you staying?’ Jesus says, ‘Come and see.’ After spending the day with Jesus, Andrew goes to his brother and essentially says to him, ‘Come and see Jesus’ (John 1: 29-42).

What Andrew does is essentially what Jesus wants us to do, to say to others ‘Come and see’.

That’s also my offer this morning as we gather here together. ‘Come and see’. I wonder if any of the children here would like to ‘Come and see’ some interesting parts of the church.

[Invite someone to come and see with you]

Here’s a copy of our Reflective Tour of the church which enables us to pray our way around the building. We’ll use some of the information and prayers in it as we come and see what’s by the font first.

So, come and see 'The Baptism of Our Lord' by Enid Chadwick. Enid Mary Chadwick, who was known for religious art and children's religious material, lived in Walsingham for more than fifty years and her paintings appear in the Anglican Shrine of Our Lady of Walsingham. Peter Kwasniewski has written that Chadwick’s work is “simple enough for young children, and yet at the same time full of complexities for those who are attentive.”

What do you see in this painting?

With its flat, outlined style and use of gold leaf, ‘The Baptism of Christ’ has the feel of an icon without having been written as a traditional icon. Christ is framed by John the Baptist on the left, angels on the right and above, the hand of God the Father and the dove of the Spirit. In this way, Chadwick has created a simple, yet unified design, centred on Christ and the significance of baptism as a doorway to faith. The painting was gifted to the church by Fr David John Silk Lloyd.

Come and see the altar table and cross in our side chapel. Local woodworker David Garrard crafted Stations of the Cross using the motif of the Runwell Cross (which is found originally on the Prioresses Tomb) which have been placed around the church. David Garrard also built this altar for the side chapel together with the inscribed cross above.

What do you notice about the cross and the altar?

The words carved on the cross encourage us to reflect on our start in life, our own personal mortality, and the ways God has been present with us on our journey through life and will be with us into eternity.

Finally, come and see what’s in the sanctuary.

This tomb is known as the Prioress’s tomb because it may have been the tomb of the last Prioress of the Nunnery alongside the running well which is located a couple of miles away and may have given Runwell its name. If you look closely, you’ll see the Runwell Cross on the tomb. Reflecting on the Runwell Cross, we notice that it is formed by four circles in a square; the instrument of our redemption is set within a sign of the perfection of God. So, here we can pray that we might know God more fully in his divinity and his humanity.

I hope we’ve seen the value of coming to see for ourselves. When we allow others to show and share what and who they know, there is much that we can learn and much on which we can reflect.

That was the lesson that Andrew learnt in today’s Gospel reading and which he then shared with his brother Simon Peter. He came to see Jesus and, in doing so, realised that Jesus was the Messiah they had been expecting. In the Prologue to John’s Gospel, we read that Jesus is God the Father’s only son become flesh and blood and sharing the fullness of his Father’s glory. No one has ever seen God, we read, but through God the only Son, who is close to the Father’s heart, he has been made fully known.

That is what Andrew realised by coming to see; he was not seeing another ordinary man, instead he was seeing God in Jesus.

As Andrew invited his brother to also come and see Jesus, so we can do the same for our friends and family. Jesus calls us to make that same invitation. We might make that invitation my inviting them to come to church or by taking them round the church on a reflective tour that introduces them to Jesus or by giving them a copy of John’s Gospel to read. However, we do it our part in the process is to be the one who invites others to come and see Jesus. What happens after that is always down to God. 

Andrew said to Jesus, ‘Teacher, where are you staying?’ Jesus said, ‘Come and see.’ After spending the day with Jesus, Andrew went to his brother and said to him, ‘Come and see Jesus’. I invite you to go and do likewise.

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Thursday, 6 October 2022

Reflective Tour: St Mary's Runwell








St Mary’s Runwell: A reflective tour of its art and architecture

St Mary's is a magnificent mediaeval building which boasts an interesting and mixed history. The church is often described by both visitors and regular worshippers as a powerful sacred space to which they have been drawn. This powerful impact comes in part from the art and architecture in the space. This leaflet provides information about that aspect of the building and suggests reflections and prayers as you view the building and its artworks.

To find out more about St Mary's Runwell or to visit click here.

Art and architecture

The modern rood screen in the perpendicular style is by W.F. Unsworth (1909). The figure of Our Lord on the cross is suspended from a tie beam, west of the rood screen, is in memory of Paymaster Lieutenant John Rochester Graves, RNVR, who died in HMS Hood in 1941. The colouring of the screen at St Mary's and the murals the one pillar in the south aisle dates from the 1930s-1950s and was undertaken, by his sons, under the guidance of then Rector, Revd John Edward Bazille-Corbin to 'reproduce as closely as possible' the decoration of the medieval church.

The painting of St Peter and the crucifix below it were by Anthony Corbin and are 'restorations of medieval work which had been well and truly scraped out, but the traces of which could, at that date, still be faintly seen.' Two modern olive wood statues depict Our Lady and Our Lord, the latter given as a thank-offering for the remarkable survival and recovery of a son of Bazille-Corbin, from injuries received during service in the 1939-45 war. The statue of Our Lady was carved by a Carmelite Sister who had carved a similar statue for the Shrine Church in Walsingham.

The chancel is entirely perpendicular in style. The original fifteenth century East window with three trefoiled lights in four centred heads with a moulded hood, was reset in the east wall when the chancel was lengthened in 1907. A slim one-light cinque-foiled east window high over the chapel altar contains the only surviving fragments of medieval stained glass. The rest of the stained glass is modern and is entirely taken up with memorials to various members of the Kemble family with the exceptions of the east window of the chancel and the west window in the tower. This is in memory of the mother of the Rev. H.K. Harris, Rector 1891-1912. The figure of Gabriel, the Archangel, is in the west window.

A large painting of 'The Baptism of Our Lord' by Enid Chadwick of Walsingham was gifted to the church by Fr David John Silk Lloyd. Local woodworker David Garrard has crafted Stations of the Cross using the motif of the Runwell Cross (found originally on the Prioresses Tomb) which have been placed around the church. Garrard also built an altar for the side chapel together with an inscribed cross on the side chapel wall.

The south door ‘unusually wide and large’ has an original, fifteenth century oak door with original hinges and strapwork. The timber has a curious burn-like mark said to be the mark of the ‘Devil’s claw’. An interesting feature is the medieval scratched sundial on the west jamb of the doorway. The south chapel contains two original piscine and a squint.

Reflective tour

Inscribed cross: Reflect on your start in life, your own personal mortality, and the ways God has been present with you on your journey through life and will be with you into eternity.

Annunciation windows: Reflect on the possibilities that always exist for new beginnings and fresh opportunities in life. Pray that God will break into your life or those of others just as Gabriel suddenly appeared to Mary.

Nativity window: Reflect on Jesus moving into our neighbourhood. Pray for your neighbourhood that Christ may be recognised there.

‘The Baptism of Our Lord’: Reflect on your need for turning away from what is wrong in your life and finding new direction. Hear God speaking to you, as to Jesus, saying, “You are my beloved child.”

Statues of Our Lady: Reflect on Mary's lifelong commitment to God. Pray for inspiration from Our Lady and for your own commitment to be strengthened.

Peter (window and mural): Reflect on Peter’s courage and fallibility in walking on water and then sinking. Pray that you might be used by God, as Peter was, despite your own fallibilities.

Stations of the Cross: Reflect on the many ways in which people suffer throughout the world. Pray for people, countries and situations of which you know where people are suffering today.

Crucifixion: Reflect on Christ’s sacrifice of his life for you. Pray that you may know Christ through participation in his sufferings, becoming like him in his death.

Resurrection window: Reflect on the transformation that Jesus’ resurrection brought to the disciples. Pray for resurrection in any circumstances where things seem to have come to a dead end.

Devil's claw: Reflect on the ways in which evil manifests itself today. Pray that goodness may always be stronger than evil and love than hate.

Gabriel window: Reflect on the meaning of Gabriel’s name – “strength of God.” Ask that you might be strengthened by God and God’s angels in whatever challenges you currently face.

Prioress’s tomb: Reflect on the Runwell Cross, formed by four circles in a square; the instrument of our redemption set within a sign of the perfection of God. Pray that you might know God more fully in his divinity and his humanity.

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Saturday, 9 January 2016

Past Life - Present Mission (5)

Chapter 3: Christian life and mission in the light of Celtic Christianity (continued)

Spirituality: a target for growth in UPA Churches

Celtic Spirituality is filled with a great sense of spiritual presence, of Christ being present in all things, of an awareness of His immanence, of a spirituality rooted in a poor world where oppression, illness and danger were linked to fear and a poverty of spirit. In Christ the reality could be faced and the natural world was affirmed. There was a command to redeem the whole world. Joy and celebration in the Holy Spirit abounded, together with means through prayer for protection. This was the substance of the Celtic Spirituality provided through the ‘Woven Cord’ programme and the backcloth to the ‘Woven Cord’ programme supported that overall spiritual content.

The evaluation of key themes that resonated or did not resonate showed that Category 1 participants had absorbed the Celtic sense of spirituality. Such spirituality involves both body and soul, but is of a nature that links to all the realities, problems and joys of the real world of people, including that of Tyseley as an UPA.

Mission in UPAs: the Celtic Christian background

Patrick and Columba’s ministry was characterised by mission to established Christians and missionary evangelism to others, leading to conversion and Christian commitment. Their approach became a model for the wider work of Celtic Saints and countless monks who, within the practice of peregrinatio, integrated mission and evangelism. Hillgarth established that evangelisation in Ireland was carried on after Patrick’s death by ‘holy men’ who lived a life alternating between living as hermits or wandering preachers, teaching and evangelising. Patrick’s approach also involved a willingness to engage in open debate and opposition to Druidism. Thus, the Celtic Saints practised both mission and evangelism.

Nora Chadwick discusses this within the 4th-6th century context. She refers to the fact that Celtic monks, as part of their commitment to Peregrinatio, engaged either in missionary work or mission. Columba illustrates the difference between the two concepts. When Columba visited King Brude of the Picts, or when his monks subsequently worked among them, this was regarded as missionary work. It involved, in Chadwick’s view, a primary evangelistic introduction to them of the Christian faith. Whereas when Columba and fellow monks ministered to the Scotti, i.e. the Irish invaders who were colonising what is now Argyll in Scotland, they were engaging in mission. In Chadwick’s view the Scotti were already within the embrace of Christianity. Peregrinatio was the ascetic discipline behind such mission and missionary evangelism. In practice any distinction between Celtic mission and evangelistic mission as meaning missionary work is really quite tenuous.

In the context of this study, I have used an applied definition of mission and evangelism. The definition is closely based on Nora Chadwick’s explanation about Celtic mission and missionary evangelism during the 4th-7th centuries AD. The setting of this applied definition was strictly within Tyseley as a ‘deprived’ neighbourhood, defined nationally as an ‘Urban Priority Area:
  • Mission: Contemporary Christian work amongst established believers to encourage them in the growth of spirituality as expressed in daily Christian living within their UPA. This I regarded as a pre-requisite for the second aim to occur. 
  • Evangelism: To prepare and send out Christians into their neighbourhood and among those they ‘rub shoulders with day by day’, sharing the good news about the Gospel of Jesus. 
A contemporary definition of mission by Andrew Kirk is, “Christian believers being sent out into the world to witness in word and deed to Jesus Christ.” In many ways Nora Chadwick’s discussion of Celtic mission and missionary evangelistic activity in contrast, seemed more relevant to Tyseley and its people. The definition and approach to ‘mission’ in this study linked input to established Christians with the hope it would eventually lead to evangelistic/missionary outreach into the local area.

Mission and pre-Evangelism

While the ‘Woven Cord’ programme did not, within its time scale, prove to be a major pre-requisite for evangelism in Tyseley two new actions that involved direct outreach into the local neighbourhood were achieved.

The first involved undertaking a community survey to find out how local people saw the neighbourhood’s main ‘needs’. Members of the congregation took out a questionnaire to be completed at three key places within the streets of Tyseley: outside the Primary School; outside Tyseley Post Office; and outside St. Edmund’s Church. Members of the congregation who shared in this task in small groups, came back thrilled at the interest and response. The survey meant Church people were actively consulting Tyseley residents and publicising the work and future hopes about Stedicare and its wide ranging Christian outreach into the parish. This was a clear example of a move into pre-evangelism.

The second related to ‘The Tyseley Prayer Vigil’. This linked regular group prayer with direct outreach into the locality. During the ‘Woven Cord’ programme the Vigil group started praying specifically for each street in Tyseley, and any known situation that needed prayer and for its residents. This pattern continued and subsequently led to ‘Prayer Walks’ in a few streets.

Mission and Evangelism in UPAs

The Church of England, due to its commitment to a parish system, has always had direct involvement in disadvantaged urban areas. At times, some of its approaches have been particularly successful, as with the Anglo-Catholic ‘Slum Ministry’ early last century. Other Christian denominations at times have successfully maintained active ministry in UPAs’ such as the Salvation Army, built upon the challenge of General Booth’s 1899 book In Darkest England and the Way Out. The 1985 Faith in the City report compares with Booth’s book but updated to urban realities in the mid 1980’s. Following that report I surveyed UPA clergy in Birmingham and published a book illustrating the multi-facetted ways that front-line clergy in Birmingham were using creative ideas and initiatives to effectively minister in UPA parishes. Yet, it also brought to light that there was much despair and absence of hope in many UPA parishes. This piece of action research provides one example of a programme that addresses absence of hope in UPA parishes.

Whilst the Fieldwork Programme at St. Edmund’s was not epoch making, it did result in building up in the faith a small group of the Lord’s people who live in a UPA, with its marginalisation from affluent society around. Christian believers from the lower social classes were thereby helped to reflect and be strengthened in the living out of their faith using the Celtic Christian model of spirituality. Their perception and awareness of the possibilities of Christian living as something distinctive, in which they were no longer pushed into the mould of the world around them, was strengthened. It is my view, that for such programmes within this type of urban context, “small is beautiful”.

The Tyseley study as a starter programme needs to be further assessed, built upon and remoulded into the type of mission programme that would resonate with other UPA Christians. I feel confident that there is a place in deprived urban areas for such small, intimate, mission programmes built around blueprints of spirituality, of which the Celtic is an excellent example. There may be others worth identifying and considering. Whatever is chosen would need to be grounded upon prayer, in association with a group of committed believers ready to commit eighteen months or so of their lives to such a programme and to such a UPA area.

A significant but unheralded happening at the end of the ‘Woven Cord’ programme that related to the transfer of Celtic Christian principles to the practice of Christian living at St. Edmund’s was the ending of a concentration, within the fellowship’s worshipping life, on ‘thing’s Celtic’! The Celtic resource material and the ways in which individuals had been strengthened through an in-depth sharing of the Celtic Biblical themes had been effectively applied into the context of the participants’ own urban world. The individuals who had gained through the mission programme and the Church’s own growth in spirituality had been transposed into being a spirituality for believers living in Tyseley. It was now part of their shared experience, and in a holistic manner they owned ‘it’. We no longer referred to these matters as ‘Celtic’.

Conclusion

Wynton Marsalis, an American musician made a moving statement that I will use as an ending to this study, with the hope it may encourage others ministering in UPAs:

“I say to the kids in the schools, make sure you play a solo, all of you, and whatever you play, do it like it’s the last thing you’re ever going to play. Even if its sad, play it. But just don’t play too long! That’s my belief and the music is a reflection of that. Being in the process, that’s what counts. You might not be there at the end of what’s being worked out. Look at the cats who built those big cathedrals, put down the first stones. They weren’t going to see the thing finished, but they were putting those stones down with a certain vibration.”

Perhaps this study could become a tune for some sad and lonely UPA Church to re-discover ‘hope’ in Christ, and become established like a Celtic island ‘Inis’, an island base of Christian warmth, belonging and service to others, created within the hope of a new beginning. A place where believers could be sent out to re-establish a people for the forgotten God from among the dusty, noisy, stressful streets.

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Wynton Marsalis, Taj Mahal & Eric Clapton - Just A Closer Walk With Thee.

Thursday, 7 January 2016

Past Life - Present Mission (3)

Chapter 2: The Celtic Saints: what can we know and how?

“Interest in and admiration for Celtic Christianity is booming. Books pour off the press telling the stories of 5th and 6th century British and Irish saints … offering a Celtic model of mission and church organisation … The appeal seems to extend across the theological and denominational spectrum, and well beyond the company of Christian believers, New Agers, post-modernists, liberals, feminists, environmentalists, evangelicals and charismatics identify with Celtic Christianity and call for a recovery of its key principles today.” The publishing fraternity has responded with “everything from weighty tomes on Celtic consciousness to some poor attempts at re-telling ancient Celtic myths and legends”. But these often create as much fog as light. How sure could we be sure then that Mitton’s fourteen themes accurately describe Celtic Christianity?

Issues

The romanticism and trendy nature of some contemporary literature on Celtic Christianity can obscure what the Celtic Christians actually believed while interpretations of the historical data can often be subjective reflections of established Church traditions. Patrick Thomas refers to a TV commentator’s comment during George Carey’s enthronement as Archbishop of Canterbury that “the new Archbishop was the successor of St Augustine who brought Christianity to Britain in 597 AD”. Thomas comments, “it was the kind of statement calculated to make Welsh, Irish and Scottish hackles rise, as there were Christians in Britain long before St Augustine’s mission”.

Similarly, Basil Hume suggests that the deeper issue which lay behind the discussions about the date of Easter at the Synod of Whitby was this: “was the Christian Church in this Island going to be separate from the universal Church and develop along its own lines, or was it going to be part of the universal Church accepting the authority of the successor of Saint Peter?” The Synod of Whitby was actually the point at which the Celtic Church of the north and west was forced to bend the ecclesiastical knee to the Roman ‘Catholic’ (meaning universal) Church of the south. Hume’s historical perspective, therefore, is associated with a traditional belief system that claims dogmatic authority for the Roman Church and its claim of universal jurisdiction, which it certainly did not have in the 7th century AD. Instead, as F. E. Warren clearly asserted:

“[The Celtic Church was] orthodox (catholic), independent of Rome. Part of a vast communion existing in Britain and Ireland from which it expressed its mission to the Teutonic tribes of the continent. Its claims to Catholicity ignored or impugned by the European Church of Rome.”

Many writers insist that the heart of any in-depth understanding of Celtic Christianity and its spirituality is not merely intellectual or academic but is experiential. Esther De Waal suggests that:

“The Celtic way of seeing the world … cannot be understood only in cerebral terms. It speaks to the heart, is closer to poetry and like poetry, it must remain ultimately illusive.
You can come in,
You can come in a long way –
But you won’t be inside.”

However, this approach too can lead to total subjectivity. Mackey, for example, reveals that his assessment of the various papers for his book on Celtic Christianity was based on “whatever seems to reverberate within some depths of my own Celtic consciousness as that too has been formed by my learning and use from my earliest childhood of the Irish language that repository of a total and ancient culture”.

Elizabeth Culling berates Mackey for this specific inconsistency in historical objectivity saying: “If this kind of criterion is used to sift the evidence of history subjectivity takes over … A writer like Mackey is free to build up a picture of Celtic Christianity as characterised by a theology which excludes original sin and a natural world which is ‘altogether good and salvific’ for ‘the Celtic mentality’”.

Ninian

The problem of source material is illustrated in considering the life and work of Ninian at Whithorn, as there is no documentary or source evidence until about 300 years after his death. Charles Thomas suggests the following approach to achieve a level of historical critique about the Celtic Saints:

· Establish the primary sources: The visible and tangible ones e.g. St Patrick’s written “Confession” and “Letter to Coroticus” or the inscribed Latinus Stone of Whithorn and the stones found at Kirkmadrine, which are equivalent to contemporary and authoritative documents.

· Secondary sources usually based on oral traditions: Such as Bede’s comments about Ninian and Whithorn 300 years later or the 8th century “Miracula” poem which refers to the Whithorn period.

· Tertiary sources: These include peripheral allusions to Whithorn in the Irish context, the Medieval life by Aelred, the lengthy ecclesiology of Whithorn, and the whole body of commentary most of which has occurred during the last forty years.

An informed and culturally sensitive understanding of Celtic history must therefore be a prerequisite to entering into an experiential awareness of these ancient ways of thinking and acting. A point illustrated by the example of Ian Bradley who acknowledges that his early book The Celtic Way reflected the romantic approach that he now rejects. Nevertheless he suggests:

“If Celtic Christianity, however reconstructed and re-shaped, can help us not just to dream but put our dream into reality by changing ourselves and our world and moving forward in imitation of Christ and toward the kingdom of God, then … it is its ultimate justification.”

This is a summary of the hopes and vision that lay behind our approach at St Edmunds based on the belief that “the distinctive voice of the early indigenous Christian Communities of the British Isles speaks to us through all the layers of distortion and fabrication with which it has been overlaid". Ninian is a good example of this occurring, as is the following material on Patrick, Columba, monasticism and peregrinatio.

Patrick

According to the best estimates Patrick lived from 390 to 461 AD. Much literature about Patrick agrees that at age 16 he was captured by Irish (Scotti) raiders who returned with him to Ireland where he was enslaved, and used as a herdsman. Separated from his family, Patrick responded to the Christian faith becoming deeply committed to prolonged and intense prayer. Six years later he escaped from Ireland by ship to the Continent, but was eventually able to return to Britannia and his home. Whilst in his home environment, he had a dream that called him back to Ireland to preach Christ there and engage in mission.

The Annals of Ulster record Patrick’s arrival in Ireland as 432 AD. O’Laoghaire records the fact that less than 100 years after Patrick the structure of the Church in Ireland had become Celtic monastic, not Roman Diocesan. The subsequent wide scale emergence in Ireland of Celtic Monasticism linked to the rural, tribal system was based on Abbots who governed them. Bishops were often part of the monastery but rarely in control. This became the established model throughout Celtic Christian areas rather than the European Roman Diocesan model.

In his exploration of Patrick’s evangelistic method John Riordian analyses and evaluates Patrick’s handling of Christian belief as an evangelistic offer within the worldview of those who were living within Druid belief. Following Riordain’s argument, I suggest that we need to change the view that Patrick was a Romano-Briton who failed to convert Ireland to the Roman Diocesan approach, even though he subsequently became the Patron Saint of Ireland. Rather, he should be regarded as an outstanding Celtic Evangelist.

Riordain begins by pointing out that in Irish Druid culture “the Celtic understanding of reality, the gods and goddesses inhabited the hills, the mounds, the megalithic tombs, the lakes, the rivers and woods. The entire world was enveloped in a sort of nature faith. People were always in contact with the other world, the world of the supernatural. It was invisible but around one at all times and could certainly manifest itself at any moment.”

Riordain then discusses an episode outlined in the “Tripartite Life of Patrick”, which throws light on Patrick’s “missionary approach to a people surrounded by so many gods and goddesses”. Patrick meets two daughters of Laoghaire at the well of Clibach near Rathcrochan the Royal seat of Connacht. As they wash their hair in the well, Patrick and his clerics walked by in white robes. Not having seen them before, the Princesses think they are of the “Tuatha De Danann” (i.e. mythological Celtic gods and goddesses). Patrick starts to share his religion with them. When the eldest girl Eithane finds place to speak, she has a lot of questions for missionary Patrick:

“Who is God?
and Where is God?
Of whom is God?
And where is his dwelling?
Has he sons and daughters?
Gold and silver
This God of yours?
Is he ever living?
Is he Beautiful?
Was his son fostered by many?
Are his daughters dear and beautiful to the men of the world?
Is he in heaven
Or on earth
In the sea, in the rivers,
In the mountains
In the valleys?
Speak to us
Tidings of Him?
How will He be seen?
How is He loved?
How is He found?
Is it in youth
Or old age
He is found?”

Riordain suggests that in this series of questions Eithane is naturally thinking in terms of Druid religion, the Tuath De Danann faith. He notes that Patrick’s response does not contradict her. Indeed he endorses, while reforming and transcending her own assumptions. Patrick’s response is to present to Eithane and her companions a revised worldview:

“Our God is the God of all things,
The God of Heaven and Earth
The God of the sea and the streams
The God of the sun, moon and stars,
The God of the great high mountains and the deep glens.
The God above heaven, in heaven and under heaven,
And he has a household, heaven and earth,
and the sea and all that they contain.”

This is in contrast to the Druid impersonal concept of Nuirt. He unfolds the mystery of the God of all things, revealed in the person of Christ:

“The ancient religion far from being obliterated has in fact blossomed into its fullness. Having gone through the impersonal stages of ‘Nuirt’ and the semi-personal deification of nature, it reveals its full development in the incarnation. Nothing has been lost along the way and God is still as near as ever.”

Riordain suggests that “...if one is to understand Celtic religion and its spirituality … it is necessary to appreciate that continuity of thought”. Patrick’s basic approach to evangelism was not to argue or ‘put down’ the Druidic beliefs of the people, but to show them Christianity as a better way that brought fulfilment to their patterns of belief and world view.

Columba

Columba was born in Donegal, Ireland, of royal stock. As a young boy he was fostered by a priest who prepared him for the priesthood. Later, under St Finnian he studied at the Monastery of Molville (Leinster). After ordination he spent 15 years preaching and teaching in Ireland and founded a number of monasteries including ones at Derry and Durrow. He was skilled as a scribe at illumination of Biblical texts and it was alleged that he made a copy of the Psalms from the edition belonging to Finnian. Subsequently Finnian claimed the copy Columba had made as his own. This led to a massive and bloody battle at Cooldrevne (Cul Dreimne) in 561 AD.

Subsequently and on the advice of St Molaisse his Anmchara (spiritual director) Columba left Ireland on a wandering pilgrimage (peregrinatio). Molaisse condemned Columba to a permanent exile to undertake the conversion of as many Picts as were killed at the battle to Cul Dreimne, for which he held Columba responsible. This created for Columba a personal peregrinatio that was to involve both mission and evangelism.

Columba, aged 42 years, set out from the coast of Derry with twelve companions during 563. He was obliged, following his arrival in Iona, to journey to what is now Inverness to obtain permission from King Brude to establish a monastery at Iona. This was accomplished and Brude became impressed with the Christian faith through Columba’s influence and miracles.

The site where Columba chose to build the Iona monastery was a former Druid site. It was to become one of the great mission centres of the Celtic lands and an important seat of learning. During the early years of Columba’s ministry he developed a major emphasis on teaching and preparing monks for mission to the Irish Scotti. These were ethnically his own people, many of whom were responsive to Christianity. His Ionian approach was equally committed to evangelism amongst the pagan Picts and others in these islands and Europe. The late 6th century monastic approach Columba developed became widely adopted. Its rule of life required that the monks lived only for God, praying constantly, with regular study of the scriptures (the Psalms were held in deep veneration), owning no luxuries, eating only when hungry, sleeping only when tired. Novices studied in preparation for taking their monastic vows. The Venerable Bede in his “Ecclesiastical History of the English People” (completed in 731 AD) wrote that “the Iona community was characterised by their purity of life, love of God and loyalty to the monastic rules”.

When he died in 597 AD he left behind a well-organised network of monasteries (part of his family’s Paruchiae), all subordinate to Iona. This provided a stable structure for the survival of his monastic system, and subsequent Abbots came from his wider family. As a result Iona retained a long-term, central place within the Churches in Celtic lands, particularly in the Scottish Highlands and islands and later through Lindisfarne to Northumbria and wider to include European countries.

Monasticism

Monasteries often started in a small way with a group of monks, as did Iona. Others started as a lonely hermit’s prayer cell, which grew as other monks joined, until it became a monastery. Bradley describes the evolving monastic system within the Celtic areas as a “network of largely autonomous monasteries taking over many of the functions of schools run by Druid Filid or Bards”, and that this “fitted the scattered rural nature of the country much better than a highly centralised system of parishes and Dioceses which were designed for urban society.”

The Abbot was head in an authoritative as well as a spiritual sense. There was a mixed pattern in that some were celibate leaders (as in Columba’s Iona ‘Paruchiae’) but others included married people. Daily life revolved around the basic activities of prayer, study and work. There was usually a banked or walled enclosure within which would be built (depending on the size of the monastery) a church that was likely to have been constructed of wood; an Oratory; cells for the monks; storage buildings; a granary for food; cells for scribes; a teaching cell for adults and children. This was the context within which Christian faith in the Celtic era was mainly located.

Whilst Bishops continued to exercise their normal liturgical role, they were overshadowed as administrators and usually as spiritual leaders by powerful Abbots whose monasteries were linked to their own family (usually aristocratic) group known as a Paruchiae. The word refers to the family’s sphere of influence. Some Paruchiae were scattered over wide areas and yet formed an integrated unit of daughter monasteries.

The overriding importance of the Paruchiae monastic system was that it related to the central institution of tribal society namely: Kinship and local small Kingships known as Tuahs, with an over-lord as High King; and the Clan. Ian Bradley refers to Celtic society as “non-hierarchical and decentralised, being made up of a series of loosely organised and largely autonomous communities bound together by family ties much along the lines of the clan system in the Scottish Highlands.”

J. N. Hillgarth suggests that because of the fusion of the monastic system with tribal kinship and the kingship structure, particularly in Ireland, Christianity was able to triumph over Paganism. The 4th-7th centuries; the era of the Sancti, the Celtic Saints, was the critical period when Christianity became accepted, yet reflected its pagan background among the people. Pagan holy sites and even pagan gods had their association and attributes transferred to the incoming religion of Christianity.

The Celtic Saints during these centuries became the Christian equivalent of the pagan Celtic war-lord heroes. Hillgarth gives Columba as a classic example through his involvement in aristocratic feuds in Ireland, leading to the battle of Cul Dreimne. He is celebrated in praise psalms in old Irish, which catch key aspects of his life – the danger of sea voyages which he undertook with Irish monks when they “swept over the sea in boats…”. Adomnan, Columba’s biographer writing a century after his death, called Columba, ‘The Island Soldier’.

Nora Chadwick suggests that with the death of Columba in AD 597 and the widespread development and influence of the monastic system in Ireland and the British Isles during the 6th-7th century the era of the Sancti ended. The monastic system provided the main centres of Church life, deeply integrated into the tribal social structures of the Celtic rural world.

Peregrinatio

Peregrinatio originated in the 4th century, with a rapid development in the 5th to become a central principle widely practised within the Celtic Church by the 6th century. In order to identify the unique characteristics of this form of wandering pilgrimage, it is important to identify that it is not pilgrimage per se. The Biblical background to Peregrinatio was stated within the source material entitled, the Old Irish Life of Columba. It was regarded as a spiritual and practical challenge for Christians and its key characteristics were its wandering nature, pilgrimage with a personal and spiritual aim, and for many either mission or evangelism or both.

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Joanne Hogg - I Am The Great Sun.

Saturday, 2 January 2016

Past Life - Present Mission (2)

Chapter 1: The principles and practices of Celtic Christianity

In his book Restoring the Woven Cord Michael Mitton identifies fourteen Biblical Themes that became the background frame of reference at St Edmund’s Tysley for our own ‘Woven Cord’ programme. Mitton’s choice of themes and their content seemed to me to be a populist set of material about Celtic Christianity and were, as a result, appropriate to urban priority area residents and their non-book culture.

Whilst not exhaustive, the principles and examples of practice within Mitton’s themes provide an overview of key aspects of how Christianity was practised in Celtic areas during the 4th-7th centuries AD. The result is a collection that synthesises this wide-ranging material into a set of principles and practice about Celtic Christianity as found in Celtic lands.

1. The Authenticity, Simplicity and Holiness of Celtic Christian Living

These characteristics were widely found in the lives of individual Christians and within the Monastic system. Celtic Christians practised humility and a gentle approach to people, encouraging them toward commitment to Christ, baptism and confirmation. Established Christians were nurtured and established in their faith and led into discipleship. Much of what we know is based on monastic living where monks and those not under vows accepted a disciplined cycle of daily prayer, creative activity and work.

Nora Chadwick summed up this Principle as reflected in the Sancti: “We see in their gentle way of life, their austere monastic settlements and their island retreats, the personalities of their saints, and the tradition of their poetry, which expresses the Christian ideal with a sanctity and a sweetness which have never been surpassed and perhaps only equalled by the ascetics of the eastern desert.”

Even Wilfred who spoke for the European Church of Rome at the Synod of Whitby in AD 664, referred to Celtic Christians as people “who in their rude simplicity loved God with pious intent.”

2. The Centrality of the Bible in the life of the Celtic Church

Celtic Christians were deeply dependent on the Bible, accepting it directly and with much spiritual intuition. Their beliefs and way of living were moulded by Scripture. This is profoundly illustrated in Patrick’s ‘Confession’ and his lorica prayers.

Patrick saw himself as an Ambassador for Christ within a hostile and changing world (Ephesians 6.20). He witnessed the power of the resurrection to change and transform peoples’ lives. Patrick’s personal faith reflected his commitment to the Bible. Similarly, Aidan taught all his faith sharing teams to memorise scripture as they travelled.

Within the monastic system there was a deep immersion in the study of Scripture and its scribal writings. The Book of Kells, the Lindisfarne Gospels and the High Standing Crosses illustrate the Celts love of the Scriptures. This helped the growth of spirituality and an orthodox living out of the faith.

3. The Importance of Children within the Celtic Christian Family

This was particularly illustrated in the Lindisfarne monastic and mission approach under Aidan. He took children in his monastery for training and teaching in the faith including four Anglo-Saxon boys, Cedd, Cynebil, Caelin and Chad, who became influential as adults. This is the first recorded example of a school for boys.

The Lindisfarne mission base included a wide range of life experience that included: teaching and preparing children and adults for life as monks; memorising Scripture; a daily rhythm of prayer and worship; English and Latin was taught; helping on evangelistic missions; learning and living the life of faith; and an underlying expectation that children would encounter God in experiential ways.

Numbers of Celtic Saints first emerged as young people responding to a call from God. Columba was an example. As a teenager he asked God for three virtues: Chastity (i.e. Celibacy); Wisdom; Opportunity for Peregrinatio. Cuthbert was the subject of a prophetic forecast about his future whilst still a boy. Later as Prior of Melrose he used to take a young boy on pastoral and evangelistic visits to neighbouring villages.

4. The Embracing Nature of Christian Community within Monastic life

Iona, under the direction and control of Columba was an outstanding example. At one time over a thousand monks lived in its community. The monastic rules and cycle of worship involved everyone and great skills emerged in scribal writing of religious texts, liturgy and worship.

There was much involvement in missionary evangelism stemming from its strong community base. These characteristics were reflected in most Celtic monasteries. Bede suggested that “The Ionian community was characterised by their purity of life, love of God and loyalty to the monastic rules.”

5. The Sense of Unity within Creation

The Celtic Church had a creation affirming spirituality. Christians looked for and expected to see signs of God’s presence within creation and their daily lives. Celtic Churches were aware of the damage done to creation by sin. Their standing crosses were signs of God’s redeeming work in the heart of His wonderful but damaged creation. This prevented a dualism between nature and humanity emerging.

6. Creativity and Spiritual Gift within the Christian Community

The lives of such as Ninian, Patrick and Columba demonstrated the presence and acceptance of spiritual gift among Christian people. At the centre of this openness to God’s gift to His people, lay a Spirit of outstanding creativeness. Caedman, for example, was an uneducated lay monk who was given the gift of Christian songs. The gift of song writing for him was not merely a technical gift, but one that was of a spiritual nature that blessed and inspired others.

The music and poetry of the Celtic Church was transmitted orally, and was influenced by the sounds of the natural world of creation. There was a beauty of language, a freshness of imagery and a depth of piety within the creativeness that surrounded spiritual gifts among Celtic Christians. This was particularly illustrated in Patrick’s ‘Loricas’; Columba’s poems and Carmichael's documentary of ancient Hebridean songs and poems from oral sources that were lost in historical time.

7. The Ever Present Fact of Death and the Presence of the Dead

Many illnesses in Celtic times frequently led to death. The Plague could afflict whole communities, as could tribal warfare. The knowledge of redemption through Christ and belief in the resurrection were key teachings, together with the reality of Heaven and Hell. To many this represented the only hope they had. The sanctity of special places was significant and behind lay the belief in immortality. Death was seen as a connecting point between the world of Heaven and Earth.

Drythelm was a devout man who had a detailed, near death, visionary experience whilst in the grip of the Plague. He was returned “from the grasp of death.” Drythelm shared his experience with many others, of how he was led by an angel to see something both of Heaven and Hell. Drythelm became a monk at Melrose and his ministry led to many conversions. He is an example of a missionary monk committed to evangelism.

The place of burial was significant to the Celtic Christians. They saw it as a place where the prayers of the saints in Heaven had particular effect.

8. The Importance of Evangelistic Mission with the Good News of Christ

This was one of the central concerns of the monastic church in the Celtic lands, and its outpouring of trained monks to go on wandering pilgrimage. Patrick practised a wide-ranging peripatetic ministry involving much journeying to remote areas in Ireland. Patrick believed he was living in end times. To reach the Irish people “who lived on the edge of the world” was for him an urgent task. He witnessed to the power of the resurrection to change and transform people’s lives. He defended his ministry in his ‘Confession’:

“I, though ignorant, may in these last days attempt to approach this work, so pious and wonderful that I may imitate some of those the Lord long ago predicted should preach this gospel for a testimony to all nations (Matthew 24v14), before the end of the world.”

9. The Reality of Christian Healing and Miracles

The majority of Celtic Saints were deeply involved in this type of ministry. An example was John of Beverley who overflowed with the Presence of the Holy Spirit and whose ministry was noted for its miracles. Ninian prayed for healing of people together with the laying on of hands. Martin Wallace referred to Ninian as “someone who not only believed, but practised the power of prayer to protect, heal, pardon and release.”

We should nevertheless note that many Celtic Saints prayed for other New Testament gifts that are not fashionable today e.g. the gift of celibacy or poverty.

10. The Acceptance of the Ministry of Women

Some women were very influential within the Celtic Church. A primary example was that of Hilda, Abbess of Whitby. Both priests and bishops were under her authority. Brigid who founded a famous monastery in Ireland at Kildare and became its Abbess, was another example of influential ministry by a woman. Kildare was a centre where Christ was exalted, and the light of the gospel was taken out into the pagan community.

It is important to note with this Theme, that the women who became leaders in the Celtic world generally or within a Christian community were usually from aristocratic families. A woman at that social level could be elected as Chief of a Tribe, or be the leader of a warband, or an Abbess.

Certain monasteries such as Iona were for males only and were based on celibacy. Other monasteries were double monasteries where monks and nuns lived within the one community. Within such monasteries there was a general acceptance of women. In that respect, Celtic Christian attitudes towards women seemed softer than that of the European Church of Rome. One of the longer term consequences of the Synod of Whitby was that Celtic openness to a wider role for women within Christian living; was stifled by the establishment of the Roman Church approach after 664 AD and its Synod of Whitby.

11. The Place and Importance of Prayer in the life of Celtic Christians

Patrick was an influential example that illustrates the daily relationship between prayer and evangelism. His prayer life deepened his love for God. His faith was strengthened and his spirit stirred. Prayer was often linked to ascetic practices, particularly with monks who became hermits in remote areas. For them a disciplined prayer life also involved celibacy and fasting. Patrick wrote,

“I prayed frequently during the day. The love of God and the fear of Him increased more and more and faith became stronger and the Spirit was stirred, the Spirit was then fervent within me.”

Columba had the reputation he would not spend one hour without including study, prayer or writing.

12. The Place of Prophecy and Awareness of God’s Will

Fursey had a travelling ministry in Ireland, then a wandering pilgrimage to the east coast of Britain from 633 AD. He experienced extraordinary visions where he saw the fires of falsehood, covetousness, discord and cruelty. This gift strengthened the effectiveness of his ministry.

Patrick is another example as reflected through his eight major visions. His first vision, which was his call back to Ireland, is illustrative:

”And I saw, indeed in the bosom of the night, a man coming as it were from Ireland. Victorious by name, with innumerable letters, he gave me one ... And while I was reading aloud I heard a voice ‘we entreat thee, holy youth, that thou come and henceforth walk among us.’”

To the Celtic Christian, the material and immaterial, the visible and invisible, the physical and spiritual, were dimensions that inter-penetrated each other.

13. The Reality of the Powers of Evil and the Acceptance of Spiritual Battle

There was a strong awareness amongst Celtic Christians of this reality, and the significance of the need for spiritual protection. Examples include, Illtyd and Cuthbert. To Illtyd the Christian was involved in conflict with demons and the powers of darkness. Creation was good and benevolent; but equally it was a world marred by evil spirits. Cuthbert was another example with his deliverance ministry engaged in spiritual battle with demons on the Farne Islands. The Celtic Church took seriously the darkness found within their world. They developed prayerful ways of protecting themselves from its influence, but also delivering people and land from the power of evil. The Celtic Church had this ability to hold together an acceptance of the forces of the dark as well as the light. Ascetic practices often formed the backcloth for those involved in such conflict.

14. The Living Reality of the Holy Spirit

The ‘Confession’ of Patrick is filled with the involvement of the Holy Spirit. To Patrick, it was God who had initiated the process of his conversion and sanctification. The Holy Spirit also communicated with him through visions and dreams. Brendan, part of Columba’s group and one of the so called twelve Apostles of Ireland, was filled with the restless spirit of adventure and wandering pilgrimage. His “Voyage of Brendan” with fourteen monks reflected the openness to God’s Spirit reflected within their wandering pilgrimage. The story of their voyage integrates love for creation; a desire to bless others who they met on their journey with the faith; and a longing to reach the place of their own spiritual resurrection i.e. their place of spiritual rightness with God. This was the ultimate personal experience in their wandering pilgrimage. The reality of the Spiritual Presence of the Holy Spirit was central to that experience.

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Caedmon's Call - We Delight.

Friday, 6 November 2015

Kings Place: Lynn Chadwick, Geoffrey Clarke & Greg Tricker

Kings Place currently has two fascinating exhibitions to view. First, Pangolin London is presenting "the works of Lynn Chadwick (1914–2003) and Geoffrey Clarke (1924–2014), two of the greatest modern British sculptors of the 20th Century, together in their exhibition, Conjunction." "The exhibition is the first show to focus exclusively on the prolific careers of these two British sculptural powerhouses."

"Although initially sharing a similar visual language, Clarke and Chadwick’s styles diverged as their careers progressed. Clarke enjoyed many public and ecclesiastical commissions, which stemmed from his work in Coventry Cathedral under Sir Basil Spence. In contrast Chadwick seldom accepted public commissions, and one of the highlights of the exhibition are the maquettes for two of Chadwick’s rare commissions Maquette for R34 1957 and Manchester Sun 1963. Further highlights include both Clarke and Chadwick’s entries to The Unknown Political Prisoner, a worldwide sculpture competition organised by the Institute of Contemporary Arts. Although the competition was won by Reg Butler, both artist’s entries have not been exhibited together since 1953. The exhibition also includes the candlesticks commissioned from Clarke for Coventry Cathedral and a monumental Chadwick has been installed by the canalside at Kings Place."

Second, Piano Nobile is "presenting a collection of paintings, sculpture and stained glass by contemporary artist Greg Tricker, Revelation ~ Sacred Art, Sacred Music explores moments of divine manifestation and the power of visionary illuminations. A series of inspirational figures upon whom Tricker works in cyclical series, such as Maria, Mother of God, John the Divine, St Francis of Assisi, Joan of Arc and Anne Frank, draw us into intimate contemplation, these iconic images become beacons of light and hope.

Tricker's profound and sincere style of work is deeply entwined with the sacred artistic tradition, for which the artist has gained international recognition. Recent series of work have been exhibited at Westminster Cathedral, Gloucester Cathedral, Peterborough Cathedral, Salisbury Cathedral and, most recently, Rhiems Cathedral in 2013.

Revelation ~ Sacred Art, Sacred Music runs in conjunction with a series of performances of John Tavener’s compositions as part of the Minimalism Unwrapped musical programme. Like Tricker, Tavener turned to sacred iconic imagery, believing that when an iconic image is seen with the ‘eye of the heart’ rather than the intellect the icon can speak to something deep within us. His compositions in music could at times be seen as creating an icon through sound.

Tricker and Tavener have both been repeatedly drawn to the presence of the eternal feminine. For Tavener, the Mother of God, the inspiration for such masterpieces as The Protecting Veil, is the ultimate representation of the eternal feminine: nurturing, gentle, noble, generous and divinely beautiful. In Tricker’s work, the eternal feminine is revealed through a legacy of reverent and spiritual women; Maria, Bernadette of Lourdes, St Bride, Joan of Arc and Anne Frank embody for Tricker the pure essence of the eternal feminine. It is through these devout figures that Tricker sounds a visionary trumpet-call in a world in turmoil, his works are icons of light speaking of the innate dignity within each one of us."

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John Tavener - The Protecting Veil.