St Martin of Tours, Basildon

 

St. Martin's of Tours Church in Basildon Town Centre was officially opened on 10th November, 1962 in a consecration service conducted by the Bishop of Chelmsford; Rt. Rev. John Gerhard Tiarks. Its design was the work of local architect Trena M. Cotton.

The Church received a royal visitor on October 9th, 1968 when Her Royal Highness The Duchess of Kent (Katharine Windsor) dedicated the new south porch and Christ sculpture. The 10-foot high Christ figure was designed by the artist Thomas Bayliss Huxley-Jones and completed in fibreglass at his studio in Broomfield near Chelmsford, Essex. It was to be his last completed work as a short time later he was admitted to St. John's Hospital in Chelmsford where he died on 10th December 1968. The fibreglass figure is of our Lord pierced by shafts of light with his hands outstretched towards the town in service of the people. It is an invitation of welcome to all to enter.

Huxley-Jones, F.R.B.S., was a Fellow of the Royal Society of British Sculptors and studied at the Wolverhampton School of Art (1924-1929) and from 1929-1933 at the Royal School of Art, South Kensington. For many years he was principal of the school of sculpture at Grays Art School, Aberdeen, Scotland. He was famed for his statue of Helios at BBC Television Centre and the Joy of Life Fountain in Hyde Park. He was married in 1934 to the artist and sculptress (Rose) Gwynneth Cobden Holt and they lived from around 1949 at High House, Broomfield in Essex. His grave, and that of his wife is in St. Mary churchyard at Broomfield.

The work of Huxley-Jones also features elsewhere within the Diocese. His Woman of Samaria is a fibreglass figure at St Peter's Aldborough Hatch, while at Chelmsford Cathedral, Huxley-Jones' work includes a Christus in St Cedd's Chapel, a carving of St Peter on the south-east corner of the South Transept and 16 stone carvings representing the history and concerns of Essex, Chelmsford, and the Church.

A Garden of Remembrance adjacent to the church opened on November 3rd, 1973, in a dedication service conducted by Rev. Peter Grimwood. Standing within the garden is a statue depicting St. Martin sharing his cloak with a beggar, which was created by notable sculptor and artist Peter Foster.

In 1989 the plain exterior glass was replaced with stained glass designed and made by Joseph Nuttgens. The North side windows from West to East tell the story of St Martin begining with the Cathedral of Tours then the River Loire and finally the Caves of Marmoutier and a Cross referring to St Martin's suffering. The South side windows East to West depict the Cross and Resurrection, colours and various designs to be found in the town centre and the flood barriers from the nearby river Thames. Finally a triangle an ancient representation of the Holy Trinity, the circle and rays depict an outburst of energy from God, which is love. His presence, open to all, flows as a river down through the Thames Barrier into the hustle and bustle of this modern town.

The magnificent stained glass window in the Lady Chapel by Nuttgens depicts in symbols the Blessed Virgin Mary in heaven. Within the window can be seen the signs of the universe, clouds, sky, stars, the sun and the moon.

Educated by Dominicans and brought up within a milieu of idealistic Catholicism, Nuttgens left to study at the Central School of Art and the Royal College of Art, completing his studies in 1964. He then worked experimentally, firstly with expanded plastics and metal sheet, exhibiting at the Camden Arts Centre, London in 1970; then making ‘light’ sculptures, incorporating steel sheet and coloured glass, transmitting colour from hidden light sources, which were exhibited at the Cochrane Gallery, London, and with AIM, at the CBX, in Milton Keynes, throughout the seventies. During this period he also taught at schools and art colleges and, for nine years, taught prisoners in Wormwood Scrubs Prison. Encouraged by Patrick Reyntiens, he returned to stained glass in 1978, becoming his assistant, working mainly on John Piper’s windows. On the death of his father in 1982 he re-established this studio and, since then, has designed and made stained glass windows for cathedrals, churches and many other venues. Throughout this time he has maintained an output of painting (complimentary and vital to his commissioned work) and, in recent years, has set up a relief print shop within his studio, producing woodcuts and linocuts.

A freestanding Bell Tower designed by Douglas Galloway RIBO and built in 1999 was opened by Her Majesty the Queen and dedicated by The Rt. Revd. John Perry The Lord Bishop of Chelmsford on Friday 12th March 1999. This special service marked the official opening of the Belltower and the first 50 years of Basildon new town.

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Soulsavers - Presence Of God.

Assets and abundance

This morning I preached at the Watling Valley Partnership's Annual Covenant Service held at All Saints Loughton. The Watling Valley Partnership are a Local Ecumenical Partnership of the United Reformed Church, Methodist Church, Church of England and Baptist Church, who are also HeartEdge partners.

Here is the sermon I preached:

The Royal Horticultural Society says that sowing seeds outdoors is very straight forward – just think of how many plants scatter their seeds and they grow where they land as soon as it is moist and warm. The secret to success when sowing seeds outside is to prepare a good seedbed, free of weeds and with a crumble-like soil-surface texture. Beds should be dug over in advance to allow time for the soil to settle. Cover the bed to suppress weeds then level the surface and create a crumble-like tilth picking off any remaining weeds and debris. Other problems to be addressed include pigeons and other birds which can be a pest.

Just as in the Parable of the Sower (Matthew 13. 1 – 23), the RHS guidance is that seeds are less likely to grow well where there are weeds, debris like rocks and stones, or where birds can eat the seeds. Seeds are likely to grow well in good, well-prepared soil. So far, so good; so far, so similar – the secrets of growing good crops were really no different in the time of Jesus from those of today. Given that as much was known then about sowing seeds as is known now, there is just one strange element to Jesus’ story and that is the fact that the sower deliberately sows seeds in the areas where seeds are less likely to grow, as well as in the prepared soil where the seeds are more likely to grow well. The sower is profligate with the seeds in a way that goes counter to the advice from the RHS which, as we have seen, is consonant with the understanding of sowing demonstrated by the parable. So why does the sower ignore good practice and deliberately sow seeds on the path, the rocky ground and among the thorn bushes? Does this strange aspect to the story tell us something significant about God?

The seed is the Word of the kingdom and the Word, John’s Gospel tells us, is Jesus himself. So, it is Jesus himself who is being scattered throughout the world as the seed being sown in this parable (perhaps in and through the Body of Christ, the Church). As the seed was sown indiscriminately, even recklessly, there was a breadth to what was going on here as the places that were known to be poor places for seed to grow were nevertheless given the opportunity for seeds to take root.

This suggests to us the indiscriminate and reckless nature of God’s love for all. It means that no part of our community or our world is off limits to Jesus or to us as the body of Christ. Within HeartEdge, the international, ecumenical movement for renewal within the broad church that has been initiated by St Martin-in-the-Fields and of which the Watling Valley Ecumenical Partnership is part, we express this in terms of churches seeking to be at the heart of their communities whilst also being with those who are on the margins or at the edge. By being at the heart and on the edge our mission and ministry will have something of the breadth with which the sower scatters the seed in this parable.

As we recommit to God in this service through the Covenant Prayer, may we commit to loving others in the way that God loves; at the heart and on the edge, with a reckless, indiscriminate love that welcomes all, including those who may not return that love and welcome.

The sower scatters the seed indiscriminately because the life of Jesus can spring up and flourish anywhere. This means that the life of Christ grows outside the church as well as within it. As a result, our task as Christians is not simply to take the love of Christ to all parts of our community and world but also to be actively looking to see where the seed of Jesus is taking root, growing and bearing independently of anything that the church has done. Another of the key concepts for HeartEdge is that God is continually sending gifts to the church of people who we don’t expect or recognise as being Jesus. The renewal of the Church has not come from those already within it, so instead it is likely to come from those who are currently outside of or on the edge of Church.

There are many people and organisations of good will in our communities with which we, as churches, are not yet engaging who nevertheless are well disposed towards the Church and will give some form of support, if the right connection can be made. Sam Wells, the Vicar of St Martin-in-the-Fields, tells a story of talking with a politician whose mother gave an annual donation to the Christmas Appeal at St Martin’s. When asked why someone who lived a long way from London would give regularly to St Martin’s, the answer came back that St Martin’s cares about what is important. The more we seek to be blessing to our wider community, the more we will find those locally who will support the church and partner with it, regardless of whether or not they are able or willing to attend.

There are also many people and organisations of good will in our communities with which we, as churches, are not yet engaging who nevertheless are acting in ways that bring Christ to others by giving food to the hungry, drink to the thirsty, welcoming the stranger, clothing the naked and visiting those in prison. We need to look for signs of God within our communities and then come alongside those people in solidarity and support for the ways in which they are bringing Christ to others.

The story of St Martin sharing his cloak with a beggar outside the gates of Tours has been an inspiration to us at St Martin’s. The story has inspired our congregations over the years to show compassion and care towards those in need, particularly those who are homeless or refugees. But the story has a twist, that night Christ appeared to Martin in a dream as the beggar to whom he had given half his cloak. Martin had thought he was the one sharing the love of Christ with the beggar. In reality, it was the one who was outside, on the edge, marginalised and in need, who showed the face of Christ to Martin. In the same way, we need to be alert to all those within our community who can show the face of Christ to us.

As we recommit to God in this service through the Covenant Prayer, may we commit to discerning where the Spirit is already at work within our local community in individuals and organisations becoming a blessing to the community by getting involved in the work that the Spirit has already begun and receiving a blessing as the face of Christ is shown to us in new ways.

The love of God as shown in the Gospels and in this parable is abundant, profligate, indiscriminate, and reckless. It is, as Jesus says elsewhere, pressed down, shaken together, poured out and overflowing. Jesus came to give us life in abundance, life in all its fullness, yet, within our churches we often operate with a mind-set of scarcity.

The church is getting smaller and becoming narrower. Those regularly attending worship are fewer. The church’s reputation and energy are becoming associated with initiatives that are introverted and often lack the full breadth of the gospel. In response we often focus on what our church doesn’t have, who isn’t there, and what problems it faces. In a deficit culture we begin with our hurts and our stereotypes, and find a hundred reasons why we can’t do things or certain kinds of people don’t belong. As churches we are often quick to attribute our plight to a hostile culture or an indifferent, distracted population or even a sinful generation; but much slower to recognise that our situation is significantly of our own making. In the imagery of this parable when we focus on our deficits, we are focusing on the path, the rocky ground and the thorn bushes.

By contrast, in HeartEdge, we believe that churches can do unbelievable things together by starting with one another’s assets, not our deficits. We believe churches and communities thrive when the gifts of all their members are released and they build one another’s assets. We are enough as local communities because God has given us what we need in each other. We also believe that God is giving the church everything it needs for the renewal of its life in the people who find themselves to be on the edge. Wisdom and faith are found in the places of exile and rejection. The rejected are to be sought out because they are the energy and the life-force that will transform us all. If you are looking for where the future church is coming from, look at what the church and society has so blithely rejected.

The life of the church is about constantly recognising the sin of how much we have rejected, and celebrating the grace that God gives us back what we once rejected to become the cornerstone of our lives. Thus is deficit turned to plenitude, threat turned to companionship, and fear turned to joy. This is the life of the kingdom. The life of the kingdom of God is found in recognising the abundance of the seed that is continually being sown. The life of the kingdom of God is found when we expect and look for the growth of that seed at the heart and on the edge, often in unanticipated ways, in surprising places and in unexpected people.

As we recommit to God in this service through the Covenant Prayer, may we commit to being a people who live out of the abundance of God, rather than our scarcity, by beginning with our assets, not our deficits; both those within our church and those without.

Let us pray: God of hope, in Jesus you made heaven visible to earth and earth visible to heaven: make your Church a community at the heart of your kingdom alongside those on the edge of society, that each day we may seek your glory, and embody your grace; through Christ our Lord. Amen

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Come, let us use the grace divine.

St Martin's Bowness-on-Windermere

I enjoyed visiting St Martin's Bowness-on-Windermere recently. The following comes from their current website:

"Some of the unique features inside St Martin’s Bowness-on-Windermere are the decorative murals, the sixteenth century instructive sayings and the quotations from the Bible on the walls and the roof beams. The only remaining part of the original pattern of decoration is to be found above a window in the south aisle.

The appearance of the present church owes much to the 1870 restoration and enlargement under the architects Paley and Austin of Lancaster. The chancel was extended to the east, as the differing roof beams demonstrate, the tower was heightened and all the seating renewed. Most of the mural decorations (by a Mr Henry Hughes of Frith St, London) including two large paintings in the chancel, date from this time. They serve to relieve the bareness of the smooth re-plastered walls and pillars. The mural on the north wall of the Chancel depicts the Adoration of the Magi, that on the south wall, the Entombment of Christ.

The marble reredos behind the main altar incorporates mosaics, executed by Bell and Almond of London, depicting the symbols of the Gospel writers and the Passion. The reredos, and the whole chancel extension, were designed as part of the Victorian restoration by Paley and Austin.

The outstanding treasure of St Martin’s is the East Window which was so successfully restored in 1870 by Mr Hughes, under the supervision of the Society of Antiquaries, when the new chancel was built. The magnificent East Window contains some very fine stained glass, most of which dates from the 15th century. However, it is not all of this period. Some of the glass at the top is earlier, and the restoration of 1870 made good the damage believed to have been done by Cromwell’s soldiers. This included replacing the faces of the saints.

The history of the window is obscure but it is thought that the glass probably came from Cartmel Priory. The central theme is the crucifixion, flanked by a group of figures including St George (and the dragon), St Barbara, (also an early martyr to the truth) and St Katherine (patroness of learning and theology). In the medieval period, the prayers of these three so-called auxiliary saints were thought to be most effective in aid of the faithful. The supplicants shown kneeling below include Canons of Cartmel as well as various benefactors wearing their coats of arms. The earliest glass is at the top of the third light from the left; a representation of the Virgin and Child believed to date from 1260. In the Middle Ages the Virgin Mary was traditionally depicted in green (later replaced by blue). There is very little glass older than this anywhere in Britain. Surrounding the 15th century coat of arms of a Prince of Wales are many shields relating to north Lancashire families as well as the Prior of Cartmel (strongly suggesting the window’s origin). In the fifth light from the left, one of the seven shields bears what were believed to be arms of that branch of the Washington family (who had lands around the Warton area of Lancashire in the 1400s) and from whom the first president of the United States was descended.

Below the tower, you will see the Curwen Screen, installed in 2000. Magnificent etched glass panels designed by Sally Scott surmount the glass and wood base. The Angels & Music design depicting angels glorifying God through music reflects the theme of the surrounding wall.

At the base of the tower is the statue of St Martin. This carved wooden figure of the Saint shows him on horseback with a beggar, on foot, beside him. The Saint is dividing his cloak with his sword to give half to the beggar illustrating the best-known story of St Martin who became bishop of Tours in France and died in 400 A.D. The statue is probably of foreign origin and dates from the 17th century. It was returned to the church in 1915, having been removed for safekeeping during the 1870 restoration."

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The Westies - Everything Is All I Want For You.

Hidden St Martin's

Artists and craftspeople from the congregation at St Martin-in-the-Fields speak about their 'Hidden St Martin's' exhibition for the 2016 Patronal Festival. The exhibition reflects on the theme from a variety of different perspectives using ceramics, drawings, films, paintings, photographs, text and textiles. The exhibition ends on Sunday 27 November 2016.
We have been inspired by:

• St Martin, who noticed the destitute man at the gate of the city of Amiens.
• Jesus suggests that giving and praying can be done in secret away from the public gaze (Matt 6). Many of the images of the kingdom use seemingly insignificant and often unnoticed things such as a mustard seed (Mark 4) and yeast (Luke 13) and yet both eventually have dramatic effects. 
• The Celtic idea of a thin place, a place where the veil between heaven and earth is thin so what is hidden becomes seen.
• Artists “notice things that other people don’t notice.” (Grayson Perry)

Ali Lyon reclaims hidden aspects of St Martin's recent past with a lectern fall and a photograph of an altar cloth from the period during the Renewal Project when St Martin's was 'on tour'. The fall uses material left after the ‘living stones’ which cover the altar cloth have been cut from the cloth. The fall gathers up the leftovers that would have been thrown away. In God's economy nothing is too hidden or insignificant to find its place and to be of use.

Photographs of St Martin's taken by Jonathan Evens hint at a hidden beyond, by using an object in the foreground to frame a background image. Black and white matt bowls by Alice Bree highlight overlooked or under-appreciated objects through their depiction of stones from a Cornish beach. Vicky Howard’s drawings in lined notebooks or on pamphlets derive from a similar impetus. Vicky uses the lines or text as a guide to the patterns that she makes. Through the organic, shifting, ever-changing structures of her drawings she is searching for the form of the shelter in which God will hide us (Psalm 27).

Jon Sandford depicts the divine or heavenly as being hidden at St Martin's in the form of our East Window. The message of Jon's image is hidden in its symbolism, waiting to be decoded. Brian Mears’ explores the invisible qualities of eternal power and divine nature in his painting entitled ‘The Fourth Day’. In Rosalind Beeton’s paintings light, as flecks and dashes of colour, veils the subjects and objects bathing all in divine light. The veil that once hid the divine has been removed and all that was once independent and distinct is now embraced by divinity. Her poetry also explores mystery as in 'The Gatherer', written this year on Patmos, the island of revelation.

St Martin’s has an ongoing ministry of supporting homeless and vulnerably housed peopleacross the UK. Zi Ling’s painting ‘Hope’ from her homelessness series brings to our view people who are often overlooked on our streets. Lightspirit has contributed a poem from the streets, while the ‘Palm Tree’ painted by Rosida Simrick is a reminder of the hidden home that she can no longer see. Our inspiration for this ministry with those who are homeless is the story of St Martin. Jonathan Evens’ collage with a torn meditation on St Martin is a visual reminder of the cloak which St Martin tore to give half to the man at the gate of Amiens.

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Van Morrison - The Beauty Of Days Gone By.

Patronal Festival & Hidden St Martin's

This evening at St Martin-in-the-Fields we celebrated our Patronal Festival, The Art of Being Church, and marked the 1700th anniversary of the birth of St Martin of Tours, 800 years of there being a church of St Martin’s on our site, and the climax of our 15-year programme of art commissions.

Vivien Lovell spoke about The Art of St Martin-in-the-Fields, Katherine Hedderly led the service and Sam Wells preached. Music was led by the Choir, Occasional Singers and Children's Voices of St Martin-in-the-Fields and included Apolytikion of St Martin by John Tavener. The prayers were led by our artists and craftspeople's group, who also organised the Hidden St Martin's exhibition which began today in the Foyer of the Crypt. A new booklet entitled 'The Art of St Martins' has been published (available from our shop) with contributions from Neil McGregor, Sam Wells, Vivien Lovell and Sir Nicholas Goodison. The booklet tells the story of our Arts programme and reflects on the commissioned artworks themselves.

The service included the dedication of the metalwork commissions of the last four years - Candleholders and a Paschal Candlestand by Brian Catling for the sanctuary and Candleholders, Chalice and Paten by Giampaolo Babetto for the Dick Sheppard Chapel. Richard Carter spoke about the Babetto pieces and I spoke about the Catling Candleholders and Paschal Candlestand saying:

Brian Catling has described himself as being ‘obsessively engaged in the collision of separate activities that sometimes fuse together in a hybrid event.’ His artistic practice, which is a form of metamorphosis, begins by putting things next to each other so that they become something different.

With his candleholders and paschal candlestand, he has worked a similar transformation as with his earlier Processional Cross, which they reference. That is to take ordinary materials – wood in the case of the cross and cloth in the case of the candleholders and paschal candlestand – and through the processes of shaping, casting and gilding to give them new meaning.

There is a direct resonance with the candleholders and paschal candlestand to the way the cross was made, as the three works share the same gestures of process while remaining individual objects in themselves. The use of Moon Gold as gilding also provides a likeness to other elements of decoration in the church, as it is the same bright lustre that covers other architectural details in the chancel.

As well as the process of their creation, the three pieces are linked by the use of cloth. In the processional cross, the third piece of wood hanging from the centre provides an allusion to St Martin tearing his cloak in two and giving half to a beggar, while cloth, saturated in a resin based plaster, has been shaped and modelled then cast in aluminium and gilded to form the candleholders and paschal candlestand.

In the story of St Martin, the overlooked beggar was seen to be Christ. In the Eucharist, the basic staples of bread and wine are re-membered as the body and blood of Christ. By casting and gilding wood and cloth, Brian Catling retains the simplicity and poverty of his sources – wood and cloth, St Martin and Christ - whilst also revealing the glory which comes through redemption in Christ’s final overcoming of suffering and death.

Brian Catling has spoken of how it is essential that he has both a hands-on and mindful relationship with the sculptural identity of his works. ‘Design is not enough,’ he has said, ‘I need the struggle and tension that only ever comes through deep feeling, prolonged thought, and the work of the hands.’ This, too, accords with our belief in the paradigm of crucifixion and resurrection that leads to a place where we understand that transformation and glory are only ever achieved as we journey through suffering and struggle.

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John Tavener - Apolytikion for St Nicholas.

Hidden St Martin's

This exhibition for the Patronal Festival of St Martin-in-the-Fields by artists and craftspeople from the congregation reflects on the theme of 'Hidden St Martins' from a variety of different perspectives using ceramics, drawings, film, paintings, photographs, text and textiles.

We have been inspired by:

• St Martin, who noticed the destitute man at the gate of the city of Amiens.
• Jesus suggests that giving and praying can be done in secret away from the public gaze (Matt 6). Many of the images of the kingdom use seemingly insignificant and often unnoticed things such as a mustard seed (Mark 4) and yeast (Luke 13) and yet both eventually have dramatic effects. 
• The Celtic idea of a thin place, a place where the veil between heaven and earth is thin so what is hidden becomes seen.
• Artists “notice things that other people don’t notice.” (Grayson Perry)

In his 360• film, Jonathan Kearney enables us to explore parts of the Church which are usually hidden from view. His other film reveals the beauty of small details which we normally overlook in our busyness or inattention to our surroundings. Photographs of St Martin's taken by Jonathan Evens hint at a hidden beyond, by using an object in the foreground to frame a background image. Black and white matt bowls by Alice Bree highlight overlooked or under-appreciated objects through their depiction of stones from a Cornish beach.

Ali Lyon reclaims hidden aspects of St Martin's recent past with a lectern fall and a photograph of an altar cloth from the period during the Renewal Project when St Martin's was 'on tour'. The fall uses material left after the ‘living stones’ which cover the altar cloth have been cut from the cloth. The fall gathers up the leftovers that would have been thrown away. In God's economy nothing is too hidden or insignificant to find its place and to be of use. Vicky Howard’s drawings in lined notebooks or on pamphlets derive from a similar impetus. Vicky uses the lines or text as a guide to the patterns that she makes. Through the organic, shifting, ever-changing structures of her drawings she is searching for the form of the shelter in which God will hide us (Psalm 27).

Jon Sandford depicts the divine or heavenly as being hidden at St Martin's in the form of our East Window. The message of Jon's image is hidden in its symbolism, waiting to be decoded. Brian Mears’ explores the invisible qualities of eternal power and divine nature in his painting entitled ‘The Fourth Day’. In Rosalind Beeton’s paintings light, as flecks and dashes of colour, veils the subjects and objects bathing all in divine light. The veil that once hid the divine has been removed and all that was once independent and distinct is now embraced by divinity. Her poetry also explores mystery as in 'The Gatherer', written this year on Patmos, the island of revelation.

St Martin’s has an ongoing ministry of supporting homeless and vulnerably housed people across the UK. Zi Ling’s painting ‘Hope’ from her homelessness series brings to our view people who are often overlooked on our streets. Lightspirit has contributed a poem from the streets, while the ‘Palm Tree’ painted by Rosida Simrick is a reminder of the hidden home that she can no longer see. Our inspiration for this ministry with those who are homeless is the story of St Martin. Jonathan Evens’ collage with a torn meditation on St Martin is a visual reminder of the cloak which St Martin tore to give half to the man at the gate of Amiens.

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Leonard Cohen - Travelling Light.

Hidden St Martin's

Hidden St Martin’s is an exhibition for the Patronal Festival of St Martin-in-the-Fields by artists and craftspeople from the congregation will reflect on the theme of ‘Hidden St Martin’s’ from a variety of different perspectives using ceramics, drawings, film, paintings, photographs, text and textiles. The things that are hidden are often the most significant. We are inspired by the story of St Martin, who noticed the destitute man at the gate of the city of Amiens, and by the church building, which after many centuries of worship and prayer becomes a ‘thin place,’ where what is hidden becomes seen. 

The exhibition features work by: Rosalind Beeton, Alice Bree, Jonathan Evens, Vicky Howard, Jonathan Kearney, Lightspirit, Zi Ling, Ali Lyon, Brian Mears, Jon Sandford and Rosida Simrick.

At 5.00pm on Sunday 13 November, we celebrate our Patronal Festival The Art of St Martin's and mark the 1700th anniversary of the birth of St Martin of Tours, 800 years of there being a church of St Martin’s on our site, and the climax of our 15-year arts programme.

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Choir of St Martin-in-the-Fields - Resurrection, Ascension, and Pentecost.

Discover & explore - St Martin of Tours

Today's Discover & explore service at St Stephen Walbrook explored the life and thought of St Martin of Tours, as 2016 is the 1700th anniversary of the birth of the patron saint for our partner church. The next Discover & explore service is at 1.10pm on Monday 20th June and will explore the life and thought of St John the Baptist.

Today the Choral Scholars of St Martin-in-the-Fields sang Jacob Handl's Hic est Martinus, David Bednall's The souls of the Righteous, Martin Shaw's Lord, make us Instruments of thy Peace, C.V. Stanford's Beati Quorum Via.

The service included my meditation on St Martin:

Outside the gates of Amiens,
in the depths of winter’s bitter cold,
a shivering, half-naked beggar
begs people for pity.
They walk on by on the other side.
The true protagonist of history is the beggar -
Testing and challenging responsiveness,
refining our compassion.
A young tribune rides through the gates
protective armour gleaming,
offensive weapon at his side,
luxurious lined cloak across his shoulders.
From a height, in one quick stroke
he slashes the lovely mantle in two -
the high and mighty considering the lowly -
his death-dealing sword used to give life.
Half to the beggar, clad only in rags,
half retained, sharing not possessing.
At night, in dream, he sees Christ clothed
in the part of his cloak which had covered the beggar.
From Christ begging for our hearts,
to our hearts begging for Christ.
“Here is Martin,” says Christ,
“the Roman soldier who is not baptised;
it is he who has clothed me.”

The Revd Alastair McKay, curate at St Martin-in-the-Fields, led the service and gave the following reflection about St Martin:

St Martin was born in 316 in what is today part of Hungary. His parents were pagans, and his father was an officer in the Roman army. While Martin was a child, his father was stationed in Italy, and here Martin met Christians and was drawn to the Christian faith. He became a catechumen, one preparing for baptism.

An imperial edict required the sons of veterans to join the army. Although not yet sixteen – the minimum age – his father, wanting his son to follow in his footsteps, compelled Martin to take the military oath. However, Martin differentiated himself from his fellow soldiers by avoiding the usual soldierly vices, and by giving part of his pay to those in need.

Martin was stationed at Amiens, in present-day France. As he rode into town one bitterly cold winter’s day, he noticed a poor man at the gates, thinly clad, begging, and being ignored by the passers-by. Having nothing with him but the clothes he wore, Martin descended from his horse, drew his sword, and cut his woollen cloak in two pieces. He gave half to the beggar, and wrapped the other half around himself.

The following night, Martin had a dream in which he saw Jesus, surrounded by angels, and dressed in the half of the cloak he had given away. He heard Jesus say to the angels, “Martin, as yet only a catechumen, has covered me with his cloak.” Martin took this as a spur to be immediately baptised, and to commit himself to following Christ.

Some Germanic tribes invaded Gaul at this time, and, with his fellow soldiers, Martin went before the Emperor Julian to receive a war-bounty. But Martin was moved to refuse it, and said to the Emperor: “Up to now, I’ve served you as a soldier; allow me henceforth to serve Christ. Give the bounty to these others. I am a soldier of Christ and it is not lawful for me to fight.” The Emperor was angered, and accused Martin of cowardice; Martin replied that he was ready to go into battle unarmed, in the name of Christ. He was imprisoned for his refusal to fight, but later discharged.

Having been released from the army, Martin went to study in Poitiers under Bishop Hillary, who later ordained him deacon. Martin then heard a summons in a dream to revisit his family home. There Martin converted his mother and some others, but could not win over his father. Martin later returned to Gaul, and led a monastic life, founding several monasteries.

When Martin was aged 55, the bishop of Tours died, and the people demanded that Martin be the new bishop. Martin refused, but the people lured him to Tours with a plea to come and pray for a sick woman. When he entered the town, they forcibly conveyed him to the church, and obliged Martin to accept being made their bishop.

As bishop, Martin continued to lead an austere and devout life; but he was unable to bear the constant interruptions in Tours, and retreated to a secluded spot. As bishop he visited his parishes and was concerned for those in need. He also destroyed pagan temples, and felled trees held sacred by pagans. On one occasion he was pulling down a temple when a crowd of pagans fell on him in a fury, one brandishing a sword. Martin stood and bared his breast, at which the armed man apparently fell backwards, and pleaded for forgiveness.

Martin interceded for some who were deemed heretics and whom another bishop wanted put to death. Martin argued that it was sufficient to excommunicate them, and they should not be killed.

Martin was revered following his death, and became the patron saint of France. There are many churches dedicated to St Martin, including several here in London.

Martin’s story resonates with my own in several ways. Like Martin, I was born the son of an army officer. Unlike Martin, as a boy I wanted to follow in my father’s footsteps and be a soldier too – although that desire didn’t follow through into adulthood. Like Martin, as a young man I became a Christian. And like Martin’s parents, my parents found this disturbing. Unlike Martin, I’ve so far been unsuccessful in convincing either of my parents to follow Christ. Having gone on to marry a woman who was part of a pacifist Christian group called Mennonites, I became convinced that I was called to follow the non-violent example of Jesus, just as Martin was. Like Martin, I understand this to mean refusing to be involved in killing others, and instead to be committed to working for peace.

What can we learn from Martin for today? If there’s one lesson, it’s this: working for peace is harder than working for war. In refusing to fight, Martin told the Emperor that he was a soldier for Christ. He went on to show us what that means. It means being willing to sacrifice for those in need, whilst continuing to care appropriately for oneself – hence sharing half of one’s cloak, but keeping half. It means working hard to develop a life of prayer and intimacy with God. It means sharing the good news of Jesus with those one knows and loves. It means being willing, even against one’s own desires, to undertake a public role of leadership and service, if called to do so. It means being willing to challenge the forces of darkness in our world, through non-violent direct action. It means interceding on behalf even of our enemies, and resisting calls for such people to be put to death. So Martin shows us that fighting for peace is harder than working for war. And the question Martin asks us is this: will we too be soldiers for Christ? Are we too willing to pay the price for working non-violently for peace.

God of true peace, who has shown us the path of peace in the death and resurrection of Jesus Christ; be with all those serving in the military services, that they might be inspired by the example of St Martin; bless all those fighting non-violently for peace in our world, including the United Nations, and many NGOs; and give your spirit of love to those using non-violent direct action in the struggle for peace, among them Christian Peacemaker Teams.  Lord, in your mercy, hear our prayer.

God of compassion, who has shown your love for the poor in this world through the example of Jesus and of Martin; strengthen all those working with people in need, especially those who are without sufficient clothing, food or shelter, among them the Connection at St Martin’s, and those serving the needs of refugees in our world, including the UNHCR.  Lord, in your mercy, hear our prayer.

Life-giving God, who has brought us unbridled good news in Jesus Christ; give encouragement to all your children who seek to share the good news of Jesus with those they know; bless the ministry of Ric Thorpe, the Bishop of Islington, as he and his team challenge the Church of England to share your good news; and inspire all those working for peace within your Church, including the Archbishop of Canterbury and his team, and also Bridge Builders Ministries.  Lord, in your mercy, hear our prayer.

Blessing

Gracious God, who called Martin from the armies of this world to be a faithful soldier of Christ:

give us grace to follow him in his love and compassion for the needy, and in struggling for peace and good in the world; and enable your Church to claim for all people their inheritance as children of God; through Jesus Christ your Son our Lord, who is alive and reigns with you, in the unity of the Holy Spirit, one God, now and for ever; and may we all know the blessing of God almighty, Father, Son, and Holy Spirit, this day and every day. Amen.

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C.V. Stanford - Beati Quorum Via.

Discover & explore and Start:Stop

This Monday's Discover & explore service at St Stephen Walbrook (1.10pm) will explore the life and thought of St Martin of Tours as 2016 is the 1700th anniversary of the birth of the patron saint for our partner church. The Choral Scholars of St Martin-in-the-Fields will sing Handl's Hic est Martinus, David Bednall's The souls of the Righteous, Martin Shaw's Lord, make us Instruments of thy Peace, C.V. Stanford's Beati Quorum Via.

The Revd Alastair McKay, curate at St Martin-in-the-Fields, will lead the service and give the reflection about St Martin. The service will also include my meditation on St Martin. Alastair will also lead our Start:Stop reflections on Tuesday morning between 7.30 and 9.30am.

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David Bednall - In Paradisum.

Meditation: 'Jesus and Rome - Judgement of the Nations'

I

Outside the gates of Amiens,

in the depths of winter’s bitter cold,

a shivering, half-naked beggar

begs people for pity.

They walk on by on the other side.

The true protagonist of history is the beggar -

Testing and challenging responsiveness,

refining our compassion.

A young tribune rides through the gates

protective armour gleaming,

offensive weapon at his side,

luxurious lined cloak across his shoulders.

From a height, in one quick stroke

he slashes the lovely mantle in two -

the high and mighty considering the lowly -

his death-dealing sword used to give life.

Half to the beggar, clad only in rags,

half retained, sharing not possessing.

At night, in dream, he sees Christ clothed

in the part of his cloak which had covered the beggar.

From Christ begging for our hearts,

to our hearts begging for Christ.

“Here is Martin,” says Christ,

“the Roman soldier who is not baptised;

it is he who has clothed me.”

II

Beside the Milvian Bridge

alongside the Tiber,

Constantine and his troops

sleep on the eve of battle.

He dreams of a cross;

the sign by which his enemies

will be conquered.

Uncertain, he dreams again

seeing Christ command

a likeness of this sign created.

A spear overlaid with gold,

a transverse bar forming the cross,

a wreath of gold and jewels

holding a Chi-Rho,

an embroidered cloth

interlaced with cloth,

a portrait of Constantine

below the embroidered banner.

With the sign of the cross before,

the army follows on

to victory and Empire,

enemies conquered,

Christendom begun.

III

Jesus and Pilate

head-to-head

in a clash of cultures

on the pavement

at Herod’s Jerusalem fortress.

Pilate is

angular, aggressive, threatening

representing

the oppressive, controlling

Empire of dominating power,

with its strength in numbers

and weaponry,

which can crucify

but cannot

set free.

Jesus is

curves and crosses,

love and sacrifice,

representing

the kingdom of God;

a kingdom of love,

service and self-sacrifice

birthing men and women

into the freedom

to love one another.

The way of compassion

or the way of domination;

the way of self-sacrifice

or the way of self;

the way of powerlessness

or the way of power;

the way of serving

or the way of grasping;

the kingdom of God

or the empires of Man.

IV

Then the king will say to those at his right hand,

‘Come, you that are blessed by my Father,

inherit the kingdom prepared for you

from the foundation of the world;

for I was hungry and you gave me food,

I was thirsty and you gave me something to drink,

I was a stranger and you welcomed me,

I was naked and you gave me clothing,

I was sick and you took care of me,

I was in prison and you visited me.’

Then the righteous will answer him,

‘Lord, when was it that we saw you hungry and gave you food,

or thirsty and gave you something to drink?

And when was it that we saw you a stranger and welcomed you,

or naked and gave you clothing?

And when was it that we saw you sick or in prison and visited you?’

And the king will answer them,

‘Truly I tell you, just as you did it to one of the least of these

who are members of my family,

you did it to me.’

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Dissident Prophet - Unconditional Love.