STABAT MATER: PATRICK COMERFORD

‘Stabat Mater, The Mystery Hymn,’ by Desmond Fisher, was launched in Donnybrook last week Photograph: Patrick Comerford, 2015

‘Stabat Mater, The Mystery Hymn,’ by Desmond Fisher, was launched in Donnybrook last week Photograph: Patrick Comerford, 2015

From a dissolute to a desolate life … a new look at the story of an old hymn

Patrick Comerford

Book launches are always a good opportunity to meet people with shared interests and stories.

Last week, it was a pleasure to be invited by fellow blogger Michael Fisher to the launch in O’Connell’s in Donnybrook of a new book by his late father Desmond Fisher, Stabat Mater, The Mystery Hymn.

The book was launched by former Irish Times colleague and former Senator John Horgan, who is also a former Press Ombudsman. As a young reporter, John Horgan was given a job at the Catholic Herald in London by the editor, Desmond Fisher, who also worked for the Irish Press.

The attendance at the book launch included Wesley Boyd, who has reviewed the book in the ‘Irishman’s Diary’ in The Irish Times this morning [18 May 2015], and many former colleagues from, the world of journalism and broadcasting. But I was also there because of my theological and spiritual interests.

Stabat Mater is a much-loved Lenten hymn among English-speaking Roman Catholics, although it was once been banned by the Council of Trent and later by successive popes.

The title of this sorrowful hymn is an incipit of the first line, Stabat Mater Dolorosa (“The sorrowful mother stood”). The hymn meditates on the sorrows of the Virgin Mary as she stands at the foot of the Cross. It has been set to music by many composers, including Palestrina, Pergolesi, Alessandro Scarlatti and Domenico Scarlatti, Vivaldi, Haydn, Rossini, Dvořák, Karol Szymanowski, Poulenc and Arvo Pärt.

There are many variations in the translation from the original Latin. So, in this new book the late Desmond Fisher seeks to get back to the original meaning of the author who wroteStabat Mater 700 years ago. The hymn was well-known by the end of the 14th century. It was banned by the Council of Trent, but restored to the missal by Pope Benedict XIII in 1727, and was assigned by Pope Pius X in 1913 to the Feast of Our Lady of Sorrows (15 September).

But who was the author? At times, the hymn has been attributed to a variety of sources, including popes, three Saints and a member of the laity who was jailed and excommunicated.

In this book, Desmond Fisher identifies Jacopone da Todi (1230-1306) as the true author, and tells the story of his amazing life, from a dissolute to a disconsolate and desolate life. His privileged life came to end with the tragic death of his wife, and he eventually joined the Spirituali, an extreme, ascetic faction of Franciscans, before ending up in prison.

With a sympathetic and understanding approach, Desmond Fisher tells an amazing story of mediaeval extremism, but also provides a new translation of the poem, while adhering to the original metre and rhythm and re-presenting its emotions. He compares his own work with other well-known existing English versions – including those by the Irish poet Denis Florence McCarthy (1817-1882) and the English Anglican priest and hymn-writer Edward Caswall (1814-1878), who became a Roman Catholic – and tries to challenge long-accepted preconceptions.

This book was Desmond Fisher’s final achievement before he died on 30 December 2014 at the age of 94. In his final weeks, his manuscript was accepted by Gracewing.

As part of the pre-Reformation heritage of the undivided Church, it deserves to be better known among other traditions, including Anglicans. Even Archbishop Richard Chenevix Trench omitted it from his Sacred Latin Poetry in 1874 because of what he saw as its Mariolatry. Hopefully, Desmond Fisher’s new book will help to redress this.

Stabat Mater

Stabat mater dolorosa
juxta Crucem lacrimosa,
dum pendebat Filius.

Cuius animam gementem,
contristatam et dolentem
pertransivit gladius.

O quam tristis et afflicta
fuit illa benedicta,
mater Unigeniti!

Quae mœrebat et dolebat, pia Mater,

dum videbat nati pœnas inclyti.

Quis est homo qui non fleret,
matrem Christi si videret
in tanto supplicio?

Quis non posset contristari
Christi Matrem contemplari
dolentem cum Filio?

Pro peccatis suæ gentis
vidit Iesum in tormentis,
et flagellis subditum.

Vidit suum dulcem Natum
moriendo desolatum,
dum emisit spiritum.

Eia, Mater, fons amoris
me sentire vim doloris
fac, ut tecum lugeam.

Fac, ut ardeat cor meum
in amando Christum Deum
ut sibi complaceam.

Sancta Mater, istud agas,
crucifixi fige plagas
cordi meo valide.

Tui Nati vulnerati,
tam dignati pro me pati,
pœnas mecum divide.

Fac me tecum pie flere,
crucifixo condolere,
donec ego vixero.

Juxta Crucem tecum stare,
et me tibi sociare
in planctu desidero.

Virgo virginum præclara,
mihi iam non sis amara,
fac me tecum plangere.

Fac, ut portem Christi mortem,
passionis fac consortem,
et plagas recolere.

Fac me plagis vulnerari,
fac me Cruce inebriari,
et cruore Filii.

Flammis ne urar succensus,
per te, Virgo, sim defensus
in die iudicii.

Christe, cum sit hinc exire,
da per Matrem me venire
ad palmam victoriæ.

Quando corpus morietur,
fac, ut animæ donetur
paradisi gloria. Amen.

● Desmond Fisher, Stabat Mater, The Mystery Hymn, Leominster: Gracewing, ISBN 978 085244 862 5, 176 pp, £9.99.

THE PUGIN TRAIL

Saint Martin of Tours Church in Culmullen, Co Meath, designed by William Hague  Photo: Patrick Comerford website

Saint Martin of Tours Church in Culmullen, Co Meath, designed by William Hague Photo: Patrick Comerford website

The latest episode on the Pugin trail by the Reverend Patrick Comerford focuses on Culmullen chapel near Dunshaughlin in County Meath and takes in the architect William Hague’s work, including a mention of the Westenra Arms Hotel in Monaghan.

Back on the Pugin trail at a wedding in a Gothic Revival church in Co. Meath

Patrick Comerford 

The church in Culmullen Co. Meath is dedicated to Saint Martin of Tours and was renovated in 1989, but dates back to last quarter of the 19th century. This is a single-cell Gothic Revival church designed in 1876 by the architect William Hague (1840–1899), a protégé of AWN Pugin.

Hague was active as a church architect in Ireland throughout the mid and late 19th century, working mainly from his offices at 50 Dawson Street, Dublin. He was born in Co Cavan, the son of William Hague, a builder from Butlersbirdge who moved town Cavan town in 1838. William Hague jr designed several churches in Ireland, many in the French Gothic style. He was a pupil of Sir Charles Barry (1795-1860), the English architect who designed the Houses of Parliament in Westminster.

Hague spent four years in Barry’s office, and after practising briefly as an architect in Cavan he opened an office at 175 Great Brunswick Street, Dublin, in 1861. Later he was invited to supervise the completion of the unfinished church of Saint Augustine and Saint John in Thomas Street (John’s Lane), Dublin, begun by Pugin’s son, Edward Pugin, and George Coppinger Ashlin in 1862.

In the year Saint Martin’s Church was built in Culmullen, Hague married Anne Frances Daly, the daughter of a Dublin solicitor, Vesey Daly of Eccles Street. They were married in Saint Michan’s Church, Dublin, on 26 April 1876, and they had two sons, William Vesey Hague, the writer and philosopher, and Joseph Patrick Clifford Hague, and two daughters.

Hague had a flourishing practice, particularly as a prolific designer of Roman Catholic churches, designing or altering 40 to 50 throughout Ireland. He was the architect to Saint Patrick’s Roman Catholic Cathedral, Armagh, in the 1880s and 1890s. When he went to Rome to select marbles for the cathedral, he had a private meeting with Pope Leo XIII, who “imposed upon him an injunction to make such choice as would be worthy of the Cathedral of Saint Patrick’s See.”

Saint Martin’s Church in Culmullen, which was dedicated on 1 September 1878, was built by Hall and Son. The church is a good example of Gothic Revival church architecture. It is worth looking out for is the use of structural polychromy throughout the exterior which adds textural contrast with the rock-faced limestone. The conical bell tower and stained glass give artistic effect.

The church is built of rock-faced limestone with polychrome brick detailing and string courses. It has a pitched two-tone natural slate roof, with decorative terracotta ridge tiles and cast-iron rainwater goods. There is a five-bay nave with pointed-arched stained glass windows, some in pairs, and stone sills. The windows are by Early and Powell, who worked in many of the Pugin and Gothic Revival churches in Ireland.

The gable-fronted west porch has a pointed-arch door opening with brick surrounds and a pair of timber doors. The bell tower is designed on a rectangular plan with conical slate spire, and is topped with a cast-iron weather vane, attached to the west at the junction of the nave and the chancel. There is a single-bay chancel to the north with a gable-fronted sacristy attached to the west. Three lancet windows illustrating the life story of Saint Martin of Tours light the chancel and the nave is lit by three lancet windows above five smaller lights, all with brick surrounds.

Both the nave and chancel gables are surmounted with carved stone crosses. The marble altar was designed by Neill and Co, and the octagonal font is said to be late mediaeval. The roof is supported on king post trusses with diagonal struts. The site of the church is enhanced by the cast-iron gates and railings and the graveyard to the rear. There are limestone gate piers with cast-iron gates and cast-iron railings on the limestone boundary wall, and a graveyard to the east.

St Macartan's Cathedral Monaghan Photo: www.patrickcomerford.com

St Macartan’s Cathedral Monaghan Photo: http://www.patrickcomerford.com

Hague designed churches, convents, colleges, schools and town halls throughout Ireland. He completed Saint Macartan’s Cathedral, Monaghan, after the death of JJ McCarthy, often known as the “Irish Pugin,” and was responsible for the spire, the tower and the interior of McCarthy’s chapel at Saint Patrick’s College, Maynooth, which were completed after his death in 1905. He completed the interior of the Church of Saint Peter and Saint Paul in Monasterevin, Co Kildare, in 1880, when Bishop Michael Comerford was the parish priest. He also designed many of the buildings at Saint Patrick’s College, Maynooth, and Saint Eunan’s Cathedral, Letterkenny, Co Donegal.

Hague’s acceptance of commissions was ecumenical in scope. His many other works include the Archbishop’s Palace, Drumcondra, Dublin; Belturbet Presbyterian Church, Co Cavan; Cavan Methodist Church; the Protestant Hall, Cavan; Saint Aidan’s Church, Butlersbridge, Co Cavan; Saint Bridget’s Church, Killeshandra, Co Cavan; Saint John’s Church (Church of Ireland), Cloverhill, Butlersbirdge, Co Cavan; Saint Patrick’s Church, Ballybay, Co Monaghan; Saint Patrick’s Church, Trim, Co Meath; Saint Patrick’s College, Cavan; the Town Halls in Carlow and Sligo; Waterside Presbyterian Church, Derry; and the Westenra Arms Hotel, Monaghan.

Hague had become a Justice of the Peace (JP) for Co Cavan by 1885. He died of pneumonia at his house at 21 Upper Mount Street, Dublin, on 22 March 1899 and was buried at Glasnevin Cemetery three days later. He worked from: 175 Great Brunswick Street, Dublin, and Cavan (1861-1872); 44 Westland Row and Cavan (1872-1877); 44 Westland Row (1879); 40 Dawson Street, Dublin (1879-1881); 62 Dawson Street (1881-1887); and 50 Dawson Street (1888-1899). He lived at 21 Upper Mount Street, and Kilnacrott House, Ballyjamesduff, Co Cavan.

After his death, his former student and managing assistant, Thomas Francis McNamara (1867-1947), took over most of his work under the business name of Hague & McNamara.

ASTON VILLA: A LICHFIELD FAN

Villa Park then (1982) from the Holte End and now  Photo: AVFC

Villa Park then (1982) from the Holte End and now Photo: AVFC

Writing about Spaghetti Junction the other day, I mentioned Villa Park, the home of Aston Villa FC. I went there on a couple of occasions both to watch from the then terrace at the Holte End (see picture) and occasionally to report from the ground during my time in Birmingham with BBC Local Radio. So I am delighted to see that Patrick Comerford has written tonight about Aston Villa, and the club’s proud history. Like many Villa fans he remembers their great achievements in Europe in 1982 and is now looking forward to seeing the claret and blue in the FA Cup Final against Arsenal at Wembley on May 30th.

I know which team I want to win … but does David Cameron know?  Patrick Comerford 

Villa Park from Trinity Road Stand, showing (L-R) North Stand, Doug Ellis Stand and the Holte End (Photograph: Harry Vale/Wikipedia)

The Aston Villa website boasts a number of very public fans, including Prince William, Tom Hanks, Redd Pepper, Nigel Kennedy, Pauline McLynn (‘Mrs Doyle’ of Father Ted), Oliver Phelps … and David Cameron. Well, Cameron claims he is a fan. But is he?

Early in the 2011-2012 season, he took his young son to watch Alex McLeish’s side as they faced QPR at Loftus Road. He once said: “The first game I ever went to was an Aston Villa game and so I am an Aston Villa fan.” It’s easy for him to have a proprietorial attitude towards Villa … after all, his uncle, Sir William Dugdale, who lived near Tamworth until he died late last year, chaired Villa from 1975 to 1982 and took the future Prime Minister to his first ever game as a 13-year-old.

But in a public blunder a few days, David Cameron gave a speech celebrating the diverse allegiances of British people in which he said: “Where you can support Man United, the Windies and Team GB all at the same time. Of course, I’d rather you supported West Ham .. eh, hem.” He later avoided questions from the media aiming to ascertain his level of support for Aston Villa, which he said he had supported since watching them beat Bayern Munich in the1982 European Cup Final when he was a child.

In an interview with the Birmingham Mail, he has since claimed his “profoundly embarrassing” West Ham gaffe was down to thinking about cricket. “I want to say how sorry I am,” Cameron said. “All I can explain is I went past the West Ham stadium the day before and I just said the word West Indies in my speech and I was making a point about the cricket Test and all the rest of it. I meant to say Aston Villa and I am profoundly embarrassed.”

Cricket? It is embarrassing. I never knew West Ham played cricket. I like cricket too. Indeed, as a Villa fan, I knew about Aston Villa’s cricket association since its early days. But does David Cameron? 

Aston Villa Football Club was formed in March 1874, by four members of the cricket team at Villa Cross Wesleyan Chapel in Handsworth. From as early as 1867, the chapel was known as Aston Villa Wesleyan Chapel. The four founders were Jack Hughes, Frederick Matthews, Walter Price and William Scattergood.
. 
Local lore says they met under a gas-light in Heathfield Road to set about forming a new club. As cricket players, they were looking for something to keep them occupied during the winter, and they chose football after witnessing an impromptu game on a meadow off Heathfield Road.
The first match for the new side was against the local Aston Brook Saint Mary’s Rugby team on Wilson Road, Aston. As a condition of the match, the Villa side had to agree to play the first half under rugby rules and the second half under football rules. The game was a scoreless draw at half time but Jack Hughes scored a goal in the second half to ensure that Villa won their first ever game.Villa’s first official home was at Wellington Road in Perry Barr from 1876. The new club was soon playing soccer and won its first FA Cup in 1887, beating West Bromwich Albion 2-0 at the Oval. Aston Villa was one of the dozen teams that competed in the inaugural Football League in 1888. The first League game was on 8 September 1888, when Villa and Wolverhampton Wanderers drew 1–1.Aston Villa went on to become the most successful club in the Victorian period. In 1897, Villa moved to the current home ground, the Aston Lower Grounds. By 1900, the fans were calling Villa Park, and the ground was bought outright in 1911. By the end of Villa’s “Golden Age” and at the start of the World War I, the club had won the League Championship six times and the FA Cup five times. Aston Villa won its sixth FA Cup in 1920.

However, during the inter-war years Villa was on a slow decline that would led to relegation to Division II in 1936 for the first time. By 1957, Villa was a Cup-winning side once again with a seventh FA Cup win, defeating Manchester United’s “Busby Babes” 2–1 victory. I remember the 1971-1972 season, when I was spending a lot of time in Lichfield, and Aston Villa returned to Division II as champions with a record 70 points. I became a convinced Villa fan, and by 1975 the club was back into Division I. In the 1977-1978 season, Villa reached the quarter-final of the UEFA Cup, going out 4–3 on aggregate against Barcelona.

The club won the league in 1980-1981, and went on to an epoch-making 1-0 victory over Bayern Munich in the European Cup final in Rotterdam on 26 May 1982. Villa was relegated again in 1987, but was promoted the following year, rose to second place in the Football League in 1989, and was one of the founding members of the Premier League in 1992, when Villa finished runners-up to Manchester United in the inaugural season.

In 2000, Aston Villa reached the FA Cup Final for the first time since 1957, but lost 1–0 to Chelsea in the last game played at the old Wembley Stadium. Now, 15 years later, Villa is back in an FA Cup Final once again. An eighth cup win would be so sweet after a a season that was often dominated by regulation fears.

I pass by Villa Park many times a year, on my way to and from Lichfield on the train. The King Edward VII, a landmark pub popular with Aston Villa fans on matchdays, has stood proudly on the junction of Lichfield Road and Aston Hall Road since about 1900. However, local newspapers reported a few weeks ago that the pub is to be pulled down as part of a major industrial park development and a wider revamp of the junction with Aston Hall Road. According to the reports, the pub’s owner, Paul McMahon, plans to move his business to the nearby derelict Aston Tavern.

By accident, I have arranged already to be back in Lichfield on Cup Final Day. Once again, I shall find myself close to Villa Park. I must find a good place in Lichfield to watch the match. Any suggestions? After all, I know which team I am supporting … but does David Cameron?

‘PAPARAZZI’ IN SOUTH DUBLIN

Paparazzi ... a theme behind the name of the restaurant in Templeogue (Photograph: © Patrick Comerford, 2014)

Paparazzi … a theme behind the name of the restaurant in Templeogue (Photograph: © Patrick Comerford, 2014)

Since I spent the first two years of my life in Terenure and my cousins lived there, I have retained an interest in the general area. So I was interested to see this blog from the Reverend Patrick Comerford, whose articles I have reproduced here from time to time, with permission of the author. This one is entitled:

‘Love All’ and ‘Paparazzi’ in the heart of suburban south Dublin 

Suburban south Dublin was looking beautiful in mid-January. Templeogue must be the archetypal south Dublin suburb, with its tennis club, sports facilities, cafés, fee-paying schools – and all 15 bus routes go through some part of Templeogue on their way to Terenure, Rathgar and Rathmines and on into the city centre.

But how big is Templeogue and how far does it extend? Like Terenure, it must have very porous boundaries, extending to parts of Ballyroan, Butterfield, Firhouse, Greenhills, Kimmage, Knocklyon, Limekiln, Old Orchard, Perrystown, Rathfarnham, Tallaght, Terenure, Tymon, and Whitehall.

In a moment of unguarded snobbery, a former colleague, point out that he lived in “Templeogue before the bridge” and not in more naff “Templeogue across the bridge.” He was not happy to hear that the original Templeogue was much nearer Tallaght than the present Templeogue village.

James Joyce mentions Templeogue in Finnegans Wake, the poet Austin Clarke lived in Bridge House beside Templeogue Bridge on the banks of the River Dodder, and Archbishop George Simms retired to live in Templeogue with his wife Mercy in 1991.

The Irish name, Teach Mealóg, means the “New Church of Saint Mel” or the house or Church of young Saint Mel, said to have been built ca 1273. By 1615, the church was in ruins, and the ruins can be seen in the graveyard at the top of Wellington Lane near the Spawell Leisure Centre. Nearby, Saint Michael’s House occupies the former Templeogue House, which incorporates parts of Templeogue Castle, built by the Talbot family.

Although Templeogue is only 6 km from the city centre, we had sweeping views across to the Dublin Mountains this afternoon during lunch at a window table in Paparazzi in Old River House, in the heart of Templeogue. We had a LivingSocial voucher for lunch, and had Tagliatelle Vegetarian, Seafood Risotto, two glasses of white wine, and two double espressos.

In the background, popular Italian folk songs from decades ago were unobtrusive. The walls were decorated with paparazzi photographs of Marilyn Monroe, and the mirrors gave the first floor restaurant a greater feeling of expansive space.

Looking out at Templeogue Village from a window in Paparazzi in Templeogue (Photograph: © Patrick Comerford, 2014)

Looking out at Templeogue Village from a window in Paparazzi in Templeogue (Photograph: © Patrick Comerford, 2014)

Immediately below us was Templeogue Tennis Club, and to the left the rows of shops that give Templeogue its village character, from Templeogue Barbers and Massey’s Funeral Home, passing the Templeogue Inn, known more popularly as ‘The Morgue,’ and on to Hollingsworth’s bicycle shop.

The Templeogue Inn is the one and only pub within the boundaries of the village. It is also known as The Morgue. When the old tram route passed through Templeogue, it is said, because the tram ran so close to the pub, there were many deaths and the corpses were often brought back into the pub and laid out on the tables.

‘Love All’ ... Rachel Joynt’s sculpture in the heart of Templeogue Village (Photograph: © Patrick Comerford, 2014)

‘Love All’ … Rachel Joynt’s sculpture in the heart of Templeogue Village Photo: © Patrick Comerford 2014

Some years ago, when a betting shop opened a few doors down, between Massey Brothers and the tennis club, many residents took offence when it was given the name “Dead Cert.” Now in front of Massey’s, the barbers and the tennis club, the most noticeable landmark is Love All, a large bronze spherical sculpture about a metre in diameter. The bronze is patinated green and dramatically resembles a tennis ball from afar. At a closer look, however, is looks more like a scaled-down world with tiny details of houses, roads, cars and people emerging from the textured green surface, and seam of the tennis ball turns out to represent the River Dodder. Rachel Joynt was inspired by both the tennis club and the River Dodder as she worked on Love All. She also suggests the notion of a globe or the world by mounting the sculpture on an axle so that it rotates slowly if pushed.

“For me, a successful public artwork needs to have a sense of place, a freshness, some intrigue and playfulness, a bit like a frozen moment from a daydream,” she has said.

Riverside Cottages ... a semi-rural setting in the heart of suburban south Dublin (Photograph: © Patrick Comerford, 2014)

Riverside Cottages … a semi-rural setting in the heart of suburban south Dublin (Photograph: © Patrick Comerford, 2014)

Behind the village, the tennis club and Hollingsworths, we walked down the hidden laneway that drops down to an old semi-circle of houses at Riverside Cottages, built on the banks of the River Dodder over 100 years ago. Here there is a semi-rural setting in the heart of suburban south Dublin, and from here it is possible to walk along the river bank through Rathfarnham and much of south Dublin.

Later this evening, while I was in Harold’s Cross, I caught a glimpse to the east of the still full moon rising in a clear sky above the green copper dome of the church in Rathmines. It was a very different “bronze age” view than Rachel Joynt’s Love All in Templeogue.

Patrick Comerford January 17th 2014

 

FIRST WOMAN BISHOP

Bishop Pat Storey  Photo: Derry/Raphoe Diocese

Bishop Pat Storey Photo: Derry/Raphoe Diocese

Congratulations to the Right Reverend Pat Storey who was ordained in Dublin this afternoon as the first woman Bishop in Ireland and Britain. Patrick Comerford is a Canon at Christ Church Cathedral where the service took place and his regular blog describes the occasion in detail.

A memorable afternoon at the consecration of Bishop Pat Storey in Christ Church Cathedral

Peace and calm in Christ Church Cathedral Dublin at noon as the final touches were put to preparations Photograph: © Patrick Comerford, 2013

It was wonderful to be part of the momentous events in Christ Church Cathedral, Dublin, this afternoon when the Most Reverend Patricia Storey was consecrated Bishop of Meath and Kildare. It was an afternoon that saw Church of Ireland liturgy – and cathedral music at its best, led by the Cathedral Choir.

The principal consecrating bishop was Archbishop Michael Jackson of Dublin, assisted by Bishop Paul Colton of Cork, Cloyne and Ross, and Bishop Ken Good of Derry and Raphoe. Most of the bishops of the Church of Ireland were present, apart from Bishop Michael Burrows of Cashel, Ferns and Ossory, who is on sabbatical leave in Swaziland, and Bishop Ferran Glenfield of Kilmore, Elphin and Ardagh. Retired bishops of the Church of Ireland present included a former Archbishop of Dublin, Bishop Walton Empey, and Bishop Ken Clarke, Bishop Edward Darling, Bishop Samuel Poyntz and Bishop Roy Warke. Participants and guests line up in the cloister garth to welcome the new bishop Photograph: © Patrick Comerford, 2013

The Archbishop of Canterbury was represented by Archdeacon Sheila Watson. Also present were by the Primus, Bishop David Chillingworth, and Bishop Mark Strange of Moray, Ross and Caithness, from the Scottish Episcopal Church; Archbishop Barry Morgan of the Church in Wales; and Bishop Karsten Nissen of the Church of Denmark.

Other Church leaders and ecumenical guests included the Revd Dr Heather Morris, President of the Methodist Church in Ireland; the Right Revd Dr Rob Craig, Moderator of the Presbyterian Church in Ireland; Bishop Denis Nulty of Kildare and Leighlin; Monsignor Dermot Farrell, present on behalf of the Bishop of Meath; Monsignor Hugh G Connolly, President of Saint Patrick’s College, Maynooth; Dr Gesa Thiessen of the Lutheran Church; Father Godfrey O’Donnell of the Romanian Orthodox Church and the Irish Council of Churches. Dr Ali Selim represented the Islamic Community.

The setting was Franz Schubert’s Mass in G, with organ voluntaries by Maurice Duruflé, and motets by Thomas Tallis and Anton Bruckner. The singling of the litany was led by the Revd Eugene Griffin, a Deacon-Intern in Taney Parish, Dublin.

The Scripture reading were read by the Revd Earl Storey, Bishop Storey’s husband, Mrs Deirdre Amor from Saint Augustine’s Parish, Derry, and the Revd Trevor Holmes, deacon-intern in the parish of Julianstown, Co Meath. My stall as the sixth canon in Christ Church Cathedral, Dublin  Photograph: © Patrick Comerford, 2013

The cathedral chapter members sat in our stalls, and I was asked to assist with the administration of Holy Communion at the West End of the cathedral. Afterwards, there was a lavish reception in the State Apartments in Dublin Castle this evening, with an opportunity to linger awhile with friends old and new. Leaving the State Apartments in Dublin Castle this evening  Photograph: © Patrick Comerford, 2013

Reverend Nigel Parker preaching at the ordination of Bishop Storey  Photo:  © Church of Ireland

Reverend Nigel Parker preaching at the ordination of Bishop Storey Photo: © Church of Ireland

Sermon by the Reverend Nigel Parker at the Consecration of The Reverend Pat Storey as Bishop (from Church of Ireland News Release)  ‘Consecrate yourself to the Lord’  John 21. 1–17

Picture the scene:

Thursday evening – before Jesus was crucified. Jesus eats the last supper with the disciples; He says that one will betray and the rest deny Him; Simon Peter says, ‘everyone else, never me!’; Jesus says – ‘before the cock crows twice you will disown me three times’; they go out to Gethsemane with heavy hearts; Judas arrives with soldiers to arrest Jesus; the disciples flee; Jesus endures the mockery of a trial. In a courtyard, Peter warms himself by the fire and is challenged three times about being a disciple of Jesus, and each time he denies even knowing Him; the cock crows for the second time and Simon Peter weeps.

Friday – Jesus is crucified, and Simon Peter is nowhere. Saturday (the Sabbath) – the same. Sunday – Jesus is risen. Alleluia! In the morning, He appears to Mary Magdalene in garden. In the evening, to the disciples, except Thomas, in a locked room in Jerusalem.
One week later, they are back in room with Thomas. Days roll by, silence. The eyes of the others are on Peter, looking for leadership! He is in inner turmoil: ‘How can I lead, I denied my friend! Does Jesus still want me? Would people still want to follow?’ He can’t take the pressure any longer. Simon Peter says: ‘I’m going out to fish.’ Six other disciples say: ‘We’ll go with you.’ It is important to note on this Feast of St Andrew that, to his credit, Andrew who is so often at his brother’s elbow, stands his ground and stays in Jerusalem while Simon Peter runs! Out of Jerusalem, back to Galilee, to his boat.

Picture a second scene:

First thing – one of the unnamed disciples was Church of Ireland – an accountant, because Jesus, risen from the dead, is sitting by a fire, with barbecued fish and bread ready for their breakfast and he stops to count the fish! Perhaps that was his gift – the gift of administration is very important – it verifies the miraculous catch of 153 large fish.

So here are seven disciples around a fire with the Son of God. There’s a boat on the edge of the water, net full of wriggling writhing fish beside them. For at least three of them (Simon Peter, James, John), a beach (perhaps this very beach) is highly significant. This may be the very place where Jesus said to them, ‘Come follow me and I will make you fishers of men.’ (Mark 1. 17) The Lord has a wonderful way of taking us full circle.

In a similar way, after breakfast, Jesus talks to Simon Peter about the matter, which is foremost in Peter’s mind – denying Jesus three times. Jesus doesn’t reprimand him or warn him, Peter has cried enough tears, he is a penitent man.

Jesus, as always, has not come to condemn, but to save – to restore. So to redeem Peter’s threefold public denial of Jesus, even after his boasts of eternal faithfulness on that Thursday evening, Jesus asks Simon Peter three questions.

The core of each question is the same:
‘Simon son of John, do you love me?
And Simon Peter’s response is, in essence, the same each time:
‘Yes Lord, you know that I love you.’

Sometimes a word or phrase stands out.
‘Simon son of John, do you truly love me more than these?’

Perhaps, Jesus was asking:
• Simon – do you love me more than you love these men? Am I, your God, first in your affection?
• Simon – you said you would never forsake me even if all others did. Do you love me more than these men love me?
• Simon – do you love me more than you love these fish?

Fish are everywhere in the story, at least 155 of them! 153 in the net when it came ashore, some on the barbecue. They’ve just eaten fish. Fish bones are all around them. Fish meant a great deal to Simon Peter – both a livelihood and a way of life. Was it a sense of uselessness that drove Peter out of Jerusalem and back to Galilee? A hunger for income, security, self–respect, standing in a community where he hadn’t totally disgraced himself?

Simon knew fish. How to catch them, gut them, sell them, cook them, eat them. Simon knew how to lead men on a boat to catch fish. He knew where fish were to be found. Except, of course, for this night, for they had caught nothing. Imagine Simon Peter’s mood:
‘I don’t believe it!’
‘Can’t lead men to catch men!’
‘Now can’t lead men to catch a single sardine!’

As they approach the shore, failure weighs heavy on Simon Peter’s shoulders. Then a man, somehow familiar, standing on the beach, calls out, seemingly with a wry smile on His face:
‘Friends, haven’t you any fish?’
‘Throw your net on the right side of the boat and you will find some.’

As soon as Peter realizes it is the Lord Jesus, he’s in the water heading towards Him – demonstrating the abandonment, which Jesus has always loved in Peter; the passion in his heart. All through the meal, the irony would not have been lost on Peter, that Jesus the carpenter was a better fisherman than he.

And then as he sits drying himself in front of the fire (the setting where he betrayed Jesus in the courtyard), with his belly full of cooked fish, surrounded by fish bones, a net full of fish beside them, Jesus asked him:
‘Simon son of John, do you truly love me more than these?’

Story

A French monk, Dominic Valome, had terminal cancer. He asked to be released from the monastery so he could go and live in a slum area of Paris. He rented a flat and took on a job as a night watchman. Every morning on his way back from work, he would sit on a park bench and talk to whoever came by. Often men would come to drink and leer at the girls walking past. He would listen to the story of their lives and sometimes their language was very choice and sometimes their stories were far from clean. But he never judged them, he just listened to them and shared his sweets with them.

Then came the day when someone asked him, ‘What’s your story?’ He told them and from that day there was no more swearing and no more dirty stories. They found him dead not long after that in his single–tap cold water flat. Do you know how many people came to his funeral? 7,000 people. All that it says on his tombstone is, ‘Dominic Valome, a witness to Jesus Christ’.

What had he done? He listened to people and shared his sweets with them. Somehow through that people had been touched by the love of God. After that they found his journal in his flat. The last entry in his journal read, ‘I can genuinely say I have no other interest other than the love of God’.

Application

That is consecration:
• Our love for Him who first loved us
• Placing ourselves entirely at His disposal
• Declaring, ‘Whatever it takes!’

Whenever we truly love someone or something, we are willing to make the necessary sacrifices. In pursuit of a closer walk with Jesus, Dominic Valome consecrated himself and left the secure setting of the monastery and lived his final months among the poor in the slums of Paris. In the midst of his sacrifice, he was not disappointed.

Above all sacrifices, of course, stands the sacrifice of Jesus, the Word made flesh, who stepped out of heaven to live, suffer and die among us to bring us back to the Father who loves us so much that He willingly gave everything. ‘For God so loved the world that he gave his one and only Son, that whoever believes in him shall not perish but have eternal life.’ (John 3.16) Today, as we gather for consecration, we follow in the glorious footsteps of our Master, who has unleashed heaven on earth, declaring, ‘My Father, not my will but yours be done’.

Consecration is so vital, because it is an invitation to the Holy Spirit to have His way. No wonder, as the People of Israel prepared to cross the River Jordan, Joshua told them, ‘Consecrate yourselves, for tomorrow the Lord will do amazing things among you.’ (Joshua 3.5)

Those amazing things are not dependent on who we are, but on who God is!

Dwight L. Moody was a shoe salesman who felt the call of God to preach the gospel. Early one morning he and some friends gathered in a hay field for prayer, confession and consecration. A man called Henry Varley said, ‘The world has yet to see what God can do with and for and through someone who is fully and wholly consecrated to Him.’

Moody was deeply moved by those words. Later, as he listened to the great preacher Charles Spurgeon, Moody thought ‘I could be that person. Well by the Holy Spirit in him, he would be that person.’ And then suddenly, in the high gallery, he saw something he’d never realised before – it was not Mr Spurgeon, after all, who was doing that work: it was God. And if God could use Mr Spurgeon, why should he not use the rest of us, and why should we not just lay ourselves at the Master’s feet, and say to Him, ‘Send me! Use me!’

Through that one ordinary life God began to do the extraordinary. Moody became one of the greatest evangelists of modern times. He preached in services across Britain and America where many thousands came to Christ.

Pat – It has been our privilege over the years to see you respond to our Father’s love with love, trust and obedience:

• You have given yourself whole–heartedly to Him and His Church, serving His people as a deacon and priest – teaching the Scriptures and pastoring with that disarming directness, which is your hallmark, a directness, which speaks the truth in love, with a ready laugh and delightful sense of humour.

• You have demonstrated your love for the Father in your hard work, impeccable organisation and evangelistic heart, like that of the Apostle Andrew, which longs to see many come into the family of God, through the completed work of Jesus Christ.

• You have shown your care and thoughtfulness to many, not least your family, Earl, Carolyn and Luke, and to us, your friends.

So today, it is our privilege to pray for you, as the Lord Jesus calls you to a deeper life of sacrificial service as a bishop, calls you to consecrate yourself to Him, His Church and His Cause.

And not only you, all of us. Do you want to see the Lord move powerfully in your life, parish, diocese? Then consecrate yourself to the Lord!

Then expect to be challenged to leave the familiar, because we will find ourselves, like Simon Peter, as he looked into the face of man with eyes like fire, hearing the voice of the Master addressing us by name and asking, ‘Do you love me more than these?’

We may not, like Simon Peter, be sitting on a beach warming ourselves by a fire. For us, the question will be posed in surroundings familiar to us – our home, a church service, a coffee shop, our workplace, just as those surroundings were so familiar to Simon Peter. The setting is immaterial the reality is the same:

Do you love me more than:
• You love your family, country
• Your comfort / security
• Career / Reputation
• Ministry, denomination
• Money, house, holidays
• Old familiar ways

And so we should pray for one another, because we know that the spirit is willing, but the flesh is weak, that we have this treasure in jars of clay. Simon Peter’s story of failure, forgiveness and restoration is so encouraging for us, because the Risen Lord Jesus deals with us in similar fashion. Again and again, He comes to us, His disciples, in awesome humility, and says: ‘Do you love me more than these?’

Each of us will answer in different words. Two of my favourites are:

Apostle Paul – ‘I want to know Christ and the power of his resurrection and the fellowship of sharing in his sufferings, becoming like him in his death, and so, somehow, to attain to the resurrection from the dead.’ (Philippians 3.10–11)

C.T. Studd, former England cricket captain, who gave up fame and a glittering career to serve the Lord as a missionary in inland China, said: ‘If Jesus Christ be God, and He died for me, then nothing is too hard for me to do for Him!’

But perhaps the simple words of a former fisherman are the most poignant of all: ‘Lord, you know all things; you know that I love you.’

‘Consecrate yourselves, for tomorrow the Lord will do amazing things among you.’ (Joshua 3.5)

CHURCH OF IRELAND

Once again I am turning to the Reverend Patrick Comerford for today’s contribution. A very interesting talk about the Church of Ireland: Church, Culture and being relevant. It was part of a series of talks on Anglicanism being delivered by him at the Mater Dei Institute of Education in Dublin.

Map of Sandford Road Ranelagh c.1850 showing Woodville, where Carleton lived (Dublin City Library)

Map of Sandford Road Ranelagh c.1850 showing Woodville, where Carleton lived (Dublin City Library)

He might have added William Carleton (1794-1869) to the list of writers who were members of the Church of Ireland, although he came from a Catholic background and wrote mainly about the poor tenant farmers in the Clogher Valley: ‘Traits and Stories of the Irish Peasantry’. Carleton died in Ranelagh and is buried at Mount Jerome cemetery in Dublin and he spent most of his adult life in the city. This article on the Life of William Carleton was published in the William Carleton Society summer school booklet 2013 and is also included in a new publication due to be launched in Dungannon next Tuesday (19th November) on the ‘Shared History, Shared Future’ project involving five local historical and cultural societies.

John Slattery portrait of William Carleton from National Gallery of Ireland collection

John Slattery portrait of William Carleton from National Gallery of Ireland

William Carleton (1794 – 1869) was born the youngest of a family of fourteen children in the townland of Prolusk (spelled ‘Prillisk’ in his autobiography) near Clogher in Co.Tyrone, on Shrove Tuesday, 20th February, 1794. Although there is little suggestion that the Carletons were upwardly mobile, they did move house frequently within the Clogher area and were established at the townland of Springtown when William left the family home. Carleton obtained his education at local hedge schools which he was to write about, fictionalising the pedagogue Pat Frayne as the redoubtable Mat Cavanagh. From other retrospections of his home district, we learn of Carleton’s delight in his father’s skill as a seanachie and the sweetness of his mother’s voice as she sang the traditional airs of Ireland; of his early romances- especially with Anne Duffy, daughter of the local miller; of Carleton the athlete, accomplishing a ‘Leap’ over a river, the site of which is still pointed out; of the boisterous open air dancing. Initially an aspirant o the priesthood, Carleton embarked in 1814 on an excursion as a ‘poor scholar’ but, following a disturbing dream, returned to his somewhat leisurely life in the Clogher Valley before leaving home permanently in 1817. Journeying via Louth, Kildare and Mullingar, he found work as a teacher, librarian and,  eventually, as a clerk in the Church of Ireland Sunday School Office in Dublin. In 1820, he married Jane Anderson who bore him several children. By 1825, Carleton. who had left the Roman Catholic Church for the Anglican Church of Ireland, met a maverick Church of Ireland cleric, Caesar Otway, who encouraged him to put his already recognised journalistic talents to such prosletysing purposes as satirising the attitudes reflected in pilgrimages to ‘St Patrick’s Purgatory’ at Lough Derg, a totemic site in Irish Catholicism. Further writings in the Christian Examiner & Church of lreland Magazine led in 1829 and 1833 to the publication of what is arguably Carleton’s best known work: Traits and Stories of the Irish Peasantry. In these stories Carleton returned imaginatively to the Clogher Valley, drawing on comedy, farce, melodrama and tragedy to present a tableau of the life of the country people of the north of Ireland before the famines of the 1840s altered their pattern of existence for ever. Carleton went on to respond to the challenge of the novel, in his tirne a comparatively undeveloped genre amongst Irish writers, and published Fardorougha the Miser (1839), Valentine McClutchy (1845), The Black Prophet (1847), The Emigrants of Aghadarra (1848), The Tithe Proctor (1849), The Squanders of Castle Squander (1852). In these works he addresses many of the issues affecting the Ireland of his day such as the influence of the Established Church and landlordism, poverty, famine and emigration but does so with an earnestness that regrettably often caused his more creative genius to be swamped in a heavy didacticism. Carleton continued to write in a variety of forms, including verse, until his death in 1869, but critics are agreed that the quality of the work is uneven. Despite his prolific output, Carleton never really made a living from his writings and welcomed the pension voted to him by the government following the advocacy of such contrasting figures as the Ulster Presbyterian leader, Dr Henry Cooke, and Paul Cardinal Cullen, Catholic Archbishop of Dublin. His last project, uncompleted when he died, was his Autobiography, which was re-issued through the efforts of the Summer School Committee in 1996. Carleton was buried in the cemetery at Mount Jerome in Dublin and over his grave a miniature obelisk records the place “wherein rest the remains of one whose memory needs neither graven stone nor sculptured marble to preserve it from oblivion”.

http://bit.ly/1gP8fsG

ST ANNE’S CATHEDRAL BELFAST

St Anne's Cathedral Belfast Photo: belfastcathedral.org

St Anne’s Cathedral Belfast   Photo: www.belfastcathedral.org

St Anne’s Cathedral in Belfast city centre has an interesting history. Although the foundation stone was laid in September 1899, its unique ‘spire of hope’ was added in April 2007 during the tenure of  Dean Houston McKelvey. Architect William Henry Lynn supervised the building programme at the cathedral from 1910 – 1915. He designed the baptistry in 1915 (the year of his death) and was a worshiping member of the cathedral community. There is a memorial plaque to Lynn on the south wall of the cathedral which states:-

”His art adorns the city and many others throughout the Empire. He aided Sir Thomas Drew in the original design of this cathedral and watched with ceaseless care the erection of the nave. He was a devout Christian and a generous benefactor of the Church. The Great West window was a gift and he made a liberal bequest to the cathedral building fund.”

I am writing about this landmark building because I have just read another very interesting blog by the Reverend Patrick Comerford. He was in Belfast yesterday for the ordination by the Bishop of Connor Alan Abernethy of a new deacon for St John’s Parish on the Malone Road, close to where I live.

Reverend Rod Smyth

Reverend Rod Smyth Photo: St John’s Malone

Rod is from St Gall’s, Carnalea near Bangor in County Down. He was a chorister in St Anne’s and also a Bass Lay Clerk whilst studying music at Queen’s University. He served as Parish Organist in St Gall’s for some twenty years. For the last 33 years he has worked in education, recently leaving the post of Head of Senior School at Bangor Academy and Sixth Form College. Here is how Patrick Comerford described the occasion and he took the opportunity to get some great photographs:

                    An afternoon filled with light in Saint Anne’s Cathedral, Belfast

Saint Anne’s Cathedral, Belfast: a cathedral for one city and two dioceses                           (Photograph: Patrick Comerford, 2013)

I was in Saint Anne’s Cathedral in Donegall Street, Belfast, yesterday afternoon [Sunday 15 September 2013] for the ordination of the Reverendd Roderick Smyth as deacon to serve in the parish of Saint John the Evangelist, Malone Road. There was a very warm welcome from the Dean of Belfast, the Very Reverend John Mann, and we walked around the tour for some time before the Ordination Service.

Saint Anne’s is an unusual cathedral for it serves two separate dioceses (Connor, and Down and Dromore) which have their own cathedrals (in Lisburn, Downpatrick and Dromore), yet it is the seat of neither bishop, although they both have seats in the chancel. Belfast received its first charter in 1613, but remained a city without a cathedral for centuries.

Bishop Jeremy Taylor’s ‘chair’ in the north ambulatory                                                (Photograph: Patrick Comerford, 2013)

The first proposal for a cathedral in Belfast came from the Dean and Chapter of Connor in 1860. At the time Connor and Down and Dromore were united as dioceses, ever since the saintly Jeremy Taylor was bishop after the Caroline Restoration in the 1660s. So the scheme was not as geographically difficult as it now appears.

After the proposal for a cathedral in Belfast was presented to the Diocesan Council by Bishop Thomas Welland, the project was taken up enthusiastically by Henry Stewart O’Hara when he became Rector of Belfast in 1894.

Sir Thomas Drew (1838-1910) was chosen as architect, and the foundation stone was laid in 1899 by the Countess of Shaftesbury in the presence of the Archbishops of Armagh and Dublin.

The Good Samaritan window survives from old Saint Anne’s                                           (Photograph: Patrick Comerford, 2013)

The old parish church of Saint Anne continued in use while the new cathedral was being built around it and the old church was not demolished until the end of 1903. Today, the the only remaining feature from the old church is the Good Samaritan window in the sanctuary. The nave of the cathedral was completed in 1904 and was consecrated by Bishop Welland that June.

On the north side of the nave, running from the West Doors to the Choir, the following corbels are set above each column or respond: the Archangel Gabriel, Bishop George Berkeley, Dean Henry Stewart O’Hara, Archbishop William King, Provost George Salmon, Bishop Jeremy Taylor, and the Archangel Michael.

On the south side of the nave, running from the Choir to the West Doors, the figures in the corbels above each column or respond are: the Archangel Raphael, Archbishop James Ussher, Bishop Thomas Percy, Bishop William Bedell, Archbishop William Alexander, Cecil Frances Alexander and the Archangel Uriel.

The West Front of the cathedral was built in the 1920s                                       (Photograph: Patrick Comerford, 2013)

The west front of the cathedral was built in the 1920s as a memorial to the men and women of Ulster who died in World War I. The central crossing was built in the early 1920s. The Baptistery was dedicated in 1928. The Chapel of the Holy Spirit, with mosaics depicting Saint Patrick, was dedicated on 5 July 1932, the 1,500th anniversary of the arrival of Saint Patrick in Ireland.

  Mosaics depicting Saint Patrick’s missionary journey to Ireland                                               (Photograph: Patrick Comerford, 2013)

The only tomb in the cathedral is that of the Unionist leader Edward Carson, who was given a state funeral in 1935 and buried in the south aisle.

The ambulatory, at the east end of the cathedral, was built in the 1950s. When Bishop Jeremy Taylor’s old church at Lower Ballinderry was restored some years ago, portions of its ancient oak furniture were made into a chair. The chair is now placed beneath his portrait on the north side of the ambulatory, providing a link with the great Bishop of Down and Connor and Dromore who is commemorated in the corbel above the Pillar of Music on the north side of the nave.

Work on the north and south transepts began in the 1960s. The south transept, with the Chapel of Unity and the organ loft, was dedicated in 1974; the north transept, with the Chapel of the Royal Irish Rifles, was completed in 1981. A 40-metre stainless steel spire, the “Spire of Hope,” was installed on top of the cathedral in 2007.

Belfast Cathedral is probably best known for the “Black Santa” sit-outs at Christmas, first organised over 30 years ago by Dean Samuel Crooks. The tradition has been continued by successive deans, including the present dean, the Very Revd John Mann, and the chapter members.

During coffee in the side aisles after the ordination service, Dean Mann pointed out a number of features in the cathedral that I had missed earlier in the afternoon. By then, the sun was lowering in the west, and its rays were shining brightly through the West Door, filling this modern cathedral with light.

Light fills Saint Anne’s Cathedral Belfast through the West Door                               (Photograph: Patrick Comerford, 2013)