Tag Archives: Saint John

17 April: Stations for Peter XI: Jesus speaks to his Mother.

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Jesus spoke to his mother, but Peter was not beside him and Mary. Jesus asked John to care for his mother.

Scripture references: Peter a long way off: Luke 22:54-55; 23:49; Mary and John at the Cross: John 19: 25-27; Peter’s mother-in-law: Matthew 3:14-15.

I was not there, not really there. Back in the crowd I was.

I don’t think he could even see me, and no way could I hear his gasping words, but young John was there, John was listening closely.

Jesus knew John was there, and his mother, Mary. He told John to care for her.

I would have done it.

Didn’t he care for my mother-in-law?

I let him down again.

Let us pray for everyone caring for other people’s parents, and their own; for adoptive and foster children and parents, and for all who work with children.

Jesus, remember me, when you come into your Kingdom!

Window, St Mary, Rye, Sussex, MMB.

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Journey down, to then be lifted up.

 

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I am writing this at the beginning of Holy Week, the week in which Christians around the world recall the journey Jesus made into Jerusalem, and ultimately to his death on Good Friday and through to his Resurrection on Easter Day. It is a journey that takes him into Jerusalem, riding upon a donkey, that in itself being a sign of peace. He goes onto washing the feet of his closest friends (a job normally undertaken by a servant), before sharing a meal with them, and asking that every time they break bread and share wine together they do so ‘in remembrance of me’. During the meal he is betrayed by a close friend, and eventually arrested, before being brought before the High Priests, is flogged and then Crucified. For many this they thought was the end, Jesus was dead, only to discover that Jesus was in fact alive, he had risen from the dead on that first Easter morning. The tomb was empty, Christ had Risen! And was witnessed by over 500 people on 12 separate occasions.

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In our Baptism we die with Christ, so that we might be born again with Christ, a new life with him, and in doing so in the knowledge that in believing in Christ we too will have this eternal life (John 3:15). I often look at what nature tells us. In the autumn, when nights are drawing in we plant seeds into the cold dark soil, only in the spring to find an abundance of new life that has emerged from the darkness. Likewise, with the dawn chorus, when it is still dark, the birdsong announces a new day and ‘the light shines in the darkness, and darkness has not overcome it’ (John 1:5).

As we approach Easter, we do so in the knowledge that we have to journey down, to then be lifted up; we have to walk with Christ through the depths of Good Friday, to be raised up high on Easter Day with our heads held high.

Like a mother hen protecting her young, Christ died that we might live, and by believing in him we too have that eternal life, and all in the knowledge of God’s grace and unconditional love for each and every one of us.

Wishing you all a Blessed Holy Week & Easter.

Rev. Jo Richards April 2019

Rev. Jo Richards is the rector at Saint Mildred’s Church in Canterbury, where L’Arche have our garden project.

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15 April, Stations for Saint Peter IX: Jesus is stripped

 

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Scripture references: John the Baptist: John 1:19-42; Luke 3:1-22; What kind of Baptism? Luke 12:49-50; Stripping: Mark 15:24; John 19:23-24; Go and baptise all nations: Matthew 28:16-20.

My brother Andrew was there when Jesus started on this road. He stripped off to be baptised by John in the Jordan.

It was not the most pleasant experience, being pushed right under by John’s horny hands but we all felt stronger afterwards, as if we were starting a new life.

What kind of baptism is this? Stripped, bloodied, shivering. Barely able to stand.

No hope of life for Jesus.

Let us pray for everyone preparing to be baptised or join the Church this Easter. May they always walk with Jesus, and may we always walk with them.

Jesus remember me, when you come into your Kingdom.

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11 April: Stations for Peter V: Veronica wipes Jesus’ face.

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You shall not wash my feet!

Scripture references: Washing Peter’s feet, John 13:1-11; Do you love me? John 21:15-17.

When Jesus washed the feet of his friends, Peter had protested.

I didn’t want you to wash my feet. Was I too proud? I know I did not understand what you were doing – but I wanted to be part of you.

Veronica washes your face with a cool damp towel. A few seconds’ relief, that’s all, but you know she loves you. She’s there.

I’m not.

But you know that I love you – why did you have to ask?

 

Lord, we remember everyone near death, and all those who care for them. May the dying, their carers, and all who are close to them know that you are indeed walking with them.

Jesus, remember me, when you come into your Kingdom!

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10 April: stations for Peter IV: Simon of Cyrene helps Jesus carry his Cross.

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Scripture references: Simon of Cyrene: Luke 23:26; Mark 15:20-21; Feeding the 5,000: John 6; Jesus in Africa: Matthew 2:13-21; Strangers doing our work: Mark 9:38-40.

Peter is helpless

There is nothing he can do, he cannot help Jesus.

I was there to help feed the five thousand, I caught fish for him, I used the boat to help him across the lake – it’s a long walk otherwise.

But this is the longest walk he will ever take and I can’t help him.

What’s that? They want Simon to carry his Cross? Let me through! 

Oh, no! Not me! Some other Simon, nobody we know. A stranger is helping him, walking where I should be.

Lord, help us to see that many people are called to help you, to do your work.

We pray for all the people of Africa, the land where Simon came from; for Christians, Muslims and traditional worshippers; for peace among all the people of Africa.

Jesus, remember me, when you come into your Kingdom!

Lampedusa Cross, from an island between Italy and the coast of Cyrene, made from timbers of wrecked migrant boats.

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8 April: Stations for Saint Peter, Jesus takes up his Cross.

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Scripture references: Matthew 27:27-31, John 19:12-19; You will be led where you do not want to go: John 21:18-19.

You will go where you do not want to go

Jesus is left with no choices – he is forced to take up his Cross. there is nothing Peter can do now. Some weeks later, back by the Lake, Jesus would tell Peter: when you grow old you will stretch out your hands and somebody else will put a belt about you and take you where you would rather not go.

A prison in Rome!

No, I don’t want to be here, waiting for the soldiers to take me away. Will it be the lions or the gladiators or the cross? There’s only one way out of here, but I do know where I’m going!

Jesus, remember me, when you come into your Kingdom!

Let us pray for all prisoners awaiting death. May Jesus walk with them and welcome them into his Kingdom.

Jesus, remember me, when you come into your Kingdom!

 

 

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April 6: Before the Cross XXII: Greater love hath no man.

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This image has always troubled me, since the day I first found a copy in a second-hand picture frame. This window is at Hythe in Kent, remembering a nineteen year old officer of the Royal Lancaster Regiment, Robert Aubrey Hildyard, seen dying at the foot of the Cross, his right hand on Christ’s feet, the feet Mary anointed with precious oil. At the foot of the cross lies Robert’s helmet, and a scroll reading, ‘Greater love hath no man’. We can all complete Jesus’ words: Greater love hath no man than this, that a man lay down his life for his friends.’ (John 15:13).

soldier.crucifx.hythe.detailRobert looks peaceful, asleep, while once again we behold a risen Christ: alive, with good muscle tone; his wounds not bleeding. Robert’s rifle and bayonet and an artillery piece are behind the two figures; there is a hill of mud in the background and angels in attendance above.

Surely this comforted the parents of Robert Hildyard, and no doubt others who lost loved ones, but it makes me uneasy. It seems to associate Christ with the war. Yet no less a poet than Hopkins wrote of a soldier or sailor (a tar):

Yes. Why do we áll, seeing of a soldier, bless him? bless
Our redcoats, our tars? Both these being, the greater part,
But frail clay, nay but foul clay. Here it is: the heart,
Since, proud, it calls the calling manly, gives a guess
That, hopes that, makesbelieve, the men must be no less;
It fancies, feigns, deems, dears the artist after his art;
And fain will find as sterling all as all is smart,
And scarlet wear the spirit of wár thére express.

Hopkins recognises that the men are no plaster saints, but if a man wears a brave uniform we – and he – hope, we and he want to believe him as bravehearted as he is smartly dressed. But no-one was smart at the Somme, where Robert died. Their heroism was different: men drowned in mud or were cut down by machine-gun fire before coming to close combat. Robert himself was killed when a shell hit where he and Godfrey James Wilding were sheltering.

Hopkins continues:

Mark Christ our King. He knows war, served this soldiering through;
He of all can handle a rope best. There he bides in bliss
Now, and séeing somewhére some mán do all that man can do,
For love he leans forth, needs his neck must fall on, kiss,
And cry ‘O Christ-done deed! So God-made-flesh does too:
Were I come o’er again’ cries Christ ‘it should be this’.

For love Christ leans forth to kiss Robert and cry … ‘So God-made-flesh does too!’ What did God-made-flesh do in the War? He did not conquer death and sin with violence.

I think of Jesus, asleep on the rugs in the sinking boat. A flimsy shelter, causing his friends to fear. Jesus sensed their fear, knew that death was close by, calmed the storm. But there was no dramatic rescue for Robert and Godfrey in this world, and no more that they could do. ‘It should be this’: not killing other men, but putting oneself in the firing line.


Why did Robert and Godfrey lay down their lives?

The gesture of touching Christ’s feet suggests that Robert’s parents wanted to associate his death with Christ’s, and saw it as freely given.

Here is another soldier’s take on the daily sacrifices of being a soldier in the Great War. For Joyce Kilmer the freely accepted, everyday deprivations were as a millionth part of Christ’s sufferings:

My shoulders ache beneath my pack 

(Lie easier, Cross, upon His back). 

We published his poem on the centenary of his death last July; click on the link. The post following that is Christina’s response to Kilmer’s poem: Is All Human Suffering The Same Suffering?. Do read that as well.

May we unite our sufferings with the Lord’s, may we grow into the persons he wants us to be, and may we be aware of our own lack of importance and ‘let us render back again /This millionth of Thy gift. Amen.’

MMB

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4 April. Before the Cross XX: Dancing in the blazing fiery furnace.

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When I first saw this picture that Rupert sent I had not read his reflection but I soon realised that our perceptions, thoughts and intuitions differed but in a creative way. Perhaps my grandson’s baptism attuned me to baptismal themes here. Thank you Rupert, for sharing this arresting image.

It was the dove descending that I first noticed, coming from the fiery light that overflows from the left hand side of the painting. The Spirit seems to be aiming for the water jar, just left of centre. ‘Fill the jars with water’, the Lord commanded at Cana, and the water and the wedding feast were transformed. To reinforce this connection, the jar at the very left has tongues of fire over it, the Spirit hovering over the waters. We are very much in John’s Gospel here: the cross is part of creation! There are six jars, as at Cana, and a basin in which to wash each other’s feet as in John’s account of the Last Supper.

The figures at the top right are in an attitude of adoration, which they express physically, they are not mere armchair Christians. And their attitude, their bowing, is athletic rather than abject. Thus is fear and trembling felt at a moment of great joy.

The three dancers across the middle of the painting are in harmony rather than unison with each other: there are may ways for Christians to be united, after all, but all hear and react to the same music.

The Cross – the blood-spattered Cross as Rupert points out – dominates the space, but is not a symbol of defeat. Rather like an Eschler work, its perspective is more than two dimensional, thrusting out of the frame, And where its shadow would be, were it not a blaze of light, the Light of the World, the undefeated Christ is carrying his banner forward. The dancers have seen him and respond in joy: the fourth person has appeared in the blazing fiery furnace: they are joyful, suffering, people of the light.

MMB.

Worship by Jun Ramosmos.

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27 March: Before the Cross XIII: Peace or Power?


osagie.osifo.x.rupertCrucified Jesus between two standing figures by Osagie Osifo

A wooden panel displayed in the Catholic Chapel of the University of Ibadan, carved by Osagie Osifo in 1961. (Willett, F. 2002 African Art London, Thames & Hudson Ltd.)

Here, Jesus is flanked by Mary, his mother, and John the “beloved disciple”, in a moment that could not be more serene. Mary and John both have their eyes closed, and their hands positioned as if in prayer. The object of their devotion is obviously the crucified Jesus, who, raised above and between them, forms the focus of the carving. Adding to the peace and calm of the image are the leaves: trefoil forms (possibly alluding to the trinity of the Christian God), while the simple interlace designs at top and bottom call to mind those of Celtic art. I think the whole composition has something of a Celtic “feel” to it.

Except, of course, that this is clearly an African work, and specifically one informed by the art and history of the kingdom of Benin, now a part of Nigeria. Osagie Osifo, himself from Benin, has fashioned this image deliberately to echo the famous bronzes, “rescued” by a British punitive expedition in 1897 mounted against the Oba (King of Benin) and his chiefs.

The Oba ruled over a highly organised society which, though famed now for its art and advanced understanding of casting bronze, was also extremely warlike. It was a culture where much of the religion and ritual was focused upon the King himself and on his ancestors. Some of these customs have been restored and are practised today in modern Benin. Osifo’s carving of Jesus challenges this in the most radical way.

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https://www.metmuseum.org/toah/works-of-art/1990.332/

The Oba stands between two of his officials in this bronze plaque. He holds a huge sword in one hand, and a staff of office on the other. The three figures are helmeted, the Oba appearing the most fearsome of all with his distinctive collar and his domineering stance. His helmet is spiked. Nothing in this image would signify peace or tranquillity; it has only to do with naked power and aggression. By substituting the Oba for Jesus, and the two warriors for Mary and John, Osifo has consciously declared his position: Christ is Lord. He alone is worthy of worship.

Stylistically, Jesus and the Oba might share some characteristics: short legs and long arms, and both sport a similar wrapped garment with its hem rising to the waist at the front. (And there are leaf shapes on the Oba’s bronze background, too). But there the similarity ends. Much as with the confrontation between Jesus and Pilate, here two entirely opposite world-views collide. The one exercises power by bullying and coercion, military might and political clout. The other, relying on the power and authority of a loving Father, chooses to suffer, and dies on a cross.

Osifo’s carving is beautiful in its own right, but for me it becomes all the more so as I consider how it, and how the gospel, subverts the traditional order of things. Paul writes to the church at Colossae:

And having disarmed the powers and authorities, he made a public spectacle of them, triumphing over them by the cross.” Col.2:15.

The work is a beautifully contextualised statement on how Jesus challenges that which diminishes our humanity, oppresses us, or distracts us from our true vocation. It is in recognising the truth of Israel’s God and of the one he sent, that we can then see a hope for the world. Without him, insecurity and violence are sure to reign. The carving redeems something of Benin’s art, but in doing so must drastically alter it. Rightly, Jesus is at the centre, and the true power lies – as it should in our lives – in the crucifixion itself.

Rupert Greville

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26 March. Before the Cross XII: the beatific vision.

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Rood, Our Lady and English Martyrs, Cambridge.

This Crucifix is like that of Tignes a couple of days ago in one respect: it is a representation of the Risen Christ, but in a different context, and equally valid.

This Victorian Rood, full of symbolism, is in the Catholic Church of Or Lady and the English Martyrs, Cambridge, England. It is challenging in a different way to some of the other images we have seen this Lent, but like the Welcoming Christ, it is essentially an image of resurrection. No way is this Christ dead or in agony!

So what is the Rood telling us?

Let’s start with the Christ figure. We see a man in the prime of life, vigorously alive, not hanging naked on the cross but standing tall and robed in majesty. No-one could say of him, he cannot save himself! The crown on his head is of royal gold, not thorns; the nails in his hands and feet are in gold also, but lest we forget the earthly reality of the cross, we see red blood on his palms and insteps. As well as a King’s crown, he wears the long white alb and the red scarf or stole of a priest vested for Mass.

The white scarf around his neck is called a pallium. These are woven from lambs’ wool and given to archbishops by the pope. One appears on the coat of arms of Canterbury Anglican diocese and that of Westminster Catholic diocese. As well as announcing Christ as high priest, the pallium is associated with the idea of the Good Shepherd who brings home the lost sheep, and with the sacrificial Lamb of God.

The alb is a symbol of purity – we see in the Book of Revelation all the saints in white garments. Christ’s here has red trimmings; together with the red stole they tell of blood shed in martyrdom or persecution. The priest celebrating Mass today wears an alb to show that he is representing Christ, the High Priest, and seeks to be as saintly as the white garment implies. Christ, of course, has every right to wear the white garment, and each baptised Christian is given a white garment at Baptism: so we are crucified and risen with Christ: a thought to sustain us in times of hardship.

At the foot of the Cross stand Mary – the dedicatee of the Church, and John the Apostle and Evangelist. They are not mourning in this Resurrection Crucifixion but are absorbed in the beatific vision: this cross presents the artist’s interpretation of the true meaning of the Crucifixion.

Angels adore the Lord from around the Cross: again sending us to Revelation and pointing out the one-ness of Creation, of our world of time and space where Jesus died in Jerusalem with the heavenly Jerusalem where he is Priest and King; King of All Creation, not just of the Jews.

At the foot of the Cross and along its trunk and arms are stylised leaves and grapes: in John’s Gospel Jesus says, I am the Vine, make your home in me as I make mine in you. The wine pressed from the fruit of the Cross brings relief from our spiritual thirst and joy to our hearts. Take up your Cross daily and follow me – to the Crucifixion, yes, in smaller and bigger ways each day, but to the risen life each day as well, even before we die and go to meet the Good Shepherd.

Finally, at the feet of Jesus we see a chalice – for the cup at every Eucharist is indeed the Holy Grail, the cup of the Last Supper – and above the cup, marked with a Cross and radiant in gold, is a round of white unleavened bread; the ‘forms of bread and wine’ that make present in our day all that this Crucifix sets out to tell us.

If, like me, silence does not always come easily to your heart in church or in prayer, maybe sitting with this image can help direct your thoughts to the eternal reality which it professes. The whole story of Jesus is symbolised here from his birth to Mary, up to John running to the empty tomb and seeing and believing – and witnessing to what he believed. May we be ever more faithful witnesses to what we believe.

MMB

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