In the season of Lent there is less to distract our attention from this Altar’s own scars hidden in plain sight. Pre Vatican II (1962-65) the Altar was much longer and the priest said Mass with his back to the congregation. Look closely at the vertical arms of the Cross within the Crown of Thorns: At the top and bottom can be seen where the necessary ‘wounds’ to shorten it were made. Figuratively, today’s ‘Doubting Thomas’ could feel these wounds, and re-connect directly with Our Lord’s Passion. These changes, made necessary at Vatican II, give us the privilege of being included in the Celebration of the Sacred Mysteries of Mass.
FEPOW - Burma Rail
It is an unusual feature to have a piece of railway rail on the wall in the FEPOW Side-chapel. It is a special artefact of great significance to FEPOW and Internees alike. All male POWs were the labour force that built the ‘Death Railway’ on the mainland of Asia through Thailand as part of the Japanese rapid advance through the Far East. What is less well known is that there was a second Death Railway on the island of Sumatra. Conditions were equally as brutal and harsh with ill treatment the rule rather than the exception. Disease, malnutrition and starvation was rife as a result of the meagre rations provided.
It has been estimated that each rail sleeper represented at least one man who died during the railway’s construction.
This piece of rail is from the actual railway cuttings that were being redeveloped some 30 years ago. It was acquired by a former President of the Birmingham Association of FEPOW, who offered the church this piece as a direct connection to the church’s dedication. Other pieces of original rail can be seen at the National Memorial Arboretum in Staffordshire. Please, feel free, to touch the rail to connect with those who died during its construction and whose names are listed in the Memorial Books.
FEPOW - Memorial Cabinet Cover
The beautifully decorated cover on the cabinet was commissioned by the parish after a British Library recommendation that the Memorial Books would benefit from being protected from deterioration due to light. The Carmelite Nuns at Quidenham, then part of the parish, were approached and Sister Teresa Keswick, now Mother Superior, embroidered it. It was completed in 1983 and has been in place since. All elements of the imagery have a symbolic connection to the Far East, even the colour of the background and the faith which sustained so many. The words are taken from an Appeal letter written by Fr. Cowin and sent to hundreds of relatives of FEPOWs.
On the cover you will notice that bamboo frames each end of the cover. At the bottom barbed wire represents their captivity. However, note that this is severed in the middle which denotes freedom. The text, which encapsulates conditions endured during captivity, is separated by chrysanthemums, a national flower symbol of their Japanese captors, the. It can also be seen that Singapore Orchids are overcoming these flowers; symbolically Good overpowering Evil. Our Lord’s Cross is evident as it was a source of strength in their weakened state, as well as other biblical references, especially the Dove of Peace with its Olive branch in its beak. Further symbolic discovery was made after the cloth was completed. In Japanese mythology a dove with a dagger in its beak signifies the end of hostilities. It would not have been out of place had it been known earlier in its creation.
The cover is part of the heritage of this church, so after taking in its beauty, please lift it to see the Books in the cabinet.
FEPOW - Side-chapel
During August we take a look at the FEPOW Side-chapel, as it is the main reason for why this church building is here. Originally designated a Lady Chapel for devotional purposes, It was reordered at the 2nd millennium to its current purpose when the Narthex was added. This is a focus for the sacrificial monument and Living Memorial desired by Fr Malcom Cowin. As God’s House it was built to the memory of the Fallen of all creeds and nationalities who perished in the Far East during WWII which did not end until Victory in Japan on 15th August 1945 and global hostilities ceased. It was not ratified until 2nd September 1945 and prisoners were actually released.
As our island Nation celebrated with relief Victory in Europe in May 1945, it was not widely appreciated that the 2nd global conflict had not ended. At that point, the War in the Pacific was still raging with another tyrant. There were still over a million military prisoners and civilian internees in captivity in over 600 POW and Internee camps under Japanese control throughout the Far East. These camps stretched across Asia from Thailand through Indonesia, Burma and Taiwan to Japan.
Whenever we gather here in Peacetime, let us Reflect on what we might have had to undergo, Recall their sufferings endured in horrendous conditions and Remember the price of our Peace.
FEPOW - Memorial Books
Within the large cabinet in the side-chapel is tangible evidence of our church’s unique secular dedication as a Memorial Church: The Honour Roll of WWII POW and Civilian Internees who died in Prison Camps all over the Far East as slave labour: in various different mines as well as on the two Death Railways.
In these 3 tomes are 24,582 names of people who died in that captivity of all nationalities and faiths. One man – Frank Hardy, a FEPOW - inscribed them all. He and Fr Cowin gathered names and researched materials for this monumental task to remember their comrades. He started in late 1958, but It was December 1962 before the 3rd and final volume was finished. In all, it took almost as long as his captivity to complete them!
The style of the tomes is basic block binding, and when the books’ end papers started to split several years ago, they were renewed with a sturdier fabric. There is also much symbolism in their construction using sacrificial imagery to beautiful effect. The Books’ covers are of goatskin leather, dyed a deep shade of blue, and the paper colour is similar to goatskin parchment. Each page of names is enclosed by an intersecting black border frame in the Victorian mourning style. The covers’ design implies the global span of the names within, and is thought to be of gold leaf. These parallel lines coming diagonally from right to left on one cover and from left to right on the other simulates the Sun’s rays under which they laboured. This pattern traces its rising in the East to its setting in the west. Where they cross over, on each book’s spine, they create diamonds that act as metaphorical graves wherein the names are laid to rest when the books are closed.
In the smaller cabinet on the wall, is a unique book of Remembrance for FEPOW Survivors. A FEPOW Survivor left a bequest to the church so that his name could be added; reuniting him with his comrades again. This book was created for that purpose. Additional names continue to be added when we are informed of their passing away. When an enquiry is made, the book page is turned to where the name appears. If it is a new name, it is then added. The page remains open there until the next enquiry causes it to be changed. In this way, different names on the pages are exposed to the cool soft air of prayer every time an activity takes place. A truly ‘Living Memorial’.
Holy Oils Ambry
Have you ever wondered about the simple glass cabinet and its contents fitted to the wall in the Narthex? It is called an Ambry and is used to store and protect the three sacramental oils (Olea Sancta) in their special flasks. The oil is pure Olive Oil sanctified each year at the Chrism Mass by the Bishop before being distributed to all the Parishes in the Diocese. The first two Oils Blessed have nothing added and are: Oil of Catechumens (OC) claims the un-baptised for Christ before being Anointed in the Rite of Baptism; and Oil of the Sick (OI - it used to be called Olea Infirmorum used in the Rite of Anointing the Sick). The third Oil is Sacred Chrism (SC) which is used in the Sacramental Rites of Baptism, Confirmation and Holy Orders. It is also used to Consecrate Altars and Dedicate Churches. Because of its great significance, Sacred Chrism Oil is Consecrated with a solemn Blessing. To signify this, other fragrant spices and Oil of Balsam (also known as myrrh – one of the Magi’s gifts) are added. I like to think this most special of Holy Oils, links Christians with the oils and spices used in the preparation of Our Lord’s body when laid in the Tomb.
So, before the Narthex was built, where were these Holy Oils stored in our Church? Traditionally the sacred place for Holy Oils was on the Sanctuary. Whilst researching ‘Points of Interest’ the 125cm (5 inch) square metal door set into the window wall on the Sanctuary revealed its secret. On closer inspection a Cross is visible with these letters inscribed underneath : OI OB SC The letters of course are now easily interpreted as they refer to Oil of Infirmorum; Oil of Baptism and Sacred Chrism. The letters are difficult to see, but a pencil rubbing makes them a little clearer.
Saintly Relics
Nowadays, we do not readily think about saintly relics, but may utilise their saintly status as an intermediary to Our Lord. Throughout history people have felt they are somehow closer to a particular saint when in need. As our priests will remind us, what is important to remember, is that we are all called to holiness and aspire to be saints.
From Christianity’s earliest times the Church has venerated relics of saints and martyrs. This stems from the persecution of early Christians which caused them to gather in the Catacombs of Rome to celebrate the Eucharist in relative safety on the tombs of the Saints. In religion, veneration facilitates a prayerful link to our Christian heritage. By focussing on their examples of fortitude in faith and holy life can help us to navigate our earthly difficulties. In a similar way, at Confirmation, candidates choose a saint’s name for this purpose as their personal link. A relic can be a physical fragment of the person or a personal article associated with them. There cannot be many who don’t know of or utilise St. Christopher when they travel
The natural stone in the Altar is where the relics of three saints are retained. Appropriately for our Church, two of them are martyrs. The selection process would involve the Parish Priest, the Bishop of our Diocese and relevant Vatican authorities. Firstly, from the 6th Century, Pope Saint Gregory the Great. He was an Italian monk who not only championed the Poor, but was also an outstanding theologian. It was him who reformed the original Mass. Next, is an Englishman (Thomas Becket) from the 12th Century (same time as Wymondham Abbey). He is our Patronal Saint, St. Thomas of Canterbury. He was the Archbishop who was martyred inside Canterbury Cathedral for his robust Faith. Lastly, a Polish Franciscan Friar, a saint of Modern times (1941), St Maximillian Kolbe, who accepted martyrdom while interned in a WWII concentration camp. He took the place of a stranger who was to be starved to death in a bunker at Auschwitz. He was still alive after two weeks and was murdered by lethal injection. Their Martyrdom resonates with the Far East Prisoners of War, many of whom suffered death in similar circumstances during WWII, and to whom this church is dedicated as a ‘Living Memorial’.
Symbols on the Altar
This week we revisit the Altar to review its symbols and how they connect us over the millennia to Christianity’s earliest beginnings. We are familiar with the symbol we can see on the front panel; a Greek Cross (it has arms of equal length) encircled by a Crown of Thorns emblem. Its simplicity is a stark reminder of Our Lord’s Passion.
The Altar Linen, symbolic of the grave linen in the tomb, enshrouds four smaller Greek Crosses, one incised on each corner of the sacred space that signifies its purpose as The Lord’s Table. These remain concealed until the Altar is stripped after Maundy Thursday when the reserved Consecrated Host resides at the Altar of Repose. The High Altar remains bare until we witness it being redressed at the Vigil Mass of Easter.
The Altar Stone, also found under the Altar linen is the Altar Stone. This is a piece of natural stone inset in a cavity on the table of the Altar. The cavity contains saintly relics which are intended to serve as the essential part of an altar for the celebration of Mass. Why should it be ‘Natural’ stone? Perhaps it links the earthly origins of the saints to us, and how we should all strive for Holiness. The relics of 3 martyrs are sealed within: St Thomas of Canterbury, St. Gregory and St Maximillian Kolbe. Next week Saintly Relics
The New Font
Position is everything in relation to the long narrow window of the Narthex, and why it is there. The ‘new’ font is octagonal in shape and larger than the Font it replaced in 2001 when Bishop Peter Smith Blessed it at the Consecration. Little is known about its origins other than it was reclaimed from a redundant church in Norwich and may date to the Restoration of the Catholic Hierarchy ca.1850. It is placed centrally within the Narthex or Welcoming space, reflecting a central Belief of our Faith. It is aligned with the feature window and directly in line with the Altar, visibly linking it to the Sanctuary.
The shape of the font is replicated in the paved floor surround creating a Holy space as a Baptistery. Each face represents one of the seven Sacraments of the Church: Baptism, Eucharist, Confirmation, Reconciliation, Anointing of the Sick, Marriage, and Ordination or Holy Orders. The remaining face relates to the sanctity of this church and is opposite the Altar. The faces, except one, are decorated with vine, fig leaf and fruit motifs associated with the Garden of Eden; a reminder of our Original Sin. At Baptism, the ‘Light of Christ’ symbolically shines forth from the halo lights focussed on the crystal Holy Water stoup placed on the inset beaten copper dish. Christ’s light radiates through the Holy water and is reflected upwards illuminating the Cross on the glass atrium directly overhead. This Cross on the roof is unique in its 3D form. It appears as a complete Cross when viewed from any direct ion outside, and when illuminated by light from within the Narthex, visibly proclaims “Christ is present here.” Some Fonts, not ours, have a drainplug within the bowl so that the sanctified water could drain away to the earth, completing the cycle of Christian life, and returning it from whence it came. The narrow window enables a visual reminder of this cycle where the sanctified Water of Baptism returns to the earth and mingles with heaven sent rain coming off the roof. Font, Altar and Narthex are linked together within the Sacred Space that is the embodiment of our beautiful church.
The Original Font
Peter Wiseman
The narrow window in the Narthex would have a link with any Font, but not the Font we consider first.
The Font is where all Christians start their ‘spiritual journey’, and are welcomed into the Family of God. This original, much smaller, Font was donated by our CWL in 1953 to complete Fr Cowin’s vision of the Church as a ‘Living Memorial’. It was retired after 48 years having baptised many of our congregation, when a formal Baptistery area was created in the Narthex in 2001. Many people will recall Baptisms at it with great joy, and, perhaps, also where it was placed inside the church. It had several moves within the church, mainly for practical reasons. In the mid 1980s it had a space on the Sanctuary step at the front in front of the Hymn board; in the side-chapel when it was The Lady Chapel, and in the former porch area before the Narthex. Where do you remember it being? All memories welcome.
If anybody know of its current whereabouts please email the newsletter
The Narthex
The Altar and the Font are probably the most familiar features of a church, and the Narthex links them both. Its outer structure has been likened to an upturned hull of The Ark. The Narthex replaced the much smaller, utilitarian, flat-roofed porch of the 1970s which had itself developed from a simple avant garde semi-circular portico original to 1952.
A Narthex has its origin in early Christian times, when the ‘un-baptised’ were separated from the clergy and those who had been baptised. The Glass Wall Panels divide the original building from the modern extension and bear the names of some East Anglian Saints. The Narthex is now a ‘Welcoming space’ and was our millennium project. Its distinctive design by local architect Paul Lucas received a South Norfolk Council Design Award in 2001. It incorporates an unusual feature in the North Wall. Have you wondered why there is a long narrow window there? More on that next week.
This multi-functional area not only extends the body of the church as congregational space, but also serves as a Baptistery when required. Other important aspects integrate modernity with the simplicity of the original. It houses the carved statue of our Patronal Saint, The Holy Oils Aumbry, the conserved pieces of the heritage Altar, the Jubilaeum Stone and the FEPOW Niche containing Artefacts from the Thai-Burma Railway. Doors lead into a meeting room with a small kitchen for additional parish activities. However, due to social need, this space is currently used for Community Outreach and hosts the ‘Help Point’ food distribution centre.
The Consecration Cross
Peter Wiseman
We take a look at a small decorative symbol that is easy to overlook: The Consecration Cross. Its origin is in antiquity and usually placed high up on the wall. Then it probably didn’t look like the cross we see today, but was of great significance, especially during early Christian times. These are marks of the sanctity of the church affirmed by a Bishop to the building as being used for God’s work.
Consecration Crosses have become more stylised in modern times and can also be used externally. In our church they are more visible inside, but they remain above head height. There are usually twelve, maintaining the symbolic link with the Twelve Apostles and their mission. A candle holder is often included to allow the anniversary of the Consecration (and high days and Holy days) to be reaffirmed and celebrated. These crosses were the bequest of a much-respected assistant parish priest, Fr George Bennett, who died earlier in 2001 before the Consecration on 27th October.
Altar, The Lord’s Table
Peter Wiseman
This week we stay in the Sanctuary and focus on The Lord’s Table, the Altar, as it is the central and most familiar feature of any church. In 1952, when this church was opened, there were two: The High Altar, pictured here (gifted by Dr George Gaynor MC), and the heritage wooden altar (carved by Cecil Cross ca.1929) which was then located in the Lady Chapel (now the FEPOW chapel). The latter was transferred from the earlier ‘Stable Church’ behind the Presbytery and is now displayed in its conserved form in the Narthex
The altar you see is made from Portland stone and was much longer then, as it had to accommodate 6 brass candlesticks, 3 either side of the gilded Tabernacle. It was also positioned close to the Reredos. Vatican II directives resulted in the repositioning of the altar in the early 1970s. On the front panel is an engraved stylised Cross, circumscribed by the Crown of Thorns symbolising, in its simplicity, the Passion of Our Lord. However, the altar was not consecrated until 2001! This was, in part, due to our original status as a ‘Poor Mission’ and an outstanding debt in the early days. At that time Canon Law did not allow Consecration to take place unless the church was debt free. Consequently, the new building could only be officially opened and Blessed. A succession of other factors contributed to an ongoing oversight; hence the delay. Finally, on 27th October 2001, the ceremony of Divine Consecration was celebrated by Bishop Peter Smith, 3rd Bishop of East Anglia, and completed when he sealed the relics of 3 saints into the Altar : St Thomas of Canterbury, St. Gregory and St Maximillian Kolbe.
Divine Dove
Peter Wiseman
This week we gaze heavenward in the Sanctuary to an area more usually visible to the priest and altar servers.
In the centre panel of the Sanctuary ceiling directly above The Lord’s Table (Altar) is the Divine Dove, one of several symbols of The Holy Spirit. The celestial rays of God’s spiritual love radiate simultaneously with he rays of Pentecostal fire and spread outwards to symbolise the perennial mission of the church.
Vatican II changes to the Mass (1962-65) required the priest to face the congregation when saying Mass. This meant the Altar had to be moved forwards to its present position, and the large gilded Sanctuary lamp that hung above it also had to be moved (ca.1970s). It was relocated and hung from the large hook on the side wall of the sanctuary where it remained until it was replaced by today’s smaller electric equivalent in 2012.