Sometimes we use the word, ‘medieval’ to describe something that seems primitive, or cruel. At Jesus Guild, we think it’s high time for a change. Or rather, we think it’s time for a ‘Gothic Renewal.’

JWN Pugin, the famous British architect, is sometimes considered the father of the Gothic Revival in Nineteenth Century England. However he was simply the most famous of a vanguard of architects inspired by the medieval aesthetic.

Their movement changed the world: in every corner of the globe we can appreciate their influence, even beyond the anglosphere. But a distinction can be made between Gothic architecture and Gothic design.

Gothic architecture is a system of creating spaces around practical needs. In brief: form follows function. Gothic design relates to the characteristic elements of that system: pointed arches, naturalistic sculpture, pattern and polychrome.

This distinction is important when considering buildings of the Gothic Revival here in the United States. Some of them truly represent Gothic architecture; others display elements of Gothic design, but are not themselves truly Gothic buildings.

An easy local comparison is to compare the two St. Patrick’s Cathedrals in New York City. In both you will notice the pointed arches, geometric tracery, foliate sculpture, and the characteristic fluted moldings and ribs.

However Old St. Patrick’s applies these details to what is, essentially, a classical building; an evolution of a Grecian temple with pointed arches stuck on. All this was made possible because of the inclusion of load-bearing iron.

The interior gives the game away with tell-tale signs: the columns are too thin. If made in traditional masonry along a medieval model the roof would collapse. The weight of the vault if executed in stone, would be too much.

(New) St. Patrick’s Cathedral on the other hand takes elements from English and French medieval precedents to create a scholarly bay design which would not be out of place in the edifices of Northern Europe.

Coming several decades later, it shows the influence of Pugin and others who learnt the vocabulary of Gothic from the ground up. Although here the high vault is, in fact, wood, it has a lithic form, much like York Minster in ‘Old’ York.

St. Patrick’s also makes extensive use of new technology - and in many ways gives the appearance of structural masonry, whilst also relying on steel. But the way it does so permits the sense of a truly Gothic building, in a way that Old St. Patrick’s does not.

As the Gothic Revival progressed, it deepened; so that by the early Twentieth Century architects were able to think like their medieval counterparts, designing buildings around ritual function and the needs of the people who used them.

A good example of this is Ely Cathedral, pictured at the beginning. For years, the author could not understand why the Presbytery of the cathedral was ‘pinched’ in the middle by two windows immediately above the arcades, pictured above.

The explanation comes from something which is no longer there, but to which the architecture bears witness. Today, the East end of the cathedral looks rather conventional, with a Gothic Revival High Altar, choirstalls in a sensible place, and the stunning Octagon open at the Crossing: a vast space.

It was not always this way. The Octagon was where the monastic choirstalls were situated, dividing the great space with high walls, whereas the Eastern arm of the building was not the Quire, but rather a vast Feretory for the lost Shrine of St. Etheldreda.

The curious, pinched windows were designed to give natural light to the Shrine. assisting the hundreds of pilgrims who would have gathered around it, who were separated off from the monastic community by partitions that are no longer there.

But the simple device to light the Shrine, glazing the windows at triforium level, remains as testament to the real purpose of this building. Gothic architecture, in its practical rootedness thus lends a humane element to Church buildings that other genres lack.

For this reason, it is proposed, Jesus Guild intends to explore the Gothic more deeply, to understand how our built environment might better facilitate an encounter with Christ, not seeking to control the Cosmos, but rather to work with it, allowing the heavens “to declare the Glory of God.” (Ps. 19:1)

Christmas at the Oratory

Since Christmas Day falls on a Monday, here’s a helpful reminder that there are two obligations to fulfill this weekend: one for the 4th Sunday of Advent; one for Christmas itself.

This means between Saturday December 23rd and Monday December 25th Catholics must attend Mass twice. Why not make one of them a visit to the Oratory? We would be delighted to see you!

Review: Revised English Hymnal

The English Hymnal is undoubtedly a milestone in the history of liturgical English. First released in [ ], considerably altered in [ ] as the New English Hymnal, today we have a brand-new edition: the Revised English Hymnal.

First and foremost, let’s be clear: it is not (and does not claim to be) a Catholic hymnbook. It is designed for Anglican worship, and this must be borne in mind when assessing its suitability for use by Catholics.

For more information on its history, see this helpful introduction from Rev. Canon Martin Draper, Chairman of the English Hymnal Company:

However, the English Hymnal (EH) is not neutral in the liturgical movements of the Anglican Communion. It is, and always has been, deeply catholic (with a small ‘c’) and this author would be so bold as to say it is profoundly responsible for changing the way Anglicans worship.

Many Catholics who do not know the Church of England, nor the history of the Anglican Communion at large, assume that the way Anglicans worship now has always been the case. This is not true.

Why was it so successful? Well, in a nutshell EH is compilation of Office Hymns (for the liturgical year, often from Sarum or Roman sources) and more general, catechetical or scriptural hymns that come from Lutheran, Methodist or even Presbyterian sources. It’s the perfect cocktail.

EH has always been a blessed relief to liturgical musicians, because the selections are exquisitely harmonized, singable and popular. There is no other hymnbook that quite hits the mark.

There are no absolute duffs in the book, and whilst American congregations might not (yet) be familiar with all the tunes (‘O Little Town of Bethlehem’ to Forest Green instead of St. Louis may take some getting used to) this is an opportunity for a deepening of musical awareness.

However, the editors have incorporated certain new compositions, such as ‘Christ be our Light’ by Bernadette Farrell, which, although maybe not to everyone’s taste, lend the Revised EH a breadth that means it covers even more bases than before, without losing the heartland that made it so poised in the first place.

So: could Catholic congregations switch to this new edition of EH? Yes, assuredly. The only downside is the fact that the helpful settings of the Ordinary of the Mass in English are not readily usable in a Catholic context, because they do not conform to the ICEL texts.

But even this is an opportunity to break free of the mold of rather poor quality settings of the Ordinary that are to be found in competitors’ hymnbooks or missalettes. Better, and more satisfying, settings are generally not found in those sources.

Jesus Guild warmly recommends the Revised EH and will be examining ways to use it in Catholic settings. Sursum Corda will be the place to report on this experiment. Better yet, come and worship with us and tell us for yourselves…

Your Chance to Own This:

Lovingly created in genuine egg tempera on wood by our own resident artist, Ewa Krepsztul, our ‘Christmas 2023’ painting is available for you to own - and contribute to the Oratory Girls’ Choir at the same time!

Our resident graphic artist, Ewa Krepsztul, has generously offered the 2023 Christmas image for sale by silent auction. Proceeds to support our new Girls’ Choir.

Hand-painted in egg tempera on wood, this stunning painting features, our own Oratory church in the snow. The perfect Christmas gift for someone you love!

Make your bid for this spectacular piece in one of two ways:

1. Use the form below to enter your name, address, and telephone number with your highest bid today.

2. Email the Rector with your highest bid [email protected] by Friday December 29th

Starting bid for this unique original piece is $300.

Good luck!