Pan Orthodox Pilgrimage to St Winifride’s Well, Holywell, 3rd October, 2015

The annual Pan-Orthodox Pilgrimage to the Shrine and Holy Well of St. Winifride is held on the first Saturday in October, with the blessing of His Eminence Archbishop Gregorios of Thyateira and Great Britain.

The Shrine is well signposted from the A55 trunk road; and it is recommended that pilgrims use this road, leaving it by the A5026, which leads directly into the centre of Holywell. Then, pilgrims should follow the brown signs for the Shrine, which is situated on the B%121.

The nearest Railway Station is Flint, from where there is a bus service onwards to Holywell.

Saint Winifrede was a nun in the seventh century, famed for her sanctity of life. The Holy Well near which she lived has been a place of pilgrimage ever since and the scene of many miracles of healing. Holywell is also the only place of Pilgrimage in Britain where Christian pilgrimage has continued uninterrupted for nearly 1400 years.

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Taramosalata (fish roe dip)

Ingredients: 

120gr/4.2oz of white ‘cod fish roe’.
180gr/6.3oz of bread without the crust (around 8 slices of white bread)
1 small onion (around 60gr/2oz), chopped
5 tablespoons of fresh lemon juice
130ml olive oil (1/2 cup)

 

Method

In a bowl filled with water, add the bread and let it soak. Before using it,squeeze out the water with your hands.

Using a food processor or blender, add the onion and turn it into a thick paste. Add the fish roe and blend it with the onion, until the mix is smooth.
Add 1/3 of the bread and blend. 
Pour 1/3 of the olive oil and blend.
Continue adding bread and olive oil in the same manner until you use them all. 
Add half the lemon juice into the processor and blend.
Add the rest of the lemon, blend until emulsified and serve.

THE EAST-WEST SCHISM – A PROBLEM IN THE HISTORY OF ART

 

Account of a talk given by Dr Peter Brooke in Llaneglwys Village Hall, 23rd August 2015

In 787, a Church council was held in Nicaea under the auspices of the Eastern Roman Empire, centred on Constantinople, which authorised the veneration of religious images (‘icons’). The Western Roman Empire, centred on Rome in Italy, had collapsed over two centuries earlier but a new centralised political society was developing under the Frankish King, Charlemagne. In Charlemagne’s court a book was prepared which condemned the canons on the veneration of icons agreed at Nicaea. The book was called the Opus Caroli – ‘Charles’s Work’ – so it was presented as of it had been written by Charlemagne himself. It was an important project, part of the process by which a new Western Empire was being created with its own church, independent of the continuing Roman Empire and its church, centred on Constantinople.

 

In the event, the project of the Opus Caroli was aborted through the intervention of the Patriarch of Rome, the Pope, still anxious to maintain the connection with ‘New Rome’, Constantinople. Nonetheless a council of the Western Empire was held in 794 – the Council of Frankfurt – which condemned the Eastern council albeit in a much more ambiguous way than had originally been planned.

 

Obviously what was happening was political. But Peter argues that it also reflects an important cultural difference. The new Empire of Charlemagne was built on the basis of peoples – Irish, Angles, Saxons, Germans, Franks, Visigoths – who had never been subject to the old Roman Empire. Constantinople on the other hand was the continuation of the Empire and therefore heir to the classical tradition of Greece and Rome. The principle writings in defence of the veneration of icons by St John of Damascus and St Theodore the Studite, were never circulated in the West but if they had been, Peter argues, there would have been many people who would have found them quite incomprehensible.

One of their central arguments was that there was an ontological connection between an image (for example of Christ) and its prototype (Christ Himself), so that one could, through the image, venerate the prototype. This was an idea that was well established in the classical tradition but was quite alien to the artist-monks working in what is called the ‘insular’ tradition – the art, sometimes called ‘Celtic art’, that was being produced in the monasteries of Ireland and of the North of England. Insular art is ‘rhythmic’, it is an art that invites us to contemplate in silence the purely ‘abstract’ interaction of lines and colours. Where there are figurative images they are arbitrary and made to conform to the overall rhythm. Peter showed three examples of ‘portraits’ of Christ, from the Book of Kells – all completely different with no thought of producing a recognisable ‘likeness’.

 

The contrast between insular art and classical art is striking and insular art was widespread throughout Europe. There were other influences at work, including elements taken from the old Roman classical tradition, but the classical ideal was not sufficiently well established to produce the sort of argument on the relation between image and prototype that developed in the East.

 

Eventually the West produced the beautiful fusion between rhythm and representation that we call ‘Romanesque’ art. In the East too the classical tradition was modified by the influence of other, non-Roman cultures. Russia inherited its religion and its iconography from Constantinople but not the full pre-Christian classical heritage. The Russian icon (at least until the seventeenth century) is certainly figurative, affirming the relation between image and prototype, but there is a greater emphasis on purely pictorial, or ‘abstract, principles of construction. Round about the fourteenth century – but these would all be topics for other talks – the early Italian ‘Renaissance’ would be heavily influenced by classically trained artists and thinkers going West as the Eastern Roman Empire shrank before the advancing power of Islam. And in the seventeenth century the eastern icon tradition in both the Greek-speaking and Slave worlds, would fall (and what a fall there was!) under the influence of a later, almost photographic, ‘Italianate’ school of painting.

Pickled Mushrooms (serves 6 – 8)

Ingredients

215 mls red wine vinegar

2 whole cloves

6 tablespoons of cold water

5 whole black peppercorns

Half a bay leaf

1½ teaspoons salt

2 cloves of garlic peeled and crushed

1 lb small, fresh white mushrooms

1 tablespoon of vegetable oil

 

Method

Put the red vinegar, whole cloves, water, peppercorns, bay leaf, salt and crushed garlic into a large enamel or stainless steel saucepan.

Bring to the boil on a high heat, drop in the mushrooms and reduce to a low heat.

Simmer uncovered, for 10 minutes, stirring the mushrooms occasionally, then cool to room temperature.

Remove the garlic from the marinade and pour the entire contents of the pan into a 1½ pint jar.

Slowly pour the vegetable oil on top.

Marinade the mushrooms in the fridge for at least one week.

Llanwnws Inscribed Stone

From Strata Florida, take the B4340 four miles east to Tynygraig. At Ystrad Meurig take a sharp turn left onto a steep road (signposted ‘Swyddyfynnon’) and after half a mile turn right onto a narrow lane to Llanwnnws.

This porch of this remote church contains a very fine inscribed early Christian monument. The stone reads: XPS Q[U]ICUNQ[UE] EXPLICAU[ER]IT H[OC] NO[MEN] DET BENEDIXIONEM PRO ANIMA HIROIDIL FILIUS CAROTINN: ‘(The Cross) of Jesus Christ. Whoever shall (have) read this name, may he give a blessing for the soul of Hiroidil son of Carotinn’. The formula, lettering, language and cross-from all suggest a ninth-century date.

Latin inscribed stones  such as this are our earliest significant remains of the early churches in Wales. This one follows a formula found elsewhere (for example the Pillar of Eiliseg in Llangollen and on monuments in Ireland) which exhorts the viewer to pray for the dedicatee of the monument, Hiroidil son of Carotinn, by saying the name of Jesus, which is the name inscribed in contracted form in Greek capitals XPS, i.e. Christus (with a contraction mark on the middle letter), on the top of the stone.

A monument such as this was likely to have stood in a visible place. At Maen Madog in Glamorgan we find one such stone by the side of a Roman road. Often they were taken into churches for preservation, so we do not really know where this one was originally placed.

 : Eglwys Cwnnws by Nigel Brown