The Christian Heritage Centre

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TOB clergy days

Clergy conference series

Approaching a
Theology of the Body

27 November 2024 - 29 January - 26 March 2025

Anthropology, the Sacrament of Marriage and human formation, in pastoral ministry today

“The human body includes… the capacity of expressing love, that love in which the person becomes a gift and – by means of this gift – fulfills the meaning of his being and existence.”

Pope Saint John Paul II, General audience, 16th January 1980

Our series of three, day-conferences will examine the Church’s teaching around human love, inspired by Pope St John Paul II’s ‘theology of the body’. The conferences will reflect on John Paul II’s vision of the person as created for communion, on the character of conjugal communion, and on a formation for authentic love.

The conferences are open to seminarians, deacons, religious and priests. 

Each conference stands alone and there is no requirement to attend previous conferences, although they aim to offer a progressive itinerary through related themes.

Discounted Bed and Breakfast acccomodation at Theodore House is available for those wishing to stay overnight.

The first conference will explore the prophetic response of the saintly popes, Paul VI and John Paul II, to the related issues of contraception and our understanding of human sexuality, in Humanae vitae and in the “Theology of the Body” respectively. Conference topics:

  1. The Humanae vitae controversy
  2. Humanae vitae in dialogue with the Church’s Tradition
  3. The Gift of Creation: The Human Person before God
  4. The Dynamics of Gift and the Sexual Complementarity

The second conference will examine the nature of conjugal love and the three goods of marriage in order to offer a clear response to contemporary ambiguities around love and marriage, with the preparation for marriage of today’s couples in mind. Conference topics:

  1. What is Love? Conjugality vs Cohabitation
  2. Faithfulness: The Foundation of Matrimony
  3. The Gift of Children: Building a Family
  4. The Sacrament of Marriage: The Christian Newness

The third conference will focus on the formation of the person in chastity, and will consider the two vocations at the service of the Church’s mission as a point of reference. Conference topics:

  1. Sacramental Self-Giving: The Complementarity of Priesthood and Matrimony
  2. The Role of Virtue in Building a Chaste Character
  3. Facing today’s Challenges to living Chastity
  4. Responding to Gender: Discerning between Myth and Reality

Each conference is structured around four sessions, two in the morning and two in the afternoon, with opportunities for discussion and questions.

A tea/coffee break is offered between the morning and afternoon sessions.

Midday prayer will be said in common before lunch.

Stefan and Ella Kaminski both have Licentiates from the John Paul II Institute for Studies in Marriage and Family Life, having dedicated their studies to the themes of human love and sexual complementarity. Stefan serves as Director of The Christian Heritage Centre, where he has been creating and delivering Catholic formation content for the last five years. Ella previously worked at the John Paul II Institute in Rome, before joining Stefan in Lancashire following their marriage. She currently teaches a dogmatic theology course on the Sacrament of Marriage at Oscott Seminary, and is engaged in the Veritas Amoris project. Together, they offer marriage preparation courses and ongoing formation for catechetists.

Theodore House offers a wonderful space for conferences. The tranquil and beautiful surroundings of the Stonyhurst estate offer a peaceful setting away from the rush of daily life in which to engage intellectually and spiritually. A clean, airy and modern facility in a Grade II listed building.

For more information about Theodore House, please click here.

  • Arrivals for a 10:00am start (welcome and introductions)
  • Departures from approx. 4:45pm
  • Clergy are welcome to celebrate Mass in the Theodore House Oratory before or after each conference
Cost

Single conference cost: £45 (includes two-course lunch)

Discounted cost for conference series: £115 (includes all three conferences with two-course lunch)

B&B accommodation, single en-suite room: £56 per night (booked separately)

If you require assistance with meeting costs, please contact us on [email protected]

“I feel like I have learnt so much and opened my heart and mind to the Church.”

Please register below (deposit payment required):
Venue & Getting to us:

If you are reliant on public transport, please consider traveling by train to Preston train station. From there, we aim to co-ordinate minicab shares or lifts amongst participants of any given event. If you require further advice or assistance, email us: [email protected]

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Saint Bonaventure, part 4

03 September 2024

Saint Bonaventure, Part 4 | The Year of Prayer

By Joey Belleza, PhD (Cantab.)

We come to our final pair of stages in Bonaventure’s Itinerarium. The first pair of stages considered God as present in created things outside of us (extra nos), and the second pair considered God as imaged within us (intra nos). The last pair of stages considers God as supra nos—above us. The reflections here become even more speculative and theological, while also recognizing the limits of human language in describing God.

Instead of summarizing these stages sequentially, it may be helpful to describe them together. This pair considers God according to his two most proper names: Being (esse) and Goodness (bonum). Bonaventure represents these two names as the two cherubim facing each other atop the Ark of the Covenant. In the Old Testament, the space of the two cherubim was also known as the “mercy seat,” over which the presence of God hovered within the tabernacle. Just as the cherubim were close to yet beneath God, so do the names Being and Goodness represent the closest and most general human descriptions possible for God’s essence. Scripture and tradition use all sorts of metaphors for God; for example, God is described as a rock, a fortress, a warrior, and a king in various parts of the Bible. However, all metaphors limp and eventually fail. When we contemplate God as Being itself (what Thomas Aquinas described as ipsum esse) or as Goodness itself, we are using the most perfect names we have for God which are not subject to limitation and change. That the two cherubim face each other is taken by Bonaventure to mean that these most perfect names of Being and Goodness are meant to be contemplated together in preparation for the final ascent to God.

At the end of the sixth stage, one has ascended as far as possible by a maximum of human effort. However, all these stages remain preparatory in light of true union with God, which cannot be achieved by human effort alone but only received. After six chapters describing six stages of ascent, Bonaventure concludes the Itinerarium with a paradoxical seventh chapter describing the perfect and final ascent which was granted to Saint Francis when he received the stigmata. This involves a recognition that God is beyond anything that human words can adequately describe. It requires humility and self-denial to the point of becoming like Christ—and in the case of Francis, this was manifested in his own wounded body. Bonaventure makes the radical claim that, in this final passing over into God, “we must cease all intellectual operations, leaving behind all created images and earthly cares and desires.” Even contemplating God as Being and Goodness must also be left behind, if we are to truly rise beyond the cherubim and behold the seraphim, as did Francis. Let us close our series on Bonaventure by quoting the end of the Itinerarium’s seventh chapter, where Bonaventure explains what full conformity to Christ entails.

But if you ask how these things should come to pass, seek grace, not doctrine; desire, not understanding; the groaning of prayer, not the study of lectures; the bridegroom, not the university master; God, not man; the dark cloud [caliginem], not clarity; not light, but a fire totally enflamed and transferred into God with excessive anointings and most ardent affections. This fire is God, and this path is in Jerusalem, and Christ ignites it in the fervour of his most ardent passion, and he who truly perceives it, says: “My soul chooses hanging and my bones choose death” (Job 7:15). Whosoever loves this death can see God, for it is doubtlessly true: “No man shall see me and live” (Ex 33:20). Let us die [moriamur], therefore, and enter into the dark cloud; let us impose silence on our cares, desires, and phantasms; let us pass over [transeamus] with Christ crucified from this world to the Father, so that, with the Father shown to us, we might say with Phillip: “It is enough for us” (Jn 14:8); let us hear with Paul: “My grace is enough for you” (2 Cor 12:19); let us rejoice with David, saying: “My flesh and my heart fail, O God of my heart, and you O God are my portion always (Psalm 73:26). Blessed be the Lord forever, and let all the people say: let it be, let it be. (Ps 106:48)” Amen.

Saint Bonaventure of Bagnoregio, pray for us.

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Hopkins’ Stonyhurst poem to Our Lady

Hopkins' Stonyhurst poem to Our Lady:
Mary's importance for our spiritual lives

Walker Larson

Gerard Manley Hopkins — convert, Jesuit priest, and one of the greatest Victorian poets — nurtured a deep love for the Blessed Virgin Mary, and that love found beautiful expression in his poem “The Blessed Virgin Compared to the Air We Breathe.” It was written in Stonyhurst in 1883 as part of a collection of poems in different languages that were to be hung near a statue of Our Lady in celebration of May Day.

The central conceit (a literary term meaning “extended metaphor”) of the poem is that Our Lady is to us in our spiritual lives what air is in our physical lives: critical, life-giving, all-encompassing, and gently filtering the light of God’s grace as it falls upon the soul like golden dew.

In this poem, Hopkins writes in iambic trimeter, which is a poetic meter that alternates unaccented and accented syllables, with three accents per line. Thus, the line “With mercy round and round” includes three accented syllables (“mer,” “round,” “round,”) that alternate with unaccented syllables. Hopkins frequently breaks the pattern in order to give it more life, better reflect everyday speech, and to avoid a monotonous tone.

Hopkins likes to jam-pack his lines with explosive and vibrant sounds, intense energy, and lyrical buoyancy, such as with the lines “goes home betwixt / The fleeciest, frailest-flixed / Snowflake; that’s fairly mixed.” These alliterative sounds spin out from the tongue like sparks above a campfire. They crackle with energy. Hopkins is a poet who loves the glowing richness and astonishing variety of reality, and his sometimes-surprising choice of words and sounds reflects that. He even developed his own poetic rhythm, used in much of his poetry, called “sprung rhythm,” as a more flexible pattern that allowed him to incorporate more sounds and beats into his lines.

Our Lady of the Girdle, in the church of Our Lady of the Angels, La Verna, Italy. By Andrea della Robbia, 1486.

In addition to these formal aspects, Hopkins makes use of imagery throughout the poem that reinforces its theme. He has interwoven symbolism of Our Lady, such as the frequent mention of the color blue, which is Mary’s color. “The glass-blue days”; “Blue be it: this blue heaven”; “This bath of blue and slake”; “How air is azured”; “Yet such sapphire-shot;” etc. The word “mother” also shows up frequently. Mary is ever-present in the language of these beautiful poetic lines, just as she is ever-present in our lives, playing “in grace her part / About man’s beating heart.”

One place that motherhood appears is in the opening of the poem. Hopkins begins by addressing something inanimate, the air itself (called an “apostrophe.”)

Wild air, world-mothering air,
Nestling me everywhere,
That each eyelash or hair
Girdles; goes home betwixt
The fleeciest, frailest-flixed
Snowflake; that’s fairly mixed
With, riddles, and is rife
In every least thing’s life

The poet focuses our attention on this ever-present yet invisible force that keeps us alive and enwraps us, “nestles” us at all times. He awakens us to the enigma of this remarkable reality that surrounds us — literally and figuratively — evoking the mystery of it with a word like “riddles,” and its universality by reminding us that even the “least thing’s life” depends upon this air. The smallest furry animal, with quickly vibrating, quivering chest, lives in and through the air, as do you and I.

Gerard Manley Hopkins (28 July 1844 – 8 June 1889)

Having opened our eyes to the wonder of this substance that is our “more than meat and drink,” he then initiates the comparison with Our Lady, saying that the air reminds him

Of her who not only
Gave God’s infinity
Dwindled to infancy
Welcome in womb and breast,
Birth, milk, and all the rest
But mothers each new grace
That does now reach our race—
Mary Immaculate.

How, precisely, is Our Lady like the air? Hopkins points out that her magnificent vocation is to “Let all God’s glory through, / God’s glory which would go / Through her and from her flow.” The implied comparison is clear: God is like the sun, which lights up all the world, and just as the sun’s rays comes to the earth and are diffused through the air, so is God’s love, mercy, and grace diffused to us through Mary. “I say that we are wound / With mercy round and round / As if with air.” And what is the channel of God’s mercy? The prayers of the Blessed Mother: “She, wild web, wondrous robe, / Mantles the guilty globe, / Since God has let dispense / Her prayer his providence.”

And just as we live by and through the invisible air, we live by and through the invisible grace mediated by Our Lady. Hopkins writes that we are “meant to share / her life as life does air.” And then he invokes the theological concept of Mary as Mediatrix of all graces:

If I have understood,
She holds high motherhood
Towards all our ghostly good
And plays in grace her part
About man’s beating heart,
Laying, like air’s fine flood,
The deathdance in his blood;
Yet no part but what will
Be Christ our Saviour still.

In other words, Our Lady, as some theologians have taught, constantly dispenses God’s graces to us, playing an intimate role in our spiritual life from moment to moment, her attentive love as close and constant to us as our own breathing.

As Bernadette Waterman War writes in “Gerard Manley Hopkins and the Blessed Virgin Mary,” “The poet reminds us of how we need grace as we need air, in order that we should not die. It is through Mary that God’s grace gives us life. He uses the figure of light for God’s grace, pointing out that without the air to filter it, sunlight would be too powerful for the human frame to bear.”

This last point — about the air’s tempering of the sun’s power to suit our strength — bears further reflection. Hopkins allows his imagination to run wild with what would happen without the air, how the sun’s full-bore intensity would blind the earth. The excess of light would turn our vision black, and we’d be steeped in dark:

Whereas did air not make
This bath of blue and slake
His fire, the sun would shake,
A blear and blinding ball
With blackness bound, and all
The thick stars round him roll
Flashing like flecks of coal,
Quartz-fret, or sparks of salt,
In grimy vasty vault.

Students under the statue of Our Lady at the top of the Stonyhurst avenue

The rich metaphorical imagery used in this passage also exemplifies Hopkins’ close and attentive study of “things,” how they look, feel, smell. All great poets are firstly great observers of the world, using their fine-tuned senses to penetrate into the nature of objects. Hopkins recreates the glowing of coals or the scattering of salt in our minds. It is Hopkins’s ability to render realistically the simple things of everyday life (coals, salt) and then tie them to the most sublime reaches of reality (God’s glory and grace) that forms a core part of his poetic genius. Through familiar images, Hopkins paints a picture of what unfiltered sunlight would be like (and by extension, what God’s glory would be to unredeemed man).

But Our Lady came “to mould / Those limbs like ours,” that is, to give God human form, a mild face to look upon that, in His hidden mortal life, would not blind us like the unfiltered blaze of the sun. God accommodated Himself to our condition, tempering the heat of His majesty through the Maid of Nazareth. “Her hand leaves his light / Sifted to suit our sight.”

We can follow Hopkins’ train of thought even further. It is through the Incarnation and Redemption, which were achieved through Mary’s cooperation, that we can hope to one day see God face to face, to stare into that brilliant, searing point of light like Dante at the end of the Divine Comedy, the lack of which makes one truly blind.

In light, dancing poetry, Hopkins has crafted a profound meditation on Mary and her role in our lives. He has carefully elaborated the various commonalities between Mary and the air, how both are ever with us, sustaining our life, and diffusing light all around us.

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Saint Bonaventure, part 3

12 August 2024

Saint Bonaventure, Part 3 | The Year of Prayer

By Joey Belleza, PhD (Cantab.)

Following our previous look at Bonaventure’s first two stages of ascent in the Itinerarium Mentis in Deum, we now rise to consider the second pair of the seraph’s six wings. Here, noting how the human person is a microcosm of the wider cosmos, Bonaventure explains how the powers of our mind also reflect something of the Creator’s wisdom, but, since we are uniquely made in the image and likeness of God, the similitude between our created faculties and God enjoys a much closer link.

In the third stage, the Seraphic Doctor looks at our process of cognition, or the way we know things. We have, for Bonaventure, the three following faculties. The memory is the faculty which stores and recalls past events. The intelligence or intellect is that by which we understand the nature of things. The will is the faculty by which we choose certain goods and particular actions. Memory precedes and begets intellect; and by remembering things and knowing what they are, we can—by means of the will—choose or not choose certain goods and actions. In this threefold structure of the mind, Bonaventure finds an analogy for the Blessed Trinity. The memory is like the Father, summing up all things in his eternal mind; the intellect is like the eternal Logos or the Son, which is begotten by the memory. Finally, the will is like the Spirit—the love which chooses all things well and in right order. Thus, in the study of the human person’s unique powers—what today we call philosophical anthropology—we discover an even stronger vision of the divine nature.

In the fourth stage, the mind can reflect even more intensely on the beauty of the faith, discovering through its threefold faculties more sets of threefold mysteries which are unfolded with the aid of revelation, scripture, and the Church. For example, let us take a paraphrased quotation from this fourth stage:

The image of our mind must be clothed in the three powers of spiritual wisdom, by which the soul is purified, enlightened, and perfected… So while the soul, believing, hoping, and loving Jesus Christ, who is the incarnate, uncreated and inspired Word—that is to say, the way, the truth, and the life—in faith believes Jesus Christ to be the uncreated Word, which is the Word and splendour of the Father. In hope, [the soul] it yearns to receive the inspired Word. And in love, it embraces the incarnate Word, delighting in Him and entering into Him in ecstatic love.

The significance of this series of threes, rooted in the three powers of the soul which are known by natural reason, is further bolstered by a reflection on the revealed data given through Sacred Scripture and the tradition of the Church. Thus, theology begins to take its place on the ascent to God here, in the fourth stage. “These two middle steps,” says Bonaventure, “through which we enter so as to contemplate God within ourselves, as in the reflections of created images, are like wings, stretched out in order to take flight.” Let us therefore pray for those engaged in the study of anthropology and theology, that in their investigations of things human and divine, they might take flight into a higher knowledge of both man and God. In doing so, may we also come to know the truth about God and man through the one who is himself God-made-man.

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Saint Bonaventure, part 2

30 July 2024

Saint Bonaventure, Part 2 | The Year of Prayer

By Joey Belleza, PhD (Cantab.)

In our previous reflection, we introduced the life and person of Saint Bonaventure, describing him as a mediator and unifier in a context of crisis for both the Franciscan order and for the Church at large. Now we can begin to consider one of his most famous works, the Itinerarium Mentis in Deum or Journey of the Mind to God, as a way to help us to think about prayer and union with God.

After Bonaventure was elected as Minister General, he went on retreat to Mount Alverna—the same mountain where Saint Francis witnessed a vision of a six-winged crucified seraph and thereafter received the stigmata, or the wounds of Christ on his own body. Moreover, Bonaventure identifies the crucifed seraph as Christ himself. Contemplating this episode of Francis’s life, Bonaventure recounts how the seraph’s six wings could be understood as “six levels of uplifting illuminations though which the soul is prepared, as it were by certain stages or steps, to pass over to peace through the ecstatic rapture of Christian wisdom. There is no other way but through the most burning love of the Crucified.” Just as the prophet Isaiah described the six seraphic wings as divided into pairs (“with two wings they covered their faces, with two they covered their feet, and with two they were flying”), the six stages of ascent in the Itinerarium are also divided into successive pairs. In this reflection, we will treat of the first pair of stages, wherein the mind considers God through the signs of the created world.

In stage one, the mind contemplates the wisdom, power, and goodness of God present in all creatures, and acknowledges God as the source of all created perfections. Through our senses, we observe the physical and sensible properties of various created things, such as the sweetness of honey or the refreshment of a spring, and we can attribute to God the maximum of these properties—God is most sweet or the source of all sweetness; God gives eternal refreshment to the soul. Thus, learning about the observable world through what we today call the natural sciences and the historical sciences can also help point us to God. Beyond the study of these sciences, which treats of creation and being in their changeable properties, we also can study being in itself, or the branch of philosophy known as metaphysics. Together, natural science, history, and metaphysics form part of this first stage of ascent, for they look as the world as it is, seeing glimpses of God’s wisdom across the breadth of creation.

In the second stage, the mind more deeply considers the created world but sees in the numerical and proportional harmony of creatures certain traces or vestiges of the mysteries of faith. Bonaventure explains this through, for example, the seven sensible properties of beings as reflecting the sevenfold perfection of the created order. Or, we can think about how an object giving delight is at once beautiful, pleasing, and wholesome (in Bonaventure’s alliterative Latin, speciosa, suavis, et salubris), and that this threefold delightfulness reflects the eternal Trinity. Therefore, in a first level of abstraction from the material and changeable world, the field of mathematics can also assist us in the contemplation of God, in that it helps us understand the universal harmony and structure of the created world. Here Bonaventure quotes Augustine: “number is the foremost exemplar in the mind of the Creator”.

These two stages, Bonaventure says, are “the two wings around the feet of the seraph”. In these lower levels of contemplation, we gaze upon the beauty of the created world, reflecting upon its proportionalities and harmonies, and see in them a faint trace of the Creator’s mind. Natural science, history, metaphysics, and mathematics are means for this end. Therefore, the role of physicists, engineers, mathematicians, and historians can also be prayerful enterprises, for they illuminate the divine wisdom present in the events of history and in the structure of creation. Let us therefore pray for scientists, mathematicians, and historians, that as they unfold the mysteries of the created world, we might more fully recognize and appreciate the mind of God present in all things.

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Saint Bonaventure, part 1

15 July 2024

Saint Bonaventure, Part 1 | The Year of Prayer

By Joey Belleza, PhD (Cantab.)

After the last series of reflections on St Teresa of Avila, we now return to the high medieval period, with a focus on another Doctor of the Church and contemporary of Thomas Aquinas: the Franciscan friar and bishop Saint Bonaventure of Bagnoregio. Just a few years older than Saint Thomas (born either 1216 or 1221), Saint Bonaventure’s baptismal name was Giovanni di Fidanza. Suffering from an unknown illness as a child, he recounts that he was healed by the prayers of his parents through the intercession of Saint Francis of Assisi. Giovanni demonstrated acute intellectual acumen from his earliest years, and by the age of fourteen he was studying at the University of Paris, the premier academic institution of medieval Christendom. By 1243, he had attained the degree of Master of Arts and shortly thereafter entered the Franciscan Order at Paris, taking the name Bonaventure. Undertaking his formation in the French capital, he embarked on formal theological studies from 1248 onward, around the same time that the Dominican friar Thomas Aquinas first arrived in Paris. The paths of these two future saints would cross often, both in and out of Paris, to the point that both would succumb to untimely deaths, separated by less than five months, in 1274.

 

In the 1250’s, the Franciscans and Domincans at Paris were embroiled in a controversy with the secular or diocesan clergy of the university. We cannot go into the full details of the crisis here, but suffice to say that the jealousy of the noble-born secular clergy, especially the canons of Notre Dame, had prevented the acceptance of Aquinas and Bonaventure as Masters of Theology in the university. The two saints engaged in extended polemics defending the mendicant way of life against the often apocalyptic and unhinged accusations of the seculars. It took the intervention of a pro-mendicant pope, Alexander IV, to secure the promotions of Aquinas and Bonaventure in 1257, finally allowing them to enter fully into the academic life. But while Aquinas was allowed to embark upon that life, another twist of events changed the trajectory of Bonaventure’s career: he was elected Minister General of the entire Franciscan order.

 

From 1257 until his death in 1274, Bonaventure was occupied with leadership of an order beset by many internal problems. He had to mediate a conflict between two major factions of Franciscans: the “Observants” or “Spirituals,” who advocated a strict interpretation of the Rule of Saint Francis, and the “Conventuals,” who understood that the growth and effectiveness of the order required adapting the Rule to new situations. This background conflict explains why the works of Saint Bonaventure from 1257 onward are no longer in the scholastic style which he and Thomas had learned at Paris. Rather, Bonaventure’s later works take the form of sermons, meditations, and spiritual treatises for his brother Franciscans. Another important work produced at this time is the Major Legend of Saint Francis, which continues to be the official biography of Francis for the Friars Minor. This biography filtered out the improbable stories, hearsay, and contradictory accounts previously in circulation among the friars, which were often used and abused by the competing factions to score points against each other. But perhaps the best known treatise of Bonaventure is The Journey of the Mind to God (Latin: Itinerarium mentis in Deum, often shortened to Itinerarium). This is where Bonaventure, reflecting on the image of the six-winged seraph who appeared to Saint Francis, explains the ascent to God according to six stages, culminating in a union which exceeds all creaturely understanding. The Itinerarium will be the basis of the next three reflections on Bonaventure.

 

This brief introduction to Saint Bonaventure offers a mere glimpse at the trials and tribulations of his life. From his sickly beginnings, to the mendicant controversy at Paris, to his election as Minister General, and—much later—his work to unite the Eastern and Western churches at the Second Council of Lyon, this great Doctor of the Church often found himself as a mediator, striving to bring together bitterly opposed factions into peaceful, brotherly unity. His own devotion to prayer sustained his monumental intellectual and leadership endeavours. As a synthesis of his approach to prayer, which we will explore in greater depth in the following reflections, perhaps a pithy quote from his treatise De Triplici Via (the Triple Way) can help us to enter into the mind of this great Doctor of the Church: “In prayer, there are three steps or stages: first, we deplore our misery, then we implore God’s mercy, and finally we worship Him.” These three stages correspond to the three cardinal virtues: by faith we recognize the greatness of God and our lowly state before him; by hope we dare to call on the Lord for forgiveness, and by charity we offer to him the worship and love due to him alone. By the example of Saint Bonaventure, may we also grow in faith, hope, and love for the crucified Christ whom he served so well.

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Courses Events

Ancient Byzantine Iconography Course 2025 [residential course]

A 7-day course in

Ancient Byzantine Iconography

10th - 16th June 2025

Welcoming both novices and experienced iconographers to the Prosopon style of icon-writing

A 7-day icon-writing course led by Deacon Nikita Andrejev, of the Prosopon School of Iconology

The practice of writing icons is primarily a spiritual one, reflecting the theological world-view of the Christian faith. Each element of the process is imbued with symbolism, inviting the icon-writer into a deeper contemplation of the Christian faith and making a prayer of his work.

Over the 7 days of this iconography course, students will write their own icon using the ancient art of liquid egg tempera technique.

The teaching of the technical process will be accompanied by prayer and by a theological discourse. The practical demonstrations will be framed by explanations of the symbolic meaning of the iconic forms, and of the materials and the processes involved. Morning and Evening Prayer in common will give further spiritual structure to the day.

Set in beautiful surroundings and with a light-filled and spacious venue, this week-long immersion into an ancient form of prayer is a unique opportunity to refresh and recreate your soul in prayer and a warm community environment.

“Profound, yet gentle and supportive”

“I don’t know of any other course at such a high standard, with plenty of theological & spiritual input”

“Wonderful teaching. A well-balanced course”

Our course welcomes both novices to the Prosopon technique and more experienced iconographers alike.

Both novices and advanced student will work on the same Deisis icon of the Mother of God.

A varying level of detail and adornment on this icon will be tasked to each student according to their experience.

Novices will benefit from the support of an additional tutor, Sharon Seager, and supervised skills practice.

 

 

Left: Example image of a Deisis icon

For years Nikita Andreyev apprenticed to his father, Vladislav Andreyev, complimenting this experience with postgraduate theological studies in Paris and the United States.

As a member of the faculty team of the Prosopon School of Iconology, Nikita has contributed to the development of unique teaching methods. The resulting workshop experience enables participants to create and grow through their icon making, developing spiritually through each icon.

Since its founding in the 1980s, the School has rediscovered lost techniques of the ancient art of liquid egg tempera and has helped ignite a renewed interest in icons across the USA and the western world.

                                                  For more information about Deacon Nikita Andrejev, please click here.

Theodore House offers a wonderful venue for icon painting. With abundant natural light from the glass roof panels flooding the atrium, this is an inspiring venue for icon painting. The tranquil and beautiful surroundings of the Stonyhurst estate offer an ideally peaceful setting. The first floor gallery, which gives access to the comfortable, en-suite bedrooms, affords a birds-eye view of the workshop below. Guests will also enjoy the comfortable recreational spaces and a beautifully lanscaped garden.

For more information about Theodore House, please click here.

Classes start daily at 9am with the Office of Morning Prayer at 8:45am, beginning on Tuesday 10th June.

Classes end in the afternoon of Monday 16th June, with departures between 2pm and 4pm.

Residential participants are welcome to arrive during the day on Monday 9th June, with dinner included that evening. No lunch will be provided on Monday.

Non-residential participants have lunch included from Tuesday 10th June, and dinner as per the booking option.

For all participants, the last meal offered is lunch on Monday 16th June.

Accommodation for the night of Monday 16th June can be purchased as an optional extra.

We are conveniently situated an hour’s drive from Manchester Airport, which is well-connected internationally.

Once you have booked your flights, please provide us with your flight details. 

We will aim to arrange either a pick-up or shared transport with other course participants, either from Manchester Airport itself, or from Preston train station, which has a direct connection to Manchester airport.

Bed and breakfast for extra nights around the course may be be booked separately at a discounted rate, subject to availability.
 
Cost

Full board* & lodging, single room: £1,070 p.p.

Full board* & lodging, shared twin room: £870 p.p. – subject to availability: please enquire

Non-residential: full board (lunch and dinner*), £660 / half board (lunch* only), £540 p.p.

– Non-residential participation is not recommended unless within a 15-minute drive of the venue, due to the intense nature of the course.

A non-refundable deposit of £250 will be required upon booking.

Balance of course fees will be due 1 month before the course, but may be spread over several installments prior to this date.

*Please note: all meals on this course are fish or vegetarian, as is the custom in this work.

“It’s been an extraordinary week”

“It is always a privilege and a humble experience to be part of an icon painting class; but it is particularly with this class that I learnt the most and had the most change in myself”

This course is now full.
If you are interested in joining, please register below to be advised of further availability.

    We will advise you should a place become available on the next iconography course, and/or when further iconograhy courses are made available
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Venue & Getting to us:

If you are reliant on public transport, please consider traveling by train to Preston train station. From there, we aim to co-ordinate minicab shares or lifts amongst participants of any given event. If you require further advice or assistance, email us: [email protected]

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The Popes and the Arts

3 July 2024

The Popes & the Arts

By Joey Belleza, PhD (Cantab.)

One of the hallmarks of Christianity, rooted in the Incarnate Christ who entered into material existence, is its positive approach to the arts, recognizing that the Gospel can reach souls not only through the activity of preachers, but also through the works of painters, sculptors, architects, poets, and writers. There is no type of human expression which cannot become a vehicle for apostolic activity, and the Church–especially through the Roman Pontiffs–has happily extended her patronage to many of the greatest artists in history. Indeed, in every place where the Catholic faith has found a foothold, the arts have discovered new opportunities to express the harmony between the timeless Gospel of our Lord, on one hand, and the genius of local cultures, on the other hand.

Accordingly, nearly all recent popes have explicitly affirmed the necessity of the arts for the Church’s mission. Below are just a few examples from papal messages to the artistic community.

In order to communicate the message entrusted to her by Christ, the Church needs art. Art must make perceptible, and as far as possible attractive, the world of the spirit, of the invisible, of God. It must therefore translate into meaningful terms that which is in itself ineffable. Art has a unique capacity to take one or other facet of the message and translate it into colours, shapes and sounds which nourish the intuition of those who look or listen. It does so without emptying the message itself of its transcendent value and its aura of mystery….

It remains true that because of its central doctrine of the Incarnation of the Word of God, Christianity offers artists a horizon especially rich in inspiration. What an impoverishment it would be for art to abandon the inexhaustible mine of the Gospel!

Saint John Paul II, Letter to Artists, 4 April 1999

Ten years later, John Paul’s successor likewise exhorted artists to their highest vocation of manifesting the beauty which comes from God.

Beauty, whether that of the natural universe or that expressed in art, precisely because it opens up and broadens the horizons of human awareness, pointing us beyond ourselves, bringing us face to face with the abyss of Infinity, can become a path towards the transcendent, towards the ultimate Mystery, towards God. Art, in all its forms, at the point where it encounters the great questions of our existence, the fundamental themes that give life its meaning, can take on a religious quality, thereby turning into a path of profound inner reflection and spirituality.

Pope Benedict XVI, Meeting with Artists, 21 November 2009

Finally, in our own time, Pope Francis has reaffirmed the necessity of good art marked by a harmony between God and creation.

Beauty makes us sense that life is directed towards fullness, fulfilment. In true beauty, we begin to experience the desire for God. Many today hope that art can return more and more to the cultivation of beauty. Certainly, as I have said, there is also a kind of beauty that is futile, artificial, superficial, even dishonest. Cosmetic beauty.

I believe that there is an important criterion for discerning the difference, and that is harmony. True beauty is in fact a reflection of harmony. Theologians speak of God’s fatherhood and Christ’s sonship, but when they speak of the Holy Spirit they speak of harmony: Ipse harmonia est. The Spirit creates harmony. The human dimension of the spiritual… True beauty is always the reflection of harmony. If I may say so, harmony is the operative virtue of beauty, its deepest spirit, where the Spirit of God, the great harmonizer of the world, is at work.

Pope Francis, Address to Artists, 23 June 2023

These popes all affirm that art’s power to captivate and express creativity must be ordered to that invisible, transcendent Beauty which is God himself. Thus, there must be some properly theological criteria for creative endeavours, if they are to be truly considered art. Pope Francis’s words on the necessity of harmony especially indicate the need for creative contours and even limits, if art should not simply a product of independent self-expression. Rather, rooted in the mystery of the Incarnation and in the sacramentality of creation, the goodness of art depends on its correspondence with right reason, that is, reason ordered toward the truths of divinely revealed faith.

The Christian Heritage Centre is proud to encourage the deepening of faith through the appreciation and practice of Christian art. Our yearly Ancient Byzantine Iconography Course is one example of our commitment to the union of faith and reason as expressed in traditional artistic forms. 

In that light, we are also proud to offer an upcoming intensive study weekend on art, faith, and Catholic culture. Entitled “What We Have Seen And Heard in Heaven” and running 13-15 September 2024, this retreat examines art and Christian creativity through its various expression in music, dance, visual art, and poetry. To learn more and to register for this retreat, visit our event webpage by clicking here.

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Saint Teresa of Avila, part 4

1 July 2024

Saint Teresa of Avila, Part 4 | The Year of Prayer

By Joey Belleza, PhD (Cantab.)
This instalment will sum up our mini-series on Saint Teresa of Avila. Thus far, we have examined the first three stages of prayer, which she compares, sequentially, to drawing water from a well, to drawing water from a mill or windlass, and to drawing water from a stream or river. Each stage represents an increasing facility in watering the garden of one’s prayer life. Finally, in the fourth stage of prayer, the garden is watered by rain that pours down from the heavenly Father himself. Here, the labour of the first three stages gives way to the pure gratuity of God’s grace, such that the Christian might even be flooded by the love of God to the point of a rapture. This is where “the faculties of the soul” remain “in a state of suspension,” and “all outward strength vanishes, while the strength of the soul increases so that it may better have the fruition of this bliss” (The Life of Saint Teresa, ch. 18). This temporary abstraction from sensible or intellectual experience, as Teresa describes it, seems similar to Saint Paul’s own ascent to “the third heaven” as recounted in 2 Corinthians 12. However, we should remember that such an experience of rapture is a special gift of God, and that the Christian who does not receive this gift is no less capable of union with God. In fact, Teresa distinguishes between the “elevation” or “rapture” of the soul, on one hand, and the union with God which one may experience in the fourth stage of prayer. Rapture is often a sign of a special union, but union with God is also manifested when the soul actively knows and loves God. Indeed, the benefits enjoyed after rapture continue to manifest the soul’s union with God. Such a soul, “without knowing it, and doing nothing consciously to that end, begins to benefit its neighbours, and they become aware of this benefit because the flowers now have so powerful a fragrance as to make the neighbours desire to approach them” (The Life of Saint Teresa, ch. 19). The garden of the soul flourishes without the fatigue of the first two stages, and this flourishing comes from the rain which God himself sends down. Let us see discover further what the saint means when distinguishing rapture from union.
In these raptures the soul seems no longer to animate the body, and thus the natural heat of the body is felt to be very sensibly diminished: it gradually becomes colder, though conscious of the greatest sweetness and delight. No means of resistance is possible, whereas in union, where we are on our own ground, such a means exists: resistance may be painful and violent, but it can always almost be effected. But with rapture, as a rule, there is no such possibility. Often it comes like a strong, swift impulse, before your thought can forewarn you of it or before you can do anything to help yourself. You see and feel this cloud, or this powerful eagle, rising and bearing up up with it on its wings.
Notice how Teresa distinguishes union as occurring “when we are on our own ground.” This passage also suggests that, while rapture consists of a certain disjunction of body and soul, union occurs when the body and soul are once again in active harmony, when we are possessed of our normal faculties, and thus when we are fully free to even “resist” union. Thus, rapture is never the end or purpose of mystical experience, but is only a further means toward the union wherein the entire human creature, in body and soul, participates actively in the life of virtue. As we close our reflections on Saint Teresa, let us not be discouraged if we never experience the extraordinary transverberations, ecstasies, and levitations granted to exceptional saints like her. Even for such famous mystics, such experiences were never everyday occurrences but gifts given by God at times and places of his choosing. Rather, let us enter the fourth stage of prayer by being mindful of all the graces which God already pours down abundantly on us, and to unite ourselves to him not only in moments of solitary prayer and contemplation, but also in every act of perfect charity toward our neighbours. Thus the fragrance of God’s grace will continue to attract more souls to the garden of heavenly delights. In the next three instalments, we will shift our focus to another high medieval Doctor of the Church and contemporary of Saint Thomas Aquinas: the Franciscan theologian Saint Bonaventure of Bagnoregio.
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Saint Teresa of Avila, part 3

15 June 2024

Saint Teresa of Avila, Part 3 | The Year of Prayer

By Joey Belleza, PhD (Cantab.)

Proceeding along in our focus on St Teresa of Avila, we come to her third stage of prayer, which she likens to watering a garden from a river or spring. Unlike the first two stages—drawing from a well and using a water mill—in this stage, the difficulty is taken away almost completely, since a natural source of water supplies the garden by its own power. Here, the faculties of intellect and will are almost in complete harmony and union with God, receiving his consolation in greater measure while expending little effort. The soul reaches a level of humility surpassing that gained in the Prayer of Quiet, for “it sees clearly that it has done nothing at all of itself save to consent that the Lord shall grant it favours and to receive them with its will” (The Life of Teresa, ch. 17).

This third stage of prayer corresponds to the fifth of the seven mansions described by Teresa in The Interior Castle. The fifth mansion, marked by the “prayer of simple union,” is marked by the realization that a greater peace is bestowed when the soul no longer competes against God, but comes to work in cooperation with God, even if the soul does not understand the full extent and measure of God’s wisdom and love. In The Life of Teresa, this means that the memory and imagination remain free but operate in conjunction with God’s goodness, such that the mind continues to work toward contemplation of God throughout the experiences of life. Whereas in the previous stage, the soul rests in the “holy repose which belongs to Mary [of Bethany],” in the third stage this holy repose “can also be that of Martha” (The Life of Teresa, ch. 17). The active life is brought up into the contemplative life, and the synthesis of these two states represents a true flowering of the garden. “Already the flowers are opening: they are beginning to send out their fragrance” (The Life of Teresa, ch. 16).

Notice that, for Teresa, an increasing mystical union with God does not mean forgetting one’s place in the world in a flight from everyday existence, but in a virtuous growth that allows one to live well, no matter one’s state of life. Fortified by the life of prayer, the virtues are made incarnate in our own daily deeds, and the mind does not cease contemplating the things of God through the works of creation. In this mystical union, “the soul realizes that the will is captive and rejoicing, and that it alone is experiencing great quiet, while, on the other hand, the intellect and the memory as so free that they can attend to business and do works of charity” (The Life of Teresa, ch. 17). This description corresponds to the sixth mansion in The Interior Castle, wherein the gift of heavenly contemplation given to Teresa is poured forth and continues during her daily labours and tasks in the monastery.

In this Year of Prayer, let us consider what Teresa teaches us in this third stage. The mystic’s ascent to God through prayer involves the concretization of the life of virtue. Mysticism is not merely a heightened sense of self-awareness, nor an abstract emotional or affective state, nor elevation into a state of rapture alone. Instead, the life of prayer, fed directly by streams of living water flowing from the side of Christ, brings forth its flowers and fruit in the Spiritual and Corporal Works of Mercy. By doing so, we follow Christ’s own synthesis of the Law and Prophets, expressed in his two great commandments: to love God above all, and to love our neighbours as ourselves.