I was pleased to be present for the inauguration of the new statue of Frederick Douglass on Monday, 31st July 2023. I only found out about it by chance but it was good to be there for the formal recognition of Frederick Douglass as part of Belfast’s history.
Frederick Douglass was born a slave in February 1818, on Holme Hill Farm, near Easton, Talbot County, Maryland. Although slaves were not supposed to be taught to read he was taught the alphabet, taught himself to read and developed a life-long reading habit.
In 1838, at his third attempt, he successfully escaped from slavery and managed to get to New York where he married Anna Murray (1813–1882) of Baltimore. He became a preacher in the African Methodist Episcopal Zion Church and an associate of William Lloyd Garrison and an activist in the anti-slavery movement.
The Lord Mayor introduces the speakers
In 1845 he published the Narrative of the Life of Frederick Douglass, an American Slave, the first of three volumes of autobiography, and became so prominent in the anti-slavery movement that threats were made against him which led to him travelling to Britain and Ireland on a speaking tour. He spent two years speaking all over England, Scotland and Ireland. In Dublin he shared a platform with Daniel O’Connell and British supporters raised $700 to buy his freedom in the United States. This in itself was controversial as many thought it wrong to give any recognition to the idea that a human being could be bought or sold as someone’s property.
Some of those present
In the words of the Oxford Dictionary of National Biography, during his speaking tour:
He filled public halls, private homes, chapels, and churches, his audiences sometimes numbering thousands, and he often spoke on different subjects at more than one meeting a day. As well as making the abolitionist case, he spoke on women’s rights (he felt that he could not accept the vote as a black man if it was denied to women), temperance, land reform, education, and capital punishment, issues on which he never ceased to agitate.
Alan Beattie Herriot, sculptor
Of his time in Belfast he wrote:
I shall always remember the people of Belfast, and the kind friends I now see around me, and wherever else I feel myself to be a stranger, I will remember I have a home in Belfast.
Words which are among those inscribed on the plinth of his statue.
At the opening of the statue Professor Christine Kinealy said that in Belfast he spoke in Rosemary Street Presbyterian Church. But this is ambiguous because there were then three churches on Rosemary Street, two non-subscribing and one orthodox. The booklet available at the opening also suggested that he spoke in First Church on Rosemary Street. In fact he spoke at the meeting-house of the Second (Non-Subscribing) Congregation which stood behind First Church and was finally demolished in the early 1960s. He was granted the use of the meeting-house of the Second Congregation on 7th December 1845 ‘to lecture on behalf of the Anti-Slavery Society’. But it is very fitting that he should have such a fine statue erected in his memory so close to Rosemary Street.
The view looking towards Rosemary StreetLooking down Lombard Street
You can’t help but be impressed by Coventry Cathedral, impressed because everything is given such height. The entrance area that connects with the old cathedral; the glass entrance screen featuring angels and saints; the baptistry window; the Chapel of Unity; Graham Sutherland’s tapestry of Christ in Glory; the walls themselves – everything is so high. And it is all so redolent of the cutting edge of art in the mid-1950s. Of course, absolutely every building can only reflect the times it was built in but I think for a building as important as a cathedral some attempt at transcending the contraints of the present day are necessary. Now I may be very naive to imagine that a medieval Gothic cathedral ever did this, or any other type of cathedral for that matter, but if you want to be pointed to some deeper experience of the divine through the medium of a building you need something that says more than ‘This is 1954’ writ large. Even Liverpool’s Metropolitan Cathedral, which speaks volumes for the 1960s and the heavy constraints placed by money and circumstances on building a cathedral by that date, still communicates very well a more profound encounter with the truly spiritual.
Coventry Cathedral has developed a living and active ministry of reconciliation which has reached out to the whole world. Its response to the horrors of the blitz and the destruction of the old cathedral has been an inspiration to many. But as a visitor to the building, a very occasional one, I am never really sure how to respond.
The thing I remember most about visiting as a child is Jacob Epstein’s figure of St Michael conquering the devil. I think I found it a bit unsettling as a kid and I am not sure I feel any better about it now. What is it meant to communicate? Of course, I know literally what it is meant to mean, but what did it say to the world in 1962 when it was unveiled? And what does it say now? Outside the cathedral there is a slightly cloying poster which stresses the extent of the welcome given to visitors but what the ‘keep-fit mums, football dads, starving artists, tree-huggers, latte-sippers, vegans, junk food eaters…those who think the earth is flat, work too hard, don’t work, can’t spell, or are here because granny is visiting and wanted to look round’ will make of Epstein’s work is a difficult question. Cutting edge art of the 1950s has now become the imagery of horror, fantasy, comic books, movies, cartoons and anime. Does anyone feel liberated by seeing St Michael with swan’s wings getting one over the character from Hellboy? One thing we know for sure today is that evil in the world does not take that form.
But some parts of the cathedral are breathtaking. The baptistry window, designed by John Piper, floods that part of the building with an explosion of light and colour. Again its immensity hits you full on.
The same is true when you look back at the entrance screen with its dozens of ascending figures flying up in front of the old cathedral.
Again part of this is the scale, and the combination of massive candlesticks, the very high choir stalls and the stained glass that is only visible when you look back from the altar all contribute to this impressive immensity.
Even what might be termed the brutalist elements of the structure continue to impress. The wall that lets light on to the chancel and the tapestry has a grandeur and a solidity still, but if it had been placed out of doors in a housing estate or in a car park or shopping centre it would have had to have been demolished years ago:
The focus of the cathedral is Graham Sutherland’s tapestry of Christ in Glory. Once again this is so impressive because of its size; a massive tapestry, woven by hand in a single piece, weighing around a ton, it’s a remarkable piece of work. Standing between Christ’s feet is the figure of a man, emphasising humanity’s smallness before the grandeur of God.
The great height is continued in the Chapel of Unity
but not so much in the Chapel of Christ the Servant which is lined by walls of plain glass, giving a brightness and an openness to the chapel. When I was there a very moving exhibition of quotations from letters home from Indian soldiers serving in the First World War was on display, one on each window.
The Chapel of Christ in Gethsemane is also different, it resembles a cave and the sculpture on the wall by Steven Sykes shows Jesus being ministered to by an angel. It is viewed through a crown of thorns.
The ruins of the old cathedral emphasise the horrors of the blitz
and fittingly a memorial records the sacrifices of those who served on the home front in the Second World War.
One of the few things to survive the blitz in the old cathedral is the tomb of Bishop Yeatman-Biggs, the first Bishop of Coventry. He holds a model of the cathedral and, curiously, his mitre includes a swastika in its decoration. The guide book doesn’t call it a swastika but names it as a fyflot. But as the guide book also says this was an ancient religious symbol, used in different cultures before it was adopted by Nazi Germany. But it does look strange on his mitre and it has gradually become shiny as generations of visitors have pointed to it in shock or surprise.
As a building it is somewhere that I find impressive and intriguing. It does represent a positive response to the horrors of war and an affirmation that faith can overcome suffering and reach out where there has been hatred, and this is all for the good. Parts of it are wonderfully impressive and uplifting but I can’t say that, as a building, it really speaks to me in the way other cathedrals do. But it will always communicate a certain kind of optimism and fortitude that came out of the immediate post-war period.
The latest issue of Faith and Freedom (Spring and Summer 2023, Number 196) is now available and will be with subscribers. New subscribers are very welcome, details of how to subscribe can be found below.
Elmina Castle, Ghana (Photo: Aidan McQuade)
The cover picture features a collection of shackles used on slaves in Elmina Castle, Ghana, a photograph taken by Aidan McQuade who contributes our first article – Ireland – slavery and anti-slavery.
Cover picture – Photo Aidan McQuade
Aidan McQuade is a former director of Anti-Slavery International and has worked extensively in development and humanitarian operations, including leading Oxfam GB’s emergency responses to the civil war in Angola from 1996 to 2001. He writes of the horrors of the slave trade looking through the lens of Irish involvement and noting also those individuals who contributed to anti-slavery activism in the eighteenth century.
He writes:
“Over hundreds of years slavery devastated the African interior as wars and raids, encouraged by the European powers, kidnapped millions of people, many of them children, to feed the demand from the Americas for human beings who could and would be worked to death to produce cash crops, mostly for European markets.
As with today, it is easy to ignore the exploitation that occurs within the political economy – the systems that govern business, trade and employment – when the are concealed far away from us.
So, when it was first brought to public attention by Thomas Clarkson, the image of the Brookes ship shocked the world. It presented in stark detail a visceral reality of the slave trade: how slaves would be packed like sardines into the holds of the slave ships. Clarkson’s friend and comrade in the anti-slavery struggle Olaudah Equiano had direct personal experience of being treated as this sort of cargo and he described it in his auto-biography”:
…we were all put under deck …The stench of the hold while we were on the coast was so intolerably loathsome, … but now that the whole ship’s cargo were confined together, it became absolutely pestilential. The closeness of the place, and the heat of the climate, … almost suffocated us. … many died, …. This wretched situation was again aggravated by the galling of the chains, now become insupportable; and the filth of the [latrine buckets], into which the children often fell, and were almost suffocated. The shrieks of the women, and the groans of the dying, rendered the whole a scene of horror almost inconceivable… Every circumstance I met with served only to render my state more painful, and heighten my apprehensions, and my opinion of the cruelty of the whites.
The door of no return, through which slaves would leave Elmina Castle for the slave ships. (Photo: Aidan McQuade)
John Maxwell Kerr, is a founder member of the Society of Ordained Scientists. His paper, originally given at Harris Manchester College, examines The Search for Meaning in Nature. It is a wide-ranging and deep study using the author’s knowledge of science and religion, incorporating all the riches of literature and poetry, and reaching a surprising conclusion.
Rev John Maxwell Kerr
Barrie Needham’s article on ‘De-churching’ or To the church no more looks at patterns of belief and church attendance in the twenty-first century. What can churches do to overcome these tendencies, what do they need to offer?
Rev Frank Walker
We have an inspiring sermon by Frank Walker, Outlooks on life that still challenge and encourage us, and Graham Murphy provides a review article and essay on Matthew Teller’s valuable book Nine Quarters of Jerusalem, A new Biography of the Old City, which gives such insight to this troubled city, Graham writes:
“In his book about the Old City he describes a place we can visualise, though we may never have been there. We see in our minds eye a golden Dome set within castellated walls as if true to the plans in history books and illustrated bibles. How we imagine Jerusalem is freighted with biblical notions which Teller’s book tends to undermine with doses of reality. He draws our attention to lesser-known aspects of the city’s past and finds himself fascinated by the religious rituals. He interviews the people who live and work beside the pilgrim routes and sacred sites. He shows us how they regard their city, how they cope with its recurrent crises and the lack of rights for the majority who live there.”
And as ever we are blessed by some wonderful reviews. In this issue we feature:
Facing up to Climate Change
Mike Berners-Lee, There Is No Planet B – A Handbook for the Make or Break Years. Cambridge University Press, 2021 (updated edition) pp 316. ISBN 9781108821575, £9.99 pbk. Gaia Vince, Nomad Century – How to Survive the Climate Upheaval. Allen Lane, 2022, pp 260. ISBN 9780241522318, £20.00 hbk. Greta Thunberg, The Climate Book. Allen Lane, 2022, pp 446. ISBN 9780241547472, £25.00 hbk. Reviewed by Professor David A. Williams
A ‘warts and all’ attention to church history
John W. Nelson, A Short History of the Non-Subscribing Church of Ireland including sketches of individual congregations and a Fasti of ministers who served in them, published by The Rev Dr J.W. Nelson, 2022, pp 420, ISBN 9781739978501, £15 hbk. Reviewed by Philip Blair
Praying to an ‘unknowable God’
Bert Hoedemaker, Never-Ending Prayer – A Case for the Christian Tradition. The Lutterworth Press, 2022, pp 136. ISBN: 978 07188 96027, pbk £20. Reviewed by Jim Corrigall
Rev Jim Corrigall
and
Eavesdropping on fascinating conversations
Philip Allott, The Music of Time: Twenty-Four Fables for Today, Matador, 2022, pp 408. ISBN 9781803132228, £7.99 pbk. Reviewed by Frank Walker
Subscription Details
An annual subscription for each volume (two issues) costs £16.00 (postage included) in the United Kingdom. Single copies can be ordered at a cost of £8.00 each (postage included). Cheques should be made out to Faith and Freedom and sent to the business manager:
Nigel Clarke, Business Manager, Faith and Freedom, 16 Fairfields, Kirton in Lindsey, Gainsborough, Lincolnshire. DN21 4GA.
It was good to be at the Old Students Association meeting at Harris Manchester College, where some of the images of contributors seen above were taken. And good to see Rev Dr Peter Godfrey, Editor Emeritus of Faith and Freedom.
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