Showing posts with label Peter. Show all posts
Showing posts with label Peter. Show all posts

11 October 2022

Praying in Ordinary Time with USPG:
Tuesday 11 October 2022

The Tenth Sign in ‘The Pricke of Conscience’ window: The Earth Becomes Level And Flat (Photograph: Patrick Comerford, 2022; click on images for full-screen viewing)

Patrick Comerford

The Calendar of the Church of England in Common Worship today (11 October 2022) remembers Ethelburga, Abbess of Barking (675), and James the Deacon, companion of Paulinus (7th century), with commemorations.

Before today gets busy, I am taking some time this morning for reading, prayer and reflection.

During the last two weeks, I was reflecting each morning on a church, chapel, or place of worship in York, where I stayed in mid-September. This week I am reflecting on the windows in one of those churches: All Saints’ Church, North Street, York.

In my prayer diary this week I am reflecting in these ways:

1, One of the readings for the morning;

2, A reflection on the windows in All Saints’ Church, North Street, York;

3, a prayer from the USPG prayer diary, ‘Pray with the World Church.’

The Eleventh and Twelfth Signs in ‘The Pricke of Conscience’ window: Traumatised People come out of the Caves where they have sought Refuge and Run About; Dead Men’s Bones be set Together and Rise from their Graves (Photographs: Patrick Comerford, 2022; click on images for full-screen viewing)

Ethelburga was a sister of Erkenwald, Bishop of London, and was probably of royal blood. As Bede describes her, it seems she may well have owned, as well as been made Abbess of, the joint monastery at Barking. There was a tradition developing of monks and nuns sharing monasteries, often with a woman superior, for example Hilda at Whitby and Cuthburga at Wimborne.

Although they lived quite separate lives, often divided by high walls, they would occasionally celebrate the Daily Office or the Mass together. There was also probably an element of safety involved with the ever-present threat of marauding Danes. Bede relates many miracles occurring around Ethelburga but little else is known of her life. She died on this day in the year 675.

The details of the birth and death of James the Deacon are not known, although, since he accompanied Paulinus, he may well have been Italian. James seems to have been very active in assisting Paulinus on his mission in southern Northumbria and, when King Edwin was killed in battle and Paulinus had to flee south, James remained in the north.

At some risk to his life, he continued the work of preaching and baptising around the area that is now north Yorkshire. As an old man, he attended the Synod of Whitby in 664 and, though not a monk and therefore without a community to perpetuate his memory, he seems to have had enough popularity among ordinary Christians to have had a continuing cultus long after his death.

Luke 11: 37-41 (NRSVA):

37 While he was speaking, a Pharisee invited him to dine with him; so he went in and took his place at the table. 38 The Pharisee was amazed to see that he did not first wash before dinner. 39 Then the Lord said to him, ‘Now you Pharisees clean the outside of the cup and of the dish, but inside you are full of greed and wickedness. 40 You fools! Did not the one who made the outside make the inside also? 41 So give for alms those things that are within; and see, everything will be clean for you.’

The Thirteenth and Fourteenth Signs in ‘The Pricke of Conscience’ window: Day in Truth shall Stars fall from The Heaven; and The Death of all Living Things (Photographs: Patrick Comerford, 2022; click on images for full-screen viewing)

‘The Pricke of Conscience’ window, All Saints Church, York (Part 3):

All Saints’ Church, North Street, York, which I described in this prayer diary recently (28 September 2022), is said to be ‘York’s finest mediaeval church.’ It dates from the 11th century and stands near the River Ouse.

The church has an important collection of mediaeval stained glass, including ‘The Pricke of Conscience’ window, depicting the 15 signs of the End of the World; the window depicting the Corporal Works of Mercy (see Matthew 25: 31ff); the Great East Window, originally in the north wall; the Lady Chapel Window; the Saint James the Great Window; the Saint Thomas Window; and the Coats-of-Arms window.

All Saints’ Church, on North Street, York, is known particularly for the early 15th century window depicting ‘The Pricke Of Conscience’ or ‘The Fifteen Signs of Doom’ Window, which I am looking at on these three days (Sunday, Monday and Tuesday).

This remarkable stained-glass or painted window is near the east end of the north aisle in All Saints’ Church. It consists of three lights with six image panels in each light, totalling 18 panels. There is light tracery also above.

The window dates from ca 1410-1420 and is based on an anonymous 14th century Middle English poem, ‘The Pricke of Conscience.’ The poem describes the final 15 days of the world, each panel contributing to a paraphrase of the poem.

‘The Pricke of Conscience’ window consists of three lights with 18 panels arranged in six equal rows. I was looking yesterday at the bottom-most row of three panels that features the donors of the window. The other 15 panels depict the signs of the end of days – the countdown to the Apocalypse or Last Judgment of humanity.

These 15 panels in five rows illustrating the poem. Reading from left to right, and from bottom to top, the first nine panels illustrate the physical destruction of the earth, while the last six panels in the window are concerned with ‘The death of All Living Things and the Fate of Humanity.’

Yesterday, I was looking at the first nine panels depicting the physical destruction of the earth. This morning, I am reflecting on the last six panels in the window, concerned with ‘The death of All Living Things and the Fate of Humanity,’ and on the Upper Tracery Lights.

The last six panels in the window, concerned with ‘The death of All Living Things and the Fate of Humanity’ reading from left to right, and from bottom to top are:

Row 4:

Panel 1, the Tenth Sign: The Earth Becomes Level And Flat;

Panel 2, the Eleventh Sign: Traumatised People come out of the Caves where they have sought Refuge and Run About. This is the tenth sign in The Golden Legend which also says that men shall wander around like madmen, unable to converse with each other.

Panel 3, The Twelfth Sign: Dead Men’s Bones be set Together and Rise from their Graves. In the Pricke of Conscience text, the twelfth and thirteenth days are transposed in comparison with the inscriptions on this window.

Row 5:

Panel 1, the Thirteenth Sign: Day in Truth shall Stars fall from The Heaven;

Panel 2, the Fourteenth Sign: The Death of all Living Things. This panel has been partly reconstructed. When Henry Johnston drew the window in 1670, only the figure of the man in the bed was shown.

Panel 3, The Fifteenth Sign: The End of the World, Consumed by Fire.

The Upper Tracery:

The upper tracery lights above the main scenes continue the theme of the Last Judgment in the window. A figure of Christ once occupied the central upper tracery light.

Saint Peter, holding the Keys of the Kingdom, is welcoming the elect into Heaven on the west side, while on the east side demons are pushing the damned down towards Hell.

The Fifteenth Sign in ‘The Pricke of Conscience’ window: The End of the World, Consumed by Fire (Photograph: Patrick Comerford, 2022; click on images for full-screen viewing)

Today’s Prayer (Tuesday 11 October 2022):

The Collect:

Almighty God,
you have made us for yourself,
and our hearts are restless till they find their rest in you:
pour your love into our hearts and draw us to yourself,
and so bring us at last to your heavenly city
where we shall see you face to face;
through Jesus Christ your Son our Lord,
who is alive and reigns with you,
in the unity of the Holy Spirit,
one God, now and for ever.

The Post Communion Prayer:

Lord, we pray that your grace
may always precede and follow us,
and make us continually to be given to all good works;
through Jesus Christ our Lord.

The theme in the USPG Prayer Diary this week is ‘Day of the Girl Child.’ This theme is introduced this morning by the Revd Benjamin Inbaraj, Director of the CSI-SEVA department, which runs the Church of South India’s social ministries.

The USPG Prayer Diary invites us to pray today (International Day of the Girl Child) in these words:

Let us pray for the wellbeing of young girls across the world. May they be supported to pursue their dreams without fear of harm, prejudice or bias.

Yesterday’s reflection

Continued tomorrow

The Upper Tracery lights above the main scenes in ‘The Pricke of Conscience’ window (Photographs: Patrick Comerford, 2022; click on images for full-screen viewing)

Scripture quotations are from the New Revised Standard Version Bible: Anglicised Edition copyright © 1989, 1995, National Council of the Churches of Christ in the United States of America. Used by permission. All rights reserved worldwide. http://nrsvbibles.org

Further reading:

AB Barton, A Guide to the Church of All Saints, North Street, York (York, nd, post-2000).
Mary Chisholm, ‘All Saints’ Church, York: Pricke Of Conscience Window – Morality In Stained Glass 15th-C Style,’ Exploring Building History, <https://www.exploringbuildinghistory.co.uk/all-saints-york-pricke-of-conscience-window-morality-in-stained-glass-15th-c-style/> [Accessed 5 October 2022].
EA Gee, ‘The Painted Glass of All Saints’ Church, North Street, York’, Archaeologia 102 (1969), pp 158-162.
‘Pricke of Conscience Window’, The Stained Glass of All Saints, All Saints’ Church, North Street, York <https://www.allsaints-northstreet.org.uk/stainedglass.html> [accessed 5 October 2022].
Roger Rosewell, ‘The Pricke of Conscience of the Fifteen Signs of Doom Window in the Church of All Saints, North Street, York’, Vidimus, Issue 45 <https://vidimus.org/issues/issue-45/feature/> [accessed 5 October 2022].

‘The Pricke of Conscience’ window, depicting the 15 signs of the End of the World … the most important mediaeval stained glass in All Saints’ Church, North Street, York (Photograph: Patrick Comerford, 2022; click on images for full-screen viewing)

29 June 2022

Praying with the Psalms in Ordinary Time:
29 June 2022 (Psalm 126)

‘Then was our mouth filled with laughter and our tongue with songs of joy’ (Psalm 126: 2) … a sign in a café in Rathkeale, Co Limerick (Photograph: Patrick Comerford)

Patrick Comerford

In the Calendar of the Church, today commemorates Saint Peter and Saint Paul Apostles. This time of the year is known in Anglican tradition as Petertide, one of the two traditional periods for the ordination of new priests and deacons – the other being Michaelmas, around 29 September.

The Cambridge poet-priest Malcolm Guite says on his blog that Saint Peter’s Day and this season is appropriate for ordinations because Saint Peter is ‘the disciple who, for all his many mistakes, knew how to recover and hold on, who, for all his waverings was called by Jesus “the rock,” who learned the threefold lesson that every betrayal can ultimately be restored by love.’

Before today begins, I am taking some time this morning to continue my reflections drawing on the Psalms.

In my blog, I am reflecting each morning in this Prayer Diary in these ways:

1, Short reflections on a psalm or psalms;

2, reading the psalm or psalms;

3, a prayer from the USPG prayer diary.

Psalm 126:

Psalm 126 is the seventh in a series of 15 short psalms (Psalm 120-134) known as the ‘Songs of Ascents.’ These psalms begin with the Hebrew words שיר המעלות‎ (Shir Hama’a lot). In the slightly different numbering system in the Greek Septuagint and the Latin Vulgate, this is counted as Psalm 125. It is sometimes known by its opening words in Latin, In convertendo Dominus.

Many scholars say these psalms were sung by worshippers as they ascended the road to Jerusalem to attend the three pilgrim festivals. Others say they were sung by the Levite singers as they ascended the 15 steps to minister at the Temple in Jerusalem.

The Mishnah notes the correspondence between the 15 songs and the 15 steps between the men’s court and the women’s courtyards in the Temple. A Talmudic legend says King David composed or sang the 15 songs to calm the rising waters at the foundation of the Temple.

One view says the Levites first sang the Songs of Ascent at the dedication of Solomon’s Temple during the night of 15 Tishri 959 BCE. Another study suggests they were composed for a celebration after Nehemiah’s rebuilding of the walls of Jerusalem in 445 BCE. Others suggest they may originally have been songs sung by the exiles returning from Babylon, ascending to Jerusalem or individual poems later collected together and given the title linking them to pilgrimage after the Babylonian captivity.

These psalms are cheerful and hopeful, and they place an emphasis on Zion. They were suited for being sung because of their poetic style and the sentiments they express. They are brief, almost like epigrams, and they are marked by the use of a keyword or repeated phrase that serves as a rung on which the poem ascends to its final theme.

Jewish scholarship pairs Psalm 126 with Psalm 137, with Psalm 137 commemorating the beginning of the Babylonian exile, and Psalm 126 describing the end of that exile.

The grammatical structure of the psalm, however, suggests that it is talking both about a past redemption (from Babylonian captivity, in verse 1) and a future redemption (the permanent return of the exiles at the end of days, in verse 4).

Alternately, modern Jewish commentators suggest that the second half of the psalm refers to the redemption of the land of Israel from agricultural drought.

Psalm 126 is a short psalm of seven verses. The Psalm is a liturgical song for use in public worship.

When the people first returned from exile in Babylon, they hardly believed their good fortune, and they were ‘like those who dream.’ So great was their success that other nations recognised God’s mighty works on their behalf, and the people rejoiced.

But, after the initial euphoria, they realise that ordinary, daily life is difficult. They ask God to restore our fortunes, and that the land be refreshed and be made fruitful with the waters of free-flowing rivers.

They may be sorrowful as they sow, but they still hope to gather the harvest in joyfulness, as God once more acts on our behalf.

All creation gives praise to God, and good times and bad times should both remind us not just of each season, but of the needs of others:

Those who sowed with tears
will reap with songs of joy.
Those who went out weeping, carrying the seed,
will come again with joy, shouldering their sheaves
(Psalm 126: 6).

‘Those who go out weeping, bearing the seed, will come back with shouts of joy, bearing their sheaves with them ’ (Psalm 126: 7) … harvest themes in windows by Johnny Murphy and Reiltín Murphy (1982) in the Bishop O’Brien Memorial Chapel in Saint Saviour’s Dominican Church, Limerick (Photograph: Patrick Comerford, 2021)

Psalm 126 (NRSVA):

A Song of Ascents.

1 When the Lord restored the fortunes of Zion,
we were like those who dream.
2 Then our mouth was filled with laughter,
and our tongue with shouts of joy;
then it was said among the nations,
‘The Lord has done great things for them.’
3 The Lord has done great things for us,
and we rejoiced.

4 Restore our fortunes, O Lord,
like the watercourses in the Negeb.
5 May those who sow in tears
reap with shouts of joy.
6 Those who go out weeping,
bearing the seed for sowing,
shall come home with shouts of joy,
carrying their sheaves.

Today’s Prayer:

The theme this week in the prayer diary of the Anglican mission agency USPG (United Society Partners in the Gospel) is ‘Ethics and Leadership.’ It was introduced on Sunday by Andy Flannagan, Executive Director of Christians in Politics.

Wednesday 29 June 2022 (Saint Peter and Saint Paul, Apostles):

The USPG Prayer invites us to pray today in these words:

Lord, give us the courage to stand up for what is right. As the Church, may we let our voices be heard on political issues which affect us all.

Yesterday’s reflection

Continued tomorrow

Saint Peter and Saint Paul in a pair of stained glass windows in Saint John’s Church, Wall, near Lichfield (Photograph: Patrick Comerford)

Scripture quotations are from the New Revised Standard Version Bible: Anglicised Edition copyright © 1989, 1995, National Council of the Churches of Christ in the United States of America. Used by permission. All rights reserved worldwide. http://nrsvbibles.org

04 July 2021

Praying in Ordinary Time 2021:
36, Saint Peter’s Basilica, Rome

Saint Peter’s Basilica, as a work of architecture, is the greatest building of its age (Photograph: Patrick Comerford)

Patrick Comerford

During this time in the Church Calendar known as Ordinary Time, I am taking some time each morning to reflect in these ways:

1, photographs of a church or place of worship;

2, the day’s Gospel reading;

3, a prayer from the prayer diary of the Anglican mission agency USPG (United Society Partners in the Gospel).

Today is the Fifth Sunday after Trinity (Trinity V). Later this morning I am hoping to preside at the Parish Eucharist in Saint Mary’s Church, Askeaton, Co Limerick, and to preach at Morning Prayer in Saint Brendan’s Church, Kilnaughtin (Tarbert), Co Kerry.

Last week my photographs were of seven monasteries in Crete. This morning (4 July 2021), my photographs are from Saint Peter’s Basilica in the Vatican, introducing a week illustrated with photographs of churches in Rome.

Earlier in this series, on Tuesday in Holy Week (30 March 2021), I introduced the Basilica of Santa Maria in Trastevere, one is my favourite churches in Rome.

Queues line up in Saint Peter’s Square in pre-pandemic days to visit Saint Peter’s Basilica (Photograph: Patrick Comerford)

The imposing size of Saint Peter’s Basilica and the history of the Papal power make it difficult to grasp that the Vatican has been a sovereign state for less than 80 years and that it is such a tiny independent entity.

The three Lateran treaties in 1929 established the territorial extent of the new state, which is totally landlocked within the City of Rome by a land border of 3.2 km. With a land area of 0.44 sq km (108.7 acres), the Vatican State is comparable in size to a small farm in Ireland and easily outpaced by Europe’s next smallest states, Monaco and San Marino.

The sovereign territory is so tiny that any visitor to Saint Peter’s and the Vatican Museums visits the state many times over, constantly stepping in and out of Vatican and Italian territory.

The Papal Basilica of Saint Peter in the Vatican (Basilica Papale di San Pietro in Vaticano) was designed principally by Donato Bramante, Michelangelo, Carlo Maderno and Gian Lorenzo Bernini. Saint Peter’s is the most renowned work of Renaissance architecture and the largest church in the world.

Despite popular perceptions, this is not the cathedral of the Diocese of Rome – this title continues to be held by the Basilica of Saint John Lateran. But Saint Peter’s remains one of the holiest places in the Roman Catholic Church and in world Christianity. Catholic shrines.

Tradition says this is the burial site of Saint Peter, and Saint Peter's tomb is said to be directly below the high altar. Many popes have been buried at Saint Peter’s since the Early Christian period.

A church has stood on this site since the time of Constantine the Great. The construction of the present basilica began in 1506, was completed in 1615, and it was consecrated in 1626. As a work of architecture, it is the greatest building of its age. It is one of the four churches in the world that hold the rank of major basilica, all four of which are in Rome, the other three being Saint John Lateran, Saint Mary Major, and Saint Paul outside the Walls.

Swiss Guards on duty at the top of the steps of Saint Peter’s during a Papal audience (Photograph: Patrick Comerford)

Mark 6: 1-13 (NRSVA):

1 He left that place and came to his home town, and his disciples followed him. 2 On the sabbath he began to teach in the synagogue, and many who heard him were astounded. They said, ‘Where did this man get all this? What is this wisdom that has been given to him? What deeds of power are being done by his hands! 3 Is not this the carpenter, the son of Mary and brother of James and Joses and Judas and Simon, and are not his sisters here with us?’ And they took offence at him. 4 Then Jesus said to them, ‘Prophets are not without honour, except in their home town, and among their own kin, and in their own house.’ 5 And he could do no deed of power there, except that he laid his hands on a few sick people and cured them. 6 And he was amazed at their unbelief.

Then he went about among the villages teaching. 7 He called the twelve and began to send them out two by two, and gave them authority over the unclean spirits. 8 He ordered them to take nothing for their journey except a staff; no bread, no bag, no money in their belts; 9 but to wear sandals and not to put on two tunics. 10 He said to them, ‘Wherever you enter a house, stay there until you leave the place. 11 If any place will not welcome you and they refuse to hear you, as you leave, shake off the dust that is on your feet as a testimony against them.’ 12 So they went out and proclaimed that all should repent. 13 They cast out many demons, and anointed with oil many who were sick and cured them.

‘Crossing the Tiber’ from Rome to the Vatican (Photograph: Patrick Comerford)

Prayer in the USPG Prayer Diary:

The Prayer in the USPG Prayer Diary today (4 July 2021, Trinity V) invites us to pray:

Heavenly Father,
Give us the strength to heal inequalities.
May we work together so that all can be healthy,
In body and soul.

Yesterday’s reflection

Continued tomorrow

The Dome of Saint Peter’s Basilica, seen across the Tiber, towers above the skyline of Rome (Photograph: Patrick Comerford)

Scripture quotations are from the New Revised Standard Version Bible: Anglicised Edition copyright © 1989, 1995, National Council of the Churches of Christ in the United States of America. Used by permission. All rights reserved worldwide. http://nrsvbibles.org

29 June 2021

A reflection on ministry,
mission and unity
on Saint Peter’s Day

Saint Paul (left) and Saint Peter (right) in windows in the west porch in Saint Patrick’s Cathedral, Skibbereen, Co Cork (Photograph: Patrick Comerford, 2021)

Last week, I marked the 20th anniversary of my ordination as priest in 2001 and the 21st anniversary of my ordination as deacon in 2000. In recent days, many of my ordained colleagues have been posting photographs on social media celebrating the anniversaries of their ordinations too.

Today (29 June) is Saint Peter’s Day in the calendar of the Church of Ireland, and the Feast of Saint Peter and Saint Paul in the Church of England and many other church calendars, honouring their martyrdom in Rome.

This time of the year is known in Anglican tradition as Petertide, one of the two traditional periods for the ordination of new priests and deacons – the other being Michaelmas, around 29 September.

The Cambridge poet-priest Malcolm Guite says on his blog that Saint Peter’s Day and this season is appropriate for ordinations because Saint Peter is ‘the disciple who, for all his many mistakes, knew how to recover and hold on, who, for all his waverings was called by Jesus “the rock,” who learned the threefold lesson that every betrayal can ultimately be restored by love.’

The Apostle Peter and the Apostle Paul holding the church in unity … an early 18th century icon in the Museum of Christian Art in Iraklion, Crete (Photograph: Patrick Comerford)

In the Orthodox Church, Saint Peter and Saint Paul are seen as figures of Church Unity, sharing a common faith and mission despite their differences. They are often seen as paired, flanking images at entrances to churches, and the icon of Christian Unity in the Orthodox tradition shows the Apostles Peter and Paul embracing each other – signs of the early Church overcoming its differences and affirming its diversity.

Peter’s Cell is an unusual place-name in the heart of the old city in Limerick. It marks the site of a house established by Donal Mor O Brian (1168-1194) for the Canonesses of Saint Augustine in 1171. Very little is known about these canonesses, apart from the fact that they had a church dedicated to Saint Peter – the word cell comes from cella or a room for each nun.

Despite the forced departure of the Augustinian canonesses at the dissolution of monastic houses during the Reformation, the name of Peter’s Cell survived in a small corner near the junction of Bishop Street and Peter Street.

In the late 17th century, the Quakers had a small burial ground near Peter’s Cell, and the Dissenters, the precursors of the Presbyterians, rented the former site of the canonesses, from Lord Milton from the 1690s until they built a new meeting house or chapel in Peter Street in 1765.

Part of the ruined convent buildings was converted into the Peter’s Cell Theatre around 1760. Later, Saint Munchin’s College was located in Peter’s Cell briefly in 1800-1809.

So, Peter’s Cell in Limerick has been used by Augustinians, Quakers, Presbyterians, theatre-goers, and as a diocesan seminary. Another form of ecumenism and diversity in centuries gone by, I suppose. But then our ministry must always involve mission in a broken world, and not in a world as we would like to find it. And, at the heart of that ministry and mission must be the quest for unity among all Christians.

When Pope Francis marked the feast of Saint Peter and Paul last year, he stressed the importance of unity in the Church and allowing ourselves to be challenged by God, urging people to spend less time complaining about what they see going wrong, and more time in prayer.

He noted that Saint Peter and Saint Paul were two very different men who ‘could argue heatedly’ but who ‘saw one another as brothers, as happens in close-knit families where there may be frequent arguments but unfailing love.’

God, he said, ‘did not command us to like one another, but to love one another. He is the one who unites us, without making us all alike.’

Saint Peter in chains (see Acts 12) … the window by Charles Eamer Kempe in Lichfield Cathedral commemorating Dean Herbert Mortimer Luckock (Photograph: Patrick Comerford)

The Readings:

Ezekiel 3: 22-27; Acts 12: 1-11; Matthew 16: 13-19.

The Collect of the Day:

Almighty God,
who inspired your apostle Saint Peter
to confess Jesus as Christ and Son of the living God:
Build up your Church upon this rock,
that in unity and peace it may proclaim one truth
and follow one Lord, your Son our Saviour Christ,
who is alive and reigns with you and the Holy Spirit,
one God, now and for ever.

Saint Peter and Saint Paul in a pair of stained glass windows in Saint John’s Church, Wall, near Lichfield (Photograph: Patrick Comerford)

Praying in Ordinary Time 2021:
31, Arsanios Monastery, Crete

Moni Arsanios in the village of Pagalohori dates from the 16th century (Photograph: Patrick Comerford)

Patrick Comerford

During this time in the Church Calendar known as Ordinary Time, I am taking some time each morning to reflect in these ways:

1, photographs of a church or place of worship;

2, the day’s Gospel reading;

3, a prayer from the prayer diary of the Anglican mission agency USPG (United Society Partners in the Gospel).

My photographs this morning (29 June 2021) are from the Monastery of Arsanios, near Rethymnon, continuing a week of photographs from monasteries in Crete.

This year marks the 200th anniversary of the start of the Greek War of Independence, and earlier in this series morning reflections, I have also visited Arkadi Monastery (1 May 2021) and the former Monastery of Saint Catherine of Mount Sinai in Iraklion (8 May 2021).

Moni Arsanios or the Monastery of Saint George dates from the 16th century (Photograph: Patrick Comerford)

Moni Arsanios (Μονή Αρσανίου) or the Monastery of Saint George at the village of Pagalohori, 11 km east of Rethymnon, dates from the 16th century. Below, there are panoramic views out to the Cretan Sea; above are views up to Mount Psiloritis, the highest mountain on the island.

The katholikon or main church in the monastery is dedicated to Aghios Georghios (Saint George), and a smaller church is named after Saint Mark the Deaf, whose feast day is celebrated on 2 January. This is the only church dedicated to Saint Mark the Deaf, not only in Greece but in the entire world.

The monastery probably takes its name from a monk called Arsenios, who built the monastery in the 16th century.

The katholikon was dedicated to Saint George in 1600. When The Turks occupied Rethymnon in 1646, the monastery may have been deserted. Bishop Neophytos Patelaros put the monastery under the protection of the Ecumenical Patriarchate in 1655, and the Stavropegic and Patriarchal status of Arsaniou was reconfirmed in 1778 and again in 1850.

Despite the protection of the Patriarch of Constantinople gave to the monastery with this Stavropegic status, it did not protect it from natural and political calamities. Many of the cells of the monastery collapsed under a strong earthquake in 1856, and ten years later, in 1866, the Turks destroyed what they could in the monastery to punish the monks for their revolutionary activities.

A new Church of Saint George was built in 1888 on the ruins of the old church, but the Turks returned in 1896 to burn and plunder the monastery. A year later, they murdered the monk Father Gabriel Klados, hanging his head on a tree in Rethymnon to use for target practice.

By 1900, it looked as though the monastery could not survive, but it was reconstituted in 1903. Further woes came with World War II, when the Germans executed Abbot Damianos Kallergis in 1941 for the support the monks gave to the Greek partisans and the resistance to the Nazis. But the monastery survived. It was renovated in 1970, the katholikon was decorated with frescoes in 1988-1990, and a museum and conference centre were founded.

The katholikon is a cruciform basilica with a dome. There is a fine carved wood ikonostasis (icon screen) and the walls are decorated with vivid frescoes.

Along with visitors who come to the conference centre and museum, the monastery has a steady daily trickle of tourists in normal summers, outside Covid time. But the future of Moni Arsanios must be a matter of faith today. When I last visited, there were only three monks living permanently there. The two I met were in their mid-80s, the third monk was then in his mid-40s.

The Pantokrator in the dome of the katholikon in Moni Arsanios (Photograph: Patrick Comerford)

Matthew 16: 13-19 (NRSVA):

13 Now when Jesus came into the district of Caesarea Philippi, he asked his disciples, ‘Who do people say that the Son of Man is?’ 14 And they said, ‘Some say John the Baptist, but others Elijah, and still others Jeremiah or one of the prophets.’ 15He said to them, ‘But who do you say that I am?’ 16 Simon Peter answered, ‘You are the Messiah, the Son of the living God.’ 17 And Jesus answered him, ‘Blessed are you, Simon son of Jonah! For flesh and blood has not revealed this to you, but my Father in heaven. 18 And I tell you, you are Peter, and on this rock I will build my church, and the gates of Hades will not prevail against it. 19 I will give you the keys of the kingdom of heaven, and whatever you bind on earth will be bound in heaven, and whatever you loose on earth will be loosed in heaven.’

The fine carved wooden ikonostasis or icon screen in the katholikon or main church of the monastery (Photograph: Patrick Comerford)


Prayer in the USPG Prayer Diary:

The Prayer in the USPG Prayer Diary today (29 June 2021, Saint Peter and Saint Paul) invites us to pray:

Almighty Father, let us remember the examples of Saint Peter and Saint Paul, two of your most loyal disciples. May we seek to emulate the conviction of their faith through our deeds and words.

Yesterday’s reflection

Continued tomorrow

A smaller church in the monastery is dedicated to Saint Mark the Deaf (Photograph: Patrick Comerford)

Scripture quotations are from the New Revised Standard Version Bible: Anglicised Edition copyright © 1989, 1995, National Council of the Churches of Christ in the United States of America. Used by permission. All rights reserved worldwide. http://nrsvbibles.org

The Stavropegic status of Moni Arsanios did not protect he monastery from natural and political calamities (Photograph: Patrick Comerford)

11 November 2019

The Peterskirche is
‘a psychedelic Easter
egg’ in Vienna

The Peterskirche in the centre of Petersplatz … claims to be the oldest church in Vienna (Photograph: Patrick Comerford, 2019)

Patrick Comerford

My visit to Vienna on Thursday [7 November 2019] was short and brief. I concentrated on visiting the Stephansdom or Saint Stephen’s Cathedral, and the Jewish quarter with its museums and the only synagogue to survive after World War II.

But I also visited two churches in the heart of Vienna: the Greek Orthodox Cathedral of the Holy Trinity; and the Peterskirche, or Saint Peter’s Church, is a Baroque parish church to be designed as a miniature replica of Saint Peter’s Basilica in Rome.

One writer has said, ‘Experiencing the Peterskirche is like opening a psychedelic Easter egg. It looks nice on the outside, with its domes, reliefs and statues. Then, when you go inside, you’re hit by a dizzying wave of colour and form that is really quite breath-taking.’

The Peterskirche stands in the centre of Petersplatz square, just off the busy Graben pedestrian area and is surrounded by 18th and 19th century buildings. The church is largely obscured by the surrounding buildings, and can only be seen clearly by standing directly in front of it.

Some writers claim that the Peterskirche stands on the site of the oldest church in Vienna. The oldest church building on this site was built in the Early Middle Ages, and there is some speculation that it could be the oldest church in Vienna, older than even the Ruprechtskirche. That Roman church was built on the site of a Roman encampment.

That Roman church was replaced with a Romanesque church with a nave and two aisles. It is said to have been established by Charlemagne ca 800, and a relief sculpture by R Weyr outside the church commemorates the founding of the church by Charlemagne. However, there is no evidence supporting this theory.

The first documented reference to a church on this site dates from 1137. Around the end of the 12th century, the church became part of the Schottenstift, a Benedictine abbey founded in Vienna by Irish (Scots) monks who came from Regensburg.

The mediaeval church had three altars, with the apse in the south instead of the traditional east end. This south-north rather than east-west orientation is unusual and has caused many discussions and debates.

The church may have been adapted from an earlier, secular building. It was surrounded by shops, and a nearby building housed the Stadtguardia, a forerunner of the modern police.

The old church burned down in 1661 and the repairs at the time were only makeshift repairs. A few decades passed before a decision was taken to build a new church, following the arrival of the Fraternity of the Holy Trinity. The Emperor Leopold I was a member of this fraternity, and he had vowed to rebuild this church when Vienna was ravaged by the plague in 1679-1680.

Work on building a new Baroque church was begun ca 1701 under Gabriele Montani, who was replaced by Johann Lukas von Hildebrandt in 1703. The design was inspired by Saint Peter’s Basilica in the Vatican.

Most of the building was finished by 1722, and the Peterskirche was consecrated to the Holy Trinity in 1733. The new church was the first domed structure in baroque Vienna. Due to the confined strictures of the site, the church was built in a very compact form, with its oval interior accommodating an astonishing amount of space and rectangular attachments.

Despite the initial visual impact, this is not a spacious basilica or cathedral. It essentially comprises an entrance foyer, the oval-shaped domed area with niches that form small side chapels, and the high altar area.

The turreted dome was designed by Matthias Steinl, who was also responsible for the richly-decorated interior filled with golden stucco work and the pews with their cherubic heads.

The frescoes were first painted by the Italian Andrea Pozzo. But they were removed after his death, and Johann Michael Rottmayr began working on a completely new set in 1713.

The fresco in the cupola represents the ‘Coronation of Our Lady.’ The triumphal arch displays the coat of arms of emperor Leopold I. The four Evangelists and four Fathers of the Church in the spandrels around the dome were painted by the Viennese artist JG Schmidt, who also painted the altarpiece in the side chapel of Saint Michael.

The Baroque high altar is the work of Antonio Galli Bibiena and his workshop in Bologna, and Martino Altomonte (1657-1745). The altarpiece portrays the ‘Healing of the Lame by Saint Peter and Saint John in Jerusalem.’

The shrines in the side chapels hold the relics of martyrs from Roman catacombs, donated by Cardinal Kollonitz in 1733. They were clothed in this period and placed in the glass coffins.

The gilded, ornate pulpit is the work of Matthias Steinl (1726). Opposite the pulpit is a dramatic gold-and-silver representation of the ‘Martyrdom of Saint John of Nepomuk’ by Lorenzo Mattielli. The Baroque organ was built in 1751.

The Peterskirche was transferred to Opus Dei in 1970 by the Archbishop of Vienna, Cardinal Franz König.

Meanwhile, over the years, the paintings became darker, and the interior began to take on a grey appearance. The church underwent renovations and restorations in 1998-2004, when the paintings were returned to their original rich colouring and brightness.

20 November 2013

Heroes of the Bible, heroes of the faith (5):
Saint Peter ... author of I Peter and II Peter?

Saint Peter with Christ and the Apostles above Saint Peter’s Basilica in Rome (Photograph: Patrick Comerford)

Patrick Comerford

In our series of tutorial group studies of heroes of the Bible and the faith, we have looked in recent weeks at Saint John the Divine, Ananias of Damascus, the Prophet Elijah, the Prophet Daniel, and Rahab, who features in the Book of Joshua (see Joshua 2: 1-22, 6: 15-25), and who is also mentioned three times in the New Testament.

This morning we are looking at the Apostle Peter, and I want to add some discussion of the two New Testament letters (epistles) that bear his name, I Peter and II Peter, for the attribution of their authorship to the Apostle Peter has been challenged by many commentators and critics in recent years.

I Peter:

I Peter is addressed to churches in areas of Asia Minor that had been evangelised by Saint Paul

I Peter: structure and content:

We could outline this structure for I Peter:

1, Greeting (1: 1-2)
2, Praise to God (1: 3-12)
3, Being God’s Holy People (1: 13 to 2: 10)
4, Living a life in exile (2: 11 to 4: 11)
5, Being steadfast in the Faith (4: 12 to 5: 11)
6, Final Greeting (5: 12-14).

I Peter is addressed, with a Trinitarian invocation, to the “exiles of the Dispersion” scattered throughout “Pontus, Galatia, Cappadocia, Asia, and Bithynia,” five Roman provinces in Asia Minor (see I Peter 1: 1).

The order in which these provinces are listed may reflect the route for the messenger delivering the circular letter. The sequence of provincial boundaries mentioned in I Peter 1: 1 was set out by Emperor Vespasian in AD 72. The recipients lived in the eastern and central regions of Asia Minor, and regions bordering the Black Sea.

They are urged to “live in reverent fear during the time of your exile" (1: 17). Are they “exiles” (1:1) because as Christians they are longing for their home in heaven? Or, are they literal “exiles” (NRSV) or “strangers” (NIV), outsiders who have come to live in this region?

They have faced oppression and hostility from local people, but Peter advises them to maintain loyalty to their religion and to the Roman Empire (I Peter 2: 17).

The author advises them to be steadfast and to persevere under persecution (1: 1 to 2: 10); and to attend to the practical duties of a holy life (2: 11 to 3: 13). He points to the example of Christ. He urges patience and holiness (3: 14 to 4:19); and he concludes with advice to pastors and people (I Peter 5).

Why were the Christians who first received this letter experiencing opposition and persecution? The exhortations to live blameless lives (2: 15; 3: 9, 13, 16) may suggest they were accused of immoral behaviour. The exhortations to civil obedience (2: 13-17) may imply they were accused of disloyalty to the civil authorities. Did they suffer social discrimination, such as verbal derision, or were they the victims of violent persecution?

The author urges them to respect authority (2: 13), and even: “Honour the emperor” (2: 17), suggesting they were not suffering official Roman persecution. The first official worldwide persecution of Christians throughout the Roman Empire did not occur until the year 250 in the reign of Decius.

Nevertheless, Christians were brought before the courts and even faced executions. The aggressive claims to divinity by the Emperor Domitian would have been rejected and resisted by Christians, even though there was no official policy targeted specifically at Christians.

I Peter: authorship and dating:

The first internal evidence in I Peter that Saint Peter the Apostle is the author is provided by the opening greeting: “Peter an apostle of Jesus Christ …” (I Peter 1: 1). Similar claims are found in the concluding words: (I Peter 5: 12-14). I Peter was known to the early patristic writers but they do not describe it as Petrine. So, is there any evidence, internal or external, that the Saint Peter of the Gospels, who we have been looking at this morning, is the author of these two epistles?

The author of I Peter presents himself as Saint Peter the Apostle, and the epistle was traditionally said to have been written while he was either Bishop of Rome or Bishop of Antioch. However, these titles are not used in the epistle.

The author describes himself as ἀπόστολος (apostolos, apostle) (I Peter 1: 1) and as συμπρεσβύτερος (sympresbyteros, fellow priest) (see I Peter 5: 1), a title that appears a little later in the development of early ecclesiology.

But then, Saint Peter lived his early life in Bethsaida, which was granted city status under Philip the Tetrarch. Philip was a Helleniser or advocate of Greek culture, and Bethsaida probably had a large Greek speaking population.

There is general consensus, because of an internal reference to “Babylon” (see I Peter 5: 13), that the epistle was written from Rome.

Those who favour the Petrine authorship date the letter to sometime shortly before Saint Peter’s martyrdom, which may have been as late as AD 68. The reference to Silvanus at the end of the letter may indicate a date following Saint Paul’s arrival in Rome, and it may then date from as early as AD 63-64.

The language, dating, style, and structure of this letter have led many scholars to conclude that I Peter letter is pseudonymous. They see evidence that the author had a formal education in rhetoric and philosophy, advanced knowledge of Greek, along with geometry, arithmetic and music, and a reading of classical authors such as Homer.

Some say it is most likely that I Peter was written during the reign of Domitian in the year 81, when the persecution of Christian became widespread – a date that is long after the death of Peter. On the other hand, the persecutions described in this letter do not need a time period outside of the Saint Peter’s lifespan.

Other scholars doubt the letter’s Petrine authorship. They say I Peter is dependent on the Pauline epistles – especially Ephesians, Colossians and the Pastoral Letters (I and II Timothy and Titus) – and so it was written after Saint Paul’s ministry. Yet others argue that it makes little sense to attribute the work to Saint Peter when it could have been ascribed to Saint Paul.

One theory supporting the Petrine authorship is the “secretarial hypothesis,” which suggests that I Peter was dictated by Peter and was written in Greek by his “faithful brother” or secretary, Silvanus (see I Peter 5: 12). However, we could ask whether Silvanus was not the secretary, but the courier or bearer of I Peter?

Some scholars believe the language, dating, literary style and structure of the letter make it implausible to conclude that I Peter is the work of Saint Peter. They say I Peter is a pseudonymous letter, written later by one of Saint Peter’s disciples in his honour.

Yet there are similarities with Saint Peter's speeches in the Acts of the Apostles, and the earliest attestation of Peter as author comes from II Peter (see II Peter 3: 1) and the letters of Clement.

One possible context for I Peter is by provided the trials and executions of Christians in the Roman province of Bithynia-Pontus under Pliny the Younger. In a letter to Emperor Trajan, written in AD 112, Pliny asks Trajan if the accused Christians should be punished for the name ‘Christian’ alone, or for crimes associated with the name (for the use of the word ‘name,’ see I Peter 4:14-16). But this theory is rejected by those who argue the suffering in I Peter is caused by social, rather than official, discrimination.

The Harrowing of Hell

The Harrowing of Hell ... The author of I Peter refers to Christ, after his death, proclaiming to spirits in prison (3: 18-20)

The author of I Peter refers to Christ, after his death, proclaiming to spirits in prison (3: 18-20). The passage says: Christ “went and made a proclamation to the spirits in prison, who in former times did not obey, when God waited patiently in the days of Noah, during the building of the ark, in which a few, that is eight people were saved through water” (I Peter 3: 19–20).

In the original Greek: “ἐν ᾧ καὶ τοῖς ἐν φυλακῇ πνεύμασιν πορευθεὶς ἐκήρυξεν, ἀπειθήσασίν ποτε ὅτε ἀπεξεδέχετο ἡ τοῦ θεοῦ μακροθυμία ἐν ἡμέραις Νῶε ...”

Later, he says: “For this reason the gospel was preached also to those who are dead, that they might be judged according to men in the flesh, but live according to God in the spirit” (I Peter 4: 6); “εἰς τοῦτο γὰρ καὶ νεκροῖς εὐηγγελίσθη …”

This passage (see also Matthew 27: 52 and Luke 23: 43) provides the basis for the description in the Apostles’ Creed and the Athanasian Creed of Christ’s descent into hell, but it is not mentioned in the Nicene Creed. This event is known to the Orthodox as “the harrowing of hell.”

Between the time of his Crucifixion and Resurrection, Christ visits the “the spirits in prison” or the souls of pre-Christian people waiting for the Gospel.

The Greek wording in the Apostles’ Creed is κατελθόντα εἰς τὰ κατώτατα (katelthonta eis ta katôtata), and in Latin descendit ad inferos. The Greek τὰ κατώτατα (ta katôtata, “the lowest”) and the Latin inferos (“those below”) may also be translated as “underworld,” “netherworld,” or “abode of the dead.”

The term Harrowing of Hell refers not merely to the idea that Christ descended into Hell, as in the Creed, but to the rich tradition that developed later, asserting that he triumphed over inferos, releasing Hell’s captives, particularly Adam and Eve, and the righteous men and women of the Old Testament period.

The Early Church taught that after his death Christ descended into hell and rescued all the souls, starting with Adam and Eve, who had died under the Fall. The Harrowing of Hell is intimately bound up with the Resurrection, the Raising from the Dead, for as Christ is raised from the dead he also plummets the depths to bring up, to raise up, those who are dead, no matter where that may be in time and in space. The Harrowing of Hell carries us into the gap in time between Christ’s death and his resurrection.

In icons of the Harrowing of Hell, Christ stands on the shattered doors of Hell. Sometimes, two angels are seen in the pit binding Satan. And we see Christ pulling out of Hell Adam and Eve, imprisoned there since their deaths, imprisoned along with all humanity because of sin. Christ breaks down the doors of Hell and leads the souls of the lost into Heaven. It is the most radical reversal we can imagine. Death does not have the last word, we need not live our lives buried in fear. If Adam and Eve are forgiven, and the Sin of Adam is annulled and destroyed, who is beyond forgiveness?

In discussing the “Descent into Hell,” Hans Urs von Balthasar argues that if Christ’s mission did not result in the successful application of God’s love to every intended soul, how then can we think of it as a success? He emphasises Christ’s descent into the fullness of death, so as to be “Lord of both the dead and the living” (Romans 5).

However, in her book Light in Darkness, Alyssa Lyra Pitstick says Christ did not descend into the lowest depths of Hell, that he only stayed in the top levels. She cannot agree that Christ’s descent into Hell entails experiencing the fullness of alienation, sin and death, which he then absorbs, transfigures, and defeats through the Resurrection. Instead, she says, Christ descends only to the “limbo of the Fathers” in which the righteous, justified dead of the Old Testament waited for his coming.

And so her argument robs the Harrowing of Hell of its soteriological significance. For her, Christ does not descend into Hell and experience there the depths of alienation between God and humanity opened up by sin. She leaves us with a Christ visiting an already-redeemed and justified collection of Old Testament saints to let them know that he has defeated death – as though he is merely ringing on the doorbell for those ready to come out.

However, Archbishop Rowan Williams has written beautifully, in The Indwelling of Light, on the Harrowing of Hell. Christ is the new Adam who rescues humanity from its past, and who starts history anew. “The resurrection … is an introduction – to our buried selves, to our alienated neighbours, to our physical world.”

He says: “Adam and Eve stand for wherever it is in the human story that fear and refusal began … [This] icon declares that wherever that lost moment was or is – Christ [is] there to implant the possibility … of another future.” [Rowan Williams, The Dwelling of the Light: Praying with Icons of Christ, p. 38.]

I ask myself: what is the difference between the top levels of Hell and the bottom levels of Hell? Is my Hell in my heart of my own creation? In my mind, in my home, where I live and I work, in my society, in this world? Is hell the nightmares from the past I cannot shake off, or the fears for the future when it looks gloomy and desolate for the planet? But is anything too hard for Lord?

The icon of the Harrowing of Hell tells us that there are no limits to God’s ability to search us out and to know us. Where are the depths of my heart and my soul, where darkness prevails, where I feel even Christ can find no welcome? Those crevices even I am afraid to think about, let alone contemplate, may be beyond my reach. I cannot produce or manufacture my own salvation from that deep, interior hell, hidden from others, and often hidden from myself.

But Christ breaks down the gates of Hell. He rips all of sinful humanity from the clutches of death. He descends into the depths of our sin and alienation from God. Plummeting the depths of Hell, he suffuses all that is lost and sinful with the radiance of divine goodness, joy and light.

Hell is where God is not; Christ is God, and his decent into Hell pushes back Hell’s boundaries. In his descent into Hell, Christ reclaims this zone for life, pushing back the gates of death, where God is not, to the farthest limits possible. Christ plummets even those deepest depths, and his love and mercy can raise us again to new life.

II Peter:

The end of II Peter and the beginning of I John in the same column of the Codex Alexandrinus

II Peter: content and structure:

The second letter, II Peter, is the first book in the New Testament to regard other New Testament writings as scripture (see II Peter 3: 15-16).

The letter is addressed to the churches in general. II Peter is written to warn Christians about false teachers and to exhort them to grow in their faith in and knowledge of Christ.

The letter is usually outlined as follows:

1, Address (II Peter 1: 1-2)
2, Exhortation to Christian Virtue (II Peter 1: 3-21)
3, Condemnation of the False Teachers (II Peter 2: 1-22)
4, The Delay of the Second Coming (II Peter 3: 1-16)
5, Final Exhortation and Doxology (II Peter 3: 17-18).

II Peter opens with greeting: “Simon Peter, a servant and apostle of Jesus Christ” (II Peter 1: 1).

II Peter is ascribed by some scholars to Saint Peter, and the letter says that it is written shortly before the apostle’s death (II Peter 1: 14), and that it is Peter’s second letter (see II Peter 3: 1).

According to the letter, it was composed by the Apostle Peter, an eyewitness to Christ’s ministry. It criticises “false teachers” who distort the authentic, apostolic tradition, and predicts judgment for them.

II Peter explains that God has delayed the Second Coming of Christ so that more people will have the chance to reject evil and find salvation. It calls on Christians to wait patiently for the παρουσία (parousia), for the new heaven and the new earth (καινοὺς δὲ οὐρανοὺς καὶ γῆν καινὴν, see Revelation 21: 1) and to study scripture.

In both content and style, this letter is very different from I Peter. While I Peter is written to teach about handling persecution (trials from without), II Peter is written to teach about dealing with heresy (trials from within).

The letter is important theologically for it identifies Christ with God, and addresses a threatening heresy about the anticipated Second Coming.

II Peter contains eleven references to the Old Testament. The letter also shows some knowledge, albeit, perhaps, second-hand knowledge of marginal apocryphal books: Tartaros (Ταρταρός) is mentioned in II Peter 2: 4 as the place where certain fallen angels have cast into and are held in chains. This place-name is missing in many English translations, including the KJV, NRSV and NIV, where it is translated as hell. But it is named again in the Greek of Jude 6, where there is a clear reference to the Book of Enoch.

II Peter also refers to many of Saint Paul’s letters (II Peter 3: 15) and specifically (II Peter 3: 15, 16) to one letters (see I Thessalonians 4: 13 to 5: 11).

Most noticeably, though, II Peter quotes from Jude and adapts from that letter extensively, sharing a number of passages with the Epistle of Jude:

● 1: 5 (Jude 3);
● 1: 12 (Jude 5);
● 2: 1 (Jude 4);
● 2: 4 (Jude 6);
● 2: 5 (Jude 5);
● 2: 6 (Jude 7);
● 2: 10-11 (Jude 8-9);
● 2: 12 (Jude 10);
● 2: 13-17 (Jude 11-13);
● 2: 18 (Jude 16);
● 3: 2f (Jude 17 f);
● 3: 3 (Jude 18);
● 3: 14 (Jude 24);
● 3: 18 (Jude 25).

Because the Epistle of Jude is much shorter than II Peter, and because of various stylistic details, the scholarly consensus is that Jude is the source for similar passages in II Peter.

II Peter: authorship and dating

Two sides of the Papyrus Bodmer VIII. This Papyrus today is the oldest source to the Second Epistle of Peter

When was II Peter written? Commentaries vary, placing the letter in almost every decade between 60 and 160.

II Peter says it is the work of “Simon Peter, a servant and apostle of the Lord Jesus Christ” (see II Peter 1: 1), and the author says he personally knew Christ (see II Peter 1: 14). However, most biblical scholars conclude Saint Peter is not the author and they regard the letter as pseudepigraphical. Their reasons include linguistic differences with I Peter, its apparent use of Jude, possible allusions to second-century gnosticism, encouragement in the wake of a delayed parousia, and weak external support.

Many scholars say the epistle was written between ca 100 and 150. On the other hand, Richard Bauckham opts for an earlier date between 80 and 90 AD. He suggests that II Peter 2: 4 is partially dependent on Jude 6 but is independently drawing on tradition that also lies behind Jude 5-7.

II Peter was not accepted into the Biblical canon without some difficulty, but doubts about the letter’s authorship were never used for definitive rejection. By the time of Jerome (c. 346-420) it had been mostly accepted as canonical.

Canon Patrick Comerford is Lecturer in Anglicanism, Liturgy and Church History, the Church of Ireland Theological Institute, and an Adjunct Assistant Professor, Trinity College, Dublin. These notes were prepared for a Bible study in a tutorial group with MTh students on 20 November 2013.