Celebrating the Lancaster Martyrs

On his recent visitation to the parish, Bishop Paul Swarbrick blessed the new icon of the Lancaster Martyrs.

This icon was created by Martin Earle, commissioned by the parish and paid for by a generous benefactor. It is a unique piece of work and will serve as a setting for devotion to the martyrs and the beginning of a new martyrs walk which will link the shrine with the Castle where all these martyrs were incarcerated and condemned, and the martyrs monument on the Moor, near Williamson Park, and St Peter’s Cathedral. The Icon of the Lancaster Martyrs draws on a Medieval tradition of dyptychs and tryptych (two-part and three-part panels which would have formed the backdrop to an altar or to a shrine). Here are some examples from the National Gallery.

In writing the icon, Martin Earle drew much inspiration from some of the great Medieval altarpieces celebrating the communion of saints. As in the examples, it was customary for the saints to be set upon a floral carpet, rich patterns reflecting the glory of heaven.

In this case, the pattern beneath the holy family is made up of Lancashire roses and curlews, whose bills are intertwined. The curlew is a familiar bird of the Lancashire wetlands and moorlands. It has a high-pitched, almost haunting, cry; very appropriate for an icon speaking of martyrdom. The Lancashire rose reminds us of the crown of thorns that wreathed Jesus’s head in his passion. The harmony of these images reveal to us the radiance of the whole of creation, caught up and transfigured in the mystery of the death and resurrection of Christ: the martyrs, the whole of the cosmos, and, ourselves as we look upon this icon.

Nothing is apart from Christ as indeed the very icon signifies in its poplar wood panel and oak batons, the rabbit glue and chalk that make up the gesso base, the water, egg yolk and different pigments and minerals used in the paints, the gold leaf, and the blood and sweat and prayer involved in writing the icon itself. To see how the panel was made click here.

Beneath the feet of the martyrs the pattern is inspired by a wallpaper design from the Pugin house in Ramsgate. The Pugin family are associated with restoring the Gothic style to British design and architecture, and given that St Joseph’s church was designed by Peter Paul Pugin, it seemed entirely appropriate to include this detail too.

Looking at the martyrs, several of the priests are identified by their religious garb: Robert Middleton, a Jesuit; Ambrose Barlow, a Benedictine; and, Robert Nutter, a Dominican. Since all the martyrs died for their adherence to the Catholic faith and for their love of the sacraments which make present Christ’s abiding presence with us, each of the priests represent a different sacrament: James Bell carries a scallop shell around his neck which symbolises the Christian pilgrimage through life that begins with baptism; Thomas Thules carries a jar of Chrism oil and his red chasuble is adorned with tongues of fire; Thomas Whitaker carries a chalice representing the Eucharist and reminding us of his portable tabernacle that is preserved at Claughton-on-Brock; Thurstan Hunt is confessing his sins to Robert Middleton; Edmund Arrowsmith, who was handed over by a disgruntled couple whose marriage he was attempting to regularise, is holding the wedding rings of the sacrament of Matrimony on a cushion; Edward Thwing has his manipled arm outstretching and resting on the shoulder of Robert Nutter who clings to the Word of God in a gesture symbolising the sacrament of Ordination; and, John Woodcock likewise lays his hand upon Edward Bamber, in a comforting gesture representing the Last Rites, now known as the Sacrament of the Sick. In addition to the priests, there are three laymen who enabled the mission in Lancashire to flourish. Blessed John Finch, the farmer Richard Hayhurst, carrying a lamb, an ancient symbol of sacrifice and of course intimating the Lamb of God who takes away the sin of the world, and the extraordinary weaver from Chorley, Roger Wrenno. He holds in his hand the rope that snapped as he was being hanged. Falling to the ground, he was offered his life should he recant his faith. But he related the heavenly things that he had just seen and had no hesitation in mounting the gallows once again. This mystical experience that he enjoyed in his last moments is depicted by his upwards gaze, orientated towards Christ in glory.

Finally, at the centre, is the Holy Family. Mary the Mother of God, and St Joseph, the patron of this church. St Joseph is often depicted in religious art as an old man, but there is nothing in the Scriptures to verify this, and in designing this icon, it was felt that a younger St Joseph, a man in his vigour and a man passionate about life, a man who was faithful to his vocation to God at the cost of all his plans, is far more inspiring. Mary bears Jesus towards us, and Joseph points to Jesus, and in particular, points to the cross which is at the crux of the icon: Jesus Christ Saviour of the World. Jesus clings to the cross which is his mission, and holds his hand in blessing, his two fingers proclaiming the two natures of Christ: his divinity and his humanity. Directly above the holy family is Christ in all his glory in the celestial realms, flanked on either side by the archangels, Saint Gabriel and Saint Raphael.