DAY 9: May 26th


John 2.1-11 <http://goo.gl/tvErX>

Generosity – ‘Six stone water-jars, each holding twenty or thirty gallons, had become wine’.

‘Wedding at Cana’, Mattia PRETI (17^th c.): http://goo.gl/v65VN

This is a visual journey, leading the eye around a chain of people through which the story of the Wedding at Cana is told. The focus is on the connections between the persons in the story: someone turns to Mary to say that the wine has run out, Mary turns to Jesus, who turns to the servants, who go to the wine steward and pour him a glass drawn from the ceremonial jug filled with water before it’s taken to the groom. The bride looks on. The other disciples and guests sitting at the table complete the chain. Jesus, curiously, is not the centre of attention in the painting. We see him almost in shadows, extending an arm, with which he seems to direct the flow of wine pouring from the vessel. The impact of the red vestment reinforces the fact that the focus is on the flow of wine. This scene records the beginning of Jesus’ life in public ministry. But in his beginning is his end: Jesus will end life with arms outstretched, from which will flow his blood for the redemption of humanity. (The dog in the picture, following an ancient tradition, represents human sinfulness.) But life made new, Resurrection life flowing out from the Church will be the mark that Jesus is actively present among us.

DAY 8: May 25th


Mark 6.31-44 <http://goo.gl/lImsZ>

Feeding – ‘Every one ate and were satisfied’.

Church of the Loaves and Fishes, Tabgha, Sea of Galilee (5^th c.): http://goo.gl/00T4d

A 4^th century pilgrim noted that ‘not far from Capernaum, facing the Sea of Galilee is a well watered land in which lush grasses grow, where Jesus fed five thousand people with five loaves of bread and two fish’. Tradition says that the mosaic of the fish and loaves was set next to a large rock where Jesus stood to bless the meal which he and his disciples fed to the multitudes. There is no way to verify this, of course, but that such a story exists says something about the tangible, experiential ways in which faith is communicated from one generation to the next. Someone thought it important to commemorate Jesus’ miraculous meal, and they did so with a rock, then an artistic mosaic, and eventually a church. Jesus fed thousands in his day, and this church feeds a faith made visible to the thousands who visit each day.

DAY 7: May 24th


Luke 24:13-32 <http://goo.gl/3DA5C>

Transforming – ‘Were not our hearts burning within us while he was talking to us on the road’.

‘The Road to Emmaus’, DUCCIO di Buoninsegna (14^th c.): http://goo.gl/n9pa7

Duccio (c. 1255 – c. 1318) draws upon the austere tradition of icon figures to depict the story of the two disciples who meet the risen Christ on the road to Emmaus.  Approaching the end of the day’s journey, they invite Jesus, dressed in pilgrim’s garb, to stay with them. While one disciple glances mournfully up at the stranger, the other gestures confidently towards the building where they will have their meal. Although full of human expectation, they are unaware of how special the unfolding situation will become. Jesus’s expression is different: thoughtful, profoundly calm, perhaps even a bit tentative: there is no sense of triumphalism here. Someone said that the city of God is not made or conquered, but reached in pilgrimage. Jesus, with hat tied around his shoulders and staff in hand, the fellow pilgrim on the road, joins the disciples, but will continue on his way, because this pilgrim is the Way. 

DAY 6: May 23rd


Luke 15:11-32<http://goo.gl/LG8yT>

Searching – ‘His father saw him and was filled with compassion; he ran and put his arms around him.’

‘The Return of the Prodigal son’, REMBRANDT van Rijn (17^th c.):http://goo.gl/nIV5Z

Letting go of a loved one is never easy, but how much harder to welcome back and embrace once again a son who has so hurt his father? Yet in his treatment of the biblical parable, Rembrandt (1606-1669) has no time for regrets or to count the cost of mending broken family relationships. His focus is directly on the unqualified embrace of the father for the runaway, long-lost son now found. Outstretched arms and hands enfold the penitent son, bringing him to himself, his left ear cupped to the father’s heart, should there be any doubt about the total abandon of this father’s pardon. All is forgiven; nothing forgotten, but everything which so transgressed an unconditional fatherly love is in this painting transformed into the makings of a new life – rags will be exchanged for a crimson robe – even while an older brother and servants look on in utter disbelief. Could God’s love for humanity be so great as to search even among those given up for dead for signs of life begging for the embrace of Life paid for with Christ’s blood?

DAY 5: May 22nd


Matthew 25.31-46 < http://goo.gl/BlAJw>

Caring – ‘Whatever you did for one of the least of these, you did for me’.

Basilica of Sant’Apollinare Nuovo, Ravenna, Italy (6^th c.): http://goo.gl/otMCy

Unknown artist (6^th century) The moment of judgement has arrived, and in this striking mosaic from Ravenna, we see the risen, glorified Christ flanked by angels, beginning the process of separating the righteous from the unrighteous “like a shepherd separating the sheep from the goats.” The gestures of the angels signal the profound seriousness of what is taking place. Jesus calmly gestures to his right, suggesting the choice which we onlookers should make. All is clear and made visible here: there is no ambiguity about what is going on, no place to hide from the truth. 

DAY 4: May 21st


Luke 10:38-41 < http://goo.gl/8qPLE>

Welcoming – ‘Martha welcomed him into her home’.

‘Christ in the House of Mary and Martha’, Jan VERMEER (17^th c.): http://goo.gl/OfKfF

Vermeer (1632-1675) creates a beautifully balanced and peaceful scene in which Mary sits thoughtfully at Jesus’ feet while Martha serves at the table. Vermeer’s use of triangle shapes and series of threes (three heads, three sets of hands) gives this work its strength and clarity. Jesus’ rebuke is gentle, shown through the gesture of one hand, and the turning of his face towards Martha. Both sisters are encompassed by his presence. Martha responds perhaps with surprise but not anger. As viewers and readers of the Gospel, we know that their friendship will be tested soon, as Jesus takes the road to Calvary. But not yet. In this composition, the three friends are knit closely together by a moment that for most of us recalls the ordinary experience of family life.

DAY 3: May 20th
Luke 1: 26-38 <http://goo.gl/DiJAE>

Receiving – ‘Here am I, …let it be with me according to your word’.

‘The Annunciation’, Fra ANGELICO (15^th c.): http://goo.gl/8wJ3Z

Fra Angelico (c.1387 or 1400? – 1455) paints a gloriously-winged angel Gabriel appearing to Mary in her colonnaded garden chamber. The angel bends and bows courteously to her, lowering himself so that he looks up to her. She returns his courtesy but her thoughtful expression shows her weighing up the enormity of his message. In the background, a small window suggests the presence of God the Father even as Mary, with arms folded over her breast, awaits the coming of his Word incarnate.

DAY 2: May 19th
Ruth 1.8-17 < http://goo.gl/YF6sQ>

Belonging – ‘Your people shall be my people, and your God my God’.

http://goo.gl/TAYjL

‘Naomi Entreating Ruth and Orpah to Return…’ (19^th c.), William BLAKE

William Blake (1757-1827) shows Naomi at the bitter end of her resources. Widowed and bereft of her sons, she shows her open hands and grief-stricken face, revealing that she has nothing to give her daughters-in-law. She has to summon all her strength to release them to their families, and expecting nothing in return. But although the bowed postures of both girls are similar, Ruth bends towards Naomi and clings to her while Orpah, equally bent in grief, strides away.  Naomi finds comfort and the promise of a new family is born.

DAY 1 - May 18^th

Genesis 18:1-8 <http://goo.gl/hJPzT>


Reverencing – ‘Abraham bowed down to the ground’. http://goo.gl/BkbPi

‘Abraham and Three Angels’, Marc CHAGALL (20^th c.)

Marc Chagall (1887-1985) uses rich, sensuous primary colours to portray Abraham and a somewhat resentful Sarah extending traditional middle-eastern hospitality to three winged strangers. We see them busy tucking into their feast. Above the ordinary activities of serving and eating, there is extraordinary heavenly power everywhere – angels lingering, other divine appointments happening or waiting to happen.  The Bible text makes it clear that one of the “strangers” is the LORD himself: Chagall sets him apart by a halo and strong yellows and blues. The powerful encounter ends with healing for Sarah and the promise, at last, of the appearance of the long-awaited son.

Nine Days of Prayer 2012: Hospitality

Friday May 18th to Saturday May 26th

Between Ascension and Pentecost

Each of the nine days will be accompanied by theological reflection on the artworks below and the theme of HOSPITALITY. Watch this space...

Day 1

Day 2

Day 3

Day 4

Day 5

Day 6

Day 7

Day 8

Day 9