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Eadfrith is not a particularly famous name in the history books | 0:00:05 | 0:00:09 | |
but more than 1,200 years ago the skill and devotion of this godly man | 0:00:09 | 0:00:13 | |
led to the creation of one of the most beautiful books in the world. | 0:00:13 | 0:00:18 | |
The Lindisfarne Gospels combine a work of art with the word of God, | 0:00:20 | 0:00:24 | |
intricate design interwoven with | 0:00:24 | 0:00:27 | |
the Latin text of Matthew, Mark, Luke and John. | 0:00:27 | 0:00:30 | |
The book is named after the tiny island on which it was created, | 0:00:30 | 0:00:34 | |
Lindisfarne, off the coast of Northumbria, | 0:00:34 | 0:00:36 | |
a place so imbued with spirituality | 0:00:36 | 0:00:39 | |
that it's become known as Holy Island. | 0:00:39 | 0:00:41 | |
These days you can still take the old pilgrims' route to the island, | 0:00:43 | 0:00:47 | |
so long as you time it right because twice a day | 0:00:47 | 0:00:51 | |
Lindisfarne is cut off from the mainland | 0:00:51 | 0:00:54 | |
by the rising tide of the North Sea. | 0:00:54 | 0:00:57 | |
This week, how one of the most magnificent copies | 0:01:00 | 0:01:03 | |
of the New Testament Gospels continues to inspire. | 0:01:03 | 0:01:06 | |
And the Durham University Chamber Choir | 0:01:06 | 0:01:09 | |
evoke the music of our medieval past in the Lindisfarne Priory ruins. | 0:01:09 | 0:01:14 | |
Well, the tide is going out | 0:01:22 | 0:01:24 | |
and I can see from my trusty timetable | 0:01:24 | 0:01:26 | |
that I've got a few hours before the sea rushes back in | 0:01:26 | 0:01:29 | |
and cuts the island off from the rest of the world again, | 0:01:29 | 0:01:33 | |
enough time to take in the atmosphere | 0:01:33 | 0:01:35 | |
and explore the place where Eadfrith worked on his masterpiece. | 0:01:35 | 0:01:39 | |
Eadfrith's book is held for the nation in the British Library. | 0:01:52 | 0:01:55 | |
But this summer you can get a glimpse of its magnificence | 0:01:55 | 0:01:58 | |
at a special exhibition in Durham University's Palace Green Library. | 0:01:58 | 0:02:03 | |
This is St Mary's Church, | 0:02:08 | 0:02:09 | |
built on the site of Lindisfarne's first monastery, | 0:02:09 | 0:02:12 | |
where Eadfrith painstakingly created | 0:02:12 | 0:02:15 | |
his offering to God in words and pictures. | 0:02:15 | 0:02:18 | |
And it is where tonight we offer our songs of praise. | 0:02:18 | 0:02:21 | |
I have an emotional reaction to all medieval manuscripts | 0:05:08 | 0:05:12 | |
that I have the good fortune to touch. | 0:05:12 | 0:05:14 | |
These were made by our predecessors, | 0:05:14 | 0:05:16 | |
they were made by humans like ourselves. | 0:05:16 | 0:05:18 | |
And as one looks at their writing, | 0:05:18 | 0:05:20 | |
at their illumination, | 0:05:20 | 0:05:21 | |
one can see something of the personality of the scribe, | 0:05:21 | 0:05:24 | |
of the people who used it. | 0:05:24 | 0:05:26 | |
What is remarkable about the Lindisfarne Gospels | 0:05:28 | 0:05:31 | |
is that it is a masterpiece of calligraphy | 0:05:31 | 0:05:34 | |
and of spirituality and art, | 0:05:34 | 0:05:37 | |
and it is the alliance of remarkable preservation of a remarkable book | 0:05:37 | 0:05:41 | |
with an amazing record of its history across the centuries | 0:05:41 | 0:05:45 | |
which we have every reason to believe that makes it unique. | 0:05:45 | 0:05:49 | |
It's all a masterpiece, | 0:05:52 | 0:05:54 | |
but at the opening to Luke's Gospel, Quoniam quidem, | 0:05:54 | 0:05:58 | |
in the margins, Eadfrith the scribe artist | 0:05:58 | 0:06:02 | |
drew a very smug-looking cat | 0:06:02 | 0:06:06 | |
and in his stomach, as it were, we see a progression of birds | 0:06:06 | 0:06:10 | |
that are based on the cormorants that teem on Holy Island, | 0:06:10 | 0:06:14 | |
and we know that monks from the Irish tradition loved their cats | 0:06:14 | 0:06:20 | |
and it shows us that they are attuned to their natural environment | 0:06:20 | 0:06:24 | |
as well as to the spirituality within it. | 0:06:24 | 0:06:27 | |
We shouldn't forget that although one man is writing, | 0:06:32 | 0:06:35 | |
the whole community is involved in the project as a whole. | 0:06:35 | 0:06:38 | |
Other people are making the parchment. | 0:06:38 | 0:06:41 | |
Other people are preparing it, procuring the inks. | 0:06:41 | 0:06:44 | |
And it is a community effort, and equally | 0:06:44 | 0:06:47 | |
everybody who prays while one scribe writes | 0:06:47 | 0:06:50 | |
is involved in the whole project. | 0:06:50 | 0:06:52 | |
We can be confident that two years | 0:06:56 | 0:06:58 | |
will be the absolute minimum it would take. | 0:06:58 | 0:07:01 | |
But given the regular interruptions owing to inclement weather, | 0:07:01 | 0:07:05 | |
waiting for supplies, the pressure of other duties, | 0:07:05 | 0:07:08 | |
probably the best part of a decade is a better estimate. | 0:07:08 | 0:07:12 | |
But we have to put this in the context of an eternal time frame, | 0:07:12 | 0:07:16 | |
we tend to think in commercial terms - | 0:07:16 | 0:07:18 | |
something has to be done by next year. | 0:07:18 | 0:07:21 | |
If you are doing this | 0:07:21 | 0:07:22 | |
for all of the saints on Lindisfarne past, present and future, | 0:07:22 | 0:07:26 | |
it doesn't matter if you finish it today or tomorrow, | 0:07:26 | 0:07:29 | |
you are doing it for eternity | 0:07:29 | 0:07:31 | |
and what matters is the quality, not the time. | 0:07:31 | 0:07:34 | |
'Holy Island is often referred to as a thin place | 0:07:40 | 0:07:43 | |
'where the veil separating Heaven and earth is lifted | 0:07:43 | 0:07:46 | |
'to reveal a glimpse of the Divine, | 0:07:46 | 0:07:48 | |
'a place where people say they sense | 0:07:48 | 0:07:50 | |
'the endless cycle of prayer and praise echoing down the centuries. | 0:07:50 | 0:07:54 | |
'It's a feeling enhanced perhaps by the words of our next hymn, | 0:07:54 | 0:07:58 | |
'which in Eadfrith's day would have been sung in Latin.' | 0:07:58 | 0:08:01 | |
-SOLO: -# O Trinity of blessed light | 0:08:06 | 0:08:15 | |
ALL: # O Unity of primal might | 0:08:15 | 0:08:23 | |
# The fiery sun now goes his way | 0:08:23 | 0:08:32 | |
# Shed thou within our hearts thy ray | 0:08:32 | 0:08:40 | |
-WOMEN: -# To thee our morning song of praise | 0:08:40 | 0:08:49 | |
# To thee our evening prayer we raise | 0:08:49 | 0:08:58 | |
-MEN: -# Thy glory, suppliant, we adore | 0:08:59 | 0:09:07 | |
# For ever and for evermore | 0:09:07 | 0:09:15 | |
ALL: # O Trinity, O Unity | 0:09:19 | 0:09:27 | |
# Thou help of man's infirmity | 0:09:27 | 0:09:35 | |
# Protect us through the hours of night | 0:09:35 | 0:09:44 | |
# Who art our everlasting light | 0:09:44 | 0:09:53 | |
# To God the Father, God the Son | 0:09:53 | 0:10:01 | |
# And God the Spirit, Three in One | 0:10:02 | 0:10:10 | |
# Let glory, praise and worship be | 0:10:11 | 0:10:18 | |
# From age to age eternally | 0:10:19 | 0:10:27 | |
# Amen. # | 0:10:28 | 0:10:32 | |
At the heart of the Lindisfarne Gospel decoration | 0:10:39 | 0:10:42 | |
is the intricacy of Celtic knots. | 0:10:42 | 0:10:44 | |
They are a particular inspiration for local artist Mary Fleeson. | 0:10:45 | 0:10:49 | |
There's a part in Ecclesiastes where it says, | 0:10:54 | 0:10:56 | |
"A strand of three cords is not easily broken." | 0:10:56 | 0:11:00 | |
And it's the weaving of those cords that makes it strong. | 0:11:00 | 0:11:05 | |
It can be symbolic of the trinity, so father, son and spirit again - | 0:11:05 | 0:11:10 | |
together they are stronger. | 0:11:10 | 0:11:13 | |
Here we are then on the same island | 0:11:17 | 0:11:19 | |
where Eadfrith created the Lindisfarne Gospels. | 0:11:19 | 0:11:22 | |
Do you feel a connection with him somehow when you're working? | 0:11:22 | 0:11:27 | |
I think Eadfrith was probably inspired by similar things to me - | 0:11:27 | 0:11:31 | |
the beauty of Holy Island, it's a gorgeous place to be. | 0:11:31 | 0:11:36 | |
The extremes on Holy Island - | 0:11:36 | 0:11:39 | |
the extreme weather that we get sometimes, | 0:11:39 | 0:11:42 | |
the sense of extreme isolation that we get when the tide's in. | 0:11:42 | 0:11:46 | |
I think that Eadfrith was a marvellous artist. | 0:11:52 | 0:11:55 | |
The attention to detail in the Lindisfarne Gospels | 0:11:55 | 0:11:58 | |
is second to none. | 0:11:58 | 0:12:00 | |
When you combine art and faith... | 0:12:03 | 0:12:06 | |
you produce something very special which blesses other people | 0:12:06 | 0:12:10 | |
and helps them to... | 0:12:10 | 0:12:12 | |
see God differently and to know God differently. | 0:12:12 | 0:12:15 | |
What is it about this place that makes it so special to you? | 0:12:17 | 0:12:21 | |
You can feel the prayers of those that have been before - | 0:12:21 | 0:12:25 | |
all the pilgrims that have visited, | 0:12:25 | 0:12:27 | |
the monks that have lived here. | 0:12:27 | 0:12:29 | |
It's almost tangible - you can almost touch it at times. | 0:12:29 | 0:12:33 | |
The first time I came onto the island, | 0:12:34 | 0:12:37 | |
we came over the causeway in a car... | 0:12:37 | 0:12:39 | |
..and I just cried. | 0:12:40 | 0:12:42 | |
Unstoppable tears. | 0:12:44 | 0:12:45 | |
And I'm not given to emotional outbursts particularly, | 0:12:45 | 0:12:49 | |
but something about the place touched me somehow. | 0:12:49 | 0:12:54 | |
I felt like I was coming home. | 0:12:54 | 0:12:56 | |
I've never felt that anywhere else. | 0:12:59 | 0:13:02 | |
FLUTE PLAYS | 0:13:02 | 0:13:04 | |
The most dramatic chapter | 0:15:04 | 0:15:05 | |
in the history of the Lindisfarne Gospels | 0:15:05 | 0:15:07 | |
came a century and a half after Eadfrith's death. | 0:15:07 | 0:15:10 | |
Viking raids forced the monks to flee their island home. | 0:15:12 | 0:15:15 | |
They took with them their most precious possessions - | 0:15:18 | 0:15:21 | |
the Lindisfarne Gospels of course, | 0:15:21 | 0:15:24 | |
but also the body of their most revered bishop - Saint Cuthbert. | 0:15:24 | 0:15:28 | |
The modern centrepiece of St Mary's Church | 0:15:30 | 0:15:33 | |
is this sculpture called The Journey. | 0:15:33 | 0:15:36 | |
And it's a dramatic representation of the moment that the monks | 0:15:36 | 0:15:39 | |
and the Gospels left Lindisfarne. | 0:15:39 | 0:15:42 | |
It's really quite powerful and sombre in this setting, | 0:15:42 | 0:15:45 | |
and you can't help but feel sympathy for these men | 0:15:45 | 0:15:47 | |
as they left the island for the last time. | 0:15:47 | 0:15:50 | |
I could see this epic story, | 0:15:55 | 0:15:57 | |
so how could I express this journey? | 0:15:57 | 0:16:00 | |
Durham-born Fenwick Lawson has been an artist | 0:16:01 | 0:16:03 | |
and sculptor for over 60 years. | 0:16:03 | 0:16:05 | |
His acclaimed sculpture, The Journey, | 0:16:05 | 0:16:08 | |
was carved from seven elm trees. | 0:16:08 | 0:16:09 | |
There was something very interesting happening | 0:16:12 | 0:16:15 | |
while I was actually doing this. | 0:16:15 | 0:16:17 | |
Layers of meaning | 0:16:17 | 0:16:18 | |
that I wasn't actually, | 0:16:18 | 0:16:20 | |
in a sense, expecting, | 0:16:20 | 0:16:23 | |
or I didn't preconceive, you know? | 0:16:23 | 0:16:25 | |
It was like happening after the event. | 0:16:25 | 0:16:28 | |
And in one sense it was becoming larger than just... | 0:16:28 | 0:16:33 | |
than just six months carrying Cuthbert's body. | 0:16:33 | 0:16:36 | |
I'm from a mining community. | 0:16:39 | 0:16:41 | |
My father always said he depended for his life down the pit | 0:16:41 | 0:16:46 | |
on his marras, on his other workmen. | 0:16:46 | 0:16:50 | |
They all had a responsibility for safety, | 0:16:50 | 0:16:53 | |
their lives depended on it, | 0:16:53 | 0:16:56 | |
and it formed a bond | 0:16:56 | 0:16:57 | |
which is very strong and very meaningful. | 0:16:57 | 0:17:01 | |
These could equally be six miners carrying their brother. | 0:17:03 | 0:17:06 | |
And the monks were carrying their brother. | 0:17:09 | 0:17:13 | |
Fenwick's life work, which includes Saint Cuthbert at Lindisfarne Priory | 0:17:16 | 0:17:21 | |
and the Pieta in Durham Cathedral, | 0:17:21 | 0:17:23 | |
has developed into an exploration of our humanity. | 0:17:23 | 0:17:26 | |
I wanted to get past, | 0:17:29 | 0:17:31 | |
you need to be religious to engage with a religious image. | 0:17:31 | 0:17:35 | |
If you're not, you tend to put up a barrier. | 0:17:35 | 0:17:37 | |
But I find that that barrier is totally unnecessary. | 0:17:37 | 0:17:41 | |
For instance, Christ condemned | 0:17:41 | 0:17:44 | |
is every man condemned. | 0:17:44 | 0:17:48 | |
He's a prisoner of conscience, he's a political prisoner. | 0:17:48 | 0:17:52 | |
I hear stories that the Pieta moves people, you know? | 0:17:52 | 0:17:57 | |
And when that was challenged by some of my colleagues | 0:17:57 | 0:18:01 | |
as being just religious... | 0:18:01 | 0:18:03 | |
HE SCOFFS | 0:18:03 | 0:18:04 | |
it's...it's... it's a mother with a dead son. | 0:18:04 | 0:18:08 | |
We must become more than we are, | 0:18:11 | 0:18:14 | |
we need to grow into humanity, | 0:18:14 | 0:18:17 | |
and that's the message, | 0:18:17 | 0:18:19 | |
and I think it's an important one. | 0:18:19 | 0:18:21 | |
I think it's a primary message to be stated. | 0:18:21 | 0:18:25 | |
And I'm using my voice as a sculptor | 0:18:25 | 0:18:28 | |
to try and give voice to this. | 0:18:28 | 0:18:31 | |
The monks of Lindisfarne | 0:20:10 | 0:20:11 | |
travelled all over the north of England | 0:20:11 | 0:20:13 | |
before settling in the newly-built Durham Cathedral. | 0:20:13 | 0:20:16 | |
Saint Cuthbert's resting place | 0:20:16 | 0:20:18 | |
has been a sight of pilgrimage ever since. | 0:20:18 | 0:20:20 | |
But it was not the end of the journey for the Gospels, | 0:20:22 | 0:20:24 | |
and this year marks a rare return to the Northeast | 0:20:24 | 0:20:27 | |
for this jewel of our medieval heritage. | 0:20:27 | 0:20:29 | |
To mark the occasion, a Lindisfarne Gospels community choir | 0:20:32 | 0:20:36 | |
has been formed and Martin Ward and his family volunteered to take part. | 0:20:36 | 0:20:40 | |
-ALL: -# Glory... # | 0:20:40 | 0:20:42 | |
MARTIN WARD: 'The music that we have to sing, | 0:20:42 | 0:20:44 | |
'there are some really beautiful pieces. | 0:20:44 | 0:20:46 | |
'It just becomes an act of worship when you're singing.' | 0:20:48 | 0:20:50 | |
Not bad, lovely. | 0:20:50 | 0:20:52 | |
You feel that you're part of a body | 0:20:52 | 0:20:55 | |
because you're singing with all these other people | 0:20:55 | 0:20:57 | |
and all your voices are joining together | 0:20:57 | 0:20:59 | |
to produce something that's far better than any one person's voice | 0:20:59 | 0:21:03 | |
on its own can produce. | 0:21:03 | 0:21:05 | |
-ALL: -# Hosanna hosanna... # | 0:21:05 | 0:21:08 | |
'Singing shouldn't be left to just that | 0:21:08 | 0:21:11 | |
'tiny percentage of the population who can sing fantastically well, | 0:21:11 | 0:21:14 | |
'it's actually something everybody can do.' | 0:21:14 | 0:21:16 | |
-ALL: -# Glory be to God. # | 0:21:16 | 0:21:21 | |
'One thing I like about this choir is that there's no competition' | 0:21:21 | 0:21:24 | |
involved, there's no auditions, | 0:21:24 | 0:21:28 | |
that anybody is welcome to join it and be part of it. | 0:21:28 | 0:21:31 | |
-One, two, three... -ALL: -# Hosanna... -# | 0:21:31 | 0:21:34 | |
'In our society there's a huge emphasis on competition, | 0:21:34 | 0:21:39 | |
'and the thing with competition is that if you and I are competing | 0:21:39 | 0:21:42 | |
'then if I win,' | 0:21:42 | 0:21:43 | |
you lose, | 0:21:43 | 0:21:45 | |
if you win, I lose. | 0:21:45 | 0:21:47 | |
But if you and I are cooperating on something, then if you win, I win, | 0:21:47 | 0:21:50 | |
and the choir is very much about cooperation, about working together. | 0:21:50 | 0:21:55 | |
# Hosanna, glory to... # | 0:21:55 | 0:22:00 | |
'The Lindisfarne Gospels were produced | 0:22:00 | 0:22:02 | |
'not as a result of any competition,' | 0:22:02 | 0:22:05 | |
they didn't have a... | 0:22:05 | 0:22:06 | |
The way we do it nowadays, we'd say, | 0:22:06 | 0:22:08 | |
"Oh, it would be good to have some Gospels that are really beautiful, | 0:22:08 | 0:22:12 | |
"so let's hold a Lindisfarne Gospels competition. | 0:22:12 | 0:22:15 | |
"And let's get a load of Gospel writers to compete | 0:22:15 | 0:22:17 | |
"and then we'll judge them. | 0:22:17 | 0:22:19 | |
"And one of them we'll pick out and that will be the winner | 0:22:19 | 0:22:22 | |
"and all the others will be the losers." | 0:22:22 | 0:22:24 | |
But that's not what happened | 0:22:24 | 0:22:25 | |
because the person who wrote the Gospels just wanted to produce | 0:22:25 | 0:22:29 | |
the best that he could because the Gospel message was so important | 0:22:29 | 0:22:33 | |
and so wonderful and fantastic. | 0:22:33 | 0:22:37 | |
ORCHESTRA PLAYS | 0:22:38 | 0:22:42 | |
Well, that was a brand-new tune | 0:25:17 | 0:25:19 | |
written especially for this programme. | 0:25:19 | 0:25:21 | |
Every generation leaves its own mark | 0:25:23 | 0:25:25 | |
and that's also true for the Lindisfarne Gospels. | 0:25:25 | 0:25:27 | |
As we can see from this reproduction, | 0:25:29 | 0:25:31 | |
although Latin was the language in which they were created, | 0:25:31 | 0:25:34 | |
a couple of centuries after Eadfrith, | 0:25:34 | 0:25:37 | |
a translation was added by another monk called Aldred, | 0:25:37 | 0:25:40 | |
making this the first version of the Gospels in English. | 0:25:40 | 0:25:44 | |
Sandy Duff and his crew are artists working in a medium | 0:25:46 | 0:25:49 | |
usually reserved for secular rather than sacred works. | 0:25:49 | 0:25:52 | |
Having established the largest legal graffiti wall in England | 0:25:55 | 0:25:59 | |
at the Sage in Gateshead, Sandy's come up with the idea | 0:25:59 | 0:26:02 | |
of an up-to-date version of the Lindisfarne Gospels with spray cans. | 0:26:02 | 0:26:06 | |
When we started researching | 0:26:08 | 0:26:09 | |
the Gospels project, | 0:26:09 | 0:26:11 | |
I was really struck by the parallels between the graffiti writers | 0:26:11 | 0:26:14 | |
that I was used to working with | 0:26:14 | 0:26:16 | |
and actually the programmes of work that these monks undertook. | 0:26:16 | 0:26:20 | |
What they could see in their mind there wasn't the materials to create, | 0:26:20 | 0:26:23 | |
so they actually had to go out | 0:26:23 | 0:26:25 | |
and create the tools to project what was in their heads. | 0:26:25 | 0:26:28 | |
Another interesting parallel between the Gospels | 0:26:32 | 0:26:34 | |
and the contemporary graffiti work is the fact that | 0:26:34 | 0:26:37 | |
when a graffiti writer finishes his piece, | 0:26:37 | 0:26:39 | |
the last thing he will do is to sign it off | 0:26:39 | 0:26:41 | |
and he will tag somewhere in the piece with his own name. | 0:26:41 | 0:26:44 | |
But not only that, they do what's called a shout out, | 0:26:44 | 0:26:47 | |
so you'll get a number of different names that go around the piece | 0:26:47 | 0:26:50 | |
which are references and thanks to various different crews, | 0:26:50 | 0:26:53 | |
possibly artists that have inspired them. | 0:26:53 | 0:26:55 | |
And the Gospels themselves actually mirror this in the last pages - | 0:26:55 | 0:26:58 | |
not only is the work signed off | 0:26:58 | 0:27:00 | |
but there's acknowledgements to the various people | 0:27:00 | 0:27:02 | |
that have supported and helped it. | 0:27:02 | 0:27:04 | |
I really wanted to do something that was not only a one-off | 0:27:07 | 0:27:09 | |
sort of exhibition or art show, but really it brought young people | 0:27:09 | 0:27:14 | |
and other members from the community and engaged them, got them involved, | 0:27:14 | 0:27:17 | |
got them thinking about what the history was behind the Gospels, | 0:27:17 | 0:27:21 | |
what the faith aspects were behind the Gospels, | 0:27:21 | 0:27:24 | |
and what the creative angles were in the Gospels. | 0:27:24 | 0:27:27 | |
I think the interesting thing about having skills | 0:27:30 | 0:27:35 | |
is to remember that these are gifts. | 0:27:35 | 0:27:36 | |
And, actually, my feeling is that, you know, praise | 0:27:36 | 0:27:39 | |
and worship can come in the use of the gift that you have | 0:27:39 | 0:27:42 | |
and actually by sharing those gifts, | 0:27:42 | 0:27:44 | |
not just in producing your own work, | 0:27:44 | 0:27:46 | |
but actually working alongside others - | 0:27:46 | 0:27:48 | |
and in my case working alongside young people - | 0:27:48 | 0:27:50 | |
and sharing those skills | 0:27:50 | 0:27:52 | |
and sharing those gifts is as valid a form of worship as any. | 0:27:52 | 0:27:56 | |
CHOIR SINGS IN LATIN | 0:28:02 | 0:28:03 | |
-MEN: -# Christus | 0:28:03 | 0:28:07 | |
# Est Stella Matutina | 0:28:08 | 0:28:16 | |
ALL: # Christus | 0:28:17 | 0:28:21 | |
ALL: # Est Stella Matutina | 0:28:21 | 0:28:31 | |
# Christus | 0:28:32 | 0:28:40 | |
WOMEN: # Qui nocte saecum | 0:28:44 | 0:28:53 | |
# Transacta lucem vitae | 0:28:54 | 0:29:04 | |
ALL: # Sanctis promitit | 0:29:06 | 0:29:18 | |
# Et pandit | 0:29:18 | 0:29:28 | |
# Aeternum | 0:29:28 | 0:29:45 | |
# Aeternum. # | 0:29:47 | 0:30:06 | |
Holy God, you inspired Eadfrith | 0:30:09 | 0:30:12 | |
to glorify your name | 0:30:12 | 0:30:15 | |
and proclaim the holiness of Cuthbert | 0:30:15 | 0:30:17 | |
in the creation of these marvellous Gospels. | 0:30:17 | 0:30:21 | |
Fill our hearts with your spirit | 0:30:21 | 0:30:24 | |
and change us from glory to glory. | 0:30:24 | 0:30:28 | |
May the holy three, the father, son and spirit, | 0:30:28 | 0:30:33 | |
who call us into life and summon us to holiness, | 0:30:33 | 0:30:38 | |
encircle us in love | 0:30:38 | 0:30:41 | |
and hold us in blessing. | 0:30:41 | 0:30:43 | |
-ALL: -Amen. | 0:30:43 | 0:30:45 | |
ORCHESTRA PLAYS | 0:30:46 | 0:30:49 | |
Well, Lindisfarne really does deserve the name Holy, | 0:33:15 | 0:33:18 | |
but although it's a place almost as timeless as the story told | 0:33:18 | 0:33:21 | |
by the Gospel itself, | 0:33:21 | 0:33:22 | |
I better be off because as they say, | 0:33:22 | 0:33:25 | |
"Time and tide wait for no man." | 0:33:25 | 0:33:27 | |
Next week, a musical celebration led by the Ulster Orchestra | 0:33:29 | 0:33:32 | |
from the Waterfront Hall in Belfast | 0:33:32 | 0:33:35 | |
as Eamonn introduces hymns old and new | 0:33:35 | 0:33:37 | |
written by people from across Ireland. | 0:33:37 | 0:33:39 | |
Plus special guest Anuna, | 0:33:39 | 0:33:42 | |
Robin Mark and The Celtic Tenors. | 0:33:42 | 0:33:44 | |
Subtitles for the deaf and hard-of-hearing by Red Bee Media Ltd | 0:34:02 | 0:34:05 |