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In 1850, a full-scale riot broke out | 0:00:02 | 0:00:06 | |
during a service here at St Barnabas in Pimlico. | 0:00:06 | 0:00:10 | |
A huge mob had gathered outside. | 0:00:10 | 0:00:13 | |
100 policemen had to be drafted in to control them | 0:00:13 | 0:00:17 | |
and members of the congregation were commissioned as special constables | 0:00:17 | 0:00:21 | |
in order to line up here against the screen | 0:00:21 | 0:00:24 | |
and protect the choir. | 0:00:24 | 0:00:27 | |
What had inflamed the mob was what they saw as Catholic practices taking place. | 0:00:27 | 0:00:33 | |
And they weren't alone. Queen Victoria herself | 0:00:33 | 0:00:37 | |
said that they should put a stop to these ritualistic practices. | 0:00:37 | 0:00:41 | |
'The Victorian period saw a boom in church building. | 0:00:44 | 0:00:49 | |
'But, surprisingly for the industrial age, | 0:00:49 | 0:00:52 | |
'many in the church turned for inspiration to the mystery | 0:00:52 | 0:00:55 | |
'and symbolism of Britain's medieval past. | 0:00:55 | 0:00:58 | |
'I'm Richard Taylor. I write books that unravel the meaning of Britain's churches. | 0:01:00 | 0:01:05 | |
'I'll be reading the religious architecture of the last 150 years | 0:01:05 | 0:01:10 | |
'to discover how religious turmoil, two world wars and modern culture | 0:01:10 | 0:01:17 | |
'have all shaped Britain's churches. | 0:01:17 | 0:01:20 | |
'And also to find out what value the ancient images of Christianity, | 0:01:20 | 0:01:25 | |
'reinvented so many times, may still have in the present day.' | 0:01:25 | 0:01:30 | |
'This church, St Barnabas, where the riots took place, | 0:01:46 | 0:01:49 | |
'was the very first to be built by a radical new movement | 0:01:49 | 0:01:54 | |
'that would change the look of churches across England.' | 0:01:54 | 0:01:57 | |
The spark for the revolution that swept through English church buildings was a sermon, | 0:02:03 | 0:02:10 | |
preached in 1833 by an Oxford theologian called John Keble. | 0:02:10 | 0:02:15 | |
Keble reminded his congregation | 0:02:15 | 0:02:18 | |
that when the people of Israel had turned their backs on the Lord their God, | 0:02:18 | 0:02:22 | |
God had punished them, | 0:02:22 | 0:02:24 | |
and he predicted a similar fate for England if England did not mend its ways. | 0:02:24 | 0:02:29 | |
'By the 19th century, the Church of England had become almost an arm of the state. | 0:02:31 | 0:02:37 | |
'Inside Britain's churches, where once there had been saints, | 0:02:37 | 0:02:41 | |
'there were now symbols of worldly status. | 0:02:41 | 0:02:44 | |
'Even the great rood had had to make way for the royal coat of arms. | 0:02:44 | 0:02:50 | |
'Keble's sermon tapped into a growing belief | 0:02:50 | 0:02:53 | |
'that the established church had lost something special. | 0:02:53 | 0:02:56 | |
'Its sacred mystery. | 0:02:56 | 0:02:59 | |
'The new thinking he inspired became known as the Oxford Movement.' | 0:02:59 | 0:03:03 | |
In their zeal to return Britain to godly ways, | 0:03:05 | 0:03:08 | |
the Oxford Movement yearned for the Christian world order of the Middle Ages. | 0:03:08 | 0:03:13 | |
Then, so it seemed to them, the nation was united | 0:03:13 | 0:03:17 | |
in its perfect love of God. | 0:03:17 | 0:03:20 | |
So what could be more natural than to adopt the architecture and style of the Middle Ages, too? | 0:03:20 | 0:03:26 | |
This was seen as being the perfect vehicle for Christian worship | 0:03:26 | 0:03:30 | |
and it came to have an impact on almost every church in the country. | 0:03:30 | 0:03:35 | |
'The Gothic architecture of the Middle Ages, | 0:03:37 | 0:03:39 | |
'laden with meaning and symbolism, | 0:03:39 | 0:03:42 | |
'was lovingly recreated and, once again, | 0:03:42 | 0:03:46 | |
'the structure itself conveyed a message. | 0:03:46 | 0:03:49 | |
The church is designed not just to be a building. | 0:03:49 | 0:03:52 | |
It's a standing sermon. It's meant to inspire people | 0:03:52 | 0:03:56 | |
and teach people, so every element in it | 0:03:56 | 0:03:59 | |
has some moral message. | 0:03:59 | 0:04:02 | |
The roof doesn't just keep the rain off, | 0:04:02 | 0:04:04 | |
it's there as a symbol of faithfulness and protection. | 0:04:04 | 0:04:08 | |
The pillars aren't there to keep the roof up, | 0:04:08 | 0:04:10 | |
they're symbols of the teachers of the church, of the bishops. | 0:04:10 | 0:04:15 | |
'And it wasn't only the architecture of the Middle Ages | 0:04:15 | 0:04:18 | |
'that swept back into churches, but also its rituals. | 0:04:18 | 0:04:22 | |
'The Oxford Movement reinstated the mass, | 0:04:22 | 0:04:26 | |
'reviving the Catholic belief in the real presence of Christ in the bread and wine. | 0:04:26 | 0:04:31 | |
'In the 17th century, Protestants had replaced the altar | 0:04:31 | 0:04:36 | |
'with a Communion table, set amongst the congregation.' | 0:04:36 | 0:04:40 | |
Now, the altar is in pride of place and behind a screen. | 0:04:40 | 0:04:46 | |
This was outrageous, | 0:04:46 | 0:04:49 | |
separating off what was going on up there in the Eucharist from the people down here. | 0:04:49 | 0:04:54 | |
'And in keeping with the altar's renewed status, | 0:04:56 | 0:04:58 | |
'the decoration around it is equally sumptuous.' | 0:04:58 | 0:05:02 | |
Everything is covered. There are saints, | 0:05:04 | 0:05:08 | |
there's grapes, there's flowers. | 0:05:08 | 0:05:11 | |
Everything that can be covered with decoration is covered with decoration. | 0:05:11 | 0:05:17 | |
For hundreds of years, the English had associated their faith with a simplicity. | 0:05:17 | 0:05:24 | |
It had been defined against the extravagance of Rome, | 0:05:24 | 0:05:29 | |
against the extravagance of those continentals that we were endlessly fighting wars with. | 0:05:29 | 0:05:35 | |
So to find that fervour, that decoration back here | 0:05:35 | 0:05:41 | |
was outrageous! | 0:05:41 | 0:05:42 | |
It was an affront to Englishness | 0:05:42 | 0:05:46 | |
and it was an affront to God himself. | 0:05:46 | 0:05:49 | |
'I've come to meet Father Jones, | 0:05:55 | 0:05:57 | |
'a priest in the tradition of the Oxford Movement, | 0:05:57 | 0:06:00 | |
'to understand why passions ran so high.' | 0:06:00 | 0:06:04 | |
People in the Oxford Movement, what was driving them? | 0:06:05 | 0:06:09 | |
A belief that the Church of England was a Catholic church, | 0:06:09 | 0:06:12 | |
and the Catholic church of this land, | 0:06:12 | 0:06:15 | |
and a desire to proclaim that and teach it to people | 0:06:15 | 0:06:19 | |
and to teach it to everybody. A deep knowledge that the nature of religion | 0:06:19 | 0:06:24 | |
was not something connected to the state, | 0:06:24 | 0:06:27 | |
but the gospel that had come from God, | 0:06:27 | 0:06:29 | |
the Church not as a department of civil service, | 0:06:29 | 0:06:33 | |
but actually God's instrument for salvation, hope and eventually glory. | 0:06:33 | 0:06:37 | |
Why did people react against it in the way that they did? | 0:06:37 | 0:06:42 | |
I think the criticisms exist at two levels. | 0:06:42 | 0:06:44 | |
One, that it was simply making the Church of England like the Roman Catholic church, | 0:06:44 | 0:06:49 | |
and secondly, that this was a form of mummery and dressing-up. | 0:06:49 | 0:06:54 | |
Was is divisive, then? To some degree, it must have been divisive. | 0:06:54 | 0:06:57 | |
It was divisive. Many clergy were dragged through the courts. | 0:06:57 | 0:07:01 | |
A number of them went to prison, in one case for nine months, | 0:07:01 | 0:07:04 | |
for wearing the vestments that are worn in a huge majority of Anglican churches today. | 0:07:04 | 0:07:09 | |
-Do you think the movement was misunderstood? -I think it was misunderstood, | 0:07:09 | 0:07:14 | |
particularly in its early period. I think it was seen as attempting to undo the Reformation, | 0:07:14 | 0:07:20 | |
whereas I think, perhaps, Anglo-Catholics felt themselves, and I'm sure they were, | 0:07:20 | 0:07:25 | |
restoring the Church of England to her right mind. | 0:07:25 | 0:07:28 | |
'Despite strenuous resistance, Anglo-Catholic churches spread across Britain. | 0:07:31 | 0:07:36 | |
'The movement seemed unstoppable. | 0:07:36 | 0:07:39 | |
'In fact, half of England's parish churches surviving today | 0:07:39 | 0:07:44 | |
'were built in the 19th century, many on these Catholic principles. | 0:07:44 | 0:07:49 | |
'As a result, a whole industry sprang up of church furnishers and decorators. | 0:07:49 | 0:07:55 | |
'Best known was Morris and Company, | 0:07:55 | 0:07:58 | |
'founded by William Morris, who provided stained glass for many of these buildings. | 0:07:58 | 0:08:03 | |
'I've come to what has been described as the country's most complete Victorian church. | 0:08:10 | 0:08:16 | |
'And it, indeed, represents the pinnacle of the Medieval revival.' | 0:08:16 | 0:08:21 | |
Good heavens! All this technicolour. | 0:08:21 | 0:08:25 | |
But what immediately hits you in the face...is that. | 0:08:25 | 0:08:31 | |
This is the age of the Penny Post and the railway. | 0:08:39 | 0:08:42 | |
This church was built in the same decade that Darwin's Origin Of Species was published, | 0:08:42 | 0:08:49 | |
and here you have a doom painting, an image of the last judgement, | 0:08:49 | 0:08:54 | |
just like you would've seen in the Middle Ages. | 0:08:54 | 0:08:58 | |
It shows you how Victorians were regarding the Middle Ages as the perfect Christian era | 0:08:58 | 0:09:05 | |
and wanting to take on board | 0:09:05 | 0:09:07 | |
those aspects of medieval Christianity | 0:09:07 | 0:09:11 | |
that they saw as most fruitful. | 0:09:11 | 0:09:13 | |
'There's no question that the Victorians were sincere in trying to recapture | 0:09:33 | 0:09:38 | |
'the faith of the Middle Ages. | 0:09:38 | 0:09:40 | |
'But I'm left wondering, just how successful were they?' | 0:09:40 | 0:09:45 | |
When I was visiting the medieval churches, one of the joys of them | 0:09:45 | 0:09:49 | |
was the sense that people were taking a part of themselves | 0:09:49 | 0:09:53 | |
and putting it into these buildings. | 0:09:53 | 0:09:55 | |
And the Victorians were doing the same. | 0:09:55 | 0:09:58 | |
They were taking part of themselves in their churches. | 0:09:58 | 0:10:01 | |
But they were doing it wearing someone else's clothes. | 0:10:01 | 0:10:05 | |
They were trying to recreate an ideal of the Middle Ages. | 0:10:05 | 0:10:10 | |
And there's a problem with that. | 0:10:10 | 0:10:12 | |
The second time around, it's just that bit more self-conscious, | 0:10:12 | 0:10:17 | |
and that creates a distance. | 0:10:17 | 0:10:20 | |
The Victorian style isn't for everybody now, | 0:10:20 | 0:10:25 | |
and it wasn't even then. | 0:10:25 | 0:10:27 | |
'Hundreds of new churches were built, | 0:10:31 | 0:10:34 | |
but increasingly, this style was imposed on ancient churches, too. | 0:10:34 | 0:10:39 | |
'William Morris, who had poured his energies into the Gothic revival, | 0:10:40 | 0:10:44 | |
'was beginning to realise that, in the rush to restore old churches, | 0:10:44 | 0:10:50 | |
'something very precious was being lost.' | 0:10:50 | 0:10:53 | |
I'm going to Inglesham, to a church near to where William Morris lived and which he loved. | 0:10:53 | 0:10:58 | |
I want to understand why, what it is about this place | 0:10:58 | 0:11:02 | |
that made him want to save it from restoration. | 0:11:02 | 0:11:06 | |
Ooh! | 0:11:12 | 0:11:14 | |
The glory of this place | 0:11:17 | 0:11:20 | |
is the layers upon layers upon layers of history that you can see around you. | 0:11:20 | 0:11:25 | |
All over the walls here in the Middle Ages you see the paintings, | 0:11:25 | 0:11:30 | |
the biblical stories that they would've put up. | 0:11:30 | 0:11:32 | |
Leaves, branches, the little twist of an ankle there. | 0:11:32 | 0:11:37 | |
Then next, you've got the Reformation, | 0:11:37 | 0:11:40 | |
the words, scripture in English, the Lord's Prayer, the Creed. | 0:11:40 | 0:11:44 | |
You've got, in the 18th century, these box pews. | 0:11:44 | 0:11:48 | |
And all of it is so simple. | 0:11:48 | 0:11:51 | |
Morris's genius was to recognise that, in an ancient church like this, | 0:11:51 | 0:11:57 | |
those layers upon layers of generation, of people giving of themselves into the church, | 0:11:57 | 0:12:03 | |
is here to be valued and here to be preserved. | 0:12:03 | 0:12:07 | |
This place, more than almost anywhere I've visited, | 0:12:07 | 0:12:11 | |
is radiant with history. | 0:12:11 | 0:12:14 | |
'And it was that history Morris feared could be lost forever | 0:12:20 | 0:12:24 | |
'as mass-produced materials were being used to restore England's medieval churches. | 0:12:24 | 0:12:31 | |
'His feelings came to a head in a famous encounter | 0:12:32 | 0:12:35 | |
'here at another St John the Baptist church, | 0:12:35 | 0:12:38 | |
'which was being restored by the Anglo-Catholic vicar, | 0:12:38 | 0:12:42 | |
'the Reverend William Cass.' | 0:12:42 | 0:12:44 | |
Morris came to the church to see what was going on | 0:12:45 | 0:12:49 | |
and Cass came over and started showing all the work that was being done, very proudly, | 0:12:49 | 0:12:55 | |
but he didn't get a very pleasant response. | 0:12:55 | 0:12:58 | |
Morris was silent, | 0:12:58 | 0:13:00 | |
and as Cass showed the flooring and what had been done to the walls, | 0:13:00 | 0:13:08 | |
Morris was quiet, until all of a sudden he exploded. | 0:13:08 | 0:13:12 | |
"You've torn up the lovely local flag and you've put down this Birmingham tiling!" | 0:13:12 | 0:13:18 | |
"Oh, dear, you're in the process of spoiling the church." | 0:13:18 | 0:13:22 | |
And Cass was very upset. | 0:13:22 | 0:13:25 | |
And the two men had a set to | 0:13:25 | 0:13:27 | |
and it ended with Cass saying to Morris, | 0:13:27 | 0:13:30 | |
"The church, sir, is mine, and if I wish, I will stand on my head in it!" | 0:13:30 | 0:13:36 | |
What had Cass done that Morris found so objectionable? | 0:13:36 | 0:13:39 | |
I think it was the industrialised 19th century | 0:13:39 | 0:13:43 | |
pressing in on what had been a medieval church. | 0:13:43 | 0:13:47 | |
'Cass thought that by using modern copies of medieval materials, | 0:13:49 | 0:13:54 | |
'and by scraping away the plaster to reveal the stone, | 0:13:54 | 0:13:58 | |
'he was recreating an authentic church of the Middle Ages. | 0:13:58 | 0:14:02 | |
'Morris was appalled.' | 0:14:02 | 0:14:04 | |
-What did Morris go on to do? -Morris went away and wrote a letter | 0:14:06 | 0:14:10 | |
attacking the scraping of walls. | 0:14:10 | 0:14:13 | |
And he founded the Society for the Protection of Ancient Buildings. | 0:14:13 | 0:14:18 | |
-So it's for the protection of buildings, as if they're holding back the vandals. -Oh, yes, yes. | 0:14:18 | 0:14:23 | |
They saw much of the restoration as sheer vandalism. | 0:14:23 | 0:14:26 | |
'As the 19th century gave way to the 20th, | 0:14:31 | 0:14:35 | |
'the medieval revival pioneered by the Oxford Movement | 0:14:35 | 0:14:38 | |
'had become the dominant architectural style in England. | 0:14:38 | 0:14:41 | |
'In fact, it had become so universal | 0:14:44 | 0:14:47 | |
'that it was even adopted by some of its most ardent opponents.' | 0:14:47 | 0:14:51 | |
This looks at first glance like a medieval church. | 0:14:54 | 0:14:58 | |
But it was built just before the First World War. And what does it have? | 0:14:58 | 0:15:02 | |
Gargoyles, green men, higher altar, | 0:15:02 | 0:15:06 | |
all of the accoutrements of a medieval church. | 0:15:06 | 0:15:10 | |
And it's not even in the Church of England. | 0:15:10 | 0:15:13 | |
The Presbyterians, who for centuries had almost defined themselves | 0:15:13 | 0:15:18 | |
against the Catholic Middle Ages, | 0:15:18 | 0:15:21 | |
were now building churches | 0:15:21 | 0:15:23 | |
that absorbed this fashion for medieval romanticism. | 0:15:23 | 0:15:30 | |
'Within a heartbeat of this church being completed, | 0:15:33 | 0:15:37 | |
'such romanticism looked hopelessly fanciful. | 0:15:37 | 0:15:40 | |
'The world descended into a war that would bring carnage | 0:15:40 | 0:15:44 | |
'on an unimaginable scale. | 0:15:44 | 0:15:47 | |
'Many of our churchyards bear witness to that terrible loss, | 0:15:52 | 0:15:57 | |
'with the greatest collective act of remembrance that this country has ever seen. | 0:15:57 | 0:16:02 | |
'Memorials to the dead of the First World War.' | 0:16:02 | 0:16:06 | |
Here, the inscription is, | 0:16:13 | 0:16:15 | |
"To the glorious memory of the men of Broughton Poggs" | 0:16:15 | 0:16:19 | |
and there's name after name, all in this tiny village. | 0:16:19 | 0:16:25 | |
You sometimes find in churches these. | 0:16:36 | 0:16:40 | |
The wooden crosses that were erected on the battlefields themselves during the war. | 0:16:40 | 0:16:46 | |
This one memorialises Captain Hardcastle, | 0:16:47 | 0:16:52 | |
all of those lieutenants | 0:16:52 | 0:16:54 | |
and, dear God, | 0:16:54 | 0:16:58 | |
78 NCOs and men, some of whom are buried near this spot. | 0:16:58 | 0:17:04 | |
They don't even know where they were killed. | 0:17:04 | 0:17:06 | |
That this was placed at the time | 0:17:06 | 0:17:09 | |
by the companions of the men who fell, | 0:17:09 | 0:17:14 | |
and was then later brought back by those who loved them | 0:17:14 | 0:17:17 | |
to bring it here to an English parish church | 0:17:17 | 0:17:21 | |
is itself, I think, a very moving act. | 0:17:21 | 0:17:26 | |
An act of true remembrance. | 0:17:26 | 0:17:28 | |
It was as a result of what happened in the Great War, | 0:17:29 | 0:17:34 | |
this terrible loss of life, that there was a change in the church. | 0:17:34 | 0:17:39 | |
A change to something that hadn't been seen in hundreds of years, | 0:17:39 | 0:17:43 | |
and that was prayers for the dead. | 0:17:43 | 0:17:46 | |
Praying for the dead had been a common feature of the Middle Ages, but the Reformation threw it out. | 0:17:46 | 0:17:51 | |
But now, in the face of this appalling tragedy, | 0:17:51 | 0:17:56 | |
people wanted once again to pray for the people that they had lost. | 0:17:56 | 0:18:01 | |
They wanted once again to have that communion with the departed. | 0:18:01 | 0:18:05 | |
'Just as our medieval ancestors had built Chantry Chapels in which to pray for the souls of the departed, | 0:18:11 | 0:18:17 | |
'now a new type of chapel was built for a similar purpose. | 0:18:17 | 0:18:22 | |
'To commemorate those killed in war.' | 0:18:22 | 0:18:25 | |
In many churches, a separate space was created | 0:18:34 | 0:18:38 | |
in remembrance of those who had died in the wars. | 0:18:38 | 0:18:42 | |
Here it's fenced off in a corner of the church | 0:18:44 | 0:18:48 | |
with its own dedicated altar | 0:18:48 | 0:18:51 | |
and these words. | 0:18:51 | 0:18:53 | |
Often in these places of remembrance, you have specific military references. | 0:19:01 | 0:19:07 | |
Here, on either side of the altar, there is an angel and a soldier. | 0:19:07 | 0:19:12 | |
On one side, the soldier is kneeling before the angel, who's crowning him, | 0:19:12 | 0:19:17 | |
and on the other side, the soldier is standing for a kneeling angel | 0:19:17 | 0:19:22 | |
who's handing him his sword, and he's guarding himself with his shield. | 0:19:22 | 0:19:26 | |
And in the centre, there's an image of the crucifixion, | 0:19:26 | 0:19:31 | |
of Christ's suffering and death, | 0:19:31 | 0:19:33 | |
just as the people remembered here had suffered and died. | 0:19:33 | 0:19:38 | |
'In the Middle Ages, people had seen in the image of a suffering Christ, | 0:19:41 | 0:19:45 | |
'an echo of their own suffering. | 0:19:45 | 0:19:49 | |
'Now, in the 20th century, the horrors of industrialised warfare | 0:19:49 | 0:19:53 | |
'gave the crucifixion scene renewed relevance.' | 0:19:53 | 0:19:58 | |
This is a painting by the great British artist Graham Sutherland, | 0:19:58 | 0:20:03 | |
who'd been a war artist, but this was painted in 1946 | 0:20:03 | 0:20:06 | |
in the aftermath of the war, and it's his response to what had gone on. | 0:20:06 | 0:20:12 | |
It takes the elements of a crucifixion scene, | 0:20:12 | 0:20:16 | |
Christ hangs on the cross, his head hanging to the right at the moment of his death, | 0:20:16 | 0:20:22 | |
but this is an intensely physical Christ. | 0:20:22 | 0:20:26 | |
A great sheet of muscle hanging over the shoulder, | 0:20:26 | 0:20:30 | |
the great bushy beard of a prophet, blood pouring from the wounds in his hands and feet. | 0:20:30 | 0:20:38 | |
There were plenty of images of the suffering Christ in the Middle Ages, | 0:20:38 | 0:20:42 | |
but in the Middle Ages, this would've been part of a grand theological scheme | 0:20:42 | 0:20:47 | |
with a doom painting overhead and standing on the top of a rood screen. | 0:20:47 | 0:20:52 | |
Here, it stands alone, and there's a physicality to this | 0:20:52 | 0:20:57 | |
that could only have come from someone who's seen one of the great horrors of the 20th century. | 0:20:57 | 0:21:04 | |
AIR RAID SIREN BLARES | 0:21:04 | 0:21:07 | |
EXPLOSIONS | 0:21:07 | 0:21:09 | |
'The Second World War brought devastation to many of Britain's cities. | 0:21:11 | 0:21:15 | |
'Three centuries earlier, the Great Fire of London | 0:21:20 | 0:21:23 | |
'had cleared the way for Wren's masterpiece, St Paul's Cathedral.' | 0:21:23 | 0:21:28 | |
'Now the terror and destruction of the Blitz | 0:21:32 | 0:21:36 | |
'gave rise to a new wave of church building. | 0:21:36 | 0:21:39 | |
'Many of the churches that emerged from the ruins | 0:21:42 | 0:21:45 | |
'appear to be a clean break with the old, | 0:21:45 | 0:21:48 | |
'rejecting hundreds of years of tradition.' | 0:21:48 | 0:21:51 | |
On first impression, it feels almost like a public library | 0:22:01 | 0:22:05 | |
or swimming baths. | 0:22:05 | 0:22:07 | |
But I think that's a bit unfair. We're seeing it nowadays | 0:22:07 | 0:22:10 | |
through eyes that are used to seeing spaces like this, | 0:22:10 | 0:22:13 | |
this kind of brick, that kind of concrete, in a municipal context. | 0:22:13 | 0:22:18 | |
You forget that this was built in 1960 | 0:22:18 | 0:22:21 | |
and was deeply radical for the times. | 0:22:21 | 0:22:24 | |
Traditionalists may not have liked it, | 0:22:24 | 0:22:27 | |
but what you're seeing here is something that is deeply traditional. | 0:22:27 | 0:22:32 | |
The idea of sacred space. | 0:22:32 | 0:22:35 | |
That starts at the outside with the statement that this is the Gate of Heaven. | 0:22:36 | 0:22:41 | |
You step through that into an inner courtyard here, | 0:22:41 | 0:22:45 | |
with the columns running around the inside. | 0:22:45 | 0:22:48 | |
If you step through those columns, into the light, | 0:22:50 | 0:22:55 | |
you're suddenly surrounded by angels, just as you would've been at any time | 0:22:55 | 0:23:00 | |
in the Anglo-Saxon, Norman, Middle Ages, even the Victorian era. | 0:23:00 | 0:23:05 | |
And then you've got the steps | 0:23:05 | 0:23:08 | |
that raise you higher and higher | 0:23:08 | 0:23:11 | |
until you get to the holy heart of this building, | 0:23:11 | 0:23:15 | |
the altar here with its own metal tent to signify it as a special place. | 0:23:15 | 0:23:22 | |
The altar is made of concrete, but clearly references | 0:23:22 | 0:23:26 | |
the old stone altars of sacrifice of the ancient temples. | 0:23:26 | 0:23:31 | |
I love the fact that, amid all this modernity, | 0:23:31 | 0:23:35 | |
they haven't forgotten the thousands of years of history | 0:23:35 | 0:23:38 | |
that pour into a place of worship like this one. | 0:23:38 | 0:23:42 | |
Churches are so funny, though, because you always find little details, | 0:23:48 | 0:23:52 | |
in a place even as radical as this, that just screams "church" at you. | 0:23:52 | 0:23:56 | |
Over here, you've got hymn numbers | 0:23:56 | 0:23:58 | |
set out just like they would be in any Victorian church. | 0:23:58 | 0:24:02 | |
CHURCH ORGAN PLAYS | 0:24:02 | 0:24:05 | |
DISTANT SIREN WAILS | 0:24:05 | 0:24:08 | |
'Here, off the Peterborough ring road, | 0:24:34 | 0:24:37 | |
'is a church very much of the 21st century. | 0:24:37 | 0:24:41 | |
'You could be forgiven for thinking it's a shopping mall or company HQ. | 0:24:41 | 0:24:46 | |
'Unlike any other building I've visited, | 0:24:49 | 0:24:52 | |
'when it's empty, there's nothing to let you know you're in a church. | 0:24:52 | 0:24:56 | |
'Here is a space devoid of imagery. | 0:24:56 | 0:25:00 | |
'This venue can hold 1,200 people, | 0:25:05 | 0:25:08 | |
'and on a Sunday, you'll find few spare seats. | 0:25:08 | 0:25:13 | |
'It's only once you add the people | 0:25:13 | 0:25:16 | |
'that this new place of worship becomes a church.' | 0:25:16 | 0:25:20 | |
# Be high and lifted up | 0:25:20 | 0:25:23 | |
# Be high and lifted up | 0:25:23 | 0:25:26 | |
Instead of pews, you've got comfy chairs. | 0:25:26 | 0:25:29 | |
Instead of stained glass, you've got coloured lights. | 0:25:30 | 0:25:34 | |
Instead of incense, you've got smoke machines. | 0:25:35 | 0:25:39 | |
And what's striking is what isn't here. | 0:25:40 | 0:25:43 | |
The only traditional Christian image that I can make out in the whole space | 0:25:43 | 0:25:48 | |
is the crucifix on the stage. | 0:25:48 | 0:25:52 | |
# Lifted up | 0:25:52 | 0:25:55 | |
# Jesus | 0:25:55 | 0:25:57 | |
'There's a part of me that misses being surrounded by the architecture | 0:25:57 | 0:26:01 | |
'and imagery of hundreds of years of history. | 0:26:01 | 0:26:04 | |
'KingsGate is laid out more like a rock venue or a cinema. | 0:26:04 | 0:26:08 | |
'But if this is what people are comfortable with, why not?' | 0:26:08 | 0:26:14 | |
-# Hallelujah -Let's give the mighty Lord a shout of praise. | 0:26:14 | 0:26:19 | |
-CHEERING -Yes, Lord! | 0:26:19 | 0:26:22 | |
APPLAUSE | 0:26:22 | 0:26:23 | |
Applauding God. How 21st century is that? | 0:26:23 | 0:26:27 | |
'During this series, | 0:26:38 | 0:26:41 | |
'I've read the messages handed down to us in stone, | 0:26:41 | 0:26:44 | |
'from the dawn of Christianity in Britain | 0:26:44 | 0:26:47 | |
'right up to the present day. | 0:26:47 | 0:26:50 | |
'But I'm ending my journey not in the confines of the present | 0:26:54 | 0:26:58 | |
'but in a building founded in the Middle Ages | 0:26:58 | 0:27:01 | |
'which embraces the long and unique history of British churches.' | 0:27:01 | 0:27:07 | |
Open the visitors' book to almost any church | 0:27:09 | 0:27:13 | |
and you'll find comments like, "Lovely" and "Peaceful." | 0:27:13 | 0:27:17 | |
Churches are fixed points in an ever-changing world. | 0:27:17 | 0:27:21 | |
But what's struck me as I've traced through 1,400 years of the history of these buildings | 0:27:21 | 0:27:27 | |
is actually the destruction, the turmoil that's taken place here. | 0:27:27 | 0:27:33 | |
'The simplicity and solidity of the Anglo-Saxon churches | 0:27:35 | 0:27:40 | |
'swept away by the triumphant Normans. | 0:27:40 | 0:27:45 | |
'The Middle Ages, filling their churches with images of life and death, | 0:27:45 | 0:27:50 | |
'then attacked by the violence of the Reformation. | 0:27:50 | 0:27:53 | |
'The calm and elegant learning of the Enlightenment | 0:27:53 | 0:27:57 | |
'challenged by the Victorians, scraping back those old buildings | 0:27:57 | 0:28:02 | |
'and filling them with industrial stained glass. | 0:28:02 | 0:28:05 | |
'And, in the 20th century, the impact of the wars | 0:28:05 | 0:28:09 | |
'and attempts to re-imagine churches, | 0:28:09 | 0:28:11 | |
'right up to the dawn of the digital age.' | 0:28:11 | 0:28:15 | |
And that's why I will always visit these holy spaces, | 0:28:16 | 0:28:20 | |
to bathe in their beauty | 0:28:20 | 0:28:22 | |
and to read their history and their drama. | 0:28:22 | 0:28:26 | |
Subtitles by Red Bee Media Ltd | 0:28:28 | 0:28:32 | |
E-mail [email protected] | 0:28:32 | 0:28:36 |