Patrick Comerford
Wednesday next, 25 March 2020, is the Feast of the Annunciation of Our Lord to the Blessed Virgin Mary.
The readings in the Revised Common Lectionary for this feast, as adapted for use in the Church of Ireland, are:
Readings: Isaiah 7: 10-14; Psalm 40: 5-10; Hebrews 10: 4-10; Luke 1: 26-38.
There is a link to the readings HERE
Using these resources:
For parishes that have cancelled services during these weeks because of the Covid-19 or Corona Virus pandemic, these resources may help in preparing resources to circulate among parishioners or to share on-line on parish websites or social media pages.
These resources may be useful for parishes with the name of Saint Mary’s, and for parishes who celebrate a mid-week Eucharist on Wednesdays and find that 25 March is one of the great feastdays in the Church Calendar that fall in Lent.
There are complicated directions in the Book of Common Prayer for transferring the Feast of the Annunciation when 25 March falls in Holy Week or the week after Easter. However, these do not apply this year.
Unfortunately, as these notes are being prepared, the relevant page on the Church of Ireland site provides the wrong liturgical colour and does not provide the correct Kyries, Collect, Peace, Preface, Post-Communion Prayer or Blessing for this feast day. This is not only confusing but also misleading.
Preaching about the Annunciation
The Feast of the Annunciation is one of the 12 Great Feasts of the Church. It is so important in Orthodox theology that the only time the Divine Liturgy may be celebrated on Good Friday, or ‘Great and Holy Friday,’ is if it falls on 25 March.
A fresco of the Annunciation I saw recently in a church in Thessaloniki provides a sharp contrast to the plaster-cast statue images of the Virgin Mary we often see in churches in Ireland: her demure robes of white and blue hardly portray the strong Mary in the canticle Magnificat, the strong Mary who stands by the Cross when most of the disciples have run away, the strong Mary of the Pieta.
The canticle Magnificat, the Mary who stands by the Cross, the strong Mary of the Pieta, all make the connection between the Annunciation and Good Friday and Easter morning.
The date of the feast of the Annunciation, 25 March, was actually chosen to match the supposed historical date of the Crucifixion. This was to underline the idea that Christ came into the world on the same day that he left it: his life formed a perfect circle. In other words, 25 March was both the first day and the last day of his earthly life, the beginning and the completion of his work on earth.
Saint Augustine of Hippo explained it this way:
He is believed to have been conceived on 25 March, upon which day also he suffered; so the womb of the Virgin, in which he was conceived … corresponds to the new grave in which he was buried …
Both events were understood to have happened in the spring, when life returns to the earth, and at the vernal equinox, once the days begin to grow longer than the nights and light triumphs over the power of darkness. Readers of JRR Tolkien and the Lord of the Rings cycle know that the final destruction of the Ring takes place on 25 March, to align Tolkien’s own ‘eucatastrophe’ with this most powerful of dates.
The early historian, the Venerable Bede, says this dating is symbolic but it is not only a symbol: it reveals the deep relationship between Christ’s death and all the created world, including the sun, the moon and everything on earth.
The Annunciation and the Crucifixion are often paired together in mediaeval art. This pairing inspired the development of a distinctive and beautiful image found almost uniquely in English mediaeval art: the lily crucifix – on painted screens, stained glass windows, carvings on stone tombs, misericords, wall-paintings and the painted ceiling of cathedrals, churches and chapels.
The link between the Annunciation and the Crucifixion brings together in one circle the beginning and the end of Mary’s motherhood, its joy and its sorrow, as well as completing the circle of Christ’s life on earth.
Dante Gabriel Rossetti’s painting, Ecce Ancilla Domini! (1850), now in the Tate Gallery, LondonPerhaps one of the most challenging presentations in art of the Annunciation that I know is Dante Gabriel Rossetti’s painting, Ecce Ancilla Domini! (1850), now in the Tate Gallery in London.
The poet, painter, and designer Dante Gabriel Rossetti (1828-1882) was a co-founder of the Pre-Raphaelites, a group of Victorian artists who wanted to emulate the richness and purity of the mediaeval period. The son of an exiled Italian patriot and scholar, he was a brother of the poet Christina Rossetti (1830-1893), author of one of the greatest Christmas carols, In the bleak mid-winter.
His painting is one of the earliest Pre-Raphaelite paintings, and when it was first exhibited in 1850 it shocked and stirred controversy. In his painting, Rossetti offers a radical reinterpretation of the Annunciation, rejecting the traditional representation of the Virgin Mary passively receiving the news. Instead, he seeks to give the picture a supernatural realism.
While the angel is announcing to the Virgin Mary that she is to give birth to the Christ Child, she appears to be recoiling, as if disturbed from sleep.
Although Rossetti relies on earlier traditions for many of the symbols he uses in this scene, his use of these symbols, his depiction of space, and most significantly his portrayal of the two figures represent significant departures from earlier tradition.
This painting is unusual in that the artist shows Mary in a state of fear – she cowers against the wall and casts her eyes down. This is a far cry from many depictions of the Annunciation where Mary is shown in a state of humble acceptance.
White is the dominant colour in the painting, relieved only by small areas of blue, red and yellow. This emphasises the quality of the Virgin Mary’s purity, and is reinforced by the lily embroidery – the same one the Virgin Mary is shown making in Rossetti’s painting of The Girlhood of Mary Virgin, also in the Tate.
Early great paintings of this scene usually depict lilies, the symbol of the Mary’s purity, in a vase nearby the scene as the angel addresses the Virgin. Although Rossetti also uses lilies, he integrates them into both the action and the environment of the scene.
In Rossetti’s painting, Gabriel holds out a stem with lilies, offering them to Mary and seemingly presenting her with an embodiment of the chastity and purity she is fated to continue throughout her life. An embroidery hangs at the end of the bed, which Mary is also working on in The Girlhood of Mary Virgin. This tells us that this is a young girl’s bedroom, so we might expect to find her needlework in this space – as well as perhaps representing her active choice to live purely since she has chosen to embroider a lily.
Mary is not dressed in her traditional blue; instead she wears a simple white dress. Yet, Rossetti does not ignore the importance of blue as the colour associated with the Virgin Mary and heaven: he places a blue screen directly behind her, and looking through the window, the sky is a similar shade of blue, alluding to heaven.
Most Annunciation scenes have candles that have just blown out as a result of the entrance of the Holy Spirit. Instead, Rossetti paints a wall sconce with a hint of a flame – a different presentation of a usual symbol. He includes a dove, embodying the Holy Spirit, although in this case he has not drastically transformed a traditional symbol.
Rossetti’s imagined space shows great innovation. Compared to the traditional interiors, rich with elaborate floor tiles, stained glass, wooden furniture, rugs, pillows, and similar details, the Virgin’s bedroom in Rossetti’s painting is shockingly simple. White stone tiles cover the floor; the walls have white paint; the window has no panes; and the only object in the room that I have not mentioned already is a simple, low wooden bed with a white mat and pillow.
In traditional paintings, the room draws the viewer in, and the eye is allowed to move through the scene to the back wall of the bedroom. But Rossetti places Mary in a room that is almost claustrophobically small. The use of perspective is unconvincing: Mary’s bed appears about to slide out of the painting and the floor on the left of the painting blends into the wall, furthering the effect of a steep plane.
For the view out the window at the back, Rossetti might have given the scene depth by showing the countryside in the distance. Instead, he shows only blue sky and part of a tree.
Rather than a winged, long-haired boyish angel, Rossetti paints an androgynous Gabriel, without wings, his face only visible in highly shadowed profile, with the hints of yellow flames around his feet.
Mary sits on her bed and slouches against the wall. She is markedly adolescent with her beautiful young features, unbrushed straight hair, childishly skinny body, and the hesitance, fear and melancholy with which she responds to the Angel Gabriel’s news. Wisps of her messy, auburn hair spread around her neck, silhouetted against her white dress, reminiscent of a bloodshot eye or perhaps intentionally of Christ’s crown of thorns.
Rossetti has no use for the stiff, exaggerated poses of primitive Virgins. He seems most concerned with the sincere response of a young girl who has been given a burden that is both wonderful and laden with responsibility. And in this task, Rossetti thoroughly succeeds.
Mary is keenly aware of her position, and it is this self-awareness and terror that endows the painting with its power. This painting inspires the viewer to religious contemplation and prayer. But it also speaks strongly to universal issues of growth, responsibility and youthful vulnerability.
When Good Friday fell on 25 March 1608, John Donne marked this conjunction of ‘feast and fast,’ falling ‘some times and seldom,’ with a well-known poem in which he draws on the same parallels found in those mediaeval texts and images.
In Michelangelo’s great sculpture of the Pieta, the weeping Mary is bearing on her lap the body of the Crucified Christ who has been taken down from the Cross.
In that moment of searing sorrow, she must have wondered: Is this what it was all for, is this the end? Without the benefit of foresight, she could not have known the Easter story.
In her womb, she has carried the Christ Child. Now she cradles the Crucified Christ on her lap. The lap on which he had once played is now the lap on which his limp and lifeless body lies dead.
Was this the journey – from the Annunciation to the Crucifixion?
Images of the Pieta might remind us that Virgin Mary was a mother who knew the fears and lost hopes of so many women: the women who see the death of their own children; the women who hope to be mothers and grandmothers, but never are; the women who see, experience and feel violence and violation at first-hand in their own lives; the women whose own grief is hijacked by others for their own agendas.
But the Virgin Mary’s ‘Yes’ was to all this: ‘Here am I, the servant of the Lord; let it be with me according to your word’ (Luke 1: 38).
The Virgin Mary’s ‘Yes’ at the Annunciation is her yes, is our yes, is the ‘Yes’ of humanity and of creation, not only to the Incarnation, but to the Crucifixion on Good Friday, and to the Resurrection on Easter Day, and all the hope for the future that Easter brings.
Luke 1: 26-38 (NRSVA):
26 In the sixth month the angel Gabriel was sent by God to a town in Galilee called Nazareth, 27 to a virgin engaged to a man whose name was Joseph, of the house of David. The virgin’s name was Mary. 28 And he came to her and said, ‘Greetings, favoured one! The Lord is with you.’ 29 But she was much perplexed by his words and pondered what sort of greeting this might be. 30 The angel said to her, ‘Do not be afraid, Mary, for you have found favour with God. 31 And now, you will conceive in your womb and bear a son, and you will name him Jesus. 32 He will be great, and will be called the Son of the Most High, and the Lord God will give to him the throne of his ancestor David. 33 He will reign over the house of Jacob for ever, and of his kingdom there will be no end.’ 34 Mary said to the angel, ‘How can this be, since I am a virgin?’ 35 The angel said to her, ‘The Holy Spirit will come upon you, and the power of the Most High will overshadow you; therefore the child to be born will be holy; he will be called Son of God. 36 And now, your relative Elizabeth in her old age has also conceived a son; and this is the sixth month for her who was said to be barren. 37 For nothing will be impossible with God.’ 38 Then Mary said, ‘Here am I, the servant of the Lord; let it be with me according to your word.’ Then the angel departed from her.
Liturgical resources:
Liturgical Colour: White
Penitential Kyries:
Lord God, mighty God,
you are the creator of the world.
Lord have mercy.
Lord have mercy.
Lord Jesus, Son of God and Son of Mary,
you are the Prince of Peace.
Christ have mercy.
Christ have mercy.
Holy Spirit,
by your power the Word was made flesh
and came to dwell among us.
Lord, have mercy.
Lord, have mercy.
The Collect of the Day:
Pour your grace into our hearts, Lord,
that as we have known the incarnation of your Son Jesus Christ
by the message of an angel,
so by his cross and passion
we may be brought to the glory of his resurrection;
through Jesus Christ our Lord. Amen.
The Lenten Collect:
Almighty and everlasting God,
you hate nothing that you have made
and forgive the sins of all those who are penitent:
Create and make in us new and contrite hearts
that we, worthily lamenting our sins
and acknowledging our wretchedness,
may receive from you, the God of all mercy,
perfect remission and forgiveness;
through Jesus Christ our Lord.
Collect of the Word:
There is no provision in the Church of Ireland for a Collect of the Word on this day.
Introduction to the Peace:
Unto us a child is born, unto us is given:
and his name is called the Prince of Peace. (Isaiah 9: 7)
Preface:
You chose the Blessed Virgin Mary
to be the mother of your Son
and so exalted humble and meek;
your angel hailed her as most highly favoured,
and with all generations we call her blessed.
The Post Communion Prayer:
God Most High,
whose handmaid bore the Word made flesh:
We thank you that in this sacrament of our redemption
you visit us with your Holy Spirit
and overshadow us by your power.
May we like Mary be joyful in our obedience,
and so bring forth the fruits of holiness;
through Jesus Christ our Lord. Amen.
Blessing:
Christ the Son of God, born of Mary,
fill you with his grace
to trust his promises and obey his will:
Suggested Hymns:
Isaiah 7: 10-14:
151, Child in the manger
160, Hark! The herald angels sing!
168, Lord, you were rich beyond all splendour
135, O come, O come, Emmanuel
174, O little town of Bethlehem
Psalm 40: 5-10:
597, Take my life, and let it be
712, Tell out, my soul, the greatness of the Lord
492, Ye servants of God, your master proclaim
Hebrews 10: 14-10:
400, And now, O Father, mindful of the love
431, Lord, enthroned in heavenly splendour
Luke 1: 26-28:
119, Come, though long-expected Jesus
462, For Mary, mother of our Lord
123, God the Father sends his angel
125, Hail to the Lord’s anointed
92, How sweet the name of Jesus sounds
94, In the name of Jesus
97, Jesus shall reign where’er the sun
99, Jesus, the name higher over all
133, Long ago, prophets knew
704, Mary sang a song, a song of love
175, Of the Father’s heart, begotten
472, Sing we of the blessed mother
139, The angel Gabriel from heaven came (omit verse 4)
73, The day thou gavest, Lord, is ended
185, Virgin born, we bow before thee
477, We praise you, Lord, today
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
Material from the Book of Common Prayer is copyright © 2004, Representative Body of the Church of Ireland.
The hymn suggestions are provided in Sing to the Word (2000), edited by Bishop Edward Darling. The hymn numbers refer to the Church of Ireland’s Church Hymnal (5th edition, Oxford: OUP, 2000).
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