Ad Fontes

Politics, Theology and Christian Humanism


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Welcoming the new vicar: institutions, collations and inductions

Wigs and seals and tippets and chimeres: thus shall we be known!

I have three clergy friends who are soon to move to new parishes, and have been preparing for their services of welcome. The ecclesiastical nomenclature of these services is complex: one friend is having a collation and induction, another a licensing and installation, and the third an institution and induction. As I am a college chaplain, it has been a while since I have had these done to me, but, as a patron’s representative, I have been involved in a fair few of these services in recent years.

The service of welcome for a new vicar, rector or what-have-you is a fairly recent phenomenon, growing to near universal popularity through the 20th century. Before we did public ceremonies, these were fairly private acts of canon law. The twofold naming — an X and Y — is down to the separate admission of the candidate to the spiritualities and temporalities of the benefice.

  • The spiritualities include the responsibility to perform divine service, occasional offices, preach, teach and hold the cure of souls (pastoral care). As the diocesan bishop is chief pastor of the diocese, admission to the spiritualities is given by them or their commissary (often an area, suffragan or assistant bishop, but can be any cleric).
  • The temporalities are the actual legal possession of the benefice as property. In the past this would mean tithes, fees and glebe, but is now a more limited right to manage the property and control the benefice. Nowadays there are many more posts that are ‘incumbent status’ rather than actual incumbencies, usually attracting the name Priest in Charge or Team Vicar, which are exercised by licence rather than right, and the legal possession of the temporalities is lacking.

There are three terms used to describe the handing over of the spiritualities of a benefice: licensing, institution and collation.

  • All beneficed clergy are licensed to their cure of souls, but the term ‘licensing‘ is properly used for the formal admission of Priests in Charge, Team Vicars and others of ‘incumbent status’. The bishop or their commissary grants the spiritualities in a licence that sets out their responsibilities and the limitation to their term.
  • Many Vicars or Rectors who are actual incumbents will instead receive a Deed of Institution, which is effectively the same as a licence, but unlimited in term. Here is the complicated bit! The patron or patrons of the benefice are given permission to present the chosen candidate to the benefice, the bishop then admits the candidate to the benefice and institutes them. Thus, institution is the final step in this ruritanian appointments process over which the bishop has two vetoes: they may veto the patron or patrons’ choice of candidate, and they may refuse to admit (although it is unlawful for a bishop to veto Crown presentations, they may still refuse to admit the candidate). The admission is technically the bishop’s right to examine the candidate before institution (patrons can appeal against a bishop refusing to admit a candidate, and the legal process differs depending on whether or not the bishop cites doctrinal grounds for refusing to admit). If the patron or patrons fail to present a candidate (it used to be within 6 months of vacancy of benefice, but that cannot surely still hold true), the bishop then has the right to collate a candidate, then that right goes to the archbishop if the benefice is still vacant, and ultimately to the Crown. With our modern system of job interviews, the interview panel, which often includes the patron or patrons, makes a decision to nominate a particular candidate, and the patronal presentation and episcopal admission are expected to follow suit.
  • Wherever the bishop is sole patron, rather than presenting to themselves, the system is streamlined into what is called a collation, which merges the presentation, admission and institution into one. If the bishop is one patron among others, the full process has to take place.

It used to be the case that all licensing, institutions and collations happened at the bishop’s chapel or wherever the bishop happened to be. As we have so many bishops today, a bishop comes to the parish church to do these things. If a patron is at the service, they will make a ceremonial presentation. Then the candidate will make oaths and declarations, to which the bishop or commissary will assent to admit them. Then the candidate kneels before the seated bishop or commissary, who reads the licence or deed of institution or collation over them, while the candidate holds the seal attached to it.

How many rings of the bell is enough?

The admission to the temporalities is quite simple after all of that. If one is instituted or collated, the temporalitites are given in the form of an induction. If one is merely licensed, then there are no associated legal property rights. The term ‘installation‘ is used to describe the purely symbolic act of placing a new pastor in their stall, and is used to fill the position where an induction would otherwise happen. Even then, some ceremonies are described as ‘institution, induction and installation’, even though the latter can be seen as a non-essential part of any induction. The bishop issues a mandate of induction usually to the archdeacon to induct the candidate that they have instituted or collated. Often the rural or area dean receives the mandate instead of the archdeacon, if the latter is unavailable, and some dioceses have ancient rights about who may induct whom.

The core of the induction is an act of property transfer, a business deal, which is carried out by the mediaeval practice of the livery of seisin: the property is transferred by passing it, or an object representing it, from the hand of the giver to the hand of the receiver in front of witnesses. At its minimum, this means that the archdeacon or some other places the candidate’s hand on the latch of the church door or the key in the lock while the churchwardens witness. Induction, therefore, has to happen at the church (and only one church is necessary in multi-parish benefices, as the property is legally bundled together so that possession of a symbolic part is possession of the whole), and induction actually happens outside of the church, at the door, whence the incumbent is inducted into the building.

The induction has accrued a number of other symbolic actions. The archdeacon’s dainty taking of the incumbent’s hand on a step dance around the interior of the church is a most delightful custom. The new incumbent’s tolling of the church bell was originally to inform the parishioners habemus vicarium (‘the vicar’s here’), as they were not present at the church for the induction. All sorts of superstitions are associated with this tolling, thinking it indicates how vigorous the incumbent will be in mission or for how long they will stay. Lancelot Andrewes had the tradition of getting new incumbents to write on the back of their mandate of induction the following: accepi clavem, intravi solus, oravi, tetigi sacra, pulsavi campanas — ‘I received the key, I entered alone, I prayed, I touched the sacred things, I tolled the bells’. I do find something romantic in this practice of the new incumbent going alone into the church to pray, touch and toll. It is unclear precisely what is meant by tetigi sacra, whether it is the touching of the consecration points of the church, or the more likely touching of the font and altar, symbolizing sacramental responsibility. However this tangendum (‘touchy feely’) is the origin of the archidiaconal waltz and the crackerjack game of seeing how many baptismal ewers, chalices and Bibles the new incumbent can hold, symbolic of the pressures of ordained ministry, to which the addition of the rite of installation, taking of one’s seat, must come as a relief.

When most parishioners took no part in these ceremonies, the reading in of the new incumbent on the first Sunday (or at least within a certain fixed period) was the point at which they received their pastor. This is the formal reading of declarations, and I think at one time included the incumbent’s recitation of the 39 Articles to prove how legit they were. While a much curtailed reading in still occurs, it is a hangover from the time when all the other things were done semi-privately. The practice of the new incumbent giving notices, which include a declaration of the next Sunday’s times of service, at the end of their service of welcome appears to be a descendent of promising the archdeacon or rural dean that they will read themselves in on the Sunday.


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Liturgy bits: a spotter’s guide to Anglican dress-up

Old picture of the author wearing Anglican choir habit.

Old picture of the author wearing Anglican choir habit.

This is a somewhat lighthearted look at what Anglican clergy wear in church. It is particularly for those who want a field guide to spotting Church of England clergy, but may work elsewhere in the Anglican Communion, albeit the C of E is far broader (in a few dimensions) than most other Anglican churches. Here are the five rough categories of Anglican dress-up

  • Reformed tradition — this is the form of vesture that was eventually created for the Church of England after the Reformation: cassock (double-breasted of course), surplice, hood and scarf are the main ingredients. This tradition remains strong amongst conservative evangelicals and old low-church traditionalists. Its centuries as the official vesture of clergy make this the top trump of Anglican style: never wrong for any liturgical occasion, in spite of what the invite might say. If you’re really lucky, an adherent to this style might preach in gown and bands. Wigs, unfortunately, are now uncommon.
  • Liberal tradition — this takes its cue from Vatican II and 20th-century moves to liberalise and simplify vesture: cassock-alb and stole are the main ingredients (the bare minimum to satisfy canon law). This is the vesture of the lead character in Rev, and is now the norm in middle-of-the-road Anglicanism. The cassock-alb is like the liturgical equivalent of Ugg Boots. While it is possible for the cassock-alb to be simple, unfussy, it is far too easy for things to go pear-shaped — an oatmeal polyester pear. Stoles and scarves (whatever the difference might be!) make use of nice, often personalised, embroidery. Whenever two or more clerics of this persuasion meet there will inevitably be a colour clash, often enough to turn sensitive Anglo-Catholics low church.
  • Abolitionist tradition — the reformed and liberal traditions did not go far enough for some for whom even a clerical collar is dressing up: no vestments is the idea. This tradition is most popular among charismatic evangelicals. Even here there is a spectrum of fashion: those who wear a suit because they mean business, and those who wear jeans because they want to be down with the kids. Of course, not wearing vestments is as much as a statement as wearing them, and draws attention to and even clericalizes what is worn instead (as the blue suit and tie has become in some protestant churches). Celebrating main Sunday services regularly in this manner is a flagrant breach of canon law, but the bishop will try not to notice.
  • Sarum tradition — the liturgical ‘archaeology’ of the late 19th and early 20th centuries, led Percy Dearmer, among others, to seek and revive a distinctively English pre-Reformation vesture, particularly from the Sarum liturgy books. The point was to look Catholic without looking Roman: a way of being high church without the wholesale adoption of Roman fashions. The thoroughgoing version of this tradition is all but extinct: there are very few who use one of the reinvented Sarum liturgical colour schemes (brick red, blue, yellow?) or consider resurrecting the almuce (fur is not an ethical look). Yet its mixture of dignified, simple catholic vestments at mass (mostly now from the Roman tradition than any real attempt to recreate Sarum norms) alongside the seriously Anglican surplice and scarf at offices (the reformed style) meets some refined expectations, and it has become the standard Anglican compromise in many of the big establishment churches, like cathedrals, major churches and Oxbridge chapels. Anything too Roman is rejected: lace, birettas, skullcaps and cottas. Anything too liberal is likewise rejected: cassock-albs, polyester, communion without a chasuble.
  • Roman tradition — perhaps because the Roman Church sets out its rules on vesture with such detail it is attractive to Anglo-Catholics: cassocks, albs, chasubles and cottas are the order here. In many ways, the late 19th and 20th centuries have seen much of this tradition become mainstream in the church: particularly noticeable is the use of Roman liturgical colours. One might say that the liberal and Sarum traditions above are simply Roman style repackaged for Anglican sensibilities. Lace and birettas are the mark of serious adherents to this persuasion, and surplice and scarf are out. There are some of this tradition who are more into the Vatican-II style (liberal style but with separate cassocks and albs, plus chasubles), where others are positively Tridentine (pass the maniple, Father!).


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Liturgy bits: a spotter’s guide to Evensong

Old picture of the author wearing Anglican choir habit.

Old picture of the author wearing Anglican choir habit.

Evensong is a peculiar Anglican creature. It is the liturgy that has become the most distinctively Anglican, and has become a treasured bulwark of tradition. This article is a little, geeky exploration of what is Evensong and its sub-species.

The word ‘Evensong’ is first documented by the OED in the Old English of the Canons of Ælfric (c. 1000) as æfen-sang. Until the Reformation, this English word was used to describe the office of Vespers, the seventh of the round of eight daily offices, said just before sunset.

Archbishop Thomas Cranmer produced two drafts of how the reformed Church of England should pray each day. The first, more radical plan was to consolidate the eight offices down to two. When, eventually, Henry Tudor junior died, Cranmer was free to produce the first Book of Common Prayer, published 1549. Its two daily offices were named ‘Matins’ and ‘Evensong’ (the former being the name of the first of the pre-Reformation offices, which also had the colourful Old English name uht-sang, which persisted as ‘Oughtensong’ in Middle English). With Cranmer’s revised Prayer Book of 1552, the quaint (or poetic) names of the two offices were officially replaced with the more robust (or prosaic) ‘Morning and Evening Prayer’. Yet the old names continued to live on, to the extent that it is rather daft to speak of ‘Choral Evening Prayer’.

Because of the pressures on Sunday mornings, especially with the restoration of the Parish Eucharist as the main Sunday mid-morning service, major celebrations of Matins have become rather few and far between. However, in twilight isolation Evensong has remained strong. In the nineteenth century, the ‘Fully Choral Service’ became a sign of aspirational excellence in neo-gothic, middle-class churches, aping cathedrals with their processions and besurpliced choirs. I believe that movement has skewed our understanding of  Evensong to assume that only a proper Choral Evensong will do, when we have forgotten how to do a good — liturgically and musically — Evensong that is suited to a church that cannot really cope with the demanding choral repertoire.

What about those sub-species? Continue reading


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Ancient & Modern: a review

Ancient & Modern: Hymns and Songs for Refreshing Worship (2013).

My copy of Ancient & Modern: Hymns and Songs for Refreshing Worship (2013) has just arrived. It is the ninth edition of what is the most enduring and popular lineage of hymnals in the Church of England. We currently use Common Praise (2000, the eighth edition of A&M), in the College Chapel. My former churches have used Sing Glory (1999), Ancient & Modern New Standard Edition (1983) and New English Hymnal (1986) as their main hymnbooks, which is progress of sorts! Unlike some churches, the Church of England has never had an official hymnbook, but the Ancient & Modern stable comes closest to a standard.

For some background and a couple of thoughts about hymnals in the 21st century, see Ancient & Modern: history and future.

Ancient & Modern has 847 items: the largest inventory in this hymnbook’s history, beating the 779 hymns of the Standard Edition (1916 & 1920). Not all of these are hymns, some are liturgical songs and ‘short chants’. It is not too much of a surprise that this is an increase on the 628 hymns of Common Praise. However, seeing that the intermediate supplement Sing Praise (2010) has 330 entries, there has been a bit of a cull. I guestimate that around 150 hymns in Common Praise have been cut (inexplicably, the cloying ‘In a world where people walk in darkness’ (CP 476, AM9 677) has survived!). I confess to some alarm that so many hymns that were thought necessary of inclusion 13 years ago have proved disposable. It makes me wonder how many of the current volume will last as long. The proprietors actually suggest that those who already have Common Praise should make the lesser investment in Sing Praise rather than switching directly to the new edition. I believe, though, that would mean that there would be around fifty or more items in the ninth edition that those with the two previous volumes would be missing.

Physically, the full-music editions of the two hymnals, eighth and ninth editions, are about the same size. Although this is perhaps due to my old Common Praise being stretched with use, the paper used for the ninth edition is clearly thinner, yet this has not lead to a reduction in print quality. Unlike some poorly produced editions of Hymns Old & New (nothing to do with Ancient & Modern), verso print does not obviously show through on the recto, and vice versa. The same typesetter and music engraver, the laudable Andrew Parker, worked on the two editions, yet there has been progress toward a brighter, clearer printing. Music and textual credits have been moved to the bottom of the page, into space, allowing for a little more information to be given. For the three translations of Phos hilaron are given their Greek title in Greek script: a nicely revived tradition that flatters the singer. These three are John Keble’s text set to John Stainer’s Sebaste at 17, Christopher Idle’s more recent offering at 18 and Robert Bridges’s at 20, with the latter being the preferred translation of the rival English Hymnal tradition.

It would take 2½ years to sing through all 847 items without repeating one, given four hymns every Sunday morning and three in the evening. Of course, there are always going to be some hymns that are not to the taste of clergy, musicians and congregations, and others that are repeat favourites. Some of the liturgical items might be used week in, week out, or not at all.

The arrangement of the hymns follows the tried and tested pattern of the A&M stable: the diurnal of morning and evening, the seasons of the church year, saints’ days, a few service themes and the lucky dip of ‘Hymns throughout the Year’ (the odd name of the category used in Common Praise) or ‘General’ (the more sensible title in the ninth edition). The ninth edition’s categories are a joy: after the saints’ days, there are decent selections of hymns for Christian initiation, marriage, and funerals and the departed. Then there are selections of hymns chosen for use in a generalised sequence of sections of church services: gathering, penitence, the word of God, canticles and affirmations of faith, prayer and intercession, Holy Communion, and sending out. These mix hymns with liturgical texts, like the three modern Kyries (370–2) in the penitence category; the first is that from James MacMillan’s Mass of the Blessed John Henry Newman. The word category begins with the traditional sixth-mode Alleluia (374), and goes on to provide an Alleluia setting by Bernadette Farrell (376) and James Walsh’s Pilgrim’s Alleluia (377) — I am left to wonder why the Stanbrook Abbey hymn ‘Bright as fire in darkness’ intrudes at 375. There is also a Marty Haugen song that can be used as an Alleluia at 385, demonstrating the problem that items are arranged mainly in alphabetical order within categories rather then rational groupings. Thankfully the metrical Magnificats and other canticles are grouped together. The category for prayer and intercession includes a number of simple, modern chants that can be used as sung responses to supplications. It is not necessarily obvious, but four metrical settings of Gloria in excelsis Deo (413–16) are in the Holy Communion category, followed by two settings of Sanctus (417, 418) and one Agnus Dei (419). The 61 items in this category could really have done with a finer level of grouping within the category.

The later categories of themes — the church’s ministry and mission, wholeness and healing, sorrow and lament, creation and the environment, justice and peace, and national and remembrance — are welcome, if still slightly thin. Even with all of these categories, there are still 246 ‘general’ hymns (29 % of the inventory). Still, this is an improvement on the like category of 265 hymns in Common Praise (42 %). There are hymnals, like Mission Praise, Sing Glory and Hymns Old & New, that take the unimaginative approach of arranging all their entries in alphabetical order of their textual incipits (though I do remember some old copies of Mission Praise took a unique approach to the alphabet!). Given a decent index, and the ninth edition has indexes aplenty (read on if you, like me, sadly spend more time in hymn indexes than with the hymns themselves), it makes sense to organise things by sensible categories and relationally. Thus, I am sure the compilers saw the need to keep the lucky dip to a minimum, recognising it as a sign of methodological laxity. A rough grouping of these hymns by theological themes would have been a welcome change, alongside better grouping of items within the other categories. The group of 17 ‘short chants’ at the end, mostly from Taizé and Iona, alongside some in other categories, will be a welcome addition in many churches.

The indexes include the now standard and practical parade of biblical index, hymn suggestions for each Sunday and major feast, alphabetical index of tunes, metrical index of tunes, index of composers, index of authors, and the index of first lines and tunes. Alongside these there is a list of hymns ‘suitable for all-age worship’ that some might use, but also a particularly handy thematic index that lists hymn numbers appropriate to a wide range of theological and other themes. Some of these (e.g. marriage) exactly reproduces a category, adding the belt to the braces. Yet this extra index shows an appropriate response to the problem of categories: what to do with those items that fit multiple categories. It also allows for themes that are too vague to have been categories (e.g. water).

The influence of Hymns Old & New (first Anglican Edition in 1986, with the popular New Anglican Edition a decade later, now superseded by others) can be seen in the ninth edition. Although Hymns Old & New has had major flaws in its musical arrangements and production quality, it brought together favourite hymns with choruses, praise songs and chants. Its coup was to provide what many churches wanted. Starting with Sing Praise, the Ancient & Modern tradition began to incorporate this wider repertoire, and the ninth edition includes symbols for guitar chords above the music for some items, thankfully not following Hymns Old & New in providing them for all items, even where they conflict with the musical arrangement.

For controversialists, Stuart Townend and Keith Getty‘s ‘In Christ alone my hope is found’ is included (678), with its words ‘the wrath of God was satisfied’ in the second verse. Whereas some have rewritten the line, Getty has, understandably, refused to allow it to be used with an altered text. While American Presbyterians have recently decided to omit the hymn because of that line, it now makes Ancient & Modern look doctrinally brave/timid for including it.

For some background and a couple of thoughts about hymnals in the 21st century, see Ancient & Modern: history and future.


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To fast too furious?

Iftar (berbuka puasa)

Iftar (berbuka puasa or fast breaking) at Mesjid Raya al-Mansun (Mansun's Great Mosque) in Medan, Sumatera.

A blessed Ramadan to all!

Depending on which authority you follow, based on the observation of the first crescent of the new moon, the holy Islamic month of Ramadan began either last Wednesday or Thursday. This month of months is set apart by fasting.

Islamic practice is to refrain, during the daylight hours of the month of Ramadan, from consuming any food, drink, tobacco, and having sex. On the positive side, Muslims are encouraged to pray, give charitably and think on God more during the fast.

As the Islamic calendar is based solely on lunar phases without regard to tropical seasons, the months slowly move through the seasons each year. Ramadan falling in August means, in the northern hemisphere, around fifteen hours without food or water each day for around 29/30 days. (Mehdi Hasan has written some basic FAQs on Ramadan for New Statesman.)

As an Anglican I’m fascinated by the Islamic fast. The practice of fasting in Anglicanism is in a shabby state. For most it consists of ‘giving up’ something for the forty days of Lent, usually chocolate. It is not exactly taxing. Apart from the giving up of things, we do encourage Lent courses as a way of getting some positive spiritual input, but we have to admit that it’s all quite slim. The Roman Catholic Church has always been more legalistic when it comes to fasting, setting out what can and can’t be eaten, and how much. However, the history of Catholic pronouncements on fasting shows a steady rolling back of strictures. In contrast, Eastern Christianity has retained a more robust idea of fasting: animal products and alcohol are not consumed during fasts, making one a vegan teetotaler.

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Revisiting why I’m an Anglican

Ten months ago I posted on why I’m an Anglican. That article struck some people as somewhat negative, and I especially like this reflection on what I wrote by Pradusz. The background for that article was partly thinking on those I know who were raised in the Church of England but have converted to Roman Catholicism or Eastern Orthodoxy. For them, the ministry of women was a stumbling block, but I could also trace a deeper sense of turning away from the everyday normality of Anglicanism in English religion to something more exotic, challenging and full of the certainty of tradition. For those converting to Eastern Orthodoxy, old-fashioned orientalism was often part of the allure, and I hope the Orthodox quickly put them straight on that account. Likewise, I’ve known Anglicans convert to charismatic house churches for the certainty that comes from a certain type of biblical interpretation and emotionally charged worship. For me, Anglicanism is part of cherishing who I am, rather than trying to be something different. I wanted to emphasize the Kierkegaardian way in which the historical reasons for our life choices are often different from the interpretations we put on them. For the majority of people in this world, their religious conviction was chosen for them, by their parents and society at large. I wanted to embrace the religion that chose me, rather than applauding the concept that the grass always has to be greener in someone else’s field.

Celebrating the religion that chose me is important because I can find good reasons to question Anglican religious history. The Church of England has always been associated with English state power, and the global Anglican Communion owes its existence to British imperialism and colonialism. I am horrified at how most Anglicans seem unaware of this history, but realise that ignorance of them is part of the reason why Anglicanism is trying and failing to deal with its internal fault lines.

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