reorganisation and destruction of irish catholic churches
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St. Joseph’s Church, Liscarroll, Co. Cork
http://homepage.eircom.net/~liscarroll/Website/index_files/Page592.htm
@Rhabanus wrote:
Is that a pair of overalls suspended from within the tester? The once-beautiful marble appears to have been scorched. Had a fire occurred in Armagh Cathedral? Or might the canopy have provided a sheltering lea for some vagrant’s bonfire.
This is an utterly damning photograph.
On a more positive note, the cathedral has aquired a lectern (dated 1873, year cathedral itself was dedicated).
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@Fearg wrote:
On a more positive note, the cathedral has aquired a lectern (dated 1873, year cathedral itself was dedicated).
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A lovely lovely piece. Where did it come from?
Nice one 😀
But doesnt the small pedastal on the right of the image REALLY REALLY FIT IN WELL WITH THE DESIGN OF THE REST OF THE PLACE…… gah
@THE_Chris wrote:
Nice one 😀
But doesnt the small pedastal on the right of the image REALLY REALLY FIT IN WELL WITH THE DESIGN OF THE REST OF THE PLACE…… gah
Indeed, that was the contrast I was hoping to achieve in the photo! Apparently the architect wanted to avoid “sham gothic”. At least its not quite as vulgar as the previous McCormack ambo. Its just a pity the opportunity (in 2003), to put some good period pieces back into use was not taken (that would also have avoided “sham gothic”).
I think it is probably just as well that the architect in question did not attempt anything even remotely “gothic”.
@Praxiteles wrote:
I love the sheen on the floor – just what you would expect in a shopping mall!
Full details on Armatile’s website:
http://www.armatile.com/project_gallery.php?sec=5&cat=22
I particularly like the floor in the washrooms 😉
@Praxiteles wrote:
Are there works going on at the church in Youghal at present? It is difficult to obtain any information about them if there are.
No it seems to have finished from what I can see
@james1852 wrote:
Here are some more photos of St. Mary’s, Youghal
[ATTACH]4652[/ATTACH]The picture is not of the real spire – it was painted in by my great grandfather – James Horgan – and he based it on his childhood memories of it.
@pipedreams wrote:
No it seems to have finished from what I can see
The picture is not of the real spire – it was painted in by my great grandfather – James Horgan – and he based it on his childhood memories of it.
Did Cork County Council grant permission to paint the organ case pink? If it did, what does that say for Cork County Council?
Here is the next victim of the Cloyne HACK, St. Joseph’s, Liscarroll, Co. Cork
An application has been made to Cork County Council basically to erase the entire interior of this rather interesting mid 19 century village church. Clearly, the plan was drawn up by a pupil of Will dowsing because the proposal is to bulldoze the sancturay and level it with the nave. Original, eh…!
If anybody wants to send in objections to Cork County Council, Praxiteles is told that the planning application file number is 076781 and the RPS number for Cork County is 00030.
The application was received on 3 April 2007 so you have 5 weeks from that day to get your objections in and they should reach the planning department of Cork County Council on or befoire 7 May 2007.
If anyone needs help in making a submission on this one, Praxiteles will be glad to oblige.
Monaghan Cathedral
This is the nearest I’ve come to seeing what the interior was like before it was wrecked. How close is it to what it was like until 1982?
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No where near – the original high alter was removed in the 60s or 70s – before I can remember
There were some nasty gold railing inserted to terminate the apseThe High Altar here is typically McCarthy and looks very like the one he designed for Sts Peter and Paul in Kilmallock, Co. Limerick.
Just looking through Peter Galloway’s Cathedrals of Ireland I could not help but notice the comments of this Church of England priest on the gutting that took place in Monaghan Cathedral:
“There are two problems with this otherwise interesting arrangement: firstly, there is the common though not universal feature of post-Vatican II reorderings, namely a deliberate attempt to make a total break with the architectural style of the host building; secondly, the arrangements at Monaghan convey the an impression of total emptinss. The new arrangement probably works very well indeed during the celebration of mass, at least when the throne and bencehs are occupied by the bishop and concelebrants. When mass is not being celebrated by a large number of priests and the cathedral is empty, then this expanse of plain granite and marble seems remorselessly to declare and to emphasize the emptiness. Apart fom the presence of the Blessed Sacrament, now out of immediate sight in a side chapel, there is nothing at the east end to attract and hold the attention of thosewho come individually for quiet prayer and meditation. In a great Gothic church of this kind, the eye is naturally drawn towards the east, to the presence of the Blessed Sacrament enthroned on the altar, visible from every seat in the neave. Now the eye is allowed to rest on a set of empty seats which, by virtue of their unoccupied state,loudly proclaim not a presence but an absence”.
And again:
“Three vividly coloured tapesteries representing Baptism, St. Macartan, and the Eucharist (in the baptistery, sancturay and Chapel ofthe Blessed Sacrament, all designed by Francis Biggs) do little to make the scene less cheerless; they only compete for attention with the tall east windows”.
To return to the subject of the Crucifixion ALtar in the SOuth Transept of Cobh, Cathedral.
It apprears that the iconographic sources for this altar are varied and include several types drawn from several late medieval paintings, including Mattias Grunewald’s Ysenheimer Altar Piece.
While the Christ figure shows signs of influencederiving from the 17 century school of Seville, the overall iconographic scheme does not dervie from that school which generally will protray the Christ figure on its own and without accompanying saints – something of the modernity of 17century Seville. But, theplate shaped halo over Christ’s head is reminiscent of the painting of early 15th. century Florence.
Rather the Christ figure is portrayed with the figures of Our Lady and St John the Evangelist as they would have been depicted on the Rood Screen of any medieval church. They are accompanied by St. Mary Magdalene, identifiable by the jar containing the ointments for the anointing of Christ’s body.
A Crucifixion scene from San Domenico in Arezzo by the school of Piero della Francesca c. 1450. Here the Christ figure is flanked by St John the Baptist and St. Michael the Archangel with St. Francis at the foot of the Cross.
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