reorganisation and destruction of irish catholic churches
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Re n. 98: I am glad you raised the case of Limerick which has undergone a very recent restoration and “make over” of the interior, especially of the sancturay. The original architect here was Philip Charles Hardwick who had been retained by the Earl of Dunraven to build Adare Manor. It was constructed 1856 – 1861 and consecrated in 1894. From a distance, the spire (280 feet) makes a very memorable impression on the flatness of the Limerick plain. The Cathedral interior is a fine example of the effective use of light and is one of its principal features – nowadays not so clearly evident because of over-illumination. The high altar, throne, and pulpit were made by the Belgian firm of Phyffers. Although re-arranged by J.J. O’Callaghan in 1894, they survived into the 1980s when, unfortunately, the throne was removed and resited in the vacuum left by the altar mensa which had been moved “nearer to the people”. The tabarnacle in the reredos was abandoned and its door replaced by the heraldic achievement of the then Bishop. In placing the throne in the site intended for the mensa of the altar, little account was taken of the surprising (if not incongrous) effect of seeing the successor of St. Munchin seated on a throne at either side of which was clearly emblasoned a strophe of the Trishagion. A rood beam survived with its figures into the 1980. In the latest round, the choir stalls seem to have survived.
St. Mary’s Cathedral, Kilkenny, designed by WIlliam Deane Butler, was begun in 1843 and completed in 1857. Its neo-Gothic style is heavily Norman in inspiration and can be easily compared with St. Jean de Malte in Aix-en-Provence, St-Maximin-la-Sainte-Baume in Provence or indeed with many of the pure creations of the Norman displacement in central and southern Italy – such as the abbatial church at Fossanova in Latium, Sant’Eligio in Naples, and San Lorenzo Maggiore in Naples. The decoration of the interior of Kilkenny’s St. Mary’s is by Earley and Powell and was brought to completion in 1865. This firm was responsible for the ceiling painting of the chancel, the glass, the high altar fittings and lightings. The mosaic work is by Bourke of London and the chancel murals by Westlake. In the 1970s, the socially minded Bishop Birch instigated, in the diocese of Ossory, an iconoclasm worthy of the emperor Leo III, a martial pesant from the mountains of Isouria whose hatred of images was largely inspired by an incomparable ignorance of both sacred and profane letters. Kilkenny cathedral, fortunately, escaped the worst ravages and retains its (albeit redundant) High Altar which was purchased in Italy. The altar rails (alas no more) and the altar of the Sacred Heart were the work of James Pearce. A diminuitive and out of scale altar was placad under the crossing and a new cathedra -redolent of Star trek – installed. The contour of this impianto is remarkably similar to the one now proposed for Cobh cathedral. Perhaps the greatest thing that can be said for this “reordering” is that it can (and will) eventually be removed leaving the building more or less as concieved by none too mean an architect.
So far, nobody wishes to claim responsibility for the effort.
The Cathedral of the Assumption of Our Lady in Thurles, Co. Tipperary, boasts of being Ireland’s only 19th century cathedral to have been built in the neo-romanesque style. Building commenced in 1865 to plans by JJ McCarthy who relied very heavily on North Italian or Lombard prototypes, modelling the facade on that of the Cathedral in Pisa, and, succeeding to some extent in conveying the spacial sense of the Cathedral complex in Pisa with his free standing baptistery and tower. The Cathedral was consecrated by Archbishop Croke on 22 June 1879. Archbishop Croke replaced JJ McCarthy with George C. Ashlin as architect for the remaining works which included the decoration of the interior on which no expense was spared. The ceiling, designed by Ashlin, was executed by Earley and Powell. The same company are also responsible for the galss and some of the sculpture work, the more important elements of which were executed by Pietro Lazzarini, Benzoni and Joseph O’Reilly. Mayer of Munich also supplied glass as well as Wailes of Newcastle. The most important item, however, in the Cathedral is the Ciborium of the Altar by Giacomo della Porta (1537-1602). This had originally been commissioned for the Gesù in Rome in 1582 by Cardinal Alessandro Farnese. The same Giacomo della Porta built the dome of St. Peter’s Basilica 1588/1590 and finished the lantern in 1603. The altar from the Gesù was acquired by Archbishop Leahy while in the City for the First Vatican Council in 1869/1870. Reordering work began here in 1979. The altar rails have given way in the face of a projection into the nave. Unbelievably, the High Altar has been dismantled and its mensa separated from the della Porta ciborium which is now relegated to an undescript plinth. The original stencilled work disappeared in 1973. As with Longford and the Pro Cathedral, the removal of the High Altar leaves the building without a focus, the present dimension and location of the Ciborium not being to the scale of the building. The temptation to hang banners in the apse has not been resisted.
It is difficult to ascertain the architect responsible for the current interior of Thurles Cathedral.
The Cathedral of St. Patrick and St. Colman, Newry, Co. Down is a composit building in a neo Gothic idiom developed in three main phases bewteen 1825, when it was begun to plans by Thomas Duff, extended between 1888 and 1891, futher extended between 1904 and 1909, and finally completed in 1925. The only part that can be reasonably described as Victorian are the transepts (1891); high Altar, pulpit and belfry (by Ashlin). The decorative scheme was drawn up by Thomas Hevey and executed by G.C. Ashlin who alsoextended the nave and chancel in 1904. The sanctuary was re-ordered in 1990 by extending the dais into the nave, and placing the mensa of the original altar under the crossing. The pulpit appears to have survived but not the altar rails. The reredos of the altar was needlessly divided into three section for reasons not easily or immediately fathomed. The present tri-partite re-constructed reredos is slightly reminiscent of the revolving stage scenes of an 18th century petit theatre. The most remarkable implant of the reordering must be the throne in a neo Gothic idiom. Curiously, it is probably the largest throne created in any re-ordering in Ireland -for what is one of the smallest dioceses in the country. Among the conoscenti, it is often deferred to as a “model” for what could be done in Cobh Cathedral – a building far outstripping Newry in its superiority of conception, execution and stylistic unity. Again, this cathedral is bereft of Choir Stalls.
Thanks for all the pictures Praxiteles – partiicularly Longford, what a gem of a building. Those columns are magnificent!
How disturbing to see all of these reorderings in black and white – whatever about the removal of architecturally significant features, but to then install bathroom showrooms as liturgical and architectural focal points of these splendid buildings is nothing short of criminal.Another by Duff, and whilst not (quite :)) a cathedral, and not as opulent as others featured, St. Patrick’s in Dundalk has had the most horrendous rubbish thrown up in the sanctuary. I don’t remember what was here before the ‘changes’, but in its place has been put what can only be described as an altar table from Homebase fronted by an 8×4 sheet of MDF with laser cut gothick arches, bright verdigris paint and backlit with a florescent tube:
Luckily the worst of it is concealed here beneath the altar cloth. It beggars belief when you see it up close – looks like a cartoon plonked into the ‘real world’.
Also the throne looks like it was a nicked from a 1980s country house hotel, whilst the timber lecturn with ‘feature panel’ is equally inappropriate in an exclusively marble environment.
On the upside, I believe St. Patrick’s also has mosaics by Oppenheimer, just not sure which particular ones.
I dread to think what was there before the timber-n-carpet conference stage was introduced 🙁The Cathedral of St. Brendan in Loughrea, Co. Galway was begun in 1897 to plans drawn up by William Byrne and completed by 1902. In size, it is quite modest and, exteriorally, not much different from many churches then being buit in Ireland. Byrne was commissioned to bulit a church in the neo Gothic idiom, having a nave, absidal chancel, lean-to isles, a shallow transcept and a spire. The interior, however, is another matter. By some strange providence, the interior became a veritable icon of the Celtic revival movementin terms of sculpure, above all glass, metal work and wood work. This gem was the product of a partnership of interest in the Celtic Revival shared by Fr. Jeremiah O’Donovan, who was given charge of the Loughrea cathedral project, and by Edward Martyn (benefactor of the Palestrina Choir in the Pro-Cathedral). John Hughes was commissioned to do the sculpture for the interior -including the bronze relief of Christ on the reredos of the High Altar and a marble statue of Our Lady. Michael Shortall was commissioned to execute a statue of St. Brendan and the corbels. He is also responsible for the scenes from the life of St. Brendan on the capitals of the pillars. Designed by Jack B. Yates and his wife Mary, the ladies of the Dun Emer guild embroidered twenty four banners of Irish saints. The same studio provided Mass vestments etc.. The stained glass is by An Tur Glaoine (opened in 1903) under the direction of Alfred Childe and Sarah Purser. Over the next forty years A. Childe, S. Purser and Michael Healy executed all of the glass. Michael Healy’s Ascension (1936) and Last Judgement (1937-1940) are amongst the Cathedral’s greatest treasures. Fortunately, the liturgical Boeotians have not yet managed to exact their vengence on this little gem. The High Altar, communion rails, and pulpit are all still in tact – though the inferior quality of the modern liturgical furnishings inserted into the original organic whole is patently obvious.
Another view of St. John’s in Limerick. The more I look at the sanctuary floor the more I am reminded of something from a Harry Potter movie. 😮
For Praxiteles re #84 Tuam Cathedral. Here is a shot of the original sanctuary showing baldachino 🙂
and one of the side altars.“……… St. Mel’s Cathedral, begun to the design of Joseph Keane in 1840. While the portico lacks the sophistication of Keane’s great Dominican Pope’s Quay Church in Cork, the interior, by contrast, is now regarded as noblest of all Irish Classical church interiors. It is designed in the style of an early Christian basilica, with noble Grecian Ionic columns and a curved apse. It also shares the remarkable distinction of being the only major Catholic Church in Ireland to have actually been improved by internal reordering, when the fussy later altar was removed and replaced by a simple modem table altar, which accords harmoniously with the early Christian style of the interior. The tower and portico give a striking approach to the town from Dublin.”
(An Taisce)Is this true? I have been unable to find any photographs of St. Mel’s so am unable to judge. Does anyone have before and after shot so we can decide.
Well Graham, at least St. Patrick’s in Dudalk still retains the beautiful italian altar rails and brass gates insitu and though the homebase altar is quite disturbing, the sanctuary hasn’t quite been turned into a disney ice rink!!!
Re. post 109
It also shares the remarkable distinction of being the only major Catholic Church in Ireland to have actually been improved by internal reordering, when thee fussy later altar was removed and replaced by a simple modern table altar, which accords harmoniously with the early Christian style of the interior.Gianlorenzo wrote:“While the import of the above is not exactly clear, the idea that the modern undersized altar in Longford Cathedral “accords harmoniously” with the early Christian style of the interior is quite remarkable for its evident obliviouness to the findings of Christian archeology and the factual testimony of those Basilicas which still conserve their original spacial lay out. The result of Cathal Daly’s reordering of Longford is a modern construct derived from contemporary theories that has been brutally superimposed on a neo classical basilical context.
Were the reordering to have been conducted with the idea of reproducing or reinterpreting the prinicples underlying the spacial outlay of an early Christian Basilica, then the outcome would have been considerably different. It would have required emptying the nave of its benches]Solea[/I] extending one third of its length and marked off by barriers; a transverse barrier to mark off the Sanctuary; and the construction of a Ciborium or Baldachino over an altar on a raised dais. [See attachment 1 and 2]
In this system, the nave is reserved for the entry and exit of the Roman Pontiff and his attendants at least since the year 314when he was invested with the Praetorian dignity. When he arrived at the main door, his military or civil escort was shed; he processed through the nave with clergy any other administrative attendants until he reached the gate of the Solea at which point all lay attendants were shed; the lower clergy lined up in the Solea and remained there while the Pontiff, accompanied by the Proto Deacon of the Holy Roman Church and the Deacon of the Basilica accompanied him through the gate of the Sanctuary as far as the Altar where other priests or Bishops awaited him.
The laity were confined to the side isles; the matroneum (or womens’ side); and the senatorium (men’s side).
In Rome, two extant eamples of this spacial disposition illustrate the point: Santa Sabina which is partially intact [attachment 3]; but, more importantly, San Clemente which is well preserved [attachment 4].
Remarkably, the author who believes that the present interior lay out of Longford Cathedral somehow reflects that of an early Christian Basilica quite obviously has not read Richard Krautheimer’s Corpus Basilicarum Christianarum Romae and may not have been familiar with the same author’s Early Christian and Byzantine Architecture (Yale University Press). C. H. Kraeling’s The Christian Building (The Excavations at Dura Europos…Final Report, VIII, 2 (Yale University Press) and T. Matthew’s writings on the disposition of the chancel in early Christian Basilicas (Revista di Archeologia Cristiana, XXXVIII [1962], pp. 73ff. would certainly dispel any notion of even a remote connection between the early Christian Basilica and the current pastiche in Longford Cathedral.
@Graham Hickey wrote:
What came of the appeal to the Supreme Court do you know Praxiteles?
I noticed that no one has attempted to answer your question. To the best of my knowledge the Friends of Carlow Cathedral lost their case in the Supreme Court – legend has it that one man lost his home as a result. I have tried following this story up on the web but there is nothing obviously available.
Speaking of Carlow, there was a story in the Carlow People today about some of the stained glass window being smashed.
“Smashed Cathedral windows will cost thousands to repair
A number of stained glass windows in Carlow Cathedral were broken last week in an attack which is expected to cost thousands of euro to repair.
The damage was done when a man threw a bin at a number of windows in the Cathedral last Wednesday night.
The motive for the attack is not known but Carlow Gardai apprehended a man at the scene.
This is the second attack on a church in Carlow in recent times as just over a month ago vandals threw kerbing through a number of windows in St. Mary’s Church of Ireland in Rathvilly.Assessors have now examined the damage to the Cathedral although according to administrator Fr. Ger Aherne they have not yet completed their examination.
‘We don’t know how much it will cost to repair them, there were three or four panels broken,’ he said. ‘The windows are quite old and we expect the cost will be substantial.” Carlow People 18/11/05The vandals have struck inside and out.!!!! 🙁
re #107
Looking at the floor in Limerick, there might be a vague suggestion of the Campidoglio in Rome – but I would not swear to it!
en suivant la guerre….this time, we have the Cathedral of St.Eunan’s in Letterkenny, Co. Donegal, which, mercifully, has been subjected to a minimalist approach to “reordering”. It was the last of the major Gothic Revival cathedrals to have been built in Ireland. Begun to plans drawn by WIlliam Hague in 1891, it was completed in 1901 by his his partner T. F. McNamara. Here architecture “stained glass, sculpture, frescoes and mosaics are orchestrated into a triumphant unison”. The external sculpture is by Purdy and Millard of Belfast. The mosaic tiling of the choir is by Willicroft of Henley. The Pearse Brothers’ The High Altar, throne, pulpit (depicting the Donegal Masters), and communion rail all remain in situ. The glass is by Mayer of Munich and by Michael Healy whose work is to be seen in his windows of 1910-1912. The clerestory windows were designed by Harry Clarke. Great creidt is due the enlightened former Bishop of Raphoe, Dr. Seamus Hegarty, for this sensible approach to “reordering” and for his concern to preserve the integrity of the building.
The Cathedral of the Annunciation and St. Nathy, Ballaghadereen, Co. Roscommon is another example of a minimalist approach to “reordering” that has succeeded in conserving much of the original fabric and fittings of the building. Designed by Hadfield and Goldie, the foundation stone was laid in 1855 and completed in 1860. In the Early English idiom, a plan for a fan-vaulted ceiling had to be abandoned because of lack of funds. The external tower and spire are by W.H. Byrne. The glass was supplied by Earley, Mayer and An Tur Glaoine (the windows depicting St. John and St. Anne by Beatric Elvery). There are (and were) no choir stalls.
The Cathedral of the Most Holy Trinity in Waterford is the oldest Catholic Cathedral in Ireland. Begun to plans drawn up by John Roberts in 1793, the cathedral was completed c. 1800. The present sanctuary was installed in 1830; the apse and High Altar in 1854; and the Baldachino, supported by five corinthinan columns, in 1881. The pulpit, Choir stalls, and throne, designed by Goldie of London and carved by Buisine of Lille, were installed in 1883. The glass is mainly by Mayer of Munich – except for the chandeliers which are a gift of Waterford Glass Ltd.. A fairly minimalist reordering took place in 1977 during which the Choir Stalls were moved from their original position flanking the High Altar to a new position against the abse walls. The altar rails seem to have been removed and a moveable altar inserted.
The Cathedral of Our Lady Assumed in to Heaven and St. Nicholas, Galway, was the last Cathedral to be have been built in Ireland. Its patron was the formidable Bishop Michael John Browne and architect was John J. Robinson of Dublin. The builders were John Sisk. The foundation was laid in 1957 and the building was finished by 1965. The style, much criticized by the politically correct establishment, is certainly different from much of what was being built in Ireland at the time and reflects all sorts of eclectic elements borrowed from tpyes such as St. Peter’s in Rome, Seville, and Tuscany. The interior gives the impression of not having been completed and still lacks Choir Stalls, pulpit and perhaps even a proportionate High Altar in the apse. Those furnishings and fittings already in the building by 1965 have survived without any reordering.
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