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off topic, I called in to the Loreto convent in rathfarham and was told the place was empty, the only person inside being a security guard at night, so no access to the chapel (someone at the gate lodge building told me that). I presume I was given the right info. Anyone know anything about the inside of the chapel what state it’s in?

@Praxiteles wrote:

Cngratulations to Randal Hodginson on what looks like a superb piece of restoration in the Redemptorist church in Limerick.

Praxiteles believes that there will soon be a business expansion in this line of work as soon as we can finally shuffle off the few remaining liturgical dinausaurs left over from the 1970s.

Keep up the good work.

fantastic

@Praxiteles wrote:

Well, J. Turpin lists the following in his catalogue raisonné:

78: Pietà, St. Nicholas of Myra, Francis Street, Dublin, c. 1831. Pryamidal composition deriving from Michaelangelo’s Pietà in St. peter’s and from Canova’s at Possagno. Comissioned by Archdeacon Flanagan, himself a sculptor, for the new church built by John Leeson 1829-1834, it and two flanking angels were imported from Rome. This is a unique composition in Hogan’s oeuvre and caused a sensation in Rome and established his reputation in Ireland. Hogan received £150 for the commission.

85: Pietà, plaster, in the Crawford Art Gallery Cork, 1842. This is the cast from which the Ballymarn, Loreto and St. Saviour’s Pietà were cut. Hogan’s sister-in-law, Silvia Bevignani, is said to have served as a model for Our Lady. The dead Christ figure resembles the figure of Christ in St. Nicholas of Myra, Francis Street, Dublin. Still mercifully in place despite the iconoclasm.

86: Pietà, marble, Ballymyrn 1843.

87: Pietà, marble, Loreto Abbey, Rathfarnam, 1843. Cannot say if this survived the closure of the convent. Mentioned in A. Crookshank, Apollo, 1966, p.312, and in H. Potterton, Irish Art and Architecture, p. 218.

98: Pietà, marble St. Saviour’s, Domnick Street, 1857.Received £250 for the commission. Mecifully, it just about survived Austin Flannery’s devastation of St. Saviour’s interior.

Four variants of the Pietà are also extant:

1. St. John the Baptist, Blackrock, Co. Dublin
2. Sts Peter and Paul’s, Balbriggan, Co. Dublin.
3. St. Patrick’s Church, Dungarvan, Co Waterford -done by Scannell.
4. Loreto Convent, Balbriggan, believed to by Parnell.

The Pietà motiv containing Our Lady, however, should not be confused with the Cristo Morto (Dead Christ) motiv which does not. Of the latter, there are four versions: Carmelites, Clarendon Street, Dublin (1829); a plaster in the Crawford Gallery Cork (1832); the South Parish in Cork (1832); Basilica of St. John in St. John’s, Newfoundland (1853).

thanks for that. I’ll be in Dublin later this month and I’ll be calling in to the Loreto rathfarnham, see if I can get in the chapel.

@Praxiteles wrote:

John Tupin’s Catalogue Raisonné of John Hogan, no 86, describes this work as a Pietà executed in 1843 for John Maher, MP (Wexford) and erected in the church at, Ballymarn (sic), Crossbeg, Co. Wexford, in memory of his daughter Margaret Maher 1808-1838. Hogan noted final payment of £110 received in November 1843 (UCD: MS no. 4179). There is no doubt that the relief is by Hogan.

brilliant. thought so. Is it true there is a third version of this work somewhere? or was is only two?

The magnificent franciscan church in Roscrea

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Viewed from down the river a bit it looks quite good. well maybe that’s bit strong of a word. it’s something anyway.

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but from straight on the facade is atrociously boring, for the size of it

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the corners specifically

@Antipodes wrote:

This is indeed a Pugin altar and reredos, and a very significant one. It is one of a small number of his designs for winged altars based on his observations in Central Europe. Its brilliant colours follow the rules of heraldry, as did his flat decorations, and it is thankfully intact. The design closely resembles his later illustration of an altar in his 1841 edition of ‘Contrasts’, as well as an unexecuted design of 1839 for the Lady Altar in St Chad’s Cathedral, Birmingham.

St Peter’s College shelters other Pugin altar treasures, namely, the two rood screen altars from the demolished screen of the chapel. Both are in storage. The one formerly on the north side of the screen has a reliquary of St Aidan set into the front.

wonderful picture! this chapel is too overlooked. I’ve just come across an old picture of it with the rood screen intact, it’s in a new book just published about Wexford. If I can’t find it online maybe I’ll scan it in and post it.

@Praxiteles wrote:

I fear not!

Am I to understand this is a Pugin designed reredos?

(St.Peter’s College Chapel, Wexford)

http://www.buildingsofireland.ie/niah/search.jsp?type=images&county=WX&regno=15504014

@Praxiteles wrote:

In Four Courts Press recent book on the Gothis Revival in Ireland there is an very interesting article on the development of St. Peter’s Phibsborough written by Chhristine Casey. It gives a fairly in depth account of the long building history of the church together with the architects involved: the early quasi unknown architect of the first Gothic church, Goldie, and Ashlin and Colman. Curprisingly, her iconography is a little shakey here and there: e.g. the refernce to the Tiara and Crossed Keys which should have been surprising in a church dedicated to St. Peter since both represent papal authority conveyed to St Peter by Christ and transmitted to his successors (which might have ad a conpemporary baring on matters in the 19th century given the position of the papacy in the Piemontine state subsequent to 1870). Also, a reference to an “Altare Priviligatum” expresses no particular connection with the Holy See since the “priviligatum” attached to Masses said at that altar which attracted (under certain coircumstances) an indulgence applicaple to the faithful departed. Such purgatorial priviliges were widespread.

must have a look at that

any graphics of that?