Praxiteles
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@Paul Clerkin wrote:
The Catholic Church of the Annunciation was erected in 1878 to replace the old Chapel in Willbrook Road. Outside the door is a primitive type of font on a pedestal bearing an inscription. The appearance of the font led the archaeologist Patrick Healy to speculate that it was originally a stone bullaun and dated to a period much earlier than the penal times.
This image corresponds with the drawing so it looks like the building was largely completed as designed, at least externally. Internally looks like rails are gone.
Yes. The rails are gone. And I suspect the pulpit has also gone as has the original paint scheme. However, the Hight Altar is mostly still in place. All in all, better than many other places.
@samuel j wrote:
Lets hope they get on the job soon, was there yesterday and place looking terrible. The outside looking very shabby and the dreaded green growth worse than ever.
What does the world think of us at all…. every week literally hundreds visit St. Colmans, must be the most photographed building in County Cork…. what must they think….:oWell, you know, we are dealing with the shameless. If they were prepared the wreck the interior and plaster rubbish all over it -and dump rubbish all over it as at present- then they will not think anything of the missions admiring the green growth on the wall either.
On Tullamore church, see posting # 2554 in which James1852 posted some photographs of the recently restored stencils work on the internal walls.
Thanks Paul for those two remarkable drawings from the Irish Builder. Looking at the first one, the similarities of the ground plan with Michael Hennessey’s church of the Exaltation of the Holy Cross in Charleville, Co. Cork (1900), is most striking – excepting the tower which in Charleville was moved to the left side.
Also, the Rathfarnam ground plan, if I am reading it correctly, shows a continuous altar rail running from one side of the church to the other, below the flight of steps leading to the chancel and its flanking chapels. This, of course, was also used by Ashlin in Cobh Cathedral. Peculiarly, the great Professor O’Neill dubbed the continuous altar rail in Cobh as crude intrusion (or words to like effect) and doubted that its installation had the benefit of an architect. This in turn caused Mr. Rabbitt, the ABP inspector to ask about other examples of continuous rails in neo-Gothic churches by Pugin and Ashlin – this would have been a good example. I wonder has it survived?
BTW: on Professor O’Neill’s comments on the unsatisfactory endings to the continuoyus altar rail in Cobh when it eventually joins the walls of the North and South transepts, clearly the good professor took it that wall and rails were installed at the same time or that the rail was installed AFTER the walls. However, this displays a certain lack of an historical approach to things. A chek on the building chronology of Cobh Cathedral would have made it clear that the continuous altar rail was one of the first items installed there (c. 1892). The revetment of the interior walls only began in the later stages of the Cathedral completion which began in 1895 and were not finished, in some cases, until as late as 1912/13. So, Professor O’Neill’s “analysis” of the problem of the rail joining the walls is, historically, rumpwise. He should have addressed the question of the internal Portland stone revetment meeting the continuous altar rail – but, it was perhaps just as well that he did not do that for he might have suggested ripping the revetment off the walls of the North and South transepts to solve the “intrusive” -but in the context useful- problem.
Anyone interested in the painted decoration of Gothic cathedrals might be interested in the following link which shows some wonderful views of the interior fo the Cathedral of Ste Cecile at Albi in France:
@johnglas wrote:
Prax: no finger-wagging, at all, at all! The Seven Dwarves did not ocur to me, but Walt Disney certainly did…!
I am afraid I have somewhat lost the thread of the argument here. What have the vertically challenged to do with matters?
@ake wrote:
If only we could take the cathedral out of the hands of the incompetents, and put into a preservation trust. It’s a disaster waiting to happen with these Church people in charge. Or rather the disaster is already arrived and on going.
I have been on before about the lack of INSTITUTIONAL maintenance at Cobh Cathedral. This leaves it in the hands of local celrgy which appears to be slide as far as competence is concerned.
@johnglas wrote:
Prax: judging by their portfolio, Cornerstone have done some prestigious work. Not being on the ground, it’s hard to judge: do you think they’re up to the scale of what is needed at Cobh cathedral?
Do not know for certain yet taht they are in on it. Rest assured, however, that FOSCC will probably go over everything with a fine tooth comb – this is especially necessary as much of the work done in the so called “restoration” was shoddy, poor and sub-standard. For eample, the problem of water pouring onto the Portland stone reventment of the South arcade was caused by the “new” roof. Even at its worst,. the old roof did not let in water to this extent and certainly not over the south arcade.
Indeed, Cornerstone Construction, from their web page, seems to be the ones whose services are most needed in Cobh Cathedral – they seem to know all about leaking (new) roofs and decaying stonework. They did quite a bit of work in Monkstown, and in the Town Hall in Cobh, and in Castlehyde and elsewhere in Cork. So……
I wonder is this the same Christ Southgate as TKB Southgate Associates:
http://www.youtube.com/watch?v=Cg3UaQAQLq4
http://www.youtube.com/watch?v=FAYukC5uvao&feature=related
http://www.youtube.com/watch?v=5MECUE7cKFk&feature=related
And a little more on the restoration of Dunboy Castle by Chris Southgate and Associates:
http://www.cornerstoneconstruction.ie/dunboy.html
Just like Tweety Birs, I thought I heard a putty cat as C. Southgate spoke in that second You Tube clip. Did Tweety Bird hear the name of John Lynch float by? Well, Cornerstone Construction did confirm indeed that RKD architects were on the job at Dunboy – and who should be a fellow in company by one John Lynch who has already featured on Archiseek.
As the “Patzienten” in the Cloyne diocesan Zauberberg have not gone beyond telling us that they have dispensed with the services of the great Professor Cathal O’Neill as architect for the “conservation” of Cobh Cathedral, Praxiteles wonders whether the local architects now employed on this project willò not turn out to be RKD Architects and our old friend John Lynch? Keep tuned, as they say, for further news.
Now here is a statement from the company prospectus about conservationa dn development. I am wondering of this might not have some “application” in the Cobh Cathedral project:
“Planning and Development Advice
We are able to assist clients through the planning process based upon our range of skills and experience. Using a Conservation Plan approach to establish an understanding of a designated site, it is possible to show that new development and conservation need not be mutually exclusive and that sympathetic solutions exist for sensitive sites”.
Just take a look at what the pussy-cat has just dragged in:
TKB-Southgate Associates work on historic Neo-Gothic Cathedral, Cork
St. Coleman’s Cathedral, Cobh, Cork is a landmark neo-gothic building in the early French Decorated Gothic style overlooking Cork harbour. Described as the most ambitious and costly ecclesiastical building of the Victorian era. Began in 1868 it was the work of E.W. Pugin, G. Ashilin and T. Coleman and was not completed until 1915. It is the Roman Catholic Cathedral for the Diocese of Cloyne. TKB Southgate Associates are involved in the conservation of the building from mosaic restoration to addressing falling damp issues.
The “falling damp issues, as are they are sweetly called, refer to the collapse of part of the south arcade last Christmas eve – an incident denied by the “patients” populating the Cloyne diocesan Zauberberg.
However, netting has now been installed on the south arcade as a safety precaution, we are told.
It appears that TKB Southgarte Associates will be dealing with disintegrating mosaic work, the delapidated doors, and what is described as works to the Cathedral doors. I seem to recall having mentioned much of this at least two years ago and note the absence of any mention of an intention to address the deplorable state of the Cathedral baptistery.
I hope TKB South Gate Associates realize that they are in for a rough ride unless the FOSCC is satisfied that what they propose to do is up to best conservation satndards. Otherwise, we will be looking forward to Midleton II.
@ake wrote:
yes brilliant article that
It would be worth having all the collection of articles by Brian Andrews – a very notable Pugin scholar.
@Paul Clerkin wrote:
re St. Macartan’s Re-ordering
http://www.parishofclontibret.com/churches.htm#clontibret
“The tabernacle was formerly in St Macartan’s Cathedral, Monaghan, prior to the renewal of the Cathedral sanctuary during the 1980s.”
At least we know where it is when it will come to putting it back where it belongs.
I am told that the altar and several other features from Armagh are in th parish church of Derrynoose.
And also see article no. 7 in the list of published material. It has an excellent account of Pugin’s St. Michael’s Church, Gorey, Co. Wexford.
On the Australian Pugin Foundation, Praxiteles is happy to post a link with a number of very interesting articles of various aspects of Pugin’s oeuvre not only in Australia but also in Britain and Ireland. Of particular note here is the excellenct article on Pugon’s use of the Perdendicular Gothic, something not usually associated with him.
Here is the link:
This year is the centerary of the birth of Giovannino Guareschi – the creator of the fictional character Don Camillo. In the middle of the Don Camillo novels, Praxiteles came across this which could have been written about the state of affairs in Cobh: …two days later, the Bishop’s secretary plunged into Don Camillo’s office. The young priest, like all the progressive priests of the Aggiornamento, despised and detested all parish priests…
“Reverend Father!” he ranted. “Is it possible that you lie in wait for opportunities to show your obtuseness as regards political and social matters involving the Church? What is the meaning of this latest sideshow of yours? Quite rightly Mayor Botazzi intends to encourage tourism and adapt the town to the needs of the motorized times — and to do this he wants to create an ample parking lot here in the square. How can you have the arrogance to oppose this project?”
“No arrogance at all: I’m simply preventing the destruction of Church property.”
“What Church property! You can’t clutter half a town square with useless columns. Don’t you understand what an advantage it will be to you? Aren’t you aware that many people don’t come to Mass because they can’t find a place to park their cars?”
“Certainly I know that,” Don Camillo answered calmly. “However, I don’t believe the mission of a pastor of souls should be to organize parking lots and rock Masses to provide the public with a religion complete with all the modern conveniences. The Christian religion is not, and should not be, either comfortable or amusing.”
His point of view was a bit hackneyed and it caused the Bishop’s priest to explode. “My dear Father, you appear not to have grasped that the Church must attempt to bring itself up to date, and it should be helping progress, not blocking it!”
…
There was no point in arguing with such an old fossil, so the secretary wound up the discussion. “Don Camillo, are you saying that you refuse to obey?”“No, if his excellency the Bishop orders us to transform the colonnade into a parking lot, we will do so, even though the Council has reasserted that the Church of Christ is the Church of the poor people and consequently should not have to worry about the cars of the faithful.”
…
“Comrade Mayor,” the priest explained humbly, “we have noted that for quite a few years now your Party has involved itself with enormous love and devotion in the major and minor problems of the Church. We would simply like to request that you and several of your comrades be present at the farewell ceremony for our precious crucifix, which after three hundred and fifty years of honorable service to our town is being moved to the city to a fine new home in the Bishop’s palace.”Peppone leapt out of his chair. “You’re out of your mind, Father! That crucifix is a work of art, and it belongs to this town! And it stays in this town!”
Don Camillo spread out his arms. “I know, Mr. Mayor. The problem is, however, that I have to answer to my Bishop, and not to your Party. Therefore I will have to hand the crucifix and altar over to the Bishop’s secretary. I’m well aware that the Christ is a major part of the artistic and spiritual heritage of the town and that it’s place should always be the one it’s occupied for the last three hundred and fifty years — on top of that altar in front of which you and so many others took Holy Communion and were united in Holy Matrimony, in front of which your mother prayed while you were fighting in the war — your poor old parish priest understands all this, but all h can do is obey orders. And he will obey them unless of course he is threatened with violence. Because threatened with violence, what can a poor old parish priest do? Comrade Mayor, I beg of you, explain my plight to your superiors, and remember my position yourself, and realize that nobody could be more distressed at what I must do than I am.”
“Father,” Peppone shouted, “if you think I’m going to sit still for this, you’re out of your mind!”
Peppone was serious and the next morning the town walls were papered with mammoth posters denouncing the planned abduction and ending in two lines of big, bold lettering:
THE CHRIST IS OURS
NOBODY TOUCHES OUR CHRISTTowards midday Don Camillo, who wasn’t the slightest bit disturbed by the position Peppone had taken, calmly pedaled off to the private chapel in the old manor house lost in the countryside — and there a rude surprise awaited him. The toughest of Peppone’s thugs were camping out in his garden full of weeds, passing the time pulling them up.
“You realize this is private property and I could have you prosecuted for trespassing?” Don Camillo said… .
“Oh yes, father.”
“May I go inside to wrap up the Christ and the pieces of the altar?” Don Camillo asked.
“You can go inside, but you’re not wrapping up anything. You’re a priest, not a freight despatcher.”
“Well, I certainly don’t want to break union rules,” said Don Camillo, bicycling off towards town.
…
A committee comprised of representatives from all the political parties and associations traveled to the city and made the Bishop give them an audience, during which Peppone voiced the respectful but adamant protest of the town’s citizens. The Bishop heard all he had to say and then held out his hands smiling.“But this is all a misunderstanding,” he said. “There is nothing to prevent the altar returning to the place it has always been. The Mass can be celebrated in the new way in front of it, and the townspeople will have the additional inspiration of its exceptional artistic and spiritual merits. That is, provided that the parish priest has no valid reasons to oppose the restitution of the altar. The decision rests entirely with him.”
When the committee went to tell Don Camillo what the Bishop had decreed, Don Camillo answered humbly: “We are fully prepared to carry out the wishes of our Bishop.”
@Antipodes wrote:
There is at least one example of Pugin installing medieval elements in Ireland. His holy water stoup at the public entrance to the chapel of the former Presentation Convent, Waterford, is composed of medieval fragments. Sadly, the right side has been mutilated by part of a later porch and the pipe at the left doesn’t add much either.
Agreed!
