Praxiteles
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It is beyond belief that the likes of this should happen. So much for the twaddle spouted as policy statements in Dublin City Council’s Development Plan. Although this church had ceased to operate as an Anglican church, it had been used by teh Greek Orthodox in Dublin. This was a very suitable form of ecclesiastical re-deployment and one calculated to secure the future of this historic church. However, it seems that Dublin City Council condemned the building as unsafe so the Greek Orthodox had to move out. Of course, once they moved out someone ensured that there would be no question of their moving back in -so now they are in a an-ex national school in Arbour Hill. Just what is going on here….. and this building is supposed to be protected by a preservation order!
Looking at the pictures, it seems as though all the original flooring has been stripped out as well as the box pews.
This is where the Greek Orthodox are gone: to a former National School in Arbour Hill.
http://www.irish-architecture.com/buildings_ireland/dublin/northcity/arbour_hill/greek_orthodox.html
Obviously, there was some great brain power at work here -move them out of St. Mary’s so taht it could no longer have a rekigious use into a former national school for which other alternative use could be found. meanwhile, St Mary’s is gutted!
Is this theone you are looking for? It is by WIlliam Robinson and was begun in 1700.
This photograph was taken at a time when the church was being used by the Greek Orthodox community in Dublin. The only modifications they made to the interior was the erection of a temperorary iconostasis which is necessary for the celebration of Mass in the Byzantine Rite. It screens off the sanctuary -so much for the validity of the gaukers theory that everyone must see everthing that goes on during the celebration of the sacraments. I had heard taht they were moved out of the church although they may have wanted to buy it. Does any one know what went on here.
The Church of St. Nicholas in Carrig-on-Suir is by George C. Ashlin and dates from c. 1860. J. Williams describes it as “his ealiest and purest essay in Italian Romanesque”. JJ McCarthy was the architect for Thurles Cathedral, also in the Italianate idiom and based directly on Pisa.
Do please post the photos of Mount Argus!
@ake wrote:
Is this place still in use or has it been deconsecrated? I do hope somebody will be on hand to salvage the Hogan sculptures if the chapel should be turned into pub or a trendy cafe or a badminton stadium.
Try this for starters:
http://archives.tcm.ie/businesspost/2005/01/23/story1695.asp
and this:
@ake wrote:
Is this place still in use or has it been deconsecrated? I do hope somebody will be on hand to salvage the Hogan sculptures if the chapel should be turned into pub or a trendy cafe or a badminton stadium.
A good question!
Here is the probable source for this statue: Francois Duquesnoy’s St Andrew in St Peter’s Basilica in Rome c. 1650.
Well, here we are the mystery is resolved: St. Andrew’s Westland Row before th hackers got at it.
Notice that the Tbernacle on the High Altar has beenreduced in size thereby casuing a disproportion with respect tot he Altar Piece hanging over it. This kind of tomfoolery is reminiscent of the great Professor O’Neill’s hacking of Turnarelli’s High Altar in the Pro-Cathedral.
It has also entirely lost the tabernacle from the right altar and possibly the mensa of the altar itself.
The double railing is also gone.
The Stations of the Cross have been shorn of their crosses.
And the third Rubens in Antwerp Cathedral: the Assumption of Our Lady painted 1619-1625 over the High Altar.
The counterpart of the Descent form the Cross is Rubens Raising of the Cross which is in the north transept of the Our Lady’s Cathedral in Antwerp. It was originally painted for the high altar of the church of St. Walburga in 1610, Before the end of the 16th century this subject was never depicted in Sacred Art and was thus a novelty when painted. This is one of Rubens first works after his return from Italy and shows all the Italian influences he picked up -including the depiction of muscles a la Michelangelo.
And here is the original from the Cathedral of Our Lady in Antwerp. The central panel was finished in September 1612 and is regarded as one of Ruben’s finest pictures.
The side panels depict (l) the Visitation of Our Lady; and (r) Simeon holding the Child Jesus at his presentation in the Temple. The centre panel depicts St. John holding the Body of Christ as it is taken down from the cross. All three scenes have been read as a reference to St. Christopher – Christopher meaning the “Christ bearer” – and to the Guild of Arquebusiers which commissioned this Altar Piece. Thhe theme of Christ bearing connects all three panels.
Here are some further shots of Westland Row.
It seems to Praxiteles that the taberncale on the High Altar is suspiciously small and wonders whether the tabernacle on the left side-altar might not have been on the High Altar at some stage. Note the finial detail of the larger tabernacle: the Lamb on the Book with the seven seals (taken from the Apocalypse of St. John) which was a favoured classical motive.
The Inscription over the High ALtar clearly intended this to be the altar for the Tbernacle. It reads: Ecce Tabernaculum Dei cum Hominibus {Behold the Dwelling (Tabernacle) of God among Men].
The picture from the old Liffey Street Chapel is a copy by Bechey of Ruben’s Descent from the Corss in Antwerp and has been in this parish since at least 1755.
Any comments.
@Rhabanus wrote:
Thanks for the correction. I could make out only shapes from the distance at which the photo was taken and the less-than-idel resolution on my screen chez moi; hence the picture had looked to me like a reproduction of Sassoferrato’s Madonna of the Rosay, the original of which hangs in the Dominican church of Santa Sabina on the lovely Aventine Hill.
To whom had the other side altar been dedicated? I presume it was dedicated to Our Lord under the title of the Sacred Heart or some other dominical mystery. I speculate on this because the Lady Altar in this church is on the Epistle rather than the Gospel side of the main sanctuary.
Any clues?
I think the inscription reads: Caro [enim] Mea Vere est Cibus John 6:56 “For my flesh is truly food” – which suggests possibly an Altar dedicated ott he Sacred Heart
It is not the Madonna of the Roasry. It is a copy of Ruben’s Taking down from the Cross in Antwerp Cathedral. This picture originally hung over High ALtar of the the 18th. penal Chapel in Liffy Street which was replaced by this church. WHen they moved from it, they brough their pictures with them. The Ruben’s copy is in a beautiful Roccoco frame. This history explains the problem of proportion bewteen the pictures -from an earlier and smaller altar – and the present altar piece. I agree that the Baptism picyure is likely to have been in the original Baptistery and more than likely a picture of Our Lady hung in this location.
@ake wrote:
St.Andrew’s, Dublin; One of the side altars is now a backdrop for the quite beautiful font.
[ATTACH]6293[/ATTACH][ATTACH]6292[/ATTACH]This church has a fine mortuary chapel and also a very fine nuptial chapel. I can’t remember if it had a separate baptistry…
This is the little nuptial chapel, which has a small dome-light, as does the mortuary chapel.[ATTACH]6294[/ATTACH][ATTACH]6295[/ATTACH]
Painting the reredos of the symetrical side altars two different colours was also a very bright idea!!
