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This, I take it, is what is called a “measured response”!
What can you possibly expect from Cobh Urban District Council? I hope that the whole thing can be closed down by absorbing it into the greater Cork area. The think is just too incompetent and would cause the former rotten boroughs to blush! No, in the case of Cobh UDC drastic remedial work is urgently required.
“After all, what hierarch wants a liturgical, cultural, and canonical Cerberus nipping at his hind quarters every time he reaches for the liturgical cookie jar?”
INDEED!!
If I remember correctly, a contributor (James1852) mentioned that the Cathedral in Waterford did have a stencil work that had been done by acompany of decorators in the 1880s, presumably with a colour scheme for the whole interior.
Try the Lawrence collecion for starters and after that the Browne collection, and after that postcards! Waterford County Council may have something or else the County (or City) Library, also try the archive of the Munster Express or other local newspapers.
I would certainly agree that there is a need for such a body to keep a close eye on the would be wreckovaters. But where do you start?
The arms on the funerary monument are those of Johann Philippus Count von Lamberg and are those of Lamberg and Podwein (or Podwin a Slovenian heiress) as permitted since the time of the Emperor Maximilian I. the Podwein part is or a setter rampant sable. the other part is Lamberg proper. The Counts of Lamberg were the Erbstallmeisters or heriditerary masters of the stable.
Peculiarly, the inscription mentions that Johan Philip, Bishop of Passau, was a prince of the holy Roman Empire but omits to mention that he was also a Cardinal.
Johann Philip is responsible for the internal decoration of the cathedral c. 1680-1700.
And here we have what must be the jewel of them all: Dreifaltigeitskirche at Stadl Paura near Lambach in Upper Austria. Dedicated to the Blessed Trinity, it was built by Maximilian Pagl, Abbot of Lambach, between 1714 and 1724 to pland drawn by Johann Michael Prunner. It was built in thanksgiving for delivery from the plague of 1713. It has three towers with tree bells, three facades with three portals; three windows; three altars raised on three steps of three different marbles; three organs; three sacristies and was built at a cost of 333.333 gulden with the remainder of the money collected being distribuited to 333 poor persons.
Here is a favourite: The Wies Kirche near the Abbey of Andechs in Bavaria:
These are excellent pictures of a typical interior layout of a church in Bavaria dating from c. 1730. Note the altar at either side of the chancel entrance. The features derives from the time when the chancel would have had a a rood screen closing off the High Altar and would have been used by a conrfaternity or other pious group. The same feature is to be seen in the sancturay lay out of Brother O’Riordan’s churches. Following the Spanish custom, he brought these lateral altars into the sancturay and had them flank the High Altar. The church in Dunmanway still has all three altars intact athough they are not the original altars – but you can see what was originally intended. The sutccoed sunburst on the sanctuary ceiling is a nice feature and, of course, intelligently placed. Being Bavaria and having the Denkmalshutzamt, it is not possible to demolish the interior or strip out the fittings and furnishings. Typically, permission has been given to put stuff in – including all those Finnish Alto stools and the square box altar. Please, may we have some more….
Apparently, the cause of the white powder falling from the vault of the arcades is a continuous water ingress that is leaking onto the portland stone. When it drys out, it pulverises and falls as white powder onto the seats and floor in the South arcade. Can anyone say how long it takes before the vault collapses?
Here is Duerer’s woork print of the Annunciation which probably has some influence on the annunciation panel in Kildare.
Here is the rototype for the first statue: Raphael’s Sixtine Madonna of 1513/1514
The canvas with the Virgin, Child and Saints Sixtus and Barbara, usually called the Sistine Madonna, is characterized by an imaginary space created by the figures themselves. The figures stand on a bed of clouds, framed by heavy curtains which open to either side. The Virgin actually appears to descend from a heavenly space, through the picture plane, out into the real space in which the painting is hung. The gesture of St Sixtus and the glance of St Barbara seem to be directed toward the faithful, whom we imagine beyond the balustrade at the bottom of the painting. The Papal tiara, which rests on top of this balustrade, act as a bridge between the real and pictorial space.
The painting was probably intended to decorate the tomb of Julius II, for the holy pope Sixtus was the patron saint of the Della Rovere family and St Barbara and the two winged ‘genii’ (visible at the bottom of the picture space) symbolize the funeral ceremony. The canvas was located in the convent of St Sixtus in Piacenza and was later donated by the monks to Augustus III, King of Saxony. It was carried to Moscow after the Second World War, and was later returned to Dresden.
Generations of visitors to the Gemäldegalerie in Dresden have been deeply impressed by the way in which Raphael portrayed the Madonna in this painting. It has been reproduced over and over again, and almost everyone is familiar with the putti leaning on the balustrade. The Madonna appears from behind a curtain, confident and yet hesitant. The curtain gives the illusion of hiding her figure from the eyes of the onlooker and at the same time of being able to protect Raphael’s painting.
Here we have an interesting restoration project on hands following the destruction (by fire) of the Abbey Church of St Michel de Kergonan in Brittany last month:
From this morning’s quondam Cokr Examiner:
11 May 2007
Able-bodied people also have difficulties at airport
I WRITE in response to Donie O’Leary’s letter regarding Cork Airport (Irish Examiner, May 7).
He makes his point in relation to wheelchair users’ ability to use the new airport.
The approximate percentage of people with disabilities is between 9% and 15%, depending on the level of severity of disability included — but my point is that one does not need to be disabled to have difficulty using Cork Airport.
As a mother who travelled with three children, one of whom was in a buggy, I encountered similar problems.
After disembarking from the plane, I had to wait at the bottom of the steps for my buggy. I then had to, as Mary did, get to the terminal but first had to stand outside in the rain as the lobby is not big enough to hold all the passengers.
The lift was not accessible at this point, due to the crowds. I then could have faced two storeys of steep steps if the lift had been unavailable or out of order.
Approximately 5% of the population are under 14 and 17% are over 65. Of the 78% remaining, around 50% are women, some of whom will be pregnant. The range of limitations at the airport for non-disabled people is wide and varied, although not as difficult as those experienced by Mary in Mr O’Leary’s letter.
Cork Airport fails to cater for all its citizens equally.
Linda Horgan
9 Court Cairn
Model Farm Rd
CorkThis yera marks the 150th. anniversary of the excavations at Basilica of San Clemente in Rome, carried out by one of Ireland’s most important archaeologists Joseph Mallooly:
Cork County Council’s Planning department to-day confirmed that some 13 submissions had been received by them in conncetion with a planning application to wreck the interior of St. Joseph’s Church, Liscarroll, Co. Cork. May 28 is the due date for a decision on the County Council’s pert. We shall see what they will come up with – hopefully it will be a bit better than Cobh Urban District Council.
Well, it looks as though Dick Roche’s attempt to plough up Tara is not without a counterpart in Barcelona:
