Praxiteles
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can anyone identify this cathedral interior which is in the Lawrence collection and shoul date from the late 19th century? It is interesting because of its elaborate stencil work.
Praxiteles fears that the pulpit may not have survived in Barntown as the recent photograph below shows no sign of one:
St Alphonsus, Barntown, Co. Wexford built by A.W.N. Pugin
Early’s drawings for the pulpit. Praxiteles is unsure whether it survives or not:
St Mel’ cathedral, Longford
What must surely stand as a sad reminder of the vandalism of the past 40 years:
Early’s designs for the Pulpit of Longford Cathedral:
Amiens Cathedral:
Some notes and images of the proper usages of the choir at Amiens Cathedral:
Johnglass!
Finally, here we have a link to a digitalized copy of William Durandus’ Rationale Divinorum Officiorum which sets forth the symbolism of churches and church ornament:
This translation was done in 1843 by John Mason Neal and Benjamin Webb of the Camden Society.
St Peter and Paul’s Church, Cork, (E.W. Pugin, 1859)
Here is a very interesting picture of the interior of Sts Peter and Paul’s church in Cork City following recent reordering of the sanctuary there.
St Colman’s Church, Cleveland, Ohio, built in 1880
Well here it is and it looks as though it has just missed the wrecking ball. What ever is it that the neo-pagans have against ST Colman?
St Colman’s Church, Cleveland, Ohio
what an interesting design for the sanctuary floor. Praxiteles must enquire if it has survived.
Freom the Early archive:
Glaunthane, here, is presuma bly in Cork and teh window should still be there.
The parallel here between the Kingship of Christ and that of Our Lady is theologically interesting. It was precisely this parallel which for a very long long time held up the establishment of the Feast of the Queenship of Mary -which we shall have this week to close the Ocatve of the Assumption. The problem of so obvious a parallelism could -and in some quarters did- give to rise to theological difficulties about the unique and universal salvific opus accomplished by Christ and him alone. Everyone else and everthing else has to fit into that theological structure somewhere but it cannot rival or be seen to displace or replace it. Interesting that this theological pronblem should have found itself onto a window in Cork of all places!!
Aepelles!
Some more identifications frome the Early archive:
These windows are in St Mary’s Chapel, Maynooth College. I am sure you will remember having seen them in pityable abandon in the midst of Hacker Hurle’s latest destruction of the chapel. The scenes depicted are the annunciation and the Birth of Our Lord. These windows are best seen in the afternoon ( c. 4pm) towards the end of June.
And the pendant, Visitation and Coronation. Thus four of the Glorious Mysteries of the Rosary (missing the Assumption) are represented in what used to be the chancel wall of the senior chapel.
Amiens Cathedral
Some more examples of the metal work designed by Slodtz and executed by Veyden.
Here we have an example of the enceinte grille surrounding the Choir:
Amiens Cathedral: the Choir Stalles executed between 1508-1519
Some further details on the Choir Stalls:
http://www.cathedrale-amiens.images-en-somme.fr/visite-des-stalles.php
Amiens cathedral:
The Boroque Choir and sanctuary seen from the triforium behind the High Altar. Unfortunately, the magnifence of the4 floor of the choir cannot be seen by the intrusion of common benches (indeed, very common benches) into the space.
Amiens Cathedral, some more of the metal work designed by Michel-Ange Slodtz and executed by Jean Veyren (1704-1788)
Some examples of 18th. century French metal work:
Amiens cathedral:
The entrance to the choir and sanctuary
The entrance to the Lady Chapel
The Chapel of Notre Sauveur
The Chapel of St John the Baptist
@apelles wrote:
Appeles, what you say is generally ture but in the cqse of Fermoy it is a bit more complicated: Hodiknsons did the original scheme for the whole church ( and the plan survives in Hodkinsons archive) the Dublin Craftworkers only repainted the sanctuary. In circa 1952 everything was painted out with cheap war time suprlus paint except the angels painrted by the Craftwoerkers -which are painted on caqnvas applied to teh wall.
Do you know of any plans to digitise & create a database of the Hodkinsons archive?..A cross comparison of all these archives would lead to some very interesting conclusions I’m sure.
Ageeded totally. It would be worth talking to the propritors of hodgkinsons in Limerick. Chances are they would be interested in such a product.
Appeles, what you say is generally ture but in the cqse of Fermoy it is a bit more complicated: Hodiknsons did the original scheme for the whole church ( and the plan survives in Hodkinsons archive) the Dublin Craftworkers only repainted the sanctuary. In circa 1952 everything was painted out with cheap war time suprlus paint except the angels painrted by the Craftwoerkers -which are painted on caqnvas applied to teh wall.
@apelles wrote:
Design for marble and mosaic decoration for Mullingar Cathedral apse. Featuring mosaic of Christ’s ascension into heaven surrounded by the disciples and angels, with coloured marble panels below. Includes inscription, ‘Respondit Jesu Regnum Meum Non Est De Hoc Mundo’.
Annotated in pencil, ‘Design for Decoration of Apse in Marble & Mosaic. , ‘Scale 1/2″ = 1.ft.Design for lunette for apse, featuring Christ enthroned against a cross and mandorla, holding the eucharest, surrounded by angels and a procession of saints at his feet. Inscription at foot of lunette reads, ‘omas Aq. S.Agustinius. S. Gregorius. B.Clementius. S.Alphonsus’, and ‘B.Ceradus. S.Franciscus. St Benedictus. S.Ignatius’ Partner to EC/193.
Coloured elevation, side elevation, vertical section and half plan for altarpiece, featuring carved statues of St Patrick and St Bridget in niches at either side. Also includes carved relief scenes of the last supper (on the base), and the Annunciation, the Visitation, the Crucifixion (centre), the Presentation in the Temple, and the Coronation of the Virgin.
Annotated in pen, ‘High Altar Convent of Mercy Loughrea. Material Caen stone. Shafts Irish marble. Altar table Sicilian marble Group subjects, last supper, annunciation, visitation, presentation in the temple, coronation and the Crucifixion. St Patrick and St Bridget’, ‘Side elevation’, ‘Elevation’, ‘inches, feet’, ‘No 1’, ‘Vertical section line YY’, ‘Half plan line AA’, ‘Half plan line’, and ‘Earley and Powells Dublin March 14th 1881’.The inclusion of Sts Clement and St Alphonsus in the apse design above would suggest a connection with the Redemptorists. Praxiteles is not inclined to think that it ios Limerick – though the inclusion of St Clement here would at fiorst sight suggest that (but we already know that Hodkingsons of Limmerick did that interior). Perhaps someone ,ight look at teh Redemptorist monastery in Belfast or perhaps in Dublin as alternative candidates.
