Christ Church, Lichfield … a Gothic Revival triumph by Thomas Johnson, the Lichfield architect (Photograph: Patrick Comerford)
Patrick Comerford
We are in Ordinary Time in the Church Calendar, and the week began with the Tenth Sunday after Trinity (13 August 2023).
Before this day begins (17 August 2023), I am taking some time this morning for prayer, reading and reflection.
In recent weeks, I have been reflecting on the churches in Tamworth. For this week and next week, I am reflecting each morning in these ways:
1, Looking at a church in Lichfield;
2, the Gospel reading of the day in the Church of England lectionary;
3, a prayer from the USPG prayer diary.
Inside Christ Church, Leomansley … built on Christchurch Lane in Lichfield in 1846 (Photograph: Patrick Comerford)
Christ Church, Lichfield:
Christ Church was built in 1846 on Christchurch Lane in Leamonsley, just off Walsall Road in the south-west corner of Lichfield. It serves a parish that includes the areas around Leamonsley, Sandfields and Lower Sandford Street.
The church was photographed extensively and described beautifully (13 January 2013) by the Lichfield blogger and local historian Kate Gomez. It has connections with two great Gothic Revival architects, Thomas Johnson and George Frederick Bodley, and its Hardman and Kempe windows and interior decorations bring together a truly delight expression of the late period of Gothic Revival architecture and art in Staffordshire.
My recent visit to the church some time ago was arranged by the Revd Janet Waterfield, Vicar of Christ Church, Lichfield, and Saint James’s, Longdon, and I was shown around the church by the verger, Margaret Beddoe.
Christ Church is a fine example of the Decorated Gothic revival style of the 19th century. The church is a Grade II* listed building. On the ceiling of the chancel are some unique Pre-Raphaelite canvas panels painted by John Dickson Batten (1860-1932).
A growing population in the west of Lichfield created the need for a new church in the area. Building work on Christ Church began in 1844 and it was completed by 1847, making it the first new parish church in Lichfield since mediaeval times.
The ¾-acre site for the church was a gift in 1844 from Richard Hinckley, a Lichfield solicitor and the owner of Beacon Place and its surrounding estate grounds. The site was about 500 metres south of Beacon Place at the edge of the grounds of the Hinckley estate and could be seen by the Hinckleys from their home.
The church was built in the corner of the park surrounding Beacon House. Because the church had no parish, a new parish was created by annexing parts of the parishes of Saint Michael and Saint Chad.
The church was built and endowed by the generosity of Richard Hinckley’s wife, Ellen Jane Hinckley, the daughter of John Chappel Woodhouse (1780-1815), Dean of Lichfield (1807-1833). She was a niece of the Lichfield hymn-writer, Frederick Oakeley (1802-1880), best known as the translator of ‘O come, all ye faithful.’
Ellen had suffered tragic family losses. Her first husband was Canon William Robinson, and they had two daughters, Ellen-Jane and Marianne, who died in their childhood in 1813 and 1814. These two children are the subject of the memorial in Lichfield Cathedral carved by Sir Francis Chantry and known as ‘The Sleeping Children.’
Canon Robinson died in 1812 while he was still in his 30s. Ellen married her second husband, Hugh Dyke Acland (1791-1834), in Lichfield Cathedral in 1817. But she was widowed a second time when he died in 1834. A year later, in 1835, she married her third husband, Richard Hinckley. They moved into Beacon Place in 1837, and soon after donated a corner of their estate for building a new church.
Christ Church was built of sandstone quarried in Lichfield and was designed by the Lichfield architect, Thomas Johnson, who lived in 67 Upper John Street, later known as Davidson House.
The church was built with local red sandstone in a decorated Gothic revival style under the design of Thomas Johnson of Lichfield. When the church was completed in 1847, it consisted of a chancel, nave and west tower with a bell cast in 1845 by CG Mears of London. The tiles are by Herbert Minton, whose firm also worked closely with AWN Pugin and donated tiles to about 40 or 50 churches and vicarages throughout the Diocese of Lichfield.
The church was consecrated on 26 October 1847 by the Bishop of Lichfield, the Right Revd John Lonsdale. The first incumbent was Canon Thomas Alfred Bangham (1819-1876). He been ordained priest only a few months earlier in May 1847, but he stayed at Christ Church until his death.
Over the decades, the church has been richly endowed with many treasures and more practical items such as a modern heating system due to the generosity of local benefactors.
The north and south chancel windows, transept east window and nave south window date from the 1870s and 1880s and were designed by Hardman & Co, the Birmingham firm founded by John Hardman (1811-1867) of Handsworth, who worked closely with AWN Pugin.
The church was enlarged to designs by Matthew Holding of Northampton in 1887, when the north and south transepts and the bays were added. The north extension consisted of a Lady Chapel and the south extension provided the church with an organ chamber and vestry. The extensions were partly funded by Samuel Lipscombe Seckham, who had bought Beacon House from the Hinckley family in 1881, and partly by public subscription.
Samuel Lipscomb Seckham (1827-1901) was a prosperous architect, developer, magistrate and brewer. He was employed by Saint John’s College, Oxford, to develop parts of North Oxford, including Park Town, Walton Manor and Norham Manor. From 1877 to 1883, he owned Bletchley Park, later known as the location for the codebreakers in World War II. In 1889, he bought Whittington Old Hall, a 16th-century country house outside Lichfield.
The chancel screen in Christ Church was presented by Seckham’s wife, Kinbarra Sweene (nee Smith), in 1888, but this has since been removed to the former choir gallery.
To celebrate the 50th anniversary of the church in 1897, the vicar and churchwardens commissioned the decoration of the chancel ceiling and walls by John Dickson Batten, better known as an illustrator, and his work for Joseph Jacob’s various editions of fairy tales in the 1890s display his talent for design and creativity.
Batten painted his canvases for Christ Church in the Pre-Raphaelite style, depicting Old Testament figures with symbols of the Passion and the Eucharist. In these canvasses, Batten represents the Biblical figures pointing to Christ as the promised and hoped-for Messiah and the Eucharist as the Christian’s means of union with him.
The paintings on the north side of the sanctuary represent (viewed from left to right):
● Adam and Eve in the Garden of Eden;
● Noah, with the rainbow, the sign of God’s promise and blessing;
● the Archangel Gabriel guarding the gates of Paradise until Paradise should be regained by Christ;
● Abraham with Jacob, with Jacob’s vision of a ladder between Heaven and Earth;
● Moses, the leader and lawgiver, with Aaron, the High Priest who offers sacrifice to God.
The paintings on the south side of the sanctuary (viewed from left to right) represent:
● Joshua leading God’s army into the Promised Land;
● David, the king and psalmist from whose royal house the Messiah would come;
● Solomon, the builder of the Temple in Jerusalem;
● Elijah, the prophet of God’s judgment, with Isaiah, speaking of comfort;
● the Archangel Gabriel, with Saint John the Baptist, calling the Virgin Mary to be the mother of Christ.
The original watercolours used by Batten as cartoons for his work on the ceiling paintings were discovered in the tower of Christ Church in the early 1980s. At first, it was thought they were the work of the Birmingham stained-glass artist Florence Camm (1874-1916). But this was disputed while the watercolours were being restored at the Birmingham Museum and Art Gallery. Art historians and the BMAG and the Victoria and Albert Museum now agree that they are the work of Batten.
The Tractarian artist Charles Eamer Kempe (1837-1907) designed the glass for the north transept west window in 1894. Kempe, who studied architecture under George Frederick Bodley, also designed the colourful triptych that forms the reredos of the altar in the Lady Chapel in Lichfield Cathedral.
The reredos and marble sanctuary floor were presented to Christ Church in 1906 by Thomas Cox, a churchwarden, and his daughters in memory of Sarah Cox, wife and mother.
The sanctuary refurbishings were designed by George Frederick Bodley (1827-1907), and were built by Robert Bridgeman and Son of Quonians Lane, Lichfield.
Bodley was a lifelong friend of Kempe, and he was the first major patron of William Morris’s stained glass. He is closely associated with the Gothic Revival and High Anglican aesthetics, and his biographer Michael Hall argues he ‘fundamentally shaped the architecture, art, and design of the Anglican Church throughout England and the world’ (George Frederick Bodley and the Later Gothic Revival in Britain and America, Yale University Press, 2012). The Church Historian, Owen Chadwick, says Kempe’s work represents ‘the Victorian zenith’ of church decoration and stained glass windows.
Bodley’s other works in the Diocese of Lichfield include the Church of the Holy Angels, Hoar Cross (1871-1872), the Mission Church in Hadley End (1901) and Saint Chad’s Church, Burton-on-Trent (1903-1910).
Other churches designed by Bodley include All Saints’ Church on Jesus Lane, Cambridge, close to Westcott House and Sidney Sussex College; and the Chapel of Queens’ College, Cambridge. He also designed the statue of a sailor from HMS Powerful, carved by Bridgeman, on the wall of Lichfield’s former museum and library, now the city Register Office, at Beacon Park.
The clock on the tower of Christ Church, installed in 1913, was presented by the Burton brewer Albert Octavius Worthington of Maple Hayes in memory of his wife Sarah. He was the vicar’s warden in Christ Church, and after he died on Ascension Day 1918 the east window was installed by his children in his memory in 1920.
The churchyard was enlarged twice, in 1895 and again in 1929. Three tombs of the Hinckley and Acland families at the rear of the church also have Grade II listing as monuments.
Today, Christ Church stands serenely in a beautiful and peaceful churchyard. It has a very village-like feeling to it in this quiet corner of Lichfield. The Vicar is Canon Janet Waterfield.
Christ Church is an active parish church with regular Sunday morning services at 9.30 am, Evening Prayer at 6 pm on the second and fourth Sunday, and an afternoon service at 4 pm on many Sundays. The church is open on weekdays from 10 am to 3 pm.
The reredos in Christ Church was designed by the Tractarian artist CE Kempe (Photograph: Patrick Comerford)
Matthew 18: 21 to 19: 1 (NRSVA):
21 Then Peter came and said to him, ‘Lord, if another member of the church sins against me, how often should I forgive? As many as seven times?’ 22 Jesus said to him, ‘Not seven times, but, I tell you, seventy-seven times.
23 ‘For this reason the kingdom of heaven may be compared to a king who wished to settle accounts with his slaves. 24 When he began the reckoning, one who owed him ten thousand talents was brought to him; 25 and, as he could not pay, his lord ordered him to be sold, together with his wife and children and all his possessions, and payment to be made. 26 So the slave fell on his knees before him, saying, “Have patience with me, and I will pay you everything.” 27 And out of pity for him, the lord of that slave released him and forgave him the debt. 28 But that same slave, as he went out, came upon one of his fellow-slaves who owed him a hundred denarii; and seizing him by the throat, he said, “Pay what you owe.” 29 Then his fellow-slave fell down and pleaded with him, “Have patience with me, and I will pay you.” 30 But he refused; then he went and threw him into prison until he should pay the debt. 31 When his fellow-slaves saw what had happened, they were greatly distressed, and they went and reported to their lord all that had taken place. 32 Then his lord summoned him and said to him, “You wicked slave! I forgave you all that debt because you pleaded with me. 33 Should you not have had mercy on your fellow-slave, as I had mercy on you?” 34 And in anger his lord handed him over to be tortured until he should pay his entire debt. 35 So my heavenly Father will also do to every one of you, if you do not forgive your brother or sister from your heart.’
1 When Jesus had finished saying these things, he left Galilee and went to the region of Judea beyond the Jordan.
The paintings by John Dickson Batten on the ceiling of the sanctuary (Photograph: Patrick Comerford)
Today’s Prayer:
The theme this week in ‘Pray With the World Church,’ the Prayer Diary of the Anglican mission agency USPG (United Society Partners in the Gospel), is ‘Reducing Stigma.’ This theme was introduced on Sunday.
The USPG Prayer Diary today (17 August 2023) invites us to pray in these words:
Let us pray for all who live with HIV and Aids and all who support and care for them.
Hardman windows in the chancel of Christ Church (Photographs: Patrick Comerford)
The Collect:
Let your merciful ears, O Lord,
be open to the prayers of your humble servants;
and that they may obtain their petitions
make them to ask such things as shall please you;
through Jesus Christ your Son our Lord,
who is alive and reigns with you,
in the unity of the Holy Spirit,
one God, now and for ever.
The Post Communion Prayer:
God of our pilgrimage,
you have willed that the gate of mercy
should stand open for those who trust in you:
look upon us with your favour
that we who follow the path of your will
may never wander from the way of life;
through Jesus Christ our Lord.
The Adoration of the Magi … a window by CE Kempe in the Lady Chapel in Christ Church, Lichfield (Photograph: Patrick Comerford)
Yesterday’s reflection
Continued tomorrow
Scripture quotations are from the New Revised Standard Version Bible: Anglicised Edition copyright © 1989, 1995, National Council of the Churches of Christ in the United States of America. Used by permission. All rights reserved worldwide. http://nrsvbibles.org
The tombs of the Hinckley and Acland families at the east end of Christ Church are Grade II listed monuments (Photograph: Patrick Comerford)
17 August 2023
Daily prayers in Ordinary Time
with USPG: (81) 17 August 2023
Labels:
Architecture,
Art,
Bodley,
Church History,
Kempe,
Lichfield,
Local History,
Mission,
Prayer,
Pre-Raphaelites,
Saint Matthew's Gospel,
Sculpture,
Stained Glass,
Theology and Culture,
USPG
Saint Kevin’s Church:
a prime example of
the Gothic Revival
in a Dublin church
Saint Kevin’s Church on Harrington Street, Dublin, was designed in the Gothic Revival style by Pugin and Ashlin (Photograph: Patrick Comerford, 2023)
Patrick Comerford
During last week’s return visit to Dublin, two of us stayed in Keavan’s Port Hotel on Camden Street, originally the premises of the Earley and Powell stained glass studios and the Dublin branch Hardman’s of Birmingham.
During our visit, I also visited 37 Wexford Street, where Robert Croker or Robert Noonan, the author of The Ragged-Trousered Philanthropists, best-known by his pen name Robert Tressell was born in 1870.
Robert Tressell was baptised in Saint Kevin’s Church on Harrington Street, and that church also has an impressive collection of stained-glass windows from the Earley and Powell stained glass studios.
The church is a three-minute walk (270 metres) around the corner from Camden Street, so I took the opportunity to revisit the church early in the morning.
Saint Kevin’s Church fills a large site bordered by Harrington Street, Heytesbury Street, Synge Street and Synge Street CBS schools (Photograph: Patrick Comerford, 2023)
Saint Kevin’s Church and the presbytery next door fill a large site bordered by Harrington Street on the south side, Heytesbury Street on the west, Synge Street on the east and Synge Street CBS schools to the north.
Saint Kevin’s Church is a prime example of Gothic Revival architecture in Dublin in the late 19th century. It was designed by Pugin and Ashlin at a time when their partnership was breaking up, and the Early and Powell studios had a direct link with Hardmans of Birmingham, who worked closely with AWN Pugin.
The name of the church comes from the mediaeval church, Saint Kevin’s, nearby in Camden Row, which dated back to at least the 12th century, and which was the Church of Ireland parish church.
Inside Saint Kevin’s Church facing the west or liturgical east end (Photograph: Patrick Comerford, 2023)
Saint Kevin’s Parish was formed out of Saint Catherine’s Parish between 1855 and 1865. A site from a new church first leased from James Perrin and then bought through Hugh Lundy. The building committee was chaired by Sir James Power, who also chaired the committee for building Saint Catherine’s Church on Meath Street.
The new Saint Kevin’s Church was built between 1868 and 1872. By a vote of 14-2, Pugin and Ashlin were the winners of the architectural competition between themselves and WF Caldbeck. The partnership was formed in 1860 by Edward Welby Pugin, AWN Pugin’s son, and his assistant and future brother-in-law George Coppinger Ashlin. Ashlin opened an office at 90 Saint Stephen’s Green, Dublin, that year and managed the firm’s Irish business.
The partnership was dissolved towards the end of 1868, shortly after winning the competition to design Saint Kevin’s and not long after Ashlin married Pugin’s sister Mary in 1867.
The stained glass windows in Saint Kevin’s Church represent the work of Earley and Company from 1861 to 1975 (Photograph: Patrick Comerford, 2023)
The stained glass windows of Saint Kevin’s Church are unique as they trace the history of Earley and Company from 1861 to 1975. The Earley and Powell studios designed much of the stained glass windows in the church, including those in the apse depicting the Crucifixion and Christ in Majesty (1872) and the Resurrection and the Last Supper (1873), and the windows in the transepts depicting saints (ca 1880).
The Earley and Powell studios were active in Dublin from 1864 until 1893, and the firm was one of the largest and most prestigious ecclesiastical decorators both in Ireland and Britain. Generations of the Earley family have been involved in maintaining and designing windows in the church, culminating in William Earley creating a window for the south transept.
The business was initially established by Thomas Earley and the brothers Edward and Henry Powell in 1853 as a branch of the Birmingham firm of church decorators, John Hardman & Co – the Powells were nephews of John Hardman.
The organ was installed in 1903 and the grissille stained glass, the largest of its kind in Ireland, was installed that year (Photograph: Patrick Comerford, 2023)
The Dublin branch of Hardman’s of Birmingham was first at 48 Grafton Street, and by February 1860 they had set up a workshop at 1 Upper Camden Street. After Hardman’s gave up their connection with the Dublin business in 1864, it continued running from Upper Camden Street as Earley & Powells or Earley & Powell. Edward Powell died in 1876, Henry Powell died in 1882, and Thomas Earley died in 1893.
The foundation stone of the new church was laid on 3 June 1868, and the contractor was Michael Meade. The building work was delayed by a two-month strike by workers seeking a pay rise form 30 to 33 shillings a week – they eventually accepted 32 shillings.
The church was completed within four years and was dedicated on Saint Kevin’s Day, 3 June 1872, by Cardinal Paul Cullen, Archbishop of Dublin. The setting for the inaugural Mass was Haydn’s Imperial Mass No 3, also known as Missa in Angustiis and the ‘Lord Nelson Mass.’
The Lady Chapel in the south transept (liturgical north) in Saint Kevin’s Church (Photograph: Patrick Comerford, 2023)
Saint Kevin’s Church is a Gothic Revival church, forming part of a significant group of religious and education buildings between Kelly’s Corner and the east end of the South Circular Road.
The church is oriented on a west-east axis, rather than the traditional east-west alignment proposed in the original plans. Cardinal Cullen wanted the church to open onto Synge Street and the Christian Brothers’ schools at the east end, and a presbytery built on the west end, at the corner of Harrington Street and Heytesbury Street.
Saint Kevin’s is a cruciform-plan, double-height church, with a gable-fronted five-bay nave, two-bay transepts with gabled porches, sacristies, and a five-sided apse at the west end (liturgical east). There are octagonal-plan corner turrets at the nave and transepts, and pinnacled buttresses at the nave. A proposed church spire was never built. The juxtaposition of rusticated granite and Portland stone dressings provides textural and tonal variation to the exterior of the church.
The Baptistry in Saint Kevin’s Church (Photograph: Patrick Comerford, 2023)
Inside, the church is oriented on a west-east axis, rather than a traditional east-west alignment. The unusual pinnacled reredos in the chancel provides a focal point to the west end or liturgical east end of the church.
The sculptor Francis Hubert Earley carved the statues of Saint Michael and Saint Gabriel statues flanking the high altar.
The marble pulpit is by James O’Callaghan of Bachelor’s Walk and has a carved timber canopy. O’Callaghan also made the baptismal font. The gallery at the liturgical west end incorporates the organ and is supported on a segmental-headed arcade. The pews are particularly noteworthy, and are probably by Hardman & Co.
A new organ was installed in 1903 and the grissille stained glass, the largest of its kind in Ireland, was installed that year. The work was carried out by Earley and Co of Camden Street.
The High Altar in Saint Kevin’s Church has been placed back in its original position in the chancel (Photograph: Patrick Comerford, 2023)
After the liturgical reforms of Vatican II, the altar was moved out from the wall to facilitate the versus populum orientation of the Mass.
Saint Kevin’s Church has been the home of the Dublin Latin Mass Chaplaincy since 2007. It is the only church in Dublin where the Extraordinary Form of the Roman Rite, or Traditional Latin Mass, is licitly celebrated.
The Altar has been placed back in its original position in the chancel area to facilitate the ad orientem style used in Tridentine Mass.
A major restoration of the sanctuary was completed in November 2013. This included repairing the stained glass and redecorating and repainting the sanctuary wall and ceiling, and redecorating the walls according to the original Victorian era stencil-work designs.
The restoration work continues at Saint Kevin’s, slowly returning the church to the original Gothic Revival splendour envisaged by Pugin and Ashlin and by the Earley and Powell studios in Camden Street.
Restoration work is returning Saint Kevin’s to the original Gothic Revival splendour envisaged by Pugin and Ashlin and by Earley and Powell (Photograph: Patrick Comerford, 2023)
Patrick Comerford
During last week’s return visit to Dublin, two of us stayed in Keavan’s Port Hotel on Camden Street, originally the premises of the Earley and Powell stained glass studios and the Dublin branch Hardman’s of Birmingham.
During our visit, I also visited 37 Wexford Street, where Robert Croker or Robert Noonan, the author of The Ragged-Trousered Philanthropists, best-known by his pen name Robert Tressell was born in 1870.
Robert Tressell was baptised in Saint Kevin’s Church on Harrington Street, and that church also has an impressive collection of stained-glass windows from the Earley and Powell stained glass studios.
The church is a three-minute walk (270 metres) around the corner from Camden Street, so I took the opportunity to revisit the church early in the morning.
Saint Kevin’s Church fills a large site bordered by Harrington Street, Heytesbury Street, Synge Street and Synge Street CBS schools (Photograph: Patrick Comerford, 2023)
Saint Kevin’s Church and the presbytery next door fill a large site bordered by Harrington Street on the south side, Heytesbury Street on the west, Synge Street on the east and Synge Street CBS schools to the north.
Saint Kevin’s Church is a prime example of Gothic Revival architecture in Dublin in the late 19th century. It was designed by Pugin and Ashlin at a time when their partnership was breaking up, and the Early and Powell studios had a direct link with Hardmans of Birmingham, who worked closely with AWN Pugin.
The name of the church comes from the mediaeval church, Saint Kevin’s, nearby in Camden Row, which dated back to at least the 12th century, and which was the Church of Ireland parish church.
Inside Saint Kevin’s Church facing the west or liturgical east end (Photograph: Patrick Comerford, 2023)
Saint Kevin’s Parish was formed out of Saint Catherine’s Parish between 1855 and 1865. A site from a new church first leased from James Perrin and then bought through Hugh Lundy. The building committee was chaired by Sir James Power, who also chaired the committee for building Saint Catherine’s Church on Meath Street.
The new Saint Kevin’s Church was built between 1868 and 1872. By a vote of 14-2, Pugin and Ashlin were the winners of the architectural competition between themselves and WF Caldbeck. The partnership was formed in 1860 by Edward Welby Pugin, AWN Pugin’s son, and his assistant and future brother-in-law George Coppinger Ashlin. Ashlin opened an office at 90 Saint Stephen’s Green, Dublin, that year and managed the firm’s Irish business.
The partnership was dissolved towards the end of 1868, shortly after winning the competition to design Saint Kevin’s and not long after Ashlin married Pugin’s sister Mary in 1867.
The stained glass windows in Saint Kevin’s Church represent the work of Earley and Company from 1861 to 1975 (Photograph: Patrick Comerford, 2023)
The stained glass windows of Saint Kevin’s Church are unique as they trace the history of Earley and Company from 1861 to 1975. The Earley and Powell studios designed much of the stained glass windows in the church, including those in the apse depicting the Crucifixion and Christ in Majesty (1872) and the Resurrection and the Last Supper (1873), and the windows in the transepts depicting saints (ca 1880).
The Earley and Powell studios were active in Dublin from 1864 until 1893, and the firm was one of the largest and most prestigious ecclesiastical decorators both in Ireland and Britain. Generations of the Earley family have been involved in maintaining and designing windows in the church, culminating in William Earley creating a window for the south transept.
The business was initially established by Thomas Earley and the brothers Edward and Henry Powell in 1853 as a branch of the Birmingham firm of church decorators, John Hardman & Co – the Powells were nephews of John Hardman.
The organ was installed in 1903 and the grissille stained glass, the largest of its kind in Ireland, was installed that year (Photograph: Patrick Comerford, 2023)
The Dublin branch of Hardman’s of Birmingham was first at 48 Grafton Street, and by February 1860 they had set up a workshop at 1 Upper Camden Street. After Hardman’s gave up their connection with the Dublin business in 1864, it continued running from Upper Camden Street as Earley & Powells or Earley & Powell. Edward Powell died in 1876, Henry Powell died in 1882, and Thomas Earley died in 1893.
The foundation stone of the new church was laid on 3 June 1868, and the contractor was Michael Meade. The building work was delayed by a two-month strike by workers seeking a pay rise form 30 to 33 shillings a week – they eventually accepted 32 shillings.
The church was completed within four years and was dedicated on Saint Kevin’s Day, 3 June 1872, by Cardinal Paul Cullen, Archbishop of Dublin. The setting for the inaugural Mass was Haydn’s Imperial Mass No 3, also known as Missa in Angustiis and the ‘Lord Nelson Mass.’
The Lady Chapel in the south transept (liturgical north) in Saint Kevin’s Church (Photograph: Patrick Comerford, 2023)
Saint Kevin’s Church is a Gothic Revival church, forming part of a significant group of religious and education buildings between Kelly’s Corner and the east end of the South Circular Road.
The church is oriented on a west-east axis, rather than the traditional east-west alignment proposed in the original plans. Cardinal Cullen wanted the church to open onto Synge Street and the Christian Brothers’ schools at the east end, and a presbytery built on the west end, at the corner of Harrington Street and Heytesbury Street.
Saint Kevin’s is a cruciform-plan, double-height church, with a gable-fronted five-bay nave, two-bay transepts with gabled porches, sacristies, and a five-sided apse at the west end (liturgical east). There are octagonal-plan corner turrets at the nave and transepts, and pinnacled buttresses at the nave. A proposed church spire was never built. The juxtaposition of rusticated granite and Portland stone dressings provides textural and tonal variation to the exterior of the church.
The Baptistry in Saint Kevin’s Church (Photograph: Patrick Comerford, 2023)
Inside, the church is oriented on a west-east axis, rather than a traditional east-west alignment. The unusual pinnacled reredos in the chancel provides a focal point to the west end or liturgical east end of the church.
The sculptor Francis Hubert Earley carved the statues of Saint Michael and Saint Gabriel statues flanking the high altar.
The marble pulpit is by James O’Callaghan of Bachelor’s Walk and has a carved timber canopy. O’Callaghan also made the baptismal font. The gallery at the liturgical west end incorporates the organ and is supported on a segmental-headed arcade. The pews are particularly noteworthy, and are probably by Hardman & Co.
A new organ was installed in 1903 and the grissille stained glass, the largest of its kind in Ireland, was installed that year. The work was carried out by Earley and Co of Camden Street.
The High Altar in Saint Kevin’s Church has been placed back in its original position in the chancel (Photograph: Patrick Comerford, 2023)
After the liturgical reforms of Vatican II, the altar was moved out from the wall to facilitate the versus populum orientation of the Mass.
Saint Kevin’s Church has been the home of the Dublin Latin Mass Chaplaincy since 2007. It is the only church in Dublin where the Extraordinary Form of the Roman Rite, or Traditional Latin Mass, is licitly celebrated.
The Altar has been placed back in its original position in the chancel area to facilitate the ad orientem style used in Tridentine Mass.
A major restoration of the sanctuary was completed in November 2013. This included repairing the stained glass and redecorating and repainting the sanctuary wall and ceiling, and redecorating the walls according to the original Victorian era stencil-work designs.
The restoration work continues at Saint Kevin’s, slowly returning the church to the original Gothic Revival splendour envisaged by Pugin and Ashlin and by the Earley and Powell studios in Camden Street.
Restoration work is returning Saint Kevin’s to the original Gothic Revival splendour envisaged by Pugin and Ashlin and by Earley and Powell (Photograph: Patrick Comerford, 2023)
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