Showing posts with label Pistoia. Show all posts
Showing posts with label Pistoia. Show all posts

07 November 2023

Daily prayers in the Kingdom Season
with USPG: (3) 7 November 2023

The Cattedrale di San Zeno, or Cathedral of Saint John, in Pistoia with its Pisan-Romanesque façade (Photograph: Patrick Comerford)

Patrick Comerford

In this time between All Saints’ Day and Advent Sunday, we are in the Kingdom Season in the Calendar of the Church of England, and the week began with the Fourth Sunday before Advent (5 November 2023).

The Calendar of the Church of England in Common Worship today (7 November) remembers Saint Willibrord of York (739), Bishop, Apostle of Frisia.

Before today begins, I am taking some time for prayer and reflection early this morning.

In recent prayer diaries on this blog, my reflections have already looked at a number of Italian cathedrals, including the cathedrals in Amalfi, Florence, Lucca, Noto, Pisa, Ravenna, Saint Peter’s Basilica and Saint John Lateran, Rome, Siena, Sorrento, Syracuse, Taormina, Torcello and Venice.

So, this week, my reflections look at some more Italian cathedrals, basilicas and churches in Bologna, San Marino, Pistoia, San Gimignano, Mestre, Sorrento and Ravello.

Throughout this week, my reflections each morning are following this pattern:

1, A reflection on an Italian cathedral or basilica;

2, the Gospel reading of the day in the Church of England lectionary;

3, a prayer from the USPG prayer diary.

The Piazza del Duomo or Cathedral Square in Pistoia (Photograph: Patrick Comerford)

The Cattedrale di San Zeno or Cathedral of Saint John, Pistoia:

One day, when I insisted in using my poor and limited Italian to buy train tickets in Tuscany, I ended up in Pistoia instead of Viareggio. But for this mistake, I might not have visited Pistoia and the Cattedrale di San Zeno, or Cathedral of Saint John, with its beautiful Pisan-Romanesque façade that is crowned with a lunette by Andrea della Robbia.

Pistoia is about 30 km west and north of Florence. In the centre of the city, the Duomo di Pistoia in the Piazza del Duomo is dedicated to Saint Zeno of Verona and is the seat of the Bishop of Pistoia.

There may have been a smaller cathedral in Pistoia as early as the fifth century, when Pistoia already had a bishop. A cathedral is first mentioned in the year 923. A document in the reign of Emperor Otto III refers in 998 to an old Christian building, so the cathedral was probably first built in the 10th century. The Pisan-Romanesque façade was inspired by other churches in Pistoia, including San Bartolomeo and San Jacopo.

The cathedral was damaged by fire in 1108 and was probably rebuilt over the next few decades, as an altar in the cathedral was dedicated to Saint James the Great by the bishop, Saint Atto, in 1145.

Another fire damaged the cathedral again in 1202. The aisles were covered with vaults in 1274-1275 and a new altar was begun in 1287. An earthquake in 1298 caused further damage. A statue of Saint Zeno by Jacopo di Mazzeo was placed in the west front in 1336.

The façade was rebuilt in 1379-1440 with the addition of three tiers of loggias and a portico. Andrea della Robbia, who was commissioned in 1504 to decorate the archivolt of the portico, created a festoon with plant themes and the coat of arms of the Opera di San Jacopo, as well as of the lunette with bas-reliefs over the central portal, depicting the Madonna with the Christ Child and Angels. He finished the works in 1505.

Inside, the cathedral has a nave and two side aisles, with a presbytery and crypt. Restoration work in 1952-1999 returned the church to its original lines. The mediaeval choir was demolished in 1598-1614, the side chapels were modified and the original apse was replaced by a Baroque tribune surmounted by a dome designed by Jacopo Lafri, while the main aisle was covered by new cross vaults. The ceiling was also decorated, and paintings were added there and in the main chapel.

A statue of Saint James the Great by Andrea Vaccà was added to the façade in 1721. The mediaeval mullioned windows, replaced by Baroque windows, were restored in 1952-1966, and the vaults over the aisle were removed.

The nave and the aisles are separated by columns, and have vaults and wooden truss covers respectively. The right aisle was once occupied by the Chapel of Saint James (San Jacopo), built by Bishop Atto in the mid-12th century to house the relics of Saint James brought from Santiago de Compostela.

The Chapel of the Blessed Sacrament is also known as the Chapel of San Donato from a painting of the Madonna enthroned between Saint John the Baptist and Saint Donatus (ca 1475-1486). The painting was commissioned from Andrea del Verrocchio by the heirs of Donato de’ Medici, but was completed by Lorenzo di Credi. The bishop next to the Madonna has been identified as Saint Zeno. In the middle is the Assumption of the Virgin by Giovan Battista Paggi (1590-1600). The tomb of Donato de’ Medici (1475), Bishop of Pistoia, is attributed to Antonio Rossellino.

The Crucifix Chapel has the silver altarpiece of Saint James. It was begun in 1287, took two centuries to erect, was completed by Brunelleschi, and was moved to its present place in 1953. Pace di Valentino, a Sienese goldsmith, created some of the figures surrounding Saint James. Giglio Pisano executed the large silver statue depicting Saint James Enthroned (1349-1353), commissioned as a thanksgiving after the Black Death in 1348.

The two side antependia, made by Leonardo di Ser Giovanni and Francesco Niccolai in 1361-1371, depict Old Testament stories and stories of Saint James,. Other works include the Apostles, Saint Eulalia, Bishop Atto, Saint John the Baptist and Salome by Piero d’Arrigo Tedesco (1380-1390), another Christ in Majesty with Saint Anthony the Abbot, Saint Stephen and the cusp by Nofri di Buto and Atto di Piero Braccini (1394-1398).

There are innumerable important works of art in the south and north aisles, the presbytery, apse and nave. The pulpit was designed by Giorgio Vasari (1560). The Chapel of the Last Judgment houses fragments of a fresco by Giovanni da Ponte (1420-1425), recently identified as a depiction of Dante’s Inferno. The counter-façade houses the Arch of Saint Atto. The baptismal font was designed by Benedetto da Maiano (1497).

The crypt holds the tombs of many past Bishops of Pistoia, and the side walls are decorated with monuments to many more past bishops, including Alessandro di Medici who became Pope Leo XI but had a short reign of only 26 days.

The former bishops’ palace beside the cathedral is now a museum. The 14th century octagonal Baptistry, facing the west door of the cathedral, has distinctive green-and-white marble stripes.

The 14th century octagonal Baptistry in Pistoia (Photograph: Patrick Comerford)

Matthew 28: 16-20 (NRSVA):

16 Now the eleven disciples went to Galilee, to the mountain to which Jesus had directed them. 17 When they saw him, they worshipped him; but some doubted. 18 And Jesus came and said to them, ‘All authority in heaven and on earth has been given to me. 19 Go therefore and make disciples of all nations, baptizing them in the name of the Father and of the Son and of the Holy Spirit, 20 and teaching them to obey everything that I have commanded you. And remember, I am with you always, to the end of the age.’

The bell tower beside the west front of the cathedral in Pistoia (Photograph: Patrick Comerford)

Today’s Prayers (Tuesday 7 November 2023):

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 ‘Community Health Programmes’. This theme was introduced on Sunday.

The USPG Prayer Diary today (7 November 2023) invites us to pray in these words:

Let us pray for the Church of Bangladesh, comprised of the Dioceses of Dhaka, Kushtia and Barisal.

The Palazzo dei Vescovi or Bishops’ Palace in Pistoia is now a museum (Photograph: Patrick Comerford)

The Collect:

God, the Saviour of all,
you sent your bishop Willibrord from this land
to proclaim the good news to many peoples
and confirm them in their faith:
help us also to witness to your steadfast love
by word and deed
so that your Church may increase
and grow strong in holiness;
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:

Holy Father,
who gathered us here around the table of your Son
to share this meal with the whole household of God:
in that new world where you reveal
the fullness of your peace,
gather people of every race and language
to share with Willibrord and all your saints
in the eternal banquet of Jesus Christ our Lord.

Yesterday’s Reflection

Continued Tomorrow

The façade of the cathedral was rebuilt in 1379-1440 (Photograph: Patrick Comerford)

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 Church of San Giovanni Fuoricivitas or San Giovanni Evangelista Fuorcivitas in Pistoia (Photograph: Patrick Comerford)

12 May 2020

A lockdown ‘virtual
tour’ of a dozen
churches in Tuscany

Brunelleschi’s dome and Giotto’s campanile of the Duomo … the skyline of Florence (Photograph: Patrick Comerford; click on images for full-screen viewing)

Patrick Comerford

The lockdown introduced as a response to the Covid-19 pandemic continues to grip most of Europe, and the latest discussions indicate there may be no travel from Ireland to other parts of Europe for the rest of 2020.

But I can still travel in my mind’s eye. And, so, in the spirit of my recent ‘virtual tours’ over the past month or two, I invite you to join me this evening on a virtual tour of a dozen or more churches and basilicas in Tuscany, similar to recent virtual tours of churches in Rome, Venice and Bologna.

These churches in Florence, Pusa, Lucca, San Gimignano, Pistoia and Siena are among the most photographed and most visited churches in Europe, and many of them are associated with some of the greatest creative minds in Italian culture, from Dante and Catherine of Siena, to Giotto, Brunelleschi and Michelangelo.

In these times of pandemic, it is interesting how some of these churches are associated with the plague and the Black Death. There is even a surprise association in the cloisters of the Basilica of Santa Croce with Florence Nightingale, who was born in Florence on this day 200 years ago, 12 May 1820.

1, Florence: the Duomo, Campanile and Baptistry:

The Duomo in Florence is one of Italy’s three most photographed sites (Photograph: Patrick Comerford)

I have visited Florence, the city of architectural beauty and Renaissance grandeur, on a number of occasions. With its Duomo and baptistry, palazzi and basilicas, the Uffizi and the Ponte Vecchio, it outdid its rivals and its richest citizens sought to outdo one another. This was ‘the engine room of the Renaissance.’

The cathedral complex, in Piazza del Duomo, includes the Duomo, the Baptistry and Giotto’s Campanile. The dome of the Duomo is the city’s iconic landmark and stands, alongside the Leaning Tower of Pisa and the Coliseum in Rome as Italy’s three most photographed sites.

Work on building the Duomo or Cattedrale di Santa Maria del Fiore (Cathedral of Saint Mary of the Flower) began in 1296. It was designed in a Gothic style by Arnolfo di Cambio and was completed by 1436 with the dome by Filippo Brunelleschi. The dome is comprised of two domes – an outer and inner shell bound together with rings of sandstone.

The exterior walls of the Duomo are faced in alternate vertical and horizontal bands of polychrome marble from Carrara (white), Prato (green), Siena (red), Lavenza and other places. The original façade, designed by Arnolfo di Cambio but usually attributed to Giotto, was begun 20 years after Giotto’s death.

The Duomo and the Baptistry of Saint the Baptist … Michelangelo named the east doors of the Baptistry the ‘Gates of Paradise’ (Photograph: Patrick Comerford)

The octagonal, 11th century Baptistry of Saint the Baptist stands across the square in Piazza di San Giovanni. It is older than the cathedral and was built between 1059 and 1128. It has the status of a minor basilica in its own right.

The Baptistry is renowned for its three sets of bronze doors with relief sculptures. The south doors were created by Andrea Pisano and the north and east doors by Lorenzo Ghiberti. Michelangelo named the east doors the ‘Gates of Paradise.’ Dante and other Renaissance figures, including members of the Medici family, were baptised in the Baptistry.

2, Florence: The Basilica of Santa Croce:

The Basilica di Santa Croce with its façade completed in the 19th century (Photograph: Patrick Comerford)

The Basilica di Santa Croce (Basilica of the Holy Cross) in the Piazza di Santa Croce is the burial place of many Florentines, including Michelangelo, Galileo, Machiavelli, Foscolo and Rossini. For this reason, it is also known as the Tempio dell’Itale Glorie, the Temple of the Italian Glories. Although Dante was exiled from Florence and buried in Ravenna, his statue stands in the wide, open square, in front of the basilica.

When the site was first chosen it was in marshland outside the city walls. Later, the square was the venue for burning heretics and it is still used once a year for the calcio storico, the Florentine version of a rough-and-tumble mediaeval game of football.

Santa Croce is about 800 meters south-east of the Duomo. It is a minor basilica, the principal Franciscan church in Florence, and the largest Franciscan church in the world.

Legend says that Santa Croce was founded by Saint Francis. The present church was built in 1294, replacing an older building, and was consecrated by Pope Eugene IV in 1442.The Basilica’s features include its 16 chapels, many decorated with frescoes by Giotto and his pupils, and its tombs and cenotaphs.

The Primo Chiostro, the main cloister, houses the Cappella dei Pazzi, built as the chapter house and completed in the 1470s. Filippo Brunelleschi, who designed the dome of the Duomo, was involved in designing the main cloister and the inner cloister, which was completed in 1453.

The statue of Dante in front of the Basilica of Santa Croce (Photograph: Patrick Comerford)

The façade of the church remained unfinished for more than three centuries, and the neo-Gothic marble façade dates from 1857-1863. The Jewish architect, Niccolo Matas (1798-1872) from Ancona, designed the façade, working a prominent Star of David into his composition. Matas wanted to be buried with his peers but, because he was Jewish, he was buried outside the main door of the basilica, under the threshold.

The complex became public property in 1866 when the Italian government suppressed many religious houses after Italian unification.

The Museo dell’Opera di Santa Croce is in the refectory, off the cloisters. The cloisters also have a monument to Florence Nightingale, who was born in Florence on this day 200 years ago (12 May 1820).

The basilica is undergoing a multi-year restoration programme. It was closed to visitors in 2017 after falling masonry killed a Spanish tourist.

3, Florence: Chiesa di Santa Maria Maggiore and Basilica of Santa Maria Novella:

The Chiesa di Santa Maria Maggiore is one of the oldest surviving churches in Florence (Photograph: Patrick Comerford)

The Duomo in Florence is dedicated to Santa Maria, but there are many other churches in the city with similar dedications, including the Chiesa di Santa Maria Maggiore and the Basilica of Santa Maria Novella.

The Church of Santa Maria Maggiore di Firenze is one of the oldest surviving churches in Florence. This Romanesque and Gothic-style church was first built in the 11th century and there were extensive renovations to the façade and the sides of the church in the 13th century. The bell tower survives from the Romanesque building and has a Roman head embedded in its walls, known popularly as Berta.

The original church dated from the eighth century and is first noted in 931. However, a legend saying it was founded in 580 by Pope Pelagius II is not reliable.

The church became a collegiate church in 1176, and was put under papal direct protection by Lucius III in 1183. When the church was handed over to the Cistercians in the 13th century, it was rebuilt in the Gothic style, apart from the original external walls and the vaults. The church was transferred to Carmelites from Mantua in 1521.

The Basilica of Santa Maria Novella seen from Piazza Unità d’Italia (Photograph: Patrick Comerford)

The Basilica of Santa Maria Novella stands opposite the main railway station in Florence and gives its name to the station. It is the first great basilica in Florence and is the city’s principal Dominican church.

This church was called Santa Maria Novella or New Saint Mary’s because it was built on the site of a ninth-century oratory of Santa Maria delle Vigne. When the site was assigned to the Dominican Order in 1221, they decided to build a new church and cloisters. Building began ca 1246, and lasted 80 years, ending with the completion of the Romanesque-Gothic bell tower and sacristy.

A series of Gothic arcades was added to the façade in 1360, intended for sarcophagi for leading local families. The church was consecrated in 1420.

The church treasures include frescoes by Gothic and early Renaissance masters. They were financed by the most important Florentine families who wanted funerary chapels on consecrated ground. The cadaver tomb of the Lenzi family includes in Latin the epigram: ‘I was once what you are, and what I am you will become.’

The frescoes in the Cappella Strozzi di Mantova by Nardo di Cione (1350-1357) are inspired by Dante’s Divine Comedy. The frescoes in chancel were painted in 1485-1490 by Domenico Ghirlandaio, whose apprentice was the young Michelangelo.

The pulpit, commissioned by the Rucellai family in 1443, was designed by Filippo Brunelleschi and executed by his adopted son Andrea Calvalcanti. It was from this pulpit that the first attack was made on Galileo Galilei.

The square in front the church was used by Cosimo I for the yearly chariot race (Palio dei Cocchi). This custom continued from 1563 into the late 19th century. The two Obelisks of the Corsa dei Cocchi, marking the start and finish of the race, were set up to imitate an antique Roman circus.

4, Florence: the Chiesa e Museo di Orsanmichele:

Orsanmichele was a grain market before being converted into a guild church (Photograph: Patrick Comerford)

Orsanmichele, or the ‘Kitchen Garden of Saint Michael,’ was on the site of the kitchen garden of the monastery of San Michele which no longer exists. The church, which stands on the Via Calzaiuoli, was first built as a grain market in 1337.

Between 1380 and 1404, it was converted into a church and it served as the chapel of the powerful craft and trade guilds in Florence. The arches on the ground floor of the square building originally formed the loggia of the grain market. The second floor provided offices, while the third floor was one of the city’s great grain storehouses, planned to withstand famine or siege.

The statues of saints in the niches of Orsanmichele were commissioned by the guilds of Florence (Photograph: Patrick Comerford)

Late in the 14th century, the guilds were ordered by the city to commission statues of their patron saints to fill the façades of the church. The three richest guilds decided to make their figures in bronze, which cost ten times the amount of the stone figures. The originals have since been moved to museums to protect them from the elements and vandalism, and the sculptures in their place today are copies.

Inside the church is Andrea Orcagna’s richly jewelled Gothic Tabernacle (1355-1359) encasing a repainting by Bernardo Daddi of an older icon of the ‘Madonna and Child.’

5, Pisa: Cattedrale di Pisa, Baptistry and Tower:

The Duomo, Baptistry and Campanile or ‘Leaning Tower’ are in the heart of Pisa (Photograph: Patrick Comerford)

The ‘Leaning Tower’ of Pisa, alongside the Duomo in Florence, and the Coliseum in Rome, is one of the three most photographed sites in Florence. They stand beside each other in the Piazza del Duomo (Cathedral Square) or Piazza dei Miracoli (Square of Miracles), a wide, walled, partly-paved and partly-grassed area in the heart of the city.

At the heart of the piazza is the Duomo or Cathedral of Santa Maria Assunta, a five-nave cathedral built in 1064 by Buscheto in the distinctive Pisan-Romanesque style.

Pisa’s most famous son, Galileo Galilei, is said to have formulated his theory about the movement of a pendulum by watching the swinging of the sanctuary lamp hanging in the cathedral nave.

Inside the Duomo, where Galileo watched the swinging sanctuary lamp and developed his theory about the movement of a pendulum (Photograph: Patrick Comerford)

The Baptistry, which dates from 1153, was completed in the 14th century when the top storey and dome were added by Nicola and Giovanni Pisano. This is the largest baptistry in Italy, and is even a few centimetres higher than the Leaning Tower. The Baptistry is also known for its acoustics, and I have been treated to a short singing demonstration of this by one of the guards.

The ‘Leaning Tower,’ which is about 60 metres high, was built originally as the campanile or bell tower of the cathedral.

Building began in 1173 and the bell-chamber was added only in 1372. But five years after building began, as work reached the third-floor level, sinking began due to the weak subsoil and the poor foundations. The building was left alone for a century, the subsoil stabilised and the building was saved from collapsing.

Building work resumed in 1272, and the upper floors were added, with one side taller than the other. The seventh and final floor was added in 1319. But by then the building was leaning one degree, or 80 cm from vertical. Today, the tower is leaning by about four degrees.

6, Lucca: Duomo di San Martino:

The façade and bell tower of the Duomo in Lucca (Photograph: Patrick Comerford)

Lucca was saved from bombing during World War II and so the city has been preserved within its walls which also remain intact. This was the birthplace of Puccini, and there is a bronze statue of the composer in the square close to the house where he was born.

Lucca Cathedral or the Duomo di Lucca or Cattedrale di San Martino is dedicated to Saint Martin of Tours. Building work was begun in 1063 by Bishop Anselm of Lucca, later Pope Alexander II.

The great apse, with its tall columns and arcades, and the campanile survive from the original building. The nave and transepts were rebuilt in the Gothic style in the 14th century. The west front was begun in 1204 by Guido Bigarelli of Como, and has a vast portico of three magnificent arches, with three ranges of open galleries filled with sculptures above.

A small shrine in the nave holds the Volto Santo di Lucca (‘Holy Face of Lucca’), said to be an image of Christ carved from cedar-wood for a crucifix by Nicodemus, and brought miraculously to Lucca in 782. The figure of Christ is clothed in a long sleeveless garment. The cathedral also has works by Matteo Civitali, Jacopo della Quercia, Domenico Ghirlandaio, Federico Zuccari, Jacopo Tintoretto and Fra Bartolomeo.

Each column of the façade is different. According to local lore, when they were about to be decorated, the people of Lucca announced a contest for the best column. Each artist made a column, but the people decided to take all of them without paying the artists and used all the columns.

A labyrinth embedded in the right pier of the portico and is believed to date from the 12th or 13th century, and may pre-date the labyrinth in Chartres. The Latin inscription translates: ‘This is the labyrinth built by Dedalus of Crete; all who entered therein were lost, save Theseus, thanks to Ariadne’s thread.’

7, Lucca: Chiesa dei Santi Giovanni e Reparata:

The church of Santi Giovanni e Reparata in Piazza San Giovanni … once the cathedral of Lucca (Photograph: Patrick Comerford)

The church of Santi Giovanni e Reparata in Piazza San Giovanni was the first seat of the Bishops of Lucca, and was the cathedral from the eighth century until the cathedra was transferred to San Martino. Since then, the two churches have retained a close relationship.

The Santa Reparata complex was built in the fifth century on the site of an earlier Roman settlement. The area became a cemetery in the sixth century, and a church was built here in the eighth century.

The crypt dates from the ninth century, and the relics of San Pantaleone were found there in 1714. The church was altered at the turn of the 10th and 11th centuries, and the present layout dates from rebuilding in the second half of the 12th century.

The new church – with three naves supported by columns with composite capitals, with an apse and transept – was similar in size to the earlier church. The decorative figures on the capitals inside the church include leafy masks, harpies and dragons. However, little remains today of the works from the second half of the 14th century.

The church was refurbished in the late 16th and early 17th century. The most striking result of this work is the new façade, which reuses most of the mediaeval façade. Inside, the coffered ceiling and the decoration of the apse date from this phase.

The Chapel of Sant’Ignazio, one of the most interesting baroque creations of Lucca, dates from the end of the 17th century. It is entirely covered in polychrome marble with fresco decorations in the dome, attributed to Ippolito Marracci, depicting the Glory of Saint Ignatius.

The church was confiscated during the Napoleonic occupation in the early 19th century and all its furnishings were lost in the plans to convert into an archive. When it reopened for worship in 1821, it was a very changed church, with new altars and new paintings.

8, Lucca: San Michele in Foro:

San Michele in Foro was built on the site of the Roman forum in Lucca (Photograph: Patrick Comerford)

San Michele in Foro, dedicated to the Archangel Michael, was built over the ancient Roman forum, and the church is first mentioned in 795 as ad foro or ‘in the forum.’

The church was rebuilt after 1070 at the request of Pope Alexander II. Until 1370, it was the seat of the Consiglio Maggiore or Major Council of Lucca.

The façade, dating from the 13th century, has a large collection of sculptures and inlays, many of them remade in the 19th century. The lower part has a series of blind arcades.

The upper part has four orders of small loggias. The four-metre statue of Saint Michael the Archangel at the top of the façade is flanked by two other angels.

The statue of Saint Michael the Archangel at San Michele in Foro is flanked by two angels (Photograph: Patrick Comerford)

On the lower right corner of the façade, the statue of the Madonna Salutis Portus was sculpted by Matteo Civitali in 1480 to mark the end of the plague in 1476.

Inside, the church has a nave, two aisles with transept and semi-circular apse. The bell tower, built in the 12th-14th centuries, has a series of single, double and triple mullioned windows.

9, San Gimignano: Duomo di San Gimignano:

The Collegiate Church of Santa Maria Assunta faces onto the Piazza del Duomo in the centre of San Gimignano (Photograph: Patrick Comerford)

The centre of San Gimignano, including the church, is a Unesco heritage site. The Collegiate Church of Santa Maria Assunta, facing onto the Piazza del Duomo in the heart of San Gimignano, is sometimes known as the ‘duomo’ or cathedral, although it has never been the seat of a bishop; instead, it is a collegiate church and a minor basilica.

The church is famous for its fresco cycles that include works by Domenico Ghirlandaio, Benozzo Gozzoli, Taddeo di Bartolo, Lippo Memmi and Bartolo di Fredi. Unesco has described these frescoes as ‘works of outstanding beauty.’

The first church on the site was built in the 10th century. The importance of San Gimignano and the church grew in the 12th century because of the town’s place on the Via Francigena, the pilgrimage route to Rome. The present church was consecrated in 1148 and dedicated to Saint Geminianus (San Gimignano) in the presence of Pope Eugenius III and 14 bishops.

The church, like Saint Peter’s Basilica in Rome, has a west-east liturgical orientation rather than the traditional east-west orientation. The façade, which has little decoration, is approached from the square by a wide staircase and has a door into each of the side aisles, but no central portal. The doorways are surmounted by stone lintels with recessed arches above them.

There is a central ocular window at the end of the nave and a smaller one giving light to each aisle. Beneath the central ocular window, a slot marks the place of a window that lit the chancel of the earlier church. Some scholars suggest this may be the most visible sign of the church’s reorientation in the 12th century rebuilding.

The campanile on the north side of the church may be that of the earlier church, as it appears to mark the extent of the original west façade, or it may have been one of the city’s many tower houses.

In the 13th, 14th and 15th centuries, the church was enriched with the addition of frescoes and sculpture. The western end (liturgical east) was altered and extended by Giuliano da Maiano in 1466-1468, and the church became a collegiate church in 1471. The church holds the relics of Saint Geminianus, Bishop of Modena and patron saint of the town, whose feast day is on 31 January.

The power and authority of the city of San Gimignano continued to grow and it eventually achieved autonomy. On 8 May 1300 Dante Alighieri came to San Gimignano as the Ambassador of the Guelph League in Tuscany. Girolamo Savonarola preached from the pulpit of the church in 1497.

The church was damaged during World War II, but was restored in 1951.

10, Pistoia: San Zeno and Baptistry:

The Cattedrale di San Zeno or Cathedral of Saint John in Pistoia (Photograph: Patrick Comerford)

One day, when I insisted in using my poor and limited Italian to buy train tickets in Tuscany, I ended up in Pistoia instead of Viareggio. But for this mistake, I might not have visited Pistoia and the Cattedrale di San Zeno, or Cathedral of Saint John, with its beautiful Pisan-Romanesque façade that is crowned with a lunette by Andrea della Robbia.

Inside the duomo, in the Capella di San Jacopo in the north aisle, is a silver altarpiece that took two centuries to erect and that was completed by Brunelleschi.

The 14th century octagonal Baptistry in Pistoia (Photograph: Patrick Comerford)

In the crypt of the duomo, at the back of a simple chapel, are the tombs of many past Bishops of Pistoia. The side walls above are decorated with monuments to many more past bishops, including Alessandro di Medici who later became Pope Leo XI and had a short reign of only 26 days.

Beside the cathedral is the former bishops’ palace, now a museum, and opposite the west door of the cathedral is the 14th century octagonal Baptistry, with its distinctive green-and-white marble stripes.

11, Siena: the Duomo:

The Duomo in Siena … work stopped with the Black Death in 1348 (Photograph: Patrick Comerford)

Siena Cathedral (Duomo di Siena) is dedicated to the Assumption of the Virgin Mary, and is the episcopal seat of the Diocese of Siena, now the Archdiocese of Siena-Colle di Val d’Elsa-Montalcino.

The exterior and interior are built of white and greenish-black marble in alternating stripes, with the addition of red marble on the façade. Black and white are the symbolic colours of Siena, linked to black and white horses of the city’s legendary founders, Senius and Aschius. The finest Italian artists completed works in the cathedral, including Nicola and Giovanni Pisano, Donatello, Pinturicchio, Lorenzo Ghiberti, and Bernini.

There was a church on the site in the ninth century church with a bishop’s palace. A synod in this church in December 1058 elected of Pope Nicholas II and deposed the antipope Benedict X.

The cathedral masons’ guild, the Opera di Santa Maria, was commissioned in 1196 to build a new cathedral. Work began on the north and south transepts and it was planned to add the main, larger body of the cathedral later, although this enlargement was never accomplished.

The cathedral was designed and completed in 1215-1263 on the site of an earlier church. It is in the shape of a Latin cross with a slightly projecting transept, a dome and a bell tower. The dome was completed in 1264, and the lantern was added by Gian Lorenzo Bernini. The bell tower has six bells, the oldest cast in 1149.

A second major addition to the cathedral was planned in 1339. This would have more than doubled its size, with of an entirely new nave and two new aisles.

Building work began under the direction of Giovanni di Agostino, but came to a halt with the Black Death in 1348 and never resumed. The outer walls, remains of this extension, can now be seen to the south of the Duomo. The floor of the incomplete nave is now a parking lot and a museum. One unfinished wall can be climbed by a narrow stairs for a high view of the city.

The bell tower of the Duomo in Siena has six bells (Photograph: Patrick Comerford)

The façade is one of the most fascinating in Italy. Each of the cardinal points – west, east, north, and south – has its own distinct work. The most impressive is the west façade, a beautiful example of Sienese workmanship, which serves as the main entrance to the Duomo.

This west façade was built in two stages and combines elements of French Gothic, Tuscan Romanesque and Classical architecture. Work on lower part of the west façade began ca 1284. It was built in polychrome marble, and the work was overseen by Giovanni Pisano.

The lower portion of the façade follows Pisano’s original plans. Built in Tuscan Romanesque style, it emphasises a horizontal unity of the area around the portals at the expense of the vertical bay divisions. The three portals, surmounted by lunettes, are based on Pisano’s original designs, as are much of the sculpture and orientation surrounding the entrances. The areas around and above the doors and the columns between the portals are richly decorated with acanthus scrolls, allegorical figures and biblical scenes.

Pisano left Siena abruptly in 1296, and his work on the lower façade was continued by Camaino di Crescentino, who made a number of changes to the original plan. These included the instillation of a larger rose window based on designs by Duccio di Buoninsegna. But work on the west façade came to an abrupt end in 1317 when the all efforts were redirected to the east façade.

The upper part of the west façade may have been completed in 1360-1370, using Pisano’s plans with some adaptations by Giovanni di Cecco, who was heavily influenced by French Gothic architecture. The upper portion also features heavy Gothic decoration in marked contrast to the simple geometric designs common to Tuscan Romanesque architecture.

Three large mosaics on the gables of the façade were made in Venice in 1878. The large central mosaic, the Coronation of the Virgin, is the work of Luigi Mussini. The smaller mosaics on each side, the Nativity of Christ and the Presentation of Mary in the Temple, are the work of Alessandro Franchi. The bronze central door, known as the Porta della Riconoscenza, dates from 1946.

On the left corner pier of the façade, a 14th-century inscription marks the grave of Giovanni Pisano. A column next to the façade has a statue of the Contrade Lupa, a wolf breast-feeding Romulus and Remus. According to local legend, Senius and Aschius, sons of Remus and founders of Siena, left Rome with the statue which they had stolen from the Temple of Apollo.

12, Siena: the Basilica San Domenico, Basilica Cateriniana:

The Basilica of San Domenico in Siena is also known as the Basilica Cateriniana (Photograph: Patrick Comerford)

The Basilica of San Domenico in Siena, also known as the Basilica Cateriniana, is one of the most important churches in the city.

This Dominican church was begun in 1226-1265, and was enlarged in the 14th century, giving the church the Gothic appearance it has today. Parts of the Gothic structure were destroyed in fires in 1443, 1456 and 1531, and further damage later caused by military occupation in 1548-1552.

This large building in brick, with a lofty bell tower that was reduced in height after an earthquake in 1798. The interior layout follows an Egyptian cross plan with a large nave covered by trusses and with a transept featuring high chapels.

The church has several relics of Saint Catherine of Siena, whose family house is nearby. The Cappella delle Volte is the former chapel of Dominican nuns and is associated with several events in life of Saint Catherine of Siena.

An altar on the right side of the nave has a reliquary with the relics of Saint Catherine. Saint Catherine’s Chapel holds the saint’s head and thumb.

The Duomo of Siena seen from the Basilica Cateriniana (Photograph: Patrick Comerford)

Some recent ‘virtual tours’:

A dozen Wren churches in London;

Ten former Wren churches in London;

More than a dozen churches in Lichfield;

More than a dozen pubs in Lichfield;

A dozen former pubs in Lichfield;

A dozen churches in Rethymnon;

A dozen restaurants in Rethymnon;

A dozen churches in other parts of Crete;

A dozen monasteries in Crete;

A dozen sites on Mount Athos;

A dozen historic sites in Athens;

A dozen historic sites in Thessaloniki;

A dozen churches in Thessaloniki;

A dozen Jewish sites in Thessaloniki.

A dozen churches in Cambridge;

A dozen college chapels in Cambridge;

A dozen Irish islands;

A dozen churches in Corfu;

A dozen churches in Venice.

A dozen churches in Rome.

A dozen churches in Bologna.

The vineyards and terraced slopes of Tuscany (Photograph: Patrick Comerford)

06 September 2016

Sion House is in a sad state of neglect
but retains some of its former splendour

Sion House still retains some of its former splendour (Photograph: Patrick Comerford, 2016)

Patrick Comerford

On the way to an ordination in Saint Columb’s Cathedral, Derry, two of us stopped for lunch on Sunday [4 September 2016] in the village of Sion Mills, about 5 km outside Strabane, Co Tyrone.

The Stables Restaurant reopened recently in the former stables of Sion House, and the building is one the 41 listed buildings in this picturesque model village, which has been listed as a Conservation Area since 1977.

The linen village of Sion Mills was founded by the Herdman family in 1835. It is one of the earliest Conservation Areas in any part of Ireland, and includes important heritage buildings in need of care and protection.

After lunch, we took a short stroll through the village, before returning to look at Sion House, which was built by the Herdman family who also built the mills and the village.

Sion House is in a sad state of neglect and poor repair (Photograph: Patrick Comerford, 2016)

Today, Sion House is in a sad state of neglect and poor repair and must be considered at risk of loss. But looking at the house from the gardens in the afternoon sunshine of a late summer Sunday, it was possible to imagine the former grandeur of this Elizabethan-Revival mansion built in the 1840s and rebuilt in 1883 in a half-timbered style for Emerson Tennent Herdman (1842-1918).

Sion House was originally a three-bay square house built in 1845 by the leading Irish architect, Charles Lanyon. When the house was rebuilt in the 1880s, the architect was Herdman’s brother-in-law, William Frederick Unsworth (1851-1912), of Petersfield, Hampshire, who had worked for both George Edmund Street and Burges before opening his own office.

At the same time, Unsworth was designing the first Shakespeare Memorial Theatre in Stratford-upon-Avon – although this was destroyed by a fire in 1926. At Sion House, he remodelled the stuccoed Italianate house as a half-timbered Tudor mansion, and also designed the entrance gate, bridge and grounds, as well as the fittings and principal furniture. The gatehouse, also designed in the Elizabethan-Revival style, is virtually a replica of the gatehouse at Stokesay Castle in Shropshire.

Unsworth remodelled Sion House as a 50-room Tudor-style mansion

Unsworth remodelled Sion House as a 50-room Elizabethan revival mansion, and the building work was carried out by J Ballantine of Derry. When this rebuilding was completed by the end of 1884, the Irish Builder described Sion House as one of ‘absurd heterogeneousness.’

The Irish Builder reported on 4 December 1884 that Sion House had been completed after extensive alterations. The Londonderry Sentinel said it was ‘one of the most unique and remarkable examples of domestic architecture in the North of Ireland.’

The house was approached through an ‘Old English’ gatehouse that included a porter’s residence and covered porch over the roadway. The wooded grounds had been laid out thoughtfully over the years, with glimpses of the house reflected in artificial ponds formed in a ravine crossed by a two-arch stone bridge.

The house was crowned by the rich colouring of the red tiled roof, diversified with quick pitched gables, quaint dormers, and moulded red brick chimneys.

Sion House was rebuilt in a half-timber Tudor style

The house was rebuilt in a half-timber Tudor style. The principal entrance was on the north side, through a veranda, supported on open carved brackets. Here was an old oak settle, elaborately carved and interlaced with natural foliage in bas-relief.

Reports in the 19th century described how the enclosed porch led into a spacious panelled hall, with an old-fashioned staircase, open fireplace, and wood chimney-piece, with over-mantel extending to the height of the panelling. The screens enclosing the entrance porch, as also that from the garden entrance to the south-east side, were filled in with lead lights, glazed with painted glass, and emblazoned with national and industrial emblems, monograms and coats of arms.

The billiard-room, which was in a semi-detached position, and entered from the east side of the hall, was very characteristic of the style of the building. The principal roof-timbers were exposed, forming the pitched ceiling into richly-moulded panels. The walls were wainscoted to a height of 5 ft in richly-moulded and panelled work.

The open fireplace was lined with artistic glazed earthenware tiles of a deep green colour and waved surface, giving a pleasing variety of shadow, and was deeply recessed under a panelled many-centred arch, freely treated, forming a cosy chimney corner with luxurious settles on each side. On a raised hearth, laid with terra-metallic tiles in an intricate pattern, were wrought-iron dogs. The chimney-nook also had a little window, placed to offer views of the grounds.

The reception rooms were on the south side. On entering the spacious drawing-room the panelled feature at the further end formed a frame to a mullioned bay window with patterned lead glazing.

From the recess of the bay, a side doorway led to the slightly elevated verandah, enclosed with balustrade, extending the full length of the south façade, and leading to a conservatory on the south side, with a short flight of steps giving access to the tennis lawns.

The dining-room was enclosed off this veranda by a handsome mullioned screen, with folding doors and patterned lead glazing similar to the drawing-room bay. The walls of this room were panelled and moulded in English figured oak, enriched with carvings. The fireplace was open and lined with tiles, in two colours, similar to those in the billiard room. The chimney-piece had an over-mantel of carved oak, with bevelled mirrors, and heraldic carved arms in the centre panel. The mullioned screen was masked by a carved oak arch capped with a moulded cornice.

The ceilings were of elaborate workmanship, enriched in fibrous plaster, with moulded ribs in strong relief and with cornices. The floors were laid in solid oak parquetry. The library and morning-room were on the north side. The kitchen and domestic departments were on the west side.

Upstairs, there were 16 bedrooms with dressing-rooms. Several bedrooms were formed in the main roof by the dormers that were a feature on the roofline. Below, the spacious basement ran the full length of the house.

Outside, the features of the house included several balconies with views of the gardens and the surrounding mountains and valleys, as well as the village of Sion Mills and the Herdman flax-spinning mills. The gardens and grounds were laid out in terraces.



The Herdman family first came to Ireland first in 1688 with a Captain Herdman from Herdmanston, Ayrshire, who fought with William III at the Battle of the Boyne and then settled at Glenavy, Co Antrim.

Three Herdman brothers, James, John and George, inherited the Millfield Tannery in Belfast from their father, and went into partnership with Andrew and Sinclair Mulholland and Robert Lyons. They bought an unfinished flax-spinning mill in Co Tyrone from the 2nd Marquess of Abercorn and leased the site at Sion (or Seein, a Fairy Mound), by the banks of the River Mourne, where they established their mills in 1835.

It is not known how the spelling changed from Seein to Sion. Abercorn’s land agent, Major John Humphreys, who refers in all the negotiations on the lease to ‘Sion Mill,’ was the father of the hymn writer, Mrs Cecil Alexander.

In the once graceful grounds and gardens of Sion House, Co Tyrone (Photograph: Patrick Comerford, 2016)

James Herdman married Elizabeth Suffern of Belfast, from a Huguenot linen family, John married Elizabeth Finlay of Belfast and had 14 children, and George married Anna Goudy, a descendant of the Revd James Porter of Grey Abbey, who was hanged for his part in the 1798 rebellion.

The youngest brother, George Herdman, died of meningitis at Sion House in 1856. James Herdman (1809-1901) continued to run Sion Mills alone until he retired to Bath in 1866 after an extra-marital affair ended in court and caused a widespread scandal. James Herdman left his two elder sons, Emerson Tennent Herdman (1842-1918) and John Herdman, in charge of the mill. Emerson Herdman lived at Sion House, which he remodelled, while John Herdman lived at Carricklee, outside Strabane.

Meanwhile, the middle brother, John Herdman, was murdered at the age of 51 in Cliftonville, Belfast, in 1862. He was shot by William Herdman, the son of his second cousin who lived in Dublin, in a family row. William was judged to be insane and spent the rest of his days in prison on Spike Island, Cork.

John Hardman had 14 children and the eldest son, Alexander Herdman, took over and ran the Wine Tavern Street Mill in Belfast, which he renamed the Smithfield Mill. Alexander and his wife, Selina Gosselin, died tragically at a young age of typhoid. But the Smithfield Mill continued to be run by John Herdman’s descendants until 1902, when a wall collapsed and killed many of the workers.

James Herdman’s sons, Emerson Tennent Herdman and John Claudius (‘Jack’) Herdman, presided over growth of both the village and the mill. They built the Presbyterian Church, the School, the Men’s Institute, the Recreation Hall at the Mill and laid out the sports fields, including the famous cricket pitch, where Ireland bowled out the West Indies in 1969.

Old Saint Saviour’s Church was built as a half-timbered church with a red-brick bellcote (Photograph: Patrick Comerford, 2016)

The Church of Ireland parish church came later. Old Saint Saviour’s Church was built as a half-timbered church with a red-brick bellcote. It was a gift of the Herdman family to the village, and was designed by Unsworth and built by Ballantine. It opened on 29 May 1895.

When Emerson Herdman died in 1918, his son, Commander John Claudius (‘Jack’) Herdman, a naval commander, and daughter-in-law Maud Harriet (Clark-Kennedy) moved into Sion House.

Commander Herdman’s daughter, Ella (Elizabeth Alice), married Brigadier General Ambrose St Quentin Ricardo (1866-1923), who became a director of Herdman’s. General Ricardo was born at Gatcombe Park, Gloucestershire, now the country house of Princess Anne. He was a descendant of the political economist David Ricardo (1772-1823), once MP for Portarlington (1819-1823).

The Church of the Good Shepherd was built in 1909 in an Italian neo-Romanesque style (Photograph: Patrick Comerford, 2016)

General Ricardo married Ella Herdman in Thyet Myo in Burma, which was then part of the Raj. They returned to Sion Mills in 1903, and he was largely instrumental in building a new Church of Ireland parish church for the village. The Church of the Good Shepherd was built in 1909 in an Italian neo-Romanesque style. Unsworth based his design for the polychrome church on a church in Pistoia in Tuscany.

During World War I, Ambrose Ricardo raised and commanded the 9th Battalion of the Inniskilling Fusiliers (the Tyrones), which was practically wiped out at the Battle of the Somme in 1916.

Ambrose and Ella Ricardo carried out many improvements to the village. But he drowned tragically drowned in the village reservoir in 1923, and was buried in the tomb in the centre of the village in front of the Church of the Good Shepherd.

The Cattedrale di San Zeno in the Piazza del Duomo in Pistoia … said to have inspired Unsworth’s design of the Church of the Good Shepherd in Sion Mills (Photograph: Patrick Comerford, 2012)

Sion House was sold in 1966. Today, although the house is still lived in, it appears to be in a sad and depressed state of the neglect and dereliction. The verandas and the conservatory have long disappeared, and parts of the front façade and the side walls are patched up with concrete blocks.

The former gatehouse is also falling in and has been fenced off from view.

The former gatehouse is falling in and has been fenced off (Photograph: Patrick Comerford, 2016)

We left Sion Mills for Derry on a happy note, though. Saint Columb’s Cathedral is closely associated with the hymnwriter, Cecil Frances Alexander (1818-1895), whose husband, William Alexander (1824-1911), was Bishop of Derry for almost three decades (1867-1896) before becoming Archbishop of Armagh.

She wrote her famous hymn, ‘All Things Bright and Beautiful’, when she lived in nearby in Camus-juxta-Mourne Rectory in Strabane. The rectory overlooking the weir on the River Mourne at Sion Mills was a Georgian house later owned by the Herdman family. The River Mourne is ‘the river running by’ and ‘the purple headed mountain’ is Meenashesk, a hill to the east of the village.

Sion House is an integral part of Sion Mills and its architectural heritage. Hopefully, its listed status and the importance of the village as a Conservation Area mean it can be rescued and lovingly restored before it deteriorates further.

Sion House is in a sad state but is an important part of Irish architectural heritage (Photograph: Patrick Comerford, 2016)

23 August 2013

Celtic Spirituality: Our Heritage?

A granite cross marks the entrance to Saint Doulagh’s Church and site on Malahide Road in Balgriffin, Co Dublin (Photograph: Patrick Comerford, 2013)

Patrick Comerford,

Saint Doulagh’s Church, Malahide Road, Balgriffin, Co Dublin

Friday, 23 August 2013


Introduction

Last Sunday, I was speaking in Saint Lachtain’s Church in Freshford, Co Kilkenny. There I asked why, as part of our heritage, the Church of Ireland has inherited so many churches with the names of saints that are unpronounceable or with so many letters ‘H’ in them when we find it so difficult to pronounce the letter ‘H’ in Ireland.

Saint Lachtain and Saint Doulagh are among the easier saints’ names to pronounce.

Apart from Christ Church Cathedral, there were six other parish churches within the walls of the old city of Dublin. These were dedicated to Saint Michael (High Street), Saint Olave (Baker Street, a site unknown south of Wood Quay, but probably at the Lower end of Fishamble Street, at the top of a lane running to Wood Quay), Saint John the Evangelist (Fishamble Street), Saint Mary la Dame (near the site of the present City Hall), Saint Martin (which later was dedicated to Saint Werburgh, the patron saint of Chester) and Saint Nicholas.

Saint Michan’s was outside the city walls, in Oxmantown; Saint Audeon’s, named after Saint Ouen or Audoenus, was not founded until about 1190; while Saint Andrew’s is a little later.

Notice how among those six there is not one Gaelic name, and there is no dedication to Saint Patrick either. But those names parallel many of the Viking names in other walled cities or towns of the time, such as Wexford and Waterford, including Christ Church, Saint Olav, Saint Mary, Saint Michael, and so on.

For example, there were five intramural parishes in Wexford town, dedicated to Saint Doologue, Saint Mary, Saint Iberius, Saint Patrick, and Selskar (Saint Peter and Saint Paul, and not, as tradition claims, Holy Sepulchre).

The use of apostles’ names, or the name of great saints such as Nicholas, the patron of mariners, marks Viking churches, with Christ Church or Holy Trinity being the principal church in the Viking naming system. The unpronounceable saint’s names, with plenty of ‘Hs’, were left to the Gaelic Irish or Celtic settlements – with the exception of Saint Bride or Bridget, and, sometimes, Saint Patrick.

Saint Doologue’s Parish in Wexford stretched to a mere 2 ha in land area, and was once listed in Ripley’s Believe It or Not as the smallest parish in the world. It was also known as Saint Olave’s. Dating from about 1035-1060, it can be traced out at the end of South Main Street, between Stonebridge and the Talbot Hotel, on the low-lying ground between Wexford Castle (the present army barracks) and the Bishopswater stream.

Despite its size, this parish contained within its boundaries two churches: Holy Trinity, at the foot of the castle, and Saint Doologue’s, which probably stood at the present junction of Lower King Street and Barrack Street.

Saint Doologue’s in Wexford is one of only three instances of this dedication for a church in Ireland: the others are Saint Doulagh’s or Saint Olave’s on Wood Quay in Viking Dublin, and Saint Doulagh’s here in Balgriffin.

The patrons of Saint Doologue’s or Saint Olave’s near Wood Quay were the Augustinians in Bristol, just as the Augustinian Prior of Christ Church Cathedral held Saint Doulagh’s in Balgrriffin from 1038. This arrangement in the city centre continued until at least 1540, if not 1570, when the parish was incorporated into Saint John’s in Fishamble Street.

According to Stanihurst and Harris, Saint Olave’s in Dublin was also known as Saint Tullock’s or Saint Doulagh’s. But the church, like many churches of the same name, was dedicated, not to a Celtic saint, but to Saint Olafe or Saint Olaf, King of Norway, who was killed in 1030.

Almost 200 years ago, WH Mason was calling this church Saint Olaf’s, so there are a number of points where the name of Saint Doulagh (in its various spellings) and Saint Olaf overlap – in Waterford, Wexford, Dublin and Fingal – all areas with Viking rulers and strong Viking culture.

A statue of Saint Patrick on the wall of Saint Patrick’s Roman Catholic Church, Skerries (Photograph: Patrick Comerford)

Indeed, Mason points out that, just as within the walled city of Viking Dublin, there are few if any churches in Fingal with Irish dedications. We can point to Holmpatrick in Skerries, Saint Columba’s in Swords and Saint Patrick’s in Donabate, but these are exceptions.

The overlap between dedications to Saint Olave and Saint Doologue shows how over the centuries we have sought to reconcile our Viking Church heritage with our Celtic Church heritage, but usually at the expense of our Viking Christian heritage, neglecting and forgetting the names associated with the very people who gave a unique identity to Fingal.

It is as though there is only one spirituality that ought to be acknowledges as our Spiritual Heritage, namely Celtic Spirituality.

If you look at the shelves of our bookshops or the shelves of shops in our airport departure lounges, the greatest number of books in the area of spirituality falls into three categories: Buddhist spirituality, Angels and Celtic spirituality.

I cannot speak for the first category. But the other two, I can confidently say, are genuinely shallow and lacking in both theological and historical depth.

So, is there such a thing as Celtic Spirituality?

And is it unique?

Was Saint Patrick the source of the Christianity that made this island the “Island of Saints and Scholars”?

This evening, I would like to invite us to look at the origins of Christianity in Ireland, including the arrival of Saint Patrick and the development of the “Celtic Church” – if there ever was such a thing, and at how this has shaped and influenced – or at least contributed to, the current, shared identity of Christianity in Ireland.

Christian beginnings in Ireland

The beginning of Christian toleration in the Roman Empire and the deliberations at the Great Councils of the Church that defined the Creeds, doctrines and limits of the Church in the fourth and fifth centuries (e.g. Nicaea, 325; Constantinople, 381; Ephesus, 431; and Chalcedon, 451), coincide with the arrival of Christianity in Ireland and the time when this island begins to earn its mythical reputation as the “Island of Saints and Scholars.”

Traditionally and romantically, Saint Patrick is said to have converted the entire population of Ireland from paganism in a very short period between 432 and 461, less than the span of one generation.

But there were Christians in Ireland before Saint Patrick’s arrival and his work as a missionary is only part of the story of the origins and growth of Christianity on this island. A hint of this is already found in the way Irish mythology was long anxious to claim Irish connections with the Christian story that predate Patrick and date back even to Biblical times.

These include:

1, Altus, said to have been an Irish witness to the passion and death of Christ;
2, The legend that Conor Mac Nessa, King of Ireland, died of a broken heart when he heard of Christ’s crucifixion;
3, The story of a local king, Cormac Mac Airt, who converted to Christianity in the 3rd century;
4, Accounts of Mansuetus, said to have been an Irish bishop in 4th century France.

But there is a realistic medium between these legends and the concept of a sudden conversion to Christianity at the hands of a single missionary.

The seas provided Ireland with immediate access to the neighbouring islands and Continental Europe: Wales was less than a day away from the coast near here; the north Antrim coast and Galloway were a few hours apart, many parts of Continental Europe were accessible in a day or two by sail and ship; present-day Spain was no less than three days away; Iceland was 1,000 miles and less than a week away.

Tacitus (ca 55-120 AD) tells us that British or Gallic merchants had a reasonably good knowledge of Ireland’s “harbours and approaches.”

The “Celtic” people in Ireland were traders, raiders and plunderers, and there is evidence of Roman traders reaching Irish harbours and beyond them up rivers such as the Nore and the Barrow, trading in wine, oil and wheat. The Irish imported pottery, metalwork and bric-a-brac from Roman Gaul and Britain, and exported copper, gold, slaves, hides, cattle and wolfhounds.

By the end of the third century, people from Ireland were establishing colonies in north-west and south-west Wales, Cornwall and the west coast of Scotland.

There must have been interchange between these colonists, Christian Britons and the Roman ruling and military classes. Nor can all the traffic have been one-way; the return traffic must have brought some Christians to coastal Ireland.

By the third or fourth century, there was regular commercial, mercantile and social contact between Ireland and Roman communities in Britain and Gaul. There have been abundant finds of looted Roman coins all along the northern and eastern coasts of Ireland: at the Giant’s Causeway (1831), Coleraine (1854) and more recently at Limavaddy; and Roman silver ingots with similar Christian provenance have been found in Kent and Limerick.

Catherine Swift argues convincingly that many among the ruling class in Ireland adopted the cultural habits and social customs of Roman Britons, to the point that they became Romanised, even in their religious fashions, and what is now the Cathedral Hill in Armagh is an example of one of their temple sites.

Christianity probably arrived in Ireland in the fourth and early fifth centuries by a slow and gradual process of unplanned infiltration, from Britain and Continental Europe.

Niall of the Nine Hostages, commanded several raiding expeditions across the Irish Sea. British captives carried off by Irish raiders may have been yet another way of Christianity gaining a presence on this island. Some educated continental Christians may also have sought refuge in Ireland during the barbarian invasions of the crumbling Roman Empire, fleeing Gaul (present-day France) at the start of the fourth century, and bringing Christianity with them.

Other points of contact include the contacts made by the Irish émigrés in Britain, and trade links with Roman Britain, Gaul and Spain. A gravestone for a fifth century Irish Christian predating the mission of Saint Patrick has been found in a Christian cemetery in Trier, and fifth century Christians, some with Latin names, are commemorated on ogham stones in southern Ireland, in Carlow, Waterford, Cork and Kerry.

In other words, many factors indicate the arrival of Christianity in Ireland long before Patrick was captured as a slave, and there was a considerable Christian presence on this island before Patrick began his mission in 432.

There is some evidence that suggests the gradual conversion of Ireland by Britons in the fourth century and possibly early fifth century.

Saint Iberius’ Church, Wexford … named after one of half a dozen or more saints whose missions are said to predate that of Saint Patrick (Photograph: Patrick Comerford)

There are traditions that some Irish saints predated Saint Patrick: Ciaran of Seirkieran (Diocese of Ossory); Declan of Ardmore, Co Waterford; Ibar of Begerin, Co Wexford; Ailbe of Emly, Co Tipperary; Meltioc (Multose) of Kinsale, Co Cork; and so on.

Although there is no evidence to support these largely unreliable traditions, it is worth noting that most of these are associated with the south and the south-east. And the presence of British Christians in Ireland must have had an influence, direct or indirect, on the spread of Christianity in Ireland long before 431. By the time Patrick began his mission, he would have found the British Christians resident in Ireland forming the nucleus for his mission and his Church.

The background to Saint Patrick’s mission includes the presence of perhaps three heresies in Ireland – Arianism, Priscillianism and Pelagianism – that probably arrived from western Europe in the late fourth and early fifth centuries.

Some of Priscillian’s ascetic adherents may have made their way to Ireland after he was executed in 386.

Pelagius (355-425) was vilified by Saint Jerome as a “most stupid fellow, heavy with Irish porridge,” and claims that Pelagius, or his companion Coelestius, had “his lineage of the Irish race, from the neighbourhood of the Britons.” Perhaps Jerome was insulting his opponent; but, nevertheless, it is possible that Pelagius had lived in Ireland or had Irish ancestry.

Germanus of Auxerre was sent from Rome to Britain in 429 to combat the influence of Pelagius and Pelagianism on the Church in Roman Britain. Soon after – perhaps in 431 – Palladius was ordained by Pope Celestine and was sent as the “first bishop” on a mission to “the Scotti [Irish] who believe in Christ.” So, we know that from at least the third decade of the fifth century Irish Christians were numerically large enough to have a bishop sent from Rome, and Palladius is associated with a number of church sites in Leinster.

Palladius may have worked in the south-east of Ireland for a few years. His work in Leinster was continued, perhaps, by figures such as Secundinus, Auxilius and Iserninus. His mission activities and those of Patrick may have been confused in later writings, so that much of the work and success of Palladius was attributed wrongly to Patrick.

Identifying Saint Patrick?

Saint Patrick … a stained glass window in Saint Edan’s Cathedral, Ferns, Co Wexford (Photograph: Patrick Comerford)

But who was Saint Patrick?

The young Patrick was captured in a great raid along with “many thousands of people” [Confessio 1], some of whom were lukewarm Christians, according to his own account; some of them could also have been committed Christians, perhaps even priests.

Saint Patrick’s account of his flight from slavery as a young man at the age of 22 may be evidence of an escape network for fugitive slaves run by concerned Christians, presumably in Leinster, more than 20 years before Patrick began his own mission [Confessio 17 and 18].

However, Patrick does not refer to Palladius. Although the missions of Palladius and Patrick may have coincided, Patrick was working in fresh territory, while Roman missionaries in Leinster were consolidating the work of Palladius and others who, by 431, had ensured that there were many people in Ireland who were Christians.

By the time Patrick began his mission, the foundations had been laid for a Church in Ireland that over the centuries that followed became a vibrant missionary Church.

In his Confessio [51], Patrick shows he is aware of episcopal activity in other parts of Ireland, with baptisms, confirmations and ordinations. Patrick says he travelled to places in Ireland “where no one else had ever penetrated, in order to baptise, or to ordain clergy, or to confirm the people” – suggesting there were places that had received episcopal ministry from other, earlier sources. So, Christianity had already taken root in the island before Saint Patrick began his mission.

The traditional account of the life of Saint Patrick says he was born about 372 in Roman Britain in Bannavem Taburniae, perhaps in Cumbria or at Dumbarton in Scotland. He says his father Calpornius was a deacon and his grandfather Potitus was a priest; both were from a relatively prosperous class of Romans.

At the age of 16, he was captured and brought to Ireland and later sold as a slave. After escaping and returning to his own people, he began to have visions of the cry of the Irish pleading to him to come back – an image probably drawn from Saint Paul’s vision in Troy of a man calling him across the sea to Macedonia (see Acts 16: 9-10).

Believing he was called by God to a mission to the Irish, Patrick entered the monastery of Saint Martin of Tours. He was subsequently ordained a bishop in Rome, and was sent to Ireland by Pope Celestine, who died in 432.

Patrick arrived from Britain in Ireland around 432, and most of the details we have of his life are from his Confessio, written in reply to the attacks on his character brought against him in England, and his Letter to Coroticus.

Saint Patrick’s Cathedral, Armagh ... why did Armagh become the centre of the cult of Saint Patrick? (Photograph: Patrick Comerford)

It is said that Saint Patrick built 365 churches and consecrated an equal number of bishops, established schools and convents, and held synods. The number alone indicates the mythological nature of this account – 365, as the number of days in the year, represents figuratively, rather than literally, the completion of a task.

The sites associated with Patrick include Armagh, which became the centre of the cult of Saint Patrick, Croagh Patrick in Co Mayo and Lough Derg on the borders of Co Donegal, where he is said to have spent time in retreat, and Downpatrick, where he is said to have been buried. There is no historical reason to associate him with the site of Saint Patrick’s Cathedral in Dublin, or the supposed Saint Patrick’s Well at the Nassau Street side of Trinity College Dublin, or other sites such as Holmpatrick in Skerries or Saint Patrick’s Church in Donabate, both in Fingal.

There are four different dates for his death. Most traditions say he died around 460, although other authorities say he died sometime around 491 to 493.

Mediaeval sources are unanimous in describing Saint Brigid of Kildare as a contemporary of Saint Patrick.

There is a theory that there were two Patricks, although this may arise from a misreading of “the elder Patrick,” who died in 457, where elder might also be read as bishop or priest.

Neither the canons attributed to him nor the Breastplate of Saint Patrick is his work. Later seventh-century documents speak of Patrick as the successor of Palladius. However, the O Neill dynasty had Tireachan and Muirchu write spurious accounts of Patrick’s life to establish Armagh’s claims to a primacy in Ireland.

When Brian Ború became High King ca 1000 AD, he had his secretary write into the Book of Armagh a confirmation of the right of Armagh to all church revenues in Ireland. It was at least another century, however, before Armagh’s claims to primacy were recognised throughout the Irish Church.

Is there a distinctive Celtic Christianity?

The monastery at Clonard was once one of the most important centres of learning in the Irish Midlands (Photograph: Patrick Comerford, 2012)

Is there such a thing as ‘Celtic Christianity’ or a ‘Celtic Church’? Was there ever a distinctive Celtic Christianity?

During the late fifth and sixth centuries, the monasteries became the most important centres of Irish Christianity, including Armagh which claimed its origins in the labours of Saint Patrick, and Clonard, which is associated with work of Saint Finnian of Clonard, who is said to have trained the “Twelve Apostles of Ireland” at his abbey in the Midlands.

Glendalough ... the monastic “Valley of the Two Lakes” (Photograph: Patrick Comerford)

The great monasteries included places such as Kells, Glendalough, Clonmacnoise, Durrow, Bangor, Ferns, Tallaght and Finglas.

Monasticism in these islands developed with particular characteristics that are unique, so that for a long time true ecclesiastical authority lay not with bishops but with the abbots of monasteries.

Following the growth of the monastic movement in the sixth centuries, abbots controlled not only individual monasteries, but also expansive estates and the secular communities that tended them. Abbots were not necessarily ordained and many were members of an hereditary caste within noble or royal families.

A late Celtic high cross at Saint Edan’s Cathedral, Ferns, Co Wexford (Photograph: Patrick Comerford)

This focus on the monastery means the monastic system came to be the dominant ecclesiastical structure in the Irish Church, and the network of monasteries attached to an abbey, rather than the diocese, was the dominant administrative unit of the church.

Bishops had sacramental roles and spiritual authority, but appear to have exercised little ecclesiastical authority in the way that bishops did in continental diocesan structures modelled on the Roman administrative system.

Clonmacnoise on the banks of the River Shannon (Photograph: Patrick Comerford)

The monastic system In Ireland became increasingly secularised from the eighth century on, with the monasteries even making war on each other or taking part in secular wars. For example, 200 monks from Durrow Abbey are said to have been killed when they were defeated by the monks of Clonmacnoise in 764.

Saint Maelruain’s Monastery in Tallaght was part of the reforming Ceilí Dé movement of the ninth century (Photograph: Patrick Comerford)

A reforming monastic movement emerged in the Ceilí Dé, who were associated particularly with the monasteries in Tallaght and Finglas.

Irish missionaries in Britain

A high cross at Kells, Co Meath … this was once one of the largest monastic communities associated with Saint Colmcille or Saint Columba (Photograph: Patrick Comerford)

In the sixth and seventh centuries, Irish monks established monastic foundations in what we now call Scotland – think of Saint Columba (ca 521-597) or Saint Colmcille in Kells and Iona, and in Continental Europe, especially in Gaul – think of Saint Columbanus.

Columba is associated with the foundation of abbeys at Swords in Fingal, Kells, Co Meath, and Durrow, Co Laois. However, he was held partly responsible for the Battle of Cúl Drebene (561) and was sent into exile. In 563, he founded the monastery of Iona which became one of the major centres of Irish missionary activity in Scotland and northern England.

Monks from Iona, under Saint Aidan (died 651), founded the See of Lindisfarne in Anglo-Saxon Northumbria in 635. Aidan was sent from Iona at the request of King Oswald of Northumbria, and the influences of his monks and disciples spread from Lindisfarne throughout northern England and into the Midlands.

Saint Cuthbert (ca 636-687) was involved in founding a monastery at Ripon, but when he and his colleagues from Melrose refused to conform to the date of Easter and other accepted Western practices they were expelled. He became the Prior of Melrose and later Prior of Lindisfarne, and in 685 he became Bishop of Lindisfarne. He is still associated with the Diocese of Durham

The English historian Bede (ca 673-735) implies that Irish missionary activity in northern England was more successful at converting the English than the mission started from Canterbury in southern England that began with Saint Augustine in 597.

Irish Continental missionaries

Irish monks also founded monasteries across the continent, exerting influence greater than many more ancient continental centres.

Saint Columbanus, a monk from Bangor in Co Down, left Ireland in 590 on a perpetual pilgrimage and moved to Gaul, where he founded monasteries in Annegray and Luxeuil. His fervour and his emphasis on private penance brought new spiritual energy to an area where Christianity was at a low ebb.

However, the observance of Irish customs led to the expulsion of Columbanus and his companions from Gaul in 610, and they eventually settled in Bobbio in what is today northern Italy. He died in 615; his surviving works include letters, sermons, a penitential and rules for monastic and community life.

Saint Gall, a disciple of Saint Columbanus, followed him to Italy in 612. However, Gall remained in what is now Switzerland, where he lived the life of a hermit until his death around 650. The monastery of St Gallen, which takes its name from him, was founded ca 719 on the site of his hermitage.

Pope Honorius I issued a papal privilege to Bobbio Abbey, granting it freedom from episcopal oversight. Many of the monasteries of the Irish missions adopted the Rule of Saint Columbanus, which was stricter than the Rule of Saint Benedict, which was prevalent across western Europe. This rule involved more fasting and included corporal punishment. However, it eventually gave way to the Rule of Saint Benedict by the 8th or 9th centuries.

Irish scholars who had considerable influence in the Frankish court include John Scotus Eriugena (died ca 877), one of the founders of scholasticism and one the outstanding philosophers of the day.

Distinctive Irish practices and divisions

1, The Date of Easter:

The customs and traditions particular to Insular Christianity became a matter of dispute with the wider, Western Church. The most notable dispute was over the proper calculation of the date of Easter.

The insular churches shared a method of dating Easter that was distinct from the system used on the Continent. Calculating the date of Easter is a complicated process involving both the solar and the lunar calendars.

Irish and insular Christianity used a calculation table similar to that approved by Saint Jerome. However, by the sixth and seventh centuries, it had become obsolete and had been replaced, and the divergence emerged.

The first differences over these calculations surfaced in Gaul in 602, when Saint Columbanus resisted pressure from the local bishops to conform to the new calculation.

Most groups, including the southern Irish, accepted the new tables with relatively little difficulty. At the Synod of Mag Léne around 630, the southern Irish accepted the common Easter calculation, Northumbria at the Synod of Whitby in 664, the northern Irish at the Council of Birr around 697, East Devon, Somerset and Wessex, 705, and the Picts in 710.

However, the monks of Iona and their associated monasteries raised significant objections, and Iona did not change its practice until 718. Strathclyde followed in 721, North Wales in 768, South Wales in 777, and parts of Cornwall not until 909.

2, The monastic tonsure:

In Ireland, free men had long hair, and slaves had shaven heads. However, all monks, and perhaps most of the clergy, had a distinct tonsure or method of cutting their hair, as a mark of distinction.

The prevailing Roman tonsure was a shaved circle at the top of the head, leaving a halo of hair or corona this was eventually associated with the imagery of Christ’s Crown of Thorns.

The exact shape of the Irish tonsure is unclear, but it appears the hair was in some way shorn over the head from ear to ear, perhaps in a semi-circular shape. Later, the Roman party jeered this as the tonsura Simonis Magi, in contrast to their “tonsure of Saint Peter.”

3, The Irish penitentials:

In antiquity, penance had been a public ritual. A distinctive form of penance developed In Ireland, where confession was made privately to a priest, under the seal of secrecy, and where penance was given privately and ordinarily performed privately as well.

Handbooks or “penitentials” were designed as a guide for confessors and as a means of regularising the penance given for each particular sin.

For some sins, penitents took their place in a separate part of the church during the liturgy, perhaps wearing sackcloth and ashes and took part in some form of general confession. This public penance may have followed a private confession to a bishop or priest. For some sins, private penance was allowed, but penance and reconciliation was usually a public rite that ended with absolution.

The Irish penitential practice spread throughout Continental Europe, where the form of public penance had fallen into disuse. Saint Columbanus was credited with introducing the “medicines of penance”, to Gaul.

Saint John Lateran … the Irish penitential system was adopted at the Fourth Lateran Council in 1215 (Photograph: Patrick Comerford)

Although the Irish practice met resistance, by the beginning of the 13th century it had become the norm, and this uniquely Irish penitential system was adopted as a practice of the Western Church at the Fourth Lateran Council in 1215, with a canonical statute requiring confession at least once a year.

4, Peregrinatio:

A fourth distinctive tradition in the early Irish Church, and one connected with the penitentials, was the concept of peregrinatio pro Christo, or “exile for Christ.” The concept of peregrination in Roman Law refers to living or sojourning away from one’s homeland. It was later used by early Church Fathers, including Saint Augustine of Hippo, who wrote that Christians should live a life of peregrination in the material world while awaiting the Kingdom of God. But the idea had two additional unique meanings in Celtic countries.

The penitentials prescribed permanent or temporary exile as penance for some sins. But there was also a tradition of voluntary peregrinatio pro Christo, which involved permanently leaving home and putting oneself entirely in God’s hands. Many of these exiles became missionaries, including Saint Columba and Saint Columbanus.

There were other distinctive traditions and practices. Bede implies a baptismal rite that was at variance with the Roman practice, perhaps with some difference in the rite of confirmation.

Was Celtic Christianity unique?

The beginning of Saint Luke’s Gospel in the Saint Chad Gospels or Lichfield Gospels … Saint Chad was trained in an Irish monastery and the work in this book shows clearly the combination of Celtic and Saxon culture in the eighth century

But were these differences any greater than, for example, the differences that separated Roman and Byzantine Christianity?

Christianity came to these islands at early stage, and long before the collapse of the Roman presence in Britain. The mutual trade and commerce between these two islands, including the slave trade, was responsible for the first early presence of Christianity in Ireland, including the arrival of Saint Patrick.

Many of the myths surrounding the life of Saint Patrick may have been created to support the claims of Armagh to primacy. Many of the myths about pre-Patrician Christianity may have been created to challenge that primacy.

But, while Christianity in Ireland predates Patrick, the Patrician mission, in whatever form it came, consolidated Christian presence in Ireland. And Christianity in Ireland – and in Britain – brought new life to Christianity on Continental Europe after the collapse of the Roman Ireland.

The Staffordshire Hoard, found in a field near Lichfield, shows the intimate links between the Celtic and Anglo-Saxon worlds

Did other identities also shape the identity of the Church of Ireland?

On the other hand, Celtic Christianity was not exclusively Irish and Irish Christianity was never exclusively Celtic. A recent exhibition in Lichfield Cathedral of the treasures found in the ‘Anglo-Saxon’ or ‘Staffordshire Hoard’ shows intricately-worked ecclesiastical and civilian objects that illustrate the inseparable and intimate inter-connection between the Celtic and Saxon worlds.

Our story is the story of Christianity in Ireland, the story of Christianity on these islands, and the shared story of Christianity throughout Europe.

And that story cannot be separated from the later arrivals: the Vikings, the Anglo-Normans, their English-speaking successors, the Ulster Scots, the French-speaking Huguenots, and so on, to our present-day new arrivals and immigrants.

Christ Church Cathedral, Dublin … a Viking foundation dating from ca 1030 (Photograph: Patrick Comerford)

For example, the Vikings brought positive change to the Church in Ireland, and the establishment of towns and cities such as Dublin, settled in 841, Waterford and Limerick opened the way for change.

In 943, the future King Olaf of Dublin was baptised in England, and later retired to Iona. The Norse city dwellers in Ireland became Christians by around the early 11th century.

In 1028, King Sitric the Silkenbeard of Dublin made a pilgrimage to Rome, and Christ Church Cathedral was founded soon afterwards, perhaps around 1030 and certainly before he was deposed in 1036.

The first Bishop of Dublin, Dúnán, was appointed in 1030, and the bishops of the Norse cities initially looked to the Archbishops of Canterbury in their loyalty.

The diocesan structures as we know them today only date from the Synod of Rath Breasil (1111), and the Synod of Kells in Co Meath (1152), when the Archbishop of Armagh became Primate and the Diocese of Dublin was incorporated in the structures of the Irish Church.

Celtic and Continental interchange

The octagonal baptistery at Saint Doulagh’s is the only surviving detached baptistery in Ireland (Photograph: Patrick Comerford, 2013)

This site is also a continuing visible, tangible example of how Celtic Christianity and Continental Christianity interacted with each other; rather than being mutually exclusive, they had shared and reciprocal experiences.

The eight-sided baptistery to the north of the church, in the next field, shows the influence of continental Christianity on Christianity in Ireland. This octagonal baptistery is the only surviving detached baptistery in Ireland. Beside it is an open-air pool with stone seating, and these are all contained within a sunken stone enclosure.

The baptistery in Butrint, Albania, originally had an octagonal plan (Photograph: Patrick Comerford)

The best-known octagonal baptistery in Christian archaeology may be the baptistery in front of the west end of the Duomo in Florence. The octagonal plan that became popular for baptisteries in the Middle Ages, including those in Florence, Ravenna, Milan, Parma, Volterra and Pistoia in Italy and Butrint in Albania, served as a visual metaphor for the number eight, which in Christian numerology symbolised a new beginning. As eight follows the “complete” number, seven, so the beginning of the Christian life follows baptism.

The octagonal baptistery in Florence, built between 1059 and 1128 ... Dante was baptised there (Photograph: Patrick Comerford, 2012)

In the fourth century, Saint Ambrose wrote of the octagonal baptistery in Milan: “It was fitting that the baptismal hall should stand to the number eight, by which true salvation returned to mankind.”

Those early baptisteries were roofed with domes, symbolising the heavenly realm towards which the Christian progresses after the first step of baptism. The baptismal font was usually octagonal, set beneath a dome or canopy, and encircled by columns and an ambulatory. These features were first used by the Byzantines when they altered Roman buildings to use as baptisteries.

Baptisteries commonly adjoined the atrium, or forecourt, of the church and were often large and richly decorated, such as those at Florence, Pisa and Parma. After the sixth century, baptisteries were gradually reduced to the status of small chapels inside churches.

The foundations of the first baptistery of San Giovanni in Florence date from fourth or fifth century, but the present octagonal baptistery in Florence, which is one of the oldest buildings in the city, was built between 1059 and 1128. The octagonal baptistery in the Piazza del Duomo, opposite the Cattedrale di San Zeno, or Cathedral of Saint John, in Pistoia in Tuscany, was built as late as the 14th century.

The Baptistery in Florence is renowned for its three sets of bronze doors by Andrea Pisano and Lorenzo Ghiberti – Michelangelo named the east pair of doors “the Gates of Paradise,” and was Dante baptised there.

The octagonal baptistery in Piazza del Duomo, opposite the Cathedral of San Zeno in Pistoia in Tuscany, dates from the 14th century. (Photograph: Patrick Comerford, 2012)

So, the octagonal plan of the baptistery at Saint Doulagh’s, although on a much smaller scale, shows an awareness of and an interaction with Christian practice at the time in southern Europe, both in Italy and throughout the Byzantine realm.

Conclusions

So, there is more to the story of Christianity in Ireland than the stories of Saint Patrick and the Celtic monasteries. Christianity in Ireland predates Saint Patrick, whoever he may have been, and primitive Christianity in Ireland owes much not only to the Celts, but to the Romans, Vikings, Norman, and many others.

The question, instead, ought to be one of how we can name or claim and integrate those identities?

What about not just the Celts, Romans, Vikings, Normans, but also those who arrived later from England, Wales and Scotland, the French Huguenots, the later refugees, immigrants and asylum seekers, who also contribute to our Christian Heritage in Ireland today?

Further reading:

JR Bartlett and SD Kinsella (eds), Two Thousand Years of Christianity and Ireland (Dublin: Columba Press, 2006).
Brendan Bradshaw and Dáire Keogh (eds), Christianity in Ireland, Revisiting the Story (Dublin: Columba, 2002).
JK Clarke, ‘The Parish of St Olave,’ Dublin Historical Record (Old Dublin Society) Vol 11, No 4 (September-November, 1950), pp 116-123.
Patrick Corish, The Irish Catholic Experience (Dublin: Gill and MacMillan, 1985).
Peter Costello, Dublin Churches (Dublin: Gill and Macmillan, 1989).
Richard Haworth, ‘The Site of St Olave’s Church, Dublin,’ in John Bradley (ed), Settlement and Society in medieval Ireland: studies presented to FX Martin, osa (Kilkenny, 1988), pp 177-191.
John James McGregor, New Picture of Dublin (Dublin: CP Archer, 1821), pp 128-129.
William M Mason, The History and Antiquities of the Collegiate and Cathedral Church of St. Patrick (Dublin: 1820).
William Roche, Nicky Rossiter, Kevin Hurley, Tomás Hayes, Walk Wexford Ways (Wexford: The Print Shop, 1988).

Canon Patrick Comerford is lecturer in Anglicanism, Liturgy and Church History, the Church of Ireland Theological Institute and an Adjunct Assistant Professor in Trinity College Dublin. This lecture in Saint Doulagh’s Church, Balgriffin, on 23 August 2013, was organised by the Friends of Saint Doulagh’s, in association with Fingal County Council, as part of the programme for Heritage Week 2013.