Loughrea Cathedral and the Irish Arts and Crafts Movement

How did a church in an Irish country town become a repository for some of the greatest treasures of the Arts and Crafts movement of the early 20th century? That church is St Brendan’s Cathedral in Loughrea, Co Galway, which we visited last week.

Evie Hone’s St Brigid window

The Arts and Crafts movement was a reaction against soulless methods of industrial production which emphasised repetitive tasks and removed the link between the worker and the final product. Such factory processes were eventually applied to works of art, such as stained glass windows, where numerous workers would be employed to assemble a final product. Within the movement, artisans, artists and makers sought to get back to a former time, often conceived as medieval and highly romanticised, when craftsmen and women designed and executed exquisite works from start to finish.

Queen of Heaven window by Michael Healy

So where does Loughrea come in? Well, for a start, it was the home of Edward Martyn, a wealthy enthusiast for all things Gaelic Revival including language, theatre, literature, music and art. Heavily influenced by the philosophies of the Arts and Crafts movement, particularly by those of William Morris, he worked with Sarah Purser to found An Túr Gloine (The Tower of Glass) as an artist/maker stained glass studio. Not a small part of their initial success was his ability to promise commissions from the decoration of St Brendan’s Cathedral.

The Stations of the Cross are by Túr Gloine artist Ethel Rhind and are executed in the unusual opus sectile mosaic technique

Thus it is that this church, in outward appearance very much like the prevailing neo-Gothic style of the end of the nineteenth century, is packed with the work of the most eminent women and men artists of the opening decades of the 20th century. Yes, that’s right, women and men – the Arts and Crafts movement empowered women artists like few such movement had before (or since, perhaps).

The Agony in the Garden by A E Child, detail

It takes a moment to realise what you have entered – initially the church interior seems familiar and unremarkable, almost heavy in its preponderance of marble, tile and dark wood.

But as the eyes adjust, you can be permitted a gasp or two as you realise that all the capitals are carved with scenes from the life of St Brendan, that there are fine sculptures here and there, that the arm of each pew has been individually decorated with idiosyncratic characters, that are are art-nouveau-looking light standards throughout the aisles, that the stations of the cross are unlike any you’ve seen before, and finally that the stained glass windows are numerous and beautiful.

Two scenes from the Death of Brendan, carvings by Michael Shortall

All the Túr Gloine stained glass arts are represented here: A E Child, Michael Healy, Ethel Rhind, Catherine O’Brien, Beatrice Elvery, Evie Hone and Hubert McGoldrick. There is even a small St Brendan window by Sarah Purser herself – a rarity as she mostly confined herself to the management of projects rather than glass-painting.

One of the very few stained glass windows actually executed by Sarah Purser herself – a Brendan image in the porch of the church

The stone carving is mostly the work of Michael Shortall, a student of John Hughes, the foremost sculptor of his day who provided bronze figures for the church. Eminent architect William Scott was engaged to design church furnishings and was responsible for the side altars, the entrance gates, the altar vessels and candlesticks, the baptismal font and altar rail.

Each pew arm has a whimsical creature – this one was no doubt intended to concentrate the mind on mortality

The woodwork was all done locally, with the workers encouraged to use their skills to depicts beasts and mythical figures, in much the same way that medieval craftsmen had done.

The museum contains an outstanding collection of sodality banners designed by Jack B Yeats and his wife, Cottie, and embroidered by the Dun Emer Guild. Above is the original design and the finished product

But that’s not all. Beside the church is a small museum, similarly packed with treasures. In particular, here is where you will see the work of the Dún Emer Guild, a women’s cooperative enterprise that designed and supplied materials (altar cloths, vestments, rugs, tapestries) to churches and others. Strongly influenced by traditional Irish designs such as scrollwork, interlacing, high crosses and Book of Kells symbols, the works supplied to St Brendan’s are wonderful examples of Irish Revival motifs, skillfully embroidered in gorgeous colours.

The Museum holds other artefacts too, including extremely rare medieval wooden carvings: most wooden statues were destroyed by the Puritans and very few have survived. There are also fifteenth century vestments, original drawings and sketches by Irish artists, altar vessels, and stained glass cartoons.

Twelfth or Thirteenth century wooden statue of the Virgin or Child

This post is a small introduction to the wonders of Loughrea Cathedral. About 40 minutes east of Galway and just south of the M6, this church is a must-see for anyone interested in the history of Ireland and its Arts and Crafts movement. The only comparable experience is the Honan Chapel in Cork.

Michael Healy’s magnificent Resurrection window

All I can do here is show you a representative sample of what we saw and encourage you to go see the totality for yourself. You won’t regret it.

The massive cathedral gates, designed by William Scott

Sorrow and Joy: Hubert McGoldrick in Gowran Church

Gowran Church in Co Kilkenny is home to numerous treasures: chief among them are two magnificent stained glass windows, including a two light window by Hubert McGoldrick. The church is full of Medieval and Early Modern effigy tombs, grave slabs and carvings of all kinds, and Robert writes about two of the other treasures in his post this week. But this was a functioning Church of Ireland church until relatively recently and as such it also has its own decorative details. 

Hubert McGoldrick’s window, Sorrow and Joy, in Gowran Church

Hubert McGoldrick apprenticed in the Dublin firm of Earley, learning his craft there, but in 1920 he moved over to An Túr Gloine (the Tower of Glass), the artisan workshop established and run by Sarah Purser. No doubt he was attracted by their philosophy: at An Túr Gloine every artist was in charge of their own window from design to completion and anything smacking of a factory process was eschewed.

A tiny figure in Sorrow – an angel, but depicted as an old man with a full beard

The window in Gowran was, in fact, Hubert’s first commission, and it is a remarkably accomplished piece for a 23 year old. The theme is Sorrow and Joy, each of which is represented by an angel. The influence of both Harry Clarke and Michael Healy, a fellow Túr Gloine artist, can be traced in the myriad details with which he fills each frame, with the exuberant use of colour and pattern, and with the tiny figures that add interest and symbolic detail to the overall theme.

The window is dedicated to HJC Toler-Aylward of Shankill Castle, who died in 1918. It is tempting, because of the date, to think that this is a war memorial window, but in fact Hector James Charles was 79 when he died. Shankill Castle is no longer in the Toler-Aylward family, but it’s still very much a going concern – read about its current owner and her home in this Independent article. The Aylwards settled in Kilkenny in the mid 1600s and Shankill Castle, dating from the 1840s is a fine example of the neo-Gothic style.

Hubert was from a large Catholic Dublin family. He was invited to join An Túr Gloine when they because very busy with war window commissions. According to David Caron (quoted here), an authority on Irish glass of the period: Hubert McGoldrick was the first male and the first Catholic to join the studio since Michael Healy‘s arrival some fifteen years earlier. Like Healy, he was a devout Catholic but in personality was very different; while Healy was reclusive and introvert, McGoldrick was theatrical and flamboyant.

Intriguing figures in the borders of the Sorrow window. And – does she have six toes?

I have photographed several other Hubert McGoldrick windows and will do a further post in the future. But for the moment, this  one will serve to introduce our readers both to Hubert and to the the many many delights in store when you visit Gowran Church.

Sorrow: the long tapering fingers, large eyes and elaborate ruffles – the influence of Harry Clarke is evident

Joy has a tiny pelican on his shoulder, a Christian symbol. I wonder what the music is.

The Christmas Story, One Window at a Time

Bandon Catholic Church

The Christmas story, as told in stained glass in Irish churches, is the biblical story. There are no Christmas trees or Santa Clauses, no references to anything other than the story of the birth of the Christ child. Not surprising, since stained glass is to be found mainly in churches after all. The one above is from the Catholic Church in Bandon. Pop in next time you’re passing – it will surprise you with its size and striking colour.

Church of the Annunciation, Cork. AnnunciationFive windows in a Cork church tell the story, beginning with the Annunciation

Two years ago I wrote a post about depictions of the Nativity by Harry Clarke. This year I’m branching out, to show you some of the stained glass Nativity images I have found in churches all over Ireland. Some are by artists I can identify, some are by the Harry Clarke Studios (after Harry’s death in 1931), and some are by anonymous artists. Some are traditional and some are avant garde. 

The next two windows show Mary visiting her cousin Elizabeth (mother of John the Baptist), followed by the betrothal of Mary and Joseph

In Cork, in the Church of the Annunciation – a church designed by the stone carver Seamus Murphy – a series of windows illustrate the complete Nativity story, from the Annunciation to the Visit by the Magi. These windows are by the Harry Clarke Studios and were installed in the 40s.

The birth in the manger with shepherds visiting, and the arrival of the Magi round out the story

When we visited Kilkenny we saw two examples in St Canice’s Cathedral. The first, a traditional crib scene, looks like it belongs on a Christmas card.

St Canices

On  another wall in the same church is a two-light window by A E Child, depicting the visit of the Magi. A E Child was a highly influential teacher, and member of Sarah Purser’s Tower of Glass (An Túr Gloine) – a contemporary of Harry Clarke and a highly skilled stained glass artist, but with a more orthodox style than Clarke’s.

Canice's AE Childe

Still in Kilkenny, the Black Abbey has reputedly the largest stained glass window in Ireland. It’s divided into numerous smaller scenes and this one depicts the Nativity. It bears a striking resemblance to the Christmas card window from St Canice’s – perhaps it was from the same studio.

Black Abbey Kilkenny

In  Tullamore, the enormous Church of the Assumption has wonderful stained glass by different artists. Several large windows are by the Dublin firm of Earley. This one of the madonna and child shows a small shepherd on her right and three crowns on her left – a clear indication, I think, that this is intended as a Nativity image. The swirling colours and modern lines create a dramatic effect.

Church of the Assumption, Tullamore

The St Joseph window in the Richard King collection in Athlone contains a detail in one of the side panels that depicts the Flight into Egypt, and another of the marriage of Joseph and Mary.

Back to Cork and to the Holy Trinity Church on Father Matthew Quay, just behind the South Mall. Three windows on the west wall are by the Harry Clarke Studios. Research in the Studio archives (held in Trinity College) has revealed the the middle window was designed by Harry Clarke, but executed in fact by his father. It has many of the hallmarks of Harry but lacks the rich detail for which he became justly famous.

Holy Trinity Church, Cork, Designed by HC and executed by his father

Behind the altar, on the north wall of the same church is an enormous window dedicated to Daniel O’Connell and containing scenes from the life of Christ. It is conventional, but finely painted and the colours are rich.

Holy Trinity Cork, East Window

I will leave you with two of our favourites. Close to home I love the the Sarah Purser/Tower of Glass round window in the Holy Rosary Church in Kilcoe. Here’s a detail.

Tower of Glass Magi closeup. Kilcoe

And finally, from the village church of Eyeries on the Beara Peninsula, Robert wrote about  a stunning set of windows by George Walsh. His nativity scene is touching and beautiful.

george walsh nativity