| Cathedral of the Assumption, Thurles - A Review Of The Recent Conservation And Restoration Work |
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CATHEDRAL OF THE ASSUMPTION, THURLESA Review Of The Recent Conservation And Restoration Workby Michael O’Boyle, Bluett & O Donoghue ArchitectsThe Cathedral of the Assumption was built in the Romanesque style, which reflected the influence of the then Archbishop of Cashel and Emly, Dr. Patrick Leahy (1806-74). The design was by the eminent nineteenth century architect, J.J. McCarthy, who had designed a number of notable Gothic Revival churches in Ireland. The finished Cathedral, which was consecrated on Sunday 22 June 1879, had a richly decorated interior, which incorporated panels of marble in different colours that Dr. Leahy had brought back from his travels in Italy. Its most important element was the Renaissance tabernacle, which was acquired from the Gesu chapel in Rome. Over the years the Cathedral interior has been altered in response to changing aesthetic tastes and liturgical practices. The earliest stencilled interior, which was designed in the Gothic Revival style – probably by George C. Ashlin under the patronage of Archbishop Croke - was replaced by a lighter decorative scheme in the early-twentieth century that was closer to the Romanesque design of the building. Elements of this decorative scheme survive on the soffit of the arches on either side of the nave. Later alterations included the introduction of dado mosaic tiling to the walls in the mid-twentieth century; re-ordering of the sanctuary following the Second Vatican Council; and redecoration as part of the centenary celebrations of 1979, which led to the loss of much of the second decorative scheme. In undertaking the recent works, the design team and the building contractor faced three key challenges – to carry out remedial works to the building fabric; to redecorate so that the architecture of the interior could be enhanced through colour, pattern and light; and the sensitive introduction of modern facilities. Building Repairs: The most urgent works related to the impact of rising damp and corrosive salts on the building fabric. A gravel-filled trench, with perforated drainage pipe, was installed to improve drainage around the perimeter of the Cathedral. All areas of harmful cement-based plaster were replaced with a more compatible lime-based plaster, specified by Jason Bolton, a stone and plaster specialist. Salt damaged stone around the marble niches on the left of the sacristy door was carefully repaired and replicated. Great credit is due to the project foreman, John Armstrong, who personally carried out much of these repairs. The disused heating vaults under the west side of the cathedral were inspected and two skips full of soot and other debris, which were contributing to the salt damage, were removed. A new and more efficient central heating boiler has been installed. The heating design will maintain the Cathedral at a constant minimum temperature all year round for 24 hours a day. The mechanical subcontractor for this work was Mason Mechanical Ltd. of Thurles. The stained glass windows throughout the building were individually assessed and locally repaired as necessary. The ventilation of the external storm glazing was improved, to reduce the build-up of heat on the building. All work to the stained glass was carried out in accordance with good conservation practice. The contribution of the skilled craftsmen from Aria Stained Glass Ltd. to the project is greatly appreciated. At the time of writing the four lanterns from the entrance gates, which were found to be of copper, have been restored and have been sent to Germany for re-glazing. Redecoration Of The Interior: The re-introduction of a pattern on the ceiling of the Cathedral was an essential element of the redecoration. The original intention was to paint subtle bands of a slightly darker colour onto the ceiling to echo the structural columns of the Cathedral. However, once a scaffolding platform was erected, it became clear that much of the detail from the earlier patterns could be identified and recreated. This was one of the most exciting aspects of the project, as the character and richness of the decorated ceilings slowly reappeared week by week. Surviving elements of the earlier stencilled paintwork were carefully cleaned, without any over-painting. The work was carried out by Anthony Forde & Sons, who worked under the direction of Mary McGrath, a specialist painting conservator. It may surprise some to note that none of the stained glass was repainted or touched-up. The interior colour scheme was selected to introduce lighter colours, which highlight the stained glass in the transepts, around the sanctuary, and on the rose window. It was a great privilege to be able to study the detail of these windows at close range while the scaffolding was in place. It is intended to mount a photographic display of the transept windows at ground level, so that visitors to the Cathedral can experience the richness of this important Irish stained glass at close range. The Cathedral was rewired as part of the work. The new lighting scheme was chosen to highlight the character of the Cathedral interior, while also providing good quality reading light during church services. All of the lights operate on a number of pre-programmed scenes, which range from dramatic highlighting of the arches and tabernacle, to uplighting of the ceiling, to strong down-lights during mass. The electrical subcontractor for this work was Corbett Electrical of Thurles. The Introduction Of Modern Facilities: A new accessible toilet has been installed in part of the former boiler house. This is accessible through the door in the west transept (opposite the Sacred Heart Altar). A new digital sound system has been installed, which will produce a more consistent sound with fewer speakers. An induction loop has been installed for the hard of hearing. A new console, linked to the organ gallery, has been installed in the body of the Cathedral. The organ itself has been cleaned and retuned by Stephen Adams. The modern confession box on the west side of the church has been replaced with a new accessible confessional. This utilises surviving elements of an earlier nineteenth century confession box, and closely matches the detailing of the other confessionals in the Cathedral. While much of the project involved restoration of character to the building, a conscious decision was made to introduce a contemporary feature in the building, to mark the current project. The new baptismal font and holy oils repository in the west transept, by Mark Ryan, are designed in portland stone and cast bronze. These additions to the interior will facilitate the introduction of new parishioners, through the sacrament of baptism, in the presence of the full congregation of the Cathedral. It is hoped that this addition is sympathetic with the character of the building, and will not diminish the importance of the early baptistery, which forms an important part of the setting of the Cathedral of the Assumption. Words Of Acknowledgement: The main contractor for the restoration works was Clancy Construction of Drangan. Particular credit is due to the many local subcontractors, trades, and suppliers, who worked on the project with tremendous enthusiasm. For many, the project represented a unique opportunity to work on one of the most important buildings in their home town. They rose to the challenge with great dedication. Sincere thanks go to the members of the design team – Pat Cantillon and Barry Sheppard of Sheppard Cantillon Quantity Surveyors; John Moloney and Don O’Malley of Don O’Malley & Partners, Consulting Building Services Engineers; my colleague James O’Donoghue, and all at Bluett & O Donoghue Architects. We were fortunate to have the support and encouragement of Dr. Dermot Clifford, Archbishop of Cashel and Emly; Fr. Eugene Everard and the priests of the parish; Tony O’Brien and the members of the Cathedral Restoration Committee. Finally, I would like to thank the people of Thurles, without whom this project would not have been possible. ENDS 3 October 2003 |