ST MEL’S CATHEDRALLONGFORD

Presentation to the

Irish Georgian Society

14 April 2015

January 2010

A place of worship remadeArdagh and Clonmacnoise, an ancient see

Colm O’Reilly Bishop 1983-2013Fr Tom Healy Parish PriestFrancis Duffy Bishop 2013

Fitzgerald Kavanagh and PartnersColm Redmond architect

Ann Cuffe Fitzgerald assistant architect

with Richard Hurley d.2011-The vision completed

With thanks to Cathedral Restoration Project Committee

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The Cathedral in 1936 –WH Byrne Plans IAA. These proposals not completed

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THE BASILICA PLAN

Archaeology: Judith Carroll &Co attended during all excavations. During the external works phase, remnants of the old chapel were found , to the north of the east transept and excavated under license- a compacted mud floor and whitewashed masonry walls were found

Part of a Map of Longford for

William Edgeworth 1813 (NLI)

courtesy Judith Carroll- before Cathedral built by William Higgins

Research/recording: All planning

applications were accompanied by detailed historical research- Carrig, FKP

ORIGINS

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St Mel’s was a fruit of Roman Catholic architectural emergence in the 19th C as legal and social tolerance improved. Bishop William Higgins was its first champion. In the rich soil of the midlands the country house flourished; from inception there was immense pride taken by the worshippers in their own great house

• Designers- two eminent 19th C Irish Architects-and a third more minor

• John B. Keane of Dublin, who emerges working with Richard Morrison in 1820, other work Queen’s College Galway, significantly worked on St Mary’s Pro-Cathedral in Dublin with which it shares the great barrel vault and some features of the structure. He was commissioned by Bishop Higgins to draw up original plans, foundation stone laid May 1840- work stops for the famine, it is reported trees are growing in the walls-

• John Bourke –also of Dublin, is appointed by Bishop John Kilduff, completes the main building by 1856 and erects the Campanile

• George Coppinger Ashlin completes the built form with the great Portico by 1893 under Bishop Woodcock, with George Smyth , b 1859, grandson of John, son of Edward- all Dublin sculptors

• 20th Century: Under Bishop Cathal Daly, Richard Hurley, a clean re-ordering was carried out. RH had a talent for working with clients to commission works of art in harmony with his vision.

21st Century. Fire of December 2009 a story already told. FKP and Richard Hurley were jointly appointed, continuity and team work envisaged; RH died in December 2011 ; artists he had hoped for produced some work of great distinction, the Cathedral was reborn again.

Thomas Pakenham Earl of Longford, granted a lease of 99 years to Bishop William Higgins in 1834.

HISTORY

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ROOF- SLATE AND LEAD6

A A

1 layer acanthus decorative

plaster mouldings

3 layer form Prince of Wales

feathers/leaves. See photgraph

Bead and reel decorative plaster

moulding

Flat plaster panel

Bead and reel decorative plaster

moulding

Recessed plaster face

Egg & dart decorative plaster

moulding

Inner panel flat recessed to suit

Raised field panels to windows

NOTE:

Arch head to diocletion windows

curved in 2 directions (conical

section). See dwg 11-01-T6-603

B B

Flat panel field panel recessed

25mm

Decorative plaster dental blocks

Windows installed by others.

Lime render to return to window

at all sides (cill included) See

dwg 11-01-T6-603 diocletion

windows

NOTE:

Lime render laths, void to rear,

break to form profile, sw

supports as required, brick

background

GENERAL NOTES:

· Main ceiling supports s/w timber

joists and trusses

· S/W framing generally by

plastering sub contractor

· Egg and dart decorative plaster

moulding in various sizes

· Anthemion decorative plaster

moulding in various sizes

· Bead & reel border

· All embellishments to be set out

to suit scale of element

Extent of lime plaster and

secondary timber frame

structure to be carried out

under Contract No.6

225x44 Ceiling Joists 225x44 Ceiling JoistsTimber plaster laths

Finished decorative plaster

425x150mm Nave

Truss bottom chord

Curved 44x44 timber battens

to support ceiling downstand

CROSS SECTION A-AS c a l e 1 : 1 0

CROSS SECTION B-BS c a l e 1 : 1 0

175x44 Ceiling Joists 175x44 Ceiling JoistsTimber plaster laths

Dental blocks

44x44 timber battens to

support ceiling downstand

Detailed Reflective Ceiling Plan - Nave Bay

s c a l e 1 : 2 5 @ A 1

DISCLAIMER:

DO NOT SCALE. CHECK ALL DIMENSIONS

All dimensions shown on this drawing must be

checked on Site, prior to construction,

manufacture, or fabrication.

Any conflicts or discrepancies, must be reported to Fitzgerald Kavanagh + Partners.

The copyright of this drawing belongs to the

author indicated

DA

TEIN

ITIA

LN

OTE

A B C D

G H

DA

TEIN

ITIA

LN

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I J K L

CAD FILE REF.

SCALE

DRAWN BY

CHECKED

DATE

JOB

CLIENT

TITLE

DRAWING NUMBER

REVISION

X:\2011\11-01\TENDER\NO.6

1:25@A1

J Glancy

Ann Cuffe Fitzgerald

March 2013

Restoration of St. Mels Cathedral

Longford

St. Mel's Diocesan Trust

Detailed Bay

Reflective Ceiling Plan

11-01-T6-324

10/04/2013

FKP

T6 - TENDER

\

Detailed Reflective Ceiling Plan - Side Aisle Bay

s c a l e 1 : 2 5 @ A 1

FKP ceiling tender drawing- decorative plaster

THE CEILING 7

THE BARREL VAULT FINISHED

Clay moulds hand made, transiting to cast embellishments- though the scale of the design is large, typical of the mid 19th C, the strong form of the barrel vault and quarter sphere apse carries great conviction- George O’Malley Plastering

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Timber sub structure-ceiling joists- supported on new trusses- rubble stone seen behind

In the Apse, laths form the bed for the first lime render coats

Set out of apse - a long compass- George O’Malley operatives

APSE PROCESS 19

Setting out Greek key in neo classic style is challenging

From salvaged remnants, items are modelled in clay, cast on a bench in series

Each egg and dart hand placed and finished

APSE PROCESS 210

• Artwork of value

• Questions-

• whether to reinstate, clean further, replace in transept chapel, replicate, add shelter coat of limewash

• All for considerationLetter from George Smyth 1892 ‘ I beg to lay before you my proposal.. Note Benjamin Woodruff approval at foot.

SIDE ALTAR11

THE ORGAN -1

Pipe Organ. A strong organ tradition was present in St Mels. Dr Gerard Gillen, John O’Keefe, and Richard Hurley together with Bishop Colm O’ Reilly invited design submissions from a number of parties in Ireland, the UK and further afield. Fratelli Ruffatti of Padua were successful –Piero seen below-it was up tothe project teamto ensure delivery with 5mm structural tolerances and 6 weeks dust free silence for final build

1.Tin /lead alloy on sand on marble for pipes- each formed by hand.2. Components arrive on site

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THE ORGAN-2

‘The 36-stop pipe organ from Italy has been installed and of its 2,307 pipes are being “voiced” by its maker Francesco Ruffatti from Padua, one of the most celebrated organ makers in the world. Voicing, he explains, involves making every single pipe produce the right sound. “I think this cathedral is amazing”, says the well travelled maestro who once lived in a tree house in the Amazon. “It feels like a modern building and because of natural materials like stone and marble its acoustics are very favourable to sound – it would be fantastic for concerts.” Irish Times December 2014

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VAULT- LIGHTING

Photo Donal Murphy 2015

ANGELS

28 Angels, 4 totally destroyed-£5 each by Terence Farrell 1856-St Mel’s ArchiveReport and specification by Carrig ConservationInvestigation and test repair- lime plaster on iron armature- casting plaster or plaster of Paris coat, marble dust to finish-oil and vinyl paint overRepairs by Stefan and Karen Emmelmann working with O’Malley Plastering under George and Ann Cuffe Fitzgerald direct guidance

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New Altar:

Thomas Glendon Artist CarraraMarble 7.8 tons

Modern intervention-distinguished artist/sculptor

Liturgically central to Cathedral

1) Install acrow props to the crypt along the centreline of the route from the Central vestibule inner doorway to the front of the altar as shown. Props will be installed in a double line at 800mm centres linearly and 1200 mm centres transversely to reflect the wheel spacing on the wheeled platform that Thomas will be providing. We will need to install 2 number RSJ’s on props to span the existing altar table in the crypt . All props will be placed on a 60mm thick by 225mm sole board and headed with a similar board with the exception of the RSJ

Method Statement in Action-Put forward by contractor

Approved by Design Team

and Artist

MAIN ALTAR16

Sketches method statement- tracks to final position, protection for durations of works

Altar on predella- contemporary stone palette

Further 3D sketches

ALTAR INSTALLED17

• At roof level the top of the walls were in poor condition under the temporary roof.

• New coping stones in Old Leighlin Limestone supplied by Stone Developments and placed by Creggstone were required.

• Queen Post Trusses were fabricated by Gem Joinery and rolled in place replicating the original structure – with its irregularities!

ROOF- THE STRUCTURE18

COLUMNS19

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COLUMNS - DRAWINGS

COLUMNS Old Leighlin quarry- beds vary. Capital plaster cast, source block

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Stone Procurement-Irish Blue LimestoneCarrig Conservation in conjunction with FKP issued a tight stone specification – calcite line being checked

Stone Developments of Carlow were the source– each major stone was inspected by design team- 85% rejection rate

Quarry cutting scheduleeach bed and block marked- deep beds for 1.9m largest drum- bed laid horizontal- change from

original- justified as better for loading and for fire

Master Carver Ollie with two capitals

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The Basilican colonnade restored- Kim Il Jong windows illuminate

COLONNADE RESTORED23

MOSAIC

One of the most painstaking pieces of craft work-mosaic repair, whether Oppenheim work of 1890s on a lime base or 1960s cement screed work-up close and personal

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Mosaic work restored , new intervention of glass enclosed lift clearly distinguishableCharter of Venice: Restoration: Article

9…..Its aim is to preserve and reveal the

aesthetic and historic value of the monument

and is based on respect for original material

and authentic documents. It must stop at the

point where conjecture begins, and in this

case moreover any extra work which is

indispensable must be distinct from the

architectural composition and must bear a

contemporary stamp

EAST VESTIBULE -LIFT25

FORMER BAPTISTERYBrass Restoration by Paraic Farrell , joinery by Gem Joinery, Longford firms

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MUSEUM SPACE IN CRYPT- AWAIT FURTHER NEWS

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ST MEL’S CATHEDRAL

Project TeamClient :Bishop Francis Duffy succeeding Colm Reilly

On behalf of St. Mel’s Cathedral Trust

The Cathedral Restoration Committee

Project managers: Irish Project Management Limited;

Architects: Fitzgerald Kavanagh & Partners, commencing with joint appointment

Richard Hurley and Associates;

Material conservation consultants: Carrig Conservation

Quantity Surveyors: Brendan Merry and Partners

Structural engineers: Punch Consulting

Mechanical and electrical engineers: Arup

Archaeologist : Judith Carroll

Demolition: PJ Hegarty

Main Contractors: Gem Purcell

Investigation works: Kellys, Mullingar

Specialists: Stone Developments, Creggstone, Irish Natural Stone, Conservation and Restoration, O’Malley Plastering, Gem joinery, Paraic Farrell, Letterfrack Furniture conservation, Siobhan Conyngham painting conservation.. and many others.

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