Tag: europe

Discovering the Beauty of Saint Fin Barre’s Cathedral in Cork

Saint Fin Barre’s Cathedral features stunning Victorian Gothic artistry, with symbolic ceilings and intricate designs reflecting divine themes and craftsmanship.

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As I stood on the floor of Saint Fin Barre’s Cathedral in Cork, Ireland, I gazed upward toward the Apse and sanctuary ceiling at the eastern end. Turning my eyes directly to the west, I found myself captivated by the crossing ceiling—the very heart where the nave intersects with the transepts, forming the iconic cross shape typical of Gothic cathedral architecture.

In my imagination the central tower and spire soared majestically above the crossing ceiling. The ceiling there featured intricate architectural elements like ribbed vaults and a lantern tower, allowing light to flood into the space below. This crossing served as a beautiful transitional space between the sanctuary and the main body of the cathedral, the nave.

Focusing my camera on the Sanctuary Ceiling of Saint Fin Barre’s Cathedral, I was struck by the stunning example of Victorian Gothic Revival artistry before me. Designed by the architect William Burges, who envisioned every detail of the cathedral, the ceiling reflected his meticulous attention to detail and his love for vibrant colors and symbolic ornamentation.

The rich iconography drew me in. Angels adorned the ceiling, likely representing the celestial hierarchy or the glorification of Christ. Each angel held symbolic items—trumpets, stars, or scrolls—emphasizing their roles as messengers and worshippers of God.

The radiant color scheme was breathtaking. Deep blues, shimmering golds, lush greens, and vivid reds combined to create a striking visual effect, symbolizing heaven and divine majesty. Gold accents caught and reflected the light, reinforcing the idea of heavenly glory.

Geometric and star patterns embellished the vaults. The blue panels dotted with gold stars symbolized the heavens—a common motif in Gothic church ceilings. These stars seemed to represent divine guidance or eternity, adding another layer of meaning to the already rich tapestry above me.

The structural elements themselves were works of art. Painted ribs intersected across the ceiling, highlighting the Gothic architecture’s ribbed vaulting. Their intricate designs in green and red emphasized both structural beauty and functional elegance.

The symbolism was profound. The angels with their instruments and the starry heavens collectively evoked themes of divine worship and the glory of God’s kingdom. This alignment with the Victorian Gothic ideal of infusing spiritual symbolism into architectural elements was evident in every brushstroke.

Knowing that William Burges envisioned Saint Fin Barre’s Cathedral as a “Bible in stone,” I felt a deep connection to his purpose. Standing beneath the Sanctuary Ceiling—the focal point above the altar—I sensed how it served to elevate worshippers’ gaze and spirits toward the divine.

Capturing these scenes through my lens, I was documenting a testament to the artistic and architectural achievements of the 19th century. Saint Fin Barre’s Cathedral is a place of worship and also a living gallery of history, faith, and unparalleled craftsmanship.

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The Architectural Symbolism of Saint Fin Barre’s Cathedral

The Western Portico of Saint Fin Barre’s Cathedral illustrates the parable of the ten virgins, emphasizing spiritual preparedness and divine judgment.

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The towering Western Portico of Saint Fin Barre’s Cathedral leads into the sacred space of the church while serving as a canvas for a profound narrative of divine judgment and grace. Standing before it, I am drawn into its intricate details, particularly the central set of doors flanked by the ten virgins—five wise and five foolish—embodied in stunning columnar statues. Their story is drawn from the Gospel of Matthew (25:1–13), a parable of spiritual preparedness that echoes throughout the cathedral’s architecture.

The parable tells of ten virgins who go out to meet the bridegroom, each carrying a lamp. The wise virgins take oil with their lamps, while the foolish take none. When the bridegroom is delayed, all ten fall asleep. At midnight, the cry rings out, “Here is the bridegroom! Come out to meet him!” The virgins awaken and trim their lamps. The foolish ones, realizing their lamps are going out, plead with the wise to share their oil, but the wise refuse, saying, “There may not be enough for both us and you. Instead, go to those who sell oil and buy some for yourselves.” While the foolish virgins are away buying oil, the bridegroom arrives, and the wise virgins go with him into the wedding banquet. The door is shut. Later, the foolish virgins return, crying, “Lord, Lord, open the door for us!” But he replies, “Truly I tell you, I do not know you.” The parable concludes with the warning: “Therefore, keep watch, because you do not know the day or the hour.”

On either side of the central door, the virgins stand as sentinels, embodying this story. The wise virgins, to the right of Christ, hold their lamps aloft, flames burning brightly, symbols of readiness and spiritual vigilance. Their faces are serene, reflecting a sense of fulfillment in their preparedness to meet the bridegroom. To the left, the foolish virgins clutch their unlit lamps, their postures and expressions marked by despair and regret. The detail in their sculpting is exquisite—draped garments, forlorn gazes, and, in the case of the leftmost virgin, a subtle gesture of mourning, her hand resting thoughtfully against her cheek as though lamenting her unpreparedness.

Beneath each figure lies a pedestal adorned with imagery that amplifies their symbolic meaning. The wise virgins stand upon a foundation of flourishing life: vines, flowers, and fruits, evoking the vitality and promise of spiritual readiness. In contrast, the pedestals of the foolish virgins are carved with desolation—withered branches, skeletal forms, and motifs of death, stark reminders of the spiritual decay brought by neglect and complacency.

At the heart of the narrative stands Christ, the Bridegroom. His figure, commanding yet compassionate, turns toward the wise virgins, his gesture one of welcome and blessing. The flowing robes and the serene expression of the Christ figure emphasize his dual roles as judge and redeemer. It is a moment of movement captured in stone—Christ leaning into the wise while his back turns on the foolish, a subtle yet striking commentary on divine justice.

Above the door, the tympanum deepens this narrative, depicting the ultimate moment of judgment. Surmounted by three angels announcing the resurrection, their imagery and gold background harking to the Resurrection Angel of the east cathedral side with gold a symbol of purity and divine light; the dead rise from their graves, their fates determined by their spiritual choices. On the right, angels extend their hands to the faithful, pulling them upward toward eternal life. Their forms radiate lightness, their wings creating a sense of ascension and joy. On the left, the scene is markedly darker: angels, stern and unyielding, drive the condemned downward, their bodies twisted in expressions of agony. Flames lick at the edges of the scene, signaling the fires of damnation.

The weight of this imagery is palpable. The parable of the ten virgins, brought to life in stone, underscores the centrality of vigilance and readiness in the Christian faith. The Western Portico is a story carved in stone, a vivid testament to the choices each person must make. Standing before it, I am not merely a viewer but a participant, invited to reflect on my own readiness and my place in this cosmic drama. The intricacy and theological depth of this space leave an indelible impression, a reminder of the eternal truths that the cathedral seeks to communicate through its art.

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What the Resurrection Angel Symbolizes for Cork City

The Resurrection Angel at Saint Fin Barre’s Cathedral symbolizes hope and vigilance, reminding Cork’s citizens of life’s transience and resilience.

MichaelStephenWills3 Comments

Standing on the east side of Saint Fin Barre’s Cathedral, I lift my gaze to the gilded angel high above the polygonal apse. Known as “The Resurrection Angel,” this radiant figure with its trumpet held aloft commands both awe and contemplation. As an enduring symbol of hope, renewal, and spiritual vigilance this angel carries a profound and dramatic promise: the sound of its trumpet will one day warn the people of Cork of the world’s imminent end, giving them the opportunity to be among the first to ascend to heaven.

The Resurrection Angel’s trumpet echoes the apocalyptic imagery of the Book of Revelation, particularly Revelation 11:15, where the seventh trumpet announces, “The kingdoms of this world have become the kingdoms of our Lord.” Yet in Cork, this celestial figure is imbued with a uniquely local significance. It stands as both guardian and guide, poised to fulfill its divine purpose when the end of days draws near. The legend elevates the angel’s presence beyond theology or art—it becomes a tangible connection between the celestial and the earthly, rooted in the lives of Cork’s citizens.

From an epistemological perspective, the Resurrection Angel poses fascinating questions about how we prepare for the unknown. What does it mean to live in the shadow of an angelic trumpet, one that might sound at any moment? Its silence is a paradox, a quiet yet profound proclamation of life’s transience. The legend suggests that the people of Cork, by virtue of the angel’s warning, are uniquely favored—a notion that intertwines faith with identity and imbues the city with a sense of divine guardianship.

The angel’s golden form shines brightly against the gray stone of the cathedral, a deliberate contrast that speaks to its otherworldly purpose. Gold, a symbol of purity and divine light, captures the eternal amid the temporal. The Resurrection Angel reflects the ambitions of the cathedral’s architect, William Burges, who intended every detail of Saint Fin Barre’s to serve as a testament to faith and artistry. This angel was the final piece installed, marking the cathedral’s completion and fulfilling Burges’ vision of a “perfect work.” According to lore, Burges himself declared that if the angel were ever to fall, it would signal the end of the world—a statement that deepens the mystique surrounding this celestial figure.

For Cork, the angel embodies the city’s resilience and collective spirit. Over centuries, Cork has weathered fires, floods, and rebellion, yet it has always risen anew. The angel, with its legend of warning and redemption, mirrors this cyclical journey of challenge and renewal. Its trumpet, silent but ever-present, reminds the people of Cork to stay vigilant, to hope, and to strive for goodness in the time they have.

As I stand beneath its watchful gaze, I feel the weight of the legend and its implications. If the angel’s trumpet were to sound today, would we be ready? It invites not fear but reflection—a challenge to live with purpose and awareness of the sacred in the everyday. And as I step away, the angel remains, steadfast and golden, a silent guardian over Cork, holding its promise and its warning aloft for generations to come.

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Saint Fin Barre’s Cathedral: A Marvel of Victorian Architecture

Saint Fin Barre’s Cathedral, a Gothic Revival masterpiece by William Burges, symbolizes artistry and faith in Cork, Ireland.

MichaelStephenWills6 Comments

Approaching from the east, we see the polygonal apse at the eastern end houses the high altar and is a key liturgical and architectural feature. Each angular bay is delineated with tall lancet windows filled with stained glass, adding to the richness of the design. Saint Fin Barre’s Cathedral, a masterpiece of Gothic Revival architecture, stands as a beacon of faith and artistry in the heart of Cork, Ireland. Designed by the renowned Victorian architect William Burges, the cathedral is both a testament to the spiritual fervor of its time and a bold statement of artistic vision.

Approaching from the east, we see the polygonal apse at the eastern end houses the high altar and is a key liturgical and architectural feature

Commissioned in 1862, the cathedral replaced an earlier structure, marking a new chapter in Cork’s ecclesiastical history. William Burges, known for his theatrical approach to design, was the perfect choice for this ambitious project. His vision for Saint Fin Barre’s Cathedral blended medieval inspiration with Victorian ingenuity, creating a building that is as much a work of art as a place of worship.

Burges, a figure of eccentric brilliance, was deeply influenced by the principles of the Gothic Revival movement, which sought to recapture the grandeur of medieval European architecture. Drawing from this aesthetic, he designed the cathedral with meticulous attention to detail. Its three spires dominate the Cork skyline, with the central spire rising to an impressive height of 73 meters. These spires are not merely structural; they are symbolic, reaching heavenward in a gesture of devotion.

The exterior of the cathedral, constructed from Cork limestone and Bath stone, is adorned with intricate carvings and sculptures. These include depictions of biblical scenes, saints, and gargoyles, all painstakingly crafted under Burges’s watchful eye. Every detail reflects his belief that architecture should educate as well as inspire. Bishop Street, The Lough, Cork City, County Cork, Ireland

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Newgrange X

Step into the ancient world of Neolithic monuments and discover the astounding astronomical knowledge of our ancestors. Explore the Newgrange Lightbox in Ireland and similar marvels across Europe, revealing a deep connection between ancient peoples and the cosmos. Join me in unveiling these architectural wonders.

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Newgrange IX

Discover the mysteries of the Newgrange monument’s Entrance Stone, a showcase of exquisite Neolithic rock art. Explore spirals, lozenges, and geometric designs that define European megalithic art and delve into their potential meanings and cultural significance. Join me in uncovering the secrets of this ancient Irish wonder.

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Shuffle off

All Souls’ Day, observed on November 2, is a Christian tradition of praying for the deceased, originating from ancient practices and shaping cultural rituals like Mexico’s Día de los Muertos.

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Shuffling through the hot coals of autumn on All Souls Day.

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All Souls’ Day, observed on November 2nd, is a day of prayer and remembrance for the souls of the deceased. Stemming from ancient traditions and solidified within the Christian liturgical calendar, this day serves as a solemn occasion to commemorate the departed. Its roots are deep, with a rich history that intertwines with both religious and cultural practices over centuries.

Origins
The concept of dedicating a day to remember the dead predates Christianity. Many ancient civilizations, such as the Egyptians and the Celts, held ceremonies and festivals to honor the deceased. The Celts, for instance, celebrated Samhain, which marked the end of harvest and the beginning of winter. This was believed to be a time when the veil between the living and the dead was thinnest.

As Christianity spread across Europe, there was an attempt to integrate pagan practices into the Christian framework, leading to the establishment of days dedicated to the deceased. By the 7th century, monastic communities in Europe had begun to designate a day to pray for the departed members of their communities.

Establishment
All Souls’ Day was formally institutionalized by St. Odilo of Cluny in 998 AD. He declared November 2nd as a day for all the monasteries associated with his Benedictine congregation to pray for the souls in purgatory. This practice quickly spread, and by the 11th century, it was widely celebrated throughout Christian Europe.

Theology Behind the Celebration
Central to All Souls’ Day is the belief in Purgatory – an interim state where souls undergo purification before entering Heaven. It’s believed that the prayers of the living can aid these souls, expediting their journey to paradise.

Modern Observations
Today, All Souls’ Day is observed with varying levels of prominence across Christian denominations. In Roman Catholicism, it retains significant importance, with masses dedicated to the departed. In other Christian traditions, it may merge with other observances, like All Saints’ Day (November 1st) or be passed over entirely.

Cultural Influences
Over time, All Souls’ Day has influenced and been influenced by local customs and traditions. In Mexico, for instance, Día de los Muertos (Day of the Dead) coincides with All Souls’ Day but has its distinct flair, involving vibrant parades, elaborate altars, and specific foods.

Bullet Points Summary:

Ancient Foundations: All Souls’ Day has its roots in ancient civilizations that honored the dead.
Samhain: The Celts observed Samhain, marking a time of close proximity between the living and the dead.
Christian Integration: Early Christians attempted to integrate existing pagan rituals into their religious framework.
Monastic Observances: By the 7th century, monastic communities began designating days for the departed.
St. Odilo of Cluny: He formalized All Souls’ Day in 998 AD for his Benedictine congregation.
Spread: By the 11th century, the observance had spread throughout Christian Europe.
Purgatory: Central to the day’s theology is the belief in purgatory and the power of prayers to aid souls.
Variation in Observance: The day’s significance varies across Christian denominations.
Cultural Mergers: Local traditions, like Mexico’s Día de los Muertos, have both influenced and been influenced by All Souls’ Day.
Modern Practices: Today, the day may involve attending masses, lighting candles, and visiting graves of loved ones.
In essence, All Souls’ Day is not just a day on the liturgical calendar; it’s a reflection of humanity’s timeless effort to understand, honor, and find meaning in the cyclical nature of life and death. Through rituals and observances, we bridge the gap between the past, present, and the profound mystery of the hereafter.

Click Me for another Malloryville post, “Formed By Water.”

Copyright 2023 Michael Stephen Wills All Rights Reserved

Newgrange VIII

The Newgrange facade and kerbstones consists of stones from various locations, believed to be transported by sea and river.

MichaelStephenWills

The Newgrange façade and entrance of today is a creation from the large quantity of small stones unearthed and conserved during excavation given form by a steel-reinforced concrete retention wall. 

The brilliant white quartz cobblestones were collected from the Wicklow Mountains, 31 miles to the south.  Our guide called them “sunstones” for the way they reflect sunlight. In the following photograph is white quartz, the same excavated 1967-1975 from the Newgrange site and incorporated into the facade, I collected from “Miners Way” along R756 (above Glendalough).

You can also see in these photographs dark rounded granodiorite cobbles from the Mourne Mountains, 31 miles to the north.  Dark gabbro cobbles from the Cooley Mountains and banded siltstone from the shore at Carlingford Lough both locations on the Cooley Peninsula where my mother’s family still has farms.

The stones may have been transported to Newgrange by sea and up the River Boyne by fastening them to the underside of boats at low tide. None of the structural slabs were quarried, for they show signs of having been weathered naturally, so they must have been collected and then transported, largely uphill, to the Newgrange site. The granite basins found inside the chambers also came from the Mournes.

Geological analysis indicates that the thousands of pebbles that make up the cairn, which together would have weighed about 200,000 tons, came from the nearby river terraces of the Boyne. There is a large pond in this area that is believed to be the site quarried for the pebbles by the builders of Newgrange.

Facade and Kerbstones

Most of the 547 slabs that make up the inner passage, chambers, and the outer kerbstones are greywacke. Some or all of them may have been brought from sites either 3 miles away or from the rocky beach at Clogherhead, County Louth, about 12 miles to the northeast.

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Copyright 2023 Michael Stephen Wills All Rights Reserved

Newgrange VII

Approaching Newgrange for the first time

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Michael Joseph “Brian” O’Kelly was selected to undertake the direction of the excavation of Newgrange during a 1961 meeting of “those who had a professional interest in the monument” organized by PJ Hartnett, the archaeological officer with Bord Fáilte Eireann (Irish Tourist Board) and a former pupil of Professor O’Kelly’s. Excavation commenced in 1962 and continued every summer for a four-month season up to and including 1975.

The aim of the excavation was to discover as much as possible about the archaeological and historical context of Newgrange and the people who built it and to discover what its original finished appearance was so as to direct a reconstruction, conservation and restoration of the structure to its former condition and appearance.

The last year of excavation was 1975, Michael J. wrote “We determined in 1975 that that should be our last season of excavation at Newgrange. We had investigated approximately one third of the structure and we had discovered much about it that was new, both in its structure and in its ornament, while radiocarbon had pushed its date back by 1,000 years……”

“…We felt that the other two thirds should be left for a future excavator, who, working with new knowledge and perhaps with better methods and new scientific approaches, should have large areas untouched by us in which to test, check and re-evaluate our findings.” From The Restoration of Newgrange by Michael J.O’Kelly. Antiquity LIII, 1979.

“Between the bright sky and the long glittering silver ribbon of the Boyne the land looks black and featureless. Great flocks of starlings are flying across the sky from their nighttime roosts to their daytime feeding places. The effect is very dramatic as the direct light of the sun brightens and casts a glow of light all over the chamber. I can even see parts of the roof and a reflected light shines right back into the back of the end chamber.” The recorded words of Prof O’Kelly spoken in the tomb of Newgrange on the 21st December 1969.

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Copyright 2023 Michael Stephen Wills All Rights Reserved

Newgrange VI

Newgrange and Knowth mounds were built and stabilized by structural experts.

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At the same time as the passage and chamber were being built, work on the mound was going ahead.

Brú na Bóinne Visitor Center, Dunleek Lower, County Meath, Republic of Ireland

At Newgrange, and the main mound at Knowth, an area around the tomb was left clear for a platform of stones to encase and stabilize the chamber roofs.

Brú na Bóinne Visitor Center, Dunleek Lower, County Meath, Republic of Ireland

Once the passage roof was complete, structural experts returned to the kerb and continued to set the slabs in place — either in sockets or on prop stones, so as to achieve an even top-line all-round the mound.

Click Me for the first post of this series.

Copyright 2023 Michael Stephen Wills All Rights Reserved