43 / 260
St. Mary’s was designed by the architect Kearns Deane (1806-1847) brother of the famous architect Sir Thomas Deane
(1792-1871) and member of a distinguished architectural family. Deane was also the designer of the neo-Classical
Savings Bank on South Mall, and in 1828 exhibited designs for a new chapel in St. Patrick Street, and a model for new
Cork markets (5). Of the Protestant faith, he gave his services to St. Mary’s free of charge (6). The foundation stone
was laid in 1832, and the church was opened in 1839, thus marking a new confidence in the Catholic Church, only
a few years after the Act of Catholic Emancipation had been passed. Funding for the church was provided by public
subscriptions and by generous contributions by the Dominican order, and by the brewing firms Beamish and Crawford
and Murphy (7). The church is handsomely set on the North banks of the River Lee. Ten steps lead up to the entrance
area upon which stand six massive fluted Ionic columns and an impressive entablature. There is a dignified Greek quality
to this western entrance of the church, and Edward McParland also suggests that the façade was influenced by French
Catholic models (8). Two towers were intended for this façade, but these were never built.
As can be seen in Mahony’s painting, the interior of St. Mary’s is equally impressive, but more decorative, with Corinthian
columns, and stucco work on walls and coffered ceiling. The coffered rose ceiling was executed by local craftsmen at
a time when such plaster work was generally undertaken by Italians (9). Although entitled The Consecration of the
Roman Catholic Church of St. Mary’s, McParland suggests that Mahony’s painting represents, in fact, the dedication
of the church (10), which took place on Sunday 20th October 1839. On this important occasion, the church is filled
with bishops, other members of the clergy and altar boys, dignitaries and members of the public. The bishop wears a
gold hat and robes, and white gloves. He wears a pince-nez and reads from a small book. His figure and that of other
members of the clergy are lit up by the low sunlight that shines through the stained-glass windows of the South walls,
which fills the church with warmth, and adds a spiritual light. The lowness and direction of the sunlight suggests that
the service was probably conducted in the late morning.
Large numbers of gentlemen in frock coats and ladies, some with children, are present, and crowds of people fill the
church. Of great significance to the painting is the fact that Daniel O’Connell was present among the congregation
(11). Mahony’s painting is also important in that it shows the appearance of the interior of St. Mary’s shortly after it was
built. A number of structural and decorative changes were made to the church, so that it looks slightly different today
(12). From 1868-1872 the rock behind the church was excavated, and a larger apse constructed. The elements of the
sanctuary were designed by George Goldie. A tall baldacchino with four columns was built over the altar. The beautiful
tabernacle of brass and blue enamel was made in 1883. In 1891 a large portico with organ loft was constructed at
the West end of the church. Meanwhile, “On the Lady Altar is displayed the worn ivory figurine of Our Lady of Graces.
Flemish work of the fourteenth century, it originally belonged to the Dominican friary in Youghal” (13). This small
sculpture had been saved from destruction by local families in Youghal, and in 1617 Honora Fitzgerald Fitzmaurice had it
contained in a silver reliquary (14).
The most notable differences in St. Mary’s, as seen in Mahony’s painting of c.1842 and today are fourfold. As mentioned,
the apse has been extended and elaborated. In the painting the pews are placed on the right side of the church,
whereas today they occupy both sides. The plasterwork, formerly of a plain hue, has now been painted in alluring
colours of maroon, white and gold. Finally, the beautiful stained-glass windows in Mahony’s painting, through which
sunlight shines, have been replaced by windows of plain glass. The painting of St. Mary’s is of great importance in
Mahony’s oeuvre in that it was executed in his home city of Cork, is one of his first interior scenes, showing his early skill
in depicting crowd scenes, and is one of his earliest exhibited works. Furthermore, it is of great historical significance
in that it shows an important public ceremony taking place in a newly-built Catholic Church shortly after Catholic
emancipation had been introduced in Ireland, and it includes the figure of Daniel O’Connell in the congregation.
Dr Julian Campbell
August 2015
Acknowledgments:
I am very grateful to Dr. Edward McParland and Adelle Hughes for assistance in my research.
IRISH & INTERNATIONAL ART · 28 SEPTEMBER 2015