Churches of Joseph Connolly and Arthur Holmes and Their Place in Roman Catholic Church Architecture

Malcolm Thurlby

The "Roman Renaissance" Churches of Joseph Connolly and Arthur Holmes and their Place in Roman Catholic Church Architecture

ollowing his move to Toronto in 1873, Joseph Con Fnolly (1840-1904) soon became the major architect for the Roman Catholic church in Ontario, a positi on he enjoyed for nearly a qua rter of a century. Born in Limerick, Ireland, and trained in the Dublin office of James Joseph McCarthy (181 7-1881), Connolly advan ced to become McCarthy's chief assistant in the late 1860s.' He subsequently made a study tour in Europe and, in 1871, he was in practice for himself in Dublin, although no records survive of any commissions2 By

Fig . 1. Toronto . St. Paul. Power Street at Queen Street East . interior to E. Joseph Conno ll y ( 1887). 13 August 1873, he had moved to Toronto where he (Photo: Malcolm Thurlbyl entered into partnership with the engineer, surveyor, architect, Silas James, an association that was dissolved by 23 April 1877, after which Connolly practised alone3 Connolly has been designated the "Irish-Canadian Pugin" on the strength of the large number of Gothic churches he desi gned in Ontario' In all, he was responsible for designing or re modelling twenty-eight Roman Catholic churches and chapels in the Gothic style in the province, plus the Roman Catholic ca thedral (1881) in Sault-Sainte-Marie, Michigan, and James Street Baptist Church (1879) in Hamilton. Moreover, his churches of Holy Cross at Kemptville (1887-1889)5, St. John the Evangelist at Ga nanoque (1891),6 and St. Dismas at Portsmouth (1894-1894)7, were inspired by the round-arched Hiberno-Romanesque style introduced by Augustus Welby Pugin at St. Michael's, Gorey (Wexford) (1838 -1839). 8 That style was subsequently adopted by Malcol111 Tlll.lrlby wns bam 0 11 London , England, and received his Ph.D. from J.J. McCarthy in St. Laurence at Ballitore (Kildare) (1860) and the University of East Anglia in 1976. He is IIOW Professor of Visual Arts at elsewhere, and enjoyed considerable popularity in late nine York University. He hns pnblished widely 011 aspects of 111 edieval architecture and sculpture, nnd 19tl1-century arcllitec fure in Cnnada. His pa ssion for teenth-century Ireland• Quite against the Gothic principles of buildings ex tends to fin e food nnd wine, the Muppets, rock music and socce r. Pugin, or the Hiberno-Romanesque tradition, Connolly also de signed two closely related churches in Ontario in what ONE [a] contemporary account called the 'Roman Renaissance' style10 They are St. Joseph's, Wellington Street at Queen Street, Cha tham, and St. Paul's, Power Street at Queen Street East, Toronto, and they are the fo cus of this paper. ISS AC I ]SEA C 29, n ~ 3, 4 (2004) ; 27-40.

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The foundation stone of St. Joseph's, Chatham, was laid on 17 October 1886 and construction was completed in the fol lowing year. " At St. Paul's, Toronto, the foundation stone was laid on 9 October 1887 and the dedication was performed on 22 December 1889. 12 A report on the dedication of St Paul's is most complimentary on the architecture of the church: "Perhaps on the continent there is not a more chaste temple in this style of architecture." It is observed that when the fa<;ade is completed it "will present a combination of architectural beauty as magnifi cent as anything in its style in the world, and the Italian style is perhaps beyond all others beautiful." The writer concluded that "[n]ot a fault can be found anywhere and it may be said that the architect, Mr Connolly, RCA, has in this splendid structure Fig. 2. Chatham. St. Joseph. Wellington Street at Queen Street. interior toE CSJ. erected a monument to his own time." 13 Eric Arthur called the Joseph Connolly ( t 886). Italian Renaissance manner in a city where nearly all churches were Gothic."'5 Why are St. Paul's, Toronto, and St. Joseph's, Chatham, so different from other churches by Connolly?'6 Why are they not Gothic? How are they associated with Roman Catholic church architecture of the late nineteenth century in Canada and elsewhere? What sources did Connolly use? We will consider those questions in detail, after which we will examine the influence of Connolly's Roman Renaissance churches on those of his former assistant, Arthur W. Holmes (1863-1944), in Ontario. Our study will end with a brief review of the Church of the Holy Family, King Street West, Toronto, which was rebuilt in the Roman Renaissance style from 1999 to 2001, after fire had destroyed its early twentieth-century Gothic predecessor in 1997.

St. Joseph's, Chatham, and St. Paul's, Toronto - Description Both churches adopt essentially the same basilican plan with ten-bay arcades that terminate in an apsidal sanctuary (figs. 1 and 2). 17 Groin-vaulted aisles flank the nave, and from the

second and third bays-counting from the east-, single-story Fig. 3. Toronto. St. Paul. exterior from NW. Joseph Connolly (1887l. chapels project one bay beyond the aisles (figs. 1-4). 18 The two

28 Fig . 6. Toronto. St. Paul. S aisle confessional. Joseph Con nolly ( 1887l.

Fig. 4. Chatham. St. Joseph. exterior from NE CSEl ( t 886). and 8). Both fa<;a des are articulated in two stories and fi ve bays; rome of the fa<;a de. brick superstructure sits on a limestone basement (fi gs. 3 and 4) . On both churches single pilasters divide the aisle bays. The Stylistic and Iconographic Associations same articulati on is used in the clerestory at Toronto, while at Chatham there are twin pilasters. The aisle and tra nsept wall s The label 'Roman Renaissance' is deri ved from the second at Chatham are further enriched w ith recessed square panels chapter of the third volume of John Ruskin's Th e Sto nes of Ve beneath the w indows, and that moti f is continued round the nice.'9 Ru skin initiall y disc ussed the Casa Grimani in Ve ni ce apse. At Toronto, there are simila r panels, located higher on the as an exa mple of that style "because it is founded, both in its apse wall, in whi ch a centrall y placed cross is framed in red principles of superimposition, and in the style of its ornament, sandstone (fi g. 5) . At Chatham, the upper wall of the apse is ar upon the architecture of classic Rome at its best peri od." He li s ti cul ated w ith paired bl ind a rches in each bay, while at Toronto ted St. Peter's Basili ca in Rome as an exa mple of the style "in its there are larger single blind arches. There is a th ree-apse east purest and fullest form." In its external form, Ruskin observed end at Toronto-the southeastern apse is enclosed in the vestry- , that the Roman Renaissance style "differs from Romanesque

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Fig. 8. Toronto. St. Paul. W fa<;ade. Joseph Connolly (1887l. {Photo: Malcolm Thurlby>

Fig. 7. Chatham. St . Joseph . W

30 MALCOLM TH URLBY r;J~r.!.1l'~WI.!.1~·~1:1

The bell tower is set off to the side in the tradition of the Itali an Romanesque campan ile, as at Santa Maria in Cosmedin, and Sa n Giorgio in Velabro, in Rome, to cite just two examples. J.J. McCarthy's Thurles Cathedral (Tipperary) (1865-1872) may have played an intermediary role for the Itali an Roma nesque-style campanile offset to the left of the St. Paul's fa<;a de, Toronto (fi g. 10).32 The division of the ground floor of the Thur les fa<;ade is also related to St. Paul's. In both, there are three round-headed doorways with ca rved tympana, one in the cen tre to the nave and one each to the aisles, separated by slightly narrower blind arches. At Thurles, there is no clear separation between the nave and aisle fa<;a des, whereas Connolly provided this with bold Ionic pilasters, a motif that he also used at the outside angles of the front. Moreover, Connolly incorporated a full entablature between the lower and upper sections of the

Fig. I 0. Thurles Cathedral Clipperaryl. W front. J.J. McCart hy (1865-1872). fa<;a de, a feature entirely lacking at Thurles. The rose window in (Photo: Malcolm TI1U1ibyl the upper fa<;a de at Thurles is repeated by Connolly at Chatham far greater than their actual scale (figs. 1, 2, and 9). That is an (figs. 7 and 10), and may be further associated w ith Alberti's arrangement encountered in eighteenth-century France in the fa<;a de of Santa Maria Novella, Florence (1470), and Sa nta Cate churches of Contant d'Ivry, as in the nave of Sa int-Vaast at Arras, rina dei Funari, Rome (c. 1549-1 564) 33 The latter also provides a begun in 1755, and in La Madeleine in Pari s, begun in 1764. 24 close parallel for the niches that fl ank the round w indow of the A further Veneti an associati on is suggested in the pl an upper story of the Chatham fa<;a de and for the festoons between of Torcello Cathedral, which is reproduced by Ruskin.25 It the capitals. Giacomo dell a Porta's fa<;a de of Sa nt' Atanasio dei has ten-bay arcades like both the Connoll y churches, and a Greci, Rome, supplies an analogue for a fi ve-bay, two-story fa three-apse east end as at St. Paul's, Toronto. In li ght of this, it is <;a de w ith towers over the outer bays and a pediment above the interesting that in Connolly's obitua ry, in the Ca nadia 11 Architect three central bays.34 and Builder, St. Paul's is labelled as "Itali an Romanesque," an The architectural confessionals that project from the aisle associati on that best fits aspects of the fa<;a de and the ca mpanile wall s in St. Paul's, Toronto (fi g. 6), are taken neither from a (figs. 3 and 8) 26 Roman nor a classicising tradition, but are adapted from A.W. The fa<;a de of St. Paul's (fig. 8) is a brilliant amalga m of Pugin and his followers. In an account of St. George's, Lambeth the Tuscan Romanesque San Miniato al Monte in Florence and (Southwark), published in The Ecclesiologist, it is recorded that Veneti an church fa<;ades of Andrea Pall adia (1508-1580); San "Mr Pugin has ingeniously met with the question of confes Giorgio Maggiore, Sa nt' Andrea della Vi gne (1 570), and Il Re sionals, which are indispensable to a modern Roman Catholic dentore.27 The roundels in the spandrels of the fa<;a de also reca ll church, by m aking them constructi onal, and placing them Venice and Ruskin, as at the Fondaco della Turchi and the Pa between the buttresses, approached of course by a series of lazzo Dari o/ 8 while the coloured ma rble insets may derive from doors from the nave. That was an afterthought, but is more the "Decorati on by Di scs," on the Palazzo Badoari Pa rticiazzi, felicitous than architectural afterthoughts generall y a re."35 They whi ch Ru skin illustrated in colour.29 Be that as it may, the set are then adopted by J.J. McCarthy at St. Saviour, Dublin (1852- ting of the roundels adj acent to the capitals of the main pilasters 1861),36 and St. Ignatius, Galway (1860),37 and subsequently by recall s the Arch of Augustus at Rimini, which may also have Edward Welby Pugin and George Ashlin in St. Augustine's, Du supplied the inspiration for the continuati on of the vertica l a rti blin (1860), and Cobh Cathedral (1867-1919)38 Connoll y included culati on into the entablature. Alberti's fa<;a de of San Francesco, them in a number of his Gothic churches, including the chapel Rimini (1450), itself modeled on the Arch of Augustus, may also of St. John that he added to the northeast of St. Mi chael's Cathe have been a point of reference here. 30 The superimposition of d ra l, Toronto (1890). There, a small pointed gable is placed above the Corinthian over the Ionic order foll ows Vitruvian principles the window in the middle of the confessional, while at St. Paul's as discussed in Joseph Gwilt's 1867 E11 cyclopedia of Architectu re.31 the confessional is somewhat higher and is topped with a pedi-

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F;g. II . Toronto. Our Lady of Lourdes. ;nterior to E

32 MALCOLM THURLBY (i,~,_., •.Sl.l.<,~r_., ••S!I:I

Fig. 14 . Montreal. Mary Queen of the World. exterior from SW

Fig. 13. M ontreal. M ary Queen of the World. interior to E (SJ ( 1870-18941. Saint-Jacques-le-Majeur, renamed Mary Queen of the World in 1955, Montreal (figs. 13 and 14), is a miniature version of St. Peter's Basilica, Rome, in which the a rticulation of the dome, the fac;ade, and the interior are copied exactly. Even a version of Bernini's baldacchino was added in 1900.48 The project was conceived in 1854 by Ignace Bourget (1799-1885), Bishop of Montreal (1840-1876), as a replacement for the earlier church des troyed by fire in that year. Bourget had visited Rome and was pa rticula rl y impressed with St. Peter's and, three years later, he sent Victor Bourgeau to study the site. Work did not commence until1870 and the church was finally completed in 1894. Continuity of classicising references, rather than Gothic, in the Roman Catholic churches of Montreal is witnessed in II Gesu (1864-1865) by the prolific New York architect, Patrick Charles Keely (1816-1896) (fig. 15).'9 That monumental cruciform basilica has a three-story elevation with round-headed main arcades on Corinthian columns, flanked by groin-vaulted aisles, and surmounted by a triforium and clerestory articulated by Corinthian pilasters, which carry the transverse arches of the high barrel vault. Keely has been credited w ith the design of over six hundred Roman Catholic churches in the United States, most of which are built in the Gothic style, as represented in

Canada with his remodelling of St. Mary's Cathedral, Halifax.50 However, a classicising style was preferred fo r Jesuit churches by P.C. Keely, including the Church of the Immaculate Con Fig. 15 . Montreal. II Gesu. interior to W

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Fig . 16. Clonliffe College Chapel. interior to E. Fig . 17 . Rome . S. Agata dei Goti. interior to E. Fig . 18. Waterford. Dominican C hurc h. interior J.J. M cCarthy ( 1873). (Photo. Malcolm Thu rl byl to E. George Gold;e (18 78l. Raphael-Archange-de-I'lle-Bizard a dome63 It was at this time that Th e Eccles iologist reported th at (1873-1874) by Victor Bourgeau and Alcibiade Leprophon; and amongst Irish Oratori ans, "the ultra-partisans add a dislike of Sainte-Brigide (1878-1880) by Louis-Gustave Martin, and the Pointed, and a preference of modern Itali an architecture, as tradition continued into the twentieth century. 54 the architecture of present Rome ... "."4 Especially important in In Nova Scoti a, architectural ultramontanism is in evidence connecti on with Connolly is the Chapel of Holy Cross Coll ege, at St. Ninian's Cathedral at Antigonish (1867-1874), 55 St. Ambrose Clonliffe, Dublin (1873), by J.J McCarthy."5 Paul Cardinal Cullen Cathedral, Yarmouth, by J.C. Dumaresque of Hali fax (1889 with (1803-1878), Archbishop of Dublin from 1852, was a strong ad transepts added in 1908), 56 and at St. Pierre, Cheti ca mp (1893).57 vocate of the Classical style of church building to distinguish The situation in England and Ireland allows us to view the Catholic churc h from the Gothic of the Protestant church Connolly's Roman Renaissance churches in a wider perspective. of Ireland ... He stipulated that the design of the chapel should Two unusual early examples occur in England. First, there is fo ll ow Roman models, the fa<;ade on Sa nta Francesca Romana the little-known Chapel of the Virgin and St. Everilda at Everin (Sa nta Maria Nova), and the interior on Sa nt' Agata dei Goti gham (Yorks. E.R. ), by Agostino Giorgioli (1836-1839), in which (fi gs. 16 and 17). McCarthy had earlier studied the two churches Corinthian columns articulate the wall s of the unaisled nave on a visit to Rome and returned there with Dr. Verdon, president and carry an entabl ature and a coffered barrel vault pierced by of the college, to further inspect the models. McCarthy fo ll owed rectangular lunettes. The articulati on continues in the apsidal the prescribed models to the Jetter. Reference to Goldie and sanctua ry with Corinthian pilasters and a coffered semi-dome Child's St. Saviou r's Dominica n Church in Wa terfo rd (1878) is with a Pantheon-like half oculus. Secondly, the Chapel at Prior also pertinent in that context.•' Although wood-roofed, the nave Park, Bath (Somerset), commenced in 1844 by J.J. Scoles, and has a two-story elevation w ith a round-headed main arcade finished by his son, A.J. Scoles, to the original design almost on Corinthian columns and pilasters in the clerestory, and a 8 forty years later.5 The chapel has a Corinthian colonnade, coffe triumphal arch leading to the apse that is similar to Connoll y's red barrel va ult, and apsidal east end and was described in Th e version at Chatham (figs. 2 and 18). Builder as "the most perfect model of a Roman basilica existing Returning to England, John M. Bryson's St. Peter's, Hatton in England." 59 Most importantly, Cardinal John Henry Newman Wa ll, Hatton Garden, London (1863), is described in Th e Builder (1801-1890) championed the Roman cause. Newman converted as "in the Roman basilica style, the only church of the same style to Catholicism in 1845, having for merly been vicar of St. Mary's in the kingdom."68 George Goldie's St. John of Jerusalem, Great Church, Oxford, and fo under of the Oxford Movement. In 1851, Ormond Street, London (1864), provides a good exa mple of re he ordered a "Style Latin" design for his proposed Oratory ference to Rome, complete with marble pilasters, an entabl ature

34 nolly's St. Paul's, Toronto. The fa~ade at Chiswick has a campa nile to the south of the simple basilican fa~ade just as Connolly placed the campanile to the north of his west front. The Church of Our Most Holy Redeemer, Chelsea, London (1893), by Goldie, Ch ild and Goldie, follows an elongated octagonal plan w ith a coffered dome and lantern, a sanctuary to the east and aisled 74 Fig. 19. London. Brompton Oratory. in terior to E. Herbert Gribble (1880-1884). nave with compound piers. That church generated considera

Fig. 20. London. Brompton Oratory. W front. Herbert Gribble ( 1880-1884). The "Roman Renaissance" Churches Wilfrid at Preston (1879-1880). 70 tory and covered with a barrel vault (fig. 23). Unlike Connoll y's Also in Preston, is found St. Augustine's by Si nnott, Sinnott and churches, immediately before the apse in Holy Name, there are Powell (1890) who created two massive towers to flank the 1838 two-bay transepts that rise the full height of the elevati on. Also temple fa~ade, and an aisleless interi or with giant pilasters and in contrast to Connolly, Holmes introduced low clerestory win a coffered segmental barrel vault. 71 The key edifice, however, is dows and ribs in the apse semi-dome. the Brompton Oratory Church, built from 1880 to 1884 by archi A contemporary account of St. Ann's Church (1913-1914), tect Herbert Gribble (1847-1894) (f igs. 19 and 20)-" Gribble wrote Gerrard Street East, Toronto, records that the design is inspired "those who had no opportunity of going to Italy to see an Italian by "a Roman church of the sixteenth century" (figs. 24 and 25) 80 church had only to come here to see the model of one." 73 Our Be that as it may, the fa~ade follows a Palladian tradition, with Lady, Chisw ick (1885-1886), by Adams and Kelly, also provides a rusticated story below a temple fa~ade w ith giant columns an interesting, albeit very plain, analogue for the fa~ade of Con- that arti culate the upper centre of the fa~ade, a design that was

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Fig . 21. Toronto. Holy Name. W

Fig. 22 Rome. S. Maria Maggiore. fac;ade. Ferdinado Fuga ( 1741 -1743). CPhoto Malcolm Thurlbyl

well establ ished in Toronto, as in St. Lawrence H all (1850). Holmes takes over the projecting confessionals from Connoll y. The apse is completely plain on the exterior and is su rrounded by a polygonal ambula tory. The nave uses a trabeated, rather tha n a n arcaded, first story, with Co rinthia n columns that support a n entablature, sur Fig. 23. Toronlo. Holy Name. interior to E

36 MALCOLM THURLBY r;.1~1'l1••1f:i:lrl;,1~r;,1 ••l:ll:!

Fig. 26. Toronto. W IS) front. St. Clare. A.W. Holmes 11913).

was performed on 25 February 2001 (fig. 29). The rebuilt church Fig. 24. Toronto. St. Ann. WIN) front . A.W Holmes 11913). (Photo: Malcolm Thurlbyl is in the Roman Renaissance style that conforms perfectl y to the w ishes of the Fathers of the Oratory of St. Philip Neri who have served the parish since 6 September 197982 The basilican plan includes a fully articulated crossing surmounted by a cupola, and transepts that are the same height as the nave and do not project beyond the aisles. Those features recall II Gesu, the founder Church of the Oratorians in Rome. 83 II Gesu also supplied the ultimate model for the triple portals in the fa<;a de. Other aspects, li ke red brick w ith stone d ressings of the fa<;ade, refl ect Holmes' St. Clare's, Toronto (fi gs. 26 and 29),84 while the internal elevati on w ith an entabl ature for the first story is a Doric version of the Corinthian arrangement at St. Ann, Toronto. The church was designed by Brian Atkins of Atkins Architects, Mississauga, w ith Mau ro Franzoni as Project Architect.

Conclusion Connolly's Roman Renaissance churches reveal the desire of the patrons to create a specific Roman Catholic architectural iden tity, one that would affirm ultramontane beliefs and thereby give due emphasis to Rome. The Gothic style, so often adopted for Roman Catholic churches in Ontario, not least by Connolly himself, while appropriately Christi an, could still be confused with the Anglica ns. In nineteenth-century Ontario, Gothic had also been appropriated for the churches of Baptist, Methodist, and Presbyterian congregations. The 1880s w itnessed a heighte Fig. 25. Toronto. St. Ann. interior toE (8). A.W. Holmes <1913). ning of stylistic self-consciousness in church design in Ontario.

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Fig. 29. Toronto. Holy Family. fat;ade. Brian Atkins and M auro Franzoni for Atkins Architects ( 1999-2001l.

Fig. 28. Peterborough. Immaculate Conception. interior to E. A.W. Holmes (19 14 ). (Photo Malcolm Thurlbyl

38 Acknowledgements 1889, p. 5, description; Robert Giorgio Maggiore). son, John Ross, 1904, Landmarks 23. von Kalnein, Wend, 1995, Archi We are grateful to Robert Hill, Stephen Otto, and Kent Rawson of Toronto, vol. iv, p. 315-320, tecture ill France in the Eighteellth for their help with contemporary references to Joseph Connolly. illustrations and description; Century, New Haven and Lon Kalman, Harold, 1994, History of don, Yale University Press, pls. Christopher Thomas introduced us to the churches of Arthur Cmwdian Architecture, Toronto, 218 and 220. Holmes and generously shared his research on the works of that Oxford University Press, p. 587- 24. Ruskin : vol. I, pl. I, opp. p. 16. architect. Eddie McParland kindly drew our attention to Long 588, illustrations and descrip tion). The building accounts are 25. Canadian Architect and Builder: ford Cathedral, and Rory O'Donnell freely shared his unparalle preserved in Archives of the 205. led knowledge of nineteenth-century Roman Catholic churches Archdiocese of Toronto. 26. Wittkower, Rudolf, 1973, Archi techlral Principles in the Age of in England and Ireland. Mauro Franzoni of Atkins Architects, 12. Catholic Record, 12, no. 584, 28 December 1889, p. 5. Humanism, 4'" edition, London, was especially helpful on all matters concerning Holy Family Academy Editions, p. 89-97. 13. Arthur, Eric, 1986, Toronto: No Church, on which he was Project Architect. Mean City, Toronto, University 27. The Builde1; 1851, p. 202. of Toronto Press, 3"' edition, 28. Ru skin : vol. I, pl. VI, opp. revised by Stephen A. Otto, p. 250. Notes p. 186. 29. On S. Francesco, Rimini, see Murray : 48-50. 1. Canadiall Architect and Builder, 5. Catholic Record, London, Onta 14. Arthur : 186. 30. Gwilt: 850-853. vol. 17, no. 12 (1904), p. 205. rio, 6 October 1888, p. 1; Flynn, 15. Thurlby, Malcolm, 2004, "Two 31. Sheehy, 1977: 63; Thomas, 2. Idem. Joseph Connolly is lis Louis J., 1976, Built on a Rock: Late Nineteenth-Century 1986: 102-103. ted as an architect in Thom's The Story of tl1e Roman Catholic Roman Catholic Churches in Irish Almanac and Official Direc Church i11 Kingston 1826-1976, Toronto by Joseph Connolly", 32. Murray: figs. 26 and 141. tory for the year 1871, p. 1596 and Kingston, Archdiocese of Ecclesiology Today, 33, May 2004, 33. Murray: fig. 142. p. 30-46 1806. Kingston, p. 256. 34. The Ecclesiologist, vol. IX, 1849, p. 3. An advertisement for the James 6. Contract Record, vol. II, 1 August 16. For a plan of St. Paul's, Toronto, 155. see Macrae, Marion and Adam and Connolly practice appears 1891, p. 2; Flynn : 266-268. 35. Sheehy, 1977 : 43-44. son, Anthony, 1975, Hallowed in The Irish Canadian, August 13, 7. Flynn : 322-324. 36. Sheehy, 1977: 55-56. 1873, p. 5. A tender call in The Walls, Toronto, Clarke, Irwin & 8. Stanton, Phoebe, 1970, Pugin, 37. Richardson, Douglas Scott, Globe, April 23, 1877, p. 7, names Company Limited, p. 296. London, Thames and Hudson, 1983, Gothic Revival Architecture Connolly alone. figs. 36-41. For some Irish Me 17. St Paul's, Toronto, is correctly oriented, but at St. Joseph's, ill Ire/mid, 2 vols., New York, 4. Thurlby, Malcolm, 1986, <>, Irish Arts Review, Review: 20. end faces south. For consis tency, references in this article Church, p. 1405. vol. 3, no. 1, p. 16-21. On Con 8. Thurlby, Malcolm, 1986, << Ni follow the liturgical compass. 39. Illustrated in O'Rourke, Michel nolly, see also Thomas, Chris neteenth-Century Churches in le, 2002, Celebrating the History of topher A., 1986, <>, Historic Kings of Vwice, 3 vols. London, The School, Chatham, Ontario, 1845- A.W. Holmes, and their Buil ton, vol. 35, p. 96-118. Sheehy, Waverley Book Co. Ltd. 2002, Chatham, St. Joseph's Pa dings for the Roman Catholic Jeanne, 1977, f.). McCarthy and 19. Thomas, 1986: 102. The nave rish, n.p. Archdiocese of Toronto, 1885- the Gothic Revival in Ireland, of St. Paul's outside the walls 1935 ,,, RACAR, vol. XIII, no. 2, Belfast, Ulster Architectural is illustrated in Gwilt, Joseph, 40. Thomas, 1986: 101-102. p. 97-120; Thurlby, Malcolm, Heritage Society, p. 55; Sheehy, 1867, Th e Encyclopedia of Archi 41. Thomas, 1986: 102. 1990, <>, 9. Catholic Record, London, Onta Crown Publishers, Inc., 1980, Ontario. Society for the Study of Architec p. 110, fig. 142. rio, 30 October 1886, p. 4, il 43. Robertson, 1904: ill. opp. p. 330. ture in Canada Bulletin, vol. 15, p. lustrations and description; 29 20. Murray, Peter, 1963, The Archi McHugh, Patricia, 1985, Toror1to 32-40; Thurlby, Malcolm, 1992, October 1887, p. 5, illustrations tecture of the Italian Renaissance, Architecture: A City Guide, To << Joseph Connolly's Roman Ca and description). New York, Schocken Books, ronto, Mercury Books, p. 159, tholic Churches in Wellington fig. 137. illustrates the church before County>>, Historic Guelph, XXXI, 10. Idem. 21. We owe that comparison to its remodelling in 1910 when p. 4-31; Thurlby, Malcolm, 1993, 11. Catholic Weekly Review, Toronto, 15 October 1887, p. 410-411, il Eddie McParland. a nave was constructed to the « Joseph Connolly and St. Jose liturgical north (geographical ph's Roman Catholic Church, lustrations and description; 22. Ackerman, James, 1966, Palla dia, Harmondsworth, Penguin south) of the church by James Macton >>, Historic Guelph, Toronto World, 25 August 1888, Books, ills. 70, 72, and 73 (Il P. Hynes. XXXII, p. 71 -72. p. 3, description; Catholic Record, London, Ontario, 28 December Redentore), and 84 and 85 (S. 44. Arthur : ills. 338 and 341.

39 JSSAC I JSEAC 29. n"' 3. 4 <2004)

45. Kalman : 315; Gowans, Alan, Somerset and Bristol, Har 73. Koch, Alex, ed., 1893, Academy 85. Westfall, William, 1989, Two 1955, « The Baroque Revival in mondsworth, p.115, ill. 34b. Architecture and Arlllua/ Architec Worlds: The Protes tant Culture Quebec >>, ]ouma/ of the Society of 58. Th e Builder, vol. XLIII, 12 August tural Review, London: Academy of Nineteenth-Century Ontario, Architectural Historians, vol. 14, 1882, p. 226. Architecture, p. 106, illustrates Kingston and Montreal, Mc no. 3, p. 8-14; James, Ellen, 1985, 59. O'Donnell, Roderick, 1981, interior to E. For other exam Gill-Queens University Press, ]ollll Oste/1, Architecte, Arpcn "Louis Joseph Due in Birmin ples of classicising Catholic p. 132, figs. 7-9; Butler, Janine, teur I Architect, Surveyo1; Mon gham" a "Style Latin" Church church of the time in London, 1991, << St. Andrew's Presby treal, Musee McCord Museum, for Cardinal Newman, 1851-, see O'Donnell, 1985: 46, note terian Church, Toronto's 'Ca p. 60-61. Gazette des Beaux-Arts, NS 5, 51. thedral of Presbyterianism' >>, 46. James : 61, fig. 28. vol. xcviii, p. 37-44. 74. Th e Builder, 12 October 1895, p. Ontario History, vol. LXXXIII, no. 3, p. 170-192. 47. Kalman : 316-318, with further 60. McCarthy, Michael, 2003, 258, plan p. 258, interior to E references. « University Church: Towards opp. p. 266. The plan as origi 86. Specific mention is made of 48. On Keely, see: Americm1 Archi a Stylistic Context >>, Irish Archi nally designed is illustrated in Kirkwall Cathedral although, tect and Building News, vol. 53, tectural and Decorative Studies, Tile Builde1; 16 November 1895, other than both buildings no. 1078 (22 August 1896), p. 58; vol. VI, p. 22-33. we are grateful p. 358. being Romanesque, the link Withey, Henry F., and Withey, to Michael McCarthy for sen 75. The Builder, 12 October 1895, is far from obvious; see But Elsie Rathburn, 1979, Biographi ding us a copy of this journal. p. 249-250. ler: 173-175. On Kirkwall Ca thedral, see Thurlby, Malcolm, cal Dictionary of American Ar 61. O'Donnell, Roderick, 1981, << A 76. The Builder, 19 October 1895, p. chitects (deceased), Los Angeles, 270. 1997, <>, Proceedings of the McAleer, J. Philip, 1987, "[P.C.] ches in Dublin >>, Country Life, mas, Christopher, A., 1985, << A Keely 'The Irish Pugin of Ame Society of Antiquaries of Scotland, vol. clxix, p. 1288-1289. Thoroughly Traditional Archi vol. 127, p. 855-888. rica,"' Irish Arts Review, vol. IV, 62. O'Donnell, Roderick, 1984, tect: A.W. Holmes and the Ca 87. Robertson : 42-43; Westfall, no. 3, p. 16-24. << Roman Reflections on the Lif tholic Archdiocese of Toronto, 49. McAleer, J. Philip, 1984, A Pic 1890-1940 >>, Bulletin of the So William, and Malcolm Thurlby, fey: Classical Catholic Churches 1986, << The Church in the Town: torial History of the Basilica of in Victorian Dublin>>, Country ciety for the Study of Architecture The Adaptation of Sacred Ar St. Mary, Halifax, Nova Scotia, Life, vol. clxxvi, p. 52-53. i11 Canada, vol. 10, no. 1, p. 3-9; Halifax, Tech-Press. Thomas, 1986. chitecture to Urban Settings in 63."Irish Ecclesiological Society", Ontario >>, Etudes Canadiennes I 50. McAleer, Irish Arts Review. The Ecc/esiologist, X, 1850, p. 322- 78. Thomas, 1986: 115. Cmwdian Studies (Association 51. Lane, George A., and Kezys, 323 at 323. See also, O'Reilly, 79. Construction, vol. VIII, Decem Frml(aise d'Etudes Canadiennes), Algymantas, 1981, Chicago Sean, 1997, "Roman versus Ro ber 1915, p. 495-498; Thomas, vol. 20, p. 49-59, p. 53-54; West Churches and Synagogues: A11 Ar mantic: Classical Roots in the 1986: 113-114; Construction, fall, William, and Malcolm chitectural Pilgrimage, Chicago, Origins of a Roman Catholic vol. VIII, December 1915, p. 495- Thurlby, 1990, <>, 1863, The Builder, Family Church: A Renais Panayotidis, 1991, Gothic a11d commwwute urbaine de Mon vol. 21, p. 687-688, illustrates in sance Project>>, Building and Romanesque: A Question of Style. treal, Architecture Religieuse I, terior to E, p. 689. Construction Trades Today, Mid Les Eglises, Montreal, 1981, summer, p. 10; Atkins, Brian, Th e Arrangement of Protestant p. 118-121 (Chapelle Notre 68. Tile Builder, vol. 22, 12 Novem 2000, << Classical Design Ac Churches and School Houses i11 ber 1864, p. 827-828, illustrates Dame-de-Lourdes), p. 164- commodates Current Parish >>, 19"' -Cwtury Ontario: The Work of 167 (Saint-Charles) p. 374-377 fa<;ade and interior to east. Building and Construction Trades Henry Langley, unpublished MA (Saint-Raphael-Archange-de 69. The Builder, 12 June 1880, p. 746. Today, Mid-Summer, p. 11. We thesis, York University, p. 59-74; l'ile-Bizzard), p. 410-413 (Sain 70. Pevsner: 202, ill. 77. owe those references to Mauro Carr, Angela, 1995, Toronto Ar te-Brigide). 71. O'Donnell, Roderick, 1985, Franzoni. chitect, Edmund B11rke, Montreal 54. Pacey, Elizabeth, 1983, More Sta << The Architecture of the Lon 82. Atkins : 11. and Kingston, MeGill-Queen's University Press, p. 26-29. tely Mansions: Churches of Nova don Oratory Churches >>, in Mi 83. Sharratt : 10. chael Napier and Alistair Laing 88 Carr, Toronto Architect, Edmund Scotia 1830-1910, Hantsport, NS, 84. T.J. Rutley's work is currently (dir.), The London Oratory Cwte Burke, p. 34-35, fig. 3.28. Lancelot Press, p. 88-93. being studied by Candace Iron llm·y 1884-1984, London, Trefoil, 55. Pacey : 140-144. for her Major Research Paper p. 21-47. 56. Idem. in the Graduate Programme in 57. Pevsner, Nikolaus, 1958, Til e 72. The Builder, 15 March 1884, Art History at York University. Buildings of England, North p. 386-387; quoted in O'Don nell, 1985: 21.