The “Year of Joy” and Centenary Renovations to the Cathedral, St. John's, Newfoundland, 1953-551

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The “Year of Joy” and Centenary Renovations to the Cathedral, St. John's, Newfoundland, 1953-551 CCHA, Historical Studies, 68 (2002), 44-65 The “Year of Joy” and Centenary Renovations to the Cathedral, St. John’s, Newfoundland, 1953-551 John Edward FITZGERALD In 1955, the Roman Catholic Church in Newfoundland celebrated the centenary of the consecration of the Cathedral of St. John the Baptist in St. John’s. In 1834 the construction of the largest Irish cathedral in the New World had been the dream of the Irish Franciscan Vicar Apostolic of St. John’s, Bishop Michael Anthony Fleming. Opposed by the British govern- ment and a small faction within his own congregation, Fleming’s plan won overwhelming support among the Irish in Newfoundland. The neoclassical architectural style of the building was to reflect his ultramontanism, a philosophical and ideological spirit which motivated clerics to look to Rome and the papacy for strong leadership, orthodoxy, and resplendent examples in liturgy, architecture, art, and music. Ultramontanism was believed to be the antidote par excellence to the desire of lay élites, trustees, and state officials to influence the Church’s temporal affairs, and these troubles plagued Fleming when he first became bishop.2 He and other Irish clerics saw ultramontanism as the means of ending Irish Catholics’ political and civil disabilities at home and Newfoundland. In 1838, he stated his belief that the cathedral was the pivot in the development of Catholicism in the island, for “the enemies of our Holy Religion” had been “indefatigably employed” to stop him from acquiring the lands, and to disparage the 1 Research for this study was funded by the Social Sciences and Humanities Research Council of Canada, the Institute for Social and Economic Research, and the J.R. Smallwood Centre of Memorial University. 2 On Fleming see R.J. Lahey, “Michael Anthony Fleming,” Dictionary of Canadian Biography (Toronto, 1988): 7:292-300, and Lahey, “The Building of a Cathedral, 1838-1855,” in J.F. Wallis, Ed., The Basilica-Cathedral of St. John the Baptist (St. John’s, 1980), 27-43; and J.E. FitzGerald, “Michael Anthony Fleming and Ultramontanism in Irish-Newfoundland Roman Catholicism, 1829- 1850,” CCHA Historical Studies, 64 (1998): 27-45. — 44 — building’s construction.3 Against his enemies in St. John’s, Fleming cultivated support in the Irish community there, and at Westminster deployed the Irish politician and emancipator, Daniel O’Connell, who repeatedly advocated Newfoundland reform causes. Hounded by Fleming, the British government capitulated and in 1838 granted land for the cathedral. Fleming secured architectural plans from a Mr. C. Schmidt, the architect of the Danish Government resident at Altona-on-the-Elbe. His designs were chosen because he had studied in Rome and designed in a style which appealed to ultramontanists, and his roofs threw heavy loads of snow in northern climates.4 On 20 May 1841, the twelfth anniversary of the announcement of Catholic emancipation, the cathedral’s construction began with the cornerstone-laying. Enthusiasm was high. On that day the astonishing sum of over £2600 was received in donations, prompting Fleming’s chief clerical rival, Anglican bishop Aubrey Spencer, to note (in his own memorial to the British government to fund his own cathedral) that this was from a Catholic community four times poorer than his congregation.5 Spencer’s successor Edward Feild later became jealous of Fleming’s successes, in 1844 happily noting that the stone towers of the cathedral had to be cut down several feet due to poor workmanship, causing from £700 to £800 to be lost. Again in 1845 he gleefully observed that “a great deal more of ye walls of ye R.C. Cathedral must be taken down this spring” due to frost.6 On 6 January 1850, Fleming’s last public act was to celebrate the first mass in the empty building; he died that July. His successor, John Thomas Mullock, completed the project in accord with Fleming’s wishes and in the ultramontane style. At its completion, the cathedral was the earliest iteration of the Romanesque revival in North American architecture.7 3 Archives of Propaganda Fide, Rome (APF), Scritture Riferite Nei Congressi, 1837-1841, Vol. 4, fols 267r-274v, Fleming to Cardinal Prefect, 21 April 1838. 4 APF, SRNC, 1837-1842, Vol. 4, fols 336r-343v, Fleming to Fransoni, 27 November 1838; ibid.,1842-1848, Vol. 5, fols 778r-789v, Fleming to Fransoni, 26 November 1846. 5 Provincial Archives of Newfoundland and Labrador, USPG (Society for the Propagation of the Gospel) records, microfilm “C” II/24, fol292, Spencer to Lord Stanley, 26 August 1842. 6 Archives of the Anglican Church of Canada, Diocese of Eastern Newfound- land and Labrador, St. John’s, Bishop Feild Papers, letter 7, Feild to ?, 7 August 1844; letter 18, Feild to ?, 1845. 7 Shane O’Dea, “The Basilica of St. John the Baptist, St. John’s, Newfound- land,” Mid-Nineteenth Century Cathedrals (Ottawa: Historic Sites and Monuments Board of Canada, 1989), 134, noted the building was “one of - if not the earliest essay in the revival of the Lombard Romanesque style in the English- — 45 — High Altar of the Cathedral of St. John the Baptist, circa 1950 showing Carew’s Baptism of Christ, the polished pink granite columns, Carew and Sullivan’s angels holding aloft the cross, and St. Andrew’s altar behind the high altar. Photo credit: Archives of the Archdiocese of St. John’s. speaking world.” — 46 — Mullock consecrated the cathedral on 9 September 1855, in the presence of the most famous Irishman in America, John Hughes, Archbishop of New York.8 Soon thereafter Mullock chronicled the festivities, described the cathedral, and emphasized its ultramontanism: “The church, which is built in the style of a Roman Basilica, is 246 feet, 6 inches long, and 186 feet, 9 inches in the transept: and the facade is 99 feet wide ... The walls are ornamented with Corinthian pilasters, surmounted by a cornice 13 feet wide ... the ceiling of the nave, like many of those in Italy, is flat, enriched with elaborate centre-pieces.” The heart of the building was the “great” high altar, “perhaps, the finest specimen of art in the whole western world.” It stood at the intersection of nave and transept, “like many of those in the ancient churches of Rome.”9 But at the heart of the symbolism were statues: Under the arch [of the high altar] ... is a colossal group of the baptism of our Saviour, executed by [John Edward] Carew, in Caen stone: by whom also are the group of angels, and the infantine figure of angels, and a lamb ... the remainder of the carving was executed by W.[illiam] Sullivan. Under the high altar, which is open in front, is placed [John] Hogan’s most superb work – the “Dead Christ,” executed in the purest Carrara marble. This splendid figure, which will be the pride of Newfoundland for ages, is the posthumous gift of Dr. Fleming. The Sanctuary is paved with marble; and at the end of the apsis is another grand altar [St Andrew’s altar], beautifully carved in Caen stone by Carao [sic., Carew] ... At the end of the ambulatory every vista is closed by altars dedicated to S. Patrick, S. Bridget, S. Joseph, and S. Anthony ... The two [funerary] monuments in alto-relievo, exquisitely wrought by [John] Hogan in the purest Carrara, are perfect gems of art; ... one was raised to Dr. Scallan by his successor; the other is about to be erected... in memory of the Right Rev. Dr. Fleming.10 In the coup d’oeil, one’s eyes moved from Hogan’s deposition scene The Dead Christ under the altar, the symbol of Christ, upwards to Carew’s Baptism of the Saviour, a rendering of the scriptural account of Christ’s baptism and a statement of faith in the need to proceed from death to new life in baptism, upwards again and beyond through the arch of the high altar, the symbol of the gateway to Heaven. In the Irish world, Fleming’s cathedral was unique and captured the spirit of its age. It was the acme of pre-Gothic revival Irish neoclassical church architecture and art. After Catholic emancipation in 1829, Irish bishops emerged as patrons of the Celtic sacred arts and competed to acquire only the best works of Irish artists for their churches, and Fleming and 8 J.T. Mullock, The Cathedral of St. John’s, Newfoundland, with An Account of Its Consecration (Dublin, 1856), 1. 9 Ibid., 2. 10 Ibid., 1-3. — 47 — Mullock followed suit, acquiring works by John Edward Carew (1785-1868) a renowned Irish sculptor in London and a student of Sir Richard Westmacott. Carew worked in the naturalistic style, and won the important commission of the bas-relief The Death of Nelson at the Battle of Trafalgar for the base of Nelson’s Column, Trafalgar Square. For St. John’s Carew did another Baptism of Christ, a revisitation of an 1835 rendering done as an altar-piece for St. James’ church, Brighton,11 the second Catholic church consecrated in England after the Protestant reformation.12 To Carew’s works were added two funerary reliefs and another statue by John Hogan (1800- 1858), Ireland’s most famous sculptor, whose works in the neoclassical style were restrained, detached, and contemplative. Hogan assured his international reputation in 1829 with the Dead Christ; thereafter, his creations were snapped up by Irish bishops visiting his Rome studio, and Hogan was pronounced by the egotistical Danish sculptor Bertel Thorwaldsen as “the best sculptor I leave after me in Rome.”13 Hogan’s biographer John Turpin has remarked that Hogan’s work must be interpreted against the “background of resurgent ultramontane Catholicism which was being introduced to Ireland – a country which lacked fine Catholic churches, art works or a splendid liturgical tradition since the Reformation.”14 In the Newfoundland Catholic imagination, O’Connell and Hogan were held in close association and reverent esteem.
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