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Journal of the Society for the Study of Architecture in Canada Le Journal de la Société pour l'étude de l'architecture au Canada

“For Love of God and Love of Architecture” A Brief History of Architectural Ultramontanism at Our Lady of Lourdes Parish Church Evan McMurtry

Chercheurs en émergence Emerging Scholars Volume 45, Number 2, 2020

URI: https://id.erudit.org/iderudit/1076486ar DOI: https://doi.org/10.7202/1076486ar

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ISSN 2563-8696 (digital)

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Cite this article McMurtry, E. (2020). “For Love of God and Love of Architecture”: A Brief History of Architectural Ultramontanism at Our Lady of Lourdes Parish Church. Journal of the Society for the Study of Architecture in Canada / Le Journal de la Société pour l'étude de l'architecture au Canada, 45(2), 38–47. https://doi.org/10.7202/1076486ar

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This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ ESSAY | ESSAI

“FOR LOVE OF GOD AND LOVE OF ARCHITECTURE” A Brief History of Architectural Ultramontanism at Our Lady of Lourdes Parish Church1

EVAN MCMURTRY is an M.A. candidate at > EVAN MCMURTRY University, Toronto. His current research focuses on the intersections of architecture, intellectual culture, and spirituality in Ontario and elsewhere. He holds a B.A. (Honours) from Queen’s University, Kingston, and a Master of Education rchitectural style during the nine- degree from the Ontario Institute for Studies in Ateenth century was a fraught terri- Education, University of Toronto. He has notably tory. After the fashion for Gothic Revival in the second quarter of the nineteenth worked in the museum field for over a decade, century, classicising elements were beco- leading a variety of walking tours and developing ming important again for Roman Catholic public programming at Toronto History Museums, ecclesiastical patrons, either for liturgical City of Toronto. or theological reasons. It was for the last reason that the of Toronto, the Irish-born John Joseph Lynch D.D. [1816-1888], built several classicising churches, including the parish church Our Lady of Lourdes at Sherbourne Street above Wellesley Street (1886) (fig. 1). The parish church was built to commemorate the Silver Jubilee of Lynch’s installment as of Toronto.

The heritage value of Our Lady of Lourdes church lies in its unique status as a Revival church at a time when the prevailing fashion in Toronto was for the Gothic Revival. The church was modelled on Santa Maria del Popolo in Rome (1472-1477) (fig. 2) along with refe- rences to St. Peter’s Basilica (1506-1626).

As a memorial church, the original layout followed a chapel-like design with short and a vaulted apse, but with a small footprint which lacked side aisles (fig. 3). All of this was surmounted by a Renaissance-inspired dome supported by an octagonal drum, which is significant because it made Our Lady of Lourdes the first domed church built in Toronto. The interior featured a coffered ceiling and massed columns, which would have led the eye to a tabernacle and an indoor grotto representing Our Lady of Lourdes (the latter is extant in the church). Despite the uniqueness of the church, it FIG. 1. OUR LADY OF LOURDES PARISH CHURCH, TORONTO, ON. | EVAN MCMURTRY.

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FIG. 2. SANTA MARIA DEL POPOLO, ROME. | VINCENZO PIROZZI, BRIDGEMAN IMAGES. FIG. 3. OUR LADY OF LOURDES, TORONTO, ON, C. 1894. | COURTESY OF THE TORONTO PUBLIC LIBRARY.

has been the subject of very little secon- COMMANDER FREDERICK C. Law had only two major commissions dary literature. LAW’S ARCHITECTURAL CAREER during his architectural career: Our Lady of Lourdes and alterations to the Bishop’s A major addition in 1910 by James Patrick The church was designed by Commander Palace at Church Street north of Shuter Hynes2 saw the construction of a much Frederick C. Law [1841-1922], who was Street (1845) with the addition of a third larger to the south, which meant born into a prominent English family who storey. It is unknown where Law received that Law’s original nave was transfor- counted among their friends the leading an architectural training or apprenticeship, med into the sacristy and transepts of English Catholic churchmen of the time. especially since his time before emigrating the new church. It also meant that the His father, William Towry Law [1809- to Ontario is undocumented; it has been liturgical east end, which had been loca- 1886], was an Anglican churchman and suggested that he might have had training ted at the west of the church, was moved convert to Catholicism; his grandfather, as a naval architect.6 In 1884, Commander to the north end without the addition of Edward Law, first Baron Ellenborough Law worked in the offices of architects an apse since there was no additional [1750-1818], was ’s Lord Chief Frank Darling [1850-1923] and Samuel space on which to build. To accommodate Justice.4 The young Law was educated at George Curry [1854-1942]. The former parishioners, the porch entrance was shif- Oscott College and distinguished himself was to become a leading proponent of ted southward from the east end, but still during his service in the Crimean War Canadian architecture.7 Darling was the facing east. Hynes’s nave could seat over aboard the Royal Navy HMS Hannibal. president of the Ontario Association of nine hundred people for its growing Irish After immigrating to Canada in 1874 and Architects in 1895 and (with his partners) congregation.3 When compared with the marrying the daughter of the lieutenant- designed a large number of commer- original church’s capacity of three hun- governor, he served as private secretary cial, academic, and residential buildings dred parishioners, this was a dramatic to successive lieutenant-governors of in Toronto and across Ontario, such as addition. Nevertheless, Hynes maintained Ontario.5 Toronto’s Bank of Montreal main branch, a sense of continuity with Law’s classically Front Street (1885-1886, now the Hockey inspired design. Hall of Fame), and the original building for

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the Royal Ontario Museum (1910-1911).8 It movement drew its authority not so it, rather than for any aesthetic choices, has been suggested that Darling would much from “the ’s legal as he had at one point considered buil- have had a hand in the design of Our Establishment, but from a new awareness ding the University Church in the Gothic Lady of Lourdes due to their proximity to of the Church’s ‘Apostolical descent.’”13 style. The Classical style also allowed their respective offices.9 Darling was apt to In 1879, Newman was recognized for his Newman to address practical concerns for teach to Law the fundamental principles efforts by Pope Leo XIII, when he was increased space, affordability, and plain- of the classical style apparent at Our Lady made a cardinal. ness of design, which gave the ability to of Lourdes, as the former taught aspiring gradually enhance decorations as church architects the Roman orders, as well as the Law had family connections to Newman. fundraising allowed.18 fundamentals of Gothic and Renaissance In 1845, Cardinal Wiseman confirmed architecture.10 There is no indication of Newman into the at Newman’s enthusiasm for classicising Law practicing architecture after 1890 with Oscott College, where Law would become architecture had been sparked during no ensuing building permits, newspaper a student. Newman was a friend of Law’s his 1832 trip to the Mediterranean and articles, or published articles in journals.11 father, William Towry, who paid him Rome and increased over the next several a social call in 1857.14 It is interesting to decades; by 1850, he privately vituperated AND note that on May 26, 1852, four days after against Augustus W.N. Pugin’s [1812-1852] CLASSICISING ARCHITECTURE Frederick C. attended his brother Augustus churches that obstructed the Eucharist IN VICTORIAN ENGLAND Henry Law’s [1833-1881] confirmation at with their pulpits and rood screens, which Oscott College, the latter attended went against the post-Tridentine ritual.19 Without extant writings on architecture by at Oratory (1850-1852), which Newman found this strict fidelity to his- Law, other significant commissions, survi- Newman presided over. Augustus descri- toric details to be somewhat doctrinaire, ving plans, or other materials related to bed the building as “beautiful.”15 In the and entered the debate between the Our Lady of Lourdes, it is challenging to early 1880s, Newman and William cor- Medievalists and the Classicists in the understand the architectural sources and responded after Augustus died of yellow pages of the The Rambler that surrounded influences for his designs of the church. fever in Rhodesia while on missionary work Pugin’s use of rood screens.20 Before he emigrated to Toronto in 1874, for the Society of (the Jesuits), into however, Law was exposed to classically which he had been ordained in 1865.16 Newman also took umbrage to Pugin’s styled Roman Catholic churches being William published Augustus’s letters and characterization of Classical style archi- newly built in England. That new buil- diaries in three volumes, and included the tecture as “pagan” due to its association ding campaign had been impelled in part letters from Newman. Another brother, with Graeco-Roman civilization: “The see by the Catholic emancipation process, Ernest Law, wrote a volume describing of St Peter itself […] is pronounced by him in which prejudicial legislation that had the history and architecture of Hampton to be pagan, pronounced not historically, been aimed at encouraging Catholics to Court Palace (1514-1521) where the family but contumeliously—or, to use the best join the established churches in the United was then living.17 word dogmatically, as if though infallibi- Kingdom was revoked. Thus, new church lity in doctrine is found at Rome, a parallel construction arose due to Catholics’ new- Newman was builder of four churches: authority in architecture was to be found found ability to worship openly. the Gothic style Anglican Church of in this century in England.”21 St. Mary and St. Nicholas (1835-1836) at During that time, the theologian John near Oxford, followed by an Newman selected his architect for the Henry Newman [1801-1890] (canonized Oratorian chapel at Alcester Street (1849) chapel of the new University College in 2019) notably established an oratory at in Birmingham (a converted gin distillery), Dublin, John Hungerford Pollen [1820- Birmingham and a Catholic university the old (1850-1852), 1902], based on the criterion that he was in Dublin. Before his conversion from and University Church in Dublin (1856). not an “ultra-Puginian.”22 Pollen, an asso- the Anglican church, he was a leader of Newman’s stylistic preferences evolved ciate of several prominent members of the , also known as toward classical architecture. This was due the as well as a Tractarianism for its publication of articles to his need for his oratory churches to be fellow convert, drafted plans for a univer- or tracts that were favourable toward open and spacious, partly because sermo- sity chapel and later described Newman’s Roman Catholicism.12 The High Church nizing to larger congregations demanded preferences:

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ULTRAMONTANISM AND PATRONAGE IN ROMAN CATHOLIC CHURCHES IN CANADA

Not all churchmen of the time were of the same opinion as Newman on spiri- tual matters, as Newman was opposed to Ultramontane churchmen whom he felt were anti-modern in advocating for the papacy having temporal power.25 The First Vatican Council (1869-1870) attemp- ted to organize a response to internatio- nal threats to the Church that had begun with the French Revolution and continued through the nineteenth century with the unification of Italy. The movement adop- ted the doctrine of papal infallibility and “the promotion of centralization of autho- rity and influence in the Papal curia.”26

As Malcolm Thurlby has pointed out, Herbert Gribble’s 1880 to 1884 classicising FIG. 4. , , . | DAVID CASTOR, WIKIMEDIA COMMONS. design for Brompton Oratory, along with other churches then being built, show the It covered the garden in rear of the The meeting of William and Ignatius influence of Ultramontane views of the University House; a plain brick hall with an was mentioned in Augustus’s letter to Church that looked toward the Papacy apsidal end, timber ceiling etc. somewhat in his father of 1870: “Do you remember and its architecture.27 the manner of the earlier Roman basilicas. the young man—an architect—son of He [Newman] felt a strong attachment to Mr. Scoles, architect at Hammersmith? Ultramontane views had a significant those ancient churches with rude exteriors He told me he went with you once in a impact on the Church in nineteenth- but solemn and impressive within, recalling cab to visit some place for a convent.”24 century Canada, for example in Quebec the early history of the Church, as it grad- He was perhaps referring to St. Mary’s where many churchmen believed secu- ually felt its way in the converted Empire, Convent located near Birmingham larization represented a significant and and took possession.23 (1840-1841) that was designed by growing threat. The Bishop of Montreal, A.W.N. Pugin. Ignatius Scoles later remo- Ignace Bourget [1799-1885], visited Rome In this setting, before his emigration to delled St. ’s church in Preston, in 1841 and was impressed by the vigour of Canada, Law was exposed to the gravity Lancashire (1879-1880), with Samuel conservative Ultramontane thought.28 He with which architectural styles were Joseph Nicholl, which demonstrates a commissioned the rebuilding of Montreal’s adopted by ecclesiastical patrons, who preference for classicising architecture. , Mary, Queen of the World were more men of letters than architec- In 1853, his father, Joseph John Scoles, (1870-1878) (fig. 5), several years after its tural critics. William Towry Law and his had designed both an oratory house in predecessor, St. Jacques Cathedral, was family were also friendly with a family the Renaissance style and a temporary destroyed in a fire. Bourget sent his archi- of architects who were important to church for the Oratorians at Brompton tects Victor Bourgeau [1809-1888] and the revival of in architecture, Oratory in London (fig. 4), under the Joseph Michaud [1822-1902] to Rome to the architect Joseph John Scoles [1798- patronage of Newman’s colleague and take measurements of St. Peter’s Basilica 1863] and his son Ignatius [1834-1896], fellow convert, Father Frederick William (1506-1626) with the aim of recreating it the latter who would become a Jesuit Faber [1814-1863]. at one-quarter scale. This was to be done missionary alongside Augustus Law. as a sign of solidarity with the papacy, but

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FIG. 5. MARIE-REINE-DU-MONDE BASILICA CATHEDRAL, MONTREAL, QC. | THOMAS LEIDL, CC BY-SA 4.0, WIKIMEDIA COMMONS. FIG. 6. ST. PAUL’S, POWER AND SHUTER STREETS, TORONTO, ON. | SIMONP, CC BY-SA 3.0, WIKIMEDIA COMMONS.

moreover it was built in a predominantly the of Cologne, Lincoln, Notre (1845-1848), was modelled on York Protestant area of Montreal. Bourgeau, Dame of Paris, Strasbourg, Milan, Seville, (begun 1220), which was the seat however, asserted that replicating the and in numerous others all over France, of the . Furthermore, basilica at that scale would be impos- Italy, Germany, Belgium, Spain, Portugal, architectural fragments from York Minster sible, which led to Michaud’s appoint- and Mexico.” St. Paul’s Cathedral, London, were deposited when Bishop Power laid ment as architect to finish overseeing the which had been built to rival St. Peter’s, the cornerstone.32 To once more assert the construction.29 “fell short of all expectations” and the Catholic Church’s spiritual authority over “filth and blackness of the interior . . . is Torontonians, in 1865 Lynch completed The response by churchmen in the Irish a standing reproach of even Protestant the tower and to be the tallest in Toronto community, in addition to those writers and travellers.” Lynch continued Toronto, outdoing St. James Cathedral, in Quebec, was to strengthen religious stating that architects built their churches Toronto (1853), the Anglican church then devotional practices, such as the celebra- “not hampered by the lowly thoughts of under construction for Bishop Strachan tion of the Stations of the Cross, devo- economy, or deterred by the length of [1778-1867]. Eventually the St. James tion to Our Lady of Lourdes, as well as to time required to construct them . . . men Cathedral’s spire was built thirty feet tal- strengthening fraternal organizations.30 were found to work for love of God and ler, after Henry Langley [1836-1907] com- Toronto’s Archbishop Lynch, whose first love of architecture.”31 pleted the design in 1870-1873.33 visit to Rome was in 1849 and who took part in the Vatican Council, was exposed His inclusion of Several of the churches Lynch commis- to classical architecture, with its ulti- (begun 1245) in this list of Catholic sioned followed what was described as a mate expression in St. Peter’s Basilica in churches illustrates his belief that the “Roman Renaissance” style, whereas the Rome. His abiding preference for Roman churches of the Church of England were great majority were in the Gothic style. Catholic architecture was in full relief in rightly Catholic, which his biographer Earlier described by [1819- an 1873 sermon on the accomplishments Charles McKeown frequently ter- 1900], it is inspired by St. Peter’s Basilica of Catholic science and culture. Lynch med the “true religion.” This belief had and features a façade with an entablature denigrated “rival” Protestant churches as earlier been illustrated by Bishop Michael dividing the upper storey and a lower inferior to Catholic churches, which were Power [1804-1847] and his architect storey with arches. This was achieved to “conceived by colossal minds.” Lynch’s William Thomas [1799-1860], when their great effect at St. Paul’s Basilica at Power list was extensive: “Westminster Abbey, design for St. Michael’s Basilica, Toronto and Queen Streets (1889) (fig. 6) and at

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FIG. 7. PRO-CATHEDRAL, DUBLIN. | ANTHONY-22, CC BY-SA 4.0, WIKIMEDIA COMMONS. FIG. 8. ST. RAPHAEL’S CHURCH, SOUTH GLENGARRY, ON. | PAGE TOLES, IN MACRAE, MARION AND ANTHONY ADAMSON, 1975, HALLOWED WALLS: OF UPPER CANADA, TORONTO, CLARKE, IRWIN & COMPANY, P. 54.

St. Joseph’s at Chatham (1886), as noted styling.35 Architects thus heeded Lynch’s with his master mason, Archibald Fraser by Thurlby. At St. Paul’s, Lynch’s architect, preference for classically styled architec- (whom he had personally selected while Joseph Connolly [1840-1904], produced ture in their designs. Correspondence travelling to Scotland), over cost overruns a classicising basilica plan design which by architectural firm Kennedy, McVittie led to conflict also over the commission. adapted both Florentine and Venetian & Holland states that Lynch preferred Marion MacRae and Anthony Adamson influences in the exterior, while the inte- the “Italian style of architecture,”36 recount how Macdonell had contributed rior has been linked to St. Paul Outside the an insight which they gained from over three thousand pounds to the endea- Walls and San Clemente, both in Rome.34 their work as supervising architects vour and when it was not completed on The façade of Our Lady of Lourdes has a at St. Ann’s Memorial (1884-1902) in schedule, reminded Fraser that he was a triangular pediment above the entabla- Penetanguishene, Ontario, a project that victim of his own “personal speculation,” ture over the second storey, which echoes Lynch had given approval for and which to which the latter replied with threats of Connolly’s design for St. Paul’s, though was built under the supervision of Father bringing in the law and demands for pay- the former lacks the arches that would Theophilus Laboureau.37 ment in full.38 This conflict ultimately com- qualify it in Ruskin’s definition of Roman promised the appearance of the church, Renaissance. As a Roman Catholic ecclesiastical patron, as the square windows on the east end Lynch had a local precedent in his enthu- facade were meant to have additional Due to his Irish birth and Parisian training siasm for classical style. Round-headed half-columns to provide vertical empha- for the priesthood, Lynch would have had windows at St. Raphael’s (1821) (fig. 8), sis, the result being a “stark, incomplete plenty of opportunities to view Classical Williamstown, Ontario, clearly show look.”39 styled architecture. Roderick O’Donnell that the church’s patron, Alexander has noted the Greek Revival design of Macdonell, Bishop of Rhesina, had plans Furthermore, the preference for Dublin’s Pro-Cathedral (1814) (fig. 7) by for a classicising church, partly out of Ultramontanism in church design included a committee of builders, being followed consideration of space for accommoda- the Maritimes, such as St. Ninian’s by St. Nicholas of Myra (1829-1835), ting a large congregation. The nave, short Cathedral at Antigonish, Nova Scotia St. Andrew, Westland Row (1832-1834), transepts, and apse follow the Basilica (1867-1886) (fig. 9), and St. John the and St. Paul, Arran Quay (1835-1837), each plan of St. Paul Outside the Walls, Rome, Baptist at St. John’s, Newfoundland (1838- with distinctive Renaissance or Baroque and are located at the east end. A conflict 1855). St. Ninian’s follows a basilica plan

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FIG. 9. ST. NINIAN’S CATHEDRAL, ANTIGONISH, NS. | MICHAEL FIG. 10. SIDE ELEVATION, OUR LADY OF LOURDES, TORONTO, ON. | EVAN MCMURTRY. SWAN, CC BY-SA 2.0, WWW.FLICKR.COM.

without transepts and the side elevations in the second level by three articulated church has a slender profile like Our Lady employ nine round-headed windows arches with Corinthian order pilasters. The of Lourdes, it features aisles with side below rose windows. There are prominent church’s flanking towers are imposing chapels. It can furthermore be inferred sandstone quoins linking and highlighting with prominent quoining and an entabla- that the portico that was formerly atta- the exterior elevations. A Baroque feature ture that bisects the elevation between ched to the east elevation was Lynch’s is the gable over the central east entrance, the second level and gable. addition, because there is none at Santa consisting of an empty niche covered by Maria del Popolo. an entablature and bordered by Doric THE DESIGN OF OUR pilasters. This feature echoes the bell LADY OF LOURDES Furthermore, Law and Lynch fought gable at Gian Lorenzo Bernini and Carlo because the former would not relocate Fontana’s Palazzo Montecitorio in Rome It is difficult to analyze the pre-1910 the tabernacle, after which “an angry (1650-1697, now the seat of the Chamber construction of Our Lady of Lourdes as it Lynch wrote to an obstinate Law . . . of Deputies of the Italian Republic). The should be noted that Law’s role as archi- that he had been criticized for giving ‘an doors at the base of the two stately towers tect compared to Lynch’s is unknown. untried man’ control and that he was are each covered by a curvilinear portico This is due both to Law’s conflict with his annoyed that Law ‘was now in a pout that provides a welcome contrast to the patron and to successive alterations and about it.’”41 It is unfortunately difficult central portico. The second storey has renovations to the building’s fabric. It is to determine what the disagreement classicising features such as round-headed possible that the initial appearance of about the tabernacle was about, though niches below a parapet flanked by deco- the church was an amalgam of the two it would appear Lynch was victorious as rative scrollwork.40 The patron, Bishop architectural visions, both classically ins- its location was standard for a church of Colin Francis Mackinnon, obtained his pired. The tensions between Lynch and that era.42 Ph.D. and D.D. degrees from the Collegio Law were over the excessive cost of Law’s Urbano de Propaganda Fide, Rome, where construction and also his adhering too clo- Perhaps reflecting more of Lynch’s clas- he may have acquired a taste for Classical sely to Santa Maria del Popolo in Rome. sicising preferences, the exterior of architecture. St. John the Baptist Basilica- Our Lady of Lourdes echoes St. Peter’s Cathedral was at the time of its construc- That Our Lady of Lourdes was originally Basilica. Pilasters repeat along each ele- tion the largest church building in North modelled on Santa Maria del Popolo is vation, maintaining continuity and hori- America. It employs a triple-arched por- clear due to the presence of a Lombardic zontal progression, and are continued tal with Doric order pilasters that calls to bell tower and dome at the , as at both transepts in the colossal order mind Gothic cathedrals, which is mirrored in a Basilica plan church. While the Italian (fig. 10). They support a cornice and are

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illustrate the time-honoured tradition of classicism in the Catholic Church. Its adop- tion in Great Britain and Ireland was spur- red on by the theology and patronage of Cardinal Newman, who was generally sus- picious of the fashion for Gothic church architecture, but also adopted it due to liturgical requirements. The fact that the architect of Our Lady of Lourdes was familiar with the churches commissioned by Newman, as well as his family asso- ciations with the Cardinal, suggest that this preference also influenced his design.

NOTES

1. A debt of gratitude is due to my graduate supervisor at the Art History programme at York University, Dr. Malcolm Thurlby, FSA, who suggested the topic of this article. Moreover, his research assistance and encouragement FIG. 11. DOME, OUR LADY OF LOURDES, TORONTO, ON. | EVAN MCMURTRY. have been invaluable. I would like to than- kfully acknowledge the following people for their research assistance and suggestions: Fr. punctuated by round-headed windows. outward projections above the detached Peter Bisson, SJ; Robert G. Hill, OAA, FRAIC; Unlike at St. Peter’s Basilica, they are not colonettes. The drum is punctuated with Mark Osbaldeston; and David Winterton, paired but equidistant from each other. round windows that are framed by pilas- OAA, MRAIC. Finally, many thanks are due to my wife Alice McMurtry for her patience in A feature that has its source in Roman ters supported by plinths, which are both editing my early drafts, and for her unfailing Renaissance architecture is the square surmounted by lintels. The dome’s inte- support. window in the centre featuring a broken rior features a blind arcade supported by 2. A member of a younger generation of turn- pediment above with an inverted shell paired pilasters that frame the round win- of-the-century architects, Hynes was a foun- decoration, which is framed by pilaster dows, which are set above a corbel table. ding member of the Architecture Eighteen jambs and a decorative console suppor- This arrangement recalls Michelangelo’s Club of Toronto. See Crossman, Kelly, 1987, Architecture in Transition: From Art to ting the sill at each end. dome at St. Peter’s, notwithstanding a Practice, 1885-1906, Montreal, McGill-Queen’s significant difference in size and level of University Press, p. 86, 89.

The classicising dome at Our Lady of ornamentation. 3. Anonymous, 1890, “Church of Our Lady of Lourdes also echoes St. Peter’s Basilica, Lourdes, Toronto,” Engineering and Contract although it is not an exact replica (fig. 11). CONCLUSION Record, vol. 26, no. 12, p. 42. With round-headed windows and deta- 4. Lobban, Michael, 2013, “Law, Edward, first ched colonettes, the lantern replicates This study has shown that classicism in Baron Ellenborough (1750-1818), judge.” Oxford Dictionary of National Biography, other elements located on the exterior, Roman Catholic church construction was October 3, Oxford University Press, [https:// unifying the structure. The dome fea- transatlantic during the nineteenth cen- www.oxforddnb.com/view/10.1093/ tures consoles at its base, which do not tury, due mostly to the Ultramontanism ref:odnb/9780198614128.001.0001/odnb- appear in any church in Rome; their pre- present in the Catholic Church hierar- 9780198614128-e-16142], accessed April 30, 2020. sence likely can be explained by the lack chy as it responded to political threats of an attic level to effectively resolve the posed by modernity and nationalism. 5. Anonymous, 1905, “Commander Law; From Poop-Deck to Government House—His Sea upward thrust of the paired colonettes Even before the Ultramontanism became Pictures—Captain as Much of an Old Salt as below. Between the dome and drum prevalent, the classicism of churches like Ever,” Evening Record [Windsor], April 1, p. 11. there is an entablature, which consists of St. Raphael’s and St. John the Baptist, a frieze and cornice that are articulated by as well as those in Britain and Ireland,

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6. Winterton, David, communication with 21. Id., vol. XII, p. 220-221. 34. Thurlby, id., p. 30. author, October 30, 2020. 22. Id., vol. XVI, p. 301. 35. O’Donnell, Roderick, 1981, “Note of Baroque 7. Hill, Robert G., “Law, Commander Splendour,” Country Life, May 7, p. 1288-1289. 23. Quoted in Newman, id., vol. XVI, note 471. Frederick C.,” The Biographical Dictionary of 36. Thurlby, “The ‘Roman Renaissance,’” op. cit., Architects in Canada, [www.dictionaryofar- 24. Law, Memoir of the Life and Death, op. cit., p. 32. chitectsincanada.org/node/2017], accessed p. 89. 37. “St. Ann’s Memorial Church,” Heritage March 17, 2020. 25. For an in-depth discussion of Newman’s stance Penetanguishene [heritage.penetanguishene. 8. Hill, Robert G., “Darling, Frank,” The on Ultramontanism, see Duffy, John Henry ca/uploads/1562267844_StAnnsbackground. Biographical Dictionary of Architects in Newman, op. cit., loc. 990-1003. pdf], accessed April 19, 2020. Canada. [www.dictionaryofarchitectsinca- 26. Thurlby, Malcolm, 2004, “The ‘Roman 38. MacRae, Marion and Anthony Adamson, 1975, nada.org/node/1638], accessed April 19, 2020. Renaissance’ Churches of Joseph Connolly Hallowed Walls: Church Architecture of Upper 9. Hill, “Law, Commander Frederick C.,” op. cit. and Arthur Holmes and their Place in Roman Canada, Toronto, Clarke, Irwin & Company, In 1886 a fire gutted the offices used by both Catholic Church Architecture,” The Journal of p. 53. architects, which destroyed any record of the the Society for the Study of Architecture in church’s design that might have existed. Canada, vol. 29, nos. 3-4, p. 27-40, at p. 32. 39. Id., p. 56.

10. Crossman, Architecture in Transition, op. cit., 27. Id., p. 35. 40. “St. Ninian’s Cathedral,” Canada’s Historic Places, [www.historicplaces.ca/en/rep-reg/ p. 98. 28. Fay, Terence J., 2002, A History of Canadian place-lieu.aspx?id=4600], accessed March 30, 11. Hill, “Law, Commander Frederick C.,” op. cit.; Catholics, Montreal, McGill-Queen’s University 2020. and Hill, email message to author, October 29, Press, p. 75-76. 41. Stortz, Gerald, 1991, “Serving the Poor: 2020. 29. “Marie-Reine-du-Monde Cathedral National J.J. Lynch and Our Lady of Lourdes Parish,” 12. Brown, Stewart J., 2018, Providence and Historic Site of Canada,” Historic Sites and in John Duggan and Terence J. Fay (eds.), Empire: Religion, Politics and Society in Monuments Board of Canada, [www.pc.gc. Spiritual Roots: Historical Essays on the Roman the 1815-1914, London, ca/apps/dfhd/page_nhs_eng.aspx?id=1906], Catholic Archdiocese of Toronto at 150 Years Routledge, p. 98-102. accessed March 17, 2020. of Age, Toronto, Our Lady of Lourdes, p. 37. 13. Duffy, Eamon, 2019, John Henry Newman: 30. Fay, A History of Canadian Catholics, op. cit., 42. A contemporary illustration of the interior A Very Brief History, London, Society for p. 88-91. shows the tabernacle located behind an Promoting Christian Knowledge (SPCK), 31. Lynch, John Joseph, 1873, “St. Michael’s rail at the far liturgical east end, which was the e-book, loc. 340. Cathedral, Lecture by the Archbishop of standard layout in churches before Vatican II. 14. Newman, John Henry, 1995, The Letters and Toronto,” The Canadian Freeman, February 6, Illustrated in Anonymous, 1886, Sketches in Diaries of John Henry Newman, Electronic p. 2. City Churches, Toronto, John Ross Robertson, Edition, vol. XVIII, p. 205, Past Masters, [www. 32. Harris, William R, Timothy W. Anglin, Hugh F. p. 144. nlx.com], accessed April 20, 2020. McIntosh, John R. Teefy, Dennis A. O’Sullivan, 15. Law, Augustus Henry, 1882, Memoir of the and James F. White, 1892, Jubilee Volume, Life and Death of the Rev. Father Augustus 1842-1892: The Archdiocese of Toronto and Henry Law: Formerly, from February 1846 to Archbishop Walsh, Toronto, G.T. Dixon, p. 279. December 1853, An Officer in the Royal Navy, 33. Magrill, Barry, 2012, A Commerce of Taste Part II & Part III, London, Burns and Oats, Church Architecture in Canada, 1867-1914, p. 106-107. Montreal, McGill-Queen’s University Press, 16. Newman, The Letters and Diaries, op. cit., p. 93-97. This interfaith rivalry was repea- vol. XXX, footnote 53. ted in Kingston with the construction of the Roman Catholic St. Mary’s Cathedral (begun 17. Law, Ernest, 1903, The History of Hampton 1842), in which the architect Joseph Connolly Court Palace, London, G. Bell. modelled the tower after “Bell Harry,” the 18. Newman, The Letters and Diaries, op. cit., crossing tower at . See vol. XXIII, p. 585-589. Thurlby, Malcolm, 2005, “Joseph Connolly in the Roman Catholic Archdiocese of Kingston, 19. Id., vol. XIII, p. 461. Ontario,” The Journal of the Society for the 20. Id., vol. XIX, p. 4. Study of Architecture in Canada, vol. 30, no. 2, p. 25-38.

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