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2010 – 11 Journal JOURNAL OF THE AUSTRALIAN CATHOLIC HISTORICAL SOCIETY VOLUME 31/32 2010/11 5. Cardinal Moran’s arms by Ashwin & Falconer, Cardinal’s Palace. Stained glass by the sea: Cover image 1. Detail of St Bartholomew by John Hardman & Co., Cerretti Chapel. 2. Tower and colonnades of Moran House. 3. St Patrick and St Francis, and right: 4. Our Lady and St Joseph, both windows by Ashwin & Falconer, Moran House. Stained glass by the sea Photograph credits: 1, 8: S. Murray; 2, 3, 4, 5, 6, 7, 9, 10, 11: K. Whitmore Journal of the Australian Catholic Historical Society Volume 31/32 2010/11 Contents Karla Whitmore Stained Glass by the Sea: St Patrick’s Estate, Manly 2 Margaret Ghosn Maronite Institutional Development Across Australia . .. .. .. .. .. 15 Alison Healey The Grail in Australia: An international women’s movement and the Australian Church. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. 27 Peter Blayney A History of the Catholic Bushwalking Club. .. .. .. .. .. .. .. .. 39 David Bollen The Institute of Counselling, Strathfield 53 Benedetta Bennett Mary MacKillop: A Rocky Road to Canonisation . .. .. .. .. .. .. 60 Anne Henderson Faith and Politics – Dame Enid Lyons 68 Peter Golding They Called Him Old Smoothie: John Joseph Cahill 75 Cliff Baxter The Knights of the Southern Cross . .. .. .. .. .. .. .. .. .. .. .. 83 James Dominguez The Order of Malta: Modern by Tradition 95 John Gascoigne Patrick O’Farrell and the Patrick O’Farrell Memorial Lecture ... .. 108 Kevin Friel Two photos: Catholic education over 50 years . .. .. .. .. .. 110 Journal Editor: James Franklin Contact Executive members of the Society General Correspondence, including membership applications and renewals, President: should be addressed to Dr John Carmody The Secretary Vice Presidents: ACHS Prof James Franklin PO Box A621 Mr Geoffrey Hogan Sydney South, NSW, 1235 Treasurer: Enquiries may also be directed to: Ms Helen Scanlon secretaryachs@gmail com ACHS Chaplain: Fr George Connolly 1 STAINED GLASS BY THE SEA: ST PATRICK’S ESTATE, MANLY by Karla Whitmore* Abstract: The article provides an overview of the architectural heritage and interiors of the St Patrick’s Estate complex, Manly, the Church of Mary Immaculate and St Athanasius, Manly and St Columba’s, Springwood Its particular focus is the identification and description of the overseas and local stained glass windows and the studios that made them (The images for this article are on the front and back covers ) St Patrick’s College Estate adjoins Sydney Harbour National Park and the North Head quarantine station at Manly on 24 hectares of land granted by the government to the Catholic Church in 1859 The vision of Cardinal Moran, the seminary was intended to become a centre of philosophical and theological studies for all of the dioceses of Australia and worthy of being the Maynooth of the south Commencing with St Patrick’s College (Moran House) and the Cardinal’s Palace, both commenced in 1885, the complex was extended in the 1930s with St Therese’s Convent and the Cerretti Chapel Michael Kelly succeeded Moran in 1911 still favouring the idea of a College as a national seminary but for various reasons, including resource allocation and war, the idea came to an end In the preceding year the recreation centre (later to become the Cardinal Freeman Pastoral Care Centre) was added at Manly and St Columba’s was established in 1909 at Springwood to train missionaries The parish of St Mary Immaculate and St Athanasius, which was originally included with the seminary, was made independent in 1918 and the present church was established in Whistler Street, Manly, on the site where a church was first built fifty years before To mark the Eucharistic Congress in 1928 the Blessed Sacrament was taken in procession from Manly to the city on board a ferry, the procession attracting visitors from overseas as well as locals Student numbers outstripped accommodation but by the 1960s considerations including decreasing student numbers and increased * Karla Whitmore is semi-retired after working in administration for a university and associations of firms in the building design professions and as a book editor She became interested in stained glass windows and their architectural setting several years ago and had an article published in The Journal of Stained Glass in London in 2009 This article is refereed Journal of the Australian Catholic Historical Society 31/2 (2010/11), 2-14 2 Stained glass by the sea maintenance costs eventually led to relocation of the seminary in 1995 to inner suburban Homebush as the Seminary of the Good Shepherd The former seminary is now the International College of Tourism and Hotel Management The former Cardinal’s Palace adjoins St Paul’s School and recent residential development, the pastoral care centre is a café and the convent part of the tourism college As the land was granted to the church to be held in trust this reuse required the church and participating authorities to consider and resolve rezoning, land management, environmental investigation, any possible archaeological significance and community concerns Conservation planning for the estate and restoration of the seminary and Cardinal’s Palace reflect the heritage value of these sites which are listed on the Register of the National Estate, the State Heritage Register and classified by the National Trust Across its buildings St Patrick’s has a variety of stained glass by significant firms: John Hardman & Co of Birmingham in the Cerretti Chapel, St Mary Immaculate Church and St Columba’s school, Harry Clarke studios of Dublin in St Mary Immaculate church, Australian studio Ashwin and Falconer in Moran House and the Cardinal’s Palace Other windows indicate the work of two local artist designers St Patrick’s Seminary Although considered overly large-scale for the church’s needs at the time by Cardinal Moran’s supporters, plans were drawn up for an imposing 4-storey building under his personal supervision by the Sydney architects Sheerin and Hennessy whose names are inscribed on the windows on either side of the front entrance The contractor W H Jennings won the tender with a price of £60,000 and commenced work in 1885 John Hennessy (1853-1924) was a noted architect and committed Catholic who trained in England and formed a partnership with Sydney born architect Joseph Sheerin, also a devout Catholic, in 1884 The partnership of Sheerin and Hennessy lasted until 1912 after which Hennessy continued working with his son Jack as Hennessy, Hennessy & Co and completed Wardell’s design for St Mary’s Cathedral Australian Gothic Revival characteristically adhered to English models and to a less extent European and European influenced English designs Sheerin and Hennessy’s design for St Joseph’s College, Hunters Hill, done concurrently with St Patrick’s, is closely based on a French Marist 3 Journal of the Australian Catholic Historical Society Brothers school and is a ‘curious hybrid design, neither Gothic nor Classic’ 1 Hennessy has been noted for a degree of bold experimentation in design, set against an essentially conservative attachment to the mother country, which has produced differing interpretations The seminary was described at the time as Gothic, of the early French domestic school and according to one report, the Gothic Perpendicular architecture was given ‘a slightly Spanish look … by Hennessy who had practised in Spain and the US’ 2 According to his obituary Hennessy practised for two years in Los Angeles and studied for six months in Spain The NSW State Heritage Register describes the style as Perpendicular Gothic The main feature of the seminary building (Moran House) is its severe dignity with restrained use of decoration which leaves the overall effect to the building’s dimensions and proportions Two tiers of colonnades, (IMAGE 2) a central tower and generous windows are the main features of the front north east aspect Sheerin and Hennessy were awarded a medal for their designs for the seminary and Cardinal’s Palace at the 1886 Colonial and Indian Exhibition in London The seminary is built of Pyrmont sandstone and white stone quarried on the adjacent quarantine site Three steam cranes were used on the seminary building, the tower of which was almost 50 m high Construction was not without drama; a fatality and a stonemason’s strike the progress of which was reported in the Freeman’s Journal in February-March 1886 Work continued in spite of the dispute with eighty stonemasons employed including non-members of the Co-operative Stonemason’s Society A press report at the time suggesting Shelly Beach should be resumed by the government for public use was vigorously rebutted as an attempt to spoil the church’s vision for the site The foundation stone contained a bottle with several newspapers, coins and a document dedicating the seminary to the glory of God, Virgin Mary, Saints Peter and Paul, St Patrick and St Francis Xavier The distinctive features of the front aspect are the Gothic two tiered colonnade and central bell tower above the main entrance above which are carvings commemorating Cardinal Moran, St Patrick and other saints in niches The interior was intended to be monastic in flavour with black and white tiled ground floor from which a stone staircase supported by columns and arches reaches to the top level Corridors with Gothic archways and cedar ceilings and rooms with beamed ceilings added to the monastic look As outlined in detail in contemporary newspaper reports it had 4 classrooms, 4 Stained glass by the sea rooms
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