USA > Connecticut > Hartford County > Hartford > History of the diocese of Hartford > Part 27
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THE CATHOLIC CHURCH IN NEW ENGLAND.
THE UPPER CATHEDRAL .- Description of the Ceiling .-- The most promi- nent feature of the interior is the magnificent ceiling, striking and effective when viewed from the floor, and rich and stately in its beauty when more closely inspected from the galleries.
The ceilings of the nave, transepts, chancel, and over the galleries are con- structed from different colored woods divided into sections of oblong panels. The sections are separated from each other by a continuous beam running lengthwise from the center of the nave, and by ribs and arches at the transepts.
The sheeting of the panels is filled and stained, shaded and varnished in light olive, and the planes of the sides and soffits of the arches are of dark olive. The quarter rounds in the angles of the arches are beautifully de- corated in mosaic patterns, stained, and shaded with ebony, African wood, and gold. The same materials, with mahogany, are used in the flower decorations at the intersection of the ribs and arches, the case mouldings and the soffits.
The sheeting in the panels between the four great arches at the transept . is handsome diaper work, richly decorated with mosaic. The soffits of the great arches are treated in a similar manner. The frames around the picture painted on the ceiling are decorated with ebony, African wood, and gold, while some of the quarter rounds are gilt in full.
The sheeting on the grounds of all the center pieces on the ceiling under the galleries are of African wood neatly diapered in gold. The flowers and center pieces at the intersection of the vaults are decorated with ebony, oak, mahogany and gold.
The wood-work of the ceiling under the organ gallery and front vesti- bule and in small chapels at the sides of the chancel, are of light English oak finished in diaper work. The sides, soffits, and rib mouldings are of dark oak. The colors are in beautiful harmony in all the door decorations, and add to the individual effects of their treatment.
Decoration of the Walls .- Looking from the chancel to the walls of the church, the plain plastering in the nave, transept, under the galleries, as well as in the vestibule, towers, and chancel chapels, is found to be finished in a light olive, while the stucco mouldings are green and gold. The promi- nent members of the mouldings are finished in ashes of roses, and the orna- mental work in the same tint with the prominent parts nearly white. The spandrels of the tracery on the walls around the large rose windows in the transepts, and the one in the chancel, are filled with foliage, painted in light and shade. The walls themselves are painted in olive green and banded with gold. The stucco mouldings and ornaments on the walls and ceilings are painted in light shades, so that the members are bold and effective when viewed from any portion of the floor of the church. The back wall of the sanctuary immediately attracts the admiration of the beholders. It is exe- cuted in stucco work.
The wainscoting of the wall is four feet in height. The lower section is of Tennessee marble, matching the pillars. The neck moulding is of twenty-two karat nugget gold, with rough finish.
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The Stained Glass Windows .- The stained glass windows were imported from Innspruck in a perfect condition, and were presented by societies, churches, and private individuals throughout the diocese. The outlines of the figures are discerned through the outer windows from either side, but it gives but little idea of their beauty as viewed from the interior. The features are so perfect and true to nature that the figures appear like statues in mid- air. Every window is symbolic of Scriptural ideas, and the arrangements and designs are a study, pleasing, instructive, and intensely interesting.
There are thirty-two windows in all, representing eighty-two figures life size, and thirty-two angels. It has been said that St. Mungo's cathedral in Glasgow has a similar but larger collection, but the windows in Hartford when the sun is gradually sinking in the west is a sight never to be forgotten. Those who are interested in excellent glass work will be well repaid for the journey to the city to view them.
The seven lancet windows in the chancel are filled with large figures which appear life-size from the floor, and represent the saintly associates of Jesus Christ. The central figure is the Sacred Heart of Jesus, and on the right, in the order named, is the Blessed Virgin Mary, St. John the Evangelist, St. James the Less, on the left, St. Joseph, St. Peter, and St. Paul. There are two large rose windows in each transept, and a similar one in the facade.
The large rose window in the eastern transept represents scenes taken from the life of our Lord. The arcade openings, eight in number, present - the history of the Crucifixion, and include-The Apostles asleep ; Jesus ap- prehended; Jesus thrice denied by Peter ; Herod and Pilate made friends; Barabbas released and Jesus delivered to be crucified ; Jesus scourged ; "Ecce Homo;" Jesus bearing His cross.
The rose window in the western transept is devoted to St. Joseph. The eight arcade openings present scenes from the life of the patriarch Joseph in the Old Law, and include-The Dream of Joseph; Joseph sold to the Ishma- elites ; Joseph in prison; the dream of Pharaoh ; Joseph established by Pha- raoh over the land of Egypt ; Joseph enthroned ; Joseph embracing his brothers. The life of St. Joseph in the New Law, and the Virgin Mary, form the themes of the sixteen pentafoil openings in this rose window-The Presentation of the Blessed Virgin in the Temple; tlie Marriage of St. Joseph and the Blessed Virgin ; the dream of St. Joseph ; the Visitation ; Presentation of the Child Jesus in the Temple; the Flight into Egypt ; the Child Jesus in the workshop of St. Joseph ; the death of St. Joseph. An angel freeing St. Peter from pri- son is the subject of the central opening. In the central opening of the rose window in the facade King David is pictured playing the harp, and surround- ing him are sixteen angels playing upon musical instruments.
The Chapel of the Blessed Virgin has two lancet windows presenting in the four sections the birth of the Blessed Virgin ; St. Ann teaching her ; St. Dominic advocating the Immaculate Conception1.
The chapel of the Blessed Sacrament has likewise two lancet windows. The blessed Julianna of Liege, the last communion of St. Jerome, the mira- cle of Bolsena, St. Thomas writing the Mass of Corpus Christi, are the themes.
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THE CATHOLIC CHURCH IN NEW ENGLAND.
St. Francis's chapel lias two smaller lancet windows, one for each side of the altar,-St. Francis of Assisi and St. Thomas of Villanova.
St. Bernard's chapel has two also of the same size representing the mar- tyrs, St. Stephen and St. Laurence.
The Paintings .- The vaulted ceiling springs from four tri-clusters of mar- ble pillars. At the intersection of the arches, in the center of the ceiling, is a massive frame of oak, decorated with gilt, containing a circle twenty-one feet in diameter, on which is painted, by the celebrated German painter, Lamprecht, one of the most beautiful works of art in the cathedral, "The Sermon upon the Mount." Thirty figures are represented, life size, and were painted by Lamprecht reclining on his back on a peculiarly constructed scaffolding. The best view of the painting is obtained from one of the tri- forium galleries. Standing directly underneath this painting in the main aisle of the church you may gaze upon the chapels, chancels, galleries, and all the interior beauties.
The entire rear wall in the shrine of the Blessed Virgin has the largest painting in the building, representing the coronation of the Blessed Virgin Mary. The painting represents Mary, life size, surrounded by God the Fa- ther, God the Son, and the Holy Ghost in the form of a dove. On the eastern wall of the shrine is yet another handsome painting, and one that Lamprecht considers his best work in the building. It represents St. Domi- nic giving the Rosary to the Blessed Virgin Mary. The original of the pic- ture is in Rome. The Assumption of the Blessed Virgin forms the subject of the painting over the entrance to the shrine.
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The rear wall of the chapel of the Blessed Sacrament has two paintings. The lower, showing distinctly behind the altar, represents Christ breaking bread before His disciples, while the upper section represents the Day of Judgment. On the western wall of the chapel is another painting represent- ing Christ appearing to Mary Magdalen. Over the entrance to the chapel our Lord is pictured as appearing to the blessed Margaret Mary. There is a paint- ing over each of the four confessionals. The two in the corners of the eastern transept show our Lord performing the miracle of restoring the man sick of the palsy, and the Prodigal Son; the two in the western transept, St. Peter receiving the command of our Lord to feed His lambs, and the woman taken in adultery. Over the entrances at the two side aisles from the vestibule to the nave are two paintings plainly discerned as you are leaving the sacred edifice-St. Elizabeth, of Hungary, distributing gifts to the poor, and St. Vincent de Paul administering to the wants of poor children. Both pictures are intended to inculcate the lesson of charity and generosity to the poor.
Marble Pillars and their Statuary .- Twenty-six pillars, 110 two exactly alike, including four clusters of three, support the galleries and arches. They are of rich Tennessee marble.
The subjects for the capitals in the chapels are : The Baptism of our Lord, the Christian Baptismn, Preparation for Confirmation, the Bishop Confirming, the Bishop Blessing, the Bishop Ordaining, the Marriage of St. Joseph and the Blessed Virgin, the Christian Marriage, the Forgive-
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REV. WILLIAM H. ROGERS.
REV. PAUL F. MCALENNEY
REV. WALTER J. SHANLEY.
REV. THOMAS J. KEENA.
REV. JOHN T. WINTERS.
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ness of Sin, Receiving Holy Communion, Renewing the Baptismal Vows, Receiving Extreme Unction.
The twelve pillars that are clustered at the transepts have forty-eight groups in them. At the east side they represent scenes taken from the lives of the prophets Daniel and Jeremiah. The western side is filled with scenes from the life of St. John the Baptist and Melchizedec. The groups are constructed according to Scripture. Over the capitals on the eastern side are emblems of the old sacrifice entwined in the foliage, flowers, and fruit, and on the western side the emblems of the new sacrifice are shown. Each corner presents one construction from the top of the pillar capitals to the base of the statue in the niche.
Choir Gallery .- The choir gallery projects in the form of a semi-circle between the triforium galleries.
The gallery front is divided into sections, the middle consisting of a series of twelve-inch panels and the ends of a series of eighteen. The sheet- ing of the panels, like those in the magnificent ceiling, is light olive oak, stained, shaded, and varnished, while the sides are of polished dark oak.
Handsome Mosaic patterns in ebony, African wood, and gold decorate the panels, and bright gold the ribs and archies. The treatment is finished by a wide band of olive, which separates the panels from the railing, and rosettes deeply lined with gold.
The Triforium Galleries .- The triforium galleries, which may be used as chapels for the celebration of the Mass at the same time that service is being held in the lower part of the church, add very much to the beauty and design of the edifice. The ceiling is made of different colored woods, match- ing in design and arrangement the main ceiling. There are seven arches, , supported by a cluster of pillars with capitals of foliage work. Opposite eaclı arch is a double window of stained glass, with designs corresponding to those in the smaller windows in the other part of the church, and in the center of each arcade is a large candelabra fitted with gas and electric lights, which adds a great brilliancy to the galleries and displays the ceiling when the church is illuminated.
The Organ .- The magnificent organ of the cathedral was made by Hook & Hastings, at Boston. It is of unusual size, and ranks among the largest American organs. It occupies a commanding position in the front gallery, and presents an imposing front 40 feet wide and nearly 40 feet high, comprising groups of many pipes of largest size, richly decorated, and casing of oak of elaborate and interesting design. No effort has been spared to make the instrument as perfect and complete as possible, and in material, workman- ship and tone it has no superior.
The Episcopal Throne .- This is situated on the left side of the sanctuary. It is carved out of quartered oak. The front elevation from the floor is fifteen feet nine inches, and it has an outside width of eiglit by sixteen inches. The center of the throne is a canopy recess, divided into sections of panels. The tracery of the panels is filled in with suitable patterns, and bands finish the arches. The recess is supported by a cluster of three columns and a part of a
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THE CATHOLIC CHURCH IN NEW ENGLAND.
fourthi added on, making a three-quarter column with partly open and partly closed panels. Each column ends in a pinnacle decorated with bands and finials. The columns are partly connected. The canopied hood of the throne was the most difficult part of the entire throne to execute, as it required more than ordinary skill to curve its lines and bands and do it artistically. The oak was modelled out to procure the serpentine lines which ornament it on the face, while a series of ascending buttresses decorate the sides. The hood terminates in a finely carved cross, which surmounts the throne. It is of Gothic architecture and cost $1,800.
The episcopal chair, which stands on the floor of the throne, is three and one-half feet high and two feet wide on the outside. It is an excellent speci- men of the carver's artistic skill. The arched back is divided into two parts ; the upper section consists of two tracery panels, and the lower part is divided into four sections, each being filled by quatrefoil panels. The cost was $200.
The Stations of the Cross .- The stations of the cross are placed between the windows in the nave and on the side-walls of the transepts and chancel. They are all in alto relievo, and shaded in ivory and bone. The consecration-crosses are of dark fancy marble, and are inserted in the wall below tlie stations of the cross. A candle bracket is attached to each to hold the candles, which were lighted at the consecration ceremonies, and will be lighted upon each recurring anniversary.
The Pulpit .- The pulpit is placed at the tri-cluster of pillars at the inter- section of the transepts and arches, and is an excellent specimen of the car- ver's skill, in antique oak. The side-panels are of mosaic and diaper effects, surrounding rosette centers. The pulpit is approached by a broad flight of steps, with a highly ornate balustrade. The canopy, which also serves as a sounding board, supports six statues. It ends in a pinnacle surmounted by a statue, which, like the others, is of carved oak.
The Sanctuary .- The set of oak stalls, six in number, extend between the tri-cluster of pillars and the chancel walls, thus separating the chancel from the side-chapels. They occupy eleven feet eight inches of space, and are about four feet high. They have low backs, consisting of two quatrefoil panels. The kneelers in front of these stalls are very elaborate in design. Looking upon them from the front, they are three and one-half feet in height. Each section is built up of four arches supported by columns and filled in with open tracery, which has such unique and varied designs that the general effect is unusually pleasing. The treatment is finished by a wide band which caps the railing.
The entire sanctuary and all the chapels are carpeted with a rich green carpet.
St. Joseph's Altar .- The high altar of St. Joseph's cathedral is a mag- nificent piece of work, constructed in harmony with the splendid fittings of the cathedral. It was built by Charles E. Hall & Co., of Boston, from plans furnished by P. C. Keeley, at a total cost of $12,000.
As one enters the cathedral and the eye drinks in the dazzling effects of the interior, wandering from the marvellous work of the sculptor's chisel and
T
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DIOCESE OF HARTFORD.
artist's brush to the decorated ceiling and stained windows, the altar stands in attractive silhouette, and fills the beholder with wonder at its beauty. The cold, chaste marble, carved in harmonious designs, and relieved with graceful touches of gold, from which the subdued lights are reflected in a mass of brilliant splendor, rises in majestic grandeur to fill out the harmony of detail that characterizes the whole interior. St. Joseph's altar is one of the bright- est gems in the coronet that crowns the interior of the beautiful edifice.
The altar is three stories in height. The first story is taken from the floor to the top of the altar-table, the first being enrichied by detached pillars with moulded bases and handsome caps. Between these are deep medallions with pillared janis and enriched hoods, all finished with a moulded cornice. The ends and rear of the altar-table have Gothic panels, base, and cornice to harmonize with the front. The second story has a tabernacle, with the safe and metal door, the steps for the candlesticks, flower-vases, and sculptural works. The ends of this story forin bases for the niches and pedestals for the sculptural work. Both ends of each niclie are moulded in exact imitation of the front elevation. The entire rear of this story has moulded Gothic panels between the buttresses, all being finished on top with a plinth to receive the moulded base of the screen. The third story is constructed with a tower for the exposition, open tracery, screens, and niches on the ends. These niches have vaulted ceilings. The spire over the canopy of the exposition tower is open work, and is the same in design on the four elevations. The entire altar is built on a solid foundation, and the work was done in the most careful manner.
The entire altar front is of the finest white American statuary marble, except the shafts of the detached pillars, which are of the inost perfect onyx. The ornaments of the pillar-caps are taken from the foliage of the cedar, oak, and pine. The carving is done with excellent taste and effect, the centre being enriched with the Alpha, Cross, and Omega. These are a full half inch in the face and panels, and exquisitely polished. The background of all these panels is well diapered with pressed vine-leaf grapes, wheat and water- lily, all sunk about half an inch deep, and the face of all being carved with
nature. The monograms are lialf an inch over the face of this diaper work. The faces of the two large round panels at the ends of the altar have Gothic tracery. The panel around this tracery is diapered with foliated tootli flow- ers, all beautifully carved. The enrichiments in hoods over the panels are tlie foliated tooth flower neatly carved, the ornaments in the spandrels of the cir- cle being carved also. All the plinthis, pillars, bases, small pillar-sliafts, mouldings, cornice, and plains are hand-polished. The end of the altar- table is one solid piece of American white marble one incli and a half thick, with five crosses sunk in the top and a sepulchire for the sacred relics ent in the slab.
The second story of the altar, containing the Tabernacle, is made of light Sienna marble beautifully polished. The main body of the Tabernacle is of white American statuary marble, with tracery panels of liglit Siena inarble. The Tabernacle door and safe are in keeping with their surroundings. The
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THE CATHOLIC CHURCH IN NEW ENGLAND.
door is gold plated and has the letters I. H. S. in the centre panel. The risers of the three steps at each side of the Tabernacle are of white statuary marble. All the tracery and ornaments are neatly carved. The mouldings, carvings and diaper work on this story add to the general beauty and harmony of the whole. The entire work of the second story is of white American statuary marble.
The pedestal and inside of the bower for the exposition is of Italian marble. All the inouldings and plain parts are highly polished, and the carvings and ornaments are flat from the tool. The enrichments are taken from nature, the diaper work in the bower of the exposition being the passion flower done in one inch deep of relief. The virgin rose is carved on all the pillar caps and band at the springing of the bower arch. The crochets and finials of the canopy over the bower are lilies carved in exquisite harmony with nature.
The effect of this wondrous creation is beautiful in the extreme; and the exquisite harmony and splendor of the whole is enhanced by the myriads of lights twinkling from its different stories when the altar is in use. One stands entranced, bewildered, in contemplating the marvelous magnificence of the throne on which the Living God gives His sacred body and blood into the hands of His creatures to be worshiped in the adorable sacrifice of the Mass. St. Joseph's altar is the most sacred portion of the edifice; it is also the 1110st beautiful. It is the brightest setting in all the glittering picture that St. Joseph's Cathedral presents.
Seating Capacity .- The large, heavy doors of oak are stained and deeply polished, matching the shade of the pews. The aisle which you enter from the door is seven feet wide. The two side aisles are about five feet.
Between the central and each side aisle are forty-two double oak pews. The building is intended to seat 2,000 persons, but can by close sitting accommodate 2,252.
There are sedelia in the transepts to afford increased sitting accommno- dations when needed.
The Chapels .- At the extreme right of the church, separated from the sanctuary by the wood screen, is the Chapel of the Blessed Sacrament. This also contains a white altar with pillars of Mexican onyx. The reredos does not extend any higher than the tabernacle, and is finished with battlements. The tabernacle has no niche.
The shrine of the Blessed Virgin is on the left of the sanctuary. In its centre, on a marble pedestal placed on an onyx platforin, is a very beautiful statue in white marble of the Blessed Virgin Mary. The statue is a gift of Rev. W. A. Harty, then rector of the cathedral.
The chapel in the western transept is St. Francis's Chapel, and contains a white marble altar which has in its panels of the high reredos some beauti- ful specimens of Mexican onyx. The tabernacle supports a niche for the statue of St. Francis. The altar is the gift of the Very Rev. Father Leo da Saracena, O. S. F., of Winsted, Conn.
The chapel in the eastern transept is St. Bernard's Chapel. It has also
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DIOCESE OF HARTFORD.
an altar of the same size and design as St. Francis, but varying in its decora- tions The niche contains a very handsome statue of St. Bernard. The altar is erected in memory of the late Bishop O'Reilley, by his two nephews, the Very Rev. James Hughes, V. G., LL.D., of Hartford, and the Rev. Bernard O'Reilley Sheridan, of Middletown. Both chapels are lighted by standards of lights erected in the transepts.
On the right side of the sanctuary is St. Bridget's altar, of white marble and Mexican onyx, of smaller size, but similar in design to the high altar. The wall back of the altar is finished in gold work, and the niche over the tabernacle has a gold crucifix. The altar was presented to the cathedral by the Sisters of Mercy of the diocese. The altar on the left side is consecrated to St. Patrick, and was the gift of the Ancient Order of Hibernians. It is similar in size and design to St. Bridget's altar.
The architect of the cathedral was Mr. P. C. Keeley.
The priests who have been rectors of the cathedral after the administra- tion of Rev. M. F. Kelly are Rev. William A. Harty, March, 1878, to Sep- tember, 1882; Rev. Philip J. McCabe, September, 1882, to December, 1885 ; Rev. Willianı A. Harty, January, 1886, to March, 1894; Rev. Walter J. Shanley, the present rector, since March, 1894.
The clergymen who have been assistants at various periods at the cathe- dral are: Rev. J. H. Ryan, D. D., Rev. J. Larkin, Rev. P. J. McCabe, Rev. J. H. Carroll, Rev. G. J. O'Farrell, Rev. T. W. Brady, Rev. R. E. Shortell, Rev. W. J. Shanley, Rev. A. F. Harty, Rev. F. P. Havey, Rev. W. J. Mc- Gurk, Rev. Thomas A. Nealon, Rev. P. H. McClean, Rev. J. O'Brien. The present staff of assistants consists of Rev. Thomas Duggan, Rev. John L. McGuiness and Rev. Felix O'Neil. The chancellor and secretary is the Rev. James P. Donovan, D.D.
The population of the cathedral parish is estimated at 5,700 souls, Irish and American. They are a people devoted to their faith, active in the pro- motion of every good work and of high social and intellectual standing. Contributing cheerfully and generously to the support of religious works, frequent recipients of the sacraments, faithful in attendance at the various devotions of the church, they reflect honor upon the diocese and are a source of consolation to their clergy.
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