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The interior of Saint Mary's Cathedral 1842
Engraved by JS Prout
Digitally enhanced by the Saint Bede Studio.
Image : The State Library of NSW. |
The adjacent engraving by the English artist John Skinner Prout, published in the latter part of 1842, illustrates what the interior of old Saint Mary's Cathedral looked like after many enrichments had been made to it between 1835 and 1840 by Sydney's bishop, John Bede Polding OSB.
In this post, we will describe in detail what is depicted in the engraving.
The artist prepared his sketch from the main entrance of the Cathedral, looking towards the sanctuary. We see that the interior was bathed in natural light reflected off its plastered walls, and that timber columns, like an avenue of trees, ran the full length of the building and also into the transepts. By these columns, the interior of the church was divided into three aisles, each approximately 3.5 metres wide.
The columns supported a newly-constructed ceiling, the latter formed from planks of red cedar and formed into arched shapes known as vaults. It was all intended to imitate in timber that stonework found in large Gothic churches and Cathedrals. The cedar columns and vaulted ceilings were polished and would have glowed most impressively in the light.
We also observe near the principal entrance to the Cathedral, a magnificent stone baptismal font, raised above floor level on two stone platforms. Research has not revealed whether it was an ancient font, acquired in England and sent to Australia, or a completely new design in the Gothic Revival style.
The engraving also makes clear that something is missing : church pews (except for one or two closer to the sanctuary). The congregation stood and knelt throughout Mass and the celebration of other sacraments, on the timber floors, which would not have been so very comfortable.
On the right-hand side of the engraving can be seen the balustrade of a timber gallery, divided into carved panels in the Gothic Revival style. Not visible in the picture was another gallery, situated above the main western entrance (facing Hyde Park). Housed in that western gallery was the large pipe organ, which was constructed by the English firm of Bevington and assembled in the gallery in 1841.
The most intricate of all was the distinctive treatment given to the sanctuary of old Saint Mary’s. The entrance to the small apse - which was hidden in shadows at the eastern end of the church - was divided by two columns, at the top of which was fitted elaborate tracery, carved in timber, and forming arches at the lower level and roundels above this. In order to further enhance this focal point, these arches were filled with stained glass, which delicately glowed in the subdued light. Enlarging the image will reveal how detailed and handsome this treatment of the sanctuary entrance was.
The substantial High altar, although not in the Gothic style, is most imposing. It was constructed in timber, but painted to imitate marble, and extensively gilded. Beneath the table of the altar were carved figures of Old Testament personages in bas relief. We might add that the altar is raised upon at least half a dozen steps from the height of the floor and that even the risers of the steps received ornamental treatment.
Outside the apse was an extended area of the sanctuary, one either side of the archway. We see but one of these in the engraving. These were the location of shrines, placed in front of panelled walls of polished timber, running from floor to ceiling level.
Around the apse, and on the adjacent shrine walls were suspended large oil paintings of sacred art, in gilded frames, which Bishop Polding went to great trouble to acquire from overseas and place within the Cathedral.
When he arrived in Sydney in September 1835, Bishop Polding privately observed that the appearance of the interior of the Cathedral was “desolate”. It was complete in all respects on the outside (including the glazing of its many windows). The inside, however, was but a large T-shaped hall, its walls of exposed stone, constructed with stone of random shapes and sizes. The sanctuary was unadorned, except for an altar for the celebration of Mass. There were no galleries and no ceilings. The floor was formed from planks of timber, most likely a hardwood. The timber rafters which comprised the roof structure and the wooden shingles which covered the outside were visible to those within. At least four columns of Ironbark divided the interior space at the intersection between the nave and the transepts.
The new Bishop considered that the Cathedral ought to be the noble House of the Lord, a foretaste of Heaven, in which Catholics would find a tranquil refuge and where the Rites of the Church would be celebrated with beauty and dignity. To a Benedictine - as Bishop Polding was - the notion of the beauty of the Sacred Liturgy was central to Catholic Faith and a means by which Grace would flow into the hearts of all who gathered within God’s House. And so, over several years, he had the interior transformed into something ornate and inspiring of devotion. He had the walls plastered and painted an off-white colour, he had erected that forest of columns and that vaulted ceiling, all of red cedar. With those basics, he continued the enrichment of the interior with carved timber, stained glass and painted works of art.
The beautifully ornamented interior of old Saint Mary's, shewn in the engraving, is attributable to the cultivated taste of Bishop Polding. It demonstrates his understanding of the Gothic style, even before he visited Europe in 1840 and met the famous architect Pugin. It also demonstrated his understanding of the principle of propriety, where greater ornament is employed to enhance the appearance of the holy place, the sanctuary.
To Father Therry goes the credit for getting up the walls of old Saint Mary's and putting on a roof to cover them. To Bishop Polding, however, goes the credit for creating a beautiful House of God, the equal of any contemporary church in England and Ireland of the time.
AMDG.
