The window was not ready until 1931. Harry Clarke had been plagued by illness in the intervening years between the commission and the eventual execution of the work. Before his death in early January 1931, Harry had completed the drawings for each of the three light windows, but only the one on the left - as one faces the altar - had been glazed and fired when, owing to his failing health he had to leave the Studio and Ireland.
Canon McDonald was very disappointed at this latest development but was cheered a little by the promise given him by the new manager of the Studio, CB . Simmonds - that the window would not be dispatched to Newport before it would have been given Clarke's approval, on his retum to Ireland. However the untimely death of the artist in early January 1931 made even this concession impossible. The window was completed in the Studio and Clarke's instructions were followed as closely as possible. It was finally fixed in St Patrick's church, in late February 1931.
Consisting of three-light openings of equal size the Last Judgment window occupies about one-third of the eastern wall. The centre opening is dominated by the figure of the glorified Christ, with outstretched hands, acting as Judge on the Last Day. At the top, and surrounding the head of Christ, are six of the Saints formerly mentioned in the old, Roman Canon of the Mass. Within an illumined circle of light below and behind the lower part of Christ's body are four adoring cherubs on either side of the Lord's feet. Immediately below the feet and with head enclosed in the circle is an angel blowing a trumpet to summon the dead to Judgment. On the other side of the long trumpet is a seated angel with scroll and quill, recording each verdict as it is delivered. In the centre, and just below the seated angel is an illumined cross to guide the throng of shrouded figures rising from the earth below, towards the cross and to judgement.
The opening left to centre, but on the right hand side of Christ - shows Our Lady seated in Paradise. Six apostles, namely Sts. Thomas, James Minor and Philip, Andrew, Paul and Peter are grouped around Our Lady's head. Happy angels with the joyful souls of the Just, fill the space beneath.
The remaining opening depicts the seated figure of St Patrick. Six other apostles - Saints Matthias, Matthew, Bartholomew, Saints James, John and James Major are grouped around the head of St Patrick. At his feet are five cherubs and below them, a horrifying spectacle of the damned in hell occupy the entire space below. Within the seething mass, the artist has placed at least one selfportrait.
The three openings are united into one whole by the triangular aureole of light above, and the earth's orb beneath. Brilliance of colour, skilful use of contrast of light and shade, of the ecstatic faces of the elect and the grotesque expressions of the damned, make this window a priceless work of art.
The two-light stained glass window, entitled "The Adoration of the Magi" is fixed in the wall behind the altar in the Lady Chapel. To the left as one faces the altar - Our Lady is depicted seated with the Divine Child on her knees as He receives the homage of the "Irish Magi" in the adjoining panel. In this latter, the figure of St. Colmcille is shown standing, holding the Abbot's Cross in his right hand while his left holds a book of psalms and a quill. Standing beside him, with arms crossed on her breast is St Brighid. In front and to the left of St Brighid is the kneeling figure of St Patrick offering a miniature model of an early Irish Church. Further to the right, and also kneeling, is St Brendan, holding an oar under his left arm. At the base is a glimpse of Clew Bay, with Croagh Patrick rising majestically in the west. A flight of doves, symbol of St Colmcille appears at the top of both openings.
"The Agony in the Garden" is the title of the corresponding two-light stained glass window above the altar in the Sacred Heart Chapel. In the right-hand opening Christ is shown kneeling in prayer, with face uplifted towards the angel in the adjoining chapel. Soldiers, bearing lighted torches, appear in the background away from the kneeling figure. In the left hand opening, is an angel with arms outstretched to bring comfort to the Lord in his agony. Huddled together to the left, and below the angel, are the three sleeping Apostles. The colours used blend perfecdy with those of the Last Judgment Window behind the main altar.
The window itself is a twolight opening. The opening to the left portrays a magnificent figure of the Risen and victorious Lord, with uplifted hands, displaying His sacred wounds. At the top right of this opening are the words I am which powerfully sum up the theme of the window. The opening to the right is dominated by the red-haloed angel, seated gracefully above the tomb, engaged in conversation with the Holy Women below who are standing before the empty tomb. The angels left hand indicates the vacant tomb, while the right hand points to the message written boldly above The Resurrection and the Life which links it to the I am of the adjoining opening. An illumined Roman cross appears in the distance, on the right. Bold colours, skilled use of lines, curves and spaces make this window unique in its own right.
Of particular interest to parishioners of Newport is that Richard King was born just eleven miles away, in Lower Charles St., Castiebar. The family later moved to Westport and after some years there, finally settled in Dublin. Here the young Richard enrolled as a student in the College of Art. Soon his teacher, Austin Mulloy drew the attention of Harry Clarke to this brilliant pupil. As a result Richard began his career as a designer in the Harry Clarke Studios, where his remarkable talent was used to the full. He became manager of the Clarke Studios in 1935, a post he held with distinction until he opened his own Studio in Dalkey in 1940. The artist died on 17th March 1974 just one year after the Resurrection window had been fixed in St. Patricks church, Newport. This church now possesses the last works of two of Irelands outstanding stained glass artists.
The two-light window at the rear of the Sacred Heart Chapel, show the Holy Family at home in Nazareth and is self explanatory. The corresponding two-light window on the other side, at the rear of the Lady Chapel depicts St. Michael the Archangel (on the right hand) forcing Satan (on the left hand) out of Heaven. The strong and beautiful colours together with the artistic design with line and colour can be best appreciated in the evening when they receive the full light of the setting sun. Both windows were fixed in their present position in 1981.
Early in 1987, at the request of Very Rev. Canon Moran P.P. Mr. Ken Ryan of the Abbey Studios undertook an inspection of the condition of all the church windows. His report was disquieting. The Sisters of Mercy then asked Mr. Ryan to have the O'Donel windows in the convent oratory also examined. The report was equally serious the lead fillings in all the windows inspected would have to be replaced at once. Canon Moran commissioned the Abbey Studios to dismantle, clean, repair and reinstall all the stained glass windows in the church. The Sisters, after due consultation with the authorities involved, got permission to have the O'Donel window receive similar attention. However as the Western Care occupants were not using the convent oratory, the Sisters arranged to have the O'Donel window installed instead in the parish church a fitting home for such an heirloom.
Though the O'Donel window was shorter and wider than the pertaining opening in the church southem wall, the Abbey Stained Glass Co. succeeded in fixing it as a two-light opening. The disparity in length was overcome by the insertion of two separate panels of matching glass to the base at each side. The window on the cleft portrays Mary Immaculate and the one on the right shows St. Joseph with the Child in his arm. In a panel at the base of the original window is an omamented capital M under the figure of Our Lady and a similar type capital J under the figure of St. Joseph. Beneath that panel is a further light strip stretching across the full width of both openings, bearing the words The gift of Lady O'Donel, The gift of Sir George O'Donel. Enclosed in a lighted circle in the centre of each of the new matching panels is a portrayal of the Lamb of God, on the left, and the Crucifixion on the right.
It may be of interest to note that the Abbey Stained Glass Studios once formed part of the Dublin Paint & Glass Co. but were a separate entity run by a Mr. Frank Ryan since 1944. When the parent company closed in 1986, the Abbey Stained Glass portion was purchased by Mr. Frank Ryan, his son and his daughter-in-law and the business is ably run by the Ryans ever since. Newport is but one of the many churches which have benefited from the Ryan Expertise.
All the remaining windows in St. Patricks are fitted with leaded lights from the Sarah Purser Studios. Hopefully, in time further gems in stained glass will replace these.
Sources:
Mayo Co. Library, Castlebar.
Ms. Angela Corcoran,
Parish Magazine, Castlebar
Cappuchin Annual 1975
Ken Ryan, Abbey Stained Glass Studios
Harry Clarke Douglas Hyde Gallery Catalogue.
St. Patricks Church, Newport.