The above image is actually from a parish centre adjacent to the main Church. The distinctive facial depiction of Christ is echoed in the Stations of the Cross inside the Church proper. Unsurprising, as they were executed by the same firm:
The same link tells us regarding the front facade depiction of the Guardian Angel that :
Note the outstretched arms of the Guardian Angel encompassing the world with protective care. The head-dress was, in fact, copied from that worn by Cleopatra in the block-buster film of that time!
For comparison, here is a close up of the angel and a headdress worn by Elizabeth Taylor in the famously epic (in every sense) Cleopatra she starred on with Richard Burton:
There is also a selection of interesting abstract stained glass in this Church as at the beginning and now the end of this post:
St Fiacre, according to his Wikipedia article (bear in mind that around 0.05% of Wikipedia articles are classed by Wikipedia itself as “Good articles“), has interesting associations with haemmorhoids and taxis.
This window is signed by Patrick Muldowney and is celebrating its 25th anniversary round about now.
Other windows include this lovely Madonna and Child. I wonder is it based on a paintin
There are some striking panels in two long abstract windows either side of the alta
Over recent months I have been blogging pictures of stained glass mainly (but not exclusively) from Tipperary churches. These photos are taken with my phone and I cannot claim to have cracked how best to do this, often they are taken in a somewhat rushed manner as I am a little self conscious about this at times. These churches are after all places of worship and I am loath to disturb or distract.
I started this meaning to record, as best I could, what is very much a neglected art form. Even the smallest Irish village will have a church, and often multiple churches, which will feature stained glass. Some of these images have struck me as exceptionally moving and beautiful, some aesthetically interesting, some culturally interesting (from instance the way the image of St Monica and St Augustine in the Augustinian Abbey in Fethard is based on a popular religious painting of the time)
Since then I corresponded with Reiltin Murphy, daughter of John Murphy, and found out there are other examples of Murphy Devitt glass not only in Tipperary but in Clonmel. Indeed some is in the main body of the church in the very same Franciscan Abbey:
Grangemockler Church is most famous for its links to Michael Hogan, victim of the 1920 Bloody Sunday and namesake of the stand.
It has a selection of attractive stained glass, including images of a pelican (believed to feed it’s own blood to its young, and therefore akin to Christ, more info here) St Patrick and the Crucifixion
Many churches will have many panels of relatively plain stained glass, some indeed barely coloured at all. This glass is less striking than other pieces usually, but here is a good example of how light can illuminate even a plain ish window into something more…. not that this photo adequately captured the effect:
Here is another panel, more elaborate but not represational as such, which I found striking.
In the early 1950s at Harry Clarke Studios, Dublin, John (Johnny) Murphy and John (Des) Devitt first met. By 1958 Johnny and Des along with Johnny’s wife Róisín Dowd Murphy decided to strike out alone and immediately started to create some of the most stunning stained glass ever seen in Ireland and beyond. It was a relationship that lasted almost fifty years, most notably in the form of Murphy/DevittStudios Limited from 1969-1990. In 2006, shortly after the passing of Des Devitt, Johnny was quoted as saying “we only ever wanted to create the best work we possibly could and we were happy that we did”. Within 2006 Des, Johnny and Róisín all passed away but their legacy of literally hundreds, quite possibly thousands, of the most avant-garde, radical and truly beautiful stained glass windows live on in the churches, public buildings and homes of Ireland and beyond.
And so to the present day. Reiltín Murphy and Anthony Devitt are delighted to bring you this website dedicated to the work of these wonderful characters and talents. As we build the site we look forward to crediting every person who worked with the Murphy/Devitt partnership over the years. We welcome all contact from anyone with any information or stories you would like to share with us. Please click on the Contact tab above to get in touch.
The ultimate aim of our project is to provide a comprehensive catalogue and history of this incredible, life-long, partnership which continues to this day between the Murphy and Devitt families. Reiltín is immersed in hundreds of original cartoons and drawings and chasing down locations while Anthony is sifting through documentation, slides and photographs. If you have any information please DO contact us and don’t assume we know as we are finding out new things every day.
So, even more so than usual, it is with some embarrassment that I post my not very well taken photos of the beautiful work made by the Murphy Devitt studio. These wonderful pieces were created by artists whose techniques and approaches I know very little about. And my smartphone camera skills are probably adequate for family shots, but not to do this work justice. But here goes…:
I have decided to take a slightly different approach to my posts on the Stained Glass of Tipperary churches (other prior posts here and here) – rather than an accumulation of blurry images I will try and be more selective in my posting. Anyhow, here are some of the interesting windows of my local church, Powerstown.
This image of the risen Christ is in the choir balcony:
This image of Our Lady and Jesus is evidently based on an icon, I am unsure which however and using Google Image search simply throws up more images of stained glass:
The following two images tick the “blurry” box alright, and are mirrored – because they are in the sacristry which was in use at the time.