page_title: Honan Chapel
section_title: An Túr Gloine
hierarchical_section_title: Honan Chapel / Stained glass windows / An Túr Gloine
caption_attribution_description: English: An Túr Gloine, Stained Glass Window, Honan Chapel, Cork, Ireland
context_page_description: The Honan Chapel, is a small Catholic collegiate church built in the Celtic-Romanesque revival style on the grounds of University College Cork, Ireland. Designed in 1914, the building was completed in 1916 and fully furnished by 1917. Its architecture and fittings are representative of the Celtic revival movement which evoked the aesthetic style found in Ireland and Britain between the 7th and 12th centuries.
  Its construction was initiated and supervised by a Dublin solicitor John O'Connell, a leading member of the Celtic revival and Arts and Crafts movements. He was funded by Isabella Honan, the last member of a wealthy Cork family, who provided large donations towards the build of the chapel. O'Connell oversaw both the architectural design and the commissioning of its exterior carvings and interior statuettes, floor, furniture and liturgical collection. He closely guided the architect James F. McMullen and the builders John Sisk and Sons, and hired the craftsmen and artists involved in its artwork, many of whom incorporated elements of the Art Nouveau style.
context_section_description: Sarah Purser and Edward Martyn formed the workshop An Túr Gloine ("The Glass Tower") in 1902 to advance the artistic quality stained-glass production in Ireland. It consisted of pupil's of A. E. Child, who was then teaching at the Metropolitan School of Art in Dublin, who she employed to managed the workshop. Their cartoons were, like those from Clarke's studio, designed and built in Dublin before installation in Cork. Their eight windows are attributed to Child (St. Ailbe, St. Fachtna and St. Coleman), and his then pupils Catherine O'Brien (St. John, St. Flannan and St. Munchin) and Ethel Rhind (St. Carthagh).
  Although their subject matter is similar to Clarke's, they are very different in style and not of the same quality, being somewhat conventional by comparison. They are minimalist in line and colour, consisting of a dominating but simply rendered and naturalistic central figure in pale hues, surrounded by uncomplicated, largely empty opaque sub-panels. The most prominently placed window is Child's "Our Lord" on the east gable above the altar. Child depicts the risen Christ in simple forms and subdued colours, and with a strong but dignified facial expression.  O'Kelly's describes the portrait of Christ's eyes "as look[ing] out on humanity with a welcoming and understanding sympathy."
caption: "St. Fachtna", Child c. 1916
exif: {}