John Young's account continues describing the capitals of the pillars and the corbels. The subtle use of marbles to incorparate teaching in the very structure of the baptistry is presented. Then there is an account of the Chapel of the Holy Spirit.

(VIII) FREEMASONRY
"In strength I will establish this
Mine House to stand firm for ever."

This is the text which surrounds the Capital of Freemasonry, the modern representative of the medieval guilds, and, in the words of Primate D'Arcy "the speculative representative of that great artistic movement which gave to the whole of Western Europe the magnificent monuments of the past, and especially the great cathedrals." The four symbols of the Order carved in succession are:
North: Craft Masonry

West: Royal Arch

South: Knight Templar

East: Prince Masonry.

On the SPURS at the base of the Pillar are carved the Working Tools of the Craft.

Corbel: WILLIAM BEDELL (1571-1643). Provost of Trinity College, Dublin. Later, Bishop of Kilmore. Famous as the translator of the Old Testament into Irish, and greatly beloved in his own day by the poor people of every religion. He holds in his hands an Irish version of the Old Testament.

Early in life he established a reputation as a scholar in Oriental languages, and after labouring in obscurity for many years, he left his native England in 1627 to become Provost of Trinity College, Dublin. Two years later he became Bishop of Kilmore and Ardagh, and on entering upon his new sphere of labour found a deplorable state of Church life. Many of the clergy held benefices in plurality, and rectories were often many miles away from the parishes. Bedell initiated the reform of these abuses by relinquishing the See of Ardagh with all its revenues, and gradually his ideas began to prevail.

On coming to Cavan he found that, outside a small circle, Irish was the universal language of the Irish people. As a true son of the Reformation he believed that the Church should speak to the people in their own language. The unreformed Church was speaking in Latin and the reformed Church, forgetting its own principles, was speaking in English, a language the common people did not understand. Bedell, therefore, at the age of 60, undertook the difficult task of learning the Irish language, and translating the Old Testament into his people's mother tongue.

In 1638, this saintly and gentle Bishop created a storm of protest by reverting to the early Church practice of summoning a Diocesan Synod of his clergy - so unusual a procedure and considered so dangerous an innovation that Bedell almost lost his Bishopric and his liberty.

(IX) ART
"Blest be the Art that can immortalise" (Cowper).

An imaginatively conceived Capital devoted to the visual and spoken Arts.

North: Architecture: SIR CHRISTOPHER WREN (1632-1723), one of the most famous architects of all time, at work with his compasses. In the background is his most notable concept, St Paul's Cathedral, and rising above his left shoulder is one of his beautifully designed City Churches.

West: Sculpture: MICHAELANGELO (1475-1564) the incomparable genius of the Middle Ages - painter, poet, sculptor, and architect—is working with mallet and chisel on a carving of the head of a woman.

South: Painting: SIR JOSHUA REYNOLDS (1723-1792), the great English portrait painter, and first President of the Royal Academy, is shown at work on one of his masterpieces. He was also renowned for the literary quality of his Discourses; Boswell's Life of Johnson was dedicated to him.

East: Drama: Our "myriad minded" WILLIAM SHAKESPEARE (1564-1616) dominates this scene, and just behind him, whispering into his ear, is the figure of Genius. Tragedy is represented by the sad visaged figure to the left, and Comedy is easily discernible to the right. The fifth figure, that of an old man, portrays Wisdom.

Corbel: WILLIAM ALEXANDER (1824-1911). Archbishop of Armagh and Primate of All Ireland. One of the most outstanding pulpit orators of his time, who rendered notable service in the establishment of the Cathedral, and was present at the laying of the foundation stone. "An orator to whom the description "Chrysostom"* might be worthily given. In language, in manner, in voice, and in a glorious persuasive utterance he surpassed all others that I have known" (Primate D'Arcy).

(X) WOMANHOOD
"A perfect woman, nobly planned
To warn, to comfort, and command." (Wordsworth)

This noble Capital portrays four phases of Womanhood and provides a constant reminder that "The hand that rocks the cradle is the hand that rules the world."

NE Teaching. A tender study of a mother reading a book to her child.

NW Homelife. A young woman fashioning a garment with a pair of scissors.

SE Nursing. A nurse with hands folded in an attitude of prayer - a tribute to woman's Ministry of Healing in Hospital and Home. Here is symbolised the merging of the Spiritual and Physical sides of her office in the presence of sickness.

"Love, sweetness, goodness in her person shined" (Milton)

SW Motherhood. Mary the mother of Jesus is nursing the Heavenly Babe, while - transcendant touch! - her gaze is directed towards the Baptismal Font at which the children of yesterday, today and tomorrow are received "into the Congregation of Christ's flock."

Corbel: CECIL FRANCIS ALEXANDER (1823-1895). Wife of Primate Alexander (ibid) and writer of some of the best loved hymns in Christendom, including
"There is a green hill far away"
"All things bright and beautiful"
"Jesus calls us; o'er the tumult"
"Once in Royal David's City," and
"Saint Patrick's Breastplate."

(iv) RESPOND OF WISDOM
"The fear of the Lord is the beginning of Wisdom."

The Virtue of Wisdom is typified by Solomon, who sought wisdom and knowledge above all else, and whose prayer is especially called to remembrance:

"That Thine eyes may be open upon this house day and night, to hearken unto the prayer which Thy servant prayeth toward this place" (2 Chron. 6. 20).

Solomon, the embodiment of Wisdom, is holding the open Book of that name in his left hand, while with the other hand he directs attention to the writings within.

Corbel: The Archangel URIEL whose traditional office was "The light of God" - is symbolised by a sundial, thereby proclaiming that Wisdom is the Light by which we may know God.

On each of the two spurs at the base of the Respond is carved the writhing form of a serpent, the old symbol of wisdom.

"Be ye therefore as wise as serpents and harmless as doves."

The Capitals of the Nave, with their skilfully wrought figures and rich ornamentation, exemplify in design and execution just how such sculpture can be used in relation to the general architectural concept of the whole Cathedral.

The figures never dominate or intrude, but have all the, appearance of having germinated and developed just where they are, and thus quite properly subordinate themselves to the general design.

Under less skilful handling, such figuration, together with its accompanying abstract or foliated ornamentation, could readily have assumed form as being the outcome of a mere afterthought - a series of appendages furnished by way of supplement to the main scheme. Instead, however, they merge into and emerge out of the whole great mass, subservient to it, but forming an integral and enriching part of it. Never does the detail detract attention from the main lines of the structure. Thus the eye is led on and over a succession of massive arches and mighty columns, until it comes to rest on the East End, the Sanctuary of Almighty God.

It has been said - again to quote Ruskin - that all noble ornamentation is perpetually varied, and that the finding of an unchanging ornamentation is a sign of degradation and morbidity. No art can be noble which is incapable of expressing thought, and no art is capable of expressing thought which does not change.

Seen in this perspective, the sculpture in the Cathedral is the embodiment of a virile and mature art. The extended series of pictorial Capitals in the Nave is unique, and displays a triumph of mind over the formidable difficulties of selection and design. Truly the very breath of abundant life has been poured into these stones, and their beauty, variety, and thought provoking qualities will provide an unending source of interest to those who have eyes to see.

Opening out to North and South of the West End are, respectively, the Chapel of the Holy Spirit, and the Baptistry. Both are exceptionally rich in detail, and each provides an interesting contrast with the other.

THE BAPTISTRY is a semi-circular building with a semidomed roof. It was the first wholly completed part of the Cathedral, being dedicated in 1928.

The FONT was presented by the children of the Diocese, and its colouring was adopted as being symbolical of the Sacrament of Baptism, and a perpetual reminder of its meaning:

The Base is of Black Marble, typifying Sin.
The Columns standing on the black base are of Red Marble, typifying Penitence.
The Bowl supported on these columns is of White Alabaster, typifying Grace.

The FLOOR is a blending of Portland stone and.Irish marbles of various colours, wrought mosaically to a very beautiful and elaborate design after the style known as Opus Alexandrinum.

There are ten small Pillars ranged round the interior, and the Capitals of these are distinctively carved in abstract or foliated designs. Each is associated with a name which is recorded in the Shrine beneath the central window. These ten names, familiar in the Scriptures or in ecclesiastical history, are:

I and II:
Anne, Patron Saint of the Cathedral and mother of the Virgin Mary.

III, IV and V:
The three Mary's of the Gospel Story.

VI, VII and VIII:
Three great Irish saints: Brigid, Columba, and Patrick.

IX:
John the Evangelist.

X:
John the Baptist.

The three stained glass windows also hark back in many of their details to the Sacrament of Baptism.

Clearly seen near the base of the central window is the Ark - "the Ark of Christ's Church" to which in the Baptismal service we pray the Child may be received, and "so pass the waves of this troublesome world." Above this is a representation of Christ's Baptism in Jordan, and the descending of the Holy Ghost upon Him. Underneath are the words "This is My Beloved Son in Whom I am well pleased."

The subject of the window on the left hand side is Moses leading the Children of Israel across the Red Sea. They "go on dry ground through the midst of the sea." At the base of the window is a Font with a guardian angel standing by, and the inscription is "Baptised unto Moses in the Cloud and in the Sea."

The window on the right hand side, with its ornamentation of Shamrocks, portrays "St Patrick baptising at Tara, Easter 433." Inscribed is the text "Go ye therefore and make disciples of all the nations." At the base is a Fountain, source of the water sanctified "to the mystical washing away of sin" and proclaiming that

".... the pure spirit shall flow
Back to the burning fountain whence it came,
A portion of the Eternal." (Shelley)

On each side of the Baptistry, at the ends of the upper and lower string courses, is the charming head of a child, and another cherubic countenance is projecting just below the central window.

The Mosaic Roof of the Baptistry is of exceptional interest, being a unique and magnificent example of an art which is peculiarly adapted to the Romanesque style of architecture, with its emphasis on wide spaces both on walls and on domed roofs.

Mosaic is a form of surface decoration obtained by fitting together, so as to form a pattern or a picture, a countless number of small pieces of different coloured materials, such as glass or marble. These are embedded in a matrix of putty like substance, and the magnitude and complexity of the artist's task will be appreciated when it is realised that this mosaic roof is composed of over 150,000 pieces of glass, each one individually placed by hand in its appropriate position. By means of representations of the four elements (Earth, Air, Water, and Fire) the CREATION is symbolised, and over all is the hand of the Creator, raised in Benediction with two outstretched fingers.

When bathed in the light which is so necessary to a full realisation of its splendours, this mosaic roof, unparalleled in this country, will be seen to form a glorious and fitting crown to what was the first wholly completed part of the Cathedral.

THE CHAPEL OF THE HOLY SPIRIT, which is situate opposite to the Baptistry, provides accommodation for occasional services and for private prayer and meditation. Together with the Muniment Room or Library immediately above forming a second storey, it completes the design of the Nave portion of the Cathedral.

The Chapel is oblong, and consists of a square centre space rising to a Dome, with a Sanctuary to the east of it, and a corresponding space to the west.

The entrance, from the Nave, is divided by a graceful central pillar supporting two arches, and the Capital of this pillar, one of the most beautiful and significant in the whole Cathedral, provides the only example of carved stonework in the interior of the Chapel. Portrayed in delicate sculptures are:

South: A Dove, the symbol of the Holy Spirit to which the Chapel is dedicated.

West: An Eagle, the King of Birds, and symbol of St John.

North: A Pelican, representative in ancient church symbolism of Christ. An old legend said that the pelican fed its young with blood from its own breast ("the pelican in its piety").

East: A Peacock, the symbol of immortality.

The head of a grotesque looking Devil is carved at the base of each of the two pillars flanking the Chapel, a favourite device in olden times to indicate that Satan had been driven out by the power of the Holy Spirit.

At the top of the Pillars are the Shamrock of Ireland, and a number of Apples, reminiscent of the Tree of Knowledge.

On the left hand gate is a badge bearing the arms of the formerly united Dioceses of Down and Connor - two keys crossed and surmounted by a Lamb. On the right hand gate are the arms of the Diocese of Dromore - "A cross gules, over all a Sun in its splendour."

The stonework inside the Chapel is almost severely plain, and adornment is effectively achieved by contrast of colour, as opposed to carving or tracery. Panels of red, green, and dove marbles are inlaid into stone of a rosy yellow shade. The step at the Communion Rail is of Hopton Wood brown stone, and the Rail itself is of Portland stone, inset with Connemara green marble.

The Holy Table is a replica of an early Christian style such as was used in the Catacombs of ancient Rome. It is of English oak, inlaid with mahogany, walnut, holly, and ebony, designed
and blended in a beautiful and intricate pattern.

Marble has been used for the floor of the Sanctuary, and the rest of the floor consists of maple blocks radiating from the centre.

The central Dome has been adorned with a splendid mosaic executed in silver and gold, and forming a background to four Seraphim in robes of blue, silver, and white.

The design is obviously inspired by the majestic and triumphant words from the Communion Service: "Therefore with Angels and Archangels, and with all the company of heaven, we laud and magnify Thy Glorious Name; evermore praising Thee, and saying, Holy, Holy, Holy, Lord God of Hosts, heaven and earth are full of Thy Glory; Glory be to Thee O Lord most High."

The four words "Holy, Holy, Holy, Lord" are discernibly traced in the mosaic. One of the Angels is holding a Lamp and another a Chalice, symbolic of the Sacramental Wine. The Cross is borne by another Angel, and the fourth has in his hands the Book of Life (a Scroll), emblazoned with the emblem "A & O," signifying Alpha and Omega, the Beginning and the End.

A Seraph (plural Seraphim) was in scriptural times a celestial being endowed with human form. "Each one had six wings; with twain he covered his face, and with twain he covered his feet, and with twain he did fly" (Isaiah 6. 2).

Spirit of Beauty, that dost consecrate
With thine own hues all thou didst shine upon
Of human thought or form. (Shelley)
__________

The WINDOWS of the Chapel truly seem to breathe out the very Spirit of Beauty, and a wealth of human thought and invention was lavished on their design and its execution.

There was brought to their composition all the technical resources employed by the great artists in glass of the Renaissance period, and Europe was searched for the appropriate colours to carry out the artist's conception.

The dark yellows, for instance, are of particular rarity, and were obtainable in only one place in Germany. They are the product of a sixteenth century formula, and the secret of their unusual richness of colouring was the use of gold in their preparation, instead of the more usual silver.
In each of the five windows the Dove again manifests itself, being used as a connecting link in the same way as a musician would use a Leitmotif, that is, a recurring phrase or short passage in a musical composition always associated with the same personage.

With imagination and skill, the design of the windows is shaped to illustrate the action of the Holy Spirit on Humanity. The Biblical subjects thus portrayed are, from left to right, as follows:

I The Creation of Man
The first man is receiving the Breath of Life (that is, the Holy Spirit) as he looks upwards towards the hand of his Creator. All around is the new creation, Earth, Air, and Water; Birds, Animals, and Vegetation. Above all is the Heavenly Host.

II St John's Vision on the Isle of Patmos
In the book of the Revelation, St John the Divine relates how, when "in the Spirit on the Lord's Day" he was commanded to write in a book that which was revealed to him in a vision. In this window St John is seated with his Eagle by his side, describing his vision of Our Lord ; seated on a throne set in heaven, and of how "there was a rainbow round about the throne, in sight like unto an emerald" and of how he saw the four and twenty elders sitting round about the throne, clothed in white raiment, and on their heads crowns of gold.

Beneath the realistic depiction of this scene is the Altar bearing "the Lamb that was slain" and underneath the Altar are "the Souls of them that had been slain for the word of God." The seven Candles represent the seven churches to which St John was commanded to write.

The use of symbols in stained glass, sculpture and woodwork is said to have originated in the reluctance of early Christians to write the sacred names at length. This it was considered irreverent to do, and indeed often highly dangerous; and so, for example, St John was represented by an Eagle, St Peter by two crossed keys, the Holy Spirit by a Dove, and Eternity by a circle or a ring - something without beginning or end.

III The Annunciation
In this window the Angel Gabriel has appeared to the Virgin Mary, announcing the coming of Jesus as the Prince of Peace. To her it was told: "The Holy Ghost shall come upon thee, and the power of the Highest shall overshadow thee." Accordingly, the Holy Ghost, in the form of a dove, is seen descending on the kneeling woman.

Gabriel is bearing the Heavenly Message and holding the Lily with which he is always represented. This Angel is also the subject of the Corbel on the Respond of Courage (NW).

IV The Baptism of Christ
John the Baptist is reverently kneeling on Jordan's bank, while Our Lord is seen rising up out of the water. The Heavens are opened, and the Spirit of God is descending like a Dove while His voice is heard saying: "This is My Beloved Son, in Whom I am well pleased."

V The Feast of Pentecost
"And when the day of Pentecost was fully come, they (the Apostles) were all with one accord in one place. And suddenly there came a sound from Heaven as of a rushing mighty wind, and it filled all the house where they were sitting. And there appeared unto them cloven tongues like as of fire, and it sat upon each of them. And they were all filled with the Holy Ghost."

This beautiful New Testament narrative (Acts 2) is the inspiration for the fifth window, and the word picture of the writer is faithfully reproduced with realistic and compelling effect. Matthias, who "was numbered with the eleven apostles," is included, and also Mary, the mother of Jesus.

Near the roof are two small lantern windows, each depicting an Angel.