The St Patrick mosaic, Carson's tomb,items of furniture, and the stained glass windows are described.

MOSAIC OF SAINT PATRICK

The Consecration of the Chapel of the Holy Spirit in 1932 coincided with the fifteen-hundredth anniversary of the coming to Ireland of its Patron Saint, Patrick, and this is commemorated by the graphic and colourful mosaic placed over the entrance arches.

The space between these arches and the lofty containing arch is technically known as a Tympanum, and this provided a fine field for the exercise of the mosaicist's art.

The resultant design is an allegorical study in two stages of "Saint Patrick, Apostle of Christ," chosen by God to "bring those who were wandering in darkness and error to the true Light and Knowledge."

The lower part of the picture shows St Patrick in the bow of his ship, sailing past the Mourne Mountains, and holding up the Cross to invoke the Divine aid to his mission. The sea is represented with conventional waves, and the landscape background and the sky are shown as dark and gloomy on one side, while the other side is bathed in light. This contrast is a symbolic portrayal of St Patrick bringing the light of Christianity into the darkness of heathendom.

The Mourne Mountains are reproduced with absolute fidelity, and above them is a light border in the form of clouds as they are usually represented in heraldry. As well as partitioning the two stages of the design, this border forms the base of the upper part, which depicts Patrick standing in Episcopal robes and Mitre, with his Pastoral Staff (Crozier) in one hand, and a Shamrock, emblem of Ireland, in the other.

On his right hand, and representing pagan Ireland, is the figure of a woman, fettered and blindfolded, standing amid rocks and thorns, with a Druid's altar in the background.

Another woman is on the Saint's left hand side, but she, representing Christian Ireland, is looking upwards with wide open eyes, and her hands are unfettered and free. She stands in a garden of flowers, and in the background are a Church and a typical Irish Round Tower. "The dark shades of ancient days are gone, and flowers now have possession over the barren wastes.”

At the zenith of the arch, and immediately above the saint's head, is a Dove. Perhaps in so crowning this sensitive and imaginative mosaic, the artist had in mind the New Testament description of Christ's baptism in Jordan, and how "He saw the heavens opened, and the Spirit like a dove descending upon Him."

On the inner tympanum of the Central West Door is another specimen of mosaic art showing a group of five angels traced on a background of gold. Three of the figures are standing, one playing a violin, another an organ, and the third has a trumpet. The other two figures are kneeling - one, apparently singing, holds a scroll of music, and the other is praying. In thus illustrating the Te Deum there was provided an appropriate memorial to those choristers of the Cathedral who died in the Great War of 1914-1918.

On the tympana above the interior of the other two western portals are exquisite examples of Celtic interlaced mosaic work, the craftsmanship of which is not, however, seen to the best advantage by reason of the inset doorways.

Indicative of the magnitude of the task is the fact that a period of over seven years continuous work by two artists was required to complete the Cathedral's mosaics.

Adjacent to the Great West Door is a beautifully illuminated manuscript book, enclosed in a carved oak case affixed to the wall. Inscribed on parchment, it sets out, in extenso, the words and one of the musical settings of the ancient Irish hymn known as "Saint Patrick's Breastplate" ("I bind unto myself today").

It was obviously inspired by a study of some of the medieval a manuscripts (notably the Book of Kells), which were produced in the religious houses of Europe, and Ireland in particular,
before the advent of printing.

As early as the eighth century Ireland possessed a school of art in manuscripts which was without rival anywhere.

This book was the outcome of a labour of love, patient and sustained, on the part of one who for many years taught Art in the City, and its meticulous regard for detail, coupled with a perfection of execution, exemplify that "a thing of beauty is a joy for ever."

On the other side of the Great West Door is an Oak Lectern and Case, designed to enclose a series of Memorial Volumes containing the names of almost 50,000 Irish Soldiers who laid a
down their lives in the Great War of 1914-1918.

The base is octagonal in shape, simply but effectively carved, and divided into eight compartments, each containing a volume.

Surmounting the gracefully flowing lines of the Lectern is the bronze figure of a British soldier, clad for trench warfare, a standing with bowed head and reversed arms.

Encircling the eight panels of the base is a ribbon bearing the inscription "As gold in the furnace He tried them." On each panel is carved a laurel wreath.

REREDOS IN SOUTH AISLE
In a temporary position in the South Aisle there is a carved stone Reredos, set in an oak surround and surmounting a Holy Table constructed of oak. The central feature of the Reredos is a carving in Portland stone of the Saviour with arms outstretched to humanity, which is represented by figures on either side carved in deep relief. It portrays the theme of Isaiah's prophecy concerning the coming of Christ, who was to be "as the shadow of a great rock in a weary land" (Isaiah 32. 2).

LORD CARSON'S TOMB
Also in the South Aisle is the only Tomb in the Cathedral - that of Lord Carson of Duncairn, eminent lawyer and Ulster's great leader in the troubled years from 1911 to 1921, who died on 22nd October, 1935, and was buried here by authority of a special Act of Parliament (25 and 26 Geo. V. Cap. 16).

The Tomb is railed in bronze and marked by a massive but simple granite stone from Mourne bearing the one word "Carson." A Memorial Plaque has been placed on the wall above.

The story of his efforts for the cause of Ulster is already legendary, and of him as a lawyer a distinguished colleague, Sir Patrick Hastings, K.C., has written:

"Of Edward Carson I can still only speak with reverence. He was by far the greatest advocate I have ever known; to my mind no one has even remotely approached him. His power of cross-examination was not an art, it was simply natural genius."

At the funeral service, earth from each of the Six Counties of Ulster was strewn on the coffin, and subsequently the handsome silver Bowl which had contained this earth was presented to the Cathedral for use at baptismal services.

THE PULPIT
An interesting history attaches to the massive Pulpit, which formerly stood in the Nave of Westminster Abbey, having been installed there to commemorate the inauguration in 1858 of the special Sunday evening services in the Nave.

It was designed by Sir Gilbert Scott, one of the most famous of Victorian architects, and was used in the Abbey until its removal for the Coronation of King Edward VII. Afterwards, just prior to the opening of St Anne's, it was presented to Belfast by the Dean and Chapter of the Abbey, for use in the new building.

Many great and famous preachers have ascended its steps, and apart from its Belfast associations, it must have been in the midst of many notable and historical gatherings connected with our national life.

The name of the great Dean Stanley has always been associated with this pulpit, and from it he preached at the Sunday evening services of which he made a great feature during his years at Westminster (1865-1881). It finds honourable mention in Stanley's book Memorials of Westminster Abbey, wherein he says:

"the marble pulpit in the Nave, given in 1859 to commemorate the beginning of the special services, through which Westminster led the way in reanimating the silent naves of so many of our Cathedrals, has thus been the chief vehicle of the varied teaching of those who have been well called 'the People's Preachers'."

It is a typical product of the Victorian era, substantial and ornate in design, but as its style would not be in harmony with the completed Cathedral, plans have been prepared for a new
pulpit to replace it.

(The Westminster pulpit was destroyed whilst being held in commercial storage prior to being shipped to a church in the USA).

SEATS OF HONOUR
A notable addition to the furnishing of the Cathedral was the provision of a handsome set of State Chairs, or Seats of Honour, which form the front rows of the centre nave seating.

They are constructed of English oak, inset with finely carved panels of lime wood, and are characterised by dignity and distinction of shape and proportion, coupled with a delicacy of detail and graceful ornamentation.

In addition to the two major seats in front for the use of the Governor of Northern Ireland and his Lady, there are two blocks of stalls on each side of the centre aisle.

The right-hand block has been allocated to Members of the Judiciary and of the Parliaments in Northern Ireland, while the left hand (pulpit) side has been assigned to the Lord Mayor, the Recorder, the High Sheriff, and the Aldermen, Councillors and Officers of the Belfast Corporation.

On the Government block of stalls are carved the Arms of Northern Ireland, and the Arms of the City of Belfast are carved on the Corporation block.

THE BISHOP'S THRONE
The word "Cathedral" was in early times used as an adjective to describe a Church which contained a Bishop's seat or throne, and by a process of natural selection the "Cathedral Church" of a Diocese was invariably the largest and most beautiful church in that Diocese.

Consequently the Bishop's seat has always been regarded as one of the most significant elements in a Cathedral, and here a stately and dignified design has crystallised into a canopied
throne which will in time decorously grace the completed East End.

It is now the seat of the Bishop of Connor, the Ordinary of the Cathedral, and a Latin inscription carved in front records that it was dedicated in memory of a former Bishop of Down and Connor and Dromore. Since the division in 1945 of that large and unwieldy Diocese, St Anne's has had the unique distinction of being the connecting link between the two new Dioceses thereby constituted - Connor being on one side of the River Lagan, and Down and Dromore on the other.

By the Statute providing for the regulation of the Cathedral it is enacted that "there shall be a stall therein for the Bishop of Down & Dromore." Accordingly, for the present there is being used for this purpose a stall which formerly stood in the old Parish Church of St Anne, one of the glories of which was its polished mahogany furnishings.

Interesting examples of some of these are now to be seen in the Chancel. They are, in the main, ornately and oft-times delicately carved and decorated, and include chairs of various shapes and periods.

The Sovereign's Chair is here - the seat that was used by the Sovereign, or Chief Magistrate, of Belfast, when he attended the Parish Church in his official capacity.*

Another chair of rare design was the property of the Earl of Belfast, who, born in 1827, was reputed to have had "literary and musical tastes of a high order." On his death in 1853, this, his favourite chair, was presented to his agent by the Earl's father, the third Marquis of Donegall.

A carved oak canopy chair of Gothic design, now used in the Sanctuary as an Episcopal Chair, came from the Private Chapel of Belfast Castle, a former residence of the Earl of Shaftesbury, by whom it was presented.

When the old Church of Bishop Jeremy Taylor at Lower Ballinderry was restored some years ago, portions of its ancient oak furniture were made into a chair, which, standing in the Chancel, forms an interesting link with that great Bishop of Down and Connor and Dromore who is commemorated in the Corbel above the Pillar of Music.

STAINED GLASS WINDOWS
"Storied windows richly dight
Casting a dim religious light." (Milton)

Great West Window:
The subject of this lovely work of art is the building of the Temple, and its progenitor was a similar window in the City of Lucca, which was long regarded as an artist's ideal and inspiration.

It consists of three lights, each 25 feet high and 5 feet wide.

The builders of the Temple, David and Solomon, are seen respectively in the Left and Right lights; and in the Centre light is the figure of Christ as the Living Temple, surrounded by His Angels. The Lamb of God (Agnus Dei) is at the top, and at the base two angels hold a Scroll over the Water of Life. The text inscribed is "I am He that liveth and was dead." At the base are the words: "I am Alpha & Omega."

In colour, in wealth of detail, and in fine classical drawing, this window is of unlimited interest, and with sunshine streaming through in boundless measure, it veritably "calls the glory from the grey" - the very antithesis of Milton's "dim religious light."

Rose Windows (West Wall):
The two Rose (or round) Windows pierced in the West Wall are beautiful in colouring and concept: the one opening into the North Aisle illustrates the text "And as Moses lifted up the serpent in the wilderness, even so must the Son of man be lifted up: that whosoever believeth in Him should not perish, but have eternal life."

Jonah arising from the depths of the sea is represented on the window opening into the South Aisle.

"Goad Samaritan" Window:
In complete contrast to the West Window is the "Good Samaritan" window, which is now temporarily placed on the North side of the Choir-stalls. This was the East Window of the old Parish Church of St Anne, and it is a remarkable example of the glass-maker's art. With great fidelity and attention to detail, it depicts the parable of the man who fell among thieves and his succouring by the Good Samaritan "who had compassion on him, and bound up his wounds, pouring in oil and wine, and set him on his own beast, and brought him to an inn." The first part of the quotation is expressed in the lower half of the centre light, and on the other half is the arrival at the Inn. The inn-keeper is standing on the steps.

The Priest and the Levite who passed by on the other side are to be seen in lesser lights on either side of the centre-piece, and the lettering of the inscription has been cunningly ranged to convey every detail to the onlooker.

Nave Aisle Windows:
The five windows in each aisle (north and south) of the Nave are designed to portray familiar Old Testament figures - Prophet and Prince, Priest and Patriarch.

These windows, while not as translucent in character as might be desired, are nevertheless full of interest and fine figuration. A bright day provides the best conditions for a detailed study of their various features.

Each window contains three portions (base, centrepiece, and apex) and the large central figure portrays the subject of the window.

Adjoining the organ is

ABRAHAM
"the father of many nations" with the knife in hand which he took to slay his son Isaac, that he might offer him up for a burnt offering to the Lord (Gen. 22).

Base Abraham having on his return from battle been blessed by Melchizedec, King of Salem and Prince of the Most High God, is presenting the King with a tenth (tithe) of all the spoils of victory (Gen. 14 and Heb. 7).

Apex "A rose-red city-half as old as Time!"
As if in the rosy-tinted dawn of history, there emerge the outlines of the City of Salem, later to become known as "Uru-Salem" or Jerusalem, the city of a beautiful name destined to be symbolised in prose and poetry as the City of God.

MOSES
the Lawgiver is holding his Staff and the Tables of Stone on which were inscribed the Ten Commandments.

Base Seated on Mount Sinai and surrounded by ministering angels, Moses gazes out at the Promised Land.

Apex The mountains and hills of the Promised Land - "a land flowing with milk and honey."

JOSEPH
who was sent by God into Egypt that he might preserve the Children of Israel "a posterity in the earth" and by a great deliverance save them from the seven years of famine that consumed their land (Gen. 37 et seq.).

Base The surprise and consternation of Joseph's brethren on espying that their corn-filled sacks also contained money. Unknown to them, the purchase price of the corn had been restored to each man by the command of Joseph (Gen. 42).

Apex The Pyramids and other symbols of Egypt, the land of Joseph's adoption.

JOSHUA
the great leader, who, having brought the children of Israel into the Promised Land, told them: "I have given you a land for which ye did not labour, and cities which ye built not, and ye dwell in them; of the vineyards and oliveyards which ye planted not do ye eat" Joshua 24).

Base The return of the spies sent by Joshua to spy out the land. They bring with them evidence of its prosperity and the fruitfulness of its fields.

Apex The twelve stones (one for each tribe of the children of Israel) taken up out of the midst of Jordan, and setup as a memorial of God having dried up the waters until the people had passed over into Canaan. On the scroll are the words of Joshua: "Be thou strong and very courageous."

Opposite, in the North Aisle, is a window portraying

SAMUEL
the founder of the School of Prophets, with his Horn of State and his multi-coloured Breastplate, symbolising the twelve tribes.

Base The parents of Samuel, having "lent him to the Lord," are being blessed by Eli the Priest (1 Sam. 2.20).

Apex The Lamp of God which burned in the Temple before the Ark of the Covenant, and was tended by the child Samuel as he "did minister unto the Lord."

DANIEL
lifting up his eyes to behold the heavenly vision sent unto him (Daniel 10).

Base An angel appearing to Daniel.

Apex The burning fiery furnace, into which those who refused to worship the golden image were to be cast (Daniel 3).

Text "There is a God in Heaven that revealeth secrets" (Daniel 2. 28).

NEHEMIAH
The Master Builder, holds in his left hand the plans of the Walls of Jerusalem. His working tools and instruments are beside him, and in the background can be seen some unfinished portions, with the builders at work on one of the main gates.

Base "The dedication of the walls ..... with thanksgivings, and with singing, with cymbals, psalteries, and with harps" (Neh. 12. 27).

Text "Nehemiah who raised up for us the walls that were fallen."

GIDEON
with "the Sword of the Lord and of Gideon." In his left hand he holds a Trumpet, and a Pitcher containing a burning lamp. Slung around his shoulder is a ram's horn.

Base "The Midianites, the Amalekites, and the children of the east . . . encamped against the Israelites." The enemy are seen in flight, following upon the success of Gideon's stratagem, the preparation for which was to "put a trumpet in every man's hand, with empty pitchers, and lamps within the pitchers."

Apex The angel who appeared to Gideon with the call to be the deliverer of his people from their enemies Judges 6. 12).

JONATHAN
the son of King Saul, and the devoted friend of David, whom he loved "as he loved his own soul."

Base The parting of the two friends, when "Jonathan made a covenant with the house of David." With hand clasped in hand, the Prince is bidding the erstwhile shepherd boy "Go in peace" (1 Sam. 20).

Apex Jonathan smiting the garrison of the Philistines (1 Sam. 14).

Text "There is no restraint to the Lord to save many or few.

DAVID
The space in which "the sweet Psalmist of Israel" will eventually be placed is for the present obscured by the organ, and accordingly this window has been adapted to a temporary position in the east wall. Here its height and darkness of texture make it difficult to discern the details except under the most favourable lighting conditions. David is standing playing his harp.

Base The Prophet Samuel anointing David as King.

Apex The Ark of the Covenant within the Temple.