Virtual Tour  

Immediately inside the main entrance are situated two fine Kilkenny marble water fonts (1), their upper rims well worn by the worshipping fingertips of 150 years.

The circular hanging lights are true reproductions of the Pugin originals, which of course depended on candle power. The building was designed to make maximum use of the sunlight from celestory windows, and in the restoration halogen lights, beaming from approximately the same angle, give the closest possible simulation of natural light. The uplighters are positioned to enhance the sky-blue ceiling, which, true to the architect’s intention is studded with gold stars, the colour also chosen to highlight the chamfers of the rafters.

All the stencilling is the exact reproduction of the original which had deteriorated due to the poor lasting qualities of 19th century paint exacerbated by structural and atmospheric dampness. In the 1960's the cheapest option was to cover all with white paint.

The patterns vary to suit the shape and width of the faces and undersides of the pillars and arches, some of them so intricate that they required more than thirty individual workings from apex to base to complete their designs. Their proportion of white to colour is so precise and so accurately contrasted that the lasting visual memory is of an intricate tracery of interwoven white patterns, enclosed by a filigree of contrasting strong floral motifs. The background becomes the design in an effective artistic reversal.

The focal point of the Cathedral is the main altar (2), now rebuilt on a new Wicklow granite predella directly underneath the spire. Originally placed at the head of the building it was much wider, incorporating two extensive wings to accommodate the symbolic lateral movement across the face to the altar during the celebration of the Tridentine Mass

The splayed corner pillars that had fronted the old structure now proclaim its power, strength and permanence. A brass nameplate screwed to its rear bears the names of its original sculptors - Pearse and Sharp. The former has a significant distinction in addition to that of stone carving - he was the father of P.H. Pearse, leader of the 1916 Rising.

The surrounding wool carpet (3) is hand woven, its boldly coloured motifs worked in typical Pugin patterns. Overhead a new ceiling has been installed at the base of the belfry, its central raised section comprising five hand-painted panels displaying Pugin's brightest colours which appear to change in hue and intensity when viewed from different angles.

The Pulpit (4), carved in oak, was not installed for many years after the building was completed. Probably of English origin, circa 1840, it embodies all the Pugin characteristics. It was sourced in Belgium about the turn of the century by the then administrator and complements perfectly the style and quality of the internal features of St. Aidan's. The full relief floral carvings on its upper perimeter are of exceptional quality, having regard to the hardness of the base wood.

Facing the pulpit, the Bishop's throne (5) with a similar pinnacle bears the Episcopal coat of arms.

Viewed from this point, the South window (6) featuring the glorified Christ is colourfully framed by the stencilled organ pipes and the Pugin panels in the face of the organ gallery.

The names of all 80 bishops who have occupied the See of the Diocese are tabulated  on two opposing faces of  the great pillars that support the spire (7) On each side, just above the depiction of the Bishop's Mitrecan be seen two of eight steel hangers set into the four pillars at the same height. These were built-in after the tower was rebuilt in the 1880's when the pillars began to give way under its weight. Thankfully, from an aesthetic viewpoint, the proposed steel tie bars did not need to be stretched from pillar to pillar. The emergency passed, the hangers remain.

In the west transept the restored Baptismal Font (8) stands on a base of the salvaged original Minton tiles. Richly decorated, its octagonal shape symbolises resurrection and regeneration. The west (9) and east (10) windows are filled with images of the Sacred Heart and the Immaculate Conception respectively. These were filled in 1885. The windows in both aisles (11) feature the apostles, the evangelists and the founders of the great religious orders. All the windows, especially the "great ones" are enhanced by elaborate tracery.

The sanctuary, which is enclosed by screens (12) carved from Caen stone, has been retiled using the closest possible reproductions of the originals (13), perfect examples of which can still be seen on the floor in front of the two side altars (14). These are priceless examples of the intricately patterned hand made encaustic tiles that are the hallmark of Pugin design.

The Reredos (15) consists of nine niches carved from Caen stone. Running the full width of the Sanctuary behind the Tabernacle, they each depict a sacrificial theme from the Old Testament. They are, from left to right; (1) the sacrifice of Abel; (Gen IV); (2) Noah (Gen VIII); (3) the offering of Melchisedech (Gen XIV); (4) the attempted immolation of Isaac (Gen XVIII); (5) the eating of Paschal Lamb (Ex XII); (6) the Israelites gathering Manna in the desert (3 Kings XIX); (7) Elias bringing fire from heaven for his sacrifice (Kings XVIII) and lastly ,(8) Elias being fed by an angel in  the desert (Kings XIX). (9) In the central niche stands an angel with the veil of the Tabernacle. The reredos is flanked on either side by statues of St. Patrick and St. Aidan.

Over the reredos the great north window (16) with its beautiful stone tracery enclosing seven lights is filled with 28 named figures, including the Virgin Mary, St. Joseph, Michael the Archangel and Saints.

To the east, the mortuary chapel, which was added late in the 19th century, displays some beautiful mosaic tiling (17), and a remarkable panel in its altar front (18) - carved totally from one slab of Caen stone.

All these features in the Cathedral, whether structural or decorative, complement each other in unifying the colours, shapes and textures to make St. Aidan's an outstanding example of the genius that made Augustus Welby Pugin the most outstanding Ecclesiastical architect of the nineteenth century.