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Page 14 text:
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Page 13 text:
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ис бул бук EWI ey wee nee nie ey nee ne eI era Loyola College Review | бо зле ICN Siete ICDA ореолы Address all communications to LovouA Сотлиав Review, SHERBROOKE STREET West, MONTREAL Terms: One Dorran THE Copy, paper bound. A subscription for Five Years: Five Dorrans All subscriptions will be gratefully received EDITORIAL It is again the privilege of the Review to record Loyola’s acquisition of another building. Flanking the front building and linked to it by a closed-in cloister, now The stands the college chapel. A broad, steeply slanting copper бе паде Chapel roof between Flemish gables, with a lofty fléche, also copper- р covered, near the western end where the incipient transepts cut across; windows, rectangular in the nave with buttresses between them, circular in the NOE and apse; a facade, well back Кот the street, that rises somewhat abruptly above the ома perron and challenges by its plain stretches of brickwork over the stone-framed doors and around the large gallery window: such in outline, ог enumeration, is the new psi ge With differences that will be interesting to future amateurs of architecture, and economics, it matches the other buildings. Similar in its 2 lines and in material, it has the delightful quality of eliciting a perhaps confused satistaction without being what one expects after familiarity with the recti-lineal sweep of stone mullions in the front building's facade or the high-arched cloister and terra cotta facings of the back buildings. Such preoccupations of matching the new piece with the old cloth do not interfere with one's impressions of the interior. A high vaulted ceiling supported only by the side walls, and an abundance of light pouring through the amber windows ү an air of spacious compactness that characterises the whole arrangement. ngenious contrivances for ventilation, heating and acoustics, all successful be it said, are skilfully lost in the ribbed ceiling and the ‘‘birnut’’ panelling that runs round the walls. The sanctuary floor, level with the tops of the pews, is cut across by a wall in which is pierced a great arch framing the wide recess for the main altar. In front of this wall on either side of the recess are the side altars and, behind, sacristies with tribunes above; on the left side and harmoniously fitting in with the general scheme is an exceptionally fine pulpit. Unless accustomed to the strictly liturgical, one at first finds the main altar novel yet quickly comes to appreciate its peculiar charm. The tester, supported behind by the wall and in front by two chains from the ceiling, covers a space in which the central piece is a large bronze crucifix. Six massive bronze candle-sticks stand on the altar itself; in the centre is the cylindrical cone-capped tabernacle in bronze but with a silver door. The symbolic inscriptions worked in the dossal and antependium associate this arresting simplicity with the early church when Greek was the language of the élite and of the slaves of Rome. The bewilderment and the universal questioning that marks the present time make it natural to rise to the wider significance of the chapel and to point out that ЗАР
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